Mus 116 Fletcher Mac

Living in a global pandemic as a musician and trying to thrive is nearly impossible. You can’t host concerts anymore, which is the main source of income for most bands and artists. Not only ticket sales but the concert is typically where the merchandise gets sold as well, and is a good way for artists to get exposure. However, having the in-person quality of that being completely stripped can be difficult. Live streaming platforms are an amazing tool for musicians to host online concerts and even Q&A’s or podcasts. Social media presence plays a big role, the chances of someone hearing of a new band through Facebook or Instagram are insanely high. Utilize your bio to share links to your other sites- including merchandising. Having the ability to connect and communicate with an audience all at the edge of our fingertips is a huge privilege to be taken advantage of especially during a time like this. People are turning to their screens and devices as replacements for the day to day social interactions we were used to having. Another amazing option for those artists and musicians that aren’t only there to perform but to teach as well are devices and programs like Zoom, where they can teach video lessons and still make a living teaching through it. With the pandemic lightening up in some areas, for smaller musicians at least, social-distancing and masks are a good option for those that would maybe like to host a small gathering to play, but it’s still difficult as not only would the mandatory distancing call for a large enough venue, but the artist I’m sure would still lose a good chunk of their audience due to people just not wanting to go out, or being extra precautious, or even can’t make it because they themselves are sick- which is where live streams and video concerts come in handy.

Why does Dr. Munarriz consider the label “Latin American Music” problematic? Do you agree or disagree with his position? Why?

Having the word “American” in the title has a tendency to confuse people into believing they are referring to music from America, the country- not the continent itself. This can be problematic in some cases however if it’s merely a matter of conversation and miscommunication that way, it’s easily fixed or avoidable. However, in terms of writing music, it can be confusing if talking about style- saying Latin American may confuse some. 

What is the difference between Latin American Music and Latin Music?

Latin music is used to refer to any music that has originated from the Latin community or from a member of the Latin community living in America, whereas Latin American Music refers to music coming from any region south of America. Latin American Music comes from a French, Portuguese, or Spanish region within Latin America. 

What are ostinatos and how are they used in many Caribbean and Latin American musical expressions?

An ostinato is a musical phrase that persistently repeats in the same musical voice throughout a piece. Many Caribbean and Latin American music use ostinatos consistently throughout. Typically a phrase will be repeated by horns or vocals overtop of a consistent drum or guitar rhythm. The repeated phrase keeps the energy of the music high and full while the rhythmic background is used to drive the piece forward and keep the music going. 

What are some of the Latin American expressions in which the so called “Habanera Pattern” can be easily identified? 

The “Habanera Pattern” can be seen expressed throughout most Latin American music as a foreground rhythm. Many patterns expressed in Latin American music aren’t exactly, but based on or influenced by the Habanera Pattern. The off-beat rhythm plays a crucial role in Latin American music to help drive the rhythm and dance beat forward.

OOIOO – “Polacca” seems to express participatory discrepancies between the vocalization and guitar riff during the first minute or so and afterward quite a bit between the drums and guitar. It almost seems as if they don’t really line up tempo-wise. In the middle, all three kinds of mash together in a big bang and create quite a bit of conflict between voices, and coming to the end the drums slowly deteriorate into an organized disaster to climb to the finale at the end. Sly & The Family Stone – “Spaced Cowboy” is 4 minutes of pure groove and jammin’. The amount of slack allowed from the layback feel of the piece allows for discrepancies between different instruments- such as the bass and the guitar, and the yodeling vocals evening adding an interesting twist. The discrepancies in this piece, yet still present, provide a smooth flow and keep it pleasant to the ear whereas in the last piece some moments can seem overwhelming or disastrous. Patato and Totico – “Agua Que Va A Caer” initially provides a rhythm discrepancy between the vocal and bongos but still grooves in the Latin feel. The bongos in the background are mainly there to provide a consistent rhythmic flow with accents accordingly. More discrepancies can be heard later in the guitar solo as some of the rhythms don’t match up. A big participatory discrepancy in this piece is heard in the main chorus melody “Agua Que Va A Caer” sung by the chorus in the background. Many of the voices heard aren’t very melodically or harmonically inclined and provide quite a dissonance between the voices. Yet still,  it isn’t repulsive to the ear and helps provide the feel of the piece.

If the intent is to dismantle the almost forced yet still present white majority in music I believe an amazing optional path for University music schools to take would be to offer a higher selection of new music study. However the concept of offering a sort of “non-white” music course can be risky and definitely could cause people to get upset- however I believe that is inevitable regardless. Offering a sort of “cultural” course study may be a good option. But that raises a lot of questions such as what do we define as “cultural” music versus the generic music we’ve been studying since the dawn of time. However considering this in terms of three to five years from now the amount of newer music to study will be increased greatly. It is becoming way more common nowadays for people to be inspired to compose something, and get their music out there, however difficult that may prove to be. The likelihood of more cultural music being able to be explored will also greatly increase over the years as composing becomes more and more common. People will want to express their heritage and cultures through their works. 

“The practice that neutralizes the common sense intuition of the most privileged members of society as objective knowledge.”

I am unsure how to relate this to my instrumental work as I am unable to make sense of it.

Listening example: Beethoven Ode to Joy, from Symphony No. 9, IV

The concept of listening to a single piece of music over and over again for half an hour straight to most is repulsive; unless you’re going through one of those “I only listen to this song on repeat for the next three weeks” phases. But then it’s typically because you enjoy the song, and believe me, you will get bored of listening to it every day despite what you may think. The first few plays were pretty normal, I knew the basic main melody but not much else. Most of the piece after the beginning was just a modulated mess. However, the third or fourth time through the piece I found myself seeking out different things in the piece. How the voices contrast with each other and how they work together with the symphony was more and more intriguing to me. However, despite my music major brain forcing me to pick out every little interesting thing I could possibly find, I naturally, after about the fifth or sixth play through, found myself getting a little tired and almost annoyed by the piece. From this day forward I do believe the opening Ode to Joy chorus will haunt me for the rest of my life. 

The ethicality implemented throughout the music of the past tends to stay towards one side of things; most pieces looked at in a wind band or orchestra nowadays are older pieces composed by old white males. Now it isn’t unlikely in 2020 to come across some exploration of newer music, however, new music made by today’s composers still has a harder time making its way to an audience. Historically, pieces composed by the ‘old white male’ figure have a stronger tendency to gain popularity due to class, race, and other factors.

As a percussionist I tend to perform almost anything, marimba works are typically my favourite to play.

https://www.youtube.com/watch?v=IyJmfen_v2U

https://www.youtube.com/watch?v=YSmt-BNM5OU

https://www.youtube.com/watch?v=u9lldV4TcFI

I selected these pieces as they sound appealing to me, not too difficult, and still challenging. Finding solo works to learn is difficult as I can spend 2 hours going through music and only find one or two pieces that actually sound appealing to me to play. Typically when searching for marimba solo works I will try to find some newer pieces by modern composers. However, when it comes to something like snare drum techniques there tends to be a typical set of exercises and there are some specific pieces that are known as “the pieces” if you will- the ones that everybody plays at least some of. 

The quote from Nietzsche puzzles me a little, however to me it means to not dwell on things that have happened or it may hinder qualities or progression of learning from experience. When you are capable of knowing your strengths and are able to put them forth then you can use those to learn from past experiences. Try to enjoy things as well, otherwise, the learning experiences that you were hoping to get may just be dragging you down. 

The first few differences between the Goldberg Variations 1955 and 1981 versions come quickly and easily noticed. The 1955 version is a little faster in terms of tempo, and from listening you can tell it’s someone playing something that is well-practiced and meant to be performed. With the 1981 version I noticed it felt like every note was meant to be heard and appreciated, the slightly slower tempo allowed for some freedom of movement. The ‘81 version feels as though it is someone playing for the sake of music, and enjoying the piece for the music that it is rather than the notes that are on the page. It’s almost as if the ‘81 version is articulating the notes back to us in a more precise and almost respected way. I typically enjoy how in the ‘81 recording you can hear moments of the performer singing the melody along as he plays. It shows that he’s really enjoying himself, and knows the piece well for what it is to be. Having the capability as a performer to connect with the music you’re playing in that way can play such a powerful role in the audience or listener’s experience.

Golden Record Project
Example 1: A lone heart monitor – then suddenly the sounds of a baby crying implying birth. A mother and father’s laughter of joy as they get to hold their child for the first time. 

Example 2: NYC Times Square at a super busy time, sounds of cars going by, horns honking, people shouting over each other and talking amongst themselves, music playing from shops all around, expressing the “busy” of life. 

Example 3: A calm light rain in the rainforest, birds chirping and various nature sounds but nothing too loud or ecstatic – try and create a feeling of relaxation and peace

The miracle of birth is an amazing thing that not everybody gets to experience – yet hearing it you know what’s going on and it can still be so powerful. Having only three examples to go with, I thought an amazing way to start the record off would be to show how we all started off our lives. 

Anxiety inducing maybe, yet still an effective way to express how- even if we don’t experience it- we all feel sometimes. The busy sounds can imply a rushed feeling and express the day to day business that goes on on our planet, and also implies a good metaphor for how we can all feel a little crammed or rushed sometimes. 

The sounds of light rain and light bird chirps typically tend to be relaxing to the human ear. After what was just played I thought the best way to close it off would be with some relaxing sounds to hopefully induce calmness and express a moment of relief. Almost like a weight has been lifted off your chest.

1. Looking back at the “bones of summer” how have you engaged or created art? If you haven’t engaged or created art, please describe why.

 Unfortunately my summer went from what was supposed to be packed full of music and art and good times, to a series of cancelled show bookings and disappointments. Covid took a big toll on my summer activities.

1. What things, if any, surround you that you consider powerful?

 The form of nature around me is almost overwhelming, everywhere I go I can’t help but seem surrounded by lush green trees and animals everywhere. 

1. Over the next couple of days, take note of the dominant sounds in areas that you consistently walk. What are the sounds you notice most of all? Be specific.

 Typically when I go out I have music playing in my ears, but if not I tend to follow the rhythm in everything around me. Specifically the cars going by, the sound of my footsteps and bird chirps, etc.

1. How do you relate to the phrase “free time only works if you steal it?”

 The concept of time is complicated in that it’s relative. The ability to have free time comes from making the decision to do something more preferable over something else. By stealing that time away from another activity you gain the “free time” to do the preferred activity.

1. Do you have any other takeaways from the film?

Everything in life has its own reason to be appreciated. You can find so much more in something just by taking a moment to look a little deeper.