Musical Manipulation and Minor Miracles

Week 10 - Discussion Post (also on FB)

“Recognizing the beautiful in an abstract art like music partakes somewhat of a minor miracle” (Copland, 1952: 8).

As I reflected on this statement and listened back to the selected songs, I realized that, in some cases (like “Sexyback”), a more major miracle is required. Not able to find the beauty in the beat of that song, I steered toward “Jesus Take the Wheel.”

In addition to the hook, my head and heart were held throughout what could be considered a country classic. As I mentioned last week, melody produced the preliminary and primary pull (“hook”), but what kept me listening? Was it simply that “circle, yearn, and leap pattern,” or was there something more? Part of me senses that it is something haunting or hopeful or even hallowed, but that speaks more to nature than design. The question posed this week is, what do you think “the musicians are trying to do to keep the music developing, continuous, and interesting”? I had to dig a little deeper to discern these details.

“Notes can be manipulated as if they were objects, certainly – they can be made to do exercises, like a dancer. But it is only when these exerciselike patterns of sound take on meaning that they become music” (Copland, 1952: 12)

For me, it was easy to find “meaning” in this song, but being able to identify how were the notes manipulated was more of a challenge. To begin, I think dynamics definitely played a role in development, maintaining continuity, and sparking interest. The introductory instrumental, played at a dynamic level of piano (soft) or maybe a mezzo forte (medium loud), seems to suspend the listener in a state of sad (or suspenseful) serenity. When the vocals enter in, the instruments dial down an additional notch. The violins fade leaving only the dynamically-constrained chords on the keyboard / piano and a subtle snare as accompaniment for the vocal artist. On occasion, the voice of the violin ventures in, again softly. Quiet can pique curiosity and promote concentration, as the listened must tune in more purposefully in order to appreciate the musical nuances nestled into the score.

As we approach the chorus, the sound swells substantially. The musicians modulate from mysterious to majestic in a matter of a meter (4 beats) and mount from mezzo to full-out forte (loud). The cymbals, strings, and snare all work together to whelm the listener with sound, summoning strength from On High. This dynamic development is both interesting and inspirational and is reprised after the second verse.

The transition from the chorus back to the verses varies slightly. As the sound subsides, there is a poignant and almost-pleading pause. While the strings are not silenced, there is the suggestion of such, a moment when the music and musicians maneuver the mind from a state of strength as a result of surrender to the Sovereign back to the struggles of self. This dynamic shift back to a softer sound serves to sustain the story. Notably, this dynamic decrescendo is repeated after the reprisal; however, rather than a feeling of resignation there is a sense of resilience. As the pleading continues, it is not as passive as in the previous passage. Somewhere along the way, purpose has been found, which the musicians are able to communicate through the dynamics and tone.

In addition to dynamics, some rhythmic revelations can to the fore this week. At the outset of the song, the slightly syncopated sounds were long and drawn out, as if to create an image of the down-and-out damsel in distress dragging her feet along a dark and dusty road. As the musicians pulled from one not to another, there was a feeling that, at any moment, the character (and song) would collapse.

The chorus, though, combated the sense of hopelessness as a robust and regular rhythm was rapped out on the drums and cymbals. While the strings sustained their longer notes throughout this portion of the song, the percussive instruments, electric guitar, and perhaps an almost-staccato stroke on other strings (sets of 8th notes) added life to the step of the song. Moving into the second verse, while not as prominently played, the regular rhythm is a driving (no pun intended) force that compelled me to follow, although I didn’t notice this in early listenings. With these rhythmic alterations in the second verse, I sensed that the musicians were attempting to develop / increase the tension or intensity as compared to the first verse, although there certainly was not as much emotion expressed / encouraged as was evident in the chorus sections.

Instrumentation also played a role in the making of what I consider to be a moving piece of music. While the violin stood out initially as the most influential instrument throughout this piece of music, as I listened more closely, it seemed as if the musician sought to feature a different instrument in each of the verses or chorus sections. In the first chorus, for example, it was the drum / cymbals that helped drive and develop. The electric guitar also emerged in this section and continued into the second verse with what some might consider scarce but, what I would say are significant slides. Going into the final chorus, all the instruments are intermingled. Layered upon one another, the strings, drums, guitars, and piano / keyboard merge and are manipulated into something memorable, meaningful, and for which I want more.