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Normally I think the phrase is a cop-out phrase

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Normally I think the phrase is a cop-out phrase

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But in music it means something very different. Our musical element was Flow in a macro sense as songs flow into each other seamlessly,  or as songs contrast from each other while they flow into each other. Instead of treating songs as separate entities, like individual songs in albums, we can connect them together with flow and we're able to see a bigger story. While a single song in an album may be more popular than its fellow songs, they all still hold meaning to each other as they tell a story from beginning to end. In our review, we spoke of interludes between albums and songs, that can connect songs to songs within an album to a whole other album, an essence of storytelling.
We also wrote about how flow can also be used to highlight contrasts between songs. This is most notably done in video games to elicit moods and feelings, however, this can still tell a linear sort of story as certain scenes and characters are supposed to make you feel something different as moods change. Music must follow suit through their use of flow as well.

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"To stop the flow of music would be like the stopping of time itself, incredible and inconceivable." - Aaron Copland

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"To stop the flow of music would be like the stopping of time itself, incredible and inconceivable." - Aaron Copland

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There is a double truth to these words. Back to the storytelling aspect, most stories don't end with major cliff-hangers (unless the author wants to make the public go wild). Chapters can surely end with a cliff-hanger, but there has to be more to the story. If music has a leading tone, where all the instruments are developing into one whole sound, stacking and layering instruments on top of each other, suddenly stopping in the middle despite all the potential seems just wrong and inconceivable. The story must go on.
The "double truth" in stopping musical flow, would be how incredible it would be to stop all the momentum. Much like a two-part series finale, lots of emotions are created right before a little pause in music, especially when unexpected, and those emotions become intensified. However, flow still continues and the song must go on as conclusions must come to all stories.

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Reprises again from another post!
This piece would be an example of flowing into songs (movements in this case) that contrast from one another. Movement one is calm, quiet, and uneventful after the grandiose climax of the piece after a lot of brass layers in on top of the woodwinds, taking over and changing the sound of the movement. It almost makes a perfect end if this was a simple, single piece. However, a surprise jump-scare kicks in and yells at its listeners "WAIT THERE'S MORE". The piece then continues with a vivace like tempo with percussion jumping into the mix with their sharp and concise snare drum hits, paired with the strong brass. The song also ends with deafening loud sounds from the entire ensemble, clearly the opposite of movement one. Why the change in mood? (next box)

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First Movement 0:00 Second Movement 8:39 This is aptly subtitled as it is indeed a major work of substantial content in a two-movement setting. Using the hymn stated in the title, Maslanka has constructed a work both expressive and powerful that fully utilizes the capabilities found in the modern wind ensemble.

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"Music makes the connection to reality, and by reality I mean a true awakeness and awareness. Give Us This Day gives us this very moment of awakeness and awareness so that we can build a future in the face of a most dangerous and difficult time." -David Maslanka

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"Music makes the connection to reality, and by reality I mean a true awakeness and awareness. Give Us This Day gives us this very moment of awakeness and awareness so that we can build a future in the face of a most dangerous and difficult time." -David Maslanka

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Upon research, this is the reason for the mood change. While the piece was clearly contrasting by movements, easily identifiable by the listeners, the true story of the piece lies with the composer's intentions. I appreciate being a part of this piece when I played it as the cacophony of sound was supposed to represent humankind being present and aware of chaos or the difficulties of the future in contrast to the hopeful, calm, and "beautiful" sounds that came from movement one that is based off of Christian prayer. However, most stories have happy endings, and Give Us This Day still delivers because of its other grandiose ending (movement two versus movement one) as the sounds stacked upon each other in the end can also represent the true power of humanity in unison, fighting the rush and burst of sound that came crashing in at the beginning of the movement.

Source: David Maslanka's site on Give Us This Day

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This game has a lot of both elements of macro flow, where transitions are seamless OR transitions contrast. In the introduction, I elaborated of the contrasting elements of the sounds of certain characters. Some characters of the game have themes that sounds "aloof", with random notes strung together to create a melody, simple instrumentation, and an overall goofy sounds with a lot of reverberation. This contrasts with the bigger bosses of the game, where a quick tempo with a strong bass kicks in to give a sense of urgency and importance to those key characters of the games. A player can differentiate between the characters within the story because the story makes it so, where you must interact with different characters and you must therefore feel certain ways. The flow between these interludes between characters aids in the storytelling aspect of the game.

Source: Steam : Undertale

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The iconic themes of Star Wars. Movies seem to have more importance in today's world, so they have more impact and memorability, especially in their musical soundtracks. Much like the video game example, flow is used to contrast different elements in the movie: the death of characters, the introductions of certain people (like the Imperial March for Darth Vader), motifs like The Force, certain environments/worlds, and so on. Movies differ in flow from video-games however, as the the whole story must be presented non-stop, so transitions between scenes and camera angles are normally very seamless and follow the flow of the story and the flow of how the viewers are supposed to feel as they watch the movie in its entirety.

Source: Star Wars Wiki