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A strange music video suggested to me from Spotify, this scene from Rob Cantor's "Shia LaBeouf" Live is hilarious in context. The short song almost works like a musical (and looks like one too) with transitions in between scenes/acts as you the listener is trying to escape from the cannibal, Shia LeBeouf. The most significant link that holds the most dramatic emotional impact is when the "Shia surprise!" happens and LeBeouf isn't dead. The song goes from a quiet, decrescendo fade out, to a sfz of instruments quickly coming back in yelling "WAIT" because there is more to the song. It's a great listen (with subtitles).

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There are a lot of links in between each musical number. It essentially works like chapters to a whole story, which is exactly what a musical is. However I think that the musical links here are more distinct and contrast from each other in terms of acts, versus links in a classical music piece since some include reprises in sonata form, playing the same motif again for the audience. It's a good way to make a listener follow a story emotionally with contrasting and easily identifiable links.

Image from The School of Rock Musical (UK)

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Musical links help songs and pieces move forward into an almost predictable direction. It's almost like musical flow, however I think links in music are focused more on transitions between sections of music, from verse to chorus to verse, or from one movement of a piece to another. It can change the listener's emotions through the transitional, linking, period. Ratliff describes that linking is a form of organizing music, and I can see what he means. An "organized" piece can be akin to an organized place like a desk. It can be organized in different ways depending on the person or the composer and it can make the viewer or listener feel different emotions based on preference (of the desk or the piece). Nevertheless, how a piece is organized can elicit emotions just as much as other musical elements like tempo or volume, but it is made up of all the musical elements.

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"Animated by all that possibility to develop, the piece becomes a kind of living organism." -Ratliff 210

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"Animated by all that possibility to develop, the piece becomes a kind of living organism." -Ratliff 210

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Composers really do put all their soul and being whenever they write a piece, which can support the idea that a piece can become a living organism. Ratliff references the idea of organization of instruments and how they are formed to create the piece, with sections linking from one to another. With a large metaphor, sections and pieces can be linked at the joints of a body, and each joint has it's purpose to have an overall effect on a person.

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"Rather than settling within its prescribed parameters, it seems to move inexorably forward and outward, unfolding and enfolding, according to the logic that suits it best." -Ratliff 209

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"Rather than settling within its prescribed parameters, it seems to move inexorably forward and outward, unfolding and enfolding, according to the logic that suits it best." -Ratliff 209

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I feel like classical music performs this the best when it moves forward within pieces and between pieces or movements. Most of the time for me, I feel emotions through the dynamics of the piece, but, I realize that I have also felt music through the links between phrases because the dynamics really just lead into another section instead of being a standalone aspect of the piece. From a crescendo to a grand peak of the music, that is the transition that is occurring, and once it happens, you can feel joy or awe or anything in between.

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As previously stated, Ratliff defines musical links in his examples in more subtle ways. In this quintet, the link is around the 6 minute mark where the the long crescendo of the song has reached it's maximum point and must now transition to a calmer ending with quieter strings. The piece as a whole reminds me of Adagio for Strings as one feels tension and sadness until the climax of the song. These kinds of transitions feel more "complete" BECAUSE it is subtle; stories normally have to reach a tense climax before resolutions and loose ends are tied up, making the listener feel calm like a receding wave. These links may go unnoticed because it feels natural to have such a calming resolution instead of having abruptness.

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gabriel fauré the nash ensemble fauré: violin sonata in a op.13

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piano quintet in c minor op.115 piano quintet no.2 in c minor op.115: and...

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Piano Quintet No.2 in C minor Op.115: Andante moderato

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Provided to YouTube by The Orchard Enterprises Piano Quintet No.2 in C minor Op.115: Andante moderato · Gabriel Fauré · The Nash Ensemble Fauré: Violin Sonata In A Op.13, Dolly Suite Op.56, Piano Quintet In C Minor Op.115 ℗ 2001 CRD Records Ltd. Released on: 2007-05-11 Auto-generated by YouTube.

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This piece has a sudden and abrupt link between Movement 1 and 2 which appears at the 8:39 mark. This is simply another example of an emotion that one can feel as a result of a transitional link. Links that stand out the most to me are the ones that involve surprises. Though Ratliff mentions more subtle transitions (explained in the other musical example), a listener can easily distinguish a link in music through abruptness, shocking the listener by making them feel something else.

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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.