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Pictured is another group that I love, Glass Animals. I have used one or two of their songs as examples in my Padlets and my listening experience has definitely changed for the better.
credit: https://www.npr.org/2016/07/25/487335325/songs-we-love-glass-animals-youth

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This is an image of my favorite band, HAIM. I am including an image here because I have used their songs many times as media examples throughout my Padlets. Ratliff's book helped me see some of my favorite songs by HAIM in a diverse and unique manner.
credit: http://www.rollingstone.com/music/features/how-haim-found-their-way-back-with-something-to-tell-you-w480244

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This song is an example that Ratliff used to exhibit and analyze the sadness it produces within the notes and within the listener.

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String Quartet No. 19 in C Major, K. 465: I. Adagio - Allegro

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String Quartet No. 19 in C Major, K. 465: I. Adagio - Allegro, a song by Wolfgang Amadeus Mozart, Quatuor Mosaïques on Spotify

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This song is Kesha's "We R Who We R," one of the most interesting examples Ratliff used in his repetition chapter. It is definitely a song I never thought to analyze.

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"In many cases, having rapidly acquired a new kind of listening brain- a brain with unlimited access- we dig very deeply and very narrowly, creating bottomless comfort zones in what we have decided we like and trust. Or we shut down, threatened by the endless choice.The riches remain dumb unless we have an engaged relationship with them."
-Ratliff (p.8)

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"We know all that music is there. Some of us know, roughly, how to encounter a lot of it. But once we hear it, how can we allow ourselves to make sense of it?"
-Ratliff (p. 3)

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I actually really enjoyed reading and analyzing Ratliff's book this semester. It really opened my eyes to many musical elements I had never thought of despite my experience with playing and learning music. I think that this book helped with my understanding of technical elements in music, specifically more modern examples and genres, because I only had a prior understanding of classical music and music played by an orchestra. One thing I found problematic in this book, however, was when he would discuss some elements very vaguely. These included wasteful authority and audio space, concepts I had no knowledge of prior to this reading. His explanations of these complicated concepts were very general and hard to follow so I was unable to fully understand these elements. Fortunately, his explanations and analysis of the other examples were adequate and helped me see music in an entirely new way.