https://padlet.com/dylanmcbryde/icu916bntxn6 by Dylan McBryde en-us 2018-04-23 01:47:41 UTC 2018-04-23 15:40:20 UTC hello@padlet.com dylanmcbryde https://padlet.com/dylanmcbryde/icu916bntxn6/wish/254216568 I do agree with Ratliff's arguments regarding Linking. There is a point at which a certain repetitive sound becomes what many people could consider musical. Once an otherwise non-musical sound is organized within a larger statement, it can become musical. People can be inspired to link together certain sounds that may have never been considered musical on their own. 
On the first page of chapter 18, Ratliff writes, "But music doesn’t have to be set at right angles. It does not have to be square or symmetrical or neatly sequential. There are other shapes and motions a musician or band or sound.”
The concept of linking applies not only to certain sounds, but also to what those sounds represent. An artist can make a motif out of anything, and they can use that motif to represent any emotion. The repetition of this motif can instill a feeling in the listener when they understand the organization of the song. ]]> 2018-04-23 01:48:30 UTC https://padlet.com/dylanmcbryde/icu916bntxn6/wish/254216568 dylanmcbryde https://padlet.com/dylanmcbryde/icu916bntxn6/wish/254216588 "O Mar," performed by Dorival Caymmi in 1954, is a longing, yearning song about the beauty and danger of the ocean. Ratliff describes the whole of the song: "...it is full of a feeling that the song could go in many directions." Caymmi tells the story of a fisherman who leaves on a boat, only to never return. Like waves crashing on a beach, "O Mar" has no set repetitive motion, and no strict tempo. Around 1:10 of the song, Dorival Caymmi changes the feeling by speeding up the tempo to a soft, but more grooving guitar line. At 2:28, we come back to the original, soft melancholy guitar motif from the beginning. This is how Dorival Caymmi uses linking.]]> 2018-04-23 01:48:38 UTC https://padlet.com/dylanmcbryde/icu916bntxn6/wish/254216588 dylanmcbryde https://padlet.com/dylanmcbryde/icu916bntxn6/wish/254216628 For the concept of Linking, I think about "Nude," by the prominent and influential art-rock band Radiohead. The song is similar to "O Mar," in that it starts off with a progressive melody that seems to have no strict rhythm or key, before transitioning into a certain groove. In the case of "Nude," Radiohead take eerie synths and modified vocals to a somber, tense string section. These first few bars serve both as a thematic introduction as well as a backbone for what the song will later become. Around 0:38 of the song, we finally come to a place of repetition and structure, with a simple bass line paired with Thom Yorke's distant, reverb heavy vocals. The vocals sing about a dystopian future, where everybody must share the same singular idea. At 2:41 of the song, we reach the thematic culmination with the lyrics, "You'll go to hell for what your dirty mind is thinking," before coming back to the original vocal 'ooh's we heard at the beginning of the piece. This motif was established through linking.]]> 2018-04-23 01:48:47 UTC https://padlet.com/dylanmcbryde/icu916bntxn6/wish/254216628 dylanmcbryde https://padlet.com/dylanmcbryde/icu916bntxn6/wish/254229421 2018-04-23 03:14:52 UTC https://padlet.com/dylanmcbryde/icu916bntxn6/wish/254229421 dylanmcbryde https://padlet.com/dylanmcbryde/icu916bntxn6/wish/254229494 2018-04-23 03:15:22 UTC https://padlet.com/dylanmcbryde/icu916bntxn6/wish/254229494