https://padlet.com/sydneyy_christensen1/sk4a9csji3ic Ratliff Ch. 18 en-us 2017-11-27 02:41:12 UTC 2017-11-27 06:02:45 UTC hello@padlet.com sydneyy_christensen1 https://padlet.com/sydneyy_christensen1/sk4a9csji3ic/wish/210241552 This chapter was a bit confusing. It was about how a song begins with a backbone structure that is built upon with layers of sound. Musical form is "not a structure to be backed into; it is better understood as the result of a process." This speaks a lot to the human experience because linking involves combining different concepts such as happiness and sadness, structure and spontaneity, consonant and dissonant, conjunct and disjunct. Songs that are heavy in linking often force the listener to pay closer attention in an attempt to make sense of all the sounds going on and building like layers on each other, but the more they listen, the
more they realize that they have less "control" of sorts. Although this was a bit of a difficult concept for me to grasp partly due to Ratliff's wording, I began to understand and agree after listening to some of the musical examples. ]]> 2017-11-27 02:46:47 UTC https://padlet.com/sydneyy_christensen1/sk4a9csji3ic/wish/210241552 sydneyy_christensen1 https://padlet.com/sydneyy_christensen1/sk4a9csji3ic/wish/210262846 This song starts out with a simple computer-generated beat and semi-indistinct dialogue. Hayley Williams begins to sing calmly over the beat as a guitar creeps in quietly in the background. It picks up and is joined by a bit of synth while Williams hums and vocalizes. The song continues like this for a few minutes with more fast-paced harmony guitar gradually building, the original strum pattern slow. Percussion joins and the strumming picks up and plays solo for a bit, then begins to fade out and clash with a crescendoing separate melody of heavy, echoey electric guitar and steady percussion. The music fades to near-silence and then reappears to continue the improv-like jamming until a final ring echoes out to end the song. This song has much more subtle layering than some of the examples portrayed by Ratliff, but I like that it starts soft and then becomes really heavy and grungy-sounding. It shows another side of the angsty motif that was introduced in the beginning. When the vocals go and the music is there alone, it helps the listener to feel more of the emotions the musicians are portraying of searching and wondering what the future holds.]]> 2017-11-27 05:50:03 UTC https://padlet.com/sydneyy_christensen1/sk4a9csji3ic/wish/210262846 sydneyy_christensen1 https://padlet.com/sydneyy_christensen1/sk4a9csji3ic/wish/210263587 This song is very disjointed and strange. It has kind of a fun mood to it, but the best way I could describe it is a randomized conglomeration of instrumental sound. I have a hard time gleaning much of an emotional feel from it other than anxiety and confusion, but I do understand what Ratliff meant by it having gaps that draw the listener in. I had to listen to the song a few times to try to understand it, and each time I listened I heard something new and/or different. At first I paid most attention to the flute, but then I listened again, one time focusing on the percussion, another focusing not the horns in the background. trying to figure out the "resolutions, peaks, [and] dropouts" was part of the fun, especially because this is completely different than any type of music I would normally listen to. I feel that this type of music displays a high level of artistry because you can tell every note and measure and melody was thought out meticulously. It may sound like random playing, but I don't think this type of complex linking and layering of various sounds and melodies cannot just happen. It displays a bit of what life is like, how it is often crazy and unpredictable, but it somehow ends up sounding good in the end when it all comes together.]]> 2017-11-27 05:56:35 UTC https://padlet.com/sydneyy_christensen1/sk4a9csji3ic/wish/210263587