https://padlet.com/dylanmcbryde/xc0rp39o7i9w by Dylan McBryde en-us 2018-03-03 23:07:56 UTC 2023-05-09 11:19:31 UTC hello@padlet.com dylanmcbryde https://padlet.com/dylanmcbryde/xc0rp39o7i9w/wish/237740661 In Chapter 4 of "Every Song Ever," Ben Ratliff finds a musical element that he describes as "transmission." On the fourth paragraph of Chapter 4, Ratliff explores the question, "Can you point at an emotion in music, ..." To Ratliff, transmission seems to be a key element used for connecting with the intended emotion(s) of any piece of music. Transmission is less about studying the composition of a piece, and more about connecting with the emotions brought out by the performer. I do agree with Ratliff's inclusion of this element; It serves as a vehicle to get to the heart of a song and the emotions of the artist.]]> 2018-03-03 23:12:13 UTC https://padlet.com/dylanmcbryde/xc0rp39o7i9w/wish/237740661 dylanmcbryde https://padlet.com/dylanmcbryde/xc0rp39o7i9w/wish/237900005 How does a singer or a pianist use the dynamics of their instruments to demonstrate, or rather express, a feeling? In Chapter 4 of "Every Song Ever," Ben Ratliff explores the musical element of "transmission" by diving into the R&B funk-soul pop tune, "The Morning After." In this song, singer Frankie Beverly is describing the lingering and unwavering feelings he experiences after, presumably, cheating on a significant other. The guilt and worry he feels are brought out in his performance as well as the constant, steady and gloomy instrumentation. He longs to stay in the moment, to avoid the consequences for his actions and live in a sort of limbo. He wants to rid his worries and have fun, but he also feels obliged to leave the situation, because he knows, deep down, that he's made a terrible mistake. So, what does he do? He lingers. He reflects on his actions but he can't move. ]]> 2018-03-05 02:08:19 UTC https://padlet.com/dylanmcbryde/xc0rp39o7i9w/wish/237900005 dylanmcbryde https://padlet.com/dylanmcbryde/xc0rp39o7i9w/wish/237903014 How does fame and adulation affect an artist? Once they've gained a significant following, can a performer still be as true to him or herself as when they first started as a creative? These questions are explored deeply in the song "Limelight," by progressive rock trio, Rush. During this song, lead singer Geddy Lee transmits several sentiments about putting aside "the alienation" brought about from the "limelight" of becoming famous. He laments that "I can't pretend a stranger is a long-awaited friend." He is very aware of the new responsibilities that come from being famous, and he sings about how these responsibilities can detract away from "the fascination," the music itself. The idea of transmission is most clearly brought out by the guitar solo performed by Alex Lifeson. This solo is often dissonant and notes are bent for long stretches of time, as if they were crying to get away from an isolated place. As Lifeson put it in an interview with "Guitar World" magazine: "There’s something very sad and lonely about it; it exists in its own little world. And I think, in its own way, it reflects the nature of the song’s lyrics – feeling isolated amidst chaos and adulation."]]> 2018-03-05 02:25:09 UTC https://padlet.com/dylanmcbryde/xc0rp39o7i9w/wish/237903014 dylanmcbryde https://padlet.com/dylanmcbryde/xc0rp39o7i9w/wish/237905585 2018-03-05 02:42:44 UTC https://padlet.com/dylanmcbryde/xc0rp39o7i9w/wish/237905585 dylanmcbryde https://padlet.com/dylanmcbryde/xc0rp39o7i9w/wish/237905874 2018-03-05 02:44:49 UTC https://padlet.com/dylanmcbryde/xc0rp39o7i9w/wish/237905874