I decided to start this week again with the required listening list, since it was shorter. Not a bad week when I get to listen to "Stairway to Heaven" as part of class! I cannot remember the last time that I have heard this song from beginning to end, though I've heard small parts of it recently. Through study in this course and the analysis in the text, I have a new appreciation for the combination of stylistic elements that this song uses going from an almost folk-rock style, to more heavy rock, with a subtle yet steady increase in tempo, evolution of musical timbres, and rhythmic intensity that build pressure as the song carries on that belie the initial impression of formal simplicity (which is also proved wrong as the song moves forward.) There is a lot of potential to teach students elements of musical composition with this song because of this skillful techniques being employed.
"Oye Como Va" is also one I cannot recall the last time in which I heard the song in its entirety. After reading the analysis, I realized that I may not have heard this version in quite some time, since radio stations frequently cut the solos, which account for about half the tune! I've heard this covered quite a few times, so all the rhythmic elements ton include the instrumentation are comfortably familiar, and another surprise is how accurate many cover bands that I have heard are to the original, which either shows that this is an easy song to emulate, or it is reflective of the dedication of the groups practice to create an "authentic" cover.
"Psycho Killer" was not a song I think I have ever heard before, but I understand why the unique singing style and lyric development combined with the riff resembling a sort of funk/disco ripoff helped this song and group to become popular. The minimalistic approach is also audibly evident, and it obviously worked during the era.
On to the elective listening, I started with "Crocodile Rock." In this day and age, most people of my generation know Elton John. What surprised me was the fact that the most recognizable section of it was the short chorus when he sings "Laaaaaa, la la la la la." I was surprised to learn this song hit #1, in comparison to other songs of his that I feel exhibit more musical complexity and skill, but I get the point that it is representative of his style.
The unique song of the the strumming of the guitar immediately sets "Love's Theme" apart as both 70s and disco-ish when listening to it. I had not know that this was purely instrumental. TO be honest, I was not super familiar with this individual tune to begin with, for it sounds like a cross between the theme from Love Boat and 70s cop drama soundtrack! I guess that shows that the style is both familiar and engrained in my memory despite any particular interest or experience in the style, indicative of pop music's power over people and culture in general.
I went on to some classic John Denver. It was interesting to see the mild controversial aspect of this song being almost too happy. Country was never my favorite style, but I can see how this piece gained popularity, and it would easy to emulate for students trying to learn popular style. I can envision students playing along with this recording (improving or harmonizing with the melody) much the same way as the instrumentalists do in this recording.
"Good Times" was simple, with an emphatic beat that never let up, making it very good for disco dancing. Other than that, it seems lackluster to me, and I personally believe good music (even for dancing) requires more than just a simplistic construction and obvious steady beat.
I went from that to "The Message" because I was intrigued to hear an ancestor of rap and the beginnings of hip-hop. To me it sounded very similar to songs of the 80s with relatively slow "rapping" that is extremely clear and understandable. With this new, honest interpretation of the situation of life on the streets, presented in this manner, it makes sense how this grandfathered both new styles and artists.
I finished by listening to first The Eagles, then "Pedro Navaja", and was not really surprised by anything with the text's analysis, and could easily hear the disillusionment of the 1970s within their sound, though I may not have always consciously identified that before. "Pedro Navaja" was very weird for me. I was listening to it, not understanding the language (though following allowing with the text analysis I was aware of the meaning), and finding it very catchy, almost happy. It it very dichotomous that it could have such a strikingly happy sound and melodic content, with such gritty lyrics. Even though it seemed to get a little more abstract musically and harmonically as it went on, it still retained an overall happy feel up until the end.
Interesting and in at least one scenario confusing music this week...
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