Friday, February 7, 2025

Sellnow's Music Perspective to Cultural Identity

 According to Deanna Sellnow, discursive symbols serve as identifiers of communication. they are units with fixed associations such as words with objects. Non-discursive symbols are beyond words to object associations that humans use to comprehend the tangible human experience. Beyond the tongue to object, rhetoric exists in non discursive manners such as in the nuances of speaking, the tone of voice and body language, to visual art and musical sounds. Musical rhetoric focuses on segments of music that create a persuasive communicated messages. Some examples include:

Intensity and Release Patterns:


In 4:20 - 4:40 the music changes rhythm and sonic ambience. For some reason the first part of the song seems like Frank Ocean is talking out to the universe or deep in the psychedelic suconscious trip. The second part paints a physical ambience because it is more grounded on the bass. 

Virtual Time:


In 2:20 - 2:50 the heart to internal dance experience focuses on two different paces of experiencing the sound.  The first part is more chamber like and timeless where the buildup builds to the ground and after the drop the feet ground to the Earth. 

Virtual Experience:

This whole game ambience sound is very immersive. I like how they expand the virtual experience to physical ones like hearing this type of immersive sound in theme parks. 


Please link me examples of incongruent and congruent musical pieces and what they display to the world and how it defines current past and future consumer trends. 



Music, Manipulation and Worship

How can a person differentiate between music that genuinely enhances an experience and music that is intentionally manipulative? A great example of Sellnow’s theory on paralanguage and nonverbal cues, such as pitch, volume, and rate, is found in the recent scandal involving Hillsong.




Hillsong Church, a Christian megachurch originating in Australia in 1983, is widely known for its influence in the Christian music industry. Hillsong Worship, a Contemporary Christian Music group, operates under the church's umbrella and has produced music that has become synonymous with their brand. Prior to Hillsong Worship, it was uncommon for worship teams to be recognized as mainstream musicians. Hillsong's in-house music label produced chart-topping hits, with some songs staying at the top of the charts for extended periods. Notable songs include Oceans, What a Beautiful Name, and Forever Reign. These songs are incredibly catchy—some would argue, too catchy.







Allegations began to surface that Hillsong used manipulation and hypnosis techniques in their music to increase fundraising and grow church membership. Former church members claimed that the music was designed to evoke feelings that suggested the presence of the Holy Spirit, making emotionality foundational to the church’s success. The music itself created an emotional experience that connected worshippers with the Holy Spirit. The artists used vocal dynamics alongside the lyrical content to enhance the emotional impact of the songs. This strategy contributed to Hillsong's ability to create a worship experience that stood out, attracting enormous audiences.


Listening to the same song through a new set of ears

 Hello, all! 

I am going to introduce you to an artist that some of you may know, but I would be willing to bet that many of you don't. His name is Ben Folds. 



For those who are a bit older, Ben had a few hits back in the 2000's with his band at the time called Ben Folds Five. Some of the tracks ended up in movies and on shows. These days, Ben mainly tours on his own, and he is known for doing a combination of solo tours, as well as playing with orchestras of various sizes. The last time I saw him, he played with yMusic, a sextet chamber ensemble. 

There are two things about Ben that make him resonate in my musical selection. 

The first element is lyrical meaning. When I was younger and listened to him, I didn't place much thought into what his lyrics specifically referred to. I just simply enjoyed his music. 

And there's nothing wrong with that. But when I started seeing him live and watching live videos of his, I found that he was keen on explaining the background behind his various songs, often touching on why he wrote them. According to him, they were based on actual events that happened either to him or to others around him. 

This resonated majorly with me because it's too often that you have difficulty connecting with a famous person, or feel like they live a normal life on your level. It's not necessarily a direct emotional relation to an event, though. For example, I will be posting two sets of links in this blog involving two songs. The first is titled Brick. According to Folds, the song was written about an experience he had with abortion as a young man. I cannot directly relate to how going through that experience would feel, but understanding the depth of the lyrics makes the song that much more meaningful to me. Here is the first link to the original recording of the song. 

The link below directly relates to the second reason Ben Folds resonates to me as an artist. How often do you get to hear an artist you admire perform their work in a completely different setting? In this case, it is with the West Australian Symphony Orchestra. 

The second link I am attaching is for a song called Narcolepsy. Again, I loved this song when I was younger, and although I inferred what he was referring to in the lyrics, it was really interesting to hear his take on the track prior to a live performance. 

The link below is him performing it with the same orchestra, where he explains his personal meaning for the track prior to playing it. 

Due to listening to Ben with a different set of ears, or even multiple sets of ears (depending on who he is playing with) over the past 20 years, I have grown to appreciate him and his body of work much more than I initially had. Being able to assign meaning to his work, as well as hear it through a different dimension has helped enrich this appreciation. Out of all of my favorite artists, I cannot say one has had this specific type of effect on me as a listener. 

I have two questions for you as the reader. First, how did hearing separate versions of the songs above resonate with you? Did you have a different emotional feeling when it was played with an orchestra versus the original recording? And did you feel more connected to the second song after he explained its purpose? 

Second, have you ever had this type of experience with an artist you enjoy listening to?

Finally, I have attached a bonus video in case you have enjoyed Ben's work. In the video below, Ben creates a song from scratch in ten minutes after giving a lecture at the Kennedy Center. Cheers!



The Eighties: Revolutionary Decade of Music

This topic opens a wide range of memories for me, growing up in the 80’s as a teen it resonates well as I was a staunch lover of music and a great break dancer in my hometown. Pop, classical, disco, soul and reggae was all part of my kind of music with Pop and soul my favorites, and it is amazing to note that the ‘Generation X’ my generation ushered in the prelude to the best era of music. The decade is predominantly considered as the great decade for music due to the rise of the use of saxophones and synthesizers mixing into different musical styles accompanying by powerful dancing.

It was fascinating to see saxophone changed the entire music production when Eddie Grant “Walking on the Sunshine” (1978) set the stage and then came volumes upon volumes of saxophones empowered music: George Michaels: Careless Whisper (1984), Diana Ross: Am coming out and upside down (1980),  Chaka Khan: Ain’t nobody (1983),  just to name a few among the great music that revolutionized our world and usher in a variety of dance styles including break dancing, moon walk, running man etc.

Clearly, American contribution to music pervaded my life during the eighties and although I still love music my genre has changed to gospel music. Music has been a medium of communication to me as I can attribute them to my life stages and preferences but there has been no musical performer as iconic as Michael Jackson, the king of pop, rock and soul. He was named King of Pop, rock and soul at the 1989 soul train aware by Elizabeth Taylor: a British American actor. These unique styles of American popular music emerged early in the 19thn century, and in the 20th century when the American music industry developed a series of new forms of music, using elements of blues and other genres. These popular styles included country, R&B, jazz and rock but the eighties dominated decades that preceded it. Americans say the 80’s was the decade with the best decade music. Four in ten Americans (40%) say the 1980’s produced the best music, followed closely by the 70’s (37%) and 90’s (32%) (Lohr et al., 2021).

Michael Jackson 

https://youtu.be/L55jpld7gzA?si=1-X2JBEJ4ozD0iM1


https://youtu.be/dsUXAEzaC3Q?si=oDDHHIUOrcviBWzV


George Michaels Careless Whispers

https://youtu.be/izGwDsrQ1eQ?si=0CyWgKDa4GmmBgap


https://youtu.be/4UFre6YFNNk?si=DqJoVOxegqQteEhw

Dayne Taylor:

Tell me to my heart: 1988

https://youtu.be/Ud6sU3AclT4?si=ddgfYfjGvKIukiKH

Visual:

The music got me: 1983

https://youtu.be/UYfG8tcEl3E?si=RKavWaBJ-o6yjLT8

Company B

Fascinated 1987

https://youtu.be/-b-6ksMdkrU?si=ehOaiou2ts1Adq1f


Shannon

Let the music play

https://youtu.be/_-0sUuGufmw?si=cM8jW2ElD6ArlRIU


Are there any time you can record that music was so fascinating than the decade of the 80’s?

What is music to you and how often do you play it?


  


Adorno Is Right... And Wrong

 We're all way too familiar with Theodor "Fun Sponge" Adorno (pictured right) at this point. According to His Eminence, if we're not listening to six-part Bach Inventions on our morning commute we are mindless drones enslaved to the sinister culture industry. Clearly, Adorno is just another old guy with a distaste for new ideas. Unfortunately, I don't think this is entirely true. 

Adorno argues that popular music is a low-class jumble of recycled, generic material. To him, all popular music is made from a standardized mold hat makes it digestible to a fault. The listener doesn't need to exert any effort to enjoy a popular music composition. He says, 

"The composition hears for the listener. This is how popular music divests the listener of his spontaneity and promotes conditioned reflexes. Not only docs it not require his effort to follow its concrete stream; it actually gives him models under which anything concrete still remaining may be subsumed." 

I think Adorno makes some good arguments here. There have certainly been many times in my life that I heard a song on the radio that I considered absolutely lifeless. One example is this song by Ylvis called "What Does The Fox Say?" While this song certainly has some comedic value, it's not helping the listener improve themselves in any way. To Adorno, that is simply unacceptable. 


The example in the slides of the "Four-Chord Song" all but proves that certain chord progressions and styles of songwriting are replicated over and over again. I also believe that as streaming services become more prevalent, musicians are being encouraged to create shorter songs and albums. Audiences are being conditioned to expect and respond to a certain type of music. 

I don't want to pick on Adorno too much, because I think it takes a lot of guts to tell the whole world their taste in music sucks. However, I think Adorno is missing some key points about popular music. 

Firstly, I think his idea that edification is the only form of cultural value is just plain wrong. I believe there are many different types of cultural value, and entertainment value is a completely valid example. Even the "Fox Say" song has some educational value for a young child. Hopefully that's enough to satisfy Adorno's elitist views. 

Secondly, I think that the intricacies of music theory and music production are something that Adorno isn't factoring in. Many songs seem simple at first glance, but are actually made with great care and attention to detail. Consider "Pet Sounds" by The Beach Boys. While it might sound at surface level like a somewhat pop composition, Brian Wilson is actually challenging the listener by including lots of atypical sounds and harmonies. 


Finally, I think while it's true that some popular music is highly generic, there are other artists that operate far outside the norm, and are celebrated for doing so! I mentioned earlier how streaming services like Spotify are encouraging the streamlining of new music to make it more palatable to a large amount of people. The positive side of a large library of music is that there are many artists trying to differentiate themselves and break whatever formula the listener expects. Here's an example of a "weird" artist that have found a lot of success collaborating with Anderson .Paak and even performing on NPR's Tiny Desk series. 


I saw another student in this class write about Kendrick Lamar. The fact that Kendrick is winning over more traditional and formulaic is proof that in the proving ground of culture, drivel doesn't always win. I think it takes effort to make good art, and it takes effort to appreciate it. If humans weren't willing to put in that effort, then maybe Adorno would be 100% right. But he's not. 

Creativity or Adornos Structural Standardization?

 Have you ever listened to the start of a song and realize 20 seconds in that you have completely got the wrong song? If you haven't that is impressive. There are so many hit songs that begin and end with the same tones. There are songs that even use the same lyrics. Adorno says "Listening to popular music is manipulated not only by its promoters but, as it were, by the inherent nature of this music itself, into a system of response mechanisms wholly antagonistic to the ideal of individuality in a free, liberal society." Basically what he is saying is popular music is popular because society says they are. I want to identify several songs that have the same beat or lyrics and have become hit songs. 

First example is Mariah Carrey's song called Fantasy came out in 1995. In 2022 the song Big energy came out with using the same beat and even similar lyrics of Mariah Carrey's Fantasy. Both songs were huge hits because of the beat. Interestingly enough the beat is almost exactly the same.  This showcases  Adorno's theory when he says" In hit music, however, the structure underlying the piece is abstract, existing independent of the specific course of the music. This is basic to the illusion that certain complex harmonies are more easily understandable in popular music than the same harmonies in serious music." He feel "hit" music is more about the understandable harmonies than the complexities of serious music being symphonies. In many ways I feel he is right, Fantasy and Big energy where hit songs because of the simple beat and good jam. 


Second Example of songs being the same lyrics would be Fergie's song Glamorous and Jack Harlow's song First Class. Both of these songs have the same lyrics that were originally created by Fergie but both songs were hits. To Adorno's point "hit" songs are simple so simple that using the same lyrics allows everyone to know the song which in turn they will listen to both. My question is for you do you feel we are loosing our creativity and that Adorno was right about "hit" songs or that using old hits for new hits is being creative? Do you feel that all "hits" are the same? 






Music Is Art!

 Music is a special kind of art that goes beyond different cultures and time periods. It helps people share their feelings and ideas with one another.It's not just for fun; it can carry important messages. For a long time, music has been a big part of how people express themselves, from the songs sung by ancient people to the modern tracks we hear today. Deanna D. Sellnow studies how music communicates messages that are deeper than just the catchy tunes.

 

Throughout history, music has been really important in helping to bring about change in society. It has inspired people during big movements, like when people fought for their rights or protested against wars. Danielle Endres and Megan O Byrne explain that music has always been a big part of these movements, from the struggles of enslaved people to labor rights in the early 1900s to more recent protests.This shows how powerful music can be in helping people come together and share their ideas. 


Sellnow looks at how songs can express feelings and also argue for certain ideas. This helps us understand how music can send out complex messages and make us think. Studying music is important today because it shows us the power of songs and the clever ways they can communicate important thoughts and feelings.

What genre do you connect with and why? 


Kendrick Lamar & The Illusion Of Life

 Sellnow describes the “Illusion Of Life Theory”, as a way of looking at how the lyrics and music of a song convey conceptual and emotional content. Kendrick Lamar has had a strong impact on the music industry due to his ability to persuade and influence how we think and what we believe in today’s society. For those who don’t know who Kendrick Lamar is, he is an American Rapper who is highly regarded and viewed as one of the most influential hip-hop artists of his generation, as well as one of the greatest rappers of all time.

Over the course of his career, Kendrick has done a great job at conveying the truths and harsh realities of life within his studio albums. For example, he explains what it is like  growing up around gang violence in Southern California, the political state of African Americans in the United States, and the importance of understanding who you are as well as knowing what is really important in life. In his first studio album, Good Kid M.A.A.D City, the songs address the toxic environment for children who grow up within Compton. In his second studio album, To Pimp A Butterfly, Kendrick gives a meaningful and raw lesson regarding black history, with pieces of his own self reflection and introspection. In Kendrick’s third studio album, “DAMN,” he focuses on experiences and emotions we feel as humans on tracks such as “FEEL,” “LOYALTY,” “PRIDE,” “HUMBLE,” “LUST,” “LOVE,” and “FEAR.” 

Kendrick Lamar is a prime example of an artist who treats lyrics as a medium to convey a wide range of feelings and experiences people may face. He has many other albums, but these 3 discussed above especially highlight Sellnow’s ideas of what lyrics can be. 


What is a favorite artist of yours that conveys emotions in a meaningful way through their music? 



The Musical Genius of Phineas and Ferb

 My favorite TV show of all time is Phineas and Ferb. I could go on and on about how it finds incredible within the patterns that it establishes, but I want to focus on one specific pattern for this post. In every single episode of Phineas and Ferb, there is a new original song. No other cartoon, or even Tv show has ever even attempted something like this.  Songs that are so specific to each episode, but are each so catchy and fun that they are extremely memorable. Songs like "Running From Love in a Bear Suit", "Squirrels in My Pants", "Aglet", "Ain't got Rhythm", "Ducky Mo-Mo is My Friend", "Come Home Perry, Come Home" and many many more. In the days before I had a Spotify I had a Phineas and Ferb Pandora station that I listened to for hundreds of hours. There is even an entire musical episode where they recreate the iconic rollercoaster but add in musical numbers along the way. Even though the whole show runs primarily off of consistent patterns, the musical elements are something that the creators use to make every episode feel different and new. 






Something that I find really fascinating about this musical phenomenon, is that while many of the songs are influenced by popular music genres and even seem like parodies, each is unique. There is a common belief that nothing is new and that every creative thing just steals from works that already exist. I think that there is truth in this, but I also believe that old things can be given a new life and made into something unique. I think that the music in this cartoon showcases that. Each song is unique and hilarious, but also draws inspiration from other music. What are your thought on old songs being used as inspiration for new ones? Are they just a rip-off, or can they still have value?



Music, so confusing


Music has played a major role in shaping popular culture. From Beethoven’s innovative sounds, to Kendrick Lamar’s complex lyrics, music has served as a powerful form of expression for centuries. Beyond written or verbal texts, philosopher Susanne Langer describes music as a form of non discursive symbolism. Meaning that music functions beyond the realm of words and serves as a symbol in which humans can form deeper connections.

Langer further explains that nondisclosure symbolism creates an “illusion of life”, a phrase she created to describe the process of humans relating their personal experiences to music. In connection to this, Sellnow states, “Music functions rhetorically by representing actual life experiences and emotions as an illusion of life based on the artist's perspective.”

Many artists have been successful in using music as a tool to share their experiences, and I for one, have made countless connections to songs. Take Charli xcx’s “Girl, so Confusing” for example. It tells the story of her industry friendship with an unnamed girl who made her feel insecure and jealous throughout their relationship.



When I first heard this song it reminded me of a similar experience I had with a friend, further proving the “illusion of life”. Charli writes, “I don’t know if you like me, sometimes I think you might hate me.” As someone who tends to overthink how people perceive me, I found this line super relatable. Many people struggle with this insecurity and it’s truly inspiring to hear Charli discuss her experience with self-doubt so openly.

After the song's release, there was speculation that the unnamed girl in the song was the “Royals” singer, Lorde. The two later broke the internet when they released their remixed version of the song where they confronted their feelings, and validated their friendship.

In Lorde’s verse of the song she sings “and when we put this to bed, the internet will go crazy, I’m glad I know how you feel ‘cause I’d ride for you Charli.” This verse further proves Lorde’s loyalty to Charli by implying that she is a “ride or die”.


I really appreciate the song’s transparency and how it uniquely addresses the complexities and insecurities that often occur in female friendships. It’s a song I think many young women can relate to and would agree that it is “so confusing to be a girl”.

Langer writes that music represents human experiences. What songs remind you of a personal experience? Does the story match the musical tone?

Amy Winehouse vs Amy Winehouse


Amy Winehouse was an English singer, songwriter, and musician. She was the first British Musician to win 5 grammys in one night. She died at her Camden Square home in London of alcohol poisoning in 2011 at the age of 27. Of the many songs in her catalog, I would like to highlight one… or two depending how you look at it: “Tears Dry on Their Own” regular & acoustic version. 

According to Sellnow songs communicate in two key ways, musical communication: what a song communicates and rhetorical communication: what a song communicates rhetorically. With musical communication in music the instruments, tempo, and melody influence how listeners feel. With rhetorical communication the lyrics alone don’t make a song, it's more on how the lyrics work for the music. With these things in mind, different versions of the same song can shape meaning in different ways. Both versions have different perspectives on musical & rhetorical communication. 

“Tears Dry on Their Own” original version has a motown-inspired upbeat tempo that makes heartbreak feel energetic, resilient, and something to not be scared of. Sellnow would most likely say that this is an example of musical irony and that this song has the contrast between the somber lyrics and the lively melody changes how the audience interprets the message. Rhetorically, the original version makes heartbreak feel more universal and digestible. It aligns with Sellnow’s idea that pop music can make serious messages more accessible through catchy melodies and polished production. The resilience in the sound suggests that heartbreak is survivable, appealing to audiences on a broader level.


https://youtu.be/ojdbDYahiCQ?si=BNW6RGXkJo0wKE-F
 

“Tears Dry on Their Own” acoustic version strips the song down to minimal instrumentation, and brings more focus to raw, unfiltered emotion. The slower tempo makes the song feel like a confession, admitting the pain and vulnerability of heartbreak - completely opposite from feeling energetic in the original version. The acoustic version shifts the rhetoric to a deep personal emotion. The absence of an energetic beat removes the illusion of emotional distance, making the song more direct like you yourself can relate to it. Sellnow may point out that this version relies on performance and vocal delivery to persuade listeners of pain.



https://www.youtube.com/watch?v=vklE72KZLMQ


Both versions prove Sellnow’s point: music isn’t just about what is said in the lyrics, but how it’s delivered in the instruments, performance, delivery, and arrangement.


What is the significance in an artist being able to sing the same lyrics but convey a different message? What is the benefit from a consumer standpoint for one artist to alter music by the interpretation of lyrics?


Fast Car - Original vs. Cover


Music, for me, is like air. I truly can’t imagine living on this earth without music. Music is universal. Like a smile. I married a talented musician. I love so many different songs from different genres and eras. I think music is an excellent, cathartic way for us as humans to release feelings and communicate emotions or concepts to others who listen in. Maybe we reach others through music…maybe we don’t. But isn’t that always the challenge? Do we ever know if someone is really going to engage, internalize, and process or will they merely passively listen without giving the intended message any reflection or thought? Even in face-to-face speech, we enter into communication hoping that our intent and message gets across and someone actually internalizes and engages, but there is that chance that they will passively listen and not really give attention or care to the message we hope to get across.

Tracey Chapman’s song, Fast Car, is a great example of how music can communicate and represent feelings through the original lyrics and music. It also can be successful in pulling a listener in and communicating meaningful content. The cover of the song by Luke Combs, however, puts a different face to this great song. Luke Combs' version tends to lend itself to pop and country listeners. For some reason, it invokes more passive listening, in my opinion.

    The original version by Tracey Chapman puts a “real” face to the reality of what the song is about - living in poverty, in a homeless shelter, trying to make ends meet, trying to fill in for an alcoholic Dad who was loving but incapable of caring for his family, and...trying to find a way out.
    The original by Tracey Chapman tells a heartfelt story. This is the essence of folk songs. Real folks living through real hard situations. It is like someone is reading me a story that I want to listen to and care about. It has a release pattern where the deliverer is releasing emotion and telling the downside of the story in a slower tempo. Then, the release pattern suddenly becomes more intense and the rate speeds up to convey excitement, hope, yet the sense of desperation remains, only to culminate in a slower rate that clues listeners into the reality of the hopelessness of the situation at hand.
https://www.youtube.com/watch?v=AIOAlaACuv4

In Sellnow’s The Illusion of Life perspective, we learn of how the paralanguage and nonverbal vocal cues (the pitch, volume, rate) integrated into the words help us feel the emotion of a song. The original of Fast Car invokes a lot of emotion in me. Can you not feel the angst, the desperation, the longing for hope to get out of the shelter and find a better life? Even the nonverbal cues in the associated video - the darkness as dark as Tracey’s skin, the day’s light (you see little sunshine), the clothes hanging on a line to dry outdoors, communicates the desperation and utter despair.

Conversely, Luke Combs' cover of the song does not move me in the same way as Tracey Chapman’s original version does. It is nice, easy, passive listening, and enjoyable. But it does not provoke the same emotion in me. In the associated video, for example, you hear crowds roaring, you see all the people in the stadium, it is about appealing to the masses. You feel the essence of popular culture.

https://www.youtube.com/watch?v=Fr7oYjnt3bM

This is the beauty of music. An original song and a cover can bring different social groups together. One song, through an original and remake, can appeal to a wider audience.

Lastly, it is worth noting that the original artist, Tracey Chapman, is African American, and she also is known as being bisexual or gay. Luke Combs, on the other hand, is white and about as redneck and straight as they come. Why did it take Luke Combs making the cover of this meaningful, soulful folk song to bring it into the light and get it noticed?


Congruity and Poignancy in Music


In reading our assignments, I was thinking of examples of so many songs that fit into the topics. At first, even before getting more than 3 pages into one of the readings, I was already thinking about how wordless music inspires emotion. I then thought about how classical and orchestral music (such as new age or soundtracks) have names that communicate certain emotions - Danse Macabre, Moonlight Sonata, Star Wars: Duel of Fates, and compared them to equally powerful music that evokes emotion, such as Beethoven’s Fifth, or Rachmaninoff’s Piano Concerto No. 2… Does knowing the name of the piece communicate or affect our perception of the emotion it’s communicating?

I was glad to keep reading and learn about congruity and incongruity in music. I’ve sometimes thought that “villain songs” in musicals must be so fun to produce, and specifically because they can be so incongruous and funny due to the juxtaposition between the lyrics and the music. It’s almost as if the writer is allowing the audience to laugh at how horrible the villain is because the music is toe-tapping. It communicates that the villain is also incongruous - their ideas are bad but to them they seem fun or good. A great example of this is from the song “You’ll Be Back” from Hamilton:



Doesn’t this song sound FUN? Oh, but he wants to “kill your friends and family,” Hmmm…

Another example is from Disney’s Tangled in “Mother Knows Best.” It has an upbeat 2 step beat about how a mother knows what’s best and cares so much about her child, and yet the lyrics and implications are those of control and narcissism.

Every so often there are reddit threads that ask “What song is actually way more sad than people realize?” followed by hundreds of comments talking about the incongruity in famous songs. Popular answers seem to include “Hey-Ya” by OutKast, and “I Will Always Love You’ By Whitney Houston (originally by Dolly Parton). There is a trend in which musical artists do sad covers of songs that otherwise seem happy, and they are usually really effective at delivering the message of the lyrics more fully. A particularly interesting one to me is Judy Garland singing “Over the Rainbow” live. It’s the same song in almost every way, except we (the audience) know about her personal life and trials, and the song becomes more meaningful and heartbreaking.



One of my favorite examples is Robyn’s Dancing On My Own, with a cover by Calum Scott. I love them both. In Robyn’s version, the music is pulsing, pounding, get-up-and-DANCE music, about the singer dancing on her own when she sees her crush with another girl. It’s saying “I’m dancing anyway!” (Interpretations are up for discussion!)


Then there’s Calum's version. The only lyric change is the pronoun of the singer. The music is way more melancholy, wistful, and the lyrics stand out as a tragic and poignant message of the sadness of being passed over. The LGBT+ longing for love and acceptance is also a huge part of the song’s newly created message. 



Another common Reddit question is “What covers are better than the original?” There are always many comments, but I want to ask the same thing: What song covers do you think are better than the original? Does it communicate a more congruous message? What makes it better, in your opinion?

Even the Notion That "There is Nothing New Under the Sun," Is Not New


         I recently went to see the film Heretic, which tells the story of two LDS (Mormon) missionary “Sisters,” Sophie Thatcher as Sister Barnes, and Chloe East as Sister Paxton, who knock on the wrong door of a sadistic atheist, Mr. Reed played by Hugh Grant. Bedlam ensues.

This is a horror flick, but it is an odd horror flick. It is very talky. The action and gore are punctuated and happen mostly at the end. So much of it is lecture and demonstration by Mr. Reed as he leads the young women into his house of horrors. But this sets up an enormous amount of tension, and the effect is riveting.

When the “Sisters" arrive at his door, he courteously invites them in. They respond that they are unable to enter unless his wife (or roommate) is present – as long as it is a woman. He assures them that his wife is in the kitchen happily (and shyly) baking a blueberry pie.

With that, the trap is set and the girls enter. They are immediately locked in, but they don’t know it yet.

They sit with Mr. Reed in the cozy but creepy living-room, where a candle glows softly on the coffee table. After several minutes of talking, they sweetly ask to meet Mr. Reed’s wife.

Mr. Reed disappears to fetch her, and the girls discover the candle is a ruse for the wife. It is blueberry scented and they have been duped. There is no baking. There is no wife.

They try to leave, but it is then that they discover that not only have they been lied to, they have been locked in the house. So they are forced to venture deeper into the lair.

Mr. Reed then uses his trap to make a point about the faith of these girls. There was no wife. That had become more and more apparent, but the girls went along with the notion that, at any moment, she would step into the room to join them.

They were told something and they believed it without question, even as the evidence against the thing that was told to them piled up. Might the same be true of their religious ideology? Is this something they had even pondered? He ensnared them and then used their ensnarement to build a metaphor that attacked their faith.

Interesting.

He leads them further into the house, and lectures them about the many, MANY iterations that occur in pop culture. He begins by playing the song, “The Air That I Breathe,” by The Hollies, and asks the girls if they have ever heard it before. They respond that other than hearing it a moment ago when he had played it, no they had never heard the song prior to this moment.

He disagrees. He tells them they absolutely have heard the song before. Then he begins to sing “Creep,” by Radiohead. Immediately, the audience can hear it. No wonder that was so familiar!

Mr. Reed then relates this to the story of Jesus Christ, and points to the many iterations of this figure and this story throughout different cultures at different times – the virgin birth, the sacrifice, the resurrection, etc. He notes that this is a regurgitated story. None of it is new to the man named Jesus. His story is not unique, it is a myth that has been assigned to many figures over millennia.

He further extrapolates to the three major Judeo-Christian faiths, Judaism, Christianity, and Islam, and highlights that these too, are iterations of each other.

Adorno suggests that “standardization” is a product of pop culture and the content it churns out. To a certain extent, I agree. Although, it might appear that this is more a facet of human creation as a whole, rather than just what is mass-produced by our popular culture.

As I am writing this, the well-known phrase, “There is nothing new under the sun,” pops to mind. I attribute this phrase to Shakespeare, and indeed he said something similar in Sonnet 59:

If there be nothing new, but that which is
Hath been before, how are our brains beguil'd,
Which, labouring for invention, bear amiss
The second burthen of a former child!

But first (or at least previously), this was stated in the Book of Ecclesiastes, “…there is no new thing under the sun,” long before Shakespeare was born.

How perfect that even the notion that “nothing is new” has been regurgitated for millennia.

And how very meta that a current pop culture artifact (Heretic) makes a point about the mythology of several religions being regurgitated, while the point itself, “There is nothing new under the sun,” has been churned out almost as often as iterations of the story of a “virgin birth.”

What do you think? Is regurgitation and standardization relegated to pop culture artifacts only? Or is this more a facet of human creation as a whole?

Taylor Swift & Zach Bryan

     For this week's blog post, I was very excited to see that the topic of the week is related to music. I love music and I work at one of the largest concert venues in the state, the Delta Center. So I am always around music and I love working in the industry as well. For this week one of the topics that stood out to me the most is musical ascription. According to Sellnow’s description, musical ascription is imitating a musical sound that appeals to a particular target audience. 

    When I was going through all of the other examples of different artists that have the same sound, or almost the exact same tune in their songs I thought of one example that I have seen online a ton lately. I want to start by saying I am a huge Zach Bryan and Taylor Swift fan, I love both of their music. But there are a lot of people that are saying that Zach Bryan is stealing/ copying some Taylor Swift songs. The most apparent one to me being “Should’ve Said No” by Swift, and “Let You Down” by Bryan. There is a very apparent similarity between the two songs, and Swift's song was published first. There is so much debate in the music industry about using parts of other people's songs, or using their melodies. Swift is known to sue other artists who are clearly copying her, but nothing has come about from the Swift/Bryan songs quite yet. It is so interesting to know more about the background of this topic in music. Can you think of any other artists and songs that are similar enough, that the artist they copied from might want to get legally involved?


Here are the links to the 3 song comparisons: 


https://www.tiktok.com/@carissa.vvy/video/7435419647811341610 


https://www.tiktok.com/@carissa.vvy/video/7435448917455621419 


https://www.tiktok.com/@carissa.vvy/video/7435544035672001835 





Feelings in Songs

Sellnow states that music represents feelings opposed to causing them. Having listened to a lot of music in my lifetime I can agree that music can represent feelings. Take for example the Band Blink 182. They are a punk rock band that was formed in San Diego, California. Having grown up in San Diego, I listened to a lot of their music growing up, and still do. They have a song called San Diego, in which they talk about longing to return to San Diego. For me, that not only represents their feelings, but also mine as having moved away from San Diego five years ago, I also do miss it quite a bit and I do long to return and live there again some day. 

Another example of this representation of feelings can be found in the Morgan Wallen song 98 Braves. For context, in the 1998 MLB playoffs, the Atlanta Braves were the heavy favorites to go to the World Series. However, in the second round of the playoffs, the San Diego Padres ended up beating the Braves and they went on to the World Series. In the song, which is mostly a love song, he talks about how "no way them boys wouldn't win" and "But as fate would have it that Atlanta magic got put out". To him and to Braves fans who experienced those games, that would represent their feelings as they would be heartbroken and also frustrated. 

 I would like to pose this question. Is there any song that represents your feelings towards something?



On the topic of cover bands

 When I was in elementary school and my dad would drive me and my siblings to school in the morning, sometimes he would turn on music by a band called Me First and the Gimme Gimmes. As far as I am aware, this band exclusively plays covers. But at the time, I didn’t know what the concept of a cover was at all. I grew up thinking songs like “Take on me,” “I Believe I Can Fly,” and “Isn’t She Lovely” were all originals by Me First and the Gimme Gimmes. The thing about them is that all of their covers were upbeat and faster than the originals, making the lyrics of songs like Cat Stevens’ “Wild World,” among others, a bit incongruent with their tempo.


Sometimes, of course, as the module establishes, incongruity is intentional and decided by the original artist. So is it fair to the artist or the song when someone else takes it and flips it on its head? Adorno claimed popular music lacked creativity, and whether or not you agree, I think he’s right to an extent. I know that he was not specifically referring to musical covers, but it proves his point. Occasionally, I like when one of my favorite artists does a cover of a popular song. Sometimes, I am disappointed when I learn that a certain track has been a cover all along and I had no idea. Every Frank Ocean song I know was introduced to me under the guise of it being by someone else. Anyway, I guess what I’m getting at is whether or not it is ethical to have an entire discography of covers.

Even if a song is reworked like Me First and the Gimme Gimmes’ covers, it arguably still contains less creativity and work than an original song in my opinion. I guess my question is this: Do you think a heavily altered cover hurts the message of the original song or does it add to what it is communicating? Also, have any of you heard of Me First and the Gimme Gimmes? It’s pretty much the most niche band I’ve ever heard of and I’ve never encountered them outside of my family, so I am very curious to know.


Thursday, February 6, 2025

Frozen 2 Song epitomizes Sellnow's Illusion of Life

The Song “The Next Right Things” from Frozen 2 is a great example of a song that incorporates numerous aspects of what Sellnow (2017) describes as the "Illusion of Life" in her analysis of music. Not only does this song have an immensely powerful rhetorical message, it also includes many paralinguistic cues and patterns of intensity and release.  The rhythmic structure is slow and full of melancholy, modeling the “release pattern”.  But then it builds in intensity as the singer/actor triumphs over her perceived loss and insecurities and ultimately chooses courage over fear and uncertainty, by listening to that small inner voice telling her to not give up and do “the next right thing.”  


As Sellnow (2017) describes, this song follows the congruent pattern, “where the emotional meaning of the music and lyrics reinforce one another” (p. 176).  In other words, the tone, emotion, and energy of the rhetorical message matches the depth, passion, and intensity of the music.  Because the song is congruent, the powerful rhetorical message is emphasized by the music as is lets you dwell on the pain but then spurs you on to consider possibilities, with the music itself surging with the will to continue on and not give up.  The singer (Kristen Bell) does an excellent job of expressing emotion as she sings, which stirs up “emotional content” that represents real feelings we can all relate to and have likely experiences ourselves at some point in our lives.  Both the lyrics and the music convey not just the content, but deep emotional and feeling. 


The rhetorical focus of the song is to persuade listeners (humanity) to remember the importance of not staying stuck or wallowing in our pity, but rather to listen to that inner voice that encourages hope.  Its message is that life (and ultimately everyone’s success in life) is all about making one small choice at a time, especially when we feel overwhelmed or discouraged.  When we don’t see the light at the end of the tunnel, we only have to make the decision right in front of us, or choose to do the “next right thing.”  Our youth today are so anxious and stressed. Many suffer from depression and are often consumed by fear.  Even us adults often let fear rule our emotions and limit our actions. But this poignant message shows that we don’t need to have all the answers to make positive progress. It also teaches essential coping skills to get through any trial.  


The song starts with the "tragic lyrics" focus on a sense of hopeless but moves to what Sellnow (2017) calls a virtual experience with “comic lyrics”. Despite the song primarily being filled with sadness and despair, the “comic lyrics focus on the protagonist's determination to beat the odds” (p. 174). Gradually, the character refuses to succumb to the darkness shows the potential in all of us. This song epitomizes how someone consumed by grief and despair can ultimately triumphs over adversity by listening to that still small voice within that encourages each of us to make one right choice, and then another “right choice” until ultimately it will lead her (and us too) out of the darkness and into the light, figuratively and literally.


What songs do you think reflect both emotional content and the illusion of life? Do you believe songs like this one can prevent suicide or help people deal with stress, anxiety, and depression? If so, why? If not, why not?


References: 


DisneyMusicVEVO. (2021, October 9). Kristen Bell – The next right thing (From “Frozen 2”) [Video]. YouTube. https://www.youtube.com/watch?v=kFkClV2gM-s


Sellnow, D. D. (2017). A music perspective. In The illusion of life: Rhetoric of the human condition (2nd ed., pp. [page numbers]). SAGE Publications.