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Theory musictheory of composition and performance
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Daft Punk's hit song "Get Lucky" is described in this article as, "ecstatic melodic copulation." Meaning, it gives off the feeling of overwhelmingly blissful, melodious intercourse. Throughout the article I garner an engulfing sense of importance on music theory and all of its components. The writer explains his hypothesis as to what caused such success with Katy Perry's "Teenage Dream" in which he remarks, "it is a textbook example of the excellence and supremacy of the rules of Western music theory." Switching to the success of "Get Lucky", the writer examines the song and comments on how the hook and pre-chorus are uniquely performed in such a way that you cant tell which key it is in. Moving forward, the writer explains Daft Punk's utilization of the supposed "classic" move where they overlay the hook from the pre-chorus with the hook from the chorus, getting them both going simultaneously. The …show more content…
writer then tries to make mention of some other hits that use the same techniques but isn't able to think of many.
Lastly, the writer concludes with stating an idiosyncrasy within the writing of the songs lyrics.
The writer mentions how the song is written in English by native French speakers and explains how he thinks that that helped with the songs success and catchy qualities. The overall idea that having French writers may have helped is something I cannot argue against but the writer of the article go's further in depth by saying, "Secondly, the weighting is all wrong. Good is a word that needs to fall heavy, needs to be placed at the beginnings and endings of phrases." Though I am no expert in linguistics, I disagree with this statement. Good does not have to have heavy emphasis placed upon it. That pattern is just a result of
the common phonetics that the language and speaker naturally creates. Though this way of speaking isn't marked in stone as the correct way, the style acts as the most usually realistic and effective way to portray ones thoughts; though this isn't always the case in certain instances. Music is a platform where absolutely no boundaries exist and, in the case of lyrics and songwriting, any which way you write changes multiple aspects and qualities you receive from the song. Every aspect to "Get Lucky" plays a part in its success and that includes the style the lyrics are written and performed in. The writer of the article states it himself, "For Daft Punk and Phoenix this little bit of language mangling works in their favor. It sounds off-balance and playful and sexy, like a foreign exchange student who might be a little drunk." There is a need to reach beyond normality and stretch the imagination of the people and music is a wonderful platform to do just that. Music holds no set laws, just guidelines on how something is normally created and engineered. Truly, one of the only concepts in the world that has no right or wrong.
In the first and second stanzas, the speaker appears captivated by the discovery of a new genre and a new author. When the speaker discovers the poetry section amongst an assortment of meaningless gossip magazines and “reference tomes” they become enlightened and drawn to them. The line “no blurbs by the big boys on back” (line 3), utilizes alliteration to reveal the differences between what she is used to reading and the new book she had
This album has a bit of each of the necessary elements to becoming a hit. In fact, it has
9. Dodd, David. Ambiguity as a Philosophical Stance in the Lyrics of the Grateful Dead. (Essay) http://arts.ucsc.edu/gdead/agdl/ambig.html 1997.
The poem is written in the style of free verse. The poet chooses not to separate the poem into stanzas, but only by punctuation. There is no rhyme scheme or individual rhyme present in the poem. The poems structure creates a personal feel for the reader. The reader can personally experience what the narrator is feeling while she experiences stereotyping.
21 pilots use rhyme to get across their theme in poetry. In Car Radio, 21 pilots use rhyme to get across their theme of suicide and depression. In the song, 21 pilots choose to rhyme their ending words. “ I have these thoughts so often I ‘ought to replace that slot with what I once bought “cause somebody stole my car radio, and now I sit in silence.” “ Sometimes quiet is violent, I find it hard to hide it.” “ My skin will scream, reminding me of who I killed inside my dream.” “ I’m forced to deal with what I feel, there’s no distraction to mask what is real. I pull the steering wheel.” “ I find over the course of our human existence, one thing consists of consistence, and it’s that we’re all battling fear.” “ Please stop thinking, I liked it
Brian Doyle’s “Joyas Volardores” explores the life and emotions that come with being alive. This essay, even though it is written about hummingbirds, speaks about the hearts of many. To convey such emotion, Doyle intertwines long, detailed sentences with short and to the point ones all while telling a captivating story. In The Well Crafted Sentence, Nora Bacon describes a “both/and” (10) style of writing that can be used. This manner of writing showcases metaphor filled sentences that are seen as more pleasurable because they are paired with plain style sentences. By beginning his essay with compact, then leading into lengthy and descriptive sentences, Doyle accomplishes a both/and style of writing.
Smith would start his song as instrumentals and was more interested in the shapes of chords, the movements and sequences they made between each other and the implied melody that a chord sequence would have. Smith would play versions of chords where the bass note is a 5th like a C with a G in the bass, nothing terribly exciting but there was something he liked about it. Smith would like to sing late at night, he felt like being relaxed made his songwriting flow. He would gradually build up lyrics that were not tied melodically to the song. In my opinion smiths lyrics are very poetic but he never thought his lyrics as stand alone poetry. Smith never worried himself with mixing up...
Language variation and the area of domain, subject matter and function, are the easiest kinds of variation to see within a text. Subject matter involves the use of lexical fields, that is to say, a grouping of words, belonging to a specific field of study, like law, medical or religious terminology. In this poem, cummings has chosen to incorporate popular clichés to portray the irony of what people say and what they mean. Through syntactical deviance, cummings shows just how jumbled these attitudes were and produces a poem that is very ironic in tone.
The various elements of “Gangnam Style” incorporated the Power of Context and the Stickiness Factor in order to tip. It broke with our nation’s cultural conventions, took the lead as a guiding light for Korean pop stars and top record label executives, and formed an erratic surge in entertainment that would forever influence the Korean Wave and future examples of K-Pop music. Additionally, with a unique chorus and lyrics accompanied by an array of enjoyable dance moves, it overcame much of our nation’s pop music and is now recognized as a worldwide phenomenon. Despite being a seemingly pointless music video at first, its feat of racking up the most views out of any YouTube video goes to show that almost anything has the potential to tip.
Alliteration is a key aspect to how the reader experiences the poem; it especially gives interest toward alliteration of the letter T. This alliteration begins in the very first line “Tell all the Truth but tell it slant-” (1.1). The alliteration on the T is used three times within the first line; however, it does not stop there. Dickinson uses the “T” sound to continually draw back to the theme of truth. Dickinson, through the use of two stanzas, four lines each, uses quite a distinct rhyme scheme to organize her poem. The second and fourth lines of each stanza are clearly examples of end rhyme, by using words such as “lies” (1.2) and “surprise” (1.4). However, every single line is not an example of end rhyme. The first and third lines rhyme words such as “slant” (1.1) and “delight” (1.3); which can be described as near rhymes for they give a small sensation of rhyming. This rhyming pattern continues for the second stanza as well. The sequence of rhyming is not arbitrarily put into practice, rather, it also adds on to the truth theme. The near rhymes Dickinson stresses to not tell the truth in its entirety, but rather, convey a little bit of truth. This is being directly compared to the almost rhyming sensatio...
The woman, if only reading stanza one, would think her and the speaker are in total agreement. This idea, however, is fleeting as stanza two acts not only as a refutation for stanza one, but also as evidence for stanza three.... ... middle of paper ... ... The satire exists in the expectation that love has to occur before sex.
Imogen Heap’s song “Aha!” creates an atmosphere that captures Tom’s feelings towards Gatsby. Tom thinks Gatsby is a little ridiculous and actively tries to emasculate him. Using the nonsense words “happy-clappy” in line 1 shows that Tom refuses to take Gatsby seriously. He then refers to Gatsby’s outward appearance as a man who is “high on life,” throwing fabulously extravagant parties attended by hundreds of people. But, when Tom becomes aware of Daisy and Gatsby’s affair in lines 4 and 5, he feels he has discovered the real man behind this facade. Now that Tom knows this about Gatsby, there is no way he’s going to let him get off scot-free, and he says so in the next line: “Cost you to keep me quiet.” In the next verse, Tom is again talking about this character that Gatsby has created for himself and how it has fooled many, including his wife.
Growing up with 80’s rock music was probably the best music still known till this day, at least to me it is. There were numerous different styles of rock, like metal and glam rock, and so many different bands with their own individual style. There are still many great bands from back then that are still amusing crowds today. Unlike most of today’s music, individuals could truly appreciate the lyrics to songs in the 80s. A lot of the song lyrics nowadays are rhymed so fast that they are nearly difficult to comprehend. Even though some tunes today tell a story through the lyrics, most, if not all, 80’s songs told a story. In his book Mystery Train: Images of America in Rock 'N' Roll, Greil Marcus presents a thoughtful declaration about
Sometimes the lyrics will be written first then a vocal melody written to accompany the lyrics.
In the last line of the second stanza, the subject enters dramatically, accompanied by an abrupt change in the rhythm of the poem: