I am particularly fond of Music that ACCENTUATES a story, rather than conveying the tale in its totality. This particular flavor of music tends to serve as a vignette or snapshot, rather than an epic, and allows for the points of inflection in a story (i.e, scenes wherein a story experiences changes in direction or relative intensity) to transcend mere moments, and become contextualizing elements of great depth and intensity. A classic example is evident in The Sound of Music, a 1959 musical by American producers Hayward and Halliday, which tells the tale of Austria’s von Trapp family, and their flight to to escape Anschluss (the annexation of Austria by Nazi Germany in 1938). This particular musical focusses on the Nationalism and personal growth of the von Trapp family, sometimes dramatizing or altering details, but ultimately returning to flavors of Austrian identity and pride.

TEXTURE: As in many musicals, The Sound of Music utilizes a track dominated by a monophonic or homophonic textures in order to capitalize upon the vocal accompaniments. Edelweiss displays this structure prominently; a simple monophonic melody is used to accentuate the song without distracting from the content. As a patriotic song incorporating subtextual aspects of nationalistic pride, purity and beauty, it is an essential component of the underlying theme of resilience that defines the The Sound of Music. Similarly, The Sound of Music song, which establishes one of the main characters as a sort of symbolic incarnation of the spirit of authentic Austria, utilizes a simple homophonic melody. This makes the lyrical content definitional to the musical theme by amplifying the message and drawing attention to the performer, rather than pushing the instrumental portion to the spotlight. Given that the temporal location of this piece in human history places it at the beginning of one of the greatest conflicts of the 20th century, it is only logical that the constituents of that conflict would be represented, rather than a presentation simply displaying catchy tunes and beautiful acting.

TONE COLOR: The vocal tonality that is characteristic of this musical is simple and emotional, using gentle enunciation to channel a subjectively ‘human’ sound. And by human, I am not referring to the obvious nature of vocal performances; there is a personable humanity to the coloration of the featured songs, especially in Edelweiss and The Sound of Music song, which again brings the performers and their thespian characterizations into the forefront of the audience’s attention. It is light, simplistic, structured and definite, without being obtrusive, a livid gray against a human backdrop of slate, or perhaps a lemon yellow upon a canvas of marigold. The point being, the lyrical coloration is of an apparently exclusive dynamic, basic yet refined, retiring yet salient. The vocals melt upon the auditory palate, leaving an aftertaste momentarily reminiscent of the eventual message of the performance; everyone. The harmonic components of The Sound of Music are similarly simple, but incorporate beautiful, soulful, soaring orchestral pieces that speak to the integrity of the marriage between voice and instrument by providing a translucent layer to the singing, a patina of sorts.

AESTHETIC REACTION: I think that ultimately, The Sound of Music does exactly what I want it to; it doesn’t take music to abstract heights incomprehensible to the layperson. Instead, the musical employs a tenderness that creates an unspoken pathos appeal to innate humanity via simplicity and thematic elements. Music is actively revered, in addition to being displayed, and there is an inclusive message that, despite the independence of the secondary nationalistic themes, seems to indicate a tertiary message of acceptance through the development of beauty, or vice versa. Essentially, there is a wholesome, uplifting note amongst the darker details and human failings, which in conjunction with charming performance quality, creates a musical that inspires and educates through exercising emotion, on a level accessible to most English speaking audience members. On a more basic level, thematic elements are consistent, the composition of the music is enjoyable, and the acting is entertaining. It is truly a musical for mankind.

“The Sound of Music.” Rodgers & Hammerstein, The Rodgers & Hammerstein Organization, www.rnh.com/show/95/The-Sound-of-Music.

“The Sound of Music.” Wikipedia, Wikimedia Foundation, 11 July 2019, en.wikipedia.org/wiki/The_Sound_of_Music#Film_adaptation.

I am incredibly fond of the genres of music that have blossomed from the British Isles. The unique timbres, and the unique amalgam of primal and refined elements showcased by Celtic music, will always have a warm spot in my heart. However, the tunes themselves are perhaps even more exceptional when their flexibility is taken into account. Celtic music allows for a degree of expression and interpretation that truly provides the performer with an opportunity to reinvent their medium. Enter, Emmet Cahill.

Mr Cahill, a young Irish Tenor with numerous awards and honors within his field, is generally acknowledged as one of his generations most talented Celtic Performers. Beginning his formal musical education in primary school, he has performed with Groups such as Celtic Thunder, in addition to enjoying a successful independent touring career that has taken him across the globe. Perhaps most well known for his renditions of Celtic classics, such as Danny Boy (an Irish ballad published in 1913 by Fredric Weatherly), When Irish Eyes are Smiling (a tribute to Ireland by Graff and Olcott, and published in 1912), and The Parting Glass (a Scottish song of indeterminate authorship dating back at least to 1605), Cahill competently integrates classical overtones into his undeniably modern performances.

TIMBRE: Mr Cahill has a delicately nuanced command of his singing abilities, and utilizes a rich, often slightly tremulous vocal style that imparts a very definite (yet expansive) quality to his performances. Redolent of an epicurean soulfulness, Mr Cahill creates a very indulgent presentation of the songs he performs (best showcased in his rendition of Danny Boy), without allowing the coloration of his music to dip beyond wistful hues into the depths of depressive expression. This is definitely noteworthy, as some Celtic-dominant vocalists bluntly color their art with mournful shades, crassly bastardizing the intent of the pieces they are molding, by aiming to elicit any emotion in their audience that they possibly can. Mr Cahill avoids this clumsy presentation beautifully; in his version of The Parting Glass, he allows the final bar of each line to retain a tenderness that simply transcends the doleful works of his peers (which often transforms the beautiful piece into a dirge). This is achieved both through pitch modulation or pitch quality, and the relative quietness of his performance.

DYNAMICS: Full bodied and voluptuous, Mr Cahill’s mastery of the dynamics of his art is remarkable. By accenting the high notes (as in When Irish Eyes are Smiling) both through understatement and a flooding tidal pulse, which he uses to create a climaxing volumetric emphasis, Mr Cahill’s music employs Crescendos from a grand and puissant baseline melody. This creates the impression of subtle flumes in the plane of the piece without relying heavily on diminuendos. This imparts articulate features to the terrain of his performances; Danny Boy swells and retreats in accordance with the patterning set by classical practices, but differs in the amplitude and frequency variance, essentially following the established map while exploring the landscape to a degree that is seldom realized. This is where the depth, and indeed, the familiarity of these pieces, is accentuated, and where Mr Cahill once again defines himself as a master in his art.

AESTHETIC REACTION: As may already be obvious, I love Mr Cahill’s performances, and I admire his skill. He is taking semi traditional pieces and, without drastically changing them, expanding their dimensional attributes; he makes them new, without modifying that which made them beautiful in the first place. He introduces qualitative refinement between the notes without changing their relative location, and maintains a high standard in his performances which reflects well on both the original composers and the modern artist. He doesn’t change the parameters of the genre, and yet, he explores them and pushes them to what I personally believe is a fair approximation of interpretive perfection (if I may be so bold). Basically, Mr Cahill is exercising the substance of Celtic music to ensure that it doesn’t atrophy and decay. He interprets, in order that his beautiful medium may achieve immortality through recognition and exercise. And that, I believe, is the true role of the performer.

“Bio: EmmetCahill.com: Official Website of Emmet Cahill.” EmmetCahill.com, www.emmetcahill.com/bio/.

“What Is Celtic Music?” Www.ceolas.org, Ceolas, www.ceolas.org/ref/what.is.celtic.html.

The Tango is a passionate genre. Originating in the mid 19th century in Argentina and Uruguay, it incorporated rhythms from African communities, and conventional instrumentals, in order to create a stable dance platform. The music itself was developed in the slums of Buenos Aires by immigrants, and so evolved to that community’s specifications; portable instruments, wild, energetic dances, and flamboyant expression became definitional to the Tango. Por Una Cabeza, a piece by Carlos Gardel (1935, unknown country of origin) and La Cumparista, composed by Gerardo Rodrigez (1915, Uruguay), are two representative pieces of the Tango persuasion which I will be sharing; hopefully, I can due justice to this unique and beautiful style of cultural expression.

Texture: Tango is characterized by polyphony, as is fairly evident to the educated listener. A constant, rhythmic melody is underlying, and is used to provide a solid foundation for dance. Upon that foundation, dramatic and thematic melodies are commonly employed to give the tunes their iconic flair. Por Una Cabeza features heavily classical violin and stirring piano sections overlayed upon one another to develop a soulful and morose theme, which compliments the lyrics, telling the narrative of a man’s compulsive gambling, and likening it to the pursuit of women. La Cumparista utilizes a mournful Latin themed melody laid upon a pseudo-classical platform of dramatic design, and weave a tapestry of lost love and faith. In both tunes, it is the complimentary melodies which give the pieces personality, while they retain their common roots in prominent dance rhythms of similar inclinations. This personality is easily identified as a pidgin dialect of Latin music, which values emotion and flow.

Tone Color: The Timbre of these two pieces is highly differentiated; it is what characterizes the melody, making them independent and unforgettable. Por Una Cabeza is redolent of sophistication and class, with very clear and passionate European tonal flavors creating a light and ruefully contemplative quality, with a wide range and raw color. La Cumparista, in contrast, has a tremulous quality to the tones, with a less varied range and drawn out resonance, which gives the piece a sadder, more primal and abstractly reminiscent hue, darker and far less clear. These tonal flavors are not accidental; low class life was not an easy thing for early 19th and 20th century immigrants in Argentina and Uruguay. Tragedy and misfortune stalked the impoverished masses, and life was seldom a happy experience. To forget ones present situation by escaping into contemplation must have been a common strategy of the common immigrant, and is symbolized by the distracting, gravitational nature of the genre.

Personal Reaction: I personally love both the pieces that I picked, and this style of music in general. The Tango is driving and passionate, and conveys more imagery and soul than many of the ‘more refined’ European genres. They are easy to dance to and easy to feel, pulling those experiencing the music in, and making it more a more experiential than analytic situation. I actually have a hard time analyzing Tango pieces, because I am more inclined to be present and lost in emotion, than contemplating structure and qualitative characteristics. Essentially, Tango music compels me; it is not simple, and it is not always explicable, but it is invariably exotic and beautiful. This is very much a cultural expression, given that the transience of those living in impoverished districts of Argentina often times created a melting pot of foreign influences, incredibly human experiences, and a need for decompression. Passions were charged, stories were told, and life was terribly real.

“Tango Music.” Wikipedia, Wikimedia Foundation, 2 Mar. 2019, en.wikipedia.org/wiki/Tango_music.

“La Cumparsita.” Online Tango Shoes – Very Tango, http://www.verytangostore.com/la-cumparsita.html.

“Por Una Cabeza.” Wikipedia, Wikimedia Foundation, 1 Dec. 2018, en.wikipedia.org/wiki/Por_una_Cabeza.

The Great Highland Bagpipes are a classic symbol of the British isles. Steeped in History, they have long been a fundamental part of Celtic music, and have traditionally been used in battlefield communication, ceremonial gatherings, and lively gatherings . They are a woodwind instrument, utilizing two adjustable Tenor drones, a single Bass drone, and a chanter, all fed by a baglike reservoir filled manually by the piper. With four reeds total, the Great Highland Bagpipes have the potential for a variety of tunings at different pitches, which may also be manually adjusted by lengthening the drones or modifying the chanter itself. The Chanter is the locus of the real ‘music making’; with nine notes total, it is considered a transposing instrument, with music generally being written in the key of D Major, though the sounds created by the chanter and drones more closely approximate E-flat Major. During the assimilation of the Highlands by King George III in 1746, many cultural practices were repressed, which contributed to a decline in the popularity of the Great Highland ‘pipes, and it wasn’t until the mid-to-late 19th century that they made a strong recovery. Following Military adoption in the early 20th century, bagpipes slowly were reintegrated into traditional and popular music alike, with distinct styles emerging and diverging, as genre boundaries began to solidify (Worrall and White). Jim McLean’s Massacre of Glencoe (1963), an English tune commemorating a Scottish tragedy some 300 years previously, is a relatively recently composed work typical of traditional pieces, employing many of the same features. Tempest’s The Gravel Walk (1997), on the other hand, is a tune with an Irish origin, employing more modern themes, and sophisticated modern structures. In the 30 years between the publishing of these two songs, the bagpipes went from being an exclusively Celtic instrument, to inclusion in Celtic/Scandinavian fusion Rock pieces; it truly developed as an instrument, and hopefully, I can illustrate that.

Rhythm: The Massacre of Glencoe piece utilizes a very reserved, slow tempo, typical of slow airs and laments in classic Celtic compositions, with a gentle ‘swing’ in the tonal structure. This, in combination with freely interpreted timing, harkens back to the aural tradition of tune sharing in the heyday of bagpiping. In contrast, The Gravel Walk utilizes a rapid tempo with a pulsating rhythm, incorporating traditional elements of reels while expressing a more modern interpretation of music, with very regular timing and uniformity. As a rock piece, it is much more lively, and borrows timing elements internationally from other pieces, developing a nuanced, fresh feel.

Timbre: Our older piece is, again, more typical of classical Bagpipe music; it has a more noticeable resonant quality and lower pitch, with soft, emotional, melancholy overtones, and a very harmonic quality. In contrast, the newer piece is much crisper, higher pitched, and less emotional, almost mechanical. This is not just execution or style; the Bagpipes themselves are tuned differently, with the older instrument being classically independent, and the newer instrument being played in harmony with other pipes and drums. Essentially, there is a soft expressiveness that slowly disappears in the newer piece, wherein uniformity is exaggerated, changing from a misty, cool sound to a sharper, more refined, warmer or earthier palate.

My Opinion: I love both pieces, honestly. The bagpipe aesthetic is one of compelling, primal passion, and I believe that both pieces took advantage of different aspects of the instrument’s identity. The older piece is much sadder (appropriately), and the newer piece is fiery and bold. Both are emotionally rich, but extremely different in expression, intent, and effect. For being so limited an instrument, these two pieces clearly illustrate that the Bagpipes are highly dynamic and utterly relevant. They have a commanding presence, and develop a pressure and volume of music that is not approximated anywhere else; they are unique, and have aged incredibly well. But, it would appear, they still have room to grow.

“Great Highland Bagpipe.” Wikipedia, Wikimedia Foundation, 26 Feb. 2019, en.wikipedia.org/wiki/Great_Highland_bagpipe.

Worrall, Robert, and John White. “ Back The Evolution of the Great Highland Bagpipe.” History of the Great Highland Bagpipe, www.hendersongroupltd.com/historybagpipes.asp.

“Massacre of Glencoe.” Song Meanings at Songfacts, http://www.songfacts.com/facts/john-mcdermott/massacre-of-glencoe.

“Buffeted by gale force winds and with my vision obscured by a dense fog, the gray, churning seascape was immense and powerful. I clung to the helm and planted my feet, all the while rising and falling feet at a time. As I sailed around cape Aialik, waves heaving the sailboat to and fro, breakers spraying a salty mist into my eyes, I was overwhelmed by a sense of futility. There was a certain fatalism about the immense power of the sea and the sturdy little boat; I was on a course over which I had little absolute influence, in gut-twisting conditions, in treacherous waters…and so, I began to sing. “It’s nine o’clock on a Saturday…” I belted out above the squall, dreadfully out of tune. My captain and shipmates paused what they were doing and stared at me, as I continued into the next line; “…The regular crowd shuffles in…”. They ceased hurling over the side, or sitting on the deck miserably, and began to join in. Soon, we were howling like the storm, inflecting all of the pizzazz and musicality we could muster. Momentarily, we forgot the storm. We forgot about the shallows, the loosening rigging and our soaked clothes. We forgot about life for awhile. And for a time, we felt alright”

Clearly, I have an atypical relationship with US songwriter and singer Billy Joel’s 1973 hit single Piano Man. The above anecdote is among my favorite memories, partially due to the adventure, but also in part because of the song. The vanity and static nature of an unfulfilling period, is not unusual in the unremitting flow of modern life. Excitement is notably uncommon anymore, and escapes from monotony are often lonely and intoxicant enriched. Piano Man effectively captures classic themes of the middle class limbo; the community bar, a place of anonymity and melancholy. It is done beautifully, elegantly, even, and the sophistication of the piece is undeniable. In this analysis, I will try to expose a fragment of this wonderful song; if successful, perhaps you, too, will appreciate it as I do.

Lyrics: Piano Man utilizes fairly simple lyrical choices, which pairs beautifully with the locale of the dream; a simple, diverse bar. According to a Wikipedia summary of a Q&A session with Mr. Joel, the chorus reinforces this by mimicking a classical bar song singalong, and the verse focusses on the commonalities of the bar’s patrons, namely their apparent lack of conventional success. However, it is not a song of depression and failure; it is a song of transitory happiness, and the strangers that share it. It is not necessarily natural or sustainable, but it is a reprieve from life, and that is what is needed. The narrator and Piano Man is almost like an immanent god, taking pity on the poor travelers of the many walks of life. Lyrically, it is a song of community, anonymity, and benevolence; however, it is so much more

Dynamics: A systematic usage of a pulsing series of rising and tumbling runs, give Piano Man a contradictory dynamic; it grows into a crescendo slowly, employing periods of regularity in volume, but then fluxing almost chaotically into climaxes of increased complexity. This provides the song with an element of predictability, while incorporating entropic elements, vaguely evocative of an irregular electrocardiogram. Basically, the tune maintains structure, but demonstrates wild bursts of passion and energy that are perhaps symbolic of day-to-day life; familiar and mostly predictable, yet interspersed with surprise and beautiful complexity. I would like to think that this is done intentionally; that Piano Man is perhaps an indication that conventional patterns of life, are just as miraculous and harmonic as the unconventional.

Meter: Piano Man is written in a triple meter waltz pattern, imbuing the bars with a complimentary pulse to the ones mentioned above. Constructively interfering with the dynamics of the tune, this structure provides a polka-esque rhythm, which interacts with the accentuation of notes volumetrically in order to create the soulful note trios that are so characteristic of the tune. This makes the tune passionate, easy to feel, and easy to follow, encouraging the listener to participate in the experience, to abandon inhibitions and pursue the freedom that only the piano man himself can provide. In turn, this makes the tune immersive, making the piquancy of the pervasive ‘community, anonymity, and benevolence’ noted above, especially delicious and addictive.

Texture: Polyphony is a distinguishing feature of Piano Man, with a strong piano melody supplemented by occasional harmonica inclusions and Mediterranean mandolin layers. The song occasionally reaches incredibly polyphonic climaxes, which align with bars heavily marked with accentuated notes, to provide the aforementioned bouts of ‘ordered chaos’. The percussion section is subtle, but aids in accenting the meter and providing stability to the periods of ‘musical subduction’, where the tune is forced back beneath the vocals, while maintaining a parallel narrative texture as background sound. In this way, an apparently tumultuous song can retain a smooth (occasionally jazzy) feel and present as both melodically and lyrically dominant, depending upon the bar.

Timbre: By modulating the chaos of Piano Man with the Mediterranean mandolin, mournful harmonica, soulful keyboard, and delicate drum work, the piece adopts a very warm, fiery color, flickering like flame and glowing like coals. Occasionally, the crescendos combine the battery of instrumental influences in such a way, that the mournful features of the tune are apparent, introducing a cooling effect that is reminiscent of dark reds to subdued blues. The effect is that of immense scope and range, with ultraviolet and infrared acoustics interacting to give the piece a spirit and complexity rarely approximated. Piano Man seems to come alive, independent of the vocalist, but working towards the same end. According to Rolling Stone Magazine’s Jack Breschard, “Piano Man reflects a new seriousness and musical flexibility. Its production is reminiscent of Elton John’s, and his music has the show-tune ambience of David Ackles. But [Joel’s music] also introduce a more mature, less frantic musician.”; Joel created a masterpiece, germane to reality but unrestricted by it, venerable and sweet. It is structured, it is chaotic; it is life itself.

“Billy Joel – Piano Man Lyrics.” Carly Rae Jepsen – Call Me Maybe Lyrics | MetroLyrics, Warner Bros., www.metrolyrics.com/piano-man-lyrics-billy-joel.html.

Breschard, Jack. “Piano Man.” Rolling Stone, Rolling Stone, 25 June 2018, www.rollingstone.com/music/music-album-reviews/piano-man-2-247746/.

“Piano Man (Song).” Wikipedia, Wikimedia Foundation, 30 Dec. 2018, en.wikipedia.org/wiki/Piano_Man_(song). https://en.wikipedia.org/wiki/Piano_Man_%28song%29

“Hello darkness, my old friend,
I’ve come to talk with you again,
Because a vision softly creeping,
Left its seeds while I was sleeping,
And the vision that was planted in my brain
Still remains
Within the sound of silence” –Simon and Garfunkel, The Sound of Silence, 1964

It would seem that the most timeless pieces of sonorous art are contradictions. Deeply primal, and yet amazingly refined, incredibly intimate, and yet, strangely alien, their perennial visages are simultaneously magnified and distorted by the creative genius of the composer, and the talent of the performer. Essentially, they are very much conceptually tangible, while maintaining a degree of abstraction that opens them up to interpretation. That is how I would categorize Simon and Garfunkel’s 1964 hit The Sound of Silence. It has captured my attention for years on end; while most pieces fade in and out of view, dancing in the spotlight for mere moments, then receding, awaiting their next turn, ‘It’ has remained. There is a sensual beauty in The Sound of Silence,
amplified by the mournful, subdued aesthetic. And if I can, I would like to share a fraction of the beauty I perceive, with you.

Rhythm; The rhythm of The Sound of Silence is nothing abnormal. It follows the 108 bpm tempo closely, relying upon a regular, almost heart-like pulse to maintain the momentum of the piece, which leads to an admittedly pensive trajectory. The heavy plucking pattern in the first few bars leads logically to the percussive backbone of the piece, creating a simple rhythm that provides a supportive structure for the soul of the piece; the fluvial guitarwork. If you listen closely, you can almost hear the tripping pattern of a gently flowing body of water, sometimes meandering, sometimes regular and light. It is redolent of solitude, and entropy, and is perhaps inspired by composer Paul Simon’s ethereal ‘bathroom composition’ workshopping, wherein he used the sounds of running water, echoing off of the tile floor, to gain inspiration and focus.

Timbre; As you may have noticed, there is a certain qualitative nature to my description of rhythm, which is evocative of timbre. This is no accident. In The Sound of Silence, the tonal quality of the vocal and instrumental components interacts with the rhythm to color the piece with a melancholy, depressive palate of slate grays and deep blues, interspersed with shades of piercing, fiery neon. The tremulous, crisp tones of the respective components provide the piece with a unique energy, marked by energy and despair. The reverberating, almost delayed character of the track provides a degree of temporal ambiguity, while maintaining a constant beat. I find this pleasantly poetic.

Lyrics; The lyrics of this song alone are a masterpiece. As a narrative, they tell the tale of a troubled observer, apparently protesting the disconnect from intimacy that the artifices and contrivances of the increasingly impersonal culture to which he bore witness. The word choice is simple and epic, in the sense of an epic like The Odyssey or Tao Te Ching, where the selection is strongly emotive,  but relies upon imagination to color the piece. In combination with the aforementioned musical elements, we get the sense of the onus of the witness, as a voice of reason amidst unreceptive ears; in the words of Smithsonian Magazine’s Geoffrey Himes, it is “a generation’s shorthand for alienation”. As a song, it is beautiful and haunting. As an exposition, it is hopelessly familiar, and powerfully arousing. And as a piece of art, it is timeless.

Sources:

“The Sound of Silence.” Wikipedia, Wikimedia Foundation, 31 Jan. 2019, en.wikipedia.org/wiki/The_Sound_of_Silence.

“Timbre.” Wikipedia, Wikimedia Foundation, 1 Feb. 2019, en.wikipedia.org/wiki/Timbre.

Himes, Geoffrey. “How ‘The Sound of Silence’ Became a Surprise Hit.” Smithsonian.com, Smithsonian Institution, 1 Jan. 2016, http://www.smithsonianmag.com/arts-culture/sound-silence-surprise-hit-180957672/.

Ciao! My name is Aidan Hunter, and I am a Junior in the Wildlife Biology and Conservation program at UAF (University of Alaska Fairbanks). My education has not been a typical one; I entered college as a Sophomore, and much of my time is spent attempting to rectify scheduling issues created by my atypical entry. In my free time, I participate in competitive Taekwon Do as a 3-time member of team ITF USA, and I enjoy an amateur career as a competitive Bagpiper (grade 3). A few of my other avocational interests include Bush crafting/Outdoor recreation, Philosophy, Hunting, and tree-hugging.

As a lover of biotica and aesthetics, this photo appeals to my on several levels. I found this ancient Beech tree stump on my Clan’s estate, Hunterston, which can be found just south of Largs, Scotland. The gnarled, bleached countenance of this primeval giant is something that I find incredibly representative of the beauty of life; it is considerable and concrete, yet doomed by the same temporal tide that reigns supreme over our tangible reality. It is the transient nature of life that is wonderful, and though it leaves traces, the moments cannot be captured permanently; the tree grows, lives, dies, and decays, all without pause. Though I captured a two dimensional approximation, I couldn’t capture the tree’s death, let alone its life. Also, this tree was centuries old when it passed; its fibers likely reverberated with the droning melodies of long lost bagpipes, played for funerary processions and wedding celebrations. It was likely scarred by the tools of my family, and its leaves provided shade for my clan in their terrestrial endeavors. In short, this image means a lot to me, more than I can easily convey with mere words.

My relationship with music has been long and rich. I have played the bagpipes for 6 years, but my appreciation for celtic compositions predates that by almost a decade. My parents have a deep appreciation for heritage, and have conveyed this to me primarily through music. This is true of my grandparents as well; the cowboy ballads I enjoyed in my youth were primarily due to my Grandmother’s childhood in the mining towns of Montana. More recently, my peers have introduced me to a plethora of genres I haven’t listened to in the past, like soundcloud rap and R&B. I rarely attend musical events, but it isn’t uncommon for me to listen to Bach or Dosteovsky while doing homework, or the dulcet tones of classic rock. In short, I have experienced the eclectic gamut of modern western music, and I have enjoyed it immensely.