The song I chose for participatory is "With Everything" by Hillsong United (skip ahead to 5:10 to understand)
This song may not entirely fit into the category of participatory, partly because this is a recording. Yet, this song when performed live will always evoke similar responses. I was at my last night ever of being a camper at a place called "That Thing" during worship at night in an auditorium that was over 100 degrees fahrenheit packed full of people. This was one of the last songs the band played and the only part they played was the "oh's." At first most people were standing there wanting to leave, but as more people began to sing, dance, clap, smile, laugh, and cry, everyone in the room felt connected. It did not matter if you knew the person you were standing next to, what mattered is that you were there in the moment with the music connecting every single one of us together. Those moments when everyone in a place is connected through the music they are somehow involved with are indescribable. I could say it was exhilarating, but that is not enough. It may be that as I am a performer I am sometimes more in tune to the connections being made between audience and performer and eventually participants and potential participants.
The expectation with music like this is that everyone, every single human being present, is involved. Honestly, I believe the only limitation is the participants that fail to participate. The value of this kind of music is social bonding, making music with people you may not and never know or people you have always known. Once you have created a bond that way, it becomes difficult to lose it. The potential of this music is creating feelings of empowerment, joining together to make something beautiful is an extremely unique experience.
PRESENTATIONAL:
"Bottom of the River" by Delta Rae to represent presentational music.
"Bottom of the River" is a song that does an excellent job exemplifying presentational music, this song was made for listening. When performed the audience is captivated by the lyrics and talent and does not have the need to have a visual in order to keep the audience's attention. The expectations for this kind of music is that the music itself is enough to sustain the attention of the audience and to have a clear ending and beginning. This piece demonstrates that aspect well during live performances when the main reaction of the audience is to remain quiet and simply listen. The potential of presentational music is to create respect in the listener for the music being performed as well as elicit the appropriate response. Limitations in presentational music include the possibility of error made by the performers, which according to most western standards is little to be desired. The value in this kind of music is the familiarity that is present, this is the kind of music people listen to everyday; people all over the world are regularly exposed to presentational music.
HIGH-FIDELITY:
"Raise Your Weapon" by Deadmau5 (A Capella Cover) is the song I chose for High-Fidelity performance
High-fidelity performance music is generated in a studio by the studio engineer. The different instruments in the song are each recorded separately then later added together to create finished product, the song is also just that, a product. The song I chose to represent this type of music is a cover done of a song by one guy and his sister. Although the real song is more of a Studio Art music type this version accurately shows the development of the layers of High-fidelity. The guy in this video has taken apart the songs and created separate tracks of him singing it and then later put them together to recreate the full song. The potential with high-fidelity music is that it can be manipulated into what the artist desires or what the mainstream general public desires. A limitation is that songs like this become more difficult to preform when the people who made the music do not rehearse it as often as other types. An expectation of this kind of music is that the sound quality will always be good, usually you purchase these songs, or that is the intention, and people expect to have a good sound in exchange for their money. A value of this kind of music is that is has the ability to make the listener believe that what they are listening to could be live.
STUDIO-AUDIO ART:
"Scary Monsters and Nice Sprites" by Skrillex is an example of Studio-Audio art music.
This song as well as many others that can be categorized into the techno/dubstep genres where the music is generated by sounds made with computers. This sound is unique to any other kind of music. The potential of studio-audio art is the growth available. This type of music is still relatively new and it has created new doors for artists to enter and discover. Limitations are that it can really only sound like itself. It will not sound like any other style or type of music, the limitations are what causes its growth it can only sound like itself and the sounds the computer can generate and nothing acoustic. The value of studio-audio art is the originality and creativity of it, people can admire it because it is something new and emerging on the scene. The expectations relate to the value, because it is something new and unique there is an expectation that it continue to sound like something that has never been heard before.
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