Anyone who survived music history and literature courses has had to identify works based solely on hearing a small snippet of the piece (back in the day it was called, somewhat nefariously, “Drop the Needle”). One is secure enough in one’s choral-geekyness to admit that one still plays that game in the car, going from classical station to classical station on the radio trying to figure out (at bare minimum) composer and form. One afternoon, while driving to a meeting with Tim Sharp, we happily played the game in the car; together we pitted six music degrees against an elusive French composer.
A former graduate school professor (who will remain nameless) took “Drop the Needle” to a somewhat more sinister level. Upon hearing a random musical selection, students were expected to ascertain not the composer, but the composer’s teachers and musical influences! It was like a sonic Rubik’s Cube.
Listening to this selection reminded one of that game; while taking nothing away from the composer’s artistry, there were all sorts of influences peeking through this lovely selection performed during a recent ACDA divisional conference. What do YOU hear?
Kitty Babcock says