Esplorazione :
“Once a year, go someplace you’ve never been before.”
Dalai Lama
From the Editors
To the returning music enthusiasts,
We extend a warm welcome back to our second edition of Polyphony – CLC’s music magazine, where voices unite to create exquisite harmonies.
Continuing our musical journey, we delve into the niches in music; an exploration of oddities amongst the accepted. Throughout this edition, we look into the curse of the 9th, how music manipulates our emotions, the relationship between politics and music, as well as the new wave of guitar instrumentals rocking the foundations of music.
Following that, we’re back with CLC staff’s favourite songs, this time chosen by you! We’ve also compiled the school’s overall top songs in a CLC chart.
We cannot thank you enough for the amazing response after publishing our first edition. It's been truly rewarding to hear all of the comments, and we’re delighted to have reached so many of you. We hope to accomplish much the same this edition.
Special thanks to staff who have agreed to share their favourite music with us, as well as to Mr Parker and Mr Lloyd for writing about their Italy tour experience this summer.
Again, our heartfelt gratitude goes to Mr Keir for advising us every step of the way and being an invaluable mentor throughout this journey.
Have a Merry Christmas, Audrey, Zadie & the Polyphony team
EDITOR’S
UNVEILING
JINGLING
Team
Editors-in-Chief: Audrey Wan & Zadie Phillips
Production Manager: Sophia Lau
Writers:
Livvie Beynon, Vivien Chan, Costanza Pascuzzi, Sophia Lau, Sasha Phillips & Zadie Phillips
Editors: Emily Lam, Maegan Lee, Eyimofe Olangunju, Audrey Wan & Kelly Zhang
Graphic Designers: Cynthia Xie (Head), Jaime Chan, Sophia Lau, Faith Moey, Kelly Zhang & Olivia Zhang
Illustrators: Manon Lai-Hung, Faith Moey & Sasha Phillips
Cover illustration by Sasha Phillips
Chorister of the Year 2023 : Reflection
Olivia Beynon 5s
Ever since I’d been a girl chorister at Gloucester Cathedral, which had been until Summer 2022, I had wanted to enter BBC Young Chorister of the Year. It looked like a fabulous experience with plenty of friendships to be made, and an experience in which you learn a great deal about yourself. Little did I know that I would experience not only that, but so much more.
One afternoon in late June 2023 I filmed the two pieces, Be Thou My Vision by Bob Chilcott and In the Bleak Midwinter by Holst, literally just for fun. I had no idea how far it would get me. I was satisfied with the recordings and submitting them without a care in the world was exciting. I had auditioned twice before without succeeding, so I knew I probably wouldn’t get in a third time.
Next thing I know I’m off to Manchester with my mum to film a production with hundreds of people and touch elbows with some of the greatest musicians in Britain.
The whole three days for me was spent living on my naïve impression of a “singer’s diet”, which consisted of no dairy, no fat, no salt and no salty meat, but with as much protein as possible, lots of herbal tea, and enough water to sink a battleship. I woke up the first morning eating some berries that were too sharp and muesli that had the consistency of wood shavings. I tried to swallow that down.
I was on the edge of my nerves but had the most exhilarating time in the process. There was the constant rushing around of people wearing all black, asking how you were doing and if you needed anything, although the atmosphere was very chilled and relaxed at the same time, with lots of hanging around. We were treated like young stars. Later in the
evening, the first rehearsal of the group song, Do You Hear What I Hear? was incredible, and singing with some of the finest young singers in the country was an amazing feeling. What stood out to me was that we were from all over the country, from Belfast to Guildford.
Before I knew it, it was my rehearsal for the semi-final the next day. Having watched the Junior semi-final in the morning, I did know what to expect, but all the same, the feelings of fear were real. Going first made it even worse. During my rehearsal, after eating less than half of my salad, I stepped on stage and onto the circle. That’s when I started feeling okay. I tried to focus on the warm sunlight entering the top of the monastery and tried my best to ignore the flying black cameras and screens. The experience can only be described as surreal. And when it came to the real thing, I was very scared.
When the first false start came from the piano, I had a chance to centre myself, and recover, ready to start again. But when the second one came from one of the camera men to the left, I felt very unsettled and nervous. I carried on regardless, singing my heart out.
I admit that I wasn’t initially proud of my performance and thought that it had gone better during the rehearsal, but when Laura Wright, one of the judges, said my top A flat brought a tear to her eye, it made me feel so much better. I was so tired by the end of it. At least I got a huge McDonald’s afterwards! I didn’t have to go through with my Google-informed “singer’s diet” anymore. I sure as hell deserved it. On the way home from the competition, I saw Aled Jones in Burger King! He’s now a mate of mine, don’t you know?
Editor: Audrey Wan
Graphic Designer: Jaime Chan
MUSIC AND POLITICS MUSIC AND POLITICS
Music can also be exploited to instil patriotism in children, especially during wartime. Patriotic singing can inspire destructive jingoism as well, which is an extreme type of nationalism in the form of aggressive and proactive foreign policy, such as a country's advocacy for the use of threats or actual force, as opposed to peaceful relations, in efforts to safeguard what it perceives as its national interests.
Folk music is also a type of popular music that is occasionally used to transfer political ideas. For example, We Shall Overcome, published in 1900 by Pete Seeger, addresses overcoming racial injustice and was used as a rally for the US civil rights movement.
There are many more songs to enforce political ideas and views to their listeners, however, many of them are banned from certain countries to inhibit the spread of their views.
BY: VIVIEN CHAN
How did music, used for entertainment and dances, become a tool for politics? The truth is, the relationship between music and politics dates to Ancient Egypt (3100 BC) and has been used as an instrument to convey political ideas ever since. This article will explore how political messages are spread through both popular and classical music.
Popular music
Throughout the years, popular music has been used to express many types of political views. Anti-establishment or protest themes are shown through anti-war songs, and pro-establishment views through national anthems and patriotic songs. These have led to many political censorships, including banning certain pop stars and their songs due to the messages they hint at or convey through their songs.
Follow Washington – a song published in 1789, was composed to celebrate the coronation of the first U.S. president. In the short, one-minute duration of this piece, it has put forward its message very clearly through the prominent lyrics “when he commands we shall obey’ and ‘tis he that leads the way”. The idea can easily integrate through its memorable melody into a person’s thinking and influence their behaviours and thoughts. Since then, songs have been written for many candidates to build solidarity with their audience and promote their ideals.
Image credit: Shazam
Image credit: Smithsonian Folkway Records
Classical music
It is easy to understand how popular music can carry and convey political ideas because of its lyrics which often explicitly state the writer’s view. But how does classical instrumental music deliver a political view as well?
Finlandia op.26 by Sibelius has always been regarded as the unofficial anthem of Finnish independence from Russia. Through the fanfare of the horns, rumbling timpani and crashing cymbals, it was a protest against Russian occupation and eventually became a symbol of the emergent country’s identity.
Another example would be Chopin’s music. His major piano works include sonatas, mazurkas, waltz, polonaises, nocturnes, etc. The one with the most notable nationalist theme is his polonaises. Chopin’s polonaises are based on Polish (his nationality) folk tunes. Polonaise in A Flat Major op.53 encompasses a confident theme throughout and captures the triumph of the Polish dance. On hearing it, George Sand (French novelist and Chopin’s lover) suggested the piece be named Heroic, and received the approval of Chopin, perhaps revealing Chopin’s aim with this piece. However, some might argue that this polonaise shows cultural nationalism instead of political nationalism (they have a slight difference, in that one promotes community and the other the achievement of political autonomy respectively).
During Soviet Russia, Lenin once stated that the “act of creation must be controlled, or people will undermine the regime.” This phrase stimulated the creation of an organisation called the Union of Soviet Composers. This organisation was created by Stalin and demanded patriotic scores in support of the communist ideology and regime. In the post-Stalin
banning Russian music due to the ongoing war with Ukraine in the statement “as a gesture of solidarity with the Ukrainian people”. This statement was only released two weeks before the competition began. Although compensation has been given to the competitors by reducing the time limit, voices of condemnation have been raised and a wider debate of arts and politics can be seen in the comments, with both sides expressed through the news:
“Why? Nobody should ever confuse arts with politics.”
“Thank you! Poland understands the danger of imperialism, which firstly invades with ’culture’[…]”
Music and politics are inextricably linked, but should we ever implement censorship because of its connection with a political event or idea from the past?
Editor: Maegan Lee
ItalyTOUR 2023
The life of a musician often involves a very large amount of solitary time in a practice room. There is also a good part of your life spent in rehearsal with colleagues, and probably a disproportionate amount of time spent in front of a computer dealing with administrative matters. Performin takes more time than it does, but it is the point where all that hard work comes occasionally, being a musician means that you get to visit parts of the world you have not yet explored. And you get to do this as part of your job. It can be exciting and challenging, enjoyable and draining, all at the same time.
In July 2023, after a particularly busy summer term, members of College Choir and Symphony travelled to Italy for a series of performances around Tuscany and Umbria. It was a those hours of practice, rehearsals and performances in College that allowed this ta musicians to enjoy a week of singing, playing, sightseeing and lapping up th strengthening friendships and deepening collaborative musical understandi department’s first trip since 2019; only three SFC2 students had been on a CLC music they were in LC3). Everyone was looking forward to it.
Shepherding 50 teenagers of differing nationalities and visa status through airport check was something Mr Lloyd and I found quite daunting – leading one student to refer to u Dads”! But when we were all finally on the plane and had done multiple head counts, we both relaxed. The flight and subsequent coach journey was pleasant and long enough for everyone some much-needed sleep following the end of term concerts and celebrations.
From musical and educational points of view, the tour allowed the performers to take their music-making to the next level. Each performance was superb: Performing in unfamiliar places requires us to adapt to the different acoustics in each of the churches, cathedrals and basilicas. Collectively, we needed to respond much more spontaneously as each piece unfolded. A slightly longer pause here, a different timbre there, and then we could revel in the glorious reverb as the final notes of each piece hung in the air. Watching and hearing these young singers and instrumentalists develop as the week went on were moments of pride and inspiration for my colleagues and me. The final concert in a church in Montepulciano was particularly special. The round church had very little space to assemble the performers in a typical concert formation, so the choir ended up standing in a single row around the edge, with the capacity audience in pews (and standing room) in the centre. You can hear recordings from that concert by following the QR code.
https://soun dcloud.com /user854092735118201435/s ets/italy2023/s7mIqF4rrR5 b?
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Italy is always a great place to tour – it is so easy to be inspired by the churches, the Renaissance art, the food, the weather, and the opportunity to enjoy “la dolce vita”. What pervades my memories of the trip, however, is the camaraderie of the students, their outstanding music-making, and their delightful company throughout the week.
After a break of four years due to the Pandemic, the Music department finally set off on tour to Tuscany and Umbria at the end of the summer term.
The location for the week was to be a wonderful hotel perched up in the Old Town of Assisi with the most magnificent views imaginable from the terrace. The week was always going to be very busy, and once the 50 students and 6 staff had settled into the hotel, the busy schedule for the week commenced early the next day with our first concert.
The highlight of every tour that I have been on, and this one proved to be no different, is the amazing musical journey that everyone goes on – the change from the first rehearsal to the end of the final concert is really wonderful to see; especially the growth in the confidence of every student to really aim for that quiet dynamic, or to trust the response of the acoustic.
The programme gave the Choir the opportunity to sing in the most beautiful acoustics, as well as the chamber group and orchestra to share their wonderful music making with the Italians who turned out, alongside the many CLC parents, in number to each concert. As beautiful as both pieces of Bach were, the absolute gem was the Vivaldi Gloria. This is a challenging piece, and I was so impressed with how the orchestral players especially, coped with the complexities of the writing. The final performance was terrific with a real buzz about the performance.
Everyday gave us all the opportunity to explore corners of Italy which were really quite breathtaking; Siena, Florence, Montepulciano, to name a few were my own highlights, providing memories that will last a lifetime. The sung Mass at the end of the week topped off some amazing musicmaking!
It only leaves me to thank every single student (and the staff) for making the week such a musical success. Tours are a wonderful opportunity to make new friends, as well as having the opportunity to perform on multiple occasions in the most wonderful venues – I hope everyone who went enjoyed the experience as much as I did – roll on 2025!
Mr Lloyd
HEAD OF MUSIC
Graphic Designer: Sophia Lau
Vaughan Williams
The Lark Ascending
Sibelius
Violin Concerto in D Minor
Bill Haley Shake, Rattle & Roll
Lilo & Stitch
HermioneGranger
Stevie Wonder Higher Ground
Hawaiian Roller Coaster Ride
London Grammar Hey Now
Foals
Spanish Sahara
Daft Punk Adagio for Tron
The Temper Trap
Love Lost
All Night
HarryPotter
PercyWeasley
Parov Stelar
Image credits: Discogs
SeverusSnape
Prof.McGonagall
Deep Purple Child in Time
Blue Öyster Cult Astronomy
Grendel Marillion Eagles Hotel California
Red Hot Chilli Peppers Californication
Ian Brown F.E.A.R.
The Verve Bittersweet Symphony
Bruno Mars Uptown Funk
Billie Eilish bury a friend
Mr Blue Sky Electric Light Orchestra
Boomtown Rats Rat Trap
:
BY ZADIE PHILLIPS SFC1
INSTRUMENTS AND EGO
Have you heard of Polyphia - the band that’s reinventingguitarmusic?
No? Well, you’re missing out. Listening to one of their songs is a thrilling experience. It can either make you want to pick up a guitar and shred the way they do - fingers traversing the fretboard at inhuman speeds as they strum – or give up on music entirely. Either way, their music is aweinspiring.
The four-piece instrumental band from Texas has emerged as one of the most significant players in the instrumental world. Comprising of Tim Henson and Scott LePage, the two guitarists, Clay Gober on the bass, and Clay Aeschliman on drums, the combined mastery of their respective instruments allows them to truly stretch the boundaries of music as we know it. Their compositions, defying any set genre, are a fascinating fuse of hip-hop, trap, metal, and pure guitar virtuosity, which are infamously regarded as some of the most difficult modern pieces written today. Given their distinctive style, this article will be exploring their unique approach to music, encompassing both composition and performance.
“I had this idea that I wanted to be the best guitar player on earth”, says Henson in the 2023 Ernie Ball String Theory interview. And he is (one of the best – boasting two signature Ibanez models). With years of playing, the band has mastered staggering technical skills, not holding back on the hybrid picking, tapping and sweeps; the maelstrom of notes pinned down by outrageous polyrhythms that weave between the instruments. This is seen especially in the bass and drums, which are often overlooked in favour of the guitars, yet in some cases surpass their skill. All this could give way to a robotic mess of notes, yet Polyphia disdains the commonly accepted idea that technical music must be discordant and soulless. Instead, all the parts somehow fit together perfectly to create the elaborate soundscape Polyphia is known for.
‘There are so many times where I write beyond my current capability’.
Polyphia’s composers (Tim and Scott) take the unique approach of writing their music in MIDI (musical instrument digital interface) first, then figuring out how to play it later. Despite their skill, this method allows them to break away from the perceived ‘restraints’ of their instruments and to focus on the sound of the riff. They prioritise the feel of the piece above everything else, expanding hooks into compositions. The thought that goes into their writing is evident in their sound, pushing the boundaries of what is physically possible to play. This method also grants them greater freedom to experiment with their multi-genre fusion tracks. It is not uncommon to find elements of electronic music, jazz, trap or hip-hop embedded within Polyphia’s composition, with inspiration from bossa nova included in their recent tracks – all while maintaining the structure of a typical pop song.
Tim Henson
Image credit: PR Newswire Image credit: New Noise Magazine
They’ve even been known to take inspiration from Taylor Swift and Ariana Grande in their compositions (shocking, right?). Their music has never catered to just one genre; instead, they choose to mix and match whatever they’ve been listening to (which is rarely guitar music). They refuse to conform to one sound and can seamlessly add guitar to hyper pop, ballads, rock and more. Their last priority in writing is making their music performable, first and foremost is the concept. Starting out as a death metal band, album by album they’ve expanded to feature in every defined (and undefined) genre. Their unique style truly sets them apart and it is undeniable they are bringing something new to the instrumental guitar world.
*Polyphia is sometimes defined as math rock, known for its complex rhythms and instrumentalization. However, Polyphia’s song structures and propensity to fuse other styles is uncharacteristic of the genre. Other examples of instrumental math rock include Ichikoro, Covet, Chon, and Don Caballero.
‘It's probably the best thing we could have done, keeping the music about doing it for ourselves and no-one else.’
Polyphia, along with their distinctive sound, also give themselves a distinctive branding. They know they’re good, and they don’t hesitate to show it, ego out on their sleeves. With song titles like ‘G.O.A.T’, ‘Playing God’, and ‘Ego Death’, along with albums titled ‘The Most Hated’ and ‘New Levels New Devils’, they’ve been almost arrogant with their music from the beginning. People have found this approach distasteful, critiquing their playing as flashy yet emotionless. And yes, they don’t play the typical, longing, slow tunes, rife with heart-wrenching bends that are often found in blues-rock guitar music (which many find more emotive). Instead, they stay true to their image, managing to capture the complexities of individuality and conviction in shred. ‘We want to write songs that stand the test of time’.
Polyphia was inspired by some of the greatest guitarists of all time; Jimi Hendrix, Guthrie Govan, and Steve Vai to name a few, and it’s no secret. Yet recently, they have expressed a certain disregard for guitar music, going as far as to comment, “I hope guitar music dies.” following this up with; “People should focus more on the music itself and use the guitar as a tool to make music versus, like, ‘I’m going to play guitar music,’ you know what I mean? Because so much of it is just not good”. This was even echoed by the lead guitarist of Covet, Yvette Young, who went on to say “I think tonally there's room for it to grow … people need to think outside the box a bit” in her total guitar interview. And from their garage band origins, this has been Polyphia’s aim. Polyphia’s ego, passion, and drive to forefront a new wave of music, and I quote, “make guitar cool again”, has taken them down this path – all without the crutch of a singer – to great success. In doing so, they have pushed the boundaries of guitar in impossible directions. They hope that the next generation of guitar players will look up to them in the same way they look up to their idols, to go on and create even more ground-breaking music.
The four members of Polyphia have shattered the foundation of guitar left from the 80’s, redefining what it means to play and advancing the world of instrumental music in a way that is unmatched in the history of the field.
“The only way to keep shred alive was to kill it and bring it back our own way.”
So now, yes, now. Type “Polyphia” on that search bar and prepare for a music journey like no other.
Editor: Audrey Wan
Graphic Designer: Cynthia Xie
THBB10 ibanez illustration: Manon Lai-Hung
‘REMEMBER THAT YOU WILL DIE’
Musicand Manipulation Sasha
It is undeniable that music has always held a special place in human culture. Its ability to
evoke emotions, trigger memories and set the tone for a moment, transcends the constraints and barriers of language. I am sure many of you have seen videos in which movie scenes, such as Jack Sparrow’s entrance in Pirates of the Caribbean, are put to different music. If so you would have seen first hand how changing the mood of the music transforms the scene, sometimes even completely changing the way we perceive a character. What if I were to tell you that the same techniques used in movies today have been used for centuries to manipulate and even, more sinisterly, exploit people in a myriad of diverse ways, ranging from its usage in political propaganda to retail environments, to religion and much more. It would take years to go through every way music is used to influence people, but in this article I will hopefully explain how music is used in retail settings to manipulate customers.
Phillips 5s
FILM MUSIC
Firstly, let us explore some of the techniques that are used to manipulate our emotions. What better way to do this than looking into the world of film music? In movies, music is a magical force that allows the director to intensify scenes, weave narratives, and guide emotions. When used effectively, this has the power to turn a hero into a villain. But how exactly do composers do this? Well, here are a few of the many techniques that film composers use to control the mood of a scene:
Leitmotifs: A leitmotif is a short, recurring musical theme that runs throughout the film or compositions, and is associated to a certain person, place, or idea. This is the musical equivalent of giving different characters distinct colours to wear which mark them, identifying them to the watcher. Leitmotifs however, can be much more subtle than this. One time I noticed a leitmotif being used more softly, was during the half-term holiday. My family and I got hooked on a TV show and binge-watched all three seasons of the show ‘Lupin.’ (It is a great series; I would highly recommend this to anyone stuck on what to watch.) One thing I noticed while watching is that I would often get an unsettling feeling right before the main character, Assane Diop, would do something unexpected, similar to the feeling of déjà vu. This feeling was the work of a Leitmotif, so whenever a similar situation arose, the same theme would be discreetly woven into the music. Other, more famous leitmotifs, include James Bond’s main theme and that of the Shire from Lord of the Rings.
Juxtaposition: A juxtaposition is a contradiction. This can be used in two ways, the first being a contrast between the tone of the music and the visual context of the scene, and
Image credit: Rotten Tomatoes
the other, a contrast between two or more distinct musical elements. For example, during an intense action sequence or moment of chaos, the music may take a calm and melancholic tone, heightening the tension and sense of unease in the scene. This eerie atmosphere lingers with the audience, making the action on screen even more impactful. Conversely, juxtaposition can be used to create a sense of irony or humour. For example, in a light-hearted comedy, a serious and dramatic musical theme may accompany an absurd situation, creating a humorous dissonance between what the audience sees and hears. This contradiction can enhance the comedic effect, making the scene more memorable. In essence, juxtaposition is able to evoke a wide range of emotions and intensify the storytelling of composers while simultaneously conveying multiple emotions or ideas, contributing to the overall impact of the scene.
Commercial Context
How is music used for commercial mind control?
There are many ways stores sneakily use music and psychology to increase their sales; In the Automobile industry, car companies target their music towards their intended customers. For example, if the intended customers were in their twenties, the company might play a song that was popular when they were in school a few years back. According to the professional DJ, Josh Gabriel, “The memories that are strongest are locked in with emotion and you have the most of those between 18 and 24 years old, so most deep associations with songs are from that period of your life.” Therefore, playing music from this period in people’s lives helps make them feel more comfortable, increasing their chances of making a purchase.
Instrumentation: The choice of instruments used in a piece can convey a wide range of emotion. This is shown clearly in the soundtrack from ‘The Dark Knight,’ and Harvey’s transformation into Two-Face. In an interview, James Newton Howard talks about how he “Wrote Harvey as an American hero.” He then describes how he primarily used brass instruments for Harvey’s orchestration, inspired by the composer Aaron Copland. As Harvey transforms further, the musical theme becomes darker to echo this, becoming less melodic, relying increasingly less on the bright sound of the brass section.
Music can also be used to manipulate the speed people shop at. In 1966, a study found that increasing the volume of store-played music has no impact on how much people buy, but that it instead increases the speed of shopping. This difference is created by tempo. Slow-tempo music makes people move slower, while fast tempo music influences people to move quicker. This applies whether you are shopping in a store or eating in a restaurant, which is why some restaurants play faster music; to increase the turnover of tables.
The style of music played should also be taken into consideration. For example, classical music in the wrong circumstance can make people feel like the merchandise is more expensive than it really is, so they do not take well to buying it. However, in the right situation, classical music truly can increase sales. One example of this is in wine shops; In a study in 1993, researchers concluded that the deep, unspoken desire to enjoy classical music drove people to buy anything that got them drunk. Furthermore, the study additionally showed that if the music was French, people were more likely to drink French wine, whereas if the music was Italian, the shoppers were more likely to go for something Italian.
Editor: Eyimofe Olagunju
Graphic Designer: Kelly Zhang
Image credit: Toynk Toys
Image Credit: Partyflock
UNVEILING THE ENIGMA OF THE CURSE OF THE NINTH
Costanza Pascuzzi 5s
Imagine this: you are a classical music composer brimming with raw musical talent, renowned for your beautiful melodies. Your career is really starting to take off as you compose one symphony after another, racking up to a grand total of eight. The whole world holds its breath, anticipating your next masterpiece, yet an unsettling thought plants itself in the corners of your mind. It’s the reminder of a legend that has haunted some of the greatest composers throughout history; an ominous whisper that has plagued the history of musical creation: the Curse of the Ninth. Determined, you try to ignore these intrusive thoughts, and you sit by your grand piano, the first notes of your ninth symphony echoing in your head. A beautiful melody starts to unfold, and then… whoops! You drop dead.
The Curse of the Ninth is a legend that begins with a composer on the verge of glory. However, as they embark on the journey of writing their ninth symphony, a chain of ominous events is unleashed, ultimately leading to their death.
The Curse made its debut with none other than the titan of classical music, Ludwig van Beethoven. It all began as he penned his ninth symphony (renowned for its Ode to Joy), and passed away allegedly due to liver failure, completely shocking the public to the bone – this was, after all, the loss of a composer with endless musical talent. Yet he left behind a ‘mere’ nine symphonies.
Before Beethoven, musical minds had dazzled their audiences with symphonic catalogues stretching into astonishingly high numbers, like Joseph Haydn, who wrote a whopping 107 symphonies before he passed
COMPOSERS
WHO WERE VICTIMS OF THE CURSE
away. However, since Beethoven’s death, composers struggled to surpass their ninth – Schubert, Dvořák, Vaughan Williams, Spohr, Glazunov and Bruckner all died before they could start their tenth symphony, their fates shackled by the Curse. Gustav Mahler was one of the first to believe in the curse. After he heard of the Curse of the Ninth, Mahler developed an aversion to that number. What began as a mere superstition had soon transformed into a profound obsession. During his daily journey from his abode to the Vienna Court Opera, Mahler meticulously counted each step with intense focus, ensuring that the count always stopped at 100, and never 99.
When he finished writing his eighth symphony, Mahler devised a brilliant plan to thwart the evil forces of the curse. He named his next piece "Song to the Earth.". In essence, this was the ninth symphony he wrote, but he refused to call it so. At first, it appeared as though Mahler had overcome the curse as he embarked on his journey to write his tenth symphony. However, Mahler quickly succumbed to illness, leaving his tenth symphony incomplete, and falling victim to the Curse of the Ninth just like the many others before him.
But of course, the Curse of the Ninth is no more than a mere superstition; it may have struck many untimely deaths, but countless other composers have “defied the curse” and lived on to write many more symphonies after their ninth. Yet, from Beethoven to Mahler, the curse has undeniably evoked a certain intrigue and mystery to the ninth symphony in the world of classical music.
Editor: Emily Lam
Image credit: Music In Salisbury
Sophia Lau 4s
: Decoding Christmas music
It’s beginning to sound a lot like Christmas. Everywhere you go. Listening to everybody hum, CLC Christmas has begun…
It is that time of the year for CLC to be filled with familiar tunes of the festive season. From Mariah Carey to Bing Crosby and Michael Buble, who doesn’t love a bit of Christmas music? (Well, except if you’re a certified Scrooge.) Love it or not, don’t we all seem to have the miraculous knack for instantly identifying whether it’s Christmas music the moment it starts playing on speaker? Ladies and gents, time to pose the big question: What makes Christmas music sound so Christmassy?
Christmas is 90% nostalgia
Year after year, we find ourselves immersed in the familial rituals of Christmas: watching the same Christmas movies, eating the same Christmas dinner, listening to the same Christmas songs. It’s this repetitive nature of Christmas that makes it so cosy, so nostalgic. Notably, Irving Berlin’s White Christmas, made famous in a recording with Bing Crosby, encapsulates this perfectly. Beyond the deeply nostalgic lyrics, the second half of Crosby’s recording is performed by a choir, producing a sound that is distant and faint, as if echoing voices from the past, the present and the future… Regardless of whether your favourite Christmas music has nostalgic lyrics or sentimental melodies or even both, there’s no doubt that its ability to evoke nostalgia, warmth and fuzzy feeling is synonymous with Christmas time.
TheChristmas ChordChronicles
Christmas music exists to evoke happy nostalgic memories; in fact, 95% of music is written in a major key. However, pure major compositions may lack the nuance touch needed to spark nostalgia. This is where diminished chords, half diminished chords and many more come into play, adding a subtle touch of bitterness that makes the fuzzy Christmas feeling all the better. Enter D minor 7 flat 5 - the Christmas chord. This special chord finds its place in the beloved All I Want for Christmas Is You, as well as the aforementioned White Christmas. Both songs begin on the tonic chord, introduce a seventh in the second chord, then moving on to the dominant on the third. The magical moment arrives when both songs progress to the delightfully Christmassy diminished chord Dm7 flat 5. This chord is described as “delicious, spicy and warm”, apparently like mulled wine. (Consult your parents I guess?) To me, it’s almost like adding
a sprinkle of sea salt on your hot chocolate or watching the snow melt in your palm. Here’s how the chord looks like:
Bellsand morebells!
Sleigh bells ring, are you listening… Is a Christmas song even Christmassy if it doesn’t feature bells? Indeed there is something special about the presence of jingling bells - even the mere mention of the word ‘bell’ - in Christmas music. Historically, bells were attached to the harnesses of horses pulling sleighs, acting as a precautionary signal for pedestrians crossing snowy roads. Whether it’s jingle bells, church bells, or iconic sleigh bells, their significance in Christmas music is certainly undeniable.
“Christmas”
Of course, the song needs to include the word Christmas in the lyrics. Extra points if it’s in the title - obviously. It’s no surprise that the heart of Christmas music lies within its lyrics. In essence, what makes Christmas music so endearing is its ability to encapsulate the imagery of the festive season and universal themes of love, hope and joy, resonating deeply within us.
As we indulge ourselves in the harmonies of the festive season, let the music remind us that it is the emotional connections and cherished memories it brings to life that makes Christmas truly the most wonderful time of the year. May your Christmas be filled with love, laughter and music!
How do sheep say merry christmas? Fleece Navidad.
What Christmas carol do they sing in the desert? Camel Ye Faithful.
Editor: Kelly Zhang
Graphic Designer: Sophia Lau
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now listening: Polyphony