Nostalgia - Polyphony Edition 3

Polyphony

:nostalgia ISSUE III

God! What would I forfeit to have the days of my childhood restored, or to be able to forget them for ever!

Charles Dickens

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From the

Editors What is nostalgia?

It’s delicate, but potent. It’s sweet, but heart wrenching.

The word ‘nostalgia’ is a combination of the two Greek words: ‘Nostos’ which translates to ‘homecoming’, and ‘algos’, which means ‘pain’ or ‘ache’. Nostalgia is the rose-tinted memory of days in summer spent by the beach. It is visiting your childhood home, now vacant, and feeling a bittersweet pang as you reminisce the sentimental days spent within the four walls you grew up in. It is also stumbling upon a Polaroid of a picture taken with a drifted friend, and suddenly remembering the connections you had lost.

As you turn the pages, you will find yourself whisked away into the mesmerising world of La La Land (oh, the ending!) and reminded of the familiar Wii tune. BUT, before you taste this slice of nostalgia, let’s jog our memories back to the amazing production of Grease from last term and hear from the pit musicians! As you continue to walk down the path, you will also encounter the music scholars’ insightful experience on their trip to the Royal College of Music, featuring a few musician interviews along the journey.

And what better way is there to end this edition than some Disney?

Let this edition take you down the memory lane, and let nostalgia bring you to where you belong.

With love, Audrey, Zadie & Sophia

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Inside EDITOR’S NOTE

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GREASE.PITMUSICIANSEDITION

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TRIP TO THE ROYAL COLLEGE OF MUSIC

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IN CONVERSATION WITH WAI SUM LAM

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LA LA LAND: JAZZ & NOSTALGIA

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EVOLUTION OF VIDEO GAME MUSIC

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IN CONVERSATION WITH SIMON DE SOUZA

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A GUIDE TO CLASSICAL MUSIC WE JUST CAN’T LET DISNEY SONGS GO.

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Editors-in-Chief: Audrey Wan & Zadie Phillips Production Manager: Sophia Lau Writers: Demelza Boddington, Riah Lau, Sophia Lau, Faith Moey, Valerie Ostapchenko, Costanza Pascuzzi, Zadie Phillips & Audrey Wan Editors: Mary Chang, Emily Lam, Sophia Lau, Maegan Lee, Daisy Liu & Kelly Zhang Graphic Designers: Jenny Huang, Sophia Lau, Manon Lai-Hung & Cynthia Xie Illustrators: Jenny Huang, Manon Lai-Hing & Daisy Liu Cover illustration by Jenny Huang Citations: https://docs.google.com/document/d/1ZRhEWTvck_mpLog-i6XPFPf1dK7ixuG2Sz5zDQkjlY/edit?usp=sharing

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We all loved

from last term.

Even before the shadowy PAC stage burst into a multifarious display of vibrant colours and neon hues, the opening theme “Grease” palpitated and vibrated within the cochleae of the audience, resonating with every single one of them. (Well… maybe not since light travels way faster than sound, but you get the gist.) Excitement shoots up your spine as the bold and iconic melody puts you in a Grease coma. The extraordinary cast make their entrance under the dazzling stage lights - but what about the pit musicians?

Let’s be honest. Most of us never knew there was a pit underneath the stage in the PAC. Although tucked away(-ish) from the audience’s view, pit musicians are the absolute backbone of any musical production.

They are the people who provide the crucial melodic foundation that the cast then sing and dance to. Of course, being a pit musician requires a wide range of skills. For example, they may need to do sections of improvisation to adapt and accommodate the seemingly sporadic atmospheric changes of a live performance, but must also collaborate as a team to ensure that the music is synchronized with the actions on stage. To gain a better understanding of pit musicians (and to prevent to this from turning into a boring Wikipedia article), what better ways are there than to hear from CLC’s own Grease musicians as they share their unique experiences?

Though pit musicians can be replaced by pre-recorded tracks, the very essence of it all lies within the sparks that fly between the perfectly synced, dynamic energy of the cast alongside the musicians and the animated spirit of the audience. Live music just adds a dash of pizzazz and flair that the musical wouldn’t be the same without. Thanks to the Grease pit musicians (and of course everyone who has helped with the production), the audience grooved to the vivacity and passion in Greased Lightnin’, empathised with the heart-wrenching pangs in There Are Worse Things I Could Do, revelled in the feistiness and zeal in You’re the One that I Want and much more!

A note to Mr Keir: Sophia would LOVE to be recruited as a pit musician in the next CLC musical production! (Even though a violin may not seem as cool as the drums, electric guitar, saxophone, or a keyboard…)

Editor: Daisy Liu Illustrator: Zadie Phillips Graphic Designer: Sophia Lau

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The long-awaited trip to the Royal College of Music had finally arrived! Eleven girls, playing various wind instruments from Cheltenham Ladies College, set off at 8am on a two-hour bus ride to London. Although the weather wasn’t the best (as usual), we were all pumped up and ready to experience the exciting rehearsals with university students and other schools.

As we entered the hall, we were welcomed by Marie Lloyd (Yes, you’ve guessed it – Mr Lloyd’s sister!), and were informed about how the day would go. However, before we had even begun rehearsing, we immediately encountered our first challenge. The room was packed with over forty performers – amalgamations of flautists, oboists, clarinettists, and bassoonists. Therefore, for the first fifteen minutes, everyone tried to set up their chairs and stands strategically, in a way that we could all have a clear view of the conductor. In the end – let’s just say it was a success. The piece we rehearsed is called “Fresh Air” by Judith Weir, and there were some quite interesting techniques that had to be introduced. For example, there was the “finger clicking” technique, where we had to tap the keys on our instruments rhythmically.

The one that intrigued me the most was when I had to pull out my reed (oboe’s perspective) and blow into my instrument to mimic the sound of wind. However, the struggle of that section was that there were only two bars provided to put my reed back into the correct position. It was a recipe for disaster!

Fortunately, Marie understood and made sure to let us have enough time until she continued.

After a quick meal at the RCM canteen, we were sorted into instrumental sectionals. Each sectional was led by one to two senior RCM students, who gave us their insights into their lives as music students.

For the clarinet cohort, our journey to our rehearsal room took us through a winding maze of corridors, stairwells, and practice rooms. Each corner of RCM was bursting with the sound of music and rehearsing student ensembles, and we were able to catch fleeting glimpses of the daily routines of music students. We briefly walked past the RCM Museum, which exhibits a collection of paintings and ancient instruments. Their display of flutes especially drew my attention because it traced the instrument's evolution from primitive wooden to snazzy silver.

We also passed numerous practice rooms and concert halls (which harboured varied acoustics, eliciting strong opinions amongst the student body). We were even fortunate enough to walk through an active organ lesson, and the sheer grandeur of the organ left me in a state of ineffable excitement.

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Upon reaching our sectionals practice room, I was placed in a circle with the other fifteen or so visiting clarinet players. Our conversations soon veered into areas of esoteric knowledge and clarinet technique.

In order to improve our intonation, our mentors also taught us numerous exercises. For example, we were made to continue the note of the member beside us, and pass it seamlessly along the circle, in an attempt to attain tonal homogeneity.

Before we knew it, it was already 3pm. We had a short break before listening to an insightful and inspirational talk from various composers, including Judith Weir. We discovered how composition is just like creating art, in which every composer has their own special and creative style.

Hitherto our performance, we attended an open rehearsal, where we observed two woodwind ensemble sessions in their first practice for a performance that evening. During the final rehearsal, (oboe’s perspective) I realised the university student who was supporting us was also from Hong Kong – what a coincidence! Look out for the interview with him, Leung Wai Sum, in this edition.

After some more serious stage Tetris to fit us all (plus our stands) in, we were finally able to perform. The performance was without a doubt the highlight of my trip to the RCM – the massive wall of woodwind sound was unlike anything I have ever heard, and it felt truly magical to be there. We were performing alongside senior RCM students, and what made it even more special was that Judith Weir herself was there to hear her composition come to life.

After a tiring yet fulfilling day, we bid our final farewells to the friends we had made at the RCM and set off on our journey back to school. A special thanks to Mr Lloyd, Mrs Bungard, and everyone else who made this trip possible; it was an extremely inspirational experience which provided us with valuable insights into potential career paths and study opportunities within the realm of music.

Editor: Emily Lam Graphic Designer: Sophia Lau

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IN CONVERSATION, with RCM student-oboeist Wai Sum Leung

Interviewed by Audrey Wan

Wai Sum Leung is a student-oboist currently studying in the Royal College of Music. Leung is based in London and Hong Kong, indulges in diverse interests such as classical and contemporary music, as well as some improvisation a bit of jazz!

A: Why RCM? WSL: RCM is clearly a very well-established university, and it has a great reputation, notable history, and an esteemed faculty. The woodwind department, particularly my oboe professor Olivier Stankiewicz, were my major factors in my decision to study here.

A: What is the curriculum structure in terms of required courses?

WSL: The RCM curriculum has a strong focus on performance, with a ratio of approximately 70% performance-based courses to 30% music history or theory courses.

However, in the third and fourth years, students have the freedom to customize their curriculum according to their preferences. This includes the number of hours spent with instrumental professors, which means you went then have less time spent in academic modules.

As for the first 2 years, there are more foundational theory and aural studies. Half of the modules are dedicated to music history, where students can choose different topics based on their interests and passions. For example, there is music in politics, theatre music, history in opera etc. In the third and fourth year, music theory and aural is no longer mandatory, and I opted for improvisation and composing.

A: Ensemble opportunities at RCM? Is it common for students to join existing groups or to form their own ensembles?

WSL: You can start your own group, but sometimes students all get distributed in bigger ensembles such as an octet, since it is not easy for students to organise this by themselves. However, most of us eventually start our own ensembles and play in a trio, quartet or quintet setting with friends or those who we admire.

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A: Most memorable performance in RCM so far?

WSL: My most memorable performance was playing in the RCM Philharmonic Orchestra. We performed Berstein’s West Side Story and John Adams’ Short Ride in a Fast Machine - a charming piece. I played the second oboe. West Side Story is one of my favourites, full of energy and great music. It was a joyful experience playing with my colleagues, especially being able to perform one of my favourite pieces.

A: Some advice that many of us will need: how do you stay motivated to practise?

WSL: Although staying motivated as a musician can be challenging, but it is possible to practise motivation. The key to keep practising is the desire to become better and achieve the next level. Even when you’re not motivated, just do it, just practise. As a musician, you will be way more motivated than the regular person. It is important to maintain a mindset of gratitude and happiness while playing, which personally is my driving force.

A: Advice for younger aspiring musicians who want to apply to for a music conservatory?

WSL: Being well prepared, I think that is my most important advice. This is especially crucial in audition settings, so you will still perform well with nerves. Be honest to yourself and just show your uniqueness. I think that is what draws the adjudicators’ attention the most and I don’t think they will want someone who doesn't know themselves.

Editor & Graphic Designer: Sophia Lau

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: A modern homage to jazz and its sense of nostalgia

By Demelza Boddington

La La Land (2016) tells the story of two aspiring artists – Mia (Emma Stone), an actress, and Sebastian (Ryan Gosling), a jazz pianist. Both characters are struggling to make their dreams come true in contemporary Los Angeles, and over the course of the film, they fall in and out of love with each other and their respective arts.

Throughout the movie, Sebastian struggles to freshen up jazz, while Mia fights to land a role – or even an audition for a role.

Musicals have been an essential part of jazz history, with the two being inseparable from each other since the 1920s. In the era of those early musicals, jazz and pop were more or less one, which meant the songs they produced were simply hits that musicians across genres would be compelled to perform. Damien Chazelle (director) acknowledges how his own nostalgia shaped the film. “Seb has a stubborn relationship with jazz and the past,” he said. “In some ways it's my own relationship with the past and jazz, too.” La La Land is full of allusions to classic jazz, with its nods to John Coltrane and Harold Land album covers and famous jazz clubs. Even the movie’s promotional posters are modelled after jazz album covers of the 1950s and 1960s. By the end of the film, jazz as a concept is presented as a good thing.

In the bustling landscape of modern cinema, few films have captured the imagination and hearts of audiences quite like La La Land. Chazelle’s musical masterpiece transcends the boundaries of traditional storytelling to create a mesmerising world where jazz chords intertwine with the bittersweet melodies of nostalgia.

At the heart of La La Land there lies a profound homage to jazz music, a genre deeply conflated with the fabric of American culture. From the opening sequence set amidst a traffic jam on a Los Angeles freeway to the final, poignant reunion of the co-protagonists, jazz serves as both the soundtrack and the soul of the film. Chazelle’s background as a jazz drummer imbues every frame with a deep reverence for the art form, and it is palpable in every note played by Sebastian on the piano and every tap danced by Mia on the screen.

The influence of jazz on La La Land extends beyond mere musical accompaniment; it permeates the very essence of the film’s narrative and themes. Jazz, with its improvisational nature and emphasis on individual expression, becomes a metaphor for the character’s journey towards self-discovery and artistic fulfilment. Sebastian’s passion for jazz and Mia’s zeal for acting allows them to pursue their dreams relentlessly, despite the inevitable setbacks and disappointments along the way.

Moreover, the film also serves as a love letter to the golden age of Hollywood and the timeless allure of classic musicals. Through its vibrant colours, sweeping cinematography, and elaborate dance sequences, the film transports audiences in a bygone era of glamour and romance. The sense of nostalgia is evoked and is not merely a wistful longing for the past, but a celebration of the enduring power of cinema to captivate and inspire.

Central to the film’s exploration of nostalgia is its portrayal of Los Angeles as both a backdrop and character in its own right. The city, with its iconic landmarks and sprawling landscapes, becomes a symbol of dreams pursued and dreams deferred. From the neon-lit streets of Hollywood to the tranquil shores of the Pacific Ocean, every location in La La Land is imbued with a sense of history and possibility, inviting audiences to embark on a journey of self-discovery alongside the characters.

Editor: Emily Lam Illustrator: Manon Lai-Hung Graphic Designer: Cynthia Xie

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by Valerie Ostapchenko After a long and tiring day at school, you arrive back at house where you’ll hopefully get some free time.

You decide to sit back, relax and load your favourite game. Maybe it’s on your PC, iPad or even your phone. You see the main screen come up and that familiar feeling of excitement plays into your mind upon hearing the title music. Yet how can a simple soundtrack affect your heart rate, stress, and emotions? The truth is, video game music is often written to control when and what the player feels. A thrilling boss fight might be accompanied by the thrilling crash of drums, a massive lore drop with a sense of curious discovery and the sad death of a character long sighs of the violin.

You decided to take a trip down memory lane and go back to that old, nostalgic era of games – Pac man, Silent Hill, Street Fighter 2. Hmm, perhaps a bit too old-fashioned for CLC’s tastes. I’ll go more recent. Resident Evil, Pokémon, and the Zelda franchise. You load in and hear the game’s opening theme -- a crucial experience for the player. It sets the mood and envelopes you in a warm hug of welcome, transporting you into the game.

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Subsequently, as you’re playing, your first cutscene appears. A cutscene’s meaning could flip with a simple change in tempo. A slow speed creates an emotional message. A fast-paced tempo signifies danger.

Dynamics, intensified and layered, bring an immediate attention from the player towards a certain part of the game.

Maybe you just levelled up, unlocked an important material, or are entering a boss fight! Some examples of this are cutscenes from the Resident Evil games. In a playthrough, there are crucial game points that are elevated in multiple moments of the story. The ambient sounds juxtaposes the eerie atmosphere, enhancing the unease of the player.

The first ever video game soundtrack was made of simple chips, which gave way to a style of music called chiptune (more commonly known as 8-bit or 16-bit) -- a genre of electronic music. These could be programmed to play simple melodies and sound effects. Have you ever played games on the Ataris or old arcade machines? The tinny music you hear is made from chiptunes. This type of soundtrack can still be seen in more recent games such as Undertale and Shovel Knight.

Another technique many games used is the Shepard tone, an optical illusion that tricks your brain into thinking that a sound is rising or falling in pitch -- an endless loop of sound, never-ending. This technique has been used by many famous directors such as Christopher Nolan for his film “The Prestige”, in the 2017 film “Dunkirk” and more recently, in Oppenheimer. You can also find it in Super Mario 64 in the endless stairs part.

Well, what is it used for? The Shepard tone can be used to complement a story. It consists of 3 layered tones. The first one goes from loud to quiet while increasing in pitch, the second stays consistent throughout the score and the last one does the opposite of the first, going from quiet to loud and decreasing in pitch.

A famous game people like to reference in video game music is Undertale. Its unique soundtrack is filled with a wide range of styles and musical instruments. Each soundtrack is made to fit a moment in a game, while some are tied to characters which fits their design perfectly. An example are the two brothers, Sans and Papyrus . For Sans, the younger brother, his song “Sans” perfectly conveys the character’s light-heartedness, cheekiness and how he’s much more laid back compared to others with the plucked bass, twangy sound and slower tempo. His brother’s soundtrack, on the other hand, is much quicker, with shorter notes and uneven rhythms. The drums also add a malicious kick to the tune. The game’s soundtrack can also have a sense of eeriness during some parts, for example the true lab section.

This section contains many dissonant block chords, a haunting, ethereal voice and a seemingly random melody and time signature, adding to the mysteriousness of the area. The Undertale soundtrack has been described as otherworldly for these reasons.

Music, being such an important part of the gaming industry, has developed and grown so much since Space Invaders in 1978 where it was first incorporated into a videogame. It helps engage you without distracting you from the actual game itself and has had a massive impact on players, elevating their gaming experience to be more exciting while operating in the background.

Suddenly, the church bells chime and you look up to see the clock strike 6. Your free time has run out, and dinner is calling. You autosave and close the game, rolling off your bed to continue on with life, whatever it is as you carry with you on your day-to-day existence. All the pleasant memories of a lazy afternoon playing videogames will always be remembered, and who knows? Maybe one day in the future, you’ll be sitting in class, and you’ll hear that one note that instantly transports you back to the time you played that game, the memories flooding your brain with sudden happiness.

Editor: Maegan Lee Graphic Designer and Illustrator: Manon Lai-Hung

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IN CONVERSATION,

with

interviewed by Audrey Wan & Zadie Phillips On the 16th of March, we had the pleasure of attending a masterclass lead by the amazing French horn player, Simon de Souza. With a career spanning over two decades, Simon has established himself as one of the most accomplished musicians in the world of classical music. His virtuosity and expressive musicality have captivated audiences across the globe, earning him widespread acclaim and recognition.

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Simon's journey with the French horn began at a young age, his dedication and unwavering commitment to his craft propelling him to study at prestigious institutions, such as the Royal Academy of Music and the Paris Conservatoire, under the guidance of the acclaimed Ifor James.

Despite having played all of the standard horn concerto repertoire, Simon's musical prowess extends beyond his solo performances. He also plays in an array of groups including his brass quintet Chaconne Brass, as well as various symphony orchestras, gracing renowned concert halls and festivals worldwide. His versatility as a performer allows him to effortlessly traverse a vast range of musical genres, from classical to contemporary, using immaculate techniques to truly push the boundaries of what can be achieved on the French horn.

Simon is also one of the most respected and influential teachers, with a strong passion for education.

Dedicating his time to nurturing the next generation of musicians, he has held teaching positions at prestigious music academies such as the Birmingham Conservatoire and Well’s cathedral school. He also conducts seminars and masterclasses internationally where he shares his expertise, inspiring countless musicians.

A & Z: How do you balance performing career with educational commitments?

S: Planning. You keep your diary up to date and prioritise what you have to. For me with my portfolio career, the teaching pays the mortgage, so I have to make sure I do that properly.

A & Z: Your most inspiring musician?

S: Most inspiring musician is a difficult one. To me, the most inspiring horn player is my teacher Ifor James. Sarah Willis is also an astonishing player and musician. I don’t think I can just have “one”. I’m inspired by the people I work with, and I’m inspired by my pupils.

A & Z: A memorable performance or piece?

S: The one when my thumb valve fell off as I went on stage, and I had to just regroup and adapt to make it work. My brass quintet’s 25th anniversary concert, and one that was incredibly special was the first gig I did after covid, because all through covid I carried on practising because I had to teach, but I got to a point of whether I would ever play again, and I didn’t know if I could still do it. My wife was a bit puzzled, and couldn't understand why I was quite on edge, as I hadn't sat in an orchestra for over 18 months.

A & Z: Most important qualities to be a successful musician?

S: Discipline, determination, courage. Just the joy of it and loving it. If you want to be a fine musician, you’ve got to be passionate about it. It’s got to be the be-all your life.

A & Z: Interests beyond music?

S: Oh! Loads! Photography is art, the model railway is art (Interviewer’s note: Simon has built awardwinning fine scale models of old railways). You’ll need a lot of the same things, like being disciplined, organised, being able to follow instructions, and being creative without instructions. So, those things are actually very complementary to music. And cooking, who doesn’t like cooking?

Editor and Graphic Designer: Sophia Lau

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A guide to

‘CLASSICAL’ MUSIC

by Riah Lau

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t’s 2024, and on the Billboard HOT 100, lots of upbeat pop songs take their place. While these songs are great, their origins remain a mystery to most people. The origin of these popular tunes today can be found within the influence of classical music (with a small ‘c’!), a genre often recognised but not fully appreciated.

What we might think of as classical music has been around since the 5th century and medieval times, playing a major role in religious and royal traditions. Although the first forms of written classical music were composed by the early church, its roots came from traditional ancient Greek and Roman music. It was implied that the church wanted to stand out from their predecessors’ music as it was a symbol of paganism, a religion persecuted by the church. Similarly to the Greek and Roman societies, music was considered rather important in education, as it was one of the four main subjects in the quadrivium, a grouping of four subjects of the Middle Ages’ upper division of the liberal arts education. Later on, scholars promoted studying music through perspectives of other scholars. Unfortunately, the scholars had difficulty understanding the musical writings of the previous Greek and Roman musical pieces because there weren’t many musical works available. According to musical scholar Cassiodorus Isidore of Seville, sounds couldn’t be “remembered by man” or “written down”. Despite the confusion, certain aspects of ancient music such as improvisation and monophony were prominent in many types of music across ancient civilizations.

From 476 to approximately 1400, medieval music dominated the church. During this time, the first forms of musical notation had been developed, swiftly followed by the development of polyphonic music.

Although monophonic vocals had been more prominent in the early Middle Ages, polyphonic vocals became more common by the 14th century.

Music flourished during The Renaissance period. From early forms of the bass instrument to interweaving melodic lines, music from the Renaissance played a key role in shaping the current forms of classical music today. Dance, as well as different forms of musical notation and a music staff were also incorporated. Yet, the greatest invention was the use of a musical score – it meant that pieces could be played even with the absence of a composer. Thanks to this brilliant creation (in turn, thanks to the invention of printing), music from the 15th century could be kept alive for us to enjoy today. However, musical scores weren't the only major invention from the Renaissance – so were many of the brass, string, percussion and woodwind that we play today.

Music developed to a whole new level during the Baroque and Classical periods. Famous composers like Vivaldi, Mozart, Haydn and Beethoven reigned supreme, writing elegant and sophisticated pieces that are still widely appreciated today. Keyboard music increased in popularity, and the violin was shaped into its current appearance. The family of string instruments grew. During the Classical period, the idea of an orchestra became a reality and chamber music could include as many as 10 people. In addition, symphonies were brought to life. Instruments, especially woodwind from the Baroque era were used, after being popularised by Mozart through his chamber and orchestral works.

The Romantic era, despite its name, wasn’t necessarily all about love, but rather about ‘romantic’ ideas of emotion and personal expression. From the early 19th century to the 20th century, the drama of opera reached its peak, bringing emotions and expression with music to life. Composers began to write pieces which greatly differed from the Classical period, such as nocturnes – pieces inspired by the mystery of the night – and preludes, very short pieces. In the 19th century, musical institutions were supported by wealthy patrons; the middle classes created their own organisations to teach, perform and preserve music. Not only did the piano develop into its appearance we see today, it was popularised and highly demanded due to its sustained and expressive tone. New woodwind and percussion instruments were developed; brass instruments received more attention and the orchestra grew to over 100 members.

Nowadays, classical music remains prominent in the musical hierarchy, and while less popular when compared to other genres like pop, classical music still makes its appearance in famous pop songs. After all, classical music is a genre with an extensive history, and while the earliest works may be forgotten, we will forever cherish the impact classical music has left on modern music.

Editor: Kelly Zhang Graphic Designer: Sophia Lau

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Younger me would have never imagined how far I’ve gone, never believed that the girl with wind-tangled hair and hands up in the air, belting ‘Let it go’ in her dad’s convertible, would be writing an article in England 8 years later, sitting in a dormitory in Summer, at last seeing the light streaming through the typically dull house-windows.

Did you recognise anything? How far I’ll Go, wind- ‘Tangled’ hair, In Summer, at last ‘I see the light’. That niggling feeling in your brain was right, those were all references to our beloved Disney films. No matter the 1930s or the 21st Century, we all have some memories of hollering out the tunes that seized our childhoods. Every toy store, mall, and neighbourhood were infiltrated by the flood of wannabe princesses. Countless memories of sitting around the TV enraptured by Rapunzel’s seemingly invincible blonde river of hair and pestering my mother for martial arts classes because ‘doesn’t she want to “make a man out of” me?’ are recalled the minute someone plays one of the wistful melodies from the films, leaving me yearning for the past. This article will be looking into how some of these iconic songs were made and why they remain— and will remain— legendary.

According to the Oscar-winning composer and songwriter Alan Menken, music is prepared before any other element of a film. The order is the basic story, its structure, the musical style and finally fitting songs into the story like a jigsaw puzzle.

The soundtrack of 1989’s The Little Mermaid was composed by lyricist Howard Ashman and Alan Menken, their Broadway musical history clear in their production. It was the kick-off into a more musical-like world of Disney.

Instead of dialogue, we have lyrics, and the music shows the story before the animation does. One of the first examples is ‘Part of Your World’, a ballad sung by mermaid Ariel. Her longing for something new, the fascination and pull towards the human world was told by the pining lyrics ‘I wanna be where the people are/ I wanna see, wanna see them dancing’. So, how did they create these musical voices with emotions that are so poignant?

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According to Howard, they turned all the lights off in the studio except for one over the music sheet, and told Jodi Benson, a theatrical actress and voice of Ariel, that she was ‘alone in [her] grotto on this.’ This character immersion and scene-setting worked miracles. Her powerful yet yearning vocals, hopeful yet helpless in her desires, paired with the majestic orchestral background, rising flute themes and the tinkling motif played by piano— a sound reminiscent of water— mixed to create the iconic and emotional leitmotif of Ariel.

Another hit, ‘A Whole New World’, written again by Alan Menken and Tim Rice, carries the soaring tune that everyone recognises to this day. Again, the combination of piano and woodwind takes you flying through the sky, the use of a mark tree (bar chimes) giving the magical sparkling sounds and colour to the track. I remember duetting it with my friends constantly, us swooning over Aladdin’s dedication and the romance presented, our 7year-old selves already looking for our own true love.

Disney uses the lyrics to speak and the music to tell the tale, emotions weaved completely into the songs, giving us the award winning, heart-touching soundtracks.

Each generation has their favourites, but we must admit Frozen stole our hearts. Aside from its portrayal of relatable sisterly arguments, themes of true love and adorable Olaf, the musical aspects of Frozen were where the real magic laid.

Couple Kristen Anderson-Lopez and Rober Lopez, the masterminds behind the ten main songs, used a combination of pop and musical theatre to make these pieces get stuck instantly in your head. Dr Vasco Hexel, teacher of composition at RSC (Royal College of Music), comments that the structure of ‘Let It Go’ carries the ‘streamlined’ sense of pop songs—verse/chorus/verse/chorus.

Moreover, the simple tri-colon of lyrics ‘Let It Go, let it Go’ is so simple; the three-note motif accompanying it creates an easy karaoke tune for 5-year-olds and 35-year-olds alike. Its repetition and powerful vocals are a key part of its almost irritating catchiness, the motif wriggling its way into your brain. The wonderful storytelling creates an empowering and relatable theme, shown in both the almost angry but freeing music and lyrics, bringing us through her self-discovery.

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My favourite part is how all the sound effects of her magic and the building of the ice castle are reflected in the orchestral instrumentals. Every time I hear the song, I can immediately picture her dramatic stamp to create the snowflake, the powerful rising of the castle— all reflected by the drum beats, cymbals and rhythmic piano chords that build up to her chorus of ‘Let it Go’: symbolic of her breaking free of the pressure that held her back for years (‘That perfect girl is gone’), before the iconic door slam. These elements: easy motifs, simple melodies, and powerful meanings, are what makes Disney’s soundtracks so renowned.

So why is it so nostalgic?

There is a never-ending list of why Disney songs are some of the best songs made, but to narrow it down, the memories, relatability and meaning are the true stars of the show.

Songs like 2010 Tangled’s ‘When will my life begin’ carries a question everyone can empathize with; her need for something more than just life in a tower can be easily understood and taken to a real-life context.

Same applies with 2016 Moana’s ‘How far I’ll Go’: her desire to do something different to what is asked of her could resonate with anyone, the lyrics both inspiring and mournfully relatable. There are hundreds more legendary soundtracks; the Lion King, Mulan, the Jungle Book…, but down to their cores, their nostalgia comes from the memories they give us.

Be it excitedly playing the new songs on repeat or bellowing ballads with family, it is the time of bonding, fun and childhood that gives Disney its lasting nostalgia.

Editor: Mary Chang Graphic Designer: Jenny Huang Illustrators: Jenny Huang & Daisy Liu

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now playing: Yesterday by The Beatles

Polyphony MAGAZINE