Use your power to make space. Own your positionally - your identity or someone else will.

Discusses how the tourist is critiquing with the same lens: gender, class, and culture, but it places the tourist as the center, rather than the Other or the Subaltern, silently pushing them further from a discussion that is meant to be surrounding their identity.

The conceptual structure centers a Subaltern or Other as a center.

But as a post-structure concept, we are deconstructing structure only to reify how the structure worked in the first place that "centered the Other" in the first place.

Msuic is labeled in the male point of view, therefore the male gaze continues to exist, depsite the plot and camera wishing to shamefully oogle Darcy as an object of wealthy affection

What is the purpose of commemorating? Why is there a need to preserve the memory of someone's life, or death or career?

Do you feel this is the same with music? That we only commemorate negatively?

Is commemoration about the act and its significance or a singular person?

What do we honor with silence or with music?

Attempting to demonstrate music = community in this world, as a realist ritual.

It is not leaving them with merely an accent or a language as a sonic signifier.

If there was a lack of music to simulate the Na'vi this would be equally telling or if it was comedic and hokey, that level of music would make the world irrelevant or lesser versus the intricate tackling of the score.

In short, both King Kong / Captain Blood and Avatar demonstrate themes of colonialism.

Unison, but with microtonality = simplicity.

Unlike Steiner, this is a simplistic or more naturalistic score. Does this lessen the musical heiarchy when the orchestra [western force] is not the ethnographer, such as in King Kong? Again, there is a reversal about how the music is viewed and shared to the audience. Jake is adapting to Na'vi, whereas Skull Island is a tourist destination for a film crew. They are documenting, witnessing, and framing the music.

In short, the music must logically support the environment of a film and its atmosphere. However, how does one create a new musical environment for a fictional and coded, primitive, world?

The Soundtrack Ethnomusicologist supports a world in 3 ways as an implied narrator: using music to sell a fictional and exotic local, support a genre landscape [the western frontier], and/or American urban life with contemporary music that dates the picture.

Why must this sense of sorrow be sung by women of these cultures? However, there is something to be said that a lack of resolution equates to something off in western musical osmosis.

Was there a part of the film that mentioned the deity was male? Why is it that the women have the overlapping and more musical elements of the tribe, outside of the physical aspect of weaving?

This concept reminds me of Happy Feet. Choosing the best singer, the most expressive as a representative mate for the tribe.

Disconnect from the visual instrument versus the sound. However, if the audience is only shown how the instrument is played, can the sound be incorrect for the logic of storytelling?

Note that no strings, often associated with Western classical music, are included. Instead, the focus of the music is derived from "natural" sounds, such as voices, drums, and occasional winds.

Gita Sarabhai and Ananda Coomarasway two cohorts of Cage that were Indian. Rather than using rasa in its modes, he is "collecting seashells" of sounds that he likes within a structured frame [7 bars by 7 etc]

Okay - so Miku is a hologram created by Vocaloid but songs, music videos, and her platform is entirely fueled by fans. Does this aspect make her more human or less because we know she does not exist? Or is it closer to the concept of celebrating human collaboration in a virtual medium? More 2D than perhaps a TikTok musical, in which tech is aiding a collaborative human creation via virtual content.

By Japanese Breakfast, I noticed a recurring pattern for 80s revival styles. Michelle Zauner's timbre and reverb emulates Cyndi Lauper almost to a Tee, and earlier bands, such as Bleachers and Jessie Ware, also echo 80s bands. The Bleachers performs a subdued cross between Huey Lewis and News with their inclusion of jazz instruments and John Hughes dance aesthetic within the music video. Jessie Ware also harkens to late Michael Jackson with the club setting and R&B synth syncopation.

A majority of the commentary embedded in the article harkens to lyrical analysis and / or key influences of the artists' style. I am not well attuned to modern artist (I heard less than six songs on this list prior to listening) and greatly appreciated an introduction to Noname. Acknowledgment of the artists' reputation for quiet slam poetry offered the clearest insight for what I was about to hear and this commentary best prepared me to actively listen for their political insight, especially because of the artists' infrequent releases.

24 Kacey Musgraves, "Breadwinner" offers the most compelling lyrics. Although these words are uttered before the song officially begins, "He wants your shimmer / To make him feel bigger / Until he starts feeling insecure" is advice that I have been given by numerous female relatives. When I moved to California to begin my masters and living with a long-term romantic partner, my mom and my aunt offered a similar warning, which I regret forgetting in the following two years of that relationship. In short, the song was a gut punch, but I enjoyed the bubblegum pop colors.

27 Eric Church, "Russian Roulette" is my favorite of 2021 list. Not for its lyrics, nor for an established affiliation for the artist. In fact, this is the first time I have heard of Eric Church. What makes this song a favorite is because the essence of its simplistic narrative and acoustic guitar, coupled with the percussive pulse of piano and synthesized strings, echoes the nostalgic sound cloud of my family road trips. Mom would blast the "Summertime" Bon Jovi album on repeat when I was ten and this took me back to North Carolina in a heartbeat,