Blog Post #7 Sound Essay Questions

Legacy of Music

  1. Where is an example of a voice over?

An example of a Voice Over can be found at minutes running 0:19. The author begins her narrative by telling of her great-great grandfather.

  1. Where is an example of a Fade In/Out?

The author adds an example of Fade Out at around minutes running 0:22. This is where she begins with her Voice Over narrative.

  1. What is the context for the soundscape of this work (what social, cultural, historical, natural or artificial soundscape is being depicted?) What evidence do you have to support your answer?

I think the soundscape of this work would encompass a blue grass genre of music. It is definitely historical with the author’s re-telling of her family’s musical past and present; dulcimer, singing, guitar, mandolin and piano. The story is all in a natural setting.

  1. What soundmarks can you identify in the work?

The Hammered Dulcimer (although dulcimers are played around the world, in many different styles and shapes). The guitar.

  1. Give an example of the use of an audio signal.

Whomever is speaking at the time should be given the listener’s direct attention.

  1. What might be the keynote of this work?

I believe the keynote of this work is the idea of a family in love and ingrained in music for generations past, present and future.

  1. Would you describe this work as a sound portrait, biography or autobiography; a sound documentary; or a sound performance? Give reasons for your answer.

If I had to pick one, I believe this work would be a Sound Portrait because it spans musical history of Great-great grandfather, grandfather and grandfather’s brothers all playing dulcimer, guitar or mandolin. Parts of the story has her mother telling of her father, especially, and sometimes her mother and siblings singing. The author’s mother wanted to learn to play piano but, wasn’t able to because there was no money so, she sang. The author was able to learn the piano then later the flute. This piece is not strictly a documentary of one person and it is not wholly an autobiography of the author only.

  1. How does the author achieve rhetorical coherence in this work?

The author shows credibility in her Ethos by providing firsthand familial historical accounts. Her father gives memories of his father, she gives her own storyline to the family’s musical history and includes her daughter’s blossoming continued legacy of love in music. There is not much Logos in this piece but, she does give a date at the beginning of the work, “around 1920” and that she has so many people in her family as sources to speak with on the history of music in the family is reliable for the listener. The author depends on the listener’s Pathos being effected with this compilation in many different ways. The use of music is one, storytelling is another. A child’s song being included would affect many listeners partial to children and their role in families.

  1. How does this work illustrate some of the affordances of sound?

This piece uses music, voice over, documentation, storytelling and recording history as a tangible auditory experience for her family, especially her daughter, to hold on to for a long time. This is a great personal affordance for the author. Now, she has an auditory work for her professional portfolio, if she wishes. This piece is strong on the Pathos side of rhetoric, another affordance of sound.


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