Thursday, May 16, 2013

Rental Property

My late father-in-law built a birdhouse for our yard. It was a simple thing—a box, painted dark brown, with a peaked roof, a hole, and a peg.

My husband hung it near the garage and we kept watch. Maybe birds were put off by the smell of paint, or the location.  Who knew. Whatever the reason, it was ignored. No birds flew around it, landed on it, or looked inside.

Then, one year, during a fierce storm, it was knocked off its hook. My husband found it in pieces on the lawn—walls scattered, roof upside down—and lovingly reassembled it, overbuilding,  as he does with every piece of furniture he makes.

This time, it was hung in a more sheltered spot by the garage, from a hook that was deeply implanted, better able to withstand our midwestern gales.

Spring came, and, again, we kept watch, encouraged by the interest a mother wren showed in one of our other birdhouses—that one, hung from our house, a gift from a friend. She quickly took up residence there, and busied herself with building a nest, laying her eggs, and feeding her hatchlings.

Her activities kept us entertained for a month or more.

But still the brown house was vacant.

Then, three years ago, at the first sign of spring, a male house sparrow perched on the peg of the brown house. He sat for a minute, then flew down to the lawn where he pulled up some pieces of dried grass. A minute later, he returned to the peg, his beak stuffed.

Finally: tenants. We celebrated and joked about shoving a tiny lease through the hole.

The sparrows stayed all summer, and their fledglings stayed, too, darting in and out of the house well into fall, until the first hard freeze.

The following spring, they returned and settled in.

My husband thought it might be a good idea to clean and check the house for rot before winter, so he could make any repairs it needed, but the sparrows didn't give him the chance. By the time they took off for their winter home, the first snow had fallen.

And, of course, before he could get out to inspect the property this year, they were back again—earlier than before, seemingly, with the whole family—or mispocha, as we say in Yiddish.

I love birds, but know little about house sparrows.  I can tell you that they have managed to multiply and thrive despite the West Nile virus that wiped out our blue jays and crows. And I can also tell you that they have particular tastes; and once they decorate a house, it's theirs.


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Wednesday, May 8, 2013

Guest Post: The Sound of Skywalker-Influence and Parody

From Matt Lawson....

As we have seen and heard, The Imperial March is an iconic musical theme which resonates in today’s society.

While we have examined how the music works in the original Star Wars film series, it is also important to recognise how the musical theme resonates in other aspects of modern culture.

Parody is where The Imperial March really shines, excepting the original films of course. It is a compliment to Williams that it can be found in so many television programmes and films, representing ‘pure evil’.

Perhaps the most mainstream of parodies is The Simpsons, where Nuclear Power Plant owner and all-round evil guy Mr. Burns is often accompanied by The Imperial March.

In the popular US comedy The Big Bang Theory, the character Raj walks into the comic book store and plays the Imperial March to appear threatening and imposing.

Example One

It has been used controversially, too. When King Abdullah of Saudi Arabia visited the UK among much disconcertion, the Band of the Welsh Guards played The Imperial March to greet him.

Example Two

It has also received covers/treatments from modern musicians. Here, the Dutch symphonic metal band Epica offer us their own take on the music:

Example Three

As we have seen over the past five instalments of this series, the music has qualities which seem to inherently suggest evil, but always with the chance of redemption. When parodied, the evil is played upon, but as we saw in Episode VI: The Return of the Jedi, the theme can become heart-breakingly solemn when the instrumentation and context is altered.

This series has highlighted just one theme from one film series. The world of film musicology is an exciting one to be involved with, as we will never run out of films to study, where the music offer us different paths of research on each occasion.

I hope this series has given you a glimpse into something which I am passionate about, as are many of my contemporaries. Next time you are in the cinema, give the music a thought, because it is always there for a reason. 

Matt Lawson is a PhD Candidate and Tutor at Edge Hill University, UK. He specialises in film musicology, and has produced work on The Lord of the Rings, Harry Potter and Star Wars. His doctoral thesis examines the musical scores of visual representations of the Holocaust, and he has presented his research both nationally and internationally.

Follow Matt on Twitter: @MattLawsonPhD 

Visit Matt's staff profile at Edge Hill University

Monday, May 6, 2013

Guest Post: The Sound of Skywalker-Episode VI

From Matt Lawson....

And so we reach the final episode of the original six film series. In 1983, The Return of the Jedi tied up the loose ends, and we saw Darth Vader/Anakin Skywalker’s character come full circle.

As Emperor Palpatine continues to use Vader as a pawn to entice Luke to the dark side of the Force, Luke tries to persuade his father that there is a chance for redemption.

In a touching scene on the moon of Endor, Luke pleads with his father to ‘come with me’, but Vader replies that he ‘must obey his master’ and that it is ‘too late for me, son’. Here, the Imperial March follows a rendition of the Force Theme, but on a cor anglais. This instrument, often used for its melancholic characteristics, hints at the good inside Vader, and the internal conflict which haunts him.

 


The climactic fight on the Death Star II between Luke and Palpatine/Vader highlights the importance of leitmotivic development, perhaps more so than at any other point in the film.

As Vader comes to the aid of Luke – his son -  as the Emperor is about to kill him, we see Vader’s redemption through love and also through death. This harks back to Richard Wagner’s epic Ring Cycle, where a musical leitmotif also exists for ‘redemption through love’; another hint that Williams is influenced heavily by the German composer. From 3:30 onwards in the following clip, we can hear the solemn remnants of the Imperial March as Vader dies in Luke’s arms. First high strings, an instrument family often used for pathos, then a majestic but forlorn solo French horn. It is the final instrument, when Vader/Anakin finally dies, that brings the music and the character full circle, however. A single, solitary harp plays the Imperial March in a heart-breaking farewell to the complex and tragic character.

Example here

From the subtlest of hints in Episode I, through the terrifying full orchestral pomposity in Episodes II, III and V, we arrive back at the beginning, with a soft, peaceful farewell to not only the character, but also the musical theme which has accompanied Anakin on his journey to evil and back.

Matt Lawson is a PhD Candidate and Tutor at Edge Hill University, UK. He specialises in film musicology, and has produced work on The Lord of the Rings, Harry Potter and Star Wars. His doctoral thesis examines the musical scores of visual representations of the Holocaust, and he has presented his research both nationally and internationally.

Follow Matt on Twitter: @MattLawsonPhD 

Visit Matt's staff profile at Edge Hill University