Task #8 – Golden Record Curation

I approached this task with the mindset that the included works should show as much diversity as possible, not just in the cultural origin of the music but in the sound and/or instrumentation. As a music teacher, I tried to think about the instrumentation and musical construction of the pieces to arrive at the final curated list in addition to its diversity. For example, I felt that there was an overabundance of classical-style pieces on the Golden Record, and didn’t feel the need to include many of them in the final list. Although they have different sounds and are not all from the classical era of instrumental music, they still had the commonalities of using similar types of musical notation and western orchestral instruments.

 

Senegal, percussion, recorded by Charles Duvelle

I selected this piece both for its ethnic origin as well as its aesthetic value. This piece comes from Africa, and I included it because I did not feel that the original curators of the record gave Africa enough overall representation on the record, which is a bit curious for a continent of its size. In terms of its sound, the percussion in the piece is lively and interesting, taking on a polyrhythmic feel that I found enjoyable. 

 

“Johnny B. Goode,” written and performed by Chuck Berry

Rock music is a truly American art form, and it is as much of a cultural statement for America as any other piece of music on the record. This particular song is included because it is considered one of the works that put rock music “on the map” so to speak, and I feel that its importance warrants inclusion here. The fact that it is just a great song doesn’t hurt either!

 

Australia, Aborigine songs, “Morning Star” and “Devil Bird,” recorded by Sandra LeBrun Holmes. 

The inclusion of this track is less about its aesthetic value and more for keeping a fair level of diversity. This is the only track that represents the Australian continent, so having it on here allows for a worldwide representation. Also, because of its use of the didgeridoo, it has a very unique sound that can’t really be found on the tracks from other cultures.

 

Japan, shakuhachi, “Tsuru No Sugomori” (“Crane’s Nest,”) performed by Goro Yamaguchi

This track is one of 4 originating in Asia. I wanted to keep a strong level of diversity by having a track of Asia in the list and I chose to include this one over the others because of its overall sound. It is one of the few tracks on the whole record that is a solo performance without any other percussive or vocal accompaniment. I felt that had a  haunting yet beautiful melody that could possibly elicit an emotional response in the listener.

 

Mozart, The Magic Flute, Queen of the Night aria, no. 14. Edda Moser, soprano. Bavarian State Opera, Munich, Wolfgang Sawallisch, conductor

There were multiple examples of western classical music (although not necessarily from the “classical” era) included on the Golden Record, so it was initially difficult to choose which one would be included on this list. However, I decided to go with the Queen of the Night Aria because it provides a good example of both orchestral instruments and vocals in the same track. In this way, I can have examples of both elements without having to include multiple classical works on the record.

 

Georgian S.S.R., chorus, “Tchakrulo,” collected by Radio Moscow

In terms of diversity, I wanted to include a piece from Georgia because of its unique space in the world. It was a former Soviet republic, so I felt it could represent elements of Russian culture. Geographically, it is located at the intersection of Europe and Asia, giving it a unique cultural perspective. The piece features a men’s choir singing in tight and lush harmonies, giving it an interesting sound that represents Georgian culture but contains stylistic similarities to western choral music as well.

 

Peru, wedding song, recorded by John Cohen

There are 2 pieces from Peru on the Golden Record, but I decided to go with this one over the panpipes/drum piece. This song is a solo vocal line, and I compared it to the piece “Tsuru No Sugomori” when listening. I feel that this wedding song could be a companion piece to the Japanese song, almost like 2 sides of the same coin, which is fascinating seeing as they are from such different cultures. Both songs contain some similar elements but with a slightly different execution. One example of this can be seen in the way the melodic lines are performed. Both songs use similar inflections, but the Peruvian song executes them much faster and with a more aggressive nature than the Japanese song.

 

Navajo Indians, Night Chant, recorded by Willard Rhodes

I included this piece to represent the other side of America, the Native American. Earlier I spoke about Rock music being uniquely American, and this piece from the Navajo Indians takes that concept even further. There is no group more uniquely American than the Native American, and I wanted to make sure that their voices were part of this collection. The sound of the piece is interesting as well. The singers have a vocal line in unison, but their voices are different enough that the line has a jagged quality that meshes together well. I also thought that the rhythmic pulse underneath the vocals was simple yet effective, and its simplicity allows the ears to focus on the vocal line more easily.  

 

India, raga, “Jaat Kahan Ho,” sung by Surshri Kesar Bai Kerkar

India is such a uniquely interesting culture with a massive population and a fairly significant cultural footprint in the world, so I wanted to include this song in the collection both for the sake of diversity and aesthetics. The sound of the piece resonated with me because of its slow and deliberate feel, coupled with the percussive yet melodic elements of the instrumentation. The vocal line was hauntingly beautiful and complemented the accompaniment in a symbiotic manner.

 

“Melancholy Blues,” performed by Louis Armstrong and his Hot Seven

I feel that the last track on my curated list reveals my biases, both musically and culturally. I have always loved Jazz music, and played in numerous jazz groups while in High school and university. Additionally, my main instrument was the trumpet all through school, so I have a huge amount of respect and admiration for Louis Armstrong and the way that he advanced the art form through his playing. I would be remiss not to mention the giant place that Jazz music takes in the scope of American popular music, especially it being a very uniquely Black art form that I identify with as a Black Canadian.