Music is something that appears to just be sound and words, but really there are no lyrics “we graft beginnings, middles, and ends” (kitchen sisters) “together to use as beds for our stories to lie on”. It is all sound, that is fragmented together with significant meaning, “moving forward the story”. This was all from the sisters, then their editor producer guy spoke and really sold the elements. There is a lot of scientific jargon that goes into the physics of voice. Very brilliant stuff. Too dense for me to break apart just yet. But to put simply our voice is an arrangement of consonants and vowels that fall under specific decibels of sound, thus you can build harmony between music and the voice. “the music is the driver of the scene, and the story becomes the lyrics of the song”, or in an essays case, the narrative. According to the sisters, “we experiment with the levels every time”, so there is no specific rhythm or sound to copy, but it’s a matter of finding the correct levels for your voice and story.

in Rachel Yoder’s: I’m White and Mennonite,  she’s a white girl, a hippie white girl, Mennonite (2:30). She comes from a town of Amish people, horse poop in the street (3:30) and as Aristotle would say, you use the word and not figurative language when speaking of the ugly. so the tone she builds here with her sound is very flat and unflavorful. At (3:55) she plays a stereotypical southern/midwestern dialectic, this adds a bit of voice to the impression she gets of her homes culture.

Then she goes into her relationship to her friend Nicky and hating everything in their town together. However Nicky was a local. (4:20) Again going back into the somewhat racist southern culture of boyscouts with coon hunting licenses and a kkk town official (5:40). Creates a really tense and oppressive feel. Which she breaks free from through sound.

 

(7:15) She goes to Georgetown university on scholarship she gets there and thought it be gritty and hardcore but on most northern border of dc… also some really white people there, who weren’t so about fixing race relations. She was supposed to hand with white kids. All she wanted to do during break was hang out with Patrice, couldn’t understand going skiing. They join a group called super food (10:20) and they were not good, but she really got to know everybody there and obviously felt comfort, and an appreciation of all the cultural musics, more than just hip hop. They then go on to play in real places (11:20).

Jonathan Mitchell speaks of organizing sound, and how all you need to do in music is organize the sounds. The article’s approach is a lot less tethered with details than the sisters, but creates a clear graphic organization of what organizing sound is. They both suggest the fragments of sound are to be connected to fragments of the words. This is something Yoder does pretty explicitly at some points… “I want to freak you” (6:10) matched the music she favored as a youth, with the deterrence from her racist culture, to create impact, and sensual meaning. It’s really hard to say because of the subjectivity involved, but objectively its clear that this is an attempt of reforming race relations. It “springs organically” “gives it deeper meaning, resonance, and clarity” transitioning naturally from a car radio consistent with the story’s plot.