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Listening:Sarah Harmer: "Shine on Harvest Moon" (Audio Transcript)Sarah Harmer: “Shine on Harvest Moon”From Songs for Clem(1999)
5/8/2016Unit 3: Tin Pan Alley, Social Dance, and Jazz: Unit 3 Notes3/6This is Sarah Harmer ’s cover of the 1908 TPA classic. This is from her first solo album, an indie releaseoriginally recorded as a gift for her father. Sarah was the lead singer of Kingston’s Weeping Tile, a bandpromoted as alternative by its label. As the band’s music began to stray from an alternative soundtoward a more pop and folk rock sound, their label lost interest and dropped the band. Sarah financedSongs for Clem herself. Green would most likely call this interrupting behaviour.Notes on the song’s Musical Elements:Duration– rag piano soloForm– the whole notion of the song is gooey romance which is turned on its head by theraucous, very bawdy piano solo which suggests to me that the couple in question mighthave strayed - if only brieﬂy - from possibly chaste romance to something physical andtorrid.Tempo– tempo increases for piano solo and then returns to original tempoTimbre– great selection of instrumentation to suggest rural, folk-y feel, and then a switchwith the piano solo to a more urban, beer-hall effectTexture– quite transparent, which supports both the rural and urban feels, rural with“space” and urban as the piano would often be a solo instrument in a beer hallDefinition Alert:Indie:short for “independent” – music released without the support of a major label. Cover: a performance of a song previously performed by another artist.Listening:Kristie McColl and The Pogues: "Miss Otis Regrets" and "Just One of Those Things" (AudioTranscript)Kirsty McColl and The Pogues: “Miss Otis Regrets” and “Just One of Those Things” (from the1990 album Red Hot + Blue)This is McColl and the Pogues covering TPA composer Cole Porter. The album Red Hot + Blueis anAIDs research benefit album. Porter was homosexual, closeted to his business associates and to thegeneral public because of how his sexuality would hurt his career. The album is a strong statementabout how far some in the music industry have come towards inclusivity.This Celtic-inspired medley was included on the album due to a resurgence in the popularity of Celticmusic (or at least Celtic-like music) in North America in the late 80s and early 90s. Aside from the IrishPogues, many Canadian bands rode this Celtic-rock wave, including Ashley MacIsaac, Spirit of theWest, and The Crash Test Dummies.Notes on the piece’s Musical Elements:Duration– the time feel changes from 3s to 2s (in this case polka to waltz time) betweenthe two songsForm– medley (not common for pop music)Tempo– the tempo increases dramatically from one song into the next, offering a feelingof lament in the first, and abandon in the secondTimbre– interesting to have a female voice sing the first song, evoking a scorned woman