Genre Implosion Revisit, Episode II – ENDINGS
GI was the name of a graduate research project I completed as part of the requirements for my M.A in Music Criticism, in the always unique and unfortunately now-defunct program founded by Allan Walker at McMaster University in Hamilton, Ontario, Canada, and offered from 1981 to 2007. The project, which consisted of a major research paper, a 21-episode weekly radio show and a survey that sought to understand how we classify music into genres and how we are in turn influenced by that system of classification is chronicled on an area of my own main website… genreimplosion.orgalt.com.
IAM is hosting my re-visit, and perhaps your first visit, to this project as it aired Wednesday mornings from November 2005 to April 2006 on CFMU, the student radio station at McMaster University that kindly agreed to support my work. I’ll say only briefly that every 30-minute episode chose a simple musical premise that could be applied broadly across genre lines, and offered selections drawing attention to how this premise appeared in widely divergent styles.
Episode II, in answer to Episode I’s “Introductions”, dealt with musical endings.
Endings have presented challenges to composers and performers, who frequently resort to formulae and clichés – even non-endings like the ubiquitous fade of pop music just to ‘make it stop.’ Yet, scanning history, we see just as many examples that echo their beginnings and even make radical departures in their closing seconds.
MICHAEL BUBLE: Fever (3:52)
JOSSY ABRAMOVITCH: Turkish Circus (4:41) (Quartetto Gelato)
SAMUEL HONG/ANNA GUO: Autumn Moon on a Calm Lake (4:50) (Toronto Dunhuang Chamber Ensemble)
CLAIRE LYNCH: Children of Abraham (2:56)
MYCHAEL and JEFF DANNA: The Blood of Cu Chulainn (4:07)
BUCK 65: Wicked and Weird (3:12)
—– Music 20:26