Arachnophonia: Prince and the Revolution “Purple Rain”

Posted on October 20, 2025 by marmstr3

Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student manager Griffin (class of 2027) and features Prince and the Revolution’s classic album Purple Rain (available on vinyl and CD at the Music Library). Thanks, Griffin!

Prince and the Revolution

Purple Rain

Purple Rain album cover

How did Prince’s legacy we honor today as an international pop superstar begin? For starters, it comes from this record smashing album that is one of the most iconic records from the 80s. Already making quite a significant headway in the music industry from earlier songs like “1999” and “Little Red Corvette” that got Prince to the peak of some mountains, this album was the ship that blasted off Prince into the stardom we know today. Earning Prince best album of the year, song of the year, and movie of the year, and awarded 4th place on Apple’s 100 best albums list, Purple Rain brought forth the future of music as we know it.

Released in 1984, the album broke the rules of the music genre like never before. This is unsurprising for Prince who always fought against being bound to any one particular label and its restrictions (literal music labels as well as the metaphoric ones). The album mixed pop, soul, funk, R&B, rock, gospel, and neo-psychedelia into an unpredictable sonic experience. This fusion found new ways of expression through music and sent waves of influence into the present landscape of music.

As for the content, Prince explores themes of love, lust, identity, alienation, loss and spirituality. Singing with raw emotional depth, the topics give a profound view into the artist’s life and speaks to the human experience. Through “I Would Die 4 U”, Prince challenges ideas of masculinity and sexuality, becoming one of the first artists of color to champion gender-fluidity on the global stage. Purple Rain also influenced how albums were sold because of its content. The track “Darling Nikki” spurred public backlash for its sexually explicit themes, creating the rule in the music industry that albums with child-unfriendly material must have Parental Advisory stickers.

Overall, Purple Rain was one of the most culturally significant albums created and the magnum opus of the late artist formerly known as Prince, and you can check out the vinyl at the Music Library today!

Arachnophonia: Joe Hisaishi “A Symphonic Celebration : Music from the Studio Ghibli Films of Hayao Miyazaki”

Posted on September 24, 2025 by marmstr3

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student assistant Eliana (class of 2027) and features a vinyl record of music from the films of Miyazaki. Thanks, Eliana!

Joe Hisaishi and the Royal Philharmonic Orchestra
A Symphonic Celebration : Music from the Studio Ghibli Films of Hayao Miyazaki

Joe Hisaishi - A Symphonic Celebration vinyl album cover

Joe Hisaishi is a Japanese composer, music director, pianist, and conductor most known for his collaboration with Studio Ghibli and its creator, Hayao Miyazaki, a Japanese animator and filmmaker. Together, they have created a number of brilliant films, including Spirited Away, My Neighbor Totoro, Ponyo, and Howl’s Moving Castle (my personal favorite!), with amazing musical scores. Through this album, you can experience the movies without even seeing them!

This is an album that I have experienced in both a film concert and through vinyl, and in my opinion, I believe it is an amazing score no matter how you listen to it. If you are a fan of that fairytale feeling you get from watching animated movies made by companies such as Disney or Pixar, there is a chance you will love Joe Hisaishi’s music. Even without knowing the movies associated with each of the songs on this vinyl, the songs can tell you exactly how each movie will make you feel. For example, when listening to “Ponyo On The Cliff By The Sea,” I can tell that the movie will give me a joyful feeling; however, do not be fooled by its childlike tone. These songs, and their respective movies, can be enjoyed by people of all ages, and they serve as background to the deep and rich stories created by Hayao Miyazaki.

This album may only appeal to specific audiences, and you might have to watch the movies to truly understand where I am coming from; however, I believe that Joe Hisaishi is a brilliant composer that conveys many feelings and emotions through music. And remember, this is only a taste of what Hisaishi has to offer! I recommend exploring his other work as well, and maybe even take a look at Miyazaki’s films so you can see the songs in action!

Arachnophonia: Frozen II

Posted on April 17, 2024 by marmstr3

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student manager Eliana (class of 2024) and features insert title info here. Thanks, Eliana!

Frozen II

Is Frozen II (2019) your favorite movie? It should be! While this film has my heart for many reasons, the score is truly what sets it apart from many films of similar caliber.

The piano/vocal selections score, available at Parson’s Music Library, contains all songs from the film. The songs are written by Kristen Anderson-Lopez and Robert Lopez. Fun fact, Kristen Anderson-Lopez grew up in my hometown!

The score includes hits such as “Into the Unknown” and “Show Yourself.” In December of 2019, the soundtrack album reached number one on the US Billboard charts, making it the first soundtrack of an animated film to hit the position since Frozen (2013).

The soundtrack of Frozen II has many of the same elements that the first film had, but with even more depth and nuance. The score’s composer, Christophe Beck, said in an interview that the score matured alongside Anna and Elsa, with new sophisticated musical concepts and themes.

To supplement your listening/playing, I highly recommend watching Into the Unknown: The Making of Frozen II available on Disney+. It’s a 6-part docuseries that dives deep into not only the film’s score, but the cast, animation, and development process. I should warn you, though, it’s a tearjerker!

Arachnophonia: Casablanca

Posted on September 27, 2023 by marmstr3

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student manager Eliana (class of 2024) and features insert title info here. Thanks, Eliana!

Casablanca: Original Motion Picture Soundtrack

Among the shelves of CD’s in Parson’s music library sits the soundtrack of Casablanca, one of the most famous movies of all time with a score that certainly holds its own. The score, composed by revolutionary Austrian composer Max Steiner, will transport you to the 1940s and fill you with the triumphant energy of World War II cinema. Steiner not only utilizes leitmotifs in his scoring, but his songs provide formal and rhythmic continuity for the film as a whole, making his composition a true masterpiece.

The beating heart of the film is the song “As Time Goes By,” originally written by Herman Hupfeld in 1931. It is rumored that Steiner disliked this song and wanted to scrap it altogether, but he was forced to use it because the female lead (Ingrid Bergman) cut her hair for a different production and wouldn’t be able to reshoot any scenes with a new theme song. Notwithstanding Steiner’s disdain, the song is a true masterpiece with the context of the film. “As Time Goes By” represents not only the love that Rick and Ilsa have for each other, but also the past that they shared. When the song is not present in scenes between the two of them, the strain on their relationship becomes all the more apparent. Conversely, the song’s presence denotes a sense of calm between the two. Steiner weaves the song’s melody throughout the film to somehow bridge gaps between scenes, allude to strife, and foster love all at once. It is his compositional ingenuity that sets this film apart from many others.

Other notable songs present in the film are “La Marseillaise,” “It Had to Be You,” and “Die Wacht am Rhein.” You can listen to these, as well as the rest of the score, from the Casablanca CD located in the Parsons Music Library.

Arachnophonia: Music in Film by Michel Chion

Posted on April 25, 2023 by marmstr3

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student assistant Naron (class of 2023) and features a book about film music. Thanks, Naron!

Music In Film by Michel Chion
Edited and translated by Claudia Gorbman

Music in Cinema

Summary:
I find this book called Music in Film captivating and quite thought-provoking. The author acknowledges the rich history of music in cinema, from the early days of devices like the praxinoscope and kinetoscope to the diverse range of musical styles and genres that have been integrated into films. It raises questions about the purpose of music in cinema and the complex relationship between music and film. The author also expresses a desire to provide a comprehensive overview of this subject while avoiding oversimplification.

Why I Like This Book so Far:
As a music & film student, I find this book intriguing for several reasons. Firstly, it recognizes the vast history of music in cinema, going beyond the conventional notion of “the cinema” and acknowledging the diverse influences and traditions that have shaped the use of music in films. This inclusive approach aligns with my own belief in the importance of understanding the diverse cultural and artistic contexts of music in cinema.

Secondly, the book raises thought-provoking questions about the purpose of music in films, such as why music is used to accompany moving images and spoken dialogue, and how it can impact the emotional experience of the audience. These questions resonate with my own curiosity and desire to explore the multifaceted relationship between music and film.

Thirdly, the author’s intention to provide a comprehensive overview of significant examples of music in cinema, while acknowledging the limitations of exhaustive detail, is appealing to me as a student. The book offers a balanced and comprehensive approach to studying the subject, without oversimplifying or favoring certain films over others.

The author finds it difficult to view history solely through the lens of winners and losers, or to solely praise masterpieces while disregarding other works. As a result, unlike some current and past writing on the subject, particularly in France, this book may be perceived as indulgent towards a wide range of films and recent aesthetic trends, which may come across as guilty to some. The author’s aim is to inform readers and engage in thoughtful reflection, without resorting to oversimplification. This doesn’t mean that all films are liked, but I do believe that each film deserves recognition for its artistic ambitions, including the intent to entertain.

Arachnophonia: Moana

Posted on April 5, 2023 by marmstr3

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student assistant Marissa (class of 2025) and features vocal sheet music selections from the 2016 animated feature Moana. Thanks, Marissa!

Moana: music from the motion picture soundtrack
Original songs by Lin-Manuel Miranda, Opetaia Foa’i, and Mark Mancina

Moana piano vocal selections

A newer Disney classic, the musical movie Moana hit theaters in late 2016. The story follows Moana, a Polynesian Disney princess on a mission to return the heart of Te Fiti that was once stolen by the demigod Maui. Throughout the movie’s twists and turns, a lively soundtrack mostly written by Lin-Manuel Miranda makes the audience feel as though they are part of the adventure. Known for the creation of the Broadway musical Hamilton, Lin-Manuel Miranda is a beloved song writer and performer who makes all of his work memorable for years and years to come.

Have you ever wanted to replicate The Rock‘s stellar performance in “You’re Welcome,” or learn the instrumentals in “How Far I’ll Go” ? This collection of musical scores by Lin-Manuel Miranda, Opetaia Foa’i, and Mark Mancina includes sheet music for pianists, vocalists, and guitarists. This item is available now in the Parsons Music Library, along with the scores to many of your other favorite Disney songs.

Arachnophonia: Drawn to Sound

Posted on February 27, 2023 by marmstr3

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student assistant Isaac (class of 2025) and features a collection of essays about music in animated films. Thanks, Isaac!

Drawn to Sound: Animation Film Music and Sonicity edited by Rebecca Coyle

Drawn To Sound book cover

Animation as a medium is something that has always intrigued me. Inherently having limits differing from traditional film, animation’s visual spectacle sees itself as a source of disagreement. On one end, you have supporters celebrating the composition of the visuals, but on the other, critics viewing it as a commodification of drawing, reserved for children. Regardless of viewpoint, however, is the music in works of animation. Masters of animation music use the medium in conjunction with what is on the screen for an expressive statement.

This book piques my interest for its breakdown of the works of these very artists, auteurs like Hisaishi have created works so fitting they have become indelible from what is on the screen. Sublimity is unequivocally achieved because of these scores, I often reflect most heavily on the sounds I heard from an animated feature, extending beyond even the most dogmatic of views on what a film “should be”. Editor Rebecca Coyle’s shared admiration for the often-ignored musical elements of these songs is something I was delighted to discover, as the focus of animated films are naturally on the animation itself. But this doesn’t mean music in animation should be marginalized, making this book all the more interesting as it is devoted to animation music. Stylistically, music drive themes in film more subtly than dialogue or visuals–– saturating the viewer in a soundscape is a pivotal role–– and throughout my life, recognizing the importance for these composers made any film an enriching watching (and listening) experience.