University of Michigan professor unearths music from Auschwitz

DETROIT — Patricia Hall went to the Auschwitz-Birkenau Museum in 2016 hoping to learn more about the music performed by prisoners in World War II death camps.

The University of Michigan music theory professor heard there were manuscripts, but she was "completely thrown" by what she found in the card catalogs: Unexpectedly upbeat and popular songs titles that translated to "The Most Beautiful Time of Life" and "Sing a Song When You're Sad," among others. More detective work during subsequent trips to the Polish museum over the next two years led her to several handwritten manuscripts arranged and performed by the prisoners, and ultimately, the first performance of one of those manuscripts since the war.

"I've used the expression, 'giving life,' to this manuscript that's been sitting somewhere for 75 years," Hall told The Associated Press on Monday. "Researching one of these manuscripts is just the beginning — you want people to be able to hear what these pieces sound like. ... I think one of the messages I've taken from this is the fact that even in a horrendous situation like a concentration camp, that these men were able to produce this beautiful music."

Sensing the historical importance of resurrecting music for modern audiences, Hall enlisted the aid of university professor Oriol Sans, director of the Contemporary Directions Ensemble, and graduate student Josh Devries, who transcribed the parts into music notation software to make it easier to read and play.

Last month, the ensemble gathered to record "The Most Beautiful Time of Life" ("Die Schönste Zeit des Lebens"), and it plans to perform the work Friday during a free concert at the university.

Hall believes the piece, a popular fox trot of the day, was performed in 1942 or '43 by the prisoners in front of the commandant's villa for Sunday concerts for Auschwitz garrison. Although the prisoners didn't compose the songs, they had to arrange them so they could be played by the available instruments and musicians.

Based on the prisoner numbers on the manuscript, Hall has so far identified two of the three arrangers: Antoni Gargul, who was released in 1943, and Maksymilian Pilat, released in 1945 and later performed in the Gdansk Symphony Orchestra. They were Polish political prisoners.

The recording will become part of the Auschwitz-Birkenau Museum, which recently obtained a baton of one of the inmate orchestra's conductors.

While survivors and museum officials have said the musicians received more food, had clean clothes and were spared the hardest labor, museum director Piotr M. A. Cywinski recently said in a statement that they experienced "an element of humiliation and terror."
Hall said they weren't immune to the greatest horrors of the camp.

"We like to think of a narrative in which the musicians were saved because they had that ability to play instruments," she said. "However, it's been documented by another prisoner (in an orchestra) that around 50 of them ... were taken out and shot."

During 1940-45, some 1.1 million people, mostly Jews, perished in Auschwitz-Birkenau's gas chambers or from hunger, disease or forced labor.

Hall said it's a little surprising that no one discovered the manuscripts earlier given their significance, but "not everybody wants to do manuscript study in an archive." She said she found about eight similar manuscripts that would be worth recording and performing, though it might be for someone else to do.

"Despite everything I do, I find the atmosphere in Auschwitz-Birkenau quite depressing," she said. "I go back and forth about how much further I'm going to research these manuscripts."

Marketers Often Overlook Music in Campaigns, but Here's How They Can Start Weaving It Into Strategies

Music and artists are the backbone(s) of culture. They frame fashion, drive social media conversation, invent dance moves and memes and are a loss-leader lynchpin of the first trillion-dollar company. We've watched brands like Kanye West's Yeezy and Rihanna's Fenty Beauty turn entire categories on their head and generate millions in profit as a result.

TV spots can be turned from mediocre to iconic with the right song selection. Most CMOs will tell you how important music is, but many have no idea how to get involved in any meaningful way. It's weird out there in music land, but there are some basic things you can keep in mind as you try and get in the mix.

Think about music

Before you have a project on the go, take a breath and take a minute to think about your brand, the places music naturally intersects with it and what role you might want music and/or artists to play in the future. Think about your marketing budgets and if you could possibly carve a chunk of that out for more music-focused projects. Be realistic. Maybe you're a small brand that wants to cultivate a grassroots relationship with up-and-coming artists through product sponsorship. Maybe you really just need a good deal on a super recognizable song for your yearly Super Bowl ad. Or maybe you just need a resource for some affordable stock music for your endless online videos. Giving some bandwidth to think about music before you actually need it will turn a last-minute scramble into a well-prepared execution.

Investment, commitment and the end game

Music moves culture and resonates with people in profound ways, so it's priced accordingly. Be prepared to invest an allocated budget and be in the game for the long term, whatever your music game plan is. This applies equally to brands like Apple, who have consistently set a tone by working with artists on the cusp of being the next big thing, to brands like McDonald's, who have dedicated their paid media dollars to making their five “I'm lovin' it” notes one of the most recognized melodies by placing it in every single spot. Also, if you want to play the “we want to break a new artist” game, it's actually not tough to do—just spend a ton on the media buy. Cool creative won't do it. A one-off high-profile spot won't do it. Brute force will. But that's what you're buying media for in the first place, right?

Think about the end game when you're making deals, too. Do you really want to be the brand that's known in the music business for squeezing artists for ridiculously low fees, or would you rather be known as a reliable artist ally who gets the first look at the best opportunities and is seen as a legitimate collaborator?

Who's calling the shots?

The magic of music is the fact that it affects people enormously and that it also affects everyone differently. An astounding number of multi-million-dollar music decisions come down to simply a gut “I'm into it” or “I'm not into it” feeling by the person in charge of green-lighting the ad, which is certainly proof that the power of music exists beyond the realm of rational decision-making. However, that also means that no matter how demographically on-point your music strategy involving Migos is, if your CMO hates hip-hop, it will never, ever get the green light. I've never seen anyone talk someone into liking music they don't like—so plan accordingly.

Be prepared to be uncomfortable

It's not an overstatement to say that the music business is the Wild West. Artists curse, have political points of view, feud and sometimes they even reveal each other's marketing plans in the name of beef. Artists are driving culture, but doing business with them can be messy and requires stepping out of your pre-2018 comfort zone. Brands that are able to do so are rewarded with attention and relevance, but also have to navigate uncharted waters, convoluted contractual negotiations and the occasional PR dust-up.

Beyond ads

The next frontier is not simply soundtracking marketing materials but involving artists in product development. The link from artist to ROI for artist-created brands (OVO, Fenty, Yeezy) are clear, but the initial investment is substantial. That doesn't mean your brand can't play in the space. Something as simple as having Tyler, the Creator pick out the colorways for Converse's One Star relaunch last year drove them to sell out in a day. Even PornHub got into the artist collaboration game when they had hip-hop artist Young M.A. direct a film for them, which drove reams of press.

None of these cases were brands simply borrowing equity from a song and slapping it on an ad to affect consumer preference down the road. These were true artist collaborations with immediate, measurable returns on investment.

Now more than ever, the most successful artists are polymaths, as skilled at guiding graphic design and social media finesse as they are at writing hooks. Their triumphs are a result of their work as creative directors marshaling multiple songwriters, producers and publicists on their team to have the public hanging on every word. What more could a modern brand want in a marketing partner?

Former Horace girl to represent ND in music competition

BISMARCK — A former Fargoan will represent North Dakota in a national music competition later this year.

Chloe Marie Watterud, who now lives in Minot, received the most votes in the state competition of "Ethan Bortnick: Celebration of Music — Talent Search," which aired earlier this month on PBS. Her win was announced during Bortnick's Sunday, Sept. 23, concert in Bismarck.

Watterud, 16, was born in Fargo and attended Horace Elementary in Horace, N.D., before moving with her family to Minot in 2012 when she was in fifth grade. She is now in 11th grade and attends Minot High School Magic City Campus in Minot. She's been singing since the age of 8 and has released three singles.

Following the statewide victory, Watterud will compete in the Los Angeles Celebration of Music National Show later this year.

At the age of 9, Bortnick was recognized by the Guinness World Records as "The World's Youngest Solo Musician to Headline His Own Concert Tour." Now 17, Bortnick is seeking to highlight other young talents across the United States.

Five young musicians from Fargo-Moorhead also participated in the competition, including Cassie Ishaug, Katherine Leiseth and Hannah Leiseth of Moorhead and Victoria Sharp and Kwaician of Fargo.

Listening to music while exercising helps combat fatigue, according to new study

In addition to offering entertainment whilst running on the treadmill, listening to music during a workout can also lessen fatigue, according to new research.

The study, conducted by Brunel University London and published in the International Journal of Psychophysiology, found that hearing Marvin Gaye's rendition of "I Heard It Through The Grapevine" while being active resulted in stimulation in the region of the brain associated with easing fatigue.

Participants also reported feeling that their workouts felt shorter and more exciting while listening to the 11-minute song, the only song used in the study.

Of the findings, study author Dr Marcelo Bigliassi told PsyPost: "Music is a very powerful auditory stimulus and can be used to assuage negative bodily sensations that usually arise during exercise-related situations".

As the music increases stimulus in this region of the brain, people feel less tired - which can increase the amount of time they are capable of exercising.

Dr Bigliassi thinks the findings could be especially helpful during "the most critical periods of the exercise regimen, when high-risk individuals are more likely to disengage from physical activity programmes (e.g., individuals with obesity, diabetes, etc.)".

However, Dr Bigliassi does have practical concerns when it comes to the effects of music on workouts.

Although science proves music does lessen fatigue, he worries that humans may become too reliant on music as an escape from reality.

"We have learnt so much about the psychophysical, psychological, and psychophysiological effects of music in the past two decades that people are almost developing a peculiar form of stimulus dependence," he said. "If we continue to promote the unnecessary use of auditory and visual stimulation, the next generation might be no longer able to tolerate fatigue-related symptoms and exercise in the absence of music."

To study the effects of music while working out, the researchers had participants lie down in an MRI scanner and exercise with a hand-strengthener grip ring.

Participants engaged in 30 exercise sets, each lasting 10 minutes, to study the impact of music.

Despite his concerns, Dr Bigliassi said: "Music and audiovisual stimuli can and should be used and promoted, but with due care."

However, instead of relying solely on music, he also feels that it is important people learn other ways to cope with fatigue associated with exercise.

Sharp Objects' Music Contains a Chilling Message

Three episodes in, it's still not clear what HBO's Sharp Objects is about, exactly. A string of murders in a small Missouri town? The secrets of Camille Preaker (Amy Adams), a journalist addicted to booze, self-harm, and flashbacks? The ominousness of swivel fans? The creator/writer Marti Noxon's elliptical storytelling and the director Jean-Marc Vallée's wandering gaze make for an immersive trip, but one in which you can't guess at even the next mile.

One thing is clear, though. This is a show about music. The title sequence opens with a needle descending on a record player, and the accompanying song changes week to week. Camille is the hyperactive DJ of her own life, queuing up tunes on her cracked iPhone when on drives, in bed, and in the bath. Her stepdad plays piano, and the town's social life revolves around a karaoke bar. Almost always, the soundtrack is diegetic: Viewers hear the same thing as the characters do.

Which isn't surprising given the show's pedigree. Last year, Vallée brought his alternately gauzy and jittery sensibility to Big Little Lies, another female-led murder-mystery miniseries that, in a very real way, revolved around songs. The children on the show had an eerily deep knowledge of David Bowie, and the parents conducted their skullduggery while humming to the Temptations. Most of the music was diegetic, and the concept of listening was, itself, thematic: a proxy for how people dwell on their own frequencies but can connect by sharing what's in their heads.

In Sharp Objects, something similar but not the same is going on. Music voices the show's central question: Is it better to look at the darkness, or to hide it? This inquiry begins on a visceral level with the creeping dread of the soundtrack curated by music supervisor Susan Jacobs, whether heard in Sylvan Esso's spindly folktronica or in Led Zeppelin's surging doom. LCD Soundsystem, though synonymous with partying, provides a desiccated drum loop as Camille approaches a funeral. Even Franz Waxman's "Dance and Angela," a stately shuffle for 1951's A Place in the Sun, subtly hisses and pops in the first title sequence. Damage, it seems, is everywhere.

Music marks social class and inner attributes, too. Hence why the picturesque mansion of Camille's mom, Adora, wafts with placid classical and standards beloved by her husband Alan Crellin, he of preppy sweaters and a carefully kept library of records. Frequently, the show mines the primness of the Crellins' tunes for irony. During a traumatic flashback Camille suffers in her first night back in her childhood bedroom, there's a spooky clamor in the background. As she frantically runs out of the house in the present day, the sound coheres into "The Way It Used to Be" by shmaltz-master Engelbert Humperdinck. Adora and Alan are dancing to it.

Camille's tastes run darker than her parents, obviously. Led Zeppelin is a staple, and at the karaoke bar, we learn that her go-to song is "Ring of Fire": an on-the-nose choice for an inwardly tormented country girl. (Strikingly, it's the version not by Johnny Cash but by Eric Burdon and the Animals that gets cued up.) The obnoxious bar owner's karaoke fave is Queen's "Bohemian Rhapsody," a bombastic and indulgent pick. When Camille follows her secretive young half-sister Amma in Episode 3, we faintly hear from her headphones "Mama's Gonna Give You Love" by Emily Wells: a tellingly hip and sexy twist on the classical music played at home. (It's also a typically eclectic pick from Jacobs, who won the first ever Emmy for music supervision last year).

Yet it turns out that Camille's tastes aren't entirely her own. In a flashback saga in the most recent episode, "Fix," we watched her check herself into a facility after cutting herself. There, she bonded with another self-harming patient, a teenage girl. That girl asked her about what she listened to, and Camille—bafflingly to viewers—replied, "It's not really my thing, music." Back then, apparently, she didn't listen to much. But the girl advised Camille that her headphones were the only healthy way she knew of dealing with pain. The two listened to Led Zeppelin's "Thank You" together, and Camille briefly borrowed the phone—only to return and find the girl had killed herself. Horrified though Camille was, she kept the phone.

The message here is as clear as it is queasy. Music acts as a way to self-medicate for Camille and for others like her, not unlike alcohol and long drives. It also reflects—or hides—truth. The women and girls of Sharp Objects have been policed to project one reality: doll-like rather than tomboy, purple rather than black, Engelbert Humperdinck rather than Jimmy Page. The penalties for stepping out of line can be brutal, but for Camille, the choice is between rocking out or hurting herself. When this latest episode ended with her hurling her iPhone from a car window in a fit of angst, it set up one of the show's most gut-churning mysteries yet: Can she survive the silence?