Given what you wrote in response to the above prompt

Given what you wrote in response to the above prompt

Entrainment in music is quintessential for an artist to communicate with his listeners. According to Nathan Hesselink’s, Rhythmic Play, Compositional Intent and Communication in Rock Music (2014), entrainment is described in terms of rhythmic play between a composer and his audience. Entrainment provides a shared ownership between listeners and the musicians because it challenges an individual’s awareness to the content of the song, especially when a rhythmic fake out or rhythmic ambiguity is employed. Rhythmic play is significant because of its “special form of communication between the composer-performer and the listener” (Hesselink,2014, p.86). Listeners who discover the correct rhythm to the song are rewarded, “with a kind of shared insider knowledge” (Hesselink, 2014, p.86). Furthermore, The Ecology of Entrainment: Foundations of Coordinated Rhythmic Movement (Phillips-Silver, Aktipis, Bryant, 2010) focuses on entrainment as an experience unique to humans where rhythmic movements are coordinated between one individual to another. Entrainment “is spatiotemporal coordination resulting from rhythmic responsiveness to a perceived rhythmic signal” (Phillips-Silver, Aktipis, Bryant, 2010, p.3), which can be seen in physical movement through communication or music and dance. The case proposes entrainment is sensory-based concept, dependent on several human systems. Bruce Springsteen’s, Born in the USA, communicates through polysemy tendencies. When a listener hears the song without the lyrics, he can infer from the rhythm it is a patriotic anthem calling for audience members to clap along to the repeating drum beat and positive melody. One can infer Springsteen intentionally utilized the playful rhythm to communicate with listeners at the surface-level but then use his lyrics to connect with audience members who understand the sub-level meaning of the song and see the irony behind the rhythm. Springsteen does not use a rhythmic fake out nor rhythmic ambiguity that Hesselink discusses, but plays upon Phillips-Silver, Aktipis and Bryant’s idea of external stimuli coordination. He provides an opportunity for physical mirroring where audience members can tap along to the fixed beat and share surface-level communication.

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Born in the USA’s meaning is not augmented by Hesselink’s argument for the typical listener. Unless the audience has access to the lyrics and understands the true political message behind the song, the steady rhythm does not communicate a shared knowledge between the composer and his listeners. Hesselink (2014) discusses rhythmic play allowing “listening [to][become] a window into the creative act, something that happens everywhere in the world when performer-composers take their audience’s listening and cognitive abilities, their imagination seriously” (p.70). Although the song produces an anthem-like beat, it is Springsteen’s lyrics that provide the ability for shared insider knowledge. On the other hand, he does use his authenticity to create a polysemy rhythm. He allows both the surface-level listener to mimic the joyous rhythm and the conscious, active listener to share a connection to the ironic paean.  Ultimately, it is difficult to enhance one’s understanding of Springsteen’s hit from Hesselink’s theoretical framework. Shared collaboration of rhythmic play is present in Springsteen’s song, but is unnoticeable without the lyrics.

The class song, With You, shares an intimate but relatable recount of a relationship.  Humans share a meaning with the composer through the song’s nonverbal components, which suggests the movement should not be grand but quiet and familiar. The rhythm provides an R&B tempo, so, the music video should express warm and inviting movements between two individuals. For example, Sevyn Streeter’s (2013), It Won’t Stop featuring Chris Brown, provides a similar rhythmic play and coordination to listeners. The music video has minimal dancing and movement, except for the nonverbal communications between Streeter and Brown. More so, Brown is more reserved in the music video, taking a break from his usual complex dance movements to share one-on-one gestures with Streeter. Ruth’s song provides rhythmic signals that are similarly transferrable to the audience, which calls for minimal gestures and movement. The corresponding music video should reflect the peaceful melody and steady beat with simple nonverbal movements.