The notorious song, “All I want from Christmas” by Mariah Carey, is a famous song heard all around the world… if you haven’t heard it, then there is a possibility your living underneath a rock. Till now this song continues to escalate in popularity each Christmas with the number of times I hear it being played on the radio. This song gets so repetitive, being also played in train stations, stores, even bathroom stalls. I even remember this song being nominated as one of the best-selling singles. I came open these 5 individuals that I wanted to interview towards this song. Each individual had his own experience when it came to music but using my time machine I was able to also interview people from different eras. These individuals were…
Travis Scott (Composer):
I called out his name Travis Scott to catch his attention and see if he had time to be interviewed by me. what got me curious, that I never bothered to search up was his actual name. it turns out his real name is Jacques Berman Webster II. Scott told me he was born on April 30, 1992, in Texas. He told me he was living a middle-class life in just like me the only difference was that it was around the age of 18 he dropped out of college to fully pursue his music career as a rapper. Not only is he an American rapper, but a songwriter, singer and record producer.
Once I played the song to Scott, he first noticed tempo of the song, how largo it was. He felt a comparison with his music because most of his songs have a fast tempo. He also noticed the homophonic texture this song had. He mentioned that he would also use this type of textures in most of his music. Overall, he found this song interesting and wouldn’t mind listening to it again; Especially on Christmas.
Aaron Copland (Conductor):
Talking to me Copland I found out that he was an American composer, born on November 14, 1900. Copland was amazed by the fact that I brought him into the future. The thought of something like this was possible blew his mind. I had to convince to relax, and allow me to interview him over what he thought about the Christmas song. He told me a bit more about himself and how in the late 1960s he was known to be a conductor. Listening to his music made it clear that he was known to open his musical pieces slowly changing harmonies.
Once I played the song to Copland, he was surprised by the upbeat tempo being used in the song at first. He was also confused by the use of vocals in the music piece. He felt that the song would’ve been better if they focused on the instrumental part. Copland was also unfamiliar with the homophonic type of texture because he usually uses homorhythmic, and polyphonic textures. His conclusion Copland believed there was potential to this music piece, and felt that if he remade it, it would’ve been better. “The change in the texture and the change in the meter would’ve made it better,” so he said.
Carolyn Abbate (Musicologist):
When I approached Abbate, a well-known American Musicologist, we had a chance to talk and know about each other. She told me about how she was a professor at Harvard University. I was amazed by that fact and asked if I can get a recommendation letter, which I was politely declined. She also told me what it meant to be a musicologist. They are people who study music but in a deeper sense. I was confused at first, but then she started to explain it little by little. They try to analysis any change in pattern or question why they decided to choose these rhythms, for example. The more they know behind the meaning of the song, the closer they get to understand the background behind the making of the piece.
I took Abbate to a quitter, more suitable place where I can play the Christmas song. She noticed how they used bell chimes as one of their main instruments. She also compared it with other Christmas songs and noticed how bell chimes are popular in the Christmas song industry. She started to focus on it and wonder what could’ve been the reason why they like using it so much. Was it because of the sound, or does it have to do with its background history. Abbate was also really intrigued by their choice of a homophonic texture. She mentions how now in days it’s very common to see music writers use this type of texture. “Is it attracting the younger audience?” Abbate questioned out loud. Abbate was amazed at how far Christmas itself has changed little by little. Being more modernized, and how the audience tastes in music keeps in changing as well. In the end, she found this song interesting, and different compared to her Christmas songs played at her young age.
George Rosero (Father):
My father was born on May 7, 1966, in Queens, New York. He lived his life in Long Island City listening to classic rock. “Back in my time there was only one type of rock,” said George. When I showed him this song, from the beginning he started to describe the difference in how the tempo was largo. He also mentioned how the instruments used in rock was mostly drums and guitars. But in the Christmas song we heard were a piano, violin, bell chimes, and flute. In the end, my father said he would prefer to listen to something else than the song I recommended. It was trashmas for him.
Conception Chaves (Mother):
My mother was born on October 14, 1972, in Cali, Colombia. Living in a different country, made her music experience different from the United States. Her type of music preference would be from salsa, merengue, and bachata. these types of music are known to be played in a 2/4 beat or a 4/4 beat, especially in the modern version. Their tempo can vary from allegro to largo tempo, so my mother was accustomed. When I played ‘All I want for Christmas,” my mother was already onboard with music and noticed the had the same type of musical instruments being played, like the piano. She also mentions how she fell involve with the vocal singer, who had a Mezzo Soprano voice. Which can also be compared to the vocal skills of the singers to salsa, merengue, and bachata. Once the song was done playing my mother decided to add the Christmas song to her playlist.