By: Peggy Sue Wood | @pswediting

I participated in choir for close to six years, but despite that lengthy involvement, I must clarify that I lack musical literacy. Sheet music remains a mystery to me, and I’ve lost my ability to carry a tune. The instructions from my choir instructor have faded from memory, except for the general notion and knowledge that I somehow allowed myself to navigate through choir for that time. I was relying on sheer determination rather than musical prowess, until my parents allowed me to finally pursue my true passion—watching anime.

However, this doesn’t mean I’ve forgotten everything. I retain enough to appreciate content such as Mother’s Basement’s breakdowns of anime theme songs and Sideways’ analyses (though I wish he would return to YouTube, I understand his reasons for not doing so). These channels attract a wide audience, many of whom, like me, may not grasp the intricacies of music theory. Yet, what resonates with me are the segments reminiscent of how my choir teacher used to deconstruct songs, explaining the significance of high and low notes.

On that note, it has made me want to discuss, with what limited understanding I have to offer, the very real cultural difference between the US and Japan regarding musical literacy.

In Japan, musical literacy isn’t just a skill; it’s a cultural cornerstone. From a young age, Japanese children are introduced to the language of music through compulsory education programs that emphasize the importance of reading musical notation. This early exposure lays a solid foundation for understanding and appreciating various musical genres, from traditional Japanese melodies to contemporary pop hits.

One striking aspect of Japan’s musically literate culture is the accessibility of sheet music. Unlike in the United States, where finding sheet music for a specific song might involve scouring the internet or specialized music stores, Japanese bookstores often dedicate entire sections to sheet music and, in fact, it is so common that one can sometimes find sheet music in convenience stores.

This is not just about accessibility though, it’s about investment. Japan boasts a thriving music industry through J-pop supporters and, because the population is so musically literate, animation producers often invest a high budget into the musical ensemble for the work.

On the other hand, in the United States, while there’s no shortage of musical talent or passion, the emphasis on musical literacy seems to have waned in comparison. With the rise of digital streaming platforms and the popularity of synthesized sounds, the art of reading sheet music has taken a backseat for many aspiring musicians. While this shift in focus has undoubtedly led to innovation and experimentation within the music scene, it also risks disconnecting musicians and regular audience from the rich tradition and depth that musical literacy offers. I believe it’s also lead to the decline we’ve seen over time with music in US animation.

Let’s consider the case of Adventure Time, a series renowned for its musical elements. While the music was a prominent feature, it often fell short. Although some tunes were pleasant and the lyrics sounded appealing, rarely did a song effectively serve the narrative. Take, for instance, “Everything Stays,” a highly popular song upon release. Despite its pleasing melody, its lyrics lacked coherence within the storyline.

In context, the song fails to fulfill its intended role as a comforting piece for a child. In fact, let’s examine the entire piece:

“Let’s go in the garden
You’ll find something waiting
Right there where you left it lying upside down
When you finally find it, you’ll see how it’s faded
The underside is lighter when you turn it around”

In the episode where this song/scene takes place, the characters involved (Marceline and her mother) are not depicted as moving towards a garden, either physically or metaphorically. Marceline’s mother imparts a troubling lesson by stating that things will remain where they are left. This lesson is particularly ill-suited for Marceline, who, being a half-demon/vampire, is likely to live indefinitely, far outlasting her human mother. Additionally, items left exposed to the sun for extended periods will inevitably fade on the side facing up, not upside down.

What exacerbates the situation is that the song is intended to be a source of comfort, akin to a lullaby, for Marceline, as her mother recognizes her own limited time to provide solace to her daughter. As the song progresses into the chorus, the messaging becomes even more distressing given this context:

“Everything stays right where you left it
Everything stays
But it still changes
Ever so slightly, daily and nightly
In little ways, when everything stays”

As history has often demonstrated, things don’t tend to remain in the same place where they’re left. While this might hold true within the confines of your home, it’s not applicable outdoors where weather, wear, and tear are factors. The lines “But it still changes” and the subsequent few lines after in this verse do make sense within the song’s narrative. However, they become disjointed from the following lines, which I don’t believe were part of the original iteration of the song but certainly appear in its final version:

“Go down to the ocean
The crystal tide is raising [sic]
Waters’ gotten higher as the shore washes out
Keep your eyes wide open, even when the sun is blazin’
The moon controls the tide, it can cause you to drown”

The initial part, “Go down to the ocean / The crystal tide is raising [sic] / Waters’ gotten higher as the shore washes out,” while not inaccurate, lacks thematic or contextual connection to the preceding verses. Furthermore, the final two lines pose issues. “Keep your eyes wide open, even when the sun is blazing” appears to offer advice that could inadvertently lead a child to stare at the sun, risking blindness. Similarly, “The moon controls the tide, it can cause you to drown” carries a poetic allure but lacks substantive meaning. As per the National Oceanic and Atmospheric Administration, “The moon is a significant influence on Earth’s tides, although the sun also exerts considerable tidal forces.” Additionally, the use of “it” in the dependent clause seems to refer to the moon rather than the tide, aligning with grammatical clarity and logical causation, implying that the moon poses the drowning risk rather than the rising tide itself.

The song then ends with a return of the chorus, “Everything stays, right where you’ve left it,” which I’ve discussed already.

The song sounds pleasing to the ears, with poetic lyrics and a soft, flowing melody reminiscent of a lullaby. However, upon closer examination, its quality falters as the lyrics lack coherence and detract from the narrative. This issue isn’t exclusive to a single instance but rather a recurring problem across various forms of US animation, spanning from high-budget blockbuster children’s films like Disney’s recent movie Wish, to adult animated productions, like Hazbin Hotel‘s “Out for Love.”

That’s not to say US animation can’t kick out some really great songs. I mean, Rapunzel‘s “Nothing Left To Lose” is a great antagonist song, I’ve played Hazbin Hotel‘s “Loser, Baby” on repeat so many times I’m pretty sure that my Spotify app is tired of it, and who can forget the choke hold “Let It Go” had on us years ago? However, it’s undeniable that Japanese animation consistently delivers exceptional music, often with multiple standout tracks on nearly every album release, far exceeding the occasional hits produced by US animated works.

Upon reflecting on US animation and Japanese anime, it’s evident that instrumental music isn’t as prevalent in American animated media as it once was. While it still finds its place in older productions like DreamWorks’ How To Train Your Dragon or contemporary live-action films, the gradual buildup of music and emotion seems lacking in much of today’s US animation. It’s either a full-blown musical number or silence. Furthermore, even when instrumental tracks are utilized, they’re often omitted from the album listings, making them challenging to track down.

In my understanding, the stark contrast in musical literacy between the two cultures directly influences how songs are created and received in animation. In Japan, where musical literacy is deeply embedded in the cultural landscape, anime serves as a testament to the nation’s musical prowess. The songs featured aren’t merely background accompaniments; they’re integral components of the viewing experience, helping to build emotional resonance and set the tone, much like we see still in US live-action productions. Japanese composers meticulously craft compositions that mirror the mood, tone, and narrative arc of each series, heightening the audience’s immersion in the story.

Conversely, in the United States, although animated cartoons have produced memorable theme songs and occasional hits, the musical impact tends to be less enduring. Often, songs are either standalone musical numbers or disconnected from the overall soundtrack, lacking the cohesive thread that binds them to the narrative fabric of the works they accompany. I truly believe that due to fewer opportunities for formal music education and a cultural preference for visual entertainment over auditory artistry, American animated series often feature catchy yet simplistic tunes that serve more as background filler than integral storytelling devices. This creates a noticeable lack of emphasis on music within animation as a whole.

Moreover, the disparity in music budgets between Japan and the United States exacerbates this divide. Japanese anime producers allocate substantial resources to hiring top-tier composers, orchestrators, and performers, resulting in high-quality soundtracks that enhance the viewing experience. Meanwhile, American animated series often contend with budget limitations, particularly for smaller productions, which restrict their ability to invest in original compositions. This often leads to reliance on pre-existing tracks or generic stock music, or the creation of music and lyrics by showrunners and creators who may lack musical talent or understanding of music’s impact within the work itself.

When examining the musical disparity between anime and animated cartoons, it’s crucial to acknowledge the influence of this cultural context on artistic expression. Japan’s musically literate society not only enriches the creation of anime but also fosters a profound appreciation for music as an art form. Conversely, in the United States, there exists an opportunity to reignite interest in musical education and elevate the role of music in animated storytelling, with anime serving as a potential model.

We ought to celebrate the rich tradition of music and musical literacy that has long been integral to Western culture, even as it faces challenges from advancing technology and a building tolerance for lower-quality productions. By investing in the development of compelling songs, US animation has the potential to create works that resonate across continents and generations, just as it has done for decades before now.

With that in mind, I’d like to briefly discuss/review Solo Leveling‘s album.

To briefly discuss the anime too (since I’m here discussing the album) I love the anime series in addition to the novel and comic. Were there some significant changes in terms of narrative order? Certainly, but these alterations make sense for its adaptation into a new medium. It’s worth considering that many anime fans who will encounter this anime before the comic/novel might be unfamiliar with concepts like dungeon break worlds, and may not grasp why various elements are significant or how they intertwine so the change in narrative structure to present information to the new/different audience makes sense. Furthermore, within the limited 12-episode run, certain details may not be presented in the same order as they are in the original medium. The showrunners are handling this aspect admirably, and fans of the manhwa/webnovel should bear in mind that a new medium entails a new storytelling approach.

Setting that aside, Episode 6 features one of the best songs anime songs I’ve heard in a few years, DARK ARIA <Lv2>. It’s truly remarkable because it’s a high-energy song introduced in a series that typically doesn’t incorporate lyrically dense songs, except in the outro and intro/theme. Yet, as our main character’s power surges while he confronts his first human adversaries, the lyrics of DARK ARIA begin playing and blending in with the SymphonicSuite-Lv.2. Initially, this caught me off guard given that it has been instrumental music all throughout the series thus far, but then I realized that it’s more than just a song. The lyrics in DARK ARIA are intended to represent the system overlapping with Sung Jin-woo’s thoughts. It’s akin to a siren song, enticing and persuading Sung that this is his duty and his resolve, and by the end, he is convinced that it’s not just the system forcing him to choose his life over the lives of others. While this may contain mild spoilers, it’s an incredibly compelling aspect of the adaptation.

I wholeheartedly endorse the Solo Leveling album. It’s truly exceptional, and I must say, Hiroyuki Sawano has done an outstanding job with the entire series. The carefully crafted compositions and the seamless integration of music into the narrative elevate the emotional resonance of each action scene, making it a worthwhile addition to any fan’s collection. After watching episode 6, I promptly purchased the album from Apple Music, and in my opinion, it’s absolutely worth the almost $11 cost since I’ve been listening to it on repeat while studying.

Well, that was a long post… Thank you for reading!

Copyedited by: Krow Smith | @coffeewithkrow

Updated: 4/8/2024 – Revised title of post.