July 2020 – Website update 1.2

Welcome to July’s diary entry. This month there has been a lot of effort into beautifying the webiste, expanding onto other platforms and of course new music.

A nicer browsing experience

Untitled

Last month there was a significant overhaul of the website in terms of tracks but now it was time for a more obvious overhaul in terms of appearance and usability… so a facelift has been done to make the website nicer to look at and easier to move around.

The long-winged introduction that used to cover the homepage has been moved into the About page, making way for a more useful homepage where you can now find links to the latest posts (boasting nice thumbnails) and playlists with music tracks to make for a nicer listening experience.

Also the search field  is easier to find now and links to Music of Ice and Fire on other platforms have been added, which brings us to…

 

Music of Ice and Fire on Youtube

UntitledThe YouTube channel is now online! There you can find videos of the music tracks with the nice addition of some notation if you want to follow along.

The video format will allow me to explore new ways to create media content so stay tuned!

Music of Ice and Fire on Twitter

Twitter

Some friends have been nagging me for a while about creating a Twitter account to make it easier to share news about the website and I have to admit I have dragged my feet about it but I’m going to give it a try and see how it works. From now on I’ll be announcing updates to the website on Twitter and anything else I can think of.

One more leitmotif

Of course none of this would matter if there weren’t new music uploaded to the website. I have spent a lot of time on new leitmotifs and ideas which usually means there are few tracks that make it all the way to being finished in time for the update. Sansa’s leitmotif is a good example of the leitmotif development I spend much of my time and energy into.

When we first compare Sansa’s and Catelyn’s leitmotifs the similarities are obvious but Eddard’s influence is not as clear at first glance. Just as we saw with Robb a few months back in May’s diary entry, Sansa favors her Tully side much more than her Stark side. In fact, the first two measures are almost identical, but her Stark side is hidden in plain sight if one knows where to look. Taking the last iteration of her leitmotif (32 seconds into the track from above) the ending of her melody shows clear signs of the Stark lineage. The slow descending notes could be seen either as Tully or Stark, but the last two notes that end the leitmotif are clearly the Stark trademark signature, the Wolf’s howl, which the leitmotif had been building up to but never committed to until now.

Next month’s update will be focused entirely on new music, where I hope to publish many new themes that carry on the theme of interconnected ideas between characters. See you then!

Maester Ludwig

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