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Which one bears more weight, in your perspective?

In 400-600 words (total), write a thesis-driven essay (not bullet point style!) that addresses the following and is structured in this manner:
First paragraph:
In your own words, explain what your understanding of participatory performance is and its importance in your life.
Don’t forget to start with a strong thesis statement and introduction!
Second paragraph:
Briefly describe an experience when you have engaged in participatory performance – fully or mostly participatory: either congregational church singing/playing, “campfire songs,” playing/singing along with your friends or family altogether, chanting in a stadium, dancing to music with a group at an event, clapping along with music in a group setting, etc. Explain how it allowed you to achieve what Turino calls “Flow.” Select one sentence from Turino’s book either from Chapter 1 in the “Flow” section or from Chapter 2 in the “Participatory Performance” section.
Whatever format you use, cite correctly!
Third paragraph:
With that specific participatory performance experience in mind (the one you’ve wrote about in the previous paragraph), think about your (temporary( identity as a performer of participatory performance within your culture. Based on your own experience, how do you think nature and nurture influences your own musicality and musical identity? In other words, how much can your musicality be innate, and how much can it be culturally constructed? Which one bears more weight, in your perspective?
Don’t forget to incorporate a strong conclusion!

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Music

When possible, please point out the influences (antecedent forms, earlier compositions and composers, etc…) that have led to the things you notice.

Compare and contrast two corresponding movements which are Haydn no 104 in D major 1st movement and Mozart no 40 in g minor 1st movement(the scores will need to be searched and can be found in imslp). What characteristics unify these movements as a single genre, the symphony? What characteristics point to the individual style of the composer? When possible, please point out the influences (antecedent forms, earlier compositions and composers, etc…) that have led to the things you notice. Focus on matters of form, orchestration, composition technique(development, melodic style, harmonic development, etc.)
Thus critical reflection should demonstrate your thorough understanding of high classical symphonic writing as well as the immediate historical influences upon its practicioners. It will also demonstrate your ability to analyze a score.
This paper can be written only by someone who knows how to read and analyze score music.
No sources need to be cited.

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Music

If you are re-taking this course, you must have permission from the instructor to use re-use work you have previously submitted.

Music Critique Guidelines
1. Read Ch 12 “Style and Function of Music in Society” especially about the classification of music: Cultivated versus Vernacular
2. Read Ch 14 “Putting Music into Words” which gives you ideas on how to write about music.
3. Choose 1 cultivated performance and 1 vernacular performance from the list below. If any video has been removed from YouTube, please search for a replacement and email the URL link. Make sure that the replacement is a full-length LIVE concert with approximately 15 songs – preferably HD quality. If there’s a music group not on this list that you would like to use, email it to me for consideration.
CULTIVATED OPTIONS: Choral (Requiem by Mozart) – https://www.youtube.com/watch?v=Pa4o_nutl14
Choral (contemporary – Eric Whitacre) – https://www.youtube.com/watch?v=0JaiSGAZfW4
chamber music – https://www.youtube.com/watch?v=QZWKUszkbXU
violin concerto (Mozart) – https://www.youtube.com/watch?v=Fuk2q_41W_A
piano concerto (Chopin) – https://www.youtube.com/watch?v=dt54VEfStX0
symphony (Beethoven) – https://www.youtube.com/watch?v=rOjHhS5MtvA
symphony (Shostakovich) – https://www.youtube.com/watch?v=fSJwP5dvzPg
piano recital : https://www.youtube.com/watch?v=rx4oKJfIxT8
violin concerto (Tchaikovsky): https://www.youtube.com/watch?v=cbJZeNlrYKg&t=1717s
ballet (Swan Lake): https://www.youtube.com/watch?v=9rJoB7y6Ncs&feature=youtu.be&list=RD9rJoB7y6Ncs
violin concertos (Vivaldi – 4 Seasons) https://www.youtube.com/watch?v=zzE-kVadtNw
opera/musical – https://www.youtube.com/watch?v=Lo8CmwIKiDw
VERNACULAR OPTIONS: Gospel – https://www.youtube.com/watch?v=pNDRlRoVXmg
Big band – https://www.youtube.com/watch?v=MVh6yeCTKm4
Jazz combo (Chick Corea) – https://www.youtube.com/watch?v=klZDJmV6MVg
American folk piano – https://www.youtube.com/watch?v=717v1CS_zJo
Beatles – https://www.youtube.com/watch?v=brwmLjD-3Hw
Rap (80’s) RunDMC https://www.youtube.com/watch?v=lHlrrHvPt78
Rock – progressive/Alternative (Pearl Jam) – https://www.youtube.com/watch?v=VmeZ3kOgIOE
Metallica: https://www.youtube.com/watch?v=_TjDcibhdEE
Metallica S & M: https://www.youtube.com/watch?v=Is2ZrBkZE0o
celtic (Solas) – https://www.youtube.com/watch?v=frE2nyYll0k
Rap – https://www.youtube.com/watch?v=n9KRG5KYYa8
Country – https://www.youtube.com/watch?v=hoKVZxxTF0E
Allman Brothers Band – https://www.youtube.com/watch?v=TuRYl1oWTCk
Inspiration – Hillsong United: https://www.youtube.com/watch?v=U1IQ54bj8ok
Coldplay – https://www.youtube.com/watch?v=e42x6z1I9t4
Ray Charles – https://www.youtube.com/watch?v=rwQ1Uf8R0wI
Imagine Dragons https://www.youtube.com/watch?v=39A6EO7oPWo
Lady Gaga https://www.youtube.com/watch?v=4DHPuMu1Qug
Billie Eilish https://youtu.be/lpKE6yBw2Os 4. View each performance and take notes on what you see, hear, and experience. Use Ch 14 “Putting Music into Words” as a guide. Gather as much detail on the music as possible, especially connecting specific timings (3’44” – Using 3’44” only as an example on how to quote a timing from a video: 3′ = 3 minutes, 44″ = 44 seconds, 3’44” = 3 minutes 44 seconds) to the elements of the music that you highlight. Strive to make connections between the cultivated side of music and vernacular. Both of these types of music are relevant and cherished by mankind. Why is that?
Is it possible to appreciate both cultivated and vernacular music?
After viewing the performances and contemplating their significance, formulate a thesis statement that shows a relationship between cultivated and vernacular music. Your THESIS must make a STATEMENT that unites cultivated and vernacular music in some way, in spite of their obvious differences. Thesis statement should include both the identification of a shared musical element and an opposing-contrasting musical element.
5. Support your thesis statement by the following 3 points of comparison:
a. Presentation style. Give a detailed description of all aspects of presentation. What type of atmosphere was created at each performance? How did the creation of atmosphere shape your expectation and response to the music? Describe the quality of performance, including energy level, technical ability, and professionalism.
b. Music mechanics. Highlight 3 musical elements from each concert (totaling 6 musical elements) and include the specific TITLE of the pieces/songs described. Describe in detail aspects of the music that stood out to you, linking musical elements to timings (3’44”) from the concert videos. There should be a total of 6 timings associated with 6 musical elements. Address musical elements such as form, genre, style, rhythm, dynamics, melody, instrumentation, tempo, and mood.
c. Personal response. How did the music affect you? Excitement, relaxation, laughter, tears?
6. Type the critique in Microsoft Word:
* Save it as JohnDoemusiccritique.doc (please put your name in the saved title, and only use John Doe if that’s your real name).
* Double space using 12pts font
* 1 inch margins all around
* Minimum length: 3 & 1/4 pages totaling 1,100 words. The music critique should be a minimum of 3 & 1/4 pages totaling 1,100 words, with a large reduction of points resulting for anything less than 3 & 1/4 pages totaling 1,100 words.
* Do not put your name, title, date, or course name in the critique as a header. There should be no need to cite research, and you should use the pronoun “I”, as the critique will be based on your unique musical perspective.
* Indent paragraphs and write in full sentences with correct grammar, verb agreement, and spelling.
* Sentences should follow in logical sequence.
* The critique should begin with an introduction paragraph (which includes your thesis statement and states both your cultivated & vernacular video choices), a “body” of at least 3 paragraphs, and ends with a conclusion paragraph that relates back to the thesis and demonstrates how the body of the critique fulfilled the thesis.
* CHECK yourself for PLAGIARISM: After submitting your music critique (final publish) – view the ORIGINALITY REPORT. Plagiarism will result in a grade of 0. If you are re-taking this course, you must have permission from the instructor to use re-use work you have previously submitted.
7. Submit your Music Critique to the D2L Assignments / Music Critique Final publish.

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Music

Thus critical reflection should demonstrate your thorough understanding of high classical symphonic writing as well as the immediate historical influences upon its practicioners.

Compare and contrast two corresponding movements which are Haydn no 104 in D major 1st movement and Mozart no 40 in g minor 1st movement. What characteristics unify these movements as a single genre, the symphony? What characteristics point to the individual style of the composer? When possible, please point out the influences (antecedent forms, earlier compositions and composers, etc…) that have led to the things you notice. Focus on matters of form, orchestration, composition technique(development, melodic style, harmonic development, etc.)
Thus critical reflection should demonstrate your thorough understanding of high classical symphonic writing as well as the immediate historical influences upon its practicioners. It will also demonstrate your ability to analyze a score.
No sources need to be cited.

Categories
Music

In writing your paper, always remember that this is a music class, and your focus should always be the music.

Paper 1 (8 points): Sub-Saharan Africa has a long history of musical praxis. Consider what we call “the early horizon” and consider what the concept “traditional music” might mean; and watch the 12 musical examples on WWMk playlist: 0P1-Music in Africa-F2022-Music of Early Horizons? .
After watching and taking notes on these videos, develop an essay working with the title, “Music in Africa and “Early Horizons”: What some Surviving Musical Examples seem to Suggest.” You may want to think of this essay as a lengthy answer to an exam question of the nature “Why do we mean by “early horizons” and what might its musical legacy be?” In your essay–since it is a take-home essay, it is a “paper”–you will be able to include commentary on any and all of the songs on this playlist (your essay should refer in some way to at least 6 of the videos); but to make the paper complete, you must include a full analysis of at least two of the videos. Each piece should be discussed according to the “6 parts of music,” in order. Don’t skip any of the parts. In writing your paper, always remember that this is a music class, and your focus should always be the music. If your paper is, say 1,500 words, then at least 1,000 words should be about the music (that is, at least 2/3rds of the wordage should be devoted to musical issues.
The URL for 12 Videos is: https://www.youtube.com/playlist?list=PLq4hc_NU9DrxCKpMSCXW0KR45-ysfda1X

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Music

Paraphrase the reading and describe each in your own words.

Each assignment are small assignments. I will provide the photos of the pages. Most of the assignments can go on the same page.
(You may be able to fit one more assignment on page 1)
Page 1
Read George Frideric Handel’s biographical sketch on page 103. The author suggests that Handel may have had a stubborn personality. Find as many examples of his stubbornness as you can in the biographical sketch. Was his stubborn nature helpful in his life or was it a hindrance? Do you consider yourself to be stubborn? Why or why not? Do you think it is good to be stubborn
if it leads to being committed to an idea or goal? Is it okay to step back from a commitment and change course to some degree? In what way did Handel change his commitment to writing music in his later years?
Read Antonio Vivaldi’s biographical sketch on page 127. Though he was an ordained priest, it can be said that he “marched to the beat of a different drummer.” In other words, he was a nonconformist. Give examples of this phenomenon from his biographical sketch. Do you know any musicians today that are nonconformist? Is it possible to be a conformist and a nonconformist at the same time? If so, how? In what ways would you consider yourself a conformist? A nonconformist?
Page 2
Read Johann Sebastian Bach’s biographical sketch on page 131. Bach is now considered as one of the musical giants of all time. Find evidence that the world or life probably did not treat Bach with the appreciation he deserved. With today’s technology, is it possible there is an unknown, fantastic composer writing music only for future generations to discover? What do you suppose would have
happened in Bach’s life if he would have had access to a computer?
1. Read pages 90–91. What are the three general characteristics of the Baroque style? Describe each. (These characteristics can serve as the basic philosophy of the Baroque period on the Comparative Chart.)
2. Read pages 95–96. What are the seven characteristics of Baroque music? Paraphrase the reading and describe each in your own words. Pay close attention to homophony and metrical rhythm since these are easily identifiable aural characteristics for Baroque music.
3. Read page 100. Describe in your own words the term oratorio. Include in your description what is kinds of pieces are included in an oratorio.
Page 3
4. According to page 100 in your text, what is the most famous oratorio, and who is the composer?
5. Read the bottom of pages 100–101. Describe the differences in your own words between an aria and a recitative.
6. Read pages 102–103. Paraphrase the two meanings of chorus.
7. Read the bottom of pages 105–106. Describe in your own words the cantata as used in the time of J. S. Bach.

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Music

I narrowed this search to articles addressing rhythm in the middle ages between the years 800 and 1400 and got 21 results.

For the assignment consult professional music sources (e.g., encyclopedias, music history books) to determine prominent critical issues surrounding polyrhythym, meter, 3/4 or 4/4 time signature used in music during the middle ages. List these issues and highlight a few that are interesting to you. Once you have identified a few larger issues, pick the one that you’re most curious about.
In your paper, describe the process of the search and organize these issues in narrative form or as a bulleted list. Please use two sources.
Below is an example, but please do not write something similar.
“My subject is rhythm in the Middle Ages (very broad). In one of the books I read, the authors talk about the lack of notation systems in the early Middle Ages that allow for the notation of rhythm. The authors mention that there is no agreement among scholars as to how rhythm was performed in early chant, but there is agreement in that it was likely “free.” The book also mentions that the notation used to write down secular music was the same as the notation system of the church, so the music of the troubadours and trouvères also lacks rhythmic notation. Lastly, the book indicates that rhythm began to be notated in Notre Dame in the twelfth and thirteenth century.
When I searched the Grove, the keyword search “rhythm” yielded over 5,000 results. When I searched for “rhythm” + “Middle Ages” I still got 500+ results that were not all relevant. I narrowed this search to articles addressing rhythm in the Middle Ages between the years 800 and 1400 and got 21 results.
Some of the issues I found in reading these articles were the lack of reliable records in the transition between ligatures and mensural notation, and the role of the theorists involved in this development. Another issue is that of the organization of the rhythmic modes by different theorists. Yet a third interesting issue is that of rhythmic notation as being circumscribed by the understanding of music as a whole–in discussions of meter and intervallic patterns, plagal meters were associated with “poor” and “female,” while authentic (triple) with “rich” and “male.” The last issue I identified is that treatises both describe and prescribe performance practice. In other words, when theorists set out to explain what was being performed they often created new rules or guidelines to explain loopholes, and these explanations became, in turn, performance practice.
I will research further the associations between gender stereotypes and musical features.”:

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Music

I was also struck by the authors remark that korean cuisine has not caught on in western countries (page 195): i’m not sure that this is true anymore!

For this week, please mention something from each of Chapter 7’s sites that you found especially interesting. Try to make remarks that are related to the music from each site, but you may comment on other aspects of the cultures instead. Here are some things that I found interesting.
China – I was drawn to the idea of “labeled songs” (page 189), in which singers add new lyrics to familiar songs (think singing the ABC’s to the tune of Twinkle, Twinkle Little Star).
Mongolia – It is fascinating how a throat-singer’s overtone technique can be so developed that he/she can sing along with another instrument.
Korea – The prevalence of 6/8 meters is also common in American folk songs (e.g. Itsy, Bitsy Spider and countless others). I was also struck by the authors remark that Korean cuisine has not caught on in Western countries (page 195): I’m not sure that this is true anymore!
Japan – Drummers do not often vocalize, but vocalization is common among kabuki percussionists.
Tibet – How cool that the dung chen trumpet is meant to imitate an elephant!

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Music

Adams composes this piece both as a commemoration of the victims and as a musical narrative that recounts the events of that day and its aftermath.

This week we learned about Mozart’s Requiem and the genre of the funeral mass, or a piece to use as a memorial. Find examples of music you know that was designed to memorialize tragic events (for example, the 9/11 terrorist attacks, the AIDS epidemic, wars, or natural disasters) or pay tribute to their victims. Is the music meant to soothe pain or rekindle grief, or for yet other purposes—and how do the composers make musical choices to achieve those purposes?
John Adams: On the Transmigration of Souls
This piece was composed by John Adams in 2002 in tribute to the victims of the September 11, 2001 terrorist attacks. Adams composes this piece both as a commemoration of the victims and as a musical narrative that recounts the events of that day and its aftermath. Adams’s incorporation of both real sounds and musical ones blends the real with the imagined. There is an arc to this piece that begins and ends with the ambient sounds of the city—vehicles passing by, brakes occasionally squealing, and the distant sound of police sirens. Then a voice begins speaking the word “missing,” soon joined by other speakers with phrases like “my brother” and the names of the victims lost in the attack. The names are repeated and layered, giving the impression of polyphonic chant. Speakers also read posts made by those searching for loved ones immediately after the attacks (physical descriptions and contact information). These readings mingle with short recollections of the victims by their survivors. The narratives are all spoken above an ambient wash of strings and percussion, with choral interjections in which children’s voices are prominent. In the middle sections, the music becomes eerier, more dissonant, chaotic, and violent. A fortissimo passage by the orchestra recalls the violent imagery of the planes striking the towers, a sonic reminder of the horror experienced that day. There is silence and then the sound of sirens. Before the end, there is choral crescendo and climax with repetitions on the words “light” and “life.” The piece ends as it began, leaving listeners in the “new reality” of the city.

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Then explain how the baroque period was different than the classical period.

Week 3, Module 3, Unit III – The Baroque Period, p91-147 & The Classical Period, pages 149 – 205
On page 101 in your textbook, the caption accompanying the illustration reads: “During the baroque period, musicians often played with amateurs in music clubs or university music societies, getting together in private homes, coffee-houses, and taverns.” Explain how this differs or is the same as our world today. After listening to all the compositions in this unit, select one and compare/contrast it to a song we might hear in our homes, coffee-houses, or taverns. Then explain how The Baroque Period was different than The Classical Period. Include the exploration of the city of Vienna during The Classical Period. Incorporate in your exploration the music and lives of Haydn, Mozart, and Beethoven in this city. Listen to their works in Unit IV. How are they different? How are they the same? Was their music played in private homes, coffee-houses, and taverns? (