Music

In Project 3, we shift the gear from describing what you have read as in Project 2 to create your own narrative using what you have learned from the literature. The technique is called Content Analysis of your literature. A theoretical framework is a formal paper with references and citations in correct APA format. In this paper, you will organize and develop a full description of all relevant issues and factors on your topic/research question that you have learned from the literature analysis. This paper begins with the introduction of your topic and research question(s), a description of why it is important or significant. In the introduction, you will also make a statement of the problem and context (or background) of your research topic. (See Chapter IV for guidance.) In the main body of this paper, you will develop a cogent research paper in which concepts, issues, other substantive matters, and the relationships among them are discussed, ending with a summary and conclusion. The conclusion is effective in a visual diagram. Many parts of your initial research question will be answered in this paper; feel free to rephrase your research question after having done this initial part of your research. This paper requires the minimum 15 pieces of literature and 18 pages of writing (excluding references), double-spaced, font size 12. All citation and references MUST be in APA http://apastyle.apa.org (Links to an external site.) http://www.mtroyal.ca/library/files/citation/apa.pdf (Links to an external site.) (Please print the above pdf and refer to it as often as you need to) MLA and Chicago formats are not used in this class. https://en.chopin.nifc.pl/chopin/genre/detail/id/1 http://www.ourchopin.com/analysis/ballade.html http://www.diva-portal.org/smash/get/diva2:1024949/FULLTEXT01.pdf https://www-jstor-org.ezproxy.lib.usf.edu/stable/pdf/40213955.pdf?ab_segments=0%2Fbasic_search_SYC-5462%2Fcontrol&refreqid=fastly-default%3Abe8d267941f30ad5932dd1ed636516a4 https://www-jstor-org.ezproxy.lib.usf.edu/stable/pdf/25094310.pdf?ab_segments=0%2Fbasic_search_SYC-5462%2Fcontrol&refreqid=fastly-default%3Ab1049523a8d038d09c5bcc6c7081f680 https://webauth.usf.edu/login?service=https%3a%2f%2flogin.ezproxy.lib.usf.edu%2flogin%3fqurl%3dezp.2aHR0cHM6Ly93d3cuanN0b3Iub3JnL3N0YWJsZS9wZGYvMTAuMTUyNS9tdHMuMjAwNC4yNi4xLjIzLnBkZj9hYl9zZWdtZW50cz0wJTI1MkZiYXNpY19zZWFyY2hfU1lDLTU0NjIlMjUyRmNvbnRyb2wmcmVmcmVxaWQ9ZXhjZWxzaW9yJTNBY2Y0OTNmYjRiNzA0YWM3Yzg1MDc1YmE1YTlmY2U4NDE- https://www-jstor-org.ezproxy.lib.usf.edu/stable/pdf/854282.pdf?ab_segments=0%2Fbasic_search_SYC-5462%2Fcontrol&refreqid=fastly-default%3A89d40cfe6e374e7e3649459307ab6063 3. Klein, M. (2004). Chopin’s Fourth Ballade as Musical Narrative. Music Theory Spectrum, 26(1), 23-56. doi:10.1525/mts.2004.26.1.23

REQUIRED-Students enrolled in Introduction to Music are required to view ONE online classical concert during the fall term and turn in a typed concert critique of the performance. The online performance can be viewed anytime during the fall term. The deadline for submitting your critique for the fall term 2020 is Friday, December 4, 4:00 p.m. Students may choose one of the approved pieces listed below for their critiques. Once the critique is completed, it is to be submitted via the “Assignments” tab located under “Course Work”.  OPTIONAL-Upon completion and submission of the required concert critique students may choose to do ONE additional concert critique for extra credit. The optional online performance must also be chosen from list below. The extra credit typed critique is also to be submitted via the “Assignments” tab located under “Course Work” and is due Friday, December 4, 4:00 p.m. Approved Online Classical Pieces for Concert Critique J. S. Bach – Cello Suite No. 1 in G Major, BWV 1007  (Must include all 7 movements) Prelude, Allemande, Courante, Sarabande, Minuet I, Minuet II, Gigue Antonio Vivaldi – “Spring” Concerto from “The Four Seasons” (Must include all 3 movements) Allegro, Largo, Allegro Pastorale Beethoven Symphony No. 3 in Eb, Op. 55, “Eroica” Tchaikovsky Violin Concerto in D Major, Op. 35 Stravinsky – The Rite of Spring Debussy – Prelude to the Afternoon of a Faun Concert Critique: Document Guidelines The following three pages provide more specific information regarding this required assignment. This includes a Concert Critique Outline Template, a Listening Guide with common descriptions of the seven musical elements and Additional Tips and Grading. Contact your instructor if you have questions about any of these three forms. A brief description of each of the three pages of the Classical Concert Critique Instructions is included below: Page 1: The Concert Critique Outline Template. The Concert Critique Form provides the outline the student needs to follow to complete the classical concert critique. Page 2: The Music Appreciation Listening Guide gives you a few of the terms that you might use in describing the musical pieces you hear while attending your classical concert. Do not fill out this form. Of course, these are just some of the terms you might use. Refer to your textbook, specifically the chapters on basic concepts, for additional terminology and descriptive words you can include in your concert critique. Page 3: Additional Tips and Grading. Additional tips will be helpful to review before writing your concert critique. Grading for your concert critique and specific number of points is also included here. Page 1: Concert Critique Outline Template This is an outline of the required information for your concert critique. This document provides a guideline for constructing your typed concert critique. You will need additional space to complete this form. Any questions about your concert critique assignment need to be addressed with your instructor. You are required to attend the entire concert in order to receive any credit for this assignment. You need to be in your seat at least 15 minutes prior to the scheduled performance time for anything that occurs prior to the first musical selection. Student’s first and last name: Submission date: Paragraph Number One: Opening Introductory Paragraph Include four statements about the following: information about the concert attended, including a description of the performance venue or place of the concert, what you observe about the performers, what you observe about the conductor, if applicable, and what you observe about the audience. Include at least one statement regarding a pre-concert lecture, announcements, introductions or anything else that happens before the concert begins. If none of these things occur regarding this particular concert, then say so. Include at least one statement regarding what happens at the beginning of the concert. For instance, the performers may announce each piece of music before performing. The performers may simply walk onto the stage and start performing the first piece on the program. Paragraph Number Two: A Description of the Music Choose a particular musical piece on the program to describe. Include the following: Title of the musical selection. Composer’s name List the movements (if applicable). If the piece has several movements, focus your description on ONE movement. Include at least four statements about the following: Describe at least two musical elements as they relate to this musical selection. For instance, you might describe the rhythm and the dynamics. You can choose from the seven musical elements: rhythm, dynamics, melody, harmony, texture, timbre and form. Do not write about a musical element with which you are unfamiliar. Refer to the Listening Guide below for some descriptions of the musical elements. Include at least one statement about the following: Name something significant or memorable about this piece of music. For example, if the musical piece was an orchestral piece, perhaps it featured a solo instrument: elaborate on this solo instrument and what you hear. This musical selection might have included a significant number of percussion instruments. If it was a choral concert, you may mention that a particular piece was sung in a foreign language, for instance, and then elaborate on what you hear. Paragraph Number Three: Concert Closing Include at least two statements, describing what happened at the end of the concert. How did the musical performance end? For example, the last piece on the program might have been spectacularly loud and exciting. The last piece on the program might have been very short and uneventful. Include anything that happened after the last scheduled piece was performed. For instance, the group might have had a question and answer session with the audience members. There might have been an encore piece. The performing group may have simply left the stage after the performance was over. Paragraph Number Four: The Student Learning Experience Include at least two statements, describing what you learned from the experience of attending a classical concert Page 2: Listening Guide: The Musical Elements Below are common descriptions of the seven musical elements. You may apply these descriptions, as well as others from the course textbook, when describing the musical elements as they apply to the classical concert you attend and to the specific musical piece you are describing. Rhythm duple meter, triple meter, quadruple meter or mixed meter predominantly fast tempo or predominantly slow tempo frequent tempo changes Dynamics predominantly forte or predominantly piano crescendos and/or decrescendos varied dynamics throughout little dynamic diversity terraced dynamics Melody tonal, atonal or modal conjunct or disjunct Harmony tonal, atonal or modal predominantly consonant or predominantly dissonant Texture monophonic homophonic polyphonic mixed: specify Musical form or design Strophic or verse-like: recurring melody or theme varied melody throughout repetitive sections Predominant timbre or timbres List predominant instruments and/or voices and describe: Woodwinds: specify and describe predominant instrument or instruments Brass: specify and describe predominant instrument or instruments Strings: specify and describe the predominant instrument or instruments Percussion: specify and describe predominant instrument or instruments Keyboard: specify and describe the predominant instrument or instruments Human voice: specify predominant voice type Page 3: Additional Tips and Grading Review your Concert Critique Instructions before attending your classical concert. This will help guide your listening. There are two sample concert critiques located in Online Campus If the student has questions for the Music Appreciation instructor, it is recommended that the student contact the instructor well ahead of the deadline for completing the concert critique. The student is encouraged to make an appointment with a Columbia State writing tutor prior to turning in the classical concert critique. The writing tutor can review your typed concert critique and give you suggestions regarding possible improvements in grammar and spelling. To make an appointment with a writing tutor, go to the Teaching and Learning Center link on the Columbia State website: Teaching and Learning Center. In your typed concert critique, the musical selection you choose to describe must have the complete title and composer name. For instance, Sonata in D Major, Opus 94 by Prokofiev. Do not copy information from the program. For example, do not include the performers’ background information from the printed program. Rather, describe the performers’ style of play, their emotional expression, and anything else that you can observe during the performance. Do not copy information about the musical piece from the internet or other source. This is plagiarism. This assignment is not a research paper. Rather, this is about what you hear and experience at a live musical concert. It is also about how you apply your knowledge about musical concepts and the musical elements. Refer to an instrumental piece as a “piece” or “work”, not a “song”. Songs are sung. The term “conductor” and “composer” are not synonymous. A conductor is a person who leads and directs the performing musical group. A composer is a person who writes the music. A conductor is alive and present during the performance. A composer is not necessarily alive. Remember, no credit will be given unless your concert critique and your entire original concert program are turned in within 10 calendar days of the concert. For instance, if you attend a concert on a Tuesday evening, your critique and entire original concert program are due by the following Friday. Send your concert critique via the Dropbox on Online Campus. Make sure you mail your entire original concert program to your instructor within 10 calendar days of attending the concert. Also, adhere to the deadline below. Remember: The last possible day for your instructor to receive your concert critique and entire original concert program, still within 10 days of your attended concert, is Friday, April 19, 2019 by 4:00 p.m. in order to receive any credit for this assignment. Partial concert programs, scanned copies or photocopies are not acceptable.

Twentieth-century music often sounds unlike anything we have heard previously. Through your study of the text, and especially the listening, explain what has changed in the style of music in the twentieth century compared to previous periods. Give one or two examples. Below are some of the examples from the Twentieth-century music. Select one video and find one interesting fact about the work presented. Share with the class. Why did you make that selection? 1. Maurice Ravel, Piano Concerto in G Minor (Feel free to sample each movement) https://www.youtube.com/watch?v=L7jXn_NS5rM 2. Bela Bartok, Violin Concerto No.2 (Likewise, feel free to sample through the work) https://www.youtube.com/watch?v=wbC-G6oAIac 3. Alban Berg, opera Lulu (excerpt) https://www.youtube.com/watch?v=umSTfVHPWH8 4. Dmitri Shostakovich, Symphony No.7 “Leningrad,” movement 1 (excerpt) (This is the invasion theme) https://www.youtube.com/watch?v=gGnv23IRDvM 5. Arvo Pärt – Fratres https://www.youtube.com/watch?v=Pk0cAciEuIY 6. Kaija Saariaho, opera L’amour De Loin (excerpt) https://www.youtube.com/watch?v=UOKVlV3pYy0 7. Louis Andriessen, Hout (“Wood”) https://www.youtube.com/watch?v=vGeTSM284_c

There are 12 YouTube videos to watch and listen to. As you listen to the12 videos, make 3 lists. More details on that will be below! 1. I will listen to this music in the future because … (Name any compositions you liked and tell why you liked them. Mention something from the background information and describe what the music sounded like to you.) 2. I feel neutral about this music because … (Name any compositions that you felt “so-so” about. Mention something from the background information and describe something you heard that sounded just average to you.) 3. I will never listen to this music again because … (Name any compositions that you never, ever want to hear again! Mention something from the background information and describe what you did not like about what you heard. ) I numbered the videos to help you keep up with them. Be sure and give titles of the compositions on your lists. Don’t just list the video numbers. When you finish, you should have at least 12 titles listed somewhere under the 3 headings. 1. https://www.youtube.com/watch?v=KfGbTG2wuaM&feature=youtu.be 2. https://www.youtube.com/watch?v=SkzU0RE6PzA&feature=youtu.be 3. https://www.youtube.com/watch?v=GLDxqnksY80&feature=youtu.be 4. https://www.youtube.com/watch?v=A0BNsBlzQII&feature=youtu.be 5. https://www.youtube.com/watch?v=jRHoKZRYBlY&feature=youtu.be 6. https://www.youtube.com/watch?v=WQKyYmU2tPg&feature=emb_logo 7. https://www.youtube.com/watch?v=5LoUm_r7It8&feature=youtu.be 8. https://www.youtube.com/watch?v=9bSNuGwZ6Rc 9. https://www.youtube.com/watch?v=koV_dYj-QsE&feature=emb_logo 10. https://www.youtube.com/watch?v=tAlrpx40UnE&feature=youtu.be 11. https://www.youtube.com/watch?v=BlDgQOd3p-0&feature=emb_logo 12. https://www.youtube.com/watch?v=YhSKk-cvblc&feature=youtu.be Example of a good answer, This student said: “A Survivor From Warsaw – Schonberg; “I don’t plan to listen to this piece again because it sounds unsettling and frightening, especially in regards to the Nazi subject matter used for this composition. Even though it is written about actual historical events, it was hard to listen to because of the abuse of prisoners.” Example of a weak answer, “I will listen to Moondrunk again because this one was really funny to me.”

A 1,000-word (±10%) literature review of the topic should then be created, culminating with an informed conclusion. The aim of a literature review is to show your reader (your lecturer) that you have read and have formed a good grasp of the main published work concerning a particular topic or question in your field. It is very important to note that your review should not be simply a description of what others have published in the form of a set of summaries, but should take the form of a critical discussion, showing insight and an awareness of differing arguments, theories and approaches. It should be a synthesis and critique of the relevant published work, linked at all times to your own purpose and rationale. It is recommended that you use a reference manager in order to deploy appropriate intext citation , and the submission should terminate with a reference list (which is not included in the word count). You might also wish to include a bibliography (again out with word count). The literature review must include a number of different types of sources. These should include at least one reference from each of these categories: • Books from an academic press, • E-books or PhD dissertations (typically available online from sites like www.academia.edu or www.proquest.com), • Academic journal articles or essays in edited collections, • Audio or video interviews, • Conference papers, • Authoritative websites. Two of these references must be direct quotations.2 All of these sources should either be academic or by professional practitioners writing for a professional audience.

Bomba Charango List the 4 Latin American countries and 2 languages that this chapter explores. Nueva Cancion Cueca Sesquialtera metrical rhythm Counterpoint Corrido Kena Describe the differences between the zampona and the K’antu. Campesinos Wankara Who are the Kallawaya? Arca Hocketing Comunas Describe the basic cultural life of people in the Northern Andes in Ecuador. Sanjuan Describe the importance of the Imbabura Harp Who was Don Cesar? What various styles of music did he play? How is his harp different from the typical Imbabura harps? Isorhythm Transnational Migrants Wawa velorio Vacacion Sanjuan Lando Bambuco Sesquialtera Describe the tuning process of the zamponas. Who are Inti-Illimani? Describe the struggle and the events they faced in 1973. Quijada/carraca llanera What countries constitute Latin America? What are the many different languages you might hear there? What are the different religions associated with Latin America? List some of the most recognizable landscapes in Latin America. THIS IS FOR A GLOBAL MUSIC CULTURE

Sources must be acknowledged. In this 2500-word paper, you must attempt the following task: Answer the question, ‘‘What produces tension and repose in music?’’ Explain the roles of conditioning and attitude. Identify and discuss the sources of tension and repose, and explain how the sources interrelate. Throughout, make detailed references to recordings in illustration of your discussion. You will need to refer to the Funes textbook frequently. Use his various forms of graphical representation if you find them helpful. There is no need to use other books or recordings. The purpose of this assignment is to give you practice in handling a large group of musical concepts and their interrelationships.

In this 1500-word paper, you must answer the following question: ‘‘How is rhythm used in the control of tension and repose?’’ The purposes of this assignment are to provide you with an early opportunity to check your understanding of the role of a major musical element in generating tension, and to allow you to write descriptively and analytically about music to which you have listened. Use only the Funes textbook and its associated recordings; this assignment is not a research paper.

Many artists experience a moment that crystallizes their career goals. Describe what that moment was for you. Be specific and tell us how that moment continues to influence your artistic and academic work to this day.

Over the next few weeks, you will write a five-page essay comparing and contrasting the scores of two different films by two different composers from two different eras. The focus of the essay is to examine how one composer is influenced by another, using the two scores as evidence. You must meet the following criteria: The films must both either be of a similar genre (e.g., two westerns, two horror films, etc.) or two versions of the same story (e.g., the Frankenstein story, a Three Musketeers story), or one can be a remake of the other (e.g., Planet of the Apes). Whichever films you choose must have release dates at least 20 years apart. They do not necessarily need to be films we have studied up to this point. Your choices must be approved by the instructor, which is this week’s assignment. You must be able to show some common threads between the styles and scoring approaches of the two composers. These may include orchestration, physical vs. psychological approach, ways similar problems are solved, etc. Examine the similarities and differences between the two composers, and speculate as to why this is the case. For example, did one composer study with the other? Perhaps different economic situations (e.g., 1930s Depression-era vs. 1990s boom) or different production environments (e.g., studio system vs. independent production) may have influenced their approaches or choices for the particular films you are examining. You must include the following information: a short biographical sketch of each composer, listing their other notable scores a brief synopsis of the plot of each film, noting any parallels between them detailed analyses of both scores, outlining any notable similarities or differences, including: descriptions of the relationships between the music and drama thematic relationships and development used by the composers You may include short 1-2 line excerpts (motifs, phrases, etc.) within the body of the text to illustrate your examples. use of orchestration (ethnic or exotic instruments, large vs. small ensembles, nontraditional use of conventional orchestra, electronic instruments, etc.) The bulk of the essay should be made up of your analysis of the two composers’ approach to each movie. Your paper must be uploaded through the Turnitin filter on the final assignment page in order to check your work. You must cite all references (bibliography, footnotes, etc.), including any URLs. The following criteria will be used in grading this assignment: strong opening statement (outlining the purpose of the project) 5% composer biographies (should be concise) 10% composer filmographies (include names and dates of at least 3 other significant scores) 10% structure / body of paper, including: balance between analysis of the two scores 20% support of points using musical examples 25% discussion of orchestration 10% quality of your writing, grammar and spelling 10% effective summary statement 5% bibliography (citing all sources) 5% Note: This essay will be not be due until lesson 13. Use your time wisely. This week, please submit your film choices for approval following the instructions below. In your submission, include the following information: titles, composers, and release dates of both films a brief one-paragraph justification of your choice. Why did you feel these films are suitable? If it is not obvious, what is the connection between them?