Music

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.”

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

Please rewrite for me I cant seemed to understand this assignment INTRODUCTION TO RHYTHM (assignment details are provided at the end of this Unit) In the first third of this course we examined music from a relational, neurological and cultural perspective. We will now start delving into the rudiments of  music theory. To truly appreciate the content that comes later in the course it is essential for you to take in some of the fundamental concepts behind RHYTHM. In doing so, you will go from loving music, which I assume you already do, to actually understanding how music works! So, what is rhythm’s place in music? Rhythm moves through music as a driving force in several different ways. It creates the basic pulse of a song. Rhythm is the part of the song your toes tap along to and your head nods to. A principle we call METER helps organize notes into groups using a time signature while also defining the repetitive pattern of strong and weak beats that noticeably move a song along. (The individual measures in a piece of music determine the meter). Let’s define some of those terms from that last paragraph and add a few more essential ones. (Take notes!) Pulse is the regular or repeating occurrence of rhythm in time without any emphasis or division. In music, an established or steady and repeating pulse is referred to as the beat. Tempo is simply the speed or pace of a given piece of music. Nowadays, tempo is usually measured by and indicated in Beats Per Minute or bpm. In earlier times (classical music), tempo was indicated by a commonly accepted set of Italian terms such as lento (slow), andante (moderately slow, walking pace) or allegro (lively and fast). Subdivision is the process of dividing the beat. I’ll come back to subdivision a little later. Meter is the rhythmic pattern created by the grouping of basic temporal units, called beats, into regular measures, or bars. For example, 3/4 metre has three quarter-note beats per measure. In Western notation, each measure is set off from those adjoining it by bar lines. Closely associated to meter is Time signature. Time signature tells you how the music is to be counted. Time signatures consist of two numbers written like a fraction. The top number of the time signature tells you how many beats to count in a single measure. The bottom number tells you what kind of note length to count.   Examples: A 4/4 time signature means you count four (top number) quarter notes (bottom number) to each measure. So a 4/4 pulse or beat is counted one-two-three-four…one-two-three-four and so on. A 3/4 time signature means you count three (top number) quarter notes (bottom number) to each measure. A 3/4 pulse or beat is counted one-two-three…one-two-three and so on. Accent occurs when a particular pulse or set of pulses receives emphasis over others.    The following two videos do an excellent job of illustrating the rhythm basics mentioned above, focusing on pulse, beat, note duration, measures, and time signature. This video is geared toward non-musicians. Watch it now. This next video is geared toward piano players, but the basic concept of rhythm applies to all instruments. Watch it now all the way through. For this video you may want to print out a blank music notation sheet which will help you to understand the information provided. This sheet is provided in the “Files” link to your left.   ~~~~~~~~~~Once you have finished viewing and taking notes,  take a break and then come back and review your notes, Then move on to the next part of the Unit (below).~~~~~~~~ A CLOSER LOOK AT SUBDIVISION SUBDIVISION is where the fun really begins in rhythm. As mentioned before briefly, subdivision is what happens when you divide the beat. For musicians, subdividing the beat means playing not only the main beat, but at the rhythmic points in between the beats, an especially critical skill for rhythm section players like bassists and drummers. But, wait! What do I mean by playing in between the beats?  Well, think of the beat as a reference point around which other rhythms dance. Here’s a very simple exercise that illustrates this point… Tap out a basic 4/4 beat with your right foot:             FOOT: one…two…three…four…one…two…three…four                           |          |         |          |         |        |         |           | Keep your foot going, and with your right hand tap the exact same beat:             HAND: one…two…three…four…one…two…three…four                            |          |         |          |         |        |         |           | Now keep your foot the same, but double the beats with your hand:             FOOT:    |          |           |          |           |           |           |         |                       HAND:   |    |     |      |    |     |     |     |     |     |     |     |     |    |    | Congratulations! Your hand has subdivided the beat in two, giving you 8th notes or an “8th note pulse.” Those places where your hand is tapping on its own (the smaller “|” marks) is you playing in between the beat. So why does this matter? It matters because this is where groove comes from. The groove associated with any particular genre of music occurs as a direct result of rhythmic subdivision! The groove of traditional rock’n’roll is based on “straight eighths.” Rockers take a 4/4 beat, subdivide it in 2, and drive it hard by playing those 8th notes in between the main beat. The Funk groove typically has an underlying 16th note pulse (as do faster genres of rock, like punk and metal). Guitar players including Prince, Nile Rogers (Chic), Freddie Stone (Sly & TFS), and Jimmy Nolan (James Brown) were all masters of 16th note funk groove! SUBDIVISION and ACCENT IN COMBINATION So, subdivision helps to organize the beat in a particular way. And accent gives emphasis to a particular beat or set of beats within that organization. Let’s see what happens when you combine the two… First, recall that a beat can be divided in many different ways. The three most common examples of this in western music are: 1. Double time. (2 beats per measure) Marching bands use “double” time which is time divided by two’s or four’s => ONE -two… ONE -two… ONE -two… You might notice that that type of rhythm has a militaristic feel. That’s the sound of two legs marching. 2. Waltz. In waltz there are 3 beats per measure and an accent is placed on the first beat of every three (also known as “triple meter”). ONE-two-three…ONE-two-three…Observe the choreography of a Waltz and you will notice that waltz dancers almost always perform their major pivots or turns on that first beat of three. Waltz shows how the organization of beat and accent influences the choreography associated with a style of music.  3. Rock-n-Roll. Standard Rock-n-Roll typically operates in “4/4” time: four ¼ note beats (or “down beats”) to a measure. The strong, steady pulse of the 4/4 time signature, often divided further into “straight 8ths” creates the driving effect associated with rock music. Early rock artists and musicians of the 1950’s and 60’s combined the 4/4 time signature with a fast  tempo. Then they added presence (volume) through electronic amplification, and rock-n-roll was born!  One of the earliest rock hits, Chuck Berry’s Johnny B. Goode, is a great example of a song with a fast driving tempo of 168 beats per minute (bpm) set to a 4/4 time signature. Click the link and give it a quick listen. So, in western rhythm, beats are most commonly divided in two, in three, and in four, as demonstrated in the three genre examples above. But what happens if you take a standard 4/4 time signature and emphasize certain beats over others? Three variations of accent in 4/4 time that have had a tremendous impact on popular music. They  are backbeat, offbeat, and syncopation. BACKBEAT and OFFBEAT BACKBEAT is based on a 4/4 time signature, however backbeat places the emphasis on the second and fourth beat: one-TWO-three-FOUR…one-TWO-three-FOUR…one-TWO-three-FOUR… What is the effect of this? Well, for starters, it’s extremely danceable! Early R&B used a stomping backbeat to get people up and moving. Here’s a very short list of some well known songs that use backbeat (videos to all of these can be viewd by clicking  the link): You Can’t Hurry Love  (The Supremes) – the tambourine emphasizes backbeat throughout. The Twist (Chubby Checker) – hear those hard snare drum hits, especially in the intro and first verse? That’s backbeat! Hound Dog (Elvis) Twist & Shout (The Beatles) – here’s backbeat, but set to a slower tempo (compared to the songs above).    Hey, Ya (Outkast) Happy (Pharrell Williams) To demonstrate the power and influence of backbeat, here is a fun little exploration that I created for this course: Backbeat Exploration – Valerie (by  The Zutons). Listen to the following song Valerie by Liverpool band, The Zutons. The song’s time signature is a fairly straight-forward 4/4. There is some electric guitar emphasis on the 2 from the start, but it’s not until later, as the song really develops, that the snare drum in particular starts hitting down hard on the 2 and 4, establishing a solid backbeat. So yes, there’s backbeat here, but what is keeping it from having a 100% get-up-and-dance backbeat groove? The simple answer is probably tempo. At 85 bpm, the song is on the slower side, especially compared to any of the songs in the above list.   Now let’s hear a different version of the same song, as covered by Amy Winehouse. In this famous cover version of this song, there is no easily discernable backbeat. Winehouse maintains the 4/4 beat, uses a repeating keyboard part to add straight 8th note beats to the central 4/4 down beat, and she ups the tempo. She also funks things up a bit through intermittent 16th note strumming of electric guitar and through the lovely and unexpected timing of her vocals. All in all, it’s funky and very groovy, but not backbeat.  Finally, here is my version of Valerie. I sometimes like to strips things down, and yet go heavy on the backbeat. I do this by stressing the 2 and 4 with my (acting as percussion) while the thumb of my picking hand acts as bass. This style of playing, by the way, stems from a blues technique often referred to as  “three finger blues.”  (Note: the sound quality on this clip is not great. Listening on headphones might help you to hear the foot and backbeat better):     OFFBEAT. A variation of backbeat that is commonly used today is “offbeat.” Take a standard 4/4 measure: …one-two-three-four…  Now divide it into 8th’s by sticking “AND” in between the main beats: …one-AND-two-AND-three-AND-four-AND… Notice how emphasizing the “AND” beats brings a lift to the beat and helps make the beat fall forward into the music a little more. This, again, is essentially backbeat. But, now do this. Emphasize the “AND” beats with barely any emphasis on the main beats. You have now arrived at “Offbeat.” This is the core rhythmic feel of House and Electronica or what people often refer to as “oontz-oontz” music… ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ASSIGNMENT (10 points)~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Below are two different performances of the same exact song: Neil Young’s “Don’t Cry No Tears Around Me.” Watch and listen to each of these performances. Using what you have just learned about rhythm, first do your best to describe the main rhythmic structure (tempo, meter, time signature) of the original version by Neil Young. Next, compare the rhythm and feel of my cover version to Neil Young’s original. How is my version different rhythmically? How does the difference in rhythmic feel color or flavor the song as a whole? Try to incorporate as many observations about tempo, meter, accent, and subdivision as you can in your response.  *P.S. Have no fear- this will be the only Unit in which I use myself as an example in the course; also do NOT be afraid to be critical should you find one version more pleasing or appropriate than the other.   Guidelines: Minimum 2 pages, uploaded to Unit 5 assignment link title your paper “Music Assignment 5” Video 1:  Neil Young – Don’t Cry No Tears Around Me Watch Video ny         Video 2: Professor Baker – cover of  Don’t Cry No Tears Around Me (by Neil Young)

Please select ONE current (last 10 years) artist who has written/performed songs/videos/live performances that directly confront a sociopolitical/civil rights issue. Write at LEAST FIVE PAGES about how this artist’s work has contributed to and relates back to the USA’s ongoing discussion (problem, tension, etc) of this issue. Include at least ONE song from the artist you choose that supports your argument. Further, relate their work back to at least 3 artists from the course that also supported sociopolitical/civil rights issues with their work. ORIGINAL WRITING is important. Each submission will be evaluated for plagiarism, make sure what you turn in is YOUR WRITING. There is a MAXIMUM of 15 points for this ENTIRE assignment. If you meet each requirement (1 artist, 5+ pages, 3 comparison artists/songs, contribution to U.S. cultural/social/political movement) you have a great chance of receiving full credit. If you do not follow instructions, points will be deducted to reflect that. Outside sources (books, articles), must be cited in a bibliography at the end of the assignment. I will NOT accept Shmoop sources. Limit of 2 wikipedia sources. All work must be double- spaced, 12pt font (Times New Roman), 1 inch margins on all sides, and MLA format. Here are a few simple examples: Tom Morello (Rage Against the Machine/Audio Slave/Prophets of Rage) has built a career on speaking out against political oppression, income inequality, and police/state brutality. Bob Dylan is a precursor to this type of “art as political protest” work. (This is an older example, but Tom is still very vocal about his views and can be a good foundation for a paper). Lady Gaga has spoken out about gender equality, LGBTQ rights and sexual harassment/ violence in songs like “Born This Way”. Cyndi Lauper, Madonna, Cher, Aretha Franklin & many others opened the door for these types of discussion in their own works in previous decades. Childish Gambino has been vocal about the treatment of minorities by the government/state/ police/media in the last year. His song “This Is America” confronts the viewer with images of racism, violence and death in the same way that acts like NWA, Public Enemy, Snoop Dogg & Tupac Shakur did in previous decades.

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.

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

In this module, you will tell the story of your life using music to frame your experiences.  You will create a 500-word musical autobiography.  Read chapter 3 of Musical Tapestries and familiarize yourself with the chapter objectives: Appreciate music as a means to relate a narrative. Experience narrative music from different genres. Learn a variety of storytelling devices. This will help you to articulate your story framed in music. This document will be created in four stages: 1. Collection of information (25 points) 2. Outline (25 points) 3. First Draft (50 points) 4. Final version (100 points) For this assignment you will collect information by providing short answers to the following questions: What is the first music you remember hearing? What was the context? What is you favorite song? When did you first hear it? Did your parents/family listen to music when you were growing up? What kinds of music did they listen to? Have your musical tastes changed as you have gotten older?  Describe the changes.

Description This is an NPR story focusing on music in the Sistine Chapel in the Vatican City. Read the summary of “Composing for the Pope: A Church Music Primer.” Then, click on “Listen Now” in the top left corner to open the 11 minute program. Listen carefully to the interview. Weekend Edition Sunday. Composing for the Pope. http://www.npr.org/templates/story/story.php?storyId=89775986 Assignment Go to the NPR story on their website. Read the summary Click “Listen Now” in the top left corner to open the program Listen to the entire interview Respond to the following prompts:  How many singers made up the Sistine Chapel Choir? What was the breakdown by voice part? What was the “ideal” church music according to Catholic liturgical tradition? Which two great composers were strongly associated with the Sistine Chapel Choir? Describe the music of these composers in detail.  What are your personal reactions to this type of music? Would you like to hear this type of music more often? How is this music different from the church music you are accustomed to?   Remember:  All answers should be written in proper formal style. This means that responses should be written in complete sentences with no spelling or grammatical errors and all sources must be cited. Try to expand on your ideas as much as possible — one-word responses are never acceptable. Please create your response in a Word document file that you will submit under the Assignments tab. Lines should be double-spaced. There is no need to list the questions again in your final submission. Please address all of the prompts in your response, but in paragraph form with appropriate transitions between ideas. Any response that requires your opinion on the music should be extensive; this is always the most important aspect of the assignment. Do not settle for a simple, surface-level answer; music is complex as are human feelings and reactions to it. You must work to articulate your ideas and opinions clearly and completely. You will not be graded based on your opinions — you will be graded based on your ability to communicate your ideas. Do not cut and paste any of your answer from another source. Plagiarism includes any copying of the words, structure, or ideas of another author without clear citation of that source. If you use the ideas of another author, put these in your own words but still cite the source of the information. Use quotations sparingly and only in support of your response; you cannot use a large-scale quotation and consider this the entire response.

you need to imagine that you are a researcher in music psychology who has conducted some research that you want to publish in a journal. You will need to convince the readers that the research you have conducted is important and novel. To do this, you will need to source at least two different research papers about this topic. Use these research papers to provide a justification for the study we conducted, i.e. to explain why this study was necessary, or what the gaps in the literature are that will be addressed by this research

On the internet or your phone, listen to TWO of the following early Rock and Roll songs from the list below: Bill Haley, “Rock Around the Clock” Elvis Presley, “That’s All Right” Elvis Presley, “Mystery Train/”I Forgot to Remember to Forget”  Elvis Presley, “Jailhouse Rock” Little Richard, “Tutti Frutti”  Chuck Berry, “Johnny B. Goode”  Chuck Berry, “Brown-Eyed Handsome Man” U Buddy Holly, “That’ll Be the Day”  Buddy Holly, “Bo Diddley”  After listening to your TWO selections, answer the following questions in a word document: o Define the musical term: Rock and Roll.  o Share a brief biography of each of the two bands/artists you chose. o Name the members of each of these bands.  o Who were the songwriters of the songs that you chose? Was there any controversy surrounding the song if the performing artist was not the original song writer?  o What are the lyrics of each of the songs that you chose?  o What are the ideas being addressed in each of these songs?  o What is the date that the original music was written? What is the date that this original recording was made/released?  o Has anyone else recorded the two songs you have chosen? If so, find one YouTube recording of “covers” of each the two songs you have chosen if they are available. If nothing is available, please indicate that as well. o List the instruments you hear in these recordings. Are each of these songs the same or different instrumentation?  o What was your favorite thing about the performances/recordings? o What emotions did the performances/recordings make you feel when you heard it?