First Essay Opera and OratorioCompare and contrast oratorio an.docx
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First Essay: Opera and Oratorio Compare and contrast oratorio and opera. Your opinion is valuable. Please expand on what you have read here and elsewhere. Paraphrase the comparison and refer to the listening examples to help make your point. Remember, this lesson extends into the Viennese and Romantic periods. In your answer, consider whether the later operas follow the traditions of the early opera by Monteverdi. Second Essay: Sonata Allegro Form After reading the lectures for this lesson on the Viennese and the Romantic periods and completing the Listening Workshop, describe the sonata-allegro form. Where in a multi-movement work is this form most often used? What musical form preceded this form, and is the sonata-allegro form still being used today? This form is often considered dramatic and rewarding. In what way is this so and why? Please expand on what you read in the student guide, on the Internet, or in other sources. Refer to the listening examples to help make your point. Third Essay: Choose three 20th century selections and compare Wozzeck, Excerpt from Act III, by Berg Ritual Melodies by Harvey Sextet by Reich General William Booth Enters Into Heaven by Ives Pavanne by Gabriel Fauré, arr. Ogerman (Bill Evans) Concerto Grosso 1985 by Zwilich The Young Person's Guide to the Orchestra by Britten Choose three of these seven listening selections above and compare their compositional techniques. Why do they sound so different from each other and yet are still from the same time period? Of the three you discuss, which do you like the most? Why? Fourth Essay: The Concerto The meaning of the term concerto has changed at least three times in the history of music. What are the major elements of the concerto? Is there always a soloist? Is there a traditional musical form? Refer to the listening examples in the Special Focus (Concertos) to support your conclusions. Fifth Essay: String Quartets Briefly describe the development of the string quartet. How would you relate this chamber ensemble to modern performing groups such as the jazz quartet? Or to a rock ensemble? What are some of the similarities and differences? Refer to the listening examples in the Special Focus to support your conclusions. Sixth Essay: World Music Why do you think that the world's musics can impact cultures so differently? Listen to the examples of traditional musical sounds from different cultures and try to identify a common similarity. While it is easy to point out what is different, you should compare them to find shared elements. Remember that the music may serve different functions; that is, performance or to accompany a social or spiritual event. .
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The Assignments list contains the details of the course listening as.docx
The Assignments list contains the details of the course listening assignments. There are
four
separate listening assignments of equal value (10%) and each assignment contains
five
compositions, some of which have
more than one movement
. You are required to listen to the recordings and write approximately
one paragraph
on
each composition
(but
not
each movement). Therefore, you should submit a
five-paragraph
document for
each
assignment through the Canvas assignment page.
Many assignment dropboxes will remain available after their posted due dates. Previously, some dropboxes would
disappear
after a deadline had passed, but now most will be accessible through the end of the term. All student submissions will continue to be date-stamped. Therefore, if you submit an assignment after its published deadline, the tutor-marker will decide whether late penalties will be assessed, based on the grading policies established in your course or by the course supervisor.
In composing your paragraphs, please make sure you:
Describe what you hear and your impressions of the music.
Use the terminology that you have learned in class.
The wrong way:
“It sounds weird.”
The right way:
“It sounds weird because the melody, when there is one, uses very large leaps with short phrases. There is no constant pulse, and the
rhythm
is hard to perceive. Each …”
I am
not
interested in background information that you might find via Google. Do
not
include filler information, such as the composer’s birth and death dates, his/her teachers, etc. However, please
do
include
some
historical perspective
from your notes that are relevant to the work, specifically
how this work may reflect the composer’s style
(or the general style represented by the composer).
Please,
avoid comparisons to subjective experiences
(“It sounds like a chase scene in a movie,” or “It makes me feel like I’m lying in a boat, watching the stars….”).
Your descriptions should be based upon
what you hear, not how it makes you feel!
Also,
avoid a blow-by-blow description of the music
, such as, “It starts with a solo flute, and then the harp comes in with an arpeggio, then the rest of the orchestra comes in. It gets loud, and then quieter, and then the flute plays another solo....” Instead, try to
sum up what you hear
. For example:
“There are solo passages, often in the flute, which alternate with full orchestra. Sometimes the orchestra echoes the solo, other times it seems to answer it with different material....”
Again, try to
generalize
about what you hear, and about the composer’s style. Below are some general descriptions you should consider (
don’t try to describe all of them!):
Texture
Monophonic? Polyphonic? Homophonic? Is the texture consistent, or does it change often?
Timbre
Which instruments are playing? Are they playing in unusual ways? Is the combination of instruments unusual?
Melody
Length of phrases, type of motion, step vs. leaps, e ...
I need this short writen assignment paragraph done by thursday. Belo.docx
I need this short writen assignment paragraph done by thursday. Below are the instructions and lesson overview.
Instructions:
Compare and contrast oratorio and opera. Your opinion is valuable. Please expand on what you have read here and elsewhere. Paraphrase the comparison and refer to the listening examples to help make your point. Remember, this lesson extends into the Viennese and Romantic periods. In your answer, consider whether the later operas follow the traditions of the early opera by Monteverdi.
Search the Internet or the library for the terms
opera
and
oratorio
. To narrow your search, you could type the words opera oratorio history (only sites with all these terms are returned). Or look up the phrase "opera history." Putting the words between quotation marks gives you information on the whole phrase. (Try different words or phrases, depending on your area of interest, e.g., "Don Giovanni," "program notes.")
You will refer to these selections in your writing assignment. Also, you may want to refer to
these
Don Giovanni
by Wolfgang Amadeus Mozart -
https://www.youtube.com/watch?v=k5eC9Aa9T5c
Die Walküre
by Richard Wagner -
https://www.youtube.com/watch?v=xRdMTL4rSnM
Falstaff
excerpt by Giuseppe Verdi -
https://www.youtube.com/watch?v=VBwHfXkadDg
La Bohème
by Giacomo Puccini -
https://www.youtube.com/watch?v=KP3lV-YvCYM
Lesson 6 - The Baroque Period - Special Focus: The Oratorio & Opera
Overview
Emphasis on detail, an increased concern for expression of emotion, and a love of contrast are the hallmarks of the Baroque period. Such composing giants as Bach and Handel make their appearance in this period, and instrumental music is as popular as vocal music. The smoothness of Renaissance polyphony gives way to varied textures, and the elaborate treatment of polyphonic text gives way in some vocal music to a focus on making the words more speech-like and clear, which is the birth of opera. Dramatic arias contrasting with the recitatives allowed for large dramatic compositions.
Both opera, and another vocal form, the oratorio, are explored in depth with a special listening assignment. The listening examples will take you into later periods so you can hear how this initial idea developed. As you will see, there are similarities between opera and oratorio, the greatest differences being that one is secular and acted out and the other is sacred and less staged.
Opera Staging. This is a set up for a modern opera production in an ancient location (Hadrian's Villa).
What You Will Learn
After successfully completing this lesson, you will understand
·
the features that characterize Baroque music.
·
the revolution in vocal music that was started by the Camerata, a group of philosophers, noblemen, and some musicians in Florence.
·
the changing relationship of
recitatives
and
arias
in large musical dramas.
·
the features and development of opera and oratorio.
·
the new role of melody, tonality, and the
figu.
Writing A Concert Report
Instructors in introductory music cours.docx
This document provides guidelines for writing a concert report, including suggestions on transforming notes into a report, the content to include, and conventions for writing about music. The report should begin with an overview of the concert and performers, then discuss individual compositions, describing musical styles, forms, memorable features, and the performance. Proper terminology is important when referring to musical works, performers, and elements of compositions.
Guide to Poetry (Part 1)
This document provides an overview and examples of key concepts in poetry analysis. It defines prose and poetry, and describes the typical parts of a poem like title, stanzas, and lines. It also explains different types of classical poetry and repeating sounds in poetry like alliteration, consonance, assonance, internal rhyme, end rhyme, and rhyme schemes. Additionally, it covers scansion, meter, rhythm, theme, and topic. Sample test questions are provided to assess understanding of these concepts and their application in analyzing specific poems.
2.philip larkin _the_trees
The document provides biographical details about the life of British poet Philip Larkin, including that he was born in 1922 in Coventry, England, attended Oxford University where he studied English and became friends with fellow author Kingsley Amis, and had a successful career as a poet and writer while also holding several prestigious posts before passing away from cancer in 1985 at the age of 63.
CONCERT CRITIQUE GUIDELINESQuestions for a Concert What .docx
CONCERT CRITIQUE GUIDELINES
Questions for a Concert
What kinds of musical concerts are NOT acceptable for this paper?
High school or other children's performances/recitals, outdoor festival performances, any type of pop, rock, rap, Latin, country, or reggae, for example, are not appropriate for this paper. If you're not sure about your choice, ask me.
Print out and take with you so you can be thinking of the questions as you watch the show.
1. Program Notes - most performances have a printed program with printed notes. Read this before the performance begins and save it for reference when you write your paper.
2. Head your paper with your first and last name, the name of the show and where and when you saw it.
3. List the performers and/or the name of the group and the instruments included in the concert. List all the pieces that were played (see program notes for the concert), the name of the person who composed and/or arranged each piece, and the date each work was completed (if possible).
Example:
The Turtle Island String Quartet includes Joe Bloe, first violin; Sarah Marah, second violin; Topsy Turvy, viola; S. Popping, cello.
Their program:
Still so Cheerful by Sarah Marah, composed in 2001
Getting up Late by S. Popping, composed in 1998
Saturday Night by Berry Berry, composed in 2004
What to Write About:
1. Below are some things you can write about, but the most important is the MUSIC. You don't have to write about every piece on the program. Do write about how the sounds affected you, which voices, selections, or instruments touched you most, what you learned of interest about the composer(s), the performing group, and the compositions.
2. Ambience - Every gathering of people has a feeling tone, a mood: This is the ambience. Notice the people as they come in, find their seats, see what kinds of clothes they are wearing. Look around the theatre; notice the lighting in the room, the stage area. If you have some particular feeling about how you fit in, how you feel being a part of it you might make a comment in your paper.
3. You will understand and appreciate a concert more, and write about it best if you do a little research. It's easy to research on the Internet. Type in the name of the group and a list of web sites will pop up. The same is true for many composers. If the pieces were written in another century find out what you can about the type of composition, something about the composer.
4. Music is the most illusive art form. Like the dance, music happens in real-time: It's gone as soon as you hear it, and impressions are difficult to recall. Program notes give you information that is helpful when you think back on a performance. Program notes give you information about the composers, the music, and in voice concerts you may have translations into English of the words in a song.
5. Each composer had a concept, an idea, and chose specific instruments or voices (types of singers) because of the sounds they make. Listen to ho.
Poetry Appreciation
This document provides information about analyzing and summarizing poetry. It includes definitions of literary devices like imagery, metaphor, and rhyme scheme. It also discusses scansion and analyzing the meter, rhythm, and form of poems. The document is intended as a guide for students on how to properly appreciate and critique poems through close reading and examination of literary elements.
Analyzing Free Verse
This document provides an overview of analyzing free verse poetry. It defines free verse as modern poetry without rhyme or regular rhythm. It then lists several poetic elements commonly used in free verse like alliteration, assonance, imagery and symbolism. The document proceeds to explain these elements in more detail and provides examples. It concludes by outlining 10 specific steps for analyzing a free verse poem, such as identifying unfamiliar words, focusing on the voice and theme, and reflecting on the poet's approach.
Recommended
The Assignments list contains the details of the course listening as.docx
The Assignments list contains the details of the course listening assignments. There are
four
separate listening assignments of equal value (10%) and each assignment contains
five
compositions, some of which have
more than one movement
. You are required to listen to the recordings and write approximately
one paragraph
on
each composition
(but
not
each movement). Therefore, you should submit a
five-paragraph
document for
each
assignment through the Canvas assignment page.
Many assignment dropboxes will remain available after their posted due dates. Previously, some dropboxes would
disappear
after a deadline had passed, but now most will be accessible through the end of the term. All student submissions will continue to be date-stamped. Therefore, if you submit an assignment after its published deadline, the tutor-marker will decide whether late penalties will be assessed, based on the grading policies established in your course or by the course supervisor.
In composing your paragraphs, please make sure you:
Describe what you hear and your impressions of the music.
Use the terminology that you have learned in class.
The wrong way:
“It sounds weird.”
The right way:
“It sounds weird because the melody, when there is one, uses very large leaps with short phrases. There is no constant pulse, and the
rhythm
is hard to perceive. Each …”
I am
not
interested in background information that you might find via Google. Do
not
include filler information, such as the composer’s birth and death dates, his/her teachers, etc. However, please
do
include
some
historical perspective
from your notes that are relevant to the work, specifically
how this work may reflect the composer’s style
(or the general style represented by the composer).
Please,
avoid comparisons to subjective experiences
(“It sounds like a chase scene in a movie,” or “It makes me feel like I’m lying in a boat, watching the stars….”).
Your descriptions should be based upon
what you hear, not how it makes you feel!
Also,
avoid a blow-by-blow description of the music
, such as, “It starts with a solo flute, and then the harp comes in with an arpeggio, then the rest of the orchestra comes in. It gets loud, and then quieter, and then the flute plays another solo....” Instead, try to
sum up what you hear
. For example:
“There are solo passages, often in the flute, which alternate with full orchestra. Sometimes the orchestra echoes the solo, other times it seems to answer it with different material....”
Again, try to
generalize
about what you hear, and about the composer’s style. Below are some general descriptions you should consider (
don’t try to describe all of them!):
Texture
Monophonic? Polyphonic? Homophonic? Is the texture consistent, or does it change often?
Timbre
Which instruments are playing? Are they playing in unusual ways? Is the combination of instruments unusual?
Melody
Length of phrases, type of motion, step vs. leaps, e ...
I need this short writen assignment paragraph done by thursday. Belo.docx
I need this short writen assignment paragraph done by thursday. Below are the instructions and lesson overview.
Instructions:
Compare and contrast oratorio and opera. Your opinion is valuable. Please expand on what you have read here and elsewhere. Paraphrase the comparison and refer to the listening examples to help make your point. Remember, this lesson extends into the Viennese and Romantic periods. In your answer, consider whether the later operas follow the traditions of the early opera by Monteverdi.
Search the Internet or the library for the terms
opera
and
oratorio
. To narrow your search, you could type the words opera oratorio history (only sites with all these terms are returned). Or look up the phrase "opera history." Putting the words between quotation marks gives you information on the whole phrase. (Try different words or phrases, depending on your area of interest, e.g., "Don Giovanni," "program notes.")
You will refer to these selections in your writing assignment. Also, you may want to refer to
these
Don Giovanni
by Wolfgang Amadeus Mozart -
https://www.youtube.com/watch?v=k5eC9Aa9T5c
Die Walküre
by Richard Wagner -
https://www.youtube.com/watch?v=xRdMTL4rSnM
Falstaff
excerpt by Giuseppe Verdi -
https://www.youtube.com/watch?v=VBwHfXkadDg
La Bohème
by Giacomo Puccini -
https://www.youtube.com/watch?v=KP3lV-YvCYM
Lesson 6 - The Baroque Period - Special Focus: The Oratorio & Opera
Overview
Emphasis on detail, an increased concern for expression of emotion, and a love of contrast are the hallmarks of the Baroque period. Such composing giants as Bach and Handel make their appearance in this period, and instrumental music is as popular as vocal music. The smoothness of Renaissance polyphony gives way to varied textures, and the elaborate treatment of polyphonic text gives way in some vocal music to a focus on making the words more speech-like and clear, which is the birth of opera. Dramatic arias contrasting with the recitatives allowed for large dramatic compositions.
Both opera, and another vocal form, the oratorio, are explored in depth with a special listening assignment. The listening examples will take you into later periods so you can hear how this initial idea developed. As you will see, there are similarities between opera and oratorio, the greatest differences being that one is secular and acted out and the other is sacred and less staged.
Opera Staging. This is a set up for a modern opera production in an ancient location (Hadrian's Villa).
What You Will Learn
After successfully completing this lesson, you will understand
·
the features that characterize Baroque music.
·
the revolution in vocal music that was started by the Camerata, a group of philosophers, noblemen, and some musicians in Florence.
·
the changing relationship of
recitatives
and
arias
in large musical dramas.
·
the features and development of opera and oratorio.
·
the new role of melody, tonality, and the
figu.
Writing A Concert Report
Instructors in introductory music cours.docx
This document provides guidelines for writing a concert report, including suggestions on transforming notes into a report, the content to include, and conventions for writing about music. The report should begin with an overview of the concert and performers, then discuss individual compositions, describing musical styles, forms, memorable features, and the performance. Proper terminology is important when referring to musical works, performers, and elements of compositions.
Guide to Poetry (Part 1)
This document provides an overview and examples of key concepts in poetry analysis. It defines prose and poetry, and describes the typical parts of a poem like title, stanzas, and lines. It also explains different types of classical poetry and repeating sounds in poetry like alliteration, consonance, assonance, internal rhyme, end rhyme, and rhyme schemes. Additionally, it covers scansion, meter, rhythm, theme, and topic. Sample test questions are provided to assess understanding of these concepts and their application in analyzing specific poems.
2.philip larkin _the_trees
The document provides biographical details about the life of British poet Philip Larkin, including that he was born in 1922 in Coventry, England, attended Oxford University where he studied English and became friends with fellow author Kingsley Amis, and had a successful career as a poet and writer while also holding several prestigious posts before passing away from cancer in 1985 at the age of 63.
CONCERT CRITIQUE GUIDELINESQuestions for a Concert What .docx
CONCERT CRITIQUE GUIDELINES
Questions for a Concert
What kinds of musical concerts are NOT acceptable for this paper?
High school or other children's performances/recitals, outdoor festival performances, any type of pop, rock, rap, Latin, country, or reggae, for example, are not appropriate for this paper. If you're not sure about your choice, ask me.
Print out and take with you so you can be thinking of the questions as you watch the show.
1. Program Notes - most performances have a printed program with printed notes. Read this before the performance begins and save it for reference when you write your paper.
2. Head your paper with your first and last name, the name of the show and where and when you saw it.
3. List the performers and/or the name of the group and the instruments included in the concert. List all the pieces that were played (see program notes for the concert), the name of the person who composed and/or arranged each piece, and the date each work was completed (if possible).
Example:
The Turtle Island String Quartet includes Joe Bloe, first violin; Sarah Marah, second violin; Topsy Turvy, viola; S. Popping, cello.
Their program:
Still so Cheerful by Sarah Marah, composed in 2001
Getting up Late by S. Popping, composed in 1998
Saturday Night by Berry Berry, composed in 2004
What to Write About:
1. Below are some things you can write about, but the most important is the MUSIC. You don't have to write about every piece on the program. Do write about how the sounds affected you, which voices, selections, or instruments touched you most, what you learned of interest about the composer(s), the performing group, and the compositions.
2. Ambience - Every gathering of people has a feeling tone, a mood: This is the ambience. Notice the people as they come in, find their seats, see what kinds of clothes they are wearing. Look around the theatre; notice the lighting in the room, the stage area. If you have some particular feeling about how you fit in, how you feel being a part of it you might make a comment in your paper.
3. You will understand and appreciate a concert more, and write about it best if you do a little research. It's easy to research on the Internet. Type in the name of the group and a list of web sites will pop up. The same is true for many composers. If the pieces were written in another century find out what you can about the type of composition, something about the composer.
4. Music is the most illusive art form. Like the dance, music happens in real-time: It's gone as soon as you hear it, and impressions are difficult to recall. Program notes give you information that is helpful when you think back on a performance. Program notes give you information about the composers, the music, and in voice concerts you may have translations into English of the words in a song.
5. Each composer had a concept, an idea, and chose specific instruments or voices (types of singers) because of the sounds they make. Listen to ho.
Poetry Appreciation
This document provides information about analyzing and summarizing poetry. It includes definitions of literary devices like imagery, metaphor, and rhyme scheme. It also discusses scansion and analyzing the meter, rhythm, and form of poems. The document is intended as a guide for students on how to properly appreciate and critique poems through close reading and examination of literary elements.
Analyzing Free Verse
This document provides an overview of analyzing free verse poetry. It defines free verse as modern poetry without rhyme or regular rhythm. It then lists several poetic elements commonly used in free verse like alliteration, assonance, imagery and symbolism. The document proceeds to explain these elements in more detail and provides examples. It concludes by outlining 10 specific steps for analyzing a free verse poem, such as identifying unfamiliar words, focusing on the voice and theme, and reflecting on the poet's approach.
Musicology Presentation
The document provides an overview of musicology and the requirements for an assessment in a musicology module. It discusses the history and goals of musicology, focusing on analyzing popular music. The assessment consists of a 2,000-word essay analyzing a musical work and a 5-minute technological presentation on a musicological topic. The essay must use concepts like form, harmony, melody, and rhythm to analyze compositions.
Peer Reviewed Paper #1 (This is an example of what the paper sho.docx
Peer Reviewed Paper #1 (This is an example of what the paper should look like. It contains some answers that are less than adequate (#14), some that are adequate (#4) and some that are more than adequate (#1 and #9). In grading, if there is a less than adequate response to a question, that will receive from 0 to 3 points, an adequate answer will receive 5 points, and a more than adequate answer will receive 6.5 points. From this you can see that if you answer all the questions adequately, you will receive 16 times 5 points or 80 points out of 100. If you answer all questions more than adequately you will receive 16 times 6.5 points or 104 points. If you are unable to locate any information for any numbered question you should put by that number, “No information available”. You are allowed to do that three times for your composer and will receive 5 points for those questions. To submit the paper, make sure that it is a word document or a pdf file and submit it as an attachment to me through Blackboard.)
1. Ludwig van Beethoven (December 16/17, 1770- March 26, 1827)
1800 –Completion of 1st Symphony
1806 - Ended close friendship with Prince Lichnowsky, in whose palace he had lived from 1794 to 1796, signaling his independence as a composer and musician.
1807 – Completion of 5th Symphony
1809 – Rejection of his marriage proposal to Therese von Malfatti
1815 – He ended his public performance career due to increasing deafness. His brother, Karl, died and Beethoven took over as guardian for his nephew, also Karl.
1818 – Approximate date of total deafness
1824 – First performance of 9th Symphony
2. Born in Bonn, Germany
1787, studied briefly with Mozart in Vienna
1792, returned to Vienna permanently and studied briefly with Haydn
1802, visited the nearby city of Heilengestadt to try a new cure for increasing deafness and issued the “Heiligenstadt Testament”, expressing anguish over his deafness, but also his desire to continue to compose.
3. Beethoven was the son of a singer Johann Beethoven, in the service of the Elector of Cologne. His abusive father wanted to exploit his son’s musical gift and began a harsh musical training regimen. The court organist, C. G. Neefe, recognized his talent and gave him keyboard and composition lessons. He found Haydn a less than impressive teacher and began to study with other teachers, including Salieri and Albrechtsberger.
4. Beethoven was a virtuoso pianist and also played organ. He had learned violin as a young child.
5. Beethoven’s influence on music almost single-handedly ushered in the Romantic era. He transformed the symphony and the piano sonata and concerto by both expanding and adjusting the forms to a more Romantic mindset.
6. Beethoven’s earliest works were a continuation of the Viennese Classical tradition of Haydn and Mozart. In the early 1800’s, however, Beethoven began to expand and develop into a more Romantic style of composing and so he is the one co.
Year 11 revision guide
This document provides a revision guide for GCSE Music. It covers the key areas of study including rhythm and metre, harmony and tonality, texture and melody, timbre and dynamics, and structure and form. It defines important musical terminology and provides example questions. It also includes a listening guide with examples of music from different genres and cultures to support learning. Websites are listed that provide audio examples of musical elements and terms to aid revision.
Hook Line and Sinker- How Songwriters Get Into Your Head, Adam Hume LBU PORES...
The document discusses various theories proposed by the author for how songwriters craft catchy songs that get stuck in people's heads. The main theories discussed are vowel elongation, prosodic devices, vowel repetition, and motivic reiteration. Vowel elongation refers to drawing out vowel sounds for emphasis. Prosodic devices relate to rhythmic patterns in lyrics. Examples of popular songs that demonstrate these theories are analyzed. The author believes these techniques help make songs more memorable and singable.
Teacher Resource Guide - The Magic Flute
The teacher resource guide provides 6 lessons to help students learn about the opera The Magic Flute by Mozart before seeing a performance. The lessons include readings, activities, and lesson plans about what opera is, the different voice types and instruments, the roles of people who work behind the scenes, the composer Mozart, and the plot of The Magic Flute. The guide is intended to give students background knowledge to enhance their enjoyment and understanding of the opera performance.
SEEKING JUSTICE FOR OTHERS PPT.pptx
The document discusses seeking justice for others through activities that analyze quotes and photos related to social injustice, as well as a reading about Martin Luther King Jr.'s "I Have a Dream" speech. It also covers literary devices such as repetition, parallelism, and metaphor used in poems and speeches. Students are tasked with identifying words related to social injustice based on photos and discussing working with others through kindness.
Session 3‘the elements of music’
This session discusses ways in which the elements of music can be used to accentuate the form of music
ASSIGNMENT The meaning of the term concerto has changed at le.docx
ASSIGNMENT:
The meaning of the term
concerto
has changed at least three times in the history of music. What are the major elements of the concerto? Is there always a soloist? Is there a traditional musical form? Refer to the listening examples in the Special Focus (Concertos) to support your conclusions. This assignment requires a full page (400 to 500 words) submission.
PLEASE DO THE ASSIGNMENT BASED ON THE LESSON BELOW and a few research.... just follow the direction here.
Lesson:
Special Focus: The Concerto
This Special Focus explores the concerto and the relationship between the soloist and the orchestra.
Search the Internet or the library for the term concerto. To narrow your search, you could type the words concerto and history (only sites with these terms are returned). Or look up appropriate phrases. Putting the words between quotation marks gives you information on the whole phrase (try pairing concerto with different words or phrase combinations, depending on your area of interest, e.g., Bach, "20th Century,” composing, Paganini, 1800s, soloist, exposition, symphony, history, etc.)
Listen to the following selections (you will refer to these in your writing assignment):
The Four Seasons (Spring), by Antonio Vivaldi
Trumpet Concerto in E-Flat Major, by Joseph Haydn
Piano Concerto No. 23 in A Major, by Wolfgang Amadeus Mozart
Concerto for Orchestra, by Béla Bartók
Concerto Grosso 1985, by Ellen Taaffe Zwilich
Orchestral Concerto
The concerto grosso of the Baroque Period developed into the solo concerto of the Classical Period, and finally into the orchestral concerto as in Bartok’s Concerto for Orchestra (studied in Lesson 10). This work is called a concerto because of the soloistic nature of the instruments within the orchestra; it is in essence a return to the orchestral concertos of the Baroque Era. Modern concertos continued to experiment with different combinations of soloists and orchestra. The orchestra itself was also changing. For example, Arthur Bliss wrote a concerto for an interesting combination of piano, tenor voice, xylophone, and strings in 1933. Ellen Zwilich’s Concerto Grosso 1985 is another intriguing work written in the spirit of an orchestral concerto. There is no specific soloist; there are five movements, and the theme is based on a theme from Handel’s Sonata in D for violin. With this work, the term “concerto” seems to have come full circle from the Baroque Era.
Finally, the 1965 composition Piano Concerto, by Elliott Carter, integrates three contrasting elements. In this two-movement work, the orchestra and piano soloist are musically immiscible; there is, however, a concertino group of seven instrumentalists that acts as an intermediary between the musical ideas presented in the orchestra and the conflicting ideas of the pianist. Carter raised contrast to yet another level of complexity and intellectualism. The term “concerto” has remained fluid for centuries and continues to reappear as new forms in whi.
How to Analyze Poetry.pptx
The document provides guidance on analyzing poetry by examining its key elements. It discusses considering themes, language, sound/rhythm, and structure. It then outlines a 10 step process for analyzing a poem which includes reading it multiple times, mapping rhyme schemes, scanning meter, studying language/content, and paraphrasing each line. Examples are also provided of Italian and English sonnets, the most common poetic forms during the Renaissance, along with their defining characteristics.
UNIT III - Class 18
The document discusses the differences between Baroque and Classical concertos and sonatas. It notes that Classical concertos featured a larger orchestra, greater dramatic weight between the soloist and orchestra, and more thematic material for the soloist. It also describes the typical three-movement structure and forms used in Classical concertos, sonatas, string quartets and other genres. Finally, it discusses the rise of chamber and home music-making in the Classical era.
CONCERT CRITIQUE GUIDELINES Questi.docx
CONCERT CRITIQUE GUIDELINES
Questions for a Concert
What kinds of musical concerts are NOT acceptable for this paper?
High school or other children's performances/recitals, outdoor festival
performances, any type of pop, rock, rap, Latin, country, or reggae, for example,
are not appropriate for this paper. If you're not sure about your choice, ask me.
Print out and take with you so you can be thinking of the questions as you
watch the show.
1. Program Notes - most performances have a printed program with printed
notes. Read this before the performance begins and save it for reference
when you write your paper.
2. Head your paper with your first and last name, the name of the show and
where and when you saw it.
3. List the performers and/or the name of the group and the instruments
included in the concert. List all the pieces that were played (see program
notes for the concert), the name of the person who composed and/or
arranged each piece, and the date each work was completed (if possible).
Example:
The Turtle Island String Quartet includes Joe Bloe, first violin; Sarah Marah,
second violin; Topsy Turvy, viola; S. Popping, cello.
Their program:
Still so Cheerful by Sarah Marah, composed in 2001
Getting up Late by S. Popping, composed in 1998
Saturday Night by Berry Berry, composed in 2004
What to Write About:
1. Below are some things you can write about, but the most important is the
MUSIC. You don't have to write about every piece on the program. Do write
about how the sounds affected you, which voices, selections, or instruments
touched you most, what you learned of interest about the composer(s), the
performing group, and the compositions.
2. Ambience - Every gathering of people has a feeling tone, a mood: This is the
ambience. Notice the people as they come in, find their seats, see what kinds
of clothes they are wearing. Look around the theatre; notice the lighting in
the room, the stage area. If you have some particular feeling about how you
fit in, how you feel being a part of it you might make a comment in your
paper.
3. You will understand and appreciate a concert more, and write about it best
if you do a little research. It's easy to research on the Internet. Type in the
name of the group and a list of web sites will pop up. The same is true for
many composers. If the pieces were written in another century find out what
you can about the type of composition, something about the composer.
4. Music is the most illusive art form. Like the dance, music happens in
real-time: It's gone as soon as you hear it, and impressions are difficult to
recall. Program notes give you information that is helpful when you think
back on a performance. Program notes give you information about the
composers, the music, and in voice concerts you may have translations into
English of the words in a song.
5. Each composer had a concept, an idea, and chose specific instruments or
...
--I need writing concert report as an example below.------.docx
--
***I need writing concert report as an example below.-***----------------------------------------------------------------------------------------------***
* I have attend to the concert and all the information you need it for the concert.
This is the web site.
@Here where you can fine the composers and what music they are sing
And the location, composer, all the information you need it.
https://cso.org/ticketsandevents/production-details-2016-17/cso-specials/cso-at-wheaton---dohnanyi/?perfNo=8040
**And this the information about concert program.
https://cso.org/globalassets/pdfsshared/program-notes/2016-17/programnotes_wheaton_beethoven_pastoral.pdf
There is a rubric as the professor will grade it base on the rubric
It is in the last paper you must follow the rubric
Please write on your on “world” No plagiarism .No subject does not content to the concert.!!!!
Thanks
------------------------------------------------------------------------------
WRITING A CONCERT REPORT
Instructors in introductory music courses often require students to write one or more concert reports during a semester. Here are some guidelines for the preparation of such an assignment: first, a few suggestions on working with your own notes; second, points to consider for the content of your report; third, some information about usages or conventions in writing about music; and finally, an example of a concert report.
TRANSFORMING YOUR NOTES INTO A REPORT
You should plan to expand your notes into a complete report very soon after the concert—the same evening or during the next day or so.
It is often helpful to begin with an outline and then to write a rough draft. (If your instructor hands out a printed form for concert reports, that will serve as the outline.) Next, polish and edit your draft to produce the final version. Remember to check your grammar and the spellings of names (especially foreign names) and musical terms.
Below are recommendations for the actual content of your report—what to write. Following that, there is a section on vocabulary and usages, or conventions, involved in referring to musical works—that is, how to write about music.
WHAT TO WRITE: THE CONTENT OF A REPORT
The Concert as a Whole You should begin your report with a brief description of the concert attended, including the name and type of the performing group or soloists, the place, the date and time, and the music you heard.
You will also want to note whether the performers were attempting a historically "authentic" program. For example, in music by Johann Sebastian Bach, was a harpsichord (rather than a piano) used? For a symphony by Haydn or Mozart, was the size of the orchestra reduced? Did the performers use old instruments, or reconstructions of old instruments?
Then, you may want to describe your general reaction to the concert. Did you enjoy it? Did this event make you feel like going to other concerts in the near future?
Following this introduction, the paper might focus on t ...
Stage 2 builds on the information your gathered in Stage.pdf
This document provides instructions for Stage 2 of a project comparing examples from different cultures. Stage 2 builds on examples selected in Stage 1 by explaining their historical and cultural contexts, comparing and contrasting them, and applying terminology from course materials. The instructions specify including an introduction, descriptions of each example with context, images if applicable, an analysis comparing and contrasting examples using terms from resources while citing examples, and a conclusion discussing what was learned about the cultures. The document provides an example Stage 1 where the field is music and three works are selected from India, the US, and Mexico to analyze in Stage 2.
Beethoven is the only composer to whom an entire chapter in our text.docx
Beethoven is the only composer to whom an entire chapter in our textbook is dedicated. Consequently, from a stylistic point of view we can conclude that: there is music before Beethoven, Beethoven’s music, and music after Beethoven. In Discussion 8 the class considered the Classical and the Romantic style traits found in all four movements of Beethoven’s Fifth Symphony. Which parts of Beethoven’s Fifth Symphony are Classically derived and which parts are Romantically inspired? Start by comparing and contrasting how the sonata form is used by Beethoven as opposed to the sonata form in the earlier symphonies of the Classical composers, such as Haydn and Mozart. Next, briefly mention the Classically and Romantically inspired features of the final three movements of Beethoven’s Fifth Symphony.
How did composers like Schubert, the Schumanns, Chopin, Berlioz, Wagner, Verdi, or any of the Modern composers write music that was different than or similar to Beethoven’s musical style? You only need to choose two or three composers who you found the most interesting to compare and contrast with Beethoven’s musical style. Make this a thought provoking exercise and an enjoyable academic experience. Look over the syllabus, listen to the music examples on the CD set, review the readings and quizzes taken after the midterm, and re-read the D2L discussion to help construct your final essay. Finally, check any comments left for you in the Grades section of our Course. Above all, be creative.
.
Session 3‘the elements of music’
A musicology presenation that focuses on the relationship between the elements of music and musical form.
Ewrt 30 class 5
This document provides an agenda for a poetry workshop including discussions on poetic forms like sestinas and villanelles. It defines various poetic terms in 3 sentences or less for each. These include definitions of a sestina, villanelle, tercet, elision, personification, and free verse. The document then provides examples of poems written in free verse form with brief analyses of the poetic techniques and conventions used in each. It concludes with tips and guidelines for writing free verse poetry including the use of imagery, formatting, grammatical conventions, and repetition.
Ewrt 30 class 5
This document provides an agenda and information for a poetry workshop. The agenda includes discussions of poetic forms like sestinas and villanelles. It also includes a lecture on free verse poetry and a guided writing exercise for students to write free verse poems. The document defines various poetic terms and provides examples of poems in different forms. It offers guidance on writing free verse poetry without strict meter or rhyme, including the use of imagery, formatting, repetition and other techniques. It concludes with assigning students a poetry project and homework.
WChapter 10 The Arab World. It’s such a fascinating chapter and.docx
WChapter 10: The Arab World.
It’s such a fascinating chapter and so complex that it should be a section that takes up two weeks at least two weeks of study. This is week 4 and a shortened week. Rather than attempt to struggle through it as I have done in the past, it’s time to simply enjoy it with our ears.
So much can be said about the influences from the Arab World to the West: The violin and guitar (ud) can be traced back to Arab instruments. Some Western Medieval European rhythms and dances are noticeably influenced by Arab music from the early periods.
With the two major invasions and occupation of Europe clear to the walls of Vienna, Austria, by the Ottoman Empire it is easy to hear the music influences from the Arab world. We can also surmise that the Crusades also influenced much of the Arab world in the same way as well. These topics are ongoing and students are often subjected to and influenced by the way a professor or textbook leans politically. In chapter 5 of our textbook the author does a nice job of explaining how Muslims, Christians and Jews contributed to the arts and music of Europe. That’s the part that is important to understand in a music class.
Below is my personal experience and the struggles that I had in the USA school system. I began to realize the dangers of history and social studies classes by realizing that ideals were taught using selected textbooks and by teachers who leaned either one way or the other politically. I lean forward!
Case in point: My family is Catholic. After World War II, in Yugoslavia, people were expected to give up their faith and join the communist party. In Slovenia, where I was born, the alternative was death. The only reason my mother, sister’s and I, before age 1, were spared death by Tito and his socialist/ communist party was that my mother’s first husband was a member of Tito’s communist army. My dad, whom mom married two years after her fist husband’s death, was a not communist or any other party. Communists searched for him and many other Slovenians but he managed to escape over the border into Italy. My mom and sisters were sentenced to seven years hard labor in the socialist/communist prison camp. I was with them as well. By age 2, I learned to sing praises to a picture of Tito in front of communist soldiers. Sometimes they would share a piece of bread or apple. There were some bad soldiers as well. Beatings, abuse and more came at the hands of these monsters. I witnessed death at hands of socialist/communists and was even given my Last Rites twice before reaching age 6 because of physical abuse and hunger thanks to the socialist/communist soldiers. Somehow it just wasn’t my time. By the grace of God and great planning by mom, we managed to escape the camp. That is another wild saga and not enough time to share.
So what was the trouble with USA education? After immigrating to the USA my formal education finally began. History courses were especially difficult to stoma ...
1String Quintet in C major .docx
1
String Quintet in C major
Name:
Professor:
May 1, 2019
Franz Schubert (1797-1828) born in Vienna is an outstanding representative of the early Romantic music of the West. His work reflects the connection between the classical music tradition of Vienna and the new romanticism of the 19th century. Schubert received a good artistic influence from an early age. When he was 5 years old, he began to learn music with his father. When she was a child, Schubert had an amazing voice and an admirable tone. In 1808 he was admitted to the boarding school of the church and became a small singer in the Children's Choir of the Palace Theatre. In the boarding school, Schubert studied many professional courses, went to the theater to listen to opera, and contacted many works by Mozart, Haydn, and many other composers. In his short life, he has produced more than 600 artistic songs, making a big contribution to the development of art songs. I will analyze String Quintet in Cmajor.
String Quintet in C major is one of his chamber music work, created in the last year of his life -1828. This quintet uses two violins, one viola, and two cellos. This arrangement makes the bass of the music enhanced. The two cells are also Dialogues can be made, and the interlacing of sounds between different instruments becomes complicated. It is the treasure in chamber music, both in terms of writing skills and spiritual. It is often commented on Schubert's greatest chamber music in his later years.
The D.956[footnoteRef:2] is compiled with a cello in addition to the string quartet. This arrangement makes the bass of the music enhanced, and there can be a dialogue between the two cellos, so the melody of the symphony in D.956The proportion has increased significantly, and the vernacular says that the sound interlacing of different instruments becomes more complicated. [2: Rick Anderson. Reviewed Work: String Quintet, D956. 2005]
The string quintet consists[footnoteRef:3]offourmovements in the usualquick-slow-scherzo-quick pattern: [3: William, Brown. Menahem Pressler: Artistry in Piano Teaching. Indiana University Press, 2009.]
1. Allegro ma non troppo
2. Adagio
3. Scherzo. Presto – Trio. Andante sostenuto
4. Allegretto
The first movement of the "C major string quintet" is composed of a sonata style. The quintet opens with an extremely expansive movement compare with other late Schubert works. The length of Allegro is over one-third of the total length of the piece around 50 minutes. The exposition lasted 154 measures and began with a wide range of C major chords. Schubert presents his unforgettable harmony, well-contoured melody and without regular rhythm pulses. This is followed by music leading to a second contrasting theme with gradually increasing motion and tension. In the E-flat accidental key, it is introduced into the duo between the two units. This part ends with a dominant (G major) chord that naturally returns to the open pitch ch.
Module 3 Poetry and Elements of Poetry.ppt
The 12 elements of poetry include structure, form, speaker, sound devices, figurative language, rhyme, meter, theme, tone, mood, syntax, and diction.
For this assessment, please research a law enforcement agency and a .docx
For this assessment, please research a law enforcement agency and a non-law enforcement agency that have responded to an incident/disaster. Examples of non-law enforcement agencies include: FEMA, Red Cross, fire departments, etc.
Please provide a 8−10 slide PowerPoint presentation that
compares the responsibilities of each agency when responding to an incident
the actions taken by each agency to fulfill those responsibilities
compares and contrasts each agency’s respective roles
identifies areas where their respective roles might overlap and cause conflict between the agencies
explains how these conflicts have been addressed in specific situations.
.
For the theories to be used in this paper it will be Psychodynamic.docx
For the theories to be used in this paper it will be Psychodynamic and Learning theories.
Write
a 1,400- to 1,750-word paper in which you compare and contrast the theories selected. Address the following:
Describe the role of personality in affecting situational behavior.
Examine the personality characteristics attributed to each theory in your approach.
Explain the interpersonal relational aspects associated with the theories selected.
Include
a reference page with a minimum of three to five peer-reviewed sources.
I would like this homework to be done by tomorrow 10am PST. Thank you so much.
.
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The document provides an overview of musicology and the requirements for an assessment in a musicology module. It discusses the history and goals of musicology, focusing on analyzing popular music. The assessment consists of a 2,000-word essay analyzing a musical work and a 5-minute technological presentation on a musicological topic. The essay must use concepts like form, harmony, melody, and rhythm to analyze compositions.
Peer Reviewed Paper #1 (This is an example of what the paper sho.docx
Peer Reviewed Paper #1 (This is an example of what the paper should look like. It contains some answers that are less than adequate (#14), some that are adequate (#4) and some that are more than adequate (#1 and #9). In grading, if there is a less than adequate response to a question, that will receive from 0 to 3 points, an adequate answer will receive 5 points, and a more than adequate answer will receive 6.5 points. From this you can see that if you answer all the questions adequately, you will receive 16 times 5 points or 80 points out of 100. If you answer all questions more than adequately you will receive 16 times 6.5 points or 104 points. If you are unable to locate any information for any numbered question you should put by that number, “No information available”. You are allowed to do that three times for your composer and will receive 5 points for those questions. To submit the paper, make sure that it is a word document or a pdf file and submit it as an attachment to me through Blackboard.)
1. Ludwig van Beethoven (December 16/17, 1770- March 26, 1827)
1800 –Completion of 1st Symphony
1806 - Ended close friendship with Prince Lichnowsky, in whose palace he had lived from 1794 to 1796, signaling his independence as a composer and musician.
1807 – Completion of 5th Symphony
1809 – Rejection of his marriage proposal to Therese von Malfatti
1815 – He ended his public performance career due to increasing deafness. His brother, Karl, died and Beethoven took over as guardian for his nephew, also Karl.
1818 – Approximate date of total deafness
1824 – First performance of 9th Symphony
2. Born in Bonn, Germany
1787, studied briefly with Mozart in Vienna
1792, returned to Vienna permanently and studied briefly with Haydn
1802, visited the nearby city of Heilengestadt to try a new cure for increasing deafness and issued the “Heiligenstadt Testament”, expressing anguish over his deafness, but also his desire to continue to compose.
3. Beethoven was the son of a singer Johann Beethoven, in the service of the Elector of Cologne. His abusive father wanted to exploit his son’s musical gift and began a harsh musical training regimen. The court organist, C. G. Neefe, recognized his talent and gave him keyboard and composition lessons. He found Haydn a less than impressive teacher and began to study with other teachers, including Salieri and Albrechtsberger.
4. Beethoven was a virtuoso pianist and also played organ. He had learned violin as a young child.
5. Beethoven’s influence on music almost single-handedly ushered in the Romantic era. He transformed the symphony and the piano sonata and concerto by both expanding and adjusting the forms to a more Romantic mindset.
6. Beethoven’s earliest works were a continuation of the Viennese Classical tradition of Haydn and Mozart. In the early 1800’s, however, Beethoven began to expand and develop into a more Romantic style of composing and so he is the one co.
Year 11 revision guide
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ASSIGNMENT The meaning of the term concerto has changed at le.docx
ASSIGNMENT:
The meaning of the term
concerto
has changed at least three times in the history of music. What are the major elements of the concerto? Is there always a soloist? Is there a traditional musical form? Refer to the listening examples in the Special Focus (Concertos) to support your conclusions. This assignment requires a full page (400 to 500 words) submission.
PLEASE DO THE ASSIGNMENT BASED ON THE LESSON BELOW and a few research.... just follow the direction here.
Lesson:
Special Focus: The Concerto
This Special Focus explores the concerto and the relationship between the soloist and the orchestra.
Search the Internet or the library for the term concerto. To narrow your search, you could type the words concerto and history (only sites with these terms are returned). Or look up appropriate phrases. Putting the words between quotation marks gives you information on the whole phrase (try pairing concerto with different words or phrase combinations, depending on your area of interest, e.g., Bach, "20th Century,” composing, Paganini, 1800s, soloist, exposition, symphony, history, etc.)
Listen to the following selections (you will refer to these in your writing assignment):
The Four Seasons (Spring), by Antonio Vivaldi
Trumpet Concerto in E-Flat Major, by Joseph Haydn
Piano Concerto No. 23 in A Major, by Wolfgang Amadeus Mozart
Concerto for Orchestra, by Béla Bartók
Concerto Grosso 1985, by Ellen Taaffe Zwilich
Orchestral Concerto
The concerto grosso of the Baroque Period developed into the solo concerto of the Classical Period, and finally into the orchestral concerto as in Bartok’s Concerto for Orchestra (studied in Lesson 10). This work is called a concerto because of the soloistic nature of the instruments within the orchestra; it is in essence a return to the orchestral concertos of the Baroque Era. Modern concertos continued to experiment with different combinations of soloists and orchestra. The orchestra itself was also changing. For example, Arthur Bliss wrote a concerto for an interesting combination of piano, tenor voice, xylophone, and strings in 1933. Ellen Zwilich’s Concerto Grosso 1985 is another intriguing work written in the spirit of an orchestral concerto. There is no specific soloist; there are five movements, and the theme is based on a theme from Handel’s Sonata in D for violin. With this work, the term “concerto” seems to have come full circle from the Baroque Era.
Finally, the 1965 composition Piano Concerto, by Elliott Carter, integrates three contrasting elements. In this two-movement work, the orchestra and piano soloist are musically immiscible; there is, however, a concertino group of seven instrumentalists that acts as an intermediary between the musical ideas presented in the orchestra and the conflicting ideas of the pianist. Carter raised contrast to yet another level of complexity and intellectualism. The term “concerto” has remained fluid for centuries and continues to reappear as new forms in whi.
How to Analyze Poetry.pptx
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UNIT III - Class 18
The document discusses the differences between Baroque and Classical concertos and sonatas. It notes that Classical concertos featured a larger orchestra, greater dramatic weight between the soloist and orchestra, and more thematic material for the soloist. It also describes the typical three-movement structure and forms used in Classical concertos, sonatas, string quartets and other genres. Finally, it discusses the rise of chamber and home music-making in the Classical era.
CONCERT CRITIQUE GUIDELINES Questi.docx
CONCERT CRITIQUE GUIDELINES
Questions for a Concert
What kinds of musical concerts are NOT acceptable for this paper?
High school or other children's performances/recitals, outdoor festival
performances, any type of pop, rock, rap, Latin, country, or reggae, for example,
are not appropriate for this paper. If you're not sure about your choice, ask me.
Print out and take with you so you can be thinking of the questions as you
watch the show.
1. Program Notes - most performances have a printed program with printed
notes. Read this before the performance begins and save it for reference
when you write your paper.
2. Head your paper with your first and last name, the name of the show and
where and when you saw it.
3. List the performers and/or the name of the group and the instruments
included in the concert. List all the pieces that were played (see program
notes for the concert), the name of the person who composed and/or
arranged each piece, and the date each work was completed (if possible).
Example:
The Turtle Island String Quartet includes Joe Bloe, first violin; Sarah Marah,
second violin; Topsy Turvy, viola; S. Popping, cello.
Their program:
Still so Cheerful by Sarah Marah, composed in 2001
Getting up Late by S. Popping, composed in 1998
Saturday Night by Berry Berry, composed in 2004
What to Write About:
1. Below are some things you can write about, but the most important is the
MUSIC. You don't have to write about every piece on the program. Do write
about how the sounds affected you, which voices, selections, or instruments
touched you most, what you learned of interest about the composer(s), the
performing group, and the compositions.
2. Ambience - Every gathering of people has a feeling tone, a mood: This is the
ambience. Notice the people as they come in, find their seats, see what kinds
of clothes they are wearing. Look around the theatre; notice the lighting in
the room, the stage area. If you have some particular feeling about how you
fit in, how you feel being a part of it you might make a comment in your
paper.
3. You will understand and appreciate a concert more, and write about it best
if you do a little research. It's easy to research on the Internet. Type in the
name of the group and a list of web sites will pop up. The same is true for
many composers. If the pieces were written in another century find out what
you can about the type of composition, something about the composer.
4. Music is the most illusive art form. Like the dance, music happens in
real-time: It's gone as soon as you hear it, and impressions are difficult to
recall. Program notes give you information that is helpful when you think
back on a performance. Program notes give you information about the
composers, the music, and in voice concerts you may have translations into
English of the words in a song.
5. Each composer had a concept, an idea, and chose specific instruments or
...
--I need writing concert report as an example below.------.docx
--
***I need writing concert report as an example below.-***----------------------------------------------------------------------------------------------***
* I have attend to the concert and all the information you need it for the concert.
This is the web site.
@Here where you can fine the composers and what music they are sing
And the location, composer, all the information you need it.
https://cso.org/ticketsandevents/production-details-2016-17/cso-specials/cso-at-wheaton---dohnanyi/?perfNo=8040
**And this the information about concert program.
https://cso.org/globalassets/pdfsshared/program-notes/2016-17/programnotes_wheaton_beethoven_pastoral.pdf
There is a rubric as the professor will grade it base on the rubric
It is in the last paper you must follow the rubric
Please write on your on “world” No plagiarism .No subject does not content to the concert.!!!!
Thanks
------------------------------------------------------------------------------
WRITING A CONCERT REPORT
Instructors in introductory music courses often require students to write one or more concert reports during a semester. Here are some guidelines for the preparation of such an assignment: first, a few suggestions on working with your own notes; second, points to consider for the content of your report; third, some information about usages or conventions in writing about music; and finally, an example of a concert report.
TRANSFORMING YOUR NOTES INTO A REPORT
You should plan to expand your notes into a complete report very soon after the concert—the same evening or during the next day or so.
It is often helpful to begin with an outline and then to write a rough draft. (If your instructor hands out a printed form for concert reports, that will serve as the outline.) Next, polish and edit your draft to produce the final version. Remember to check your grammar and the spellings of names (especially foreign names) and musical terms.
Below are recommendations for the actual content of your report—what to write. Following that, there is a section on vocabulary and usages, or conventions, involved in referring to musical works—that is, how to write about music.
WHAT TO WRITE: THE CONTENT OF A REPORT
The Concert as a Whole You should begin your report with a brief description of the concert attended, including the name and type of the performing group or soloists, the place, the date and time, and the music you heard.
You will also want to note whether the performers were attempting a historically "authentic" program. For example, in music by Johann Sebastian Bach, was a harpsichord (rather than a piano) used? For a symphony by Haydn or Mozart, was the size of the orchestra reduced? Did the performers use old instruments, or reconstructions of old instruments?
Then, you may want to describe your general reaction to the concert. Did you enjoy it? Did this event make you feel like going to other concerts in the near future?
Following this introduction, the paper might focus on t ...
Stage 2 builds on the information your gathered in Stage.pdf
This document provides instructions for Stage 2 of a project comparing examples from different cultures. Stage 2 builds on examples selected in Stage 1 by explaining their historical and cultural contexts, comparing and contrasting them, and applying terminology from course materials. The instructions specify including an introduction, descriptions of each example with context, images if applicable, an analysis comparing and contrasting examples using terms from resources while citing examples, and a conclusion discussing what was learned about the cultures. The document provides an example Stage 1 where the field is music and three works are selected from India, the US, and Mexico to analyze in Stage 2.
Beethoven is the only composer to whom an entire chapter in our text.docx
Beethoven is the only composer to whom an entire chapter in our textbook is dedicated. Consequently, from a stylistic point of view we can conclude that: there is music before Beethoven, Beethoven’s music, and music after Beethoven. In Discussion 8 the class considered the Classical and the Romantic style traits found in all four movements of Beethoven’s Fifth Symphony. Which parts of Beethoven’s Fifth Symphony are Classically derived and which parts are Romantically inspired? Start by comparing and contrasting how the sonata form is used by Beethoven as opposed to the sonata form in the earlier symphonies of the Classical composers, such as Haydn and Mozart. Next, briefly mention the Classically and Romantically inspired features of the final three movements of Beethoven’s Fifth Symphony.
How did composers like Schubert, the Schumanns, Chopin, Berlioz, Wagner, Verdi, or any of the Modern composers write music that was different than or similar to Beethoven’s musical style? You only need to choose two or three composers who you found the most interesting to compare and contrast with Beethoven’s musical style. Make this a thought provoking exercise and an enjoyable academic experience. Look over the syllabus, listen to the music examples on the CD set, review the readings and quizzes taken after the midterm, and re-read the D2L discussion to help construct your final essay. Finally, check any comments left for you in the Grades section of our Course. Above all, be creative.
.
Session 3‘the elements of music’
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Ewrt 30 class 5
This document provides an agenda for a poetry workshop including discussions on poetic forms like sestinas and villanelles. It defines various poetic terms in 3 sentences or less for each. These include definitions of a sestina, villanelle, tercet, elision, personification, and free verse. The document then provides examples of poems written in free verse form with brief analyses of the poetic techniques and conventions used in each. It concludes with tips and guidelines for writing free verse poetry including the use of imagery, formatting, grammatical conventions, and repetition.
Ewrt 30 class 5
This document provides an agenda and information for a poetry workshop. The agenda includes discussions of poetic forms like sestinas and villanelles. It also includes a lecture on free verse poetry and a guided writing exercise for students to write free verse poems. The document defines various poetic terms and provides examples of poems in different forms. It offers guidance on writing free verse poetry without strict meter or rhyme, including the use of imagery, formatting, repetition and other techniques. It concludes with assigning students a poetry project and homework.
WChapter 10 The Arab World. It’s such a fascinating chapter and.docx
WChapter 10: The Arab World.
It’s such a fascinating chapter and so complex that it should be a section that takes up two weeks at least two weeks of study. This is week 4 and a shortened week. Rather than attempt to struggle through it as I have done in the past, it’s time to simply enjoy it with our ears.
So much can be said about the influences from the Arab World to the West: The violin and guitar (ud) can be traced back to Arab instruments. Some Western Medieval European rhythms and dances are noticeably influenced by Arab music from the early periods.
With the two major invasions and occupation of Europe clear to the walls of Vienna, Austria, by the Ottoman Empire it is easy to hear the music influences from the Arab world. We can also surmise that the Crusades also influenced much of the Arab world in the same way as well. These topics are ongoing and students are often subjected to and influenced by the way a professor or textbook leans politically. In chapter 5 of our textbook the author does a nice job of explaining how Muslims, Christians and Jews contributed to the arts and music of Europe. That’s the part that is important to understand in a music class.
Below is my personal experience and the struggles that I had in the USA school system. I began to realize the dangers of history and social studies classes by realizing that ideals were taught using selected textbooks and by teachers who leaned either one way or the other politically. I lean forward!
Case in point: My family is Catholic. After World War II, in Yugoslavia, people were expected to give up their faith and join the communist party. In Slovenia, where I was born, the alternative was death. The only reason my mother, sister’s and I, before age 1, were spared death by Tito and his socialist/ communist party was that my mother’s first husband was a member of Tito’s communist army. My dad, whom mom married two years after her fist husband’s death, was a not communist or any other party. Communists searched for him and many other Slovenians but he managed to escape over the border into Italy. My mom and sisters were sentenced to seven years hard labor in the socialist/communist prison camp. I was with them as well. By age 2, I learned to sing praises to a picture of Tito in front of communist soldiers. Sometimes they would share a piece of bread or apple. There were some bad soldiers as well. Beatings, abuse and more came at the hands of these monsters. I witnessed death at hands of socialist/communists and was even given my Last Rites twice before reaching age 6 because of physical abuse and hunger thanks to the socialist/communist soldiers. Somehow it just wasn’t my time. By the grace of God and great planning by mom, we managed to escape the camp. That is another wild saga and not enough time to share.
So what was the trouble with USA education? After immigrating to the USA my formal education finally began. History courses were especially difficult to stoma ...
1String Quintet in C major .docx
1
String Quintet in C major
Name:
Professor:
May 1, 2019
Franz Schubert (1797-1828) born in Vienna is an outstanding representative of the early Romantic music of the West. His work reflects the connection between the classical music tradition of Vienna and the new romanticism of the 19th century. Schubert received a good artistic influence from an early age. When he was 5 years old, he began to learn music with his father. When she was a child, Schubert had an amazing voice and an admirable tone. In 1808 he was admitted to the boarding school of the church and became a small singer in the Children's Choir of the Palace Theatre. In the boarding school, Schubert studied many professional courses, went to the theater to listen to opera, and contacted many works by Mozart, Haydn, and many other composers. In his short life, he has produced more than 600 artistic songs, making a big contribution to the development of art songs. I will analyze String Quintet in Cmajor.
String Quintet in C major is one of his chamber music work, created in the last year of his life -1828. This quintet uses two violins, one viola, and two cellos. This arrangement makes the bass of the music enhanced. The two cells are also Dialogues can be made, and the interlacing of sounds between different instruments becomes complicated. It is the treasure in chamber music, both in terms of writing skills and spiritual. It is often commented on Schubert's greatest chamber music in his later years.
The D.956[footnoteRef:2] is compiled with a cello in addition to the string quartet. This arrangement makes the bass of the music enhanced, and there can be a dialogue between the two cellos, so the melody of the symphony in D.956The proportion has increased significantly, and the vernacular says that the sound interlacing of different instruments becomes more complicated. [2: Rick Anderson. Reviewed Work: String Quintet, D956. 2005]
The string quintet consists[footnoteRef:3]offourmovements in the usualquick-slow-scherzo-quick pattern: [3: William, Brown. Menahem Pressler: Artistry in Piano Teaching. Indiana University Press, 2009.]
1. Allegro ma non troppo
2. Adagio
3. Scherzo. Presto – Trio. Andante sostenuto
4. Allegretto
The first movement of the "C major string quintet" is composed of a sonata style. The quintet opens with an extremely expansive movement compare with other late Schubert works. The length of Allegro is over one-third of the total length of the piece around 50 minutes. The exposition lasted 154 measures and began with a wide range of C major chords. Schubert presents his unforgettable harmony, well-contoured melody and without regular rhythm pulses. This is followed by music leading to a second contrasting theme with gradually increasing motion and tension. In the E-flat accidental key, it is introduced into the duo between the two units. This part ends with a dominant (G major) chord that naturally returns to the open pitch ch.
Module 3 Poetry and Elements of Poetry.ppt
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Content Expectations:
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For professor2013DetailsCombine all elements completed in pre.docx
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Combine all elements completed in previous weeks (Topics 1-4) into one cohesive evidence-based proposal and share the proposal with a leader in your organization. (Appropriate individuals include unit managers, department directors, clinical supervisors, charge nurses, and clinical educators.)
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Note
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2.
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Equal Opportunity
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Activity and Work
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Freedom
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Reflect upon Williams’ key values of 1970 America. For your initial post, address the following:
Compare Williams’ list of 1970 values with your own perspective of principles in 2011. Are there similarities or have they changed? What has driven the change?
Formulate a new list according to your perspective of the 10 Key Values of contemporary culture in America. You may use some of the values from Williams’ list or create an entirely new list based upon your beliefs, attitudes, and perspectives. Share your new list within the discussion board.
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Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
Linear Measurements: Instruments used. Linear Measurement by Tape, Ranging out Survey Lines and overcoming Obstructions; Measurements on sloping ground; Tape corrections, conventional symbols. Angular Measurements: Instruments used; Introduction to Compass Surveying, Bearings and Longitude & Latitude of a Line, Introduction to total station.
Levelling: Instrument used Object of levelling, Methods of levelling in brief, and Contour maps.
Chapter 4
Buildings: Selection of site for Buildings, Layout of Building Plan, Types of buildings, Plinth area, carpet area, floor space index, Introduction to building byelaws, concept of sun light & ventilation. Components of Buildings & their functions, Basic concept of R.C.C., Introduction to types of foundation
Chapter 5
Transportation: Introduction to Transportation Engineering; Traffic and Road Safety: Types and Characteristics of Various Modes of Transportation; Various Road Traffic Signs, Causes of Accidents and Road Safety Measures.
Chapter 6
Environmental Engineering: Environmental Pollution, Environmental Acts and Regulations, Functional Concepts of Ecology, Basics of Species, Biodiversity, Ecosystem, Hydrological Cycle; Chemical Cycles: Carbon, Nitrogen & Phosphorus; Energy Flow in Ecosystems.
Water Pollution: Water Quality standards, Introduction to Treatment & Disposal of Waste Water. Reuse and Saving of Water, Rain Water Harvesting. Solid Waste Management: Classification of Solid Waste, Collection, Transportation and Disposal of Solid. Recycling of Solid Waste: Energy Recovery, Sanitary Landfill, On-Site Sanitation. Air & Noise Pollution: Primary and Secondary air pollutants, Harmful effects of Air Pollution, Control of Air Pollution. . Noise Pollution Harmful Effects of noise pollution, control of noise pollution, Global warming & Climate Change, Ozone depletion, Greenhouse effect
Text Books:
1. Palancharmy, Basic Civil Engineering, McGraw Hill publishers.
2. Satheesh Gopi, Basic Civil Engineering, Pearson Publishers.
3. Ketki Rangwala Dalal, Essentials of Civil Engineering, Charotar Publishing House.
4. BCP, Surveying volume 1
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