LIBERAL ARTS, COMMUNICATION & SOCIAL SCIENCES DIVISION MUSIC DEPARTMENT MUSIC 1121.101, MUSIC APPRECIATION LIVE PERFORMANCE REVIEW PAPERS: 1. Each student will be required to write two (2) papers, each involving the description of live performances. The description should include a brief description of each (all) of the works on the program. The Elements of Music (Rhythm, Harmony, Melody, Tone Color, Pitch, Dynamics, Textures, Forms, etc.) should be used to describe the works performed on the program. 2. Papers to include: a) typed, double spaced, 12 point font, white, regular 20# paper b) staple all pages together c) the printed program must be included and stapled to the paper 3. Student and faculty recitals, performing groups, visiting artists at a) Sinclair Community College b) University of Dayton c) Wright State University d) University of Cincinnati e) other area schools and colleges f) local amateur and professional orchestras g) area professional engagements 4. The papers will be evaluated on proper writing style and factual content. The student is free to express opinions about the performers and musical selections. 5. The student is advised to attend live performances early in the term and to complete this assignment as early as possible. Examples: Good and Not Good: A. The piece opened with a chord that grew rapidly louder. It was followed by alternating notes in the timpani, which led right to the first theme in the tonic key, played in accented notes in the brasses. The flutes and clarinets then played the theme. The strings repeated this first theme. The orchestra played with accented notes that led to more rapidly moving notes which led to the second theme in the dominant key. B. The piece was loud and fast. C. The piece opened forcefully but eloquently with a dynamic, driving theme. It had a rigorous mood, leading to a brilliant and musically meaningful passage played by the full orchestra. The center section was absolutely gorgeous, being lyrical and passionate at the same time. It led back to the original theme and then to a stirring and vibrant conclusion. D. Overtureto "Candide"-Leonard Bernstein: This work opens with a fanfare. The strings play an agitated melody. The melody repeats. The melody is played by different sections of the orchestra. It is first played by the horns and then by the woodwinds. The rhythm seems uneven. The harmony uses dissonance, but there is resolution to these tension areas. The mood changes to a very lyrical melody. The fanfare and opening repeat. The raucous section comes back. The lyrical melody returns. It gets soft at the end until there is one last loud chord. CONCERT GOING: A HANDBOOK FOR STUDENTS TO ACCOMPANY MUSIC: AN APPRECIATION ATTENDING A CONCERT What's special about a live concert? In a live performance, artists put themselves on the line; their training and magnetism must overcome technical difficulties to involve the ...

1. LIBERAL ARTS, COMMUNICATION & SOCIAL SCIENCES
DIVISION
MUSIC DEPARTMENT
MUSIC 1121.101, MUSIC APPRECIATION
LIVE PERFORMANCE REVIEW PAPERS:
1. Each student will be required to write two (2) papers, each
involving the description of live performances. The description
should include a brief description of each (all) of the works on
the program. The Elements of Music (Rhythm, Harmony,
Melody, Tone Color, Pitch, Dynamics, Textures, Forms, etc.)
should be used to describe the works performed on the program.
2. Papers to include:
a) typed, double spaced, 12 point font, white, regular 20#
paper
b) staple all pages together
c) the printed program must be included and stapled to the
paper
3. Student and faculty recitals, performing groups, visiting
artists at
a) Sinclair Community College
b) University of Dayton
c) Wright State University
d) University of Cincinnati
e) other area schools and colleges
f) local amateur and professional orchestras
g) area professional engagements
4. The papers will be evaluated on proper writing style and
factual content. The student is free to express opinions about
the performers and musical selections.

2. 5. The student is advised to attend live performances early in
the term and to complete this assignment as early as possible.
Examples: Good and Not Good:
A. The piece opened with a chord that grew rapidly louder. It
was followed by alternating notes in the timpani, which led
right to the first theme in the tonic key, played in accented
notes in the brasses. The flutes and clarinets then played the
theme. The strings repeated this first theme. The orchestra
played with accented notes that led to more rapidly moving
notes which led to the second theme in the dominant key.
B. The piece was loud and fast.
C. The piece opened forcefully but eloquently with a
dynamic, driving theme. It had a rigorous mood, leading to a
brilliant and musically meaningful passage played by the full
orchestra. The center section was absolutely gorgeous, being
lyrical and passionate at the same time. It led back to the
original theme and then to a stirring and vibrant conclusion.
D. Overtureto "Candide"-Leonard Bernstein: This work opens
with a fanfare. The strings play an agitated melody. The
melody repeats. The melody is played by different sections of
the orchestra. It is first played by the horns and then by the
woodwinds. The rhythm seems uneven. The harmony uses
dissonance, but there is resolution to these tension areas. The
mood changes to a very lyrical melody. The fanfare and
opening repeat. The raucous section comes back. The lyrical
melody returns. It gets soft at the end until there is one last
loud chord.
CONCERT GOING: A HANDBOOK FOR STUDENTS

3. TO ACCOMPANY MUSIC: AN APPRECIATION
ATTENDING A CONCERT
What's special about a live concert? In a live performance,
artists put themselves on the line; their training and magnetism
must overcome technical difficulties to involve the listeners'
emotions. What is performed, how it sounds, and how the artist
feels about the performance and the occasion - these are
elements that exist for only a fleeting moment and can never be
repeated. As an audience responds to the excitement of such
moments, feelings are exchanged between stage and hall. These
feelings have a real impact on the performance.
Which Concert to Attend?
You have many kinds of concerts to choose from, by many
kinds of performing groups, including choruses, symphony and
chamber orchestras, concert bands, chamber music ensembles,
opera companies, and soloists.
The symphonyorchestra and the categories of instruments that
make it up are described in Music: An Appreciation (see Part I).
A chamber orchestra is smaller, consisting of 20 to 30 players.
A concert band consists mostly of woodwinds, brasses, and
percussion. Chamber music ensembles are small groups
(usually, no more than about 10 players) consisting of various
combinations of instruments; examples are string quartets, wind
quintets, and trios of piano, violin, and cello. Chamber
ensembles have one performer to a part and - unlike the larger
groups - generally appear without a conductor. Choruses are
large groups of singers; a chorus often performs with
instrumentalists and typically has a conductor. Opera
companies, needless to say, present operas (and Operettas);
musicals are most commonly presented by theater companies

4. but may be performed by opera companies. There are also
performances by solo vocalists, often with piano
accompaniment. Strictly speaking, concerts are presentations
by orchestras, bands, chamber groups, and choruses;
presentations by soloists, with or without accompanists, are
called recitals.
At the Concert
What to Expect Orchestral concerts last about two hours, with
one intermission of about twenty-five minutes. They generally
include three or four compositions representing several stylistic
periods and genres, such as classical overture, a twentieth-
century concerto, and a romantic symphony. Opera
performances last somewhat longer and sometimes have two
intermissions. Chamber concerts and solo recitals are usually
about the same length as an orchestra concert, or slightly
shorter. After the last composition on the printed program, if
the audience has responded enthusiastically, the performer of
performers may play one or more short additional works; these
are called encores, French for again.
If the concert hall or opera house is a large one, your seat may
be at some distance from the stage. [Blair Hall Theatre has 460
seats. Room 2L15 has about 70.] When you arrive at an
orchestra concert, typically the stage may be lit and some of the
musicians will be warming up - though the curtain could be
down or the stage dark. (If you're familiar with any of the
music that is about to be played, you may recognize snatches of
it at this point.) The next thing that happens is the tuning of the
orchestra by the concertmaster; then, the conductor will come
on stage (to applause), and the first piece on the program, or the
overture to the opera, will be played.
Copyright © 1992 by McGraw-Hill, Inc. All rights reserved.
Printed in the United States of America. The contents, or parts

5. thereof, may be reproduced, without permission, solely for use
with Music; An Appreciation, by Roger Kamien, provided such
reproductions carry the same copyright herein, but may not be
reproduced, or distributed, for any other purpose, without the
prior written permission of the publisher.
At a chamber music concert or a recital, the stage will be empty
when you arrive, and the players will come on stage together
(greeted by applause) to perform the first piece.
It was once rare for performers at concerts or recitals to address
the audience, except to identify an encore (and even encores
might be played unannounced). Today, however, it is becoming
more common for a conductor, a soloist, or one member of a
chamber group to speak briefly if a piece has some special
significance or is being performed under special circumstances.
You'll notice that professional soloists generally perform from
memory, whereas musicians in orchestras, chamber groups, and
choruses perform with music. The conductor may or may not
conduct from a score.
The Program Booklet The program booklet, given free, often
contains a variety of helpful and interesting information. At a
concert or recital, it will list the performers and works to be
heard; it may also include program notes describing these
compositions. If the concert includes a vocal work, the program
may provide the text, with a translation if the original is in a
foreign language. At an opera, the program will list characters
(customarily in order of appearance), acts, and scenes and will
usually give a synopsis (a brief description) of the plot (but it
will not, typically, include the libretto).
Programs may also have biographical sketches of the principal
performers, a listing of the members of the orchestra or opera
company personnel, articles on musical topics, and lists of

6. coming musical events.
You should save the program because the instructor will ask you
to include it with your report.
Concert Etiquette If possible, arrive at the concert hall at least
fifteen minutes before the performance, so that you can relax
and read the program notes. (Although you may refer briefly to
the program while the performance is in progress, reading it
steadily will distract you from the music and is considered poor
manners.) Bear in mind, too, that at many concert halls,
latecomers aren't allowed to take their seats until some logical
break in the music occurs.
**[At Sinclair Community College student recitals, plan to
arrive as much before the hour begins as is possible. In Room
2L15, there are sometimes not enough chairs, and if you are
late, you may have to sit on the floor or stand at the back of the
room. If you arrive late, do not take a seat until after the work
being performed is finished and the audience is applauding.]
**[Sometimes student recitals will run 1-2 minutes longer than
the class period. Please remain seated until the recital is
concluded. If the recital is to last longer and a student has
another class or appointment for which they must leave, they
will be instructed at the time they may leave.]
During the performance, audience members are expected to
remain silent; absolute silence helps the performers to
concentrate and enhances the emotional intensity of the musical
experience. Performers can be distracted by talking, coughing,
humming, rustling and flipping papers, or other incidental
noises - which will also distract and annoy other audience
members.
[At Sinclair Community College, and at most theaters and

7. auditoriums, there is no eating or drinking of any kind in the
seating area. This includes all of Room 2L15.]
If you are expected to report on the concert, you will naturally
want to take some notes. But you should resist the temptation
to write notes continuously during the actual performance.
Instead, to increase you own enjoyment of the music - and to
avoid disturbing those sitting near you - jot down a few notes of
major events in the music when you hear them, and write more
notes during breaks between pieces or between movements, or
during the intermission.
At a concert or recital, audiences express their enthusiasm by
applauding at the end of a work; if a work has more than one
movement, audiences do not customarily applaud between
movements. At an opera, however, audiences often applaud at
the end of arias, duets, and ensembles.
Taking photographs and using recording equipment are not
permitted at concerts, recitals or operas.
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; and
third, some information about usage or conventions in writing
about music.
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

8. 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 or names (especially foreign
names) and musical terms.
The Concert as a Whole [You should begin your report with a
brief description of the concert attended. Include the name and
type of performing group or soloists, the place, the date and the
general category of music you heard.]
Individual Compositions [Your report must make reference to
each composition performed in the concert or recital. In
discussing the individual compositions, list the title
(underlined), the composer, and the name of the soloist or group
if there are more than one on the program.
In about 5 sentences for every 3-5 minutes of music, use the
aspects of music you have learned (science of sound, elements
of music) to describe the main features of what you heard. Do
not write out a "play-by-play" or "blow-by-blow" account.
Instead, try to focus on describing the main melodies, the basic
rhythms, the timbres and other aspects plus any changes in these
that may occur throughout a work.]
Some Basic Performance Vocabulary Here are a few terms
you'll need to use in discussing musical performances; some of
these are misused surprisingly often.
4
1

9. Composition, piece, and work
Song
Aria
Vocal, vocalist
Choral, chorus
Ensemble
Chamber music
Symphony
Concert Band
Wind Symphony
Program
Performance
Concert, recital
Production
Show
Act, scene
Movement
Section, passage