The assignment is for the 20th-century classical piece of your choice. In other words, a piece that is written for orchestra, choir, or a chamber ensemble. Jazz music or rock music does not fit for this assignment – Jazz is the focus for assignment #7, and rock music between 1950-1970 is assignment #8. Please do not use the following Modern pieces from the textbook for your listening assignment: Debussy, Clouds Stravinsky, Rite of Spring Schoenberg, Pierrot Lunaire Berg, Wozzeck Ives, Second Orchestral Suite Ravel, Piano Concerto in G Bartók, Music for Strings, Percussion and Celesta Crawford, Prelude for Piano No. 6 Still, Afro-American Symphony Copland, Appalachian Spring Prokofiev, Alexander Nevsky Weberm, Five Orchestral Pieces Varèse, Poème Electronique Ligeti, Lux Aeterna Cage, 4 33 Reich, Music for 18 Musicians León, Indigena Adams, Doctor Atomic Shaw, Partita for 8 voices
In view of the recent coronavirus influenced changes, it is unlikely I will be able to witness a live jazz performance this semester. So, This essay requires you to view the video and write a review. Viedo Link : https://youtu.be/oQgOcuqoQGM I will upload the short note of the review paper and Guide for Concert Review. Your reviews must include some information about the musical style, musical forms, instruments used and in general, what you thought about the music you heard. The object of this assignment is for you to apply what you learn in class to the music you hear in the performance. In order to receive a satisfactory grade your critique must be well-written; in other words, good grammar, good spelling and complete sentences. Please Mircrosoft Word.
https://youtu.be/9WDYa8T83A4 Patriotism has been an essential part of national identity since democracies began to replace authoritarian states in the late 1700s. As a nation founded explicitly on ideals of democracy, the United States has rightly fostered pride in the principles that distinguish it from other countries. But as a nation of immigrants and diverse cultural heritages, in a large continent that can equally legitimately claim the label of “America,” we have also struggled to define the shifting nature of American identity (understood as a quality that all citizens of th United States have in common). Music has always played a part in that definition, and some of the most compelling “American sounds” have emerged from attempts to integrate the vernacular musical traditions of the American people with an approach to music that aims at a higher quality of the spirit. SOUSA AND THE WIND BAND TRADITION We explored one early representative of American vernacular music, the parlor ballads of Stephen Foster. The country’s various vernacular traditions also included music for brass bands. By the Civil War era (1861-65), both Northern and Southern regiments marched to the sounds of wind bands, which also provided “down time” entertainment for the troops. The most famous North American bandmaster was John Philip Sousa (1854-1932), who conducted the U.S. Marine Band from 1880 to 1892, after which he formed his own ensemble. Known as the March King, Sousa wrote over 130 marches for band, as well as dance music and operettas. He toured North America and Europe extensively with his group, delighting audiences with such pieces as The Stars and Stripes Forever (1897), as well as band arrangements of Joplin rags, the newest rage. Nearly single-handedly, Sousa created a national music for the United States that continues to resonate in its concert halls, on its streets, in its sports stadiums and in the hearts of its people. But most composers in the art-music tradition considered this particular strand of vernacular music too raw and commercially driven to serve as a resource for artistic development. Rural folk traditions were thought to be more closely linked to the American spirit, and the composer who most successfully transformed these traditions into a national sound was Aaron Copland. COPLAND AND THE AMERICAN ORCHESTRAL SOUNDSCAPE Copland is one of America’s greatest twentieth-century composers. Few have been able to capture the spirit of this country so successfully-his well-crafted and classically proportioned works have an immediate appeal. His ballet suites are quintessentially American in their portrayal of rural life (Appalachian Spring) and the Far West (Rodeo and Billy the Kid). Copland came self-consciously to an American sound: born in New York of Jewish immigrant parents, he trained in Europe with proponents of early twentieth-century modernism, then returned to the United States during the Great Depression of the 1930’s and embraced a growing ideal that art should “serve the American people” during times of economic and social struggle. His new American modernist” style was designed to have wide appeal and be “‘useful” in a variety contexts (radio, film, etc.). In keeping with this ideal, Copland wrote incidental music for plays, and scores tor significant films that spoke to the American condition during the Depression, such as Of Mice and Men (1939) and Our Town (1940). While Copland admired jazz, and drew on it in his works, his American style was rooted primarily in Euro-American vernacular traditions, using elements of Appalachian and other Anglo-American folk melodies (as well as Mexican folk melodies). He also cited Stravinsky’s nuanced approach to rhythm and orchestration as an essential influence. Like Stravinsky’s early ballets, some of Copland’s most successful compositions involved a collaboration with prominent dancers and choreographers, who were also seeking to establish a genuinely American tradition of modern dance. Copland’s Appalachian Spring Among Copland’s ballets, Appalachian Spring is perhaps his best known, written in collaboration with the celebrated choreographer Martha Graham (1894-1991). who also danced the lead. Copland noted that when he wrote the music, he considered Graham’s unique choreographic style: “She’s unquestionably very American: there’s something prim and restrained, simple yet strong, about her, which one tends to think of as American.” The ballet portrays “a pioneer celebration in spring around a newly built farmhouse in the Pennsylvania hills in the early part of the nineteenth century. The bride-to-be and tho young farmer-husband enact the emotions, joyful and apprehensive, their new partnership invites.” The ballet, which premiered in 1944 in Washington, D.C., was the basis for his popular 1945 orchestral suite, set in seven sections. The opening section of the suite introduces the characters in the ballet with a serene, ascending motive that evokes the first hint of daybreak over the vast horizon. In the most famous part of the work, we hear the well-known early American song Simple Gifts (“*”Tis the gift to be simple”), a tune associated with the Shaker religious sect, known for its spiritual rituals that included spinning around and dancing. This simple, folk like tune is designed to provide a quintessential American sound; Copland sets it in a clear-cut theme and variations, with a colorful orchestration tinged with gentle dissonance. The flowing tune takes on several guises, shaded by changing timbres, keys, and tempos Copland’s music was quickly embraced as a truly “American orchestral sound. It continues to be widely heard at events (or even in commercials!) that aim to emphasize national pride, as well as incorporated (and imitated) in movie scenes that illustrate the grandeur of the West. The America that his music envisions is a rural one, connected to the land and its traditions; it is also mostly an Anglo America, since the Appalachian tunes he employs have their roots in English folk traditions. Copland’s goal was to create an inclusive soundscape for the United States his music, like Sousa’s, is still a powerful presence in the cultural life of the nation. Aaron Copland Appalachian Spring original orchestration with 13 instrument, but later arrange for full orchestra by Copland himself. https://youtu.be/CJYVH_kZkOk https://youtu.be/pgj7_DmgDqs After you have read/study module 15.1 to 15.3, then answer the following 2 questions, which represents each of the topical areas within the topic of American music. Write no more than 2 paragraphs for each questions in this exercise in order to explain the concept: What qualities in Copland’s music have been understood as particularly American, and why? In what ways was West Side Story significant? What issues of race and ethnicity does it raise in ways that are similar to, and different from Porgy and Bess?
The Final Paper will be relaying the “story of western music”. The objective is for you to summarize in four pages about two thousand years of music history. Again, standard rules apply: 12 point type, 1 inch margins, and double-spaced. While this is no small feat, you are basically to summarize each of the chapters ranging from Middle Ages, Renaissance, Baroque, Classical, Romantic, and Contemporary Music (this includes both ‘popular’ styles and classical idioms.) This is not a research paper!!! Obviously because this paper is so short and the material so vast it is crucial to be very concise. Before writing the actual paper, it is very beneficial to both your writing and the readers’ reading experience to outline your major points complete with subheadings with a few important details and examples. Here are some other tips for success: A: Discuss the stylistic conventions of each period (ie: ornamentation, use of harmony, treatment of melody etc.) B. Role of music in society in this era. C. Popular philosophies that change both society and the arts. D. Major music figures within each period. E. And almost most important illustrate how music evolves, revolts against old conventions, and how some things remain at the core unchanged. By the time you write this you will have observed the basic concepts that make up the history of western music. Now that you have this information your goal is to form it into your own words and truly internalize the concepts. As with any course the material itself has a very limited worth on its own: what you do with it in forming ideas, opinions, the ability to see a subject at various planes of understanding, and how you creatively use the material to learn and appreciate new perspectives virtually multiplies any subject’s usefulness. Good luck.
There has been much discussion over streaming services and other online platforms, especially in regards to the payment (or lack of payment) to those who create the music that is streamed. Stories abound about songs with millions of streams or downloads that generated paltry royalty checks to songwriters or composers. Your assignment for this paper is to write about the current streaming model(s) and fee structure(s), and determine if it is a sustainable model for musicians. A number of articles and academic papers have been written on the subject, including these from the Music Business Journal and the New York Times: https://www.nytimes.com/2015/08/02/opinion/sunday/open-the-music-industrys-black-box.html http://www.thembj.org/2015/10/lifting-the-veil-a-fair-music-report/
Write an essay on “Arabic music and its influence on Western music. “
Giacomo Puccini was a kind of anti-Nationalist: he lived in Italy, but his operas were set in places as different from Italy as the American West, Paris, China, and Japan. Pick one of Puccinis operas, and present something to the class about the backstory and the plot of the opera you chose, and at least one audio link to an aria from the opera, discussing the piece in terms of the musical elements in Kamien, Part I.
What are some ways that nationalism is reflected in nineteenth-century music? Give some music examples. Below are some of the examples of Nationalist music. Select one video and find one interesting fact about the work presented. Share with the class. Why did you make that selection? 1. Modest Mussorgsky, opera “Boris Godunov,” Coronation scene: https://www.youtube.com/watch?v=UEBq-gsdI58 2, Charles Ives, “Variations on America” (At the beginning, background of the work is given. Actual music starts around 1:40). https://www.youtube.com/watch?v=7Ff2JLSUQT0 3, Manuel de Falla, ballet “Three-Cornered Hat” (Please watch the first five minutes): https://www.youtube.com/watch?v=e_kGIPwdneY 4. Igor Stravinsky, ballet “Petrushka” https://www.youtube.com/watch?v=UaRZfSKPw5A 5. Antonin Dvorak, Slavonic Dance, Op. 72 no.2 https://www.youtube.com/watch?v=e4kTHnGfhvE 6. Jean Sibelius, Finlandia, Op. 26 https://www.youtube.com/watch?v=qOSaT6U4e-8
Billie Holiday and Ella Fitzgerald were both highly influential jazz singers during the early and middle of the 20th century. There are many similarities but also striking differences between each of their lives and the music they created. Compare and contrast their careers and styles, and explain their contributions to jazz. The essay must have a minimum of 300 words.
You need to write about “Gamelan music and its influence on classical music.” AND a feedback is to write about John Cage’s Prepared Piano piece, https://youtu.be/jRHoKZRYBlY. Some links to help you write the paper : https://youtu.be/c1AiCTJ9t8g Instruments, https://youtu.be/vgJpRf4uZX0, https://youtu.be/3bsr07qSi-4 theory, https://youtu.be/_7ltggbNGZ8 Classical Impressions https://youtu.be/P63CpTSy7_4, https://youtu.be/JFBqsEOJw0Q
Try it now!
How it works?
Follow these simple steps to get your paper done
Place your order
Fill in the order form and provide all details of your assignment.
Proceed with the payment
Choose the payment system that suits you most.
Receive the final file
Once your paper is ready, we will email it to you.