Category: Music

MUS 1030: Music AppreciationWriting Assignment 3: Henry Purcell’s Dido and Aeneas

INCLUDE THE RIGHT SOURCES I GAVE YOU NOT RANDOM ONES

Description

Henry Purcell and his opera, Dido and Aeneas, remain as particular sources of pride for the British people. This essay on a website managed by the British Broadcasting Company (BBC) gives some idea of the enthusiasm that the British continue to feel for this, their earliest opera. Then, listen to the three different recordings of the famous aria “When I am laid in earth” that are linked below.

Assignment

• Read
• Then, go to this YouTube posting of
• Next, check out the
• Finally, listen to a
• Respond to the following prompts.

Answer the prompts in your own words. Use specific examples from the audio and your personal experience. (Full credit requires references to the actual audio content.)

1. How would you describe Emma Kirkby’s vocal style and tone? How did the Baroque period instruments (like the harpsichord or strings) affect the atmosphere? Did the historical performance style help you feel more connected to the music, or less?
2. What stood out most to you about Jessye Norman’s performance? Did her vocal power and phrasing enhance the emotional impact of Dido’s grief and despair? Why or why not? How did the full orchestral sound change the impact of the aria?
3. How did the modern setting of Alison Moyet’s version affect your experience of the piece? Did the style, instrumentation, or tempo change how you understood Didos character or emotions? This version may feel like a departure from what you would think of as “classical music”did this version feel like a respectful reinterpretation, a departure, or something else? Explain your perspective.
4. Which version had the strongest emotional impact on you, and why? Which version felt the most musically interesting or beautiful? If you had to recommend one version to someone new to opera, which would you choose and what would you say about it?

Remember:

All answers should be written in proper formal style as an essay. This means that responses should be written in complete sentences with no spelling or grammatical errors, no vernacular speech or contractions, and all sources must be cited. Try to expand on your ideas as much as possible — one-word responses are never acceptable.

Your submission must be:

• Created in Microsoft Word and saved as a .doc, .docx, or .pdf file
• Text should be black, double-spaced, and only in one font (preferably Times New Roman)
• Your writing should be formatted as an essay and should NOT include the prompt questions or numbers

When saving and submitting your writing assignments, please use the following naming convention:

Lastname Firstname WA3.docx

Please address all of the prompts in your response, but in paragraph form with appropriate transitions between ideas. Any response that requires your opinion on the music should be extensive; this is always the most important aspect of the assignment. Do not settle for a simple, surface-level answer; music is complex as are human feelings and reactions to it. You must work to articulate your ideas and opinions clearly and completely. You will not be graded based on your opinions — you will be graded based on your ability to communicate your ideas.

Do not cut and paste any of your answer from another source, including using AI. Plagiarism includes any copying of the words, structure, or ideas of another author without clear citation of that source. If you use the ideas of another author, put these in your own words but still cite the source of the information. Use quotations sparingly and only in support of your response; you cannot use a large-scale quotation and consider this the entire response.

Reminders:

• All work for this course should be written in complete sentences with proper grammar and spelling. Use the spellcheck tool on your word processor.
• Avoid accusations of plagiarism by citing every idea presented that is not your own using MLA style.
• If you use a direct quote from a source, you must put this in quotation marks and cite the source at the end of the sentence. Use quotes sparingly and on a small scale; you should not quote entire paragraphs.
• All work for this course must be done independently; there should be no group collaboration except through sharing ideas on the discussion boards. Assignment submissions must be original work.

CHECK THE RUBRIC GRADE FORM AND FOLLOW IT

For this assignment, we will watch the concert An American Adventure (from 00:00-36:28), performed by the Detroit Symphony Orchestra. As you watch and listen, complete the guided concert review by filling in the blanks. At the end of eachparagraph, youll find prompts asking for your personal reflections on the musicplease respond to these in full sentences, as you would in an essay. Once finished, proofread your work and submit your complete review. Be sure to describe the music in the present tense and your reactions in the past tense. (25 + 35 points)

Link:

fill in the blanks please answers are within the video.

1. Complete the harmonic reduction of bars 1-18 of Louise Farrencs tude 2 (for precision in 6/8 time) from

25 tudes progressives Op. 50. The rst two bars have been completed for you.

2. Make a Roman-numeral analysis of the reduction (bars 1-18) using the Text functionality.

Once you have completed the TMA worksheet, save it with your name, PI number and the TMA number, ready

to submit via the eTMA system. Do not use commas in the lename.

Guidance notes

The harmonic reduction of the passage in the staves beneath the piano score begins in a melody with chordal

accompaniment texture (see Section 6.5.10), with three notes in the lower staff and one in the upper.

Complete the reduction in the same style, except for bars where the music switches to keyboard style texture

of one note in the lower staff and three in the upper (see Section 5.5.3).

When reducing the chords of the score to the melody with chordal accompaniment texture:

1. Begin by transcribing the harmony notes of the lower staff, with a time-value that lls the whole of the

prolongation of the chord, and reducing the notes in the score to a three-part texture. You will need to decide

which notes are chordal, and which are non-chord notes. See Unit 5, Section 5.5.2. When writing triads, follow

the guidelines on voicing/doubling introduced in Unit 5, Sections 5.5.3 and 5.5.4, and in Unit 9, Section 9.4.1.

For seventh chords, transcribe just three of the four notes of the chord.

2. Transcribe one note from the upper staff for each chord in the lower staff. Select only harmony notes

(ignoring passing and neighbour notes). Choose the note that in your judgment best re ects the contour of the

melody. If the chord of your reduction is a seventh chord, make sure that the note in the upper staff completes

the chord in combination with the three notes in the lower staff; these four notes should be all the notes of the

seventh chord, although if it is in root position, the root may be doubled and the fth omitted. The third and

seventh of the chord must always be included.

3.For the passages you reduce to keyboard style texture, the process is similar, but with one note in the lower

staff (which should always be the lowest note from the score) and three notes in the upper staff. Bear in mind

the advice above concerning seventh chords.

Most of the chords you are required to complete have a harmonic rhythm of dotted crotchets, as shown in the

rst two bars. Later in the extract, some chords change after only a crotchet or a quaver, and some are

prolonged for whole bars (dotted minims). Concentrate on identifying the chords correctly, including all the

notes of each in your reduction. You may nd it useful to review Unit 5, Section 5.3.3,

Distilling triads from

thicker textures

. Make sure you listen back to your reduction (select the music then use the transport

controls to Play from Selection).

To add your Roman numerals, create a text box attached to the lowest note of each chord in your reduction,

and position the box under the stave. You may want to review the videos in which this is demonstrated (Video

13.2 and Video 14.1). In addition to the rst two bars, bar 15 has also been completed, because it contains a

kind of chromatic chord you have not yet encountered in the module. The passage begins and ends in the key

indicated (A minor). The labels provided in bars 8-9, however, are given in the key of C major as part of a

modulation to that key. You will need to decide where that modulation begins and ends and label chords

accordingly. Applied dominant chords should be represented through slash notation (See Unit 13, Section

13.4). Applied dominant chords (V, V7

, vii0

, vii07

, vii7 and inversions of those) should be used on the left side of

the slash. In order to notate these chords in your analysis you may wish to copy and paste the symbols from

this text. Remember that you should indicate the inversion for chords that are not in root position.

Instructions and guidance for Parts 2 and 3 can be found on the TMA 03 page of the A234 module website.

Many of us are familiar with the concept of cover songs. One artist will re-record a song written and performed by another artist, usually resulting in a newer, updated sound. Sometimes these covers are enjoyable, and sometimes we long for the original recording. What you may not realize is that the idea of the cover song goes way back to the beginning of popular music in America, when the racial divide was at its worst. “Good looking, clean-cut” white artists were hired to sing “cleaned-up” versions of songs by black performers. This would ensure good radio air-play and better album sales. However, the result was sometimes so completely different that it is difficult to recognize the “original” song.

Below I have two examples of this happening, both from the year 1954. I would like you to listen to each of these examples and generously comment on the following aspects:

1. What are the similarities between the two versions? Be detailed!
2. What are the main differences between the two versions? Be detailed!
3. Which version do you believe was more marketable in 1954, and why?
4. Which version do you believe to be more “authentic”, and why?

Please use at least 75 words for each response (8 total). I’m looking for three scholarly (complete) sentences for each of the four questions above, for each of the two examples. Have fun with this – some of these questions ask for personal opinion. Feel free to give it!

Format:

Example 1: Sh-Boom

1.

2.

3.

4.

Example 2: Shake, Rattle, and Roll

1.

2.

3.

4.

Part one

the chosen listening example is “” by Thomas Tallis

Choose one of the Week 2 listening examples, which are embedded in Chapter 2 “Early Western Art Music” of the course e-text and in the Week 2 Lesson. (Music from the Middle Ages or Renaissance only, no Dylan, Baez, or Cash, etc.) Include the title of the listening example in your answer. After listening, address these six questions:

After listening, address the following six questions:

• How did the music make you feel? Why?
• What was the mood of the music? Why do you say that?
• How would you move your body to the music? Why did you choose that movement
• What facial expression would you associate with the music and why?
• Did the music make you think of a specific person, place, or thing?
• What did you picture in your mind while listening? Why?

At the end of your response, include a paragraph describing two of the following musical elements of your chosen listening example: melody, harmony, rhythm, timbre, texture, and form. Include an explanation of why you selected those terms to describe your chosen composition. Refer to Chapter 2 in the course text for a detailed explanation of these important musical terms. Your answer should reflect knowledge and understanding of the course materials, particularly as it relates to your chosen composition.

part two

A) Determine Descriptive Statistics of Sample Dataset

Physical variables can be correlated with each other. An Excel spreadsheet is attached that includes 30 data sets illustrating the height and weight of a population segment. The first column is the height in inches and the second the weight in pounds. Heights and weights are the two variables in the datasets, and each of these variables has a number of observations (values) associated with it. Choose one data set that has not already been selected (include the number of the data set in your title to make this easier to do; see notes section for example).

i) First provide the definitions of:

• Mean
• Median
• Standard deviation

ii) Next, calculate the values of mean, median and standard deviation of the a) heights and the b) weights in the data set. You can either do this by hand or see the video linked at the end to show you how to do this using the tools in Excel. Then discuss with each other the questions posed later in this assignment.

iii) Do the values of the mean, median, and standard deviation tell you anything useful about a dataset? If so, what is that? If you wanted to convey to someone a sense of what the data means, which statistic would you use (mean, median, standard deviation). Explain the reasons for your choice?

B) Create Plot of Data

Now, construct a scatter plot. You will use this plot to discuss some of the questions in Part C.

• Select the Height and Weight columns in a dataset.
• From the insert menu select the “Scatter” plot (the option with datapoints only and no connecting lines).
• Right-click on one of the data points in the chart, From the pop-up menu, click on “Add Trendline”. This brings up another menu, A Linear trendline is the default option but you can pick another option as well.
• Try fitting several of the options. Do you see much of a difference between the different trend lines? Which one do you think gives you a visually better fit? Which one would you choose to use for this plot? Explain your reasoning.

C) Analyze and Discuss

Discuss any two of the numbered items below in your main post. Write the response for each item in a separate paragraph and provide the number of the item to which you are responding.

Note: You must provide logical reasoning for the inferences that you make. If you make an assertion or claim, you must provide reasoning and links to published, reliable evidence to support your assertion/claim.

1. Observe the scatter plot you built? Does there appear to be a correlation between the height and weight of the subjects? Is it a strong or weak correlation? What reasoning did you use to decide if the correlation is strong or weak.
2. Right-click on the numbers lining the y-axis. From the menu that pops up, select “Format Axis”. Change the upper and lower bounds for the y-axis. What does this do to the shape of the scatter plot. Does it change your interpretation of the strength of the correlation between the variables? Explain your reasoning. Paste your charts directly in your post.
3. Explain what is correlation and what is causation? Are the variables in the provided dataset correlated or causally connected? Explain your reasoning.
4. In creating scatter plots, there is an interpretation bias that gets built in. Identify the bias and discus the difficulty it causes. How would you avoid this bias?
5. Can you infer anything about the nature of the subject population from the data provided? Explain your reasoning and provide references to reliable published evidence that supports your reasoning.
6. If you were told that the variables in the dataset were the speed of a car (in miles per hour) and the systolic blood pressure of the driver (in mm of mercury), which variable would you plot on which axis? What conclusion would you draw?
7. In light of the above questions, what do you think of the notion of “data-driven decision making”? Is data (numbers) sufficient by itself to draw conclusions, i.e. to draw conclusions without knowing what physical things are represented by the data?

D) Self-Reflection and Responses

Self-reflection: Describe what you have learned from this exercise about using descriptive statistics and data visualization to understand the information contained in a dataset, and about communicating that information to others.

Response Posts: Respond to at least two of your classmates by elaborating upon or critiquing the points they make.

Notes

If you have a different version of excel then you may want to search to see how to form a trendline. These instructions work with Office 365 and Office 2010.

• For the title of your post use your last name and the data set that you selected (Example: Smith – Data Set #51).
• Present your work neatly so that it is easy to read. Separate text into paragraphs. Highlight/bold important points or numbers. Attach your excel worksheet with your scatter plot and paste/insert plots directly into your post. (5 points associated with the presentation of your posts).
• Be sure to comment on at least 2 classmates. Discuss if you agree with your classmates’ concussions about their data or not? What do you think they could have done differently? Explain your reasoning.
• If you make an assertion or claim, provide supporting evidence (citation to published work) and explain your reasoning. (This is very important. Up to 15 points are associated with this).

Gospel music has helped shape so many factors of our society. Create a composer essay that is three (3) pages plus a cover page (4 pages total). This essay should be double-spaced and should cover these two areas – Musician/ Group’s Life Musician/ Groups Music Impact of Music Use only ONE online source for your work. It MUST be cited at the end of your essay. Do not use the text for your information! Do not plagiarize this essay! A grading rubric Download rubric will be used to grade this essay (see Rubrics of Getting Started). Choose one of the following composers Mahalia Jackson Thomas Dorsey Andre Crouch Sid Ordower The Barrett Sisters The Caravans James Cleveland The Gospel Harmonettes Mattie Moss Clark Bill Gaither Assignment Instructions – Compose a three(3)-page paper. (Include a cover page). The cover page will be the 4th page. – A grading rubric will be used to grade your assignment (Rubrics of Getting Started). – Your Assignment grade will appear on this Canvas site grade book. Do not send your assignment to me through my WCCS email account Do not use Google Docs Be sure to list these five items on your assignment cover page. 1 Your Name 2 My Name 3 The Course Name (Music Appreciation) 4 The Course Number 5 The Date

MUS 109 SP26 Online

1. Read Chapters 9 & 10 of What’s That Sound? and watch

2. What are the origins of disco?

3. How did disco transition into a mainstream phenomenon?

4. Why did some rock fans hate disco? Be sure to address what they disliked both musically and socially. Provide examples from the video.

5. Provide a link to a rock song of your choice that has disco elements in it. Describe the specific musical characteristics that you hear in the song that might place it into the disco genre? Provide time markings to indicate where you are hearing each element. (Note: Your chosen rock song can be from any year)

6. Read TWO of your classmate’s posts and comment on their chosen song. Provide constructive feedback about something they might have missed in their analysis.

Note: You must post your answers to a discussion thread first before you can read and engage with your peers’ posts. This is designed to curb plagiarism and as such only original posts will be graded. The instructor can still view posts which have been edited or deleted. Therefore, make sure you carefully answer all of the questions before posting.

Create a composer essay that is three (3) pages plus a cover page (4 pages total). This essay should be double-spaced and should cover these two areas – – Composers Life – Composer’s Music Use only ONE on-line source for your work. It MUST be cited at the end of your essay. Do not use the text for your information. Do not plagiarize this essay. A grading rubric Download rubricwill be used to grade this paper (see Rubrics of Getting Started). Choose one of the following composers George Frideric Handel Johann Sebastian Bach Wolfgang Amadeus Mozart Joseph Haydn Ludwig van Beethoven Peter Ilyich Tchaikovsky Franz Schubert Claude Debussy Robert Schumann William Still Grant Frederic Chopin Aaron Copland Fanny Mendelssohn Hensel Scott Joplin Stephen Foster George Gershwin Johannas Brahms Leonard Bernstein John Williams Tan Dun Assignment Instructions Writing Assignment One/The Musicians Of Alabama – Compose a three(3)-page paper. (Include a cover page). The cover page will be the 4th page. – A grading rubric will be used to grade your assignment (Rubrics of Getting Started). – Your Assignment grade will appear on this Canvas site grade book. Do not send your assignment to me through my WCCS email account Do not USe Google Docs Be sure to list these five items on your assignment cover page. 1 Your Name 2 My Name 3 The Course Name (Music Appreciation) 4 The Course Number 5 The Date

The purpose of this assignment is to reflect in writing on a personal experience while attending a music performance. Students will attend a virtual (or in-person) music performance and write a critique essay about performers, composers and works observed, techniques and instrumentation noted. They will elaborate on the aspects of music form, music interpretation, dynamics, articulations, stylistic authenticity, etc. attached is the music performance to write about.