Remember to write at least 150-200 words into the responses for them to be considered for full points.

Access the Classical Music Composers website below Peruse the website for at least 30 minutes and randomly select and read about specific classical music composers Write a 500 word biography of a select composer (in your own words).

1. I find it interesting that the author did not include any discussion of this sentence (p. 79), “In recent years, lyrics have also circulated extensively on the Internet, often in unauthorized postings that might be conceived as modern-day descendants of the 1930’s bootleg sheets.” What do you think of this? (page 7 printed)

Sources: In pdf, you only need to skim the page, ty

For this assignment, you will compare and contrast the music and instruments from the three Asian Cultures discussed in the PowerPoint: China, Japan, and Indonesia. You may use any resources available, just make sure that you cite information not included in the PowerPoint. For citations, they can be informal, and you may use any style. No need for a Bibliography or References page. You need to compare and contrast at least two of the regions, but you may include all three.

Requirements: 1-2 pages; Use of at least 3 examples supporting your conclusions; Paper should include an Introduction, Body, and Conclusion

• Read Chapter 2 entirely,
• Listen to chapter 1s music tracks; 20
• Identify Terminologies,
• You must write a 500-word or more essay type of paper that answers the questions in order. (Give examples to support your answers)
• Apply your terminologies, provide examples, and feel free to share your opinion in conclusion (Must use the writing template and rubric).
• Apply the Rubric below.
• Answers the following questions

1. Identify four principles or concepts of instrument construction or performance that have historically characterized African American music making.
2. Define the concept of ‘Hitting a straight lick with a crooked stick”, as it applies to African American Cultural and Musical practice.
3. What is the musical significance of the Stono Rebellion?
4. Identify three traditions of body percussion and explain how the practice emerged during slavery.
5. Cite three African American musicians who either transformed instruments from melodic to percussion or reconfigured traditional ensembles to assert African American aesthetic values.

I have attached the link to the free text online. Sometimes you just have your reload and itll appear. Thank you.

Prompt 1: Why are you interested in conducting open-ended research, particularly in your subject(s) of interest? What do you hope to gain by participating in SIP? What skills or mindset will be most important to bring to SIP? (400-500 words, 12pt. font)

Compare Dowland’s ” (Chapter 8 – Dowland in Resonances) to any contemporary “singer/songwriter” type song that you know. If possible, include a link to YouTube or wherever the song might be online. What are the similarities and differences, both in music and lyrics?

Links to Video’s:

9.

10.

12.

The Influence of African Culture, Slavery, Protestant hymns, and camp meetings on the development of Spirituals and Early African American Music

Discuss the influence of African Culture, Slavery, Protestant hymns, and Camp meetings on the development of early African American music from 1619 to the late 1800s. The paper should be 4 pages long, double-spaced, and include at least 4 references in APA style. Please give attention to the details of the subject matter and the quality of the writing.

Be sure to include significant people, dates, events, and musical developments that helped shape the sound of the Works songs, Slave songs, and Spirituals.

Topics and terms to be learned each week will be included on your mid-term and final exam, and can be discussed in your research papers.

Week 5 Discussion Requirements:

Choose three composers from the Romantic Era. Pretend they all had an opportunity to meet, perhaps at a party. What do you think they might say to one another about music and culture? Construct the conversation as you imagine it, although be sure the conversation reflects specific information from the lives and music of your chosen composers.

List of famous composers from the Romantic Era:

Beethoven, Chopin, Wagner, Schubert, Schumann, Brahms, Verdi, Mahler, Strauss, Liszt, Berlioz, Mussorgsky, and Tchaikovsky.

In addition to responding to the Discussion question, students are also required to respond to two classmates by asking “the composers” additional questions.

PEER #1 POST:

Hello Professor and classmates,

Imagine a party during the Romantic Era where three famous composers, Frdric Chopin, Hector Berlioz, and Johannes Brahms finally meet and start talking about music.

Chopin begins the conversation quietly. I believe music should be personal and emotional. You do not need large ensembles to express deep feelings. The piano alone can speak clearly, especially see in my nocturnes and preludes. My Polish background and folk music rhythms influence much of my work, even though I spent much of my life away from home.

Berlioz responds enthusiastically. I respect that, but I prefer music that is bold and dramatic. I want listeners to feel like they are part of a story. That is why I use large orchestras and program music, like in Symphonie fantastique. Literature and drama inspire most of my compositions, and I believe music should excite the imagination.

Brahms listens carefully before answering. I admire both of your approaches. Emotion is important, but I believe it works best when supported by strong structure. I value traditional forms like symphonies and sonatas, especially those developed by

Beethoven. My goal is to combine Romantic emotion with classical balance and discipline.

Chopin nods in agreement. That balance is what makes Romantic music unique. Each of us values emotional expression, but we use different tools to achieve it.

Berlioz smiles. Exactly. Romantic music allows composers to break rules and follow their own artistic vision.

Brahms adds thoughtfully. And at the same time, it challenges us to respect the past while creating something new.

By the end of the evening, the three composers agree that Romantic music is defined by freedom, emotional expression, and cultural identity, even though each composer expresses those ideas in very different ways.

What a party!

PEER #2 POST:

If Franz Schubert, Hector Berlioz, and Giuseppe Verdi met at a party during the Romantic Era, I think their conversation would focus on emotion and storytelling in music.

Schubert would probably talk about how music should express real feelings. He might explain that his songs, or Lieder, were based on poetry and everyday emotions like love, sadness, and longing. Schubert would likely say he enjoyed smaller, more personal performances because they allowed listeners to connect more closely with the music.

Berlioz might jump in and say that music should tell a dramatic story. He could talk about Symphonie Fantastique and how he used a repeated musical idea, called an ide fixe, to represent a character throughout the piece. Berlioz would probably mention how he liked using large orchestras and new sounds to make his music more exciting and imaginative. Verdi would then shift the conversation to opera. He might explain that his operas focus on strong emotions, dramatic stories, and realistic characters. Verdi could also talk about how his music connected to Italian culture and reflected social and political ideas of the time. He would likely argue that opera is powerful because it combines music, drama, and emotion in a way that really connects with audiences. Even though these composers had different styles, they would probably agree that Romantic music is all about emotion and expression. Whether through songs, symphonies, or opera, their goal was to move the listener and tell meaningful stories through music.

Overview

This assignment is adapted from Pauline Oliveross Deep Listening practices. It is designed to develop your capacity to listen inclusively, noticing the full spectrum of sound around you, and to reflect on how listening can shape perception, memory, and imagination.

Instructions

Choose a public location (e.g., a park, mall, or campus space). Record the time, date, and place.

Sit silently and listen for 510 minutes. Do not speak or make sound.

Make a recording of the soundscape (using your phone or another device) while you listen.

Keep a listening journal. While listening, write down every sound you notice in as much detail as possible qualities, textures, rhythms, silences, your feelings, memories, or associations. This can be descriptive, poetic, or visual (drawings, fragments, collages are acceptable).

Write a reflection essay (approximately 500 words). In your reflection:

Describe what you heard and how it made you feel.

Relate your experience to Oliveross concepts of deep listening.

Consider how listening engaged not only with external sounds (traffic, voices, birds, machinery, silence, etc.) but also with your imagination or memory.

Reflect on the relationship between yourself, the space, and the sounds you encountered.

Submission Requirements

The audio recording (510 minutes).

A scan or photo of your listening journal entry.

A approximately 500 word reflection essay (typed, PDF).