Category: Music

Please summarize each chapter. I don’t have a book just go off the syllabus. Please follow the directions. It has to be broken down by chapter.

• Assignment
• Due February 22 at 11:59 PM
• Available until Mar 10, 2026 11:59 PM. Access restricted after availability ends.
• 1. Locate a video of a classical music concert. Rock concerts or any other concerts associated with popular music are not appropriate for this assignment. Watch the entire concert from beginning to end.
• You are responsible for locating a video yourself. Here are some ideas about where to look:
• Choose a concert video from YouTube.
• Peruse the public library’s collection of DVDs.
• Because of COVID-19, many wonderful performing organizations from around the world live streamed and archived their performances free of charge. If you are interested in watching one of these performances, you may choose a concert from the list at .
• If you are not sure whether a concert would be appropriate, please email me to ask.
• If you would like to attend a live performance of a classical music concert in lieu of watching a video, you may do so.
• 2. Type up a 2-page paper (double-spaced) using the attached rubric as a guide. To view the rubric, click on the blue “Concert Review Rubric” link below.
• Note: The rubric is written in such a way that assumes students are attending live performances. Therefore, if any items included on the rubric are not applicable to your video (e.g. your livestreamed video may not contain audience members), indicate that in your paper.
• Plagiarism is stealing. It will not be tolerated and will result in an automatic 0. If you copy more than five consecutive words of somebody else’s writing into your writing without including quotes and citations, it will be considered plagiarism.
• Submission instructions: Upload a PDF file here.

Write a 3-page essay using MLA format, where you discuss how one or more themes are present in both the Iliad and the works of David Bowie. You may use any songs we have discussed in class; however, like the text, you must quote properly. Provide the year and album from which the song comes. You are also welcome to use external sources, like David Bowie Critical Perspectives, to add to your work. I am looking for your connections and your responses. As long as you quote properly and provide me with textual evidence, you can explore any thematic connections you choose. All Bowie songs are on the table too.

Tips: You must use quotes from the Iliad and lyrics from Bowie’s works.

1. Your thesis sentence should state the theme(s) you are choosing to discuss.
2. You must title your paper appropriately.
3. MLA format:
5. Proofread
6. Use a minimum of 4 quotes and 3 songs.
7. GOOGLE Docs only.

Bowie Resources:

HEROES (1977):

GROUP TWO: WINGS: Book 13

WORD ON A WING (1976):

GROUP THREE: DEATH

MY DEATH (1973) written by Jacques Brel:

2/12 The Making of Ziggy (1972-1973):

Required Books:

Textbook

Enjoyment of Music, Essential Listening Edition, Fifth Edition Total Access

ISBN: 9781324071198

Author: Forney

Publisher: W. W. Norton & Company, Incorporated

E-Book

Forney, Kristine; DellAntonio, Andrew; Machlis, Joseph; The Enjoyment of Music Essential Listening Edition – 5th Edition Total Access code

.

Discussion Questions & Playlist Response

Please view the file named “Discussion Questions & Playlist Response” for the questions/instructions. Please keep in mind that the responses to the discussion questions should be informal and that any use of AI is unacceptable.

Objective: This assignment will explore the impact of early recording technologiessuch as the phonograph, gramophone, and early audio formatson the development of the music industry. You will examine how these early innovations transformed music production, distribution, and consumption during the late 19th and early 20th centuries.

Instructions:

1. Introduction to Early Sound Recording Technologies:

• Begin by explaining the basic concept of sound recording. Define what early recording technologies were and why they represented a significant breakthrough in preserving music and sound. (10pts)
• Discuss the invention of the phonograph by Thomas Edison in 1877 and the gramophone by Emile Berliner in the 1880s. Compare and contrast these two technologies and their contributions to early sound recording. (10pts)
• Investigate how early recording technologies began to revolutionize the way music was distributed. You may research information using the course textbook, supplemental material provided, and or an online resource. Discuss how these early distribution methods made music accessible to a broader audience, including the middle class and those living in rural areas. (10pts)

Assignment Deliverables:

• Provide Summary (1 page): Your summary should be thorough, well-organized, and demonstrate an understanding of the early history of recording technology and its impact on the music industry. Cite at least one credible source (books, journal articles, or reputable online sources). (20pts)

Assessment Criteria:

• Clear understanding of the development of early recording technologies and their impact on music production, distribution, and consumption.
• Well-organized, clearly written report with a strong argument supported by research.

Submission details:

• Submit your work in the text submission box
• Links to assignment documentation cannot be used

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.