Category: Music

What is the Jazz Tradition?

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What is the Jazz Tradition?. What is the Jazz Tradition?.

INSTRUCTIONS

you must write an essay of 3000 words. This essay forms 100% of the module work and grade. Your essay will be marked according to the following criteria, which are derived from the module’s Learning Outcomes. 1. Understanding of jazz’s musical practices and chronologies 2. Identification and explanation of techniques in jazz creativity 3. Engagement with debates around musical and critical meaning 4. Quality of academic research, thought, argument and written presentation What is Jazz? Further essay guidance The approach Having chosen a question that you think will be interesting, the first thing to do is to read, carefully, the slide PDFs from related sessions (I will provide). The basic problems around each question are all addressed in the related session slides. As you read them, make a list of these issues. You should end up with around 5 bullet points that will give you a framework of questions that you can ask and then answer. Be thinking about the ways you want to approach the question: the music you want to discuss, and the kinds of arguments you want to think about and make. Note all these things down at points in the essay plan where you think you might bring them in. All this will change when you start reading and writing, but it’s a good way to start organising your thoughts. Then, make a reading list from the bibliography and further reading given at the end of each PDF. Make a list of key words for you to search for, and get on Jstor and Rilm. Go to the library shelves (there are lots of books on jazz), and start to read. Go through all the set listening, and make a list of artists, styles, practices to follow up on. Listen to lots of stuff. Your essay does not have to cover the whole historical span that we looked at in the module. You will want to begin by given an outline of the way responses to your topic have changed over time, and to sketch out some birds’-eye view background, but by all means focus much of your essay on a smaller area: an artist or group of artists (though see below), a particular debate or historical event, etc. Things to avoid: too narrow or uncritical a focus, e.g. a straight biography of one musician and their work; uncritical Great Man lionising of the type that litters writing on jazz and that we have tried to critique over the module; straightforward narrative with little critical discussion. You can use musical analysis and standard notation, but if you don’t need to or don’t want to, don’t. Be creative in the way you describe music: use words and specific track timings, other kinds of notation, etc. Your essay must include a good range of scholarly sources. You can of course include all kinds of other sources too, but the backbone of your research (apart from music listening) should be careful reading, summary and discussion of things from academic writing on jazz. The questions All of these questions could (and often do) receive simple, one-sentence answers. But the point of this module has been to show that things we often imagine as stable concepts – like ‘jazz’ – have actually been subject to enormous amounts of debate and reshaping over the last 100 years. That’s why the module is called What is Jazz?: it’s actually a hard question to answer. So, essays responding to these questions need to do these things: Sketch out the range of ideas that musicians, critics, scholars, listeners etc. have articulated on your chosen topic. Critically scrutinise those ideas. Examine all these things by way of musical and textual examples as appropriate. Make a final evaluation of your own: what is most important here? Why did it matter, or why does it matter now? Finally, feel free to take a liberal attitude towards your musical subject matter. Most jazz studies, and most introductory jazz modules, will focus on the canon of greats. We’ve paid a lot of attention to Ellington, Monk, Parker etc. as well. But we have also tried to see how ideas about jazz have shaped music that many would see as outside that tradition. Do you want to discuss Madlib, Erykah Badu, Sade, Jobim, Robert Wyatt, sampling, studio production techniques, film, album covers, etc., etc.? There’s a way to do any of those things.

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What is the Jazz Tradition?

What is the Jazz Tradition?

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Assignment: Beethoven Symphony No. 5

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Assignment: Beethoven Symphony No. 5. Assignment: Beethoven Symphony No. 5. Assignment: Beethoven Symphony No. 5

 

Beethoven began composing Symphony No. 5 in C Minor, Op. 67 in 1804, but set it aside until 1807 and completed work on it in 1808. Since its first performance in Vienna in 1808, at a marathon concert of all Beethoven works that lasted about 4 hours, the 5th Symphony has held a place of importance in the classical music repertoire. It is perhaps the most famous symphony ever written, and has entered into today’s popular culture through its use in rock and roll, advertising, movies, etc.

Beethoven was deaf when he wrote this symphony.  He had already been through a great crisis in his life because of the growing deafness (read Beethoven’s Heiligenstadt Testament URL- http://www.all-about-beethoven.com/heiligenstadt_test.html ). In spite of the challenges of going deaf as a musician and composer, Beethoven championed on, and the years from 1804-1808 were extremely productive.

 

The 5th Symphony begins with the famous four-note motif “short-short-short-long,” with a drop in pitch on “long.”  The rhythmic component of the motive is used as a building block for nearly every aspect of the movement.

 

Beethoven’s Symphony No. 5 in C Minor, Op. 67 is in four movements:

Mvt 1: Allegro con brio

Mvt 2: Andante con moto

Mvt 3: Scherzo–Allegro

Mvt 4: Allegro

 

 

Listen to the entire Symphony and answer the following questions:

 

  • After listening to the first movement, write down your reaction. What kind of emotional impact do you think Beethoven was trying to convey with this movement?

 

  • The opening motive is used in nearly every measure of the first movement. Many claim that the rhythmic component of the motive (short-short-short-long) can be heard in all of the movements. Do you hear any evidence of the opening motive (especially the rhythm) in movements 2, 3 & 4? Which movements do you hear the motive?

 

  • Do you think Beethoven had a reason for using the rhythmic motive throughout the symphony? Explain.

 

  • In contrast to the Classical Era’s focus on “reason” and emotional reserve, the 5th Symphony of Beethoven exemplifies heightened expressiveness. It is interesting to note that nineteenth century critics would often try to explain the emotional and psychological meaning behind works of music, especially if the emotions could be linked to the psychological state of the composer at the time it was written. In light of this trend, there is a story that Beethoven declared that the opening motive (short-short-short-long) represented “Fate knocking at the door.” Music historians today are not sure of the validity of this story, but do you think that it makes sense? Consider what kind of struggles Beethoven must have been going through as a famous composer and pianist who was facing the effects of permanent deafness—be sure to read the Heiligenstadt Testament.

 

  • When you get to the last movement, describe the emotion you think the entire symphony ends with. Did Beethoven succumb to fate or triumph over it?

 

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Assignment: Beethoven Symphony No. 5

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Gustav Mahler: Songs of the Wayfarer (Lieder eines fahrenden Gesellen)

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Gustav Mahler: Songs of the Wayfarer (Lieder eines fahrenden Gesellen). Gustav Mahler: Songs of the Wayfarer (Lieder eines fahrenden Gesellen).

ASSIGNMENT: Gustav Mahler: Songs of the Wayfarer  (Lieder eines fahrenden Gesellen)

 

Listen to the fourth song The Two Blue Eyes of My Beloved from Mahler’s song cycle The Songs of the Wayfarer

 

  1. Mark the sections of the song by drawing lines at the appropriate places in the text to show where one section ends and the next begins. How many sections are there?
  2. Within each section describe how Mahler changes the music to reflect what the poem is about.
  3. How does the song end? (Happy, hopeful, optimistic, sad, depressed)
  4. Why did Mahler choose to end the song the way he did? What do you think his interpretation of the poem was?

 IV – “Die zwei blauen Augen von meinem Schatz” (“The Two Blue Eyes of my Beloved”)

The final movement culminates in a resolution. The music (also reused in the First Symphony) is subdued and gentle, lyrical and often reminiscent of a chorale in its harmonies. Its title, “Die zwei blauen Augen von meinem Schatz” (“The Two Blue Eyes of my Beloved”), deals with how the image of those eyes has caused the Wayfarer so much grief that he can no longer stand to be in the environment. He describes lying down under a linden tree, allowing the flowers to fall on him. He wishes to return to his life before his travels. He asks that the whole affair had never occurred: “Everything: love and grief, and world, and dreams!”  http://en.wikipedia.org/wiki/Lieder_eines_fahrenden_Gesellen

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Gustav Mahler: Songs of the Wayfarer (Lieder eines fahrenden Gesellen)

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Schubert: The Erl King

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Schubert: The Erl King. Schubert: The Erl King. The art song (or lied) by Franz Schubert, Der Erlkönig, is based on a poem by Goethe about a supernatural being, the Erl King, who is enticing a child into his realm of death (see the text below with the English translation—side-by-side). Schubert wrote about 600 lieder (art songs) and in many ways helped establish the art song as a popular genre of the Romantic Era.

 

Art songs are written for one singer with piano accompaniment. Though the singing style may remind you of opera singing, this is not opera. The song does have a story line, but art songs are generally a brief, self-contained story or poem.

Original German Literal Translation
Wer reitet so spät durch Nacht und Wind?

Es ist der Vater mit seinem Kind;

Er hat den Knaben wohl in dem Arm,

Er faßt ihn sicher, er hält ihn warm.

“Mein Sohn, was birgst du so bang dein Gesicht?”

“Siehst, Vater, du den Erlkönig nicht?

Den Erlenkönig mit Kron und Schweif?”

“Mein Sohn, es ist ein Nebelstreif.”

“Du liebes Kind, komm, geh mit mir!

Gar schöne Spiele spiel’ ich mit dir;

Manch’ bunte Blumen sind an dem Strand,

Meine Mutter hat manch gülden Gewand.”

“Mein Vater, mein Vater, und hörest du nicht,

Was Erlenkönig mir leise verspricht?”

“Sei ruhig, bleib ruhig, mein Kind;

In dürren Blättern säuselt der Wind.”

“Willst, feiner Knabe, du mit mir gehen?

Meine Töchter sollen dich warten schön;

Meine Töchter führen den nächtlichen Reihn,

Und wiegen und tanzen und singen dich ein.”

“Mein Vater, mein Vater, und siehst du nicht dort

Erlkönigs Töchter am düstern Ort?”

“Mein Sohn, mein Sohn, ich seh es genau:

Es scheinen die alten Weiden so grau.”

“Ich liebe dich, mich reizt deine schöne Gestalt;

Und bist du nicht willig, so brauch ich Gewalt.”

“Mein Vater, mein Vater, jetzt faßt er mich an!

Erlkönig hat mir ein Leids getan!”

Dem Vater grauset’s, er reitet geschwind,

Er hält in Armen das ächzende Kind,

Erreicht den Hof mit Müh’ und Not;

In seinen Armen das Kind war tot.

 Who rides, so late, through night and wind?

It is the father with his child.

He holds the boy in the crook of his arm

He holds him safe, he keeps him warm.

“My son, why do you hide your face so anxiously?”

“Father, do you not see the Erlking?

The Erlking with crown and cloak?”

“My son, it’s a wisp of fog.”

“You lovely child, come, go with me!

Many a beautiful game I’ll play with you;

Some colourful flowers are on the shore,

My mother has many golden robes.”

“My father, my father, can’t you hear,

What the Erlking quietly promised me?”

“Be calm, stay calm, my child;

The wind rustles through dry leaves.”

“Do you want to come with me, fine lad?

My daughters should be waiting for you;

My daughters lead the nightly dances

And will rock and dance and sing you to sleep.”

“My father, my father, can’t you see there,

The Erlking’s daughters in the gloomy place?”

“My son, my son, I see it well:

The old willows seem so grey.”

“I love you, your beautiful form entices me;

And if you’re not willing, I shall use force.”

“My father, my father, he’s grabbing me now!

The Erlking has done me harm!”

The father shudders; he rides swiftly,

He holds in his arms the moaning child.

Barely he arrives at the yard in urgency;

In his arms, the child was dead.

 

Assignment:

 

Familiarize yourself with the original German poem before listening to the song. Notice the rhyming scheme in the German (this is not captured in the translation). Also read through the translation

  1. Make a list of the characters (or roles) in the narrative.

 

  1. Because there is only one singer, the different characters in the story are given music that makes their roles distinct. Explain how Schubert changes the music so the listener can tell the difference between characters—pay particular attention to the Erl King and the child. How does the music reflect their characters?

 

  1. How does Schubert use the piano to help with the story and how does the piano help with the psychological/emotional impact? Pay attention to how the song comes to an end. Why does the piano stop?

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Schubert: The Erl King

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Female Violinists of the 18th century Europe

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Female Violinists of the 18th century Europe. Female Violinists of the 18th century Europe. this Paper should cover basic information regarding some of the important female violinists of the 18th century in Europe, people’s perspective regarding women playing the violin and description of their musical career and some of the challenges and obstacles facing them as female musicians at the time.

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Female Violinists of the 18th century Europe

Female Violinists of the 18th century Europe

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Compare ans Contrast Reserarch paper

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Compare ans Contrast Reserarch paper. Compare ans Contrast Reserarch paper. one from the Baroque, one from the Classical Era. Composition Names: Violin Concerto in A minor Composers: Vivaldi, Antonio Year the composition was written:1711 Music Period of the compositions: Baroque Instrumentation: Solo violin Composition Names: Violin Concerto No.3 Composers: Mozart, Wolfgang Amadeus Year the composition was written:1775 September 12 Music Period of the compositions: Classical Instrumentation: Solo violin.

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Compare ans Contrast Reserarch paper

Compare ans Contrast Reserarch paper

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Franz Joseph Haydn,The Creation(1796-1798)

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Franz Joseph Haydn,The Creation(1796-1798). Franz Joseph Haydn,The Creation(1796-1798). 1. Use FOOTNOTES within your text, NOT endnotes or a works cited list. Using the wrong format will hurt your grade on the paper. Microsoft Word will automatically place footnotes at the bottom of the page, and will number them automatically. Ask me if you need help using the feature of Word.

2. Use the Chicago Style format for your references (see below). Using the wrong format will hurt your grade on the paper.

3. Chicago Style formats for WRITTEN SOURCES (whether online or hard copies) are found at the following link. Go to this webpage, scroll a small way down the page, and choose the tab called "Notes and Bibliography" (NOT "Author-Date"). You will find a list of types of references; look through it so that you can see all the categories listed. For each category, the webpage provides two sample references. The first is the format you will use in the FIRST footnote referring to this source. The second is the format you will use if you cite the same source again in another footnote.

http://www.chicagomanualofstyle.org/tools_citationguide.html

4. Chicago Style formats for AUDIOVISUAL SOURCES are found at the following link:

http://cotr.libguides.com/content.php?pid=495137&sid=4068045

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Franz Joseph Haydn,The Creation(1796-1798)

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Desiigner in Vic Theatre

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Desiigner in Vic Theatre. Desiigner in Vic Theatre. The following form shows the various points I want you to address in your report. The easiest thing to do is to "copy and paste" this into your email browser window and answer the questions that way。

CONCERT REPORT FORM

Date & Place of Performance:

Name of Ensemble/Group/Artist
– List the types of instruments being played by members of the ensemble. For vocal music describe the different vocal ranges employed by different performers.

Music Performed (you don’t have to list every piece performed but represent a selection. Also don’t forget to list the composers if that information is provided for you in the case of a program. Remember too that the lead singer of a band doesn’t necessarily write all the music, they just happen to be the one singing the songs)
– What is the genre/category of each of these pieces/songs?
– Consider the choices or ordering of the different selections. Was the music programmed effectively?

Description of Musical Style(s):
– Talk about the different roles of the various instruments and/or voices and how they related to each other during performance. For example was the rhythm section (bass/drums/keyboards) supporting the singer(s) or did they seem like they were overshadowing either by playing too much or too loud?
What was the predominant texture used in performance: (monophonic, homophonic or polyphonic)?
Basic description of terms:
These are terms to refer to the texture of (in this case) music.
Monophonic Texture: A single musical line. No harmony or counterpoint. Can still be multiple instruments or voices.
Polyphonic: Greater complexity. Multiple independent ideas or melodic lines. Counterpoint or contrapuntal activity .
Homophonic: Perceptible hierarchy in the music. i.e. Melody and harmony wherein the harmony is serving to support the melody, functioning in a subservient role.
Think basic "song form" or structure. The voice or vocal line is the most "important" thing that draws your ear’s attention and everything else serves to support that.

What were your impressions of the performance:
– Did you like it ? Why or why not? Be specific. Give a conclusion and reasons that support that conclusion.

The detail about this concert : http://concertfix.com/tours/desiigner+vic-theatre+chicago-il

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Desiigner in Vic Theatre

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Japanese song’s analysis

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Japanese song’s analysis. Japanese song’s analysis. ome Japanese and a little bit Japanese animation.

1. Watch the film, the Tale of Princess Kaguya (2013) and write a 3-page paper including the following questions.
2. You must answer the three questions below in your paper.
Question 1:
Which scene is most interesting to you in the movie and why?
Question 2:
Find two sections from the song, いのちのきおく which are reflected in the movie and give your interpretation.
Question 3:
If you had the opportunity to title the song instead of “いのちのきおく”, what would it be
and why?
3. Paper length should be 3 pages, double-spaced

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Japanese song’s analysis

Japanese song’s analysis

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COMPOSER UNDER SUSPICION

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COMPOSER UNDER SUSPICION. COMPOSER UNDER SUSPICION. PROJECT: COMPOSER UNDER SUSPICION
A composer who lives during Classical times has come under suspicion. He has been accused of not using true Classical style in his music. You have been hired to investigate his music and determine whether or not these allegations are true.

This project will give you the opportunity to investigate the music of a Classical composer. During the project, you’ll accomplish the following:

OBJECTIVES

Research a lesser-known Classical composer and examine his music to see if it truly follows Classical style.
PART 1 – INVESTIGATE A COMPOSER

1. Choose a composer.
Using your best detective skills, you must find out all that you can about a Classical composer of your choice. Then you’ll report on whether or not he truly uses Classical style in his music.

First, you must choose a composer who lived during the Classical era. Choose from the list below, or find a different Classical composer. (You may not investigate Haydn, Beethoven, or Mozart.)

Antonio Salieri
Luigi Boccherini
Luigi Cherubini
William Billings
Johann Christian Bach
2. Investigate the composer.
Find out as much as you can about the composer. Read about his life and his music. You’ll at least want to know:

birth/death dates
country where he was born and/or lived
influence on Classical music and/or other composers
musical style, forms, or pieces he’s known for
listening samples of his music (at least two)
3. Analyze the music.
As you investigate, you should especially be concerned with his music. Listen to the two pieces you chose. Then, answer these questions to help you decide if he’s a "good" Classical composer that follows the rules of Classical music writing.

Does he write in the established Classical forms?

Is his music simple, orderly, and balanced?

Does he follow typical Classical style elements in the melody, harmony, tonality, rhythm, and expression he uses?

Does he follow the music trends of the day (like instrumental over vocal or secular over sacred)?

PART 2 – WRITE YOUR REPORT

Since you’ve finished your investigating, you must now fill out an investigative report detailing your findings.

First, print out the investigative report.

Use the guide below to help you fill in each field of the report.

Guide to filling out the Investigative Report
Officer:
student’s name Date of complaint:
current date Nature of complaint:
Composer suspected of not conforming to Classical music style
Suspect Information
Date of birth:
composer’s birthday City and Country of Birth:
composer’s city/country of origin Date of Decease:
composer’s date of death
Explain suspect’s influence on other musicians (if any):
influence on other musicians (through teaching, friendship, musical legacy, etc)
Summarize influence on Classical style (if any):
affects on Classical music, if applicable List most famous pieces or genres:
pieces or forms/genres composer is best known for
Music Analysis
List works analyzed by officer: official names of both pieces student analyzed
Followed established Classical forms?
how (and if) two pieces named above followed established Classical forms (like sonata-allegro, theme and variations, rondo, minuet and trio, opera, etc.)
See also U04L03 Classical melody, harmony, tonality, rhythm, expression?
how (and if) two pieces named above followed Classical style of melody, harmony, etc.
See also U04L02
Orderly/Simple/Balanced?
how (and if) two pieces named above adhered to Classical traits of order, simplicity, and balance Classical trends followed? (instrumental/secular)
how (and if) two pieces named above followed established Classical trends of instrumental over vocal and secular over sacred music
Synopsis:
One to two paragraph summary of musical style and whether or not it adheres to traditional Classical style

Use the Grading Rubric to evaluate the completeness of your project. Your teacher may also use these guidelines in grading your work.

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COMPOSER UNDER SUSPICION

COMPOSER UNDER SUSPICION

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