Music in Humanities

MUL2010 Listening Reflection Report: Musical Perceptions and Research Word Count: 950-1100 words Your Task: Your task is to write a report presenting a focused listening analysis of two musical works from those listed below. Choose one work from Group A and one from Group B. You will present two separate analyses of your chosen works and then write a comparison of the two works at the end of your report. Youâll need to listen to each of your chosen works many times. The works are available in the MindTap âPractice Active Listeningâ= Folders. Writing your Report: For each of your chosen works, your analysis will include four sections: First Impression, Emotional Description, Technical Description, and History and Research Results. Use all of these headers in each of the discussions of your chosen musical works. ⢠First Impression: When you heard the music for the first time, what did you think about it? What did it remind you of? This discussion should briefly examine the first impressions you had of the music, just as you have a first impression when meeting a person for the first time. Your later opinions of the work could be very different from your immediate first impressions. Of the four sections, this one should be shortest. ⢠Technical Description: Listen to the music and identify the musical elements. Use the terms you have studied in your textbook here, to show your command of the vocabulary. However, be sure the terms you apply are appropriate. In other words, show what you know but make sure the connections are correct and clear. Provide objective facts about the music, such as meter, mode, rhythm, tempo, syncopation, texture, melody, harmony, dynamics, instruments, etc. ⢠Emotional Description: This is more in-depth than the First Impression discussion. Here, youâll discuss what you feel as you listen to the music additional times. Describe your personal experience of the music and provide subjective inferences about the music. Describe how the music makes your feel, or what images you think of while listening. For instance, discuss what you think is the most interesting section, most beautiful, the saddest, the happiest, most inspiring, etc. This can be a tricky discussion, because youâll need to be able to explain to your reader which sections of the music are affecting you in different ways. Make an effort to explain what it is about the music that resulted in those feelings. You could make MUL2010, 2017 links between the technical features of the music and the effects they have on you. ⢠History and Research Results: Do some research. Present background information about the musical work and/or the composer. Be sure to focus on the composerâs work in the genre of music that you are discussing (for instance, if you have chosen a Mozart Symphony for your Listening Reflection, then your background research should focus more on Mozartâs work as a symphonic composer, rather than his expertise in opera and piano composition.) For this researched information, youâll need to cite the sources you use in this section. Donât just rely on your textbook or on Wikipedia. Use research sourced from the Library to help you with this material. DO NOT PLAGIARIZE! Any details or information you are using needs to have an indicated source. Phrases that you quote should have quotations marks around them (â â). Cite your sources correctly in the text of your report and in a list of references at the end of the report. Use either MLA or APA styles; just be consistent with whatever style you choose. For more help, see the Research Citation Resources folder under âAssignmentâ in Blackboard. Comparison/Contrast: Finally, write up the above Reflection Analysis for both of your chosen works. THEN, write a final paragraph or two that compares the two works, discussing any of the following ideas that apply: Do they have any characteristics that are similar or are they very different? Explain. Which work do you like more? Why? Did your ideas about the works change after you listened to them more than onceâor perhaps after you did more research about the works or about their composers? VOCABULARY NOTES: ⢠SONG: Use this word correctly! Not every piece of music is a song. (This is iTuneâs fault!) When identifying and discussing your chosen musical works, be sure to refer to them and to their sections accurately. Do not use the term âsongâ when discussing a piece of music, unless it actually is a song (a work that is sung). Use other terms: musical work, piece, composition, movement, section, choral work, aria, etc. You can describe an instrument as having a âsingingâ or âsong-likeâ quality, but be sure to explain what you mean. ⢠EFFECT vs AFFECT: These are spelled differently because they are different words. Review the different meanings and usage of the words âeffectâ and âaffectâ: For instance, music can affect you or it can have an effect on you. Also, just as there are sound effects, there are such things as musical effects (such as wind sounds, produced by violin tremolos, or thunder produced by drums). Try to use these words correctly. MUL2010, 2017 DUE DATE FOR THE REPORT will be 11:59 PM Eastern Time, as noted on the Calendar of Activities (see the information on Blackboard). Submit your completed report through the submission portal on Blackboard. It's a safer way to archive and verify your paper submission. Do not email the assignment to me. Keep a copy for yourself just in case your assignment is lost or didnât go through. But after submission, check the file to make sure it was correct. LIST of MUSIC WORKS for Listening Reflection Report Choose one work from Group A and one work from Group B GROUP A The Middle Ages & the Renaissance Period ⢠Hildegard of Bingen: O rubor sanguinis (c. 1150 ⢠Machaut: Kyrie from Messe de Nostre Dame (c. 1360) ⢠Josquin: Ave Maria ⦠virgo serena (c. 1485) ⢠Weelkes: As Vesta Was Descending (1601) Baroque Period ⢠Purcell: recitative, "Thy hand Belinda" and aria, "When I am laid in earth" from the opera, Dido and Aeneas (1689) ⢠Pachelbel: Canon in D Major (c. 1690) ⢠Vivaldi: "Spring" Concerto (La Primavera), from The Four Seasons (early 1700s), Movement I ⢠Bach: Organ Fugue in G Minor (Little Fugue) (c.1710) ⢠Handel: Hallelujah Chorus, from Messiah Classical Period ⢠Mozart: Excerpts from Don Giovanni, K. 527 (1787) ⢠Mozart: Symphony No. 40 in G Minor, Movement I (1788) ⢠Haydn: Symphony No. 94 in G Major (The Surprise), (1791), Movement II Beethoven: Bridge to Romanticism ⢠Beethoven: Piano Sonata, Opus 13, (Pathétique), (1799), Movement I: pp. 156 ⢠Beethoven: Symphony No. 9 in D Minor, Opus 125, (1824), Movement IV (Ode to Joy) GROUP B Romantic Period ⢠Schubert: Erlkönig, (1815) ⢠Clara Schumann: âLiebst du um Schönheitâ, (1841) MUL2010, 2017 ⢠Chopin: Nocturne in E Flat Major, Opus 9, No. 2, (1832) ⢠Berlioz: Symphonie fantastique, (1830), Movement IV ⢠Verdi: âFollie!â and âSempre liberaâ from La Traviata (1853) ⢠Wagner: âRide of the Valkyriesâ from Die Walküre (1856) ⢠Bizet: âHabañeraâ from Carmen (1875) ⢠Puccini: âChe gelida maninaâ from La Bohème (1896) ⢠Brahms: Violin Concerto in D Major, (1878), Movement III ⢠Musorgsky: Promenade and The Great Gate of Kiev from Pictures at an Exhibition, (1874) The 20th Century and Beyond ⢠Debussy: Prelude to the Afternoon of a Faun, (1894) ⢠Stravinsky: Le Sacre du printemps, Introduction and Scene I, (1913) ⢠Schoenberg: âMadonnaâ from Pierrot lunaire, (1912) ⢠Copland: Appalachian Spring, (1944) ⢠Adams: Short Ride in a Fast Machine, (1986) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Student Listening Reflection Report Example: Hereâs a very short example of part of a Listening Reflection Report with incomplete, excerpted sections. Your report will be more developed and much more complete. Note that the Richard Strauss example below is NOT one of your required pieces. Title/Composer: "Also Sprach Zarathustra" by Richard Strauss First Impression: Listening to this piece reminded me of some noble event in history. I remember hearing it in the movie "2001: A Space Odyssey," where it depicted the beginning of human thought. Technical description: "Also Sprach Zarathustra" starts with a very low note played on organ. Trumpets play a simple, unison, adagio (or perhaps largo), 3 notes, each higher in pitch than the last. There is a big crescendo on the held note, then two descending fortissimo notes played by the full brass section. It sounds like itâs in a minor key. A timpani playing two alternating notes ends the phrase. Then this opening part repeats two more times, but the brass section notes go higher on each repetition leading to a brilliant, uplifting, triumphant section still played by the brass. The pitch goes higher and higher and the dynamics get gradually louder until the final chord. The loudness of the music is created by adding more instruments. Then all the sound dies away in a diminuendo, until all that is left is the organ playing a final chord. MUL2010, 2017 Emotional