MUSC B22 Music Appreciation
Concert Attendance Report Guidelines
General Information: (read carefully)
Concert MUST BE one of the live concert options listed in syllabus
Include a ticket stub, receipt, or concert program along with the report.
Papers that do not meet the following requirements will be rejected without a grade:
turned in as “hard copies;” no email papers allowed.
3-4 pages in length, typed, and double spaced, times new roman, font size 12 with one-inch margins. You will not receive full credit for 2 ½ pages or altering any sizes or margins.
written in essay format with an introduction (including a concise thesis statement), body paragraphs and a conclusion.
Concert Reports Should Include:
Basic Information about the concert: title, date, and location. Why did you choose this concert? What soloist or ensemble performed? Describe the physical aspects (concert hall, dress, lighting design, kinds of people present, etc.) and how it affected your listening experience. (5 points)
Discuss the works of the concert and their respective composers. Which musical period does each work in the concert represent (you can find this by looking up composers)? (10 points)
Take one of the composers listed in your program and research the life of the composer and the piece performed. During what part of the composer's life was this piece written. What else was the composer working on during this period? Where was the composer living during this time? Correctly cite information described. Cite your sources in Chicago style or MLA. (10 points)
Musical observations: quality of performance, type of music, i.e., orchestral, vocal, etc. Use a minimum of ten (10) terms introduced in class lectures and/or the text to describe the music and to demonstrate your understanding and appreciation of the music performed. Underline or bold face the 10 terms. (10 points)
Were there any explanations given concerning the works performed? If so, were the comments given orally during the concert or in the form of program notes included in the program folder? What was the overall impact of the music performed on the attending audience? Detail your overall impressions of the effect of the entire concert in view of your answers to the bullets above. In all cases be specific. (5 points)
Correct spelling, grammar, usage of words, overall clarity. (10 points)
SUCCESS TIPS FOR MUSIC APPRECIATION
Listen, listen, listen. Start now and do a little every day.
Be prepared. Read. Study for the tests throughout the semester—not the night before.
Come to class and participate (take notes, ask questions, discuss, get to know each other).
Keep an open mind. Enjoy the music!
Music Appreciation Exam 1 Study Guide
Test Question Information:
5 listening examples (2 points each—10 total points)
2 short answer questions (5 points each—10 total points)
30 questions—multiple choice, true and false, matching (1 point each—30 total points)
Total=50 points
Listening Exam Information: (2 points each) (Know Composer and Title)
George Gershwin: Summertime (1)
Tyagaraja: Manasu visaya (excerpt) (2)
Russell – Farrell: Hang on Sloopy (excerpt) (3)
Anon.: Kyrie eleison (4)
Palestrina: Missa Pape Marcelli, Kyrie (excerpt) (5)
Traditional: Amazing Grace (excerpt) (6)
Traditional: His First Hunt (7)
Short Answer Questions: (5 points each—10 points total)
Select one of the six historical periods in Western Art Music. Describe what was going on in the world, at least three musical characteristics of the period and identify one significant composer.
Name the 6 elements of music described in the textbook and select one element to describe in detail. Include at least 2 vocabulary words listed in the study guide in your syllabus to complete your answer.
Chapter 1 Experiencing Music:
Power of music
Music and the brain
Culture
Musical culture
Three categories of music
World music
Popular Music
Western Art Music
Medieval
Renaissance
Baroque
Classical
Romantic
Twentieth Century
(know characteristics and composers)
Info from video: Clavichord to Piano
Musical Symbols and Note Reading
Treble Clef
Bass Clef
Time Signature
Grand staff
Word for spaces in right hand
Sentence for lines in right hand
Sentence for spaces in left hand
Sentence for lines in left hand
Rhythm (Whole note, half, quarter, eighth)
Be able to identify notes in both the treble and bass clef
Instruments and Voices
Order of voices (high to low)
4 categories for classifying instruments based on method of tone production
Aerophones
Chordophones
Idiophones
Membranophones
Western instrument families
Strings (violin, viola, cello, double bass, harp, guitar)
Woodwinds (flute, clarinet, oboe, bassoon, sax)
Brass (trumpet, french horn, trombone, tuba, bugle, fluegelhorn, euphonium)
Percussion (timpani, xylophone, marimba, glockenspiel)
Keyboard (piano, organ, harpsichord)
Identify instruments by picture
Musical Ensembles
a cappella
The role of the conductor (baton)
Conducting patterns (2, 3, 4)
Chapter 2 Listening to Music:
Three steps to active listening
6 elements of music
1. Melody (what is it?)
interval
range
conjunct
disjunct
phrase
cadence
Scale (major, minor, chromatic)
Half step, whole step, octave
Sharp, flat
2. Rhythm
beat
meter and meter patterns
downbeat/upbeat
duple, triple and quadruple meter
tempo
Italian terms (adagio, andante, allegro)
Basic note values: whole, half, quarter, eighth
3. Harmony
consonant
dissonant
chord
triad
tonality
tonic, subdominant and dominant chords
4. Timbre (color)
combination of three factors
5. Texture
monophony
heterophony
polyphony
homophony
6. Form
binary and ternary form
rondo
Other
Dynamics (f, mf, mp, p)
Musical terms
Song
Symphony
Concerto
Sonata
Opera
Chamber music
Music Appreciation Exam 2 Study Guide
Test Question Information:
15 listening examples (2 points each—10 total points)
1 short answer question (10 points each—10 total points)
35 questions—multiple choice, true and false, matching (1 point each—35 total points)
Total=75 points
Select 25 Listening List: (2 points each—Know Composer and Title)—15 of 20 will be on test
Chapters 1-2
George Gershwin: Summertime (1)
Tyagaraja: Manasu visaya (excerpt) (2)
Chapters 3-7
Traditional: Nesaza Shirabe
Over the Rainbow (Garland)
Over the Rainbow (Art Tatum)
Traditional: Kelefaba/Kuruntu Kelafa
Ellington: Caravan
Still: Afro-American Symphony, I
Bartok: Allegro barbaro
Redding: Respect
Bizet: “L’amour est un oiseau rebelle” (Habanera) from Carmen
Wagner: Siegfried, Act II, Scene 2
Mozart: “Non so piu cosa son” from The Marriage of Figaro
Traditional: Amazing Grace (Bernice Johnson Reagon)
Traditional: Amazing Grace (Robert Shaw Festival Singers)
Traditional: Amazing Grace (Old Harp Singers of Eastern Tennessee)
Palestrina: Missa Papae Marcelli, Kyrie
J.S. Bach: St. Matthew Passion, excerpts from Part II
Schoenberg: Kol Nidre, Op. 29 (excerpt)
Beethoven: Symphony no. 9 in D minor, IV (excerpt)
Short Answer Questions: (10 points total)
Select and discuss one of the pieces of music from the listening list (or CD’s). Describe the piece (in detail), its composer and/or performer and explain how it applies to the specific chapter (Music and Ethnicity, Spirituality, Politics, etc.)
Chapter 3 Listening to Music
J.S. Bach background info & importance
Shakuhachi flute (what is it, who played, etc.)
Judy Garland
Art Tatum
Compare/contrast “Somewhere Over the Rainbow”
Chapter 4: Music & Ethnicity
What is ethnicity
Jali/Jalou
Jalolu music
Kora playing
The Blues
Roots and influences
Standard blues form: 12-bar blues
Harlem Renaissance
Duke Ellington
William Grant Still
Sonata Form (3 main sections)
Salif Keita
Bela Bartok
What did he do for folk music?
The piano (when invented)
Klezmer music
Chapter 5 Music & Gender
Fanny Mendelssohn Hensel
Early rock ‘n’ roll (who dominated)
Girl groups in the 1960s
Aretha Franklin
Balinese gamelan
Men’s and Women’s (differences)
Instruments (arranged & tuned)
Women’s laments
Habanera from the opera, Carmen
Richard Wagner
Gender confusion in opera
Wolfgang Amadeus Mozart
Cherubino from Marriage of Figaro
Chapter 6 Music & Spirituality
Tibetan Buddhist Chant
“Amazing Grace”
Lining out
A cappella
“Sacred harp”
Compare 3 recordings
Music in Early Christian Church: Medieval
Plainchant
Gregorian Chant (Pope Gregory I)
Conjunct
Melismatic
Music in the Catholic Church: Renaissance
Ordinary of the Mass
5 sections of the Ordinary (Kyrie, etc.)
Difference between Ordinary & Proper
Giovanni Pierluigi da Palestrina
Music of the Protestant Reformation
Bach’s St. Matthew Passion
Oratorio (Passion)
What does it represent?
Yoruba of Nigeria
Yom Kippur
Arnold Schoenberg
Kol Nidre in g minor (was it played as intended?)
Chapter 7 Music & Politics
National Anthems
“The Star Spangled Banner”
“The Southern Cross”
“La Marseillaise”
“Nkosi Sikelil’ iAfrika”
19th Century Nationalism in Europe
Nationalism
Nationalist composers (used?)
Program music
Jingju (Beijing Opera)
What does it include
Written in?
4 main character types
Chinese Opera during Cultural Revolution
Yang Ban Xi
What did it consist of
Revised characters
Dialects
The Red Lantern
Folk music (p. 107)
Bulgarian Concert Folk Music
Traits
How revived
Professional choirs
Ludwig van Beethoven
Beethoven’s Ninth Symphony
Central theme
Performed in what political contexts
Final movement uses a setting of what poem
Music Appreciation Final Exam Study Guide
Final Exam Question Information:
20 listening examples (2 points each—40 total points)
2 short answer question (10 points each—20 total points)
40 questions—multiple choice, true and false, matching (1 point each—44 total points)
Total=100 points
Select 25 Listening List: (2 points each—Know Composer and Title)—20 of 25 will be on final exam (40 points total)
Chapters 1-2
George Gershwin: Summertime (1)
Chapters 3-7
Traditional: Nesaza Shirabe
Judy Garland: Over the Rainbow
Traditional: Kelefaba/Kuruntu Kelafa
Ellington: Caravan
Still: Afro-American Symphony, I
Bartok: Allegro barbaro
Redding: Respect
Bizet: “L’amour est un oiseau rebelle” (Habanera) from Carmen
Wagner: Siegfried, Act II, Scene 2
Mozart: “Non so piu cosa son” from The Marriage of Figaro
Palestrina: Missa Papae Marcelli, Kyrie
J.S. Bach: St. Matthew Passion, excerpts from Part II
Beethoven: Symphony no. 9 in D minor, IV (excerpt)
Moore: Ballad of the Green Berets
Chapters 8-13
Britten: Agnus Dei from War Requiem
Schubert: Gretchen am Spinnrade
Puccini: “Un bel di, vedremo” from Madama Butterfly
Kern: Act I, Scene 1, from Showboat
Bernstein: Quintet, finale to Act I from West Side Story
Stravinsky: The Augers of Spring from The Rite of Spring
Copland: Hoe-Down from Rodeo
Vivaldi: Concerto in E major, Op. 8, “La Primavera” (Spring)”, I
Mozart: Symphony No. 40 in G Minor, I
Haydn: String Quartet in E-flat Major, Op. 33, No. 2, “The Joke”, IV
Short Answer Questions: (20 points total)
Select and discuss your favorite composer studied in this course. Describe the composer, the historical period they represent and why they are significant. Be sure to include at least one of their significant works.
Our study this semester included thirteen chapters. Select your favorite chapter—one that had the most significant impact on you personally. Discuss the specific ways in which the chapter impacted you and be sure to include at least one of the works discussed in the chapter.
Chapter 8: Music and War
John Philip Sousa (nickname, etc.)
“Ballad of the Green Berets,” Sadler
Lowell Mason
Ghost Dance (Wovoka)
Music of the Holocaust
3 composers responses to WWII
Messiaen: “Liturgie de cristal”
Britten: Agnus Dei from War Requiem
Penderecki: Threnody….Hiroshima
Chapter 9: Music and Love
Medieval French troubadours & trouveres
Lied
Franz Schubert
How many compositions?
“Gretchen am Spinnrade”
Opera
Aria
Recitative
Puccini: “Un bel di, vedremo”
Chapter 10: Music and Broadway
5 characteristics the 3 musical have in common
Sweeney Todd: the Demon….
The Black Crook
Black-face minstrelsy
George M. Cohan
Outstanding composers
Irving Berlin
Cole Porter
George Gershwin
Show Boat
Jerome Kern
Hammerstein
Story
What does it deal with?
How was it a new kind of musical theater?
Musical styles
Rodgers and Hammerstein (what musicals?)
West Side Story
Leonard Bernstein
Stephen Sondheim
Updated version of what?
Quintet, finale to Act I
Chapter 11: Music and Film
How does music in “Titanic” reflect social levels
Diegetic and non-diegetic sounds
Leitmotifs
John Williams
Disney’s full-length animated film musical
Sound of Music
Early 19th century short films—did music add?
Musical cue sheets
Improvised music
The Jazz Singer
Golden Era of Hollywood Films
Broadway Melody
Important stars
Race films
Playback singers
Marni Nixon
Singin’ in the Rain
India film industry
The Lord of the Rings
Based on
Howard Shore
Letimotives (Fellowship motive)
Chapter 12: Music and Dance
Tango
Origins
Bandoneons
Characteristics
Astor Piazzolla
Capoeira: Brazil
Baamaya: Ghana, West Africa
European Dance in the Renaissance
Social skill
Arbeau: Orchesography
Branle
Classical Ballet
Beginnings
Combination of?
Early
Later
Mid-19th century
Various centers
Marius Petipa
Diaghilev (Ballet Russes)
Stravinsky: The Rite of Spring
Modern Dance
Isodora Duncan
Martha Graham
Chapter 13: Music and Concert
Symphony Orchestra standard program
Aaron Copland
Antonio Vivaldi
“La Primavera” (“Spring”)
Concerto
Wolfgang Amadeus Mozart
Standard order of the movements of a symphony
Sonata Form
Chamber music
Franz Joseph Haydn (Rondo form)
Music Appreciation Listening Journal
CD
|
Track
|
Title
|
Composer/Performer
|
How Will I Remember This Piece?
|
1
|
1
|
Summertime
|
George Gershwin
|
|
1
|
2
|
Manasu visaya (excerpt)
|
Tyagaraja
|
|
1
|
3
|
Hang on Sloopy (excerpt)
|
Russell—Farrell
|
|
1
|
4
|
Kyrie eleison
|
Anon.
|
|
1
|
5
|
Missa Papae Marcelli, Kyrie (excerpt)
|
Palestrina
|
|
1
|
6
|
Amazing Grace (excerpt)
|
Traditional
|
|
1
|
7
|
His First Hunt
|
Traditional
|
|
1
|
8
|
Suite for Lute in E Minor, BWV 996, Bouree
|
Johann Sebastian Bach
|
|
1
|
9
|
Nesaza Shirabe
|
Traditional
|
|
1
|
10
|
Over the Rainbow
|
Arien
(Judy Garland)
|
|
1
|
11
|
Over the Rainbow
|
Arien
(Art Tatum, piano)
|
|
1
|
12
|
Kelefaba/Kuruntu Kelafa
|
Traditional
(Foday Musa Suso, kora)
|
|
1
|
13
|
Sweet Little Angel (excerpt)
|
King - Taub
|
|
1
|
14
|
Caravan
|
Ellington
|
|
1
|
15
|
Afro-American Symphony, I
|
Still
|
|
1
|
16
|
Habanera from Rapsodie espagnole
|
Ravel
|
|
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