Archive for category: Music

Write a short paper containing your subjective responses and objective musical observations of one of the selections provided below. Form of paper: Very briefly, give your subjective impressions of the piece. Then, make all the objective observations you can. The best work will tie objective observations to subjective impressions (example: “the rapid tempo and major mode of this piece contribute to the happy, cheerful impression it gives”). Use timings for specific observations, the more the better. Note: Finished writings should be a bare minimum of one full page of writing (this means that if you start partway down the page, your writing will need to go into a second page). Use double spacing and 12 point Times or Times New Roman font. Choose one of the musical selections provided below. Listen to it for subjective impressions. Listen to the entire piece. You might then observe any objective elements listed below. However – Please note that this paper does not need to be longer than one full page, as directed above. What you write should be substantive – don’t do “filler” – but your observations need not be exhaustive. The list is provided to remind you of things you can listen for. After you’ve listened to your piece a couple of times, ask yourself which elements you think are the most important to observe more closely. Consider my suggestions as well. Rhythms (is there a steady beat? If so, it is constant through the entire piece? what does the presence or lack of such a beat do? Does the piece have sections that sound rhythmically energized, or less so, or not at all? What about tempo changes?) Dissonance (are there places the music sounds very tense? Are there places it builds up tension that then releases?) Tonality – does the piece sound “normal” to you? (if so, it probably is based in the Western tonal system most of our music uses). Does it sound outside that “normal”? (if so, it might be atonal). Mode (major, minor) Dynamics Density (often a good element for observation) Texture Melody (anything hummable, memorable? Do melodies primarily climb? Descend? Is it difficult to find any singable melodies? Not all melodies are meant to be catchy) Pitch ranges emphasized (are there sections where lower pitches dominate? Higher pitches? What instruments are prominent in these cases?) Instrumentation and timbres What kind(s) of ensemble is being used, and are some instruments particularly featured at various points? Are they being used in any unusual or interesting way, in terms of timbre? (quality of sound). Remember that choirs are a type of ensemble, and voices – solo or choral – are generally listed under “instrumentation.” Form (no need to be “perfect” on this. If you note repetitions, variations, and/or contrasts, you are noting points of form. Many of these pieces are not in standard forms, but in forms tailored to their own needs). In particular, look for CHANGES of the above – and PROVIDE SEVERAL TIMINGS. Feel free to use the Musical Elements handout posted on Blackboard under Course Content to remind yourself of musical terminology. HOWEVER – DO NOT CONSULT INTERNET OR OTHER ASSESSMENTS OF THE MUSIC. DO NOT PRETEND TO EXPERTISE YOU DO NOT HAVE. Joan Tower (American, b. 1938): Sixth Fanfare for the Uncommon Woman / Performed by the Baltimore Symphony Orchestra, https://www.youtube.com/watch?v=g1xEbvXGU28 This is an unusual take on a fanfare, as it involves full orchestra rather than just brass and percussion (her Fanfares for the Uncommon Woman 1, 2, 3, & 5 are for that more traditional Instrumentation, but this was commissioned by the orchestra in the video, for orchestra). Tower’s Fanfare series are named in reference to Copland’s “Fanfare for the Common Man,” which we heard in class while first exploring instrument groups. If you choose this: consider whether it meets the traditional profile of a fanfare – usually, fanfares are short pieces designed to announce the arrival of or call attention to a person or event of importance. Listen for Tower’s use of rhythms, including rhythmic/dynamic accents, to create energy. Note that the piece is long enough to permit more variation in mood than is usually present in fanfares. How does the ending strike you? Does it sound “done?”