Categories
Music

Write and submit your own blues song lyrics that follow the standard rhyme patte

Write and submit your own blues song lyrics that follow the standard rhyme pattern (AAB) and captures the feel of the blues. Listen to the examples from the chapter for ideas and patterns. Base your form on the standard “down home” blues style and keep it simple. Submit 5 stanzas (3 lines each for a total of 15 lines) that connect to form an overall narrative, though the connection can be loose.
Scoring will be based upon your adherence to the standard blues poetic form and stylistic appropriateness. See http://en.wikipedia.org/wiki/Twelve-bar_blues for more information, especially the section entitled “Lyrical Patterns.”

Categories
Music

The task is to select one of Haydn’s many symphonies and compose a historical an

The task is to select one of Haydn’s many symphonies and compose a historical and analytical essay that guides a first-time listener through the experience. Your first step should be to select a symphony. The best way to do this is to listen to representative samples. Try one from the 40s on for size. Many of these are quite dramatic and anticipate romanticism. Or you could select an early symphony, say, the ‘Morning’ symphony. The many nicknames that are latched like mollusks to the hull of the repertoire are often misleading and, as far as I know, none originate with the composer. They can nevertheless be an excuse for a listen. Keep in mind that many of Haydn’s finest symphonies do not have nicknames. If you want a particularly rich symphony, bursting with details to mine, check out one of the so-called ‘Paris’ symphonies. If for no other reason than because you can listen to Leonard Bernstein conduct them.
Once you have a symphony you like picked out, read through the entry on Haydn on Oxford Music Online (https://www.oxfordmusiconline.com/ Links to an external site.). You have access to this through the library, and should you need help finding it, check this out: https://guides.lib.uci.edu/music. [Starting with this encyclopedia when you have a music historical question is just good musicological safety sense.] Then you might look through the entry on the symphony. You could contextualize your piece with respect to both its composer’s development and the development of the genre. Haydn plays a big role in the latter, after all. You can also look for scholarly articles on JSTOR. There are also monographs in the library devoted to these pieces. You would do well to check this out! You will want to make it to the Haydn section of the ML410s in the stacks before you complete this paper. Just seeing the secondary literature about a figure on the shelf can help orient you to how much is out there and what kind of material it encompasses.
Your next step is to take the piece apart. After this week’s listening and lectures (and from doing a bunch of listening around to choose your symphony), you should have a good idea about what is business as usual for the genre (beginning and ending on the topic, or containing a slow movement). This allows you to tell what is particular to this symphony. You have already practiced this with Symphony 45 this week. What makes this symphony stand out? How does Haydn set up expectations? Does he include an effect?
You’ll know you’re done when you feel satisfied that the reader of your paper will be well-served by your document when they step into the concert hall.
Aim for 1500 words. But don’t overestimate the importance of a word count. Your papers will be graded on their meeting the criterion just stated.

Categories
Music

Write and submit your own blues song lyrics that follow the standard rhyme patte

Write and submit your own blues song lyrics that follow the standard rhyme pattern (AAB) and captures the feel of the blues. Listen to the examples from the chapter for ideas and patterns. Base your form on the standard “down home” blues style and keep it simple. Submit 5 stanzas (3 lines each for a total of 15 lines) that connect to form an overall narrative, though the connection can be loose.
Scoring will be based upon your adherence to the standard blues poetic form and stylistic appropriateness. See http://en.wikipedia.org/wiki/Twelve-bar_blues for more information, especially the section entitled “Lyrical Patterns.”

Categories
Music

In Chapter 14, your textbook likens the early songs of troubadours and trouveres

In Chapter 14, your textbook likens the early songs of troubadours and trouveres (the earliest written record of secular music!) to modern singer-songwriters. They generated a long tradition of folk, classical and popular musical traditions, which all deal with the relationship between song text (poetry) and melody.
List an example of a song performed by a contemporary popular musical artist, in one of your favorite popular genres.
How does your example relate to the formal structures discussed in Chapters 6 & 8?
How does the vocalist change their delivery throughout the song, to include musical elements such as melody, dynamics, timbre, instrumentation, etc?
How does the delivery help to effectively set the text in each stanza, and how does it impact the overall story conveyed in the song?
Please include a general overview of the structure of the song you have selected, in addition to answering the questions above.

Categories
Music

The task is to select one of Haydn’s many symphonies and compose a historical an

The task is to select one of Haydn’s many symphonies and compose a historical and analytical essay that guides a first-time listener through the experience. Your first step should be to select a symphony. The best way to do this is to listen to representative samples. Try one from the 40s on for size. Many of these are quite dramatic and anticipate romanticism. Or you could select an early symphony, say, the ‘Morning’ symphony. The many nicknames that are latched like mollusks to the hull of the repertoire are often misleading and, as far as I know, none originate with the composer. They can nevertheless be an excuse for a listen. Keep in mind that many of Haydn’s finest symphonies do not have nicknames. If you want a particularly rich symphony, bursting with details to mine, check out one of the so-called ‘Paris’ symphonies. If for no other reason than because you can listen to Leonard Bernstein conduct them.
Once you have a symphony you like picked out, read through the entry on Haydn on Oxford Music Online (https://www.oxfordmusiconline.com/ Links to an external site.). You have access to this through the library, and should you need help finding it, check this out: https://guides.lib.uci.edu/music. [Starting with this encyclopedia when you have a music historical question is just good musicological safety sense.] Then you might look through the entry on the symphony. You could contextualize your piece with respect to both its composer’s development and the development of the genre. Haydn plays a big role in the latter, after all. You can also look for scholarly articles on JSTOR. There are also monographs in the library devoted to these pieces. You would do well to check this out! You will want to make it to the Haydn section of the ML410s in the stacks before you complete this paper. Just seeing the secondary literature about a figure on the shelf can help orient you to how much is out there and what kind of material it encompasses.
Your next step is to take the piece apart. After this week’s listening and lectures (and from doing a bunch of listening around to choose your symphony), you should have a good idea about what is business as usual for the genre (beginning and ending on the topic, or containing a slow movement). This allows you to tell what is particular to this symphony. You have already practiced this with Symphony 45 this week. What makes this symphony stand out? How does Haydn set up expectations? Does he include an effect?
You’ll know you’re done when you feel satisfied that the reader of your paper will be well-served by your document when they step into the concert hall.
Aim for 1500 words. But don’t overestimate the importance of a word count. Your papers will be graded on their meeting the criterion just stated.

Categories
Music

In Chapter 14, your textbook likens the early songs of troubadours and trouveres

In Chapter 14, your textbook likens the early songs of troubadours and trouveres (the earliest written record of secular music!) to modern singer-songwriters. They generated a long tradition of folk, classical and popular musical traditions, which all deal with the relationship between song text (poetry) and melody.
List an example of a song performed by a contemporary popular musical artist, in one of your favorite popular genres.
How does your example relate to the formal structures discussed in Chapters 6 & 8?
How does the vocalist change their delivery throughout the song, to include musical elements such as melody, dynamics, timbre, instrumentation, etc?
How does the delivery help to effectively set the text in each stanza, and how does it impact the overall story conveyed in the song?
Please include a general overview of the structure of the song you have selected, in addition to answering the questions above.

Categories
Music

The lullaby, a timeless and universal genre of music, has been a source of comfo

The lullaby, a timeless and universal genre of music, has been a source of comfort and solace for generations of children and adults alike. With its soothing melodies and gentle rhythms, the lullaby has a unique ability to calm and soothe, making it a perfect choice for those seeking to relax or fall asleep.
This paper aims to analyze the musical considerations of approaching a lullaby in various compositions. The main focus will be on Benjamin Britten’s song cycle, A charm of lullabies. This paper will also introduce the musical treatment in other selected lullabies, such as Gabriel Fauré’s “Les berceaux,” Giacomo Puccini’s “E l’uccellino,” Xavier Montsalvatge’s “Canción de cuna para dormir un negrito”, Leonard Bernstein’s “Greeting” from “Arias and Barcarolles,” Manuel de Falla’s “Nana,” Francis Poulenc’s “Ba, Be, Bi, Bo, Bu.” This will include a discussion of the different approaches taken by each composer and how these differences contribute to the overall aesthetic of the lullabies. The focus of this paper will be on the ways in which these lullabies approach their subject matter and how they differ in their musical treatment of the theme.
The paper will begin with an introduction to the concept of lullabies and their historical significance as a form of music designed to soothe and calm infants. The introduction will also provide some background information on the selected lullabies, including their composers and the context in which they were written. The main body of the paper will then delve into a detailed analysis of Britten’s A charm of lullabies. This song cycle is a collection of vocal works composed for mezzo-soprano and piano. The piece comprises five lullabies, the texts taken from various poems by William Blake, Robert Burns, Robert Greene, Thomas Randolph, and John Phillip. The cycle explores the moods and emotions associated with lullabies, ranging from comforting and soothing to eerie and unsettling. In the first piece, “A cradle song,” the piano plays a repetitive, rocking figure while the voice sings a gentle melody, creating a sense of security and tranquility. In contrast, the fourth song, “A charm,” has a more ominous quality, with the piano’s irregular rhythms and the voice’s haunting melody depicting the fear and uncertainty of scaring the child that if they don’t go to sleep, a lot of terrible things will happen at night. One notable aspect of Britten’s composition is his use of folk-like melodies and rhythms. In the second song, “The Highland Balou,” the piano plays a bouncy, Scottish-inspired melody while the voice sings a simple, folk-like tune. This melody and rhythm create a sense of nostalgia and familiarity, evoking childhood memories and the comforting presence of a loving caregiver. This paper will explore the musical elements of these songs, such as melody, harmony, rhythm, and form, and how they contribute to the overall effect of the lullabies. Other lullabies by different composers also incorporate similar musical elements. Fauré’s “Les berceaux” (Cradles) features a gentle, rocking piano accompaniment and a soothing melody. At the same time, Puccini’s “E l’uccellino” (The little bird) has a playful, bird-like melody in the voice part. Montsalvatge’s “Canción de cuna para dormir un negrito” (Lullaby to sleep a little black boy) uses a repeated rhythmic figure in the piano and a lulling melody in the voice. Bernstein’s “Greeting” (No. 5 from Arias and Barcarolles) also incorporates a playful, bouncy rhythm in the piano and a simple, folk-like melody in the voice. In addition to these musical elements, many of these lullabies also incorporate textural and harmonic techniques to create a sense of tranquility and peacefulness. Fauré’s “Les berceaux” uses a slow, flowing tempo and a rich, layered texture in the piano accompaniment. At the same time, Puccini’s “E l’uccellino” has a lulling, legato melody in the voice and a gentle, consonant harmonic language. Montsalvatge’s “Canción de cuna para dormir un negrito” incorporates a repeated, rhythmic figure in the piano and a simple, repetitive melody in the voice, creating a sense of calm and familiarity.
In conclusion, the approach to a lullaby in musical composition involves various considerations, such as folk-like melodies and rhythms, textural and harmonic techniques, and the exploration of different moods and emotions associated with lullabies. Through the analysis of Britten’s, A charm of lullabies and other lullabies by various composers, this paper will delve into the musical considerations of approaching a lullaby in composition.
Overall, this paper will provide a detailed and in-depth analysis of the musical considerations of lullabies, with a particular focus on Britten’s A charm of lullabies and a selection of other well-known examples. By examining the structure, techniques, and meanings of these compositions, it will offer a rich and nuanced understanding of the lullaby genre and its significance in musical culture.

Categories
Music

The lullaby, a timeless and universal genre of music, has been a source of comfo

The lullaby, a timeless and universal genre of music, has been a source of comfort and solace for generations of children and adults alike. With its soothing melodies and gentle rhythms, the lullaby has a unique ability to calm and soothe, making it a perfect choice for those seeking to relax or fall asleep.
This paper aims to analyze the musical considerations of approaching a lullaby in various compositions. The main focus will be on Benjamin Britten’s song cycle, A charm of lullabies. This paper will also introduce the musical treatment in other selected lullabies, such as Gabriel Fauré’s “Les berceaux,” Giacomo Puccini’s “E l’uccellino,” Xavier Montsalvatge’s “Canción de cuna para dormir un negrito”, Leonard Bernstein’s “Greeting” from “Arias and Barcarolles,” Manuel de Falla’s “Nana,” Francis Poulenc’s “Ba, Be, Bi, Bo, Bu.” This will include a discussion of the different approaches taken by each composer and how these differences contribute to the overall aesthetic of the lullabies. The focus of this paper will be on the ways in which these lullabies approach their subject matter and how they differ in their musical treatment of the theme.
The paper will begin with an introduction to the concept of lullabies and their historical significance as a form of music designed to soothe and calm infants. The introduction will also provide some background information on the selected lullabies, including their composers and the context in which they were written. The main body of the paper will then delve into a detailed analysis of Britten’s A charm of lullabies. This song cycle is a collection of vocal works composed for mezzo-soprano and piano. The piece comprises five lullabies, the texts taken from various poems by William Blake, Robert Burns, Robert Greene, Thomas Randolph, and John Phillip. The cycle explores the moods and emotions associated with lullabies, ranging from comforting and soothing to eerie and unsettling. In the first piece, “A cradle song,” the piano plays a repetitive, rocking figure while the voice sings a gentle melody, creating a sense of security and tranquility. In contrast, the fourth song, “A charm,” has a more ominous quality, with the piano’s irregular rhythms and the voice’s haunting melody depicting the fear and uncertainty of scaring the child that if they don’t go to sleep, a lot of terrible things will happen at night. One notable aspect of Britten’s composition is his use of folk-like melodies and rhythms. In the second song, “The Highland Balou,” the piano plays a bouncy, Scottish-inspired melody while the voice sings a simple, folk-like tune. This melody and rhythm create a sense of nostalgia and familiarity, evoking childhood memories and the comforting presence of a loving caregiver. This paper will explore the musical elements of these songs, such as melody, harmony, rhythm, and form, and how they contribute to the overall effect of the lullabies. Other lullabies by different composers also incorporate similar musical elements. Fauré’s “Les berceaux” (Cradles) features a gentle, rocking piano accompaniment and a soothing melody. At the same time, Puccini’s “E l’uccellino” (The little bird) has a playful, bird-like melody in the voice part. Montsalvatge’s “Canción de cuna para dormir un negrito” (Lullaby to sleep a little black boy) uses a repeated rhythmic figure in the piano and a lulling melody in the voice. Bernstein’s “Greeting” (No. 5 from Arias and Barcarolles) also incorporates a playful, bouncy rhythm in the piano and a simple, folk-like melody in the voice. In addition to these musical elements, many of these lullabies also incorporate textural and harmonic techniques to create a sense of tranquility and peacefulness. Fauré’s “Les berceaux” uses a slow, flowing tempo and a rich, layered texture in the piano accompaniment. At the same time, Puccini’s “E l’uccellino” has a lulling, legato melody in the voice and a gentle, consonant harmonic language. Montsalvatge’s “Canción de cuna para dormir un negrito” incorporates a repeated, rhythmic figure in the piano and a simple, repetitive melody in the voice, creating a sense of calm and familiarity.
In conclusion, the approach to a lullaby in musical composition involves various considerations, such as folk-like melodies and rhythms, textural and harmonic techniques, and the exploration of different moods and emotions associated with lullabies. Through the analysis of Britten’s, A charm of lullabies and other lullabies by various composers, this paper will delve into the musical considerations of approaching a lullaby in composition.
Overall, this paper will provide a detailed and in-depth analysis of the musical considerations of lullabies, with a particular focus on Britten’s A charm of lullabies and a selection of other well-known examples. By examining the structure, techniques, and meanings of these compositions, it will offer a rich and nuanced understanding of the lullaby genre and its significance in musical culture.

Categories
Music

This assignment is to analyze and compare two compositions of music from differe

This assignment is to analyze and compare two compositions of music from different eras using musical terminology to express ideas.

Categories
Music

) Select a scene or music video clip where there is lots of dancing that exem

) Select a scene or music video clip where there is lots of dancing that exemplifies the theme for this unit – race. This can be from one of the films we watched or from Youtube, Vimeo or social media as long as the url is accessible to your TA. The dancing may be of any genre or style.
2) Watch the video multiple times.
3) Go to the Movement Descriiption Forum on eClass and reply to your TA’s post.
4) Copy and paste the url.
5) Introduce the scene or video: include the name of the artist(s), dancers, song title or film title. Song titles should be in quotation marks (e.g.“Time of My Life”). Film titles should be in italics (e.g. Dirty Dancing). Both songs and film titles should include the release year the first time you mention them. For example, “Time of My Life” (1987) and Dirty Dancing (1987).
6) Describe the dancing in a way that would help someone imagine it. Use the Movement Vocabulary Worksheet to help you describe the movements you see. Consider using analogies or metaphors to capture the feeling of a movement. Try doing the movements yourself and see how they feel in your body.
7) Then, in complete sentences, answer the following question:
8) Using examples, discuss what is the dance or choreography in the scene doing? Is it….
A) Amplifying, minimizing or contrasting?
B) A narrative device?
C) Interpretive?
D) All three things at the same time?
– Race
– Class
– Sexuality
– Gender
– Power
– Is it telling a story?
– What story is it telling?
– How is it telling the story?
– How does the dancing influence the arc of the story?
– What is it interpreting?
– Lyrics?
– Rhythm?
– Instrumentation?
– Emotion and mood?
– Amplifying, minimizing or contrasting and
– Telling a story and
– Interpreting