18 Aug Music listening
12051Directions:
Rules for success:
1. Always, always, always, include the name of a piece of music that is being discussed or referenced, the name of a video being used, and its presenter or performing group, or no credit will be given for your answer.
2. Researching using outside sources and plagiarizing: Searching for answers from sources other than Mindtap, Simoncic lectures, videos, or assigned youtube videos will not be accepted. Outside sources are often dated or often only partially accurate. Plagiarizing using AI or another student’s work or an outside source will be handled according to the NU policy found in the Syllabus. With the new Artificial Intelligence available, cheating has become a more common practice. I will keep a close eye on the answers submitted by students. Use your mind not the mind of a machine.
Instructions
• This is an easy assignment; that requires listening. This is a music class and for that reason, we spend time actually listening to music. One of my daughters took a college online music class and was not required to actually listen. The only thing required was to answer the text book questions that were very general and did not address any specific music from a composer’s works. It was just about dates and times and a little history. She felt cheated.
• To prepare you for this project please set aside enough listening time for each song and video.
• These music videos and pieces will begin to transition most of you from being a “hearer” of music to a “listener” of music. Listening VS Hearing: Read this thoroughly:
• 1. (10 pt.) A Prelude: Composer Pauline Oliveros of the choral work, Sound Patterns, states that “sounds carry intelligence.
• Composer Pauline continues: Ears hear while the body senses vibrations and thebrain listens: Ears do not listen to sounds; the brain does.
• To hear is a physical means that enables perception.
• To listen is to (give attention) to what is perceived both acoustically and psychologically. There is a constant interplay with the perception of the moment compared with remembered experiences. Listening can focus on detail or be open to the entire field of sound. Most people hear lyrics but have not learned to listen to the actual music. “. Oliveros also suggests that “If you are too narrow in your awareness of sound, due to your limited musical defaults, you are likely to be disconnected from your environment”. As a Professor of Practice in the Arts Department at Rensselaer Polytechnic Institute, Oliveros produced highly regarded works as a composer and improviser.
• Answer this: In your most honest opinion, are you mainly a hearer or listener of music? Explain. Keep in mind that lyrics are NOT a music element therefore exclude them from your answer.
Section II:
1. (10 pt.) https://www.dropbox.com/s/yhsy3tbs3jnnz2o/What%20is%20Meter.mp4?dl=0 The Meter, measure and conducting patterns: A Simoncic video: A Simoncic video: I often use both hands to demonstrate the conducting patterns only to demonstrate what it looks like for both a left-handed and right-handed person. Choose your strong hand when participating. Some will be easy and some will be a little more complex. Answer this: Which meter patterns were easiest to conduct? Keep in mind that no one learns the art of Olympic gymnastics by participating in a 4-minute video.
2. (15 pt.) Watch read and follow the Simoncic video lecture: https://www.dropbox.com/s/eith4vbbh24xre3/Cadences%20and%20phrases.mp4?dl=0C Part forms and music phrases:
The Antecedent and Consequent A Simoncic mini-lecture and review of the form video. : Part Form and Phrase form samples: For many of you this may be difficult at first simply because most people focus on the lyrics and seldom listen to the actual music. I will supply all the answers for you. Your job is to focus and concentrate!
Think of phrases in music as sentences in grammar. Sentences require punctuation at the end. This is referred to as a cadence chord, not to be confused with a marching cadence.
A music antecedent phrase is similar to a sentence asking a question. A consequent phrase is similar to a sentence answering the question. Punctuation in music is a “cadence” referring to the last chord of any musical phrase.
Letter names are used to identify Song Parts and music phrases. Parts are referred to as “Parts”. Music phrases are referred to by letter names:
Most pop music consists of “Parts” usually housing music phrases A and B. The letters A and B will be used to indicate each of the two most common musical phrases within each song part. These are consistent in pop and folk song forms.
Song or music In Part I: phrase (A) is often considered the verse of a song: Its melody and rhythm not beat, has a defining personality. Part 2: Phrase B or (chorus) also has a distinct and noticeably contrasting personality from Phrase A. The normal pop song and even some classical music songs employ this music form and structure formula: Part I: AA Part II: B Part I: A. Or, verse, verse, chorus verse. These then repeat several times over the course of a few minutes. Most phrases in Western culture are 4-measures long.
A Simoncic reminder: Most folk and pop songs have a formula of Phrase A which is followed by repeating phrase A then a single phrase B only to return to phrase A or AABA then with several repetitions.
Answer this: Write a review of the Simoncic video in music form. Do not forget Rule#1 and Rule #4
3. Let’s start with: Twinkle Twinkle Little Star: https://www.youtube.com/watch?v=yCjJyiqpAuU (5 pt.)
This is a 3-part song form. Each part only contains one phrase: Part I: phrase A starts at timestamp 00:20 to 00:30. Part II: has the phrase B from 00:31 to 00:41 then returns of Part I: phrase A from 00:42 to 00:52 followed by many repeats, the same as most pop music. Answer this: How difficult or how clear was this example of an ABA form? The cadence (last chord) ending phrase A was different than the cadence (last chord) ending phrase B. Which do you believe was most convincingly conclusive as an answer phrase and not a question phrase? At this juncture, I will not mark off for a wrong answer.
4. (10 pt.) Bizet: “Je vais danser en votre honneur” in Carmen https://www.youtube.com/watch?v=qll_G0qMA1ghttps://www.youtube.com/watch/qll_G0qMA1g The structural form is AABBAA with repetitions: The percussion instrument used throughout the song is a castanet.
Follow timestamps: These timestamps are close to accurate:
Part I: (A, 00:00 to 00:08) (A, 00:09 to 00:17):
Part II: (B, 00:18 to 00: 24) (B, 00:25 to 00: 34)
Part I: (A, 00:34 to 00:42) (A 00:43 to 00:50) and so on:
Answer these two questions: How quickly were you able to tell the difference between the melody of Part I the A phrases and Part II: the B phrases? From timestamp 00:34 to timestamp 00:50 what other instrument/s can you identify that were not heard until 00:34 to 00:50?
Section III:
1. (10 pt.) Read the Simoncic mini lecture below. It should provide more help for Part and phrase forms. (I am NOT venturing into the intellectual, music major music form analysis. That would be counterproductive. I’m keeping it basic.
Simoncic Lecture: Part Form and Phrase form samples: For many of you this may be difficult at first simply because most people focus on the lyrics and seldom listen to the actual music. I will supply all the answers for you. Your job is to focus and concentrate!
Think of phrases in music as sentences in grammar. Sentences require punctuation at the end of a sentence. This is referred to as a cadence chord, not to be confused with a marching cadence.
A music antecedent phrase is similar to a sentence asking a question. A consequent phrase is similar to a sentence answering the question. Punctuation in music is a “cadence” referring to the last chord of any musical phrase.
Letter names are used to identify Song Parts and music phrases. Parts are referred to as “Parts”. Music phrases are referred to by letter names:
Most pop music consists of “Parts” usually housing music phrases A and B. The letters A and B will be used to indicate each of the two most common musical phrases within each song part. These are consistent in pop and folk song forms.
Song or music In Part I: phrase (A) is often considered the verse of a song: Its melody and rhythm not beat, has a defining personality. Part 2: Phrase B or (chorus) also has a distinct and noticeably contrasting personality from Phrase A. The normal pop song and even some classical music songs employ this music form and structure formula: Part I: AA, Part II: B, Part I: A, or verse, verse, chorus verse. These then repeat several times in the course of a few minutes. Most phrases in Western culture are 4-measures long.
A Simoncic reminder: Most folk and pop songs have a formula of Phrase A which is followed by repeating phrase A then a single phrase B only to return to phrase A or AABA then with several repetitions. Answer this:
2. (15 pt.) https://www.youtube.com/watch?v=WGU_4-5RaxU https://www.youtube.com/watch/WGU_4-5RaxU Now let’s try something a tad bit more interesting: Heart of Glass, Blondie: What to listen for: Follow the given timestamps carefully: Recognizing music phrase, A, and melodically different phrase B. Follow my guide and review if you are not listening correctly. This one takes more effort to actually listen to the music: The good news is the ever-present pounding pop music heartbeat in a basic 4-beat per measure pattern: The A phrase or the (Verse) A stanza runs from timestamp 0:18 to 0:25.The melody “descends”, (goes down the musical ladder of notes) and repeats with slight variation again from timestamp 0:26 to 0:33 and again at 0:40-047 and 0:48 0-55. This completes phrase A and its repetitions.
The duration of the music for the A phrase (verse) is about 7 seconds long. Then it simply keeps repeating. What does “repeating” mean? It refers to the music, but not the lyrics.
Phrase B or (chorus) begins at 1:00 to 1:16. Then phrase A returns at 1:24-1:30 and 1:32-1:39
• B returns at 1:42: then at 1:59, the instrumental part is playing the (B) phrase. This one almost always confuses general education music students because they simply haven’t learned to listen to the music; they are busy with the words. Words require no effort if in the language of the listener. They are simply a “No Brainer”.
• The musical range of part A spans an octave, or 8 scale steps: The music for part B is narrower and spans only 5 scale steps. It’s narrower and more stagnant.
At 2:16 the instruments continue with (B) with accompanied by the vocal, Nah, nah, nah, and so on. There is an “interlude” leading back to Phrase A at 2:48. Near the end there is a technique that classical music, centuries before, incorporated as a fade away or coda at the end of a piece. PS, The instrumental B at 1:59 does something quirky, and unusual. It changes the meter to 3 beats, but not waltz-like. Answer this: Answer this two-part question: At what point did it become “a ha” moment when you realized that the rhythms and melody of phrase A are different than Phrase B? After carefully following theprovided timestamps with mini descriptions to help guide the listening brain, what concepts did you find easiest to comprehend and which was or were most challenging? But before answering, did you actually review the challenging timestamp sections more than once?
3. (10 pt.) Answer another two-part question for Heart of Glass: At what point did it become “a ha” moment when you realized that the rhythms and melody of phrase A are different than Phrase B? Use timestamps to defend your answer.
Does this sound familiar? “I just want to hear the music and not analyze it”? That’s fine because nothing is required of a person just “hearing” music, but to “listen” the brain must be willing to engage and participate. This class requires the actual listening to music. It, hopefully, goes beyond casual talk at a bar or church social or friends attempting to impress one another with opinions on music. Opinions are best if they can be backed up with a little more knowledge than the person sitting across from you.
4. (10 pt.) https://www.youtube.com/watch/5zHVFXorF38https://www.youtube.com/watch?v=5zHVFXorF38 Youtube Title: Everybody’s Talkin’ from Midnight Cowboy
Phrase A begins after the instrumental introduction at timestamp 0:09 to 0:21 It repeats from 0:24 to 0:37
Next comes the B Section, it’s a bit trickier but hang there: B begins at timestamp 0:39 to 0:4. It has a slightly modified repeat of phrase B from 0:46 to 0:54: B is heard again at0:55 to 1:01 and again slightly modified from 1:02 to 1:09
Next is the instrumental harmony of phrase A from 1:12 to 1:2
Now from 1:26 to 1:32 is the return (vocally) and musically of Phrase B and repeat from 1:33 to 1:40 and again from 1:42 to 1:48
Answer this: How did my timestamps help your listening skills?
5. (15 pt.) The next two examples are live performances not altered in a studio: Each is approached differently in style and rhythm sections: And now for your personal opinion without justification: Answer this: (subject answer); which did you prefer and especially, why? I don’t usually ask for opinions without qualifications
Youtube Title: Joe Sample and Randy Crawford Everybody’s Talking https://www.youtube.com/watch?v=DIxSq-yCE5E
Youtube Title: Ryan Cook –Everybody’s Talkin https://www.youtube.com/watch?v=PYUVRRnRKIg
6. (5 pt.) What part or parts of this assignment were most beneficial for you and why?
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