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For this assignment you will listen to three contrasting classical works, analyz

For this assignment you will listen to three contrasting classical works, analyze them, and write a description of the three works. The listening you do will help you learn to listen actively, which will improve your enjoyment of all different styles of music. It will introduce you to some interesting classical music and prepare for your concert review next month. No special format is required for this assignment.
HERE ARE ALL THE LINKS TO THE YOUTUBE VIDEOS. ALSO ALL INSUTRUCTIONS FOR THIS ASSIGNMENT ARE IN THE INCLUDED PDF FILE.
IF POSSIBLE TRY NOT TO USE SO MANY ADVANCED TERMS KEEP IT TO THE BASICS IF POSSIBLE BUT IF NEEDS SOME ADVANCED TERMS MAYBE USED.
Julia Wolfe : Believing

Julia Wolfe is an American composer. Her style blends minimalism (a simplistic contemporary musical technique that concentrates on repetition and gradual changes) with rock influences.
Does this music concentrate more on storytelling, singing, or dancing?
How do Wolfe’s and Copland’s use of repetition compare?

Fanfare for the Common Man, New York Philharmonic, James Levine

Born in 1900, Copland was a statesman of American classical music. HIs Fanfare for the Common Man was commissioned during World War II. A fanfare was special music that announced the arrival of royalty. Copland turns this idea upside down by writing a fanfare for every ordinary person.

John Adams: Short Ride in a Fast Machine – BBC Proms 2014

John Adams is a California composer. This short energetic work is an audience favorite.
To consider:
In what ways is it like Fanfare for a Common Man? Believing?
How does the title influence your listening experience?

Your journal should include a sentence or two about five (or more) of the record

Your journal should include a sentence or two about five (or more) of the recordings listed below and a paragraph that addresses the unit’s recordings as a group. Each individual track response must include a specific observation that points to a particular musical event in the recording. Timestamps pointing to these specific moments should be used to make the point you are referring to as clear as possible (i.e. “At 1:32 in the recording we hear a guitar responding to the vocal line / an abrupt change in tempo / the first of a series of riffs / etc”). You may also discuss a particular recording in more depth or make any other observations you would like in regard to the assigned listening for this. The responses in your listening journal should demonstrate evidence of critical listening and engagement with the course materials more generally.
The tracks you are required to address are as follows:
Victor Minstrel Company – “Mobile Minstrels” (1909)
Arthur Collins – “The Preacher and the Bear” (1908)
The Victor Military Band – “Memphis Blues” (1914)
Morton Harvey – “Memphis Blues” (1914)
The Original Dixie Land Jazz Band – “Livery Stable Blues” (1917)
Mamie Smith – “Crazy Blues” (1920)
Ethel Waters – “Down Home Blues” (1921)
Lucille Hegamin – “Arkansas Blues” (1921)
Alberta Hunter – “Down South Blues” (1923)
King Oliver and his Creole Jazz Band – “Dippermouth Blues” (1923)
“West End Blues” – Louis Armstrong’s Hot Five (1928)

Report Guidelines Format 2.5 to 5 pages (not including citation page). This is t

Report Guidelines
Format
2.5 to 5 pages (not including citation page). This is t

Report Guidelines
Format
2.5 to 5 pages (not including citation page). This is typically between 750-1700 words.
Typed
Double-spaced
8.5 x 11 paper
One-inch margins
Report should include a title, a header with your student ID, class title and the date.
DO NOT INCLUDE YOUR NAME ON ANYWHERE ON THE REPORT, including the file name. This helps me avoid any instructor unintentional bias. I will be grading your papers “blind” with your identities hidden. To help with this, you MUST NOT put your name on your report. Simply use your student ID.
Citation page (All reports should have a citation/bibliography as one cited academic source is required, PLUS your need to cite the video you watched)
Writing Voice and style
Academic Voice
Formal
No contractions, slang, colloquialism, or abbreviations.
Avoid first person statements when possible
Write as if your colleagues taking this class could read the report and gain a clear concept of your experience.
Do not define terminology we have covered in class,
Your audience will not HEAR this concert and will rely on a sense of the experience solely from your descriiptions.
Content
A successful report will address these 4 broad categories. Organizing your paper by this large structure is highly encouraged.
Introduction
Begin with an engaging first sentence that draws your reader in and makes them want to continue reading their paper. Provide any necessary transitions that relate this first statement to the topic of your paper.
Give the basics of the event; name of the concert and group performing, possible soloists and leaders (conductors).
Briefly describe your expectations for the experience- feeling free to point out any observations about our unique to an online experience.
What type of performance did you watch (symphony, opera, solo, chamber, ballet, etc)?
What pieces did you hear, who were the composers, and what were historical eras of these pieces?
Narrow down your focus
Introduce the two movements you will explore in detail.
Provide brief background information about the composer and/or piece including historical information that is of interest. This might include why the piece was significant to history or the composer.
If you choose ballet or opera, you should provide a brief, broad synopsis of the story told (less than 3 sentences, if possible). Same thing if your piece is programmatic (such as Beethoven’s Symphony No. 6)– give a brief introduction to the programmatic aspects of the piece.
Body of Report: Musical Analysis
Musical Analysis of two movements or short pieces from your concert
Some pieces of art, such as opera and ballet, are formatted as one long story. It might be difficult for you to delineate movements. Instead, you will describe the music at two ‘action points’ in the story.
Example of how to narrow down your focus for opera or ballet: “This paper contrasts the music for the love duet of Lady Carla and Don Giovanni (1:30:20 in video) and during Don Giovanni’s death (2:20:19 in video)”
The main body of your report focuses on accurately and interestingly applying the knowledge gained in this class to the specific music you heard at the concert.
Use YOUR ears and listen for the basic elements discussed in class; you do not need to use all the elements, but a good paper will try to notice a minimum of 7 musical observations.
Use timings from the video stream to help orient your reader to descriiptions (example: “At 0:2:40, the orchestra made a dramatic crescendo…”)
If you choose to use citations in this section, make them brief and only use them to support your own observations, not in place of your observations.
Here are a few approaches to this section that might help you get started. DO NOT ATTEMPT ALL OF THESE IDEAS.
Contrast/compare your two works with references to specific musical elements.
Give an overview of their characters- what types of moods or feelings they evoked, then back that up with references to specific musical elements.
Choose the music composition you liked best and describe why using specific musical elements. Contrast it with the music you liked least and describe why using musical elements.
Conclusion
For an academic paper about art, you will provide either a synthesis or evaluation to conclude your paper. This might be a good spot to bring back ideas associated with your engaging introductory sentence or title.

The authors of the textbook state that “music is universal, but it is not a univ

The authors of the textbook state that “music is universal, but it is not a universal language” (Miller & Shahriari, 2021, p. 18). What does this statement mean?
You may not be familiar with many of the types of musics we will listen to in this course. What are some things you can do to make it easier for you to learn as you listen to unfamiliar music?

The authors of the textbook state that “music is universal, but it is not a univ

Did Mahler identify, exclusively or in part, as Jewish? as German? as Bohemian?

Did Mahler identify, exclusively or in part, as Jewish? as German? as Bohemian? as Austrian? Do these questions matter? If so, why and how and to whom?
Using your best prose style, write the first draft of an essay of approximately 1,500 words (approximately 2,500 words for graduate students) in which you weigh in on this complex matter.
Obviously, you will be expressing your opinion on these questions, but your opinion, whatever it might be, should be informed by your careful—and critical—consideration of all the literature we have read to date in this course. I suggest you also read Barham, “‘The Ghost in the Machine’: Thomas Koschat and the volkstümlich in Mahler’s Fifth Symphony,” which is available under the tab > Files > Readings. Since we will not be considering the Fifth Symphony in this class, you need not “get into the weeds” of Barham’s discussion of the music. But do take note of the claims and observations he makes regarding identity issues.

Watch the two short videos on Minstrel shows and write a 1-2 page, double spaced

Watch the two short videos on Minstrel shows and write a 1-2 page, double spaced paper (include your name, and course # at the top) using Arial 12 pt. font that answers the following:
1. What is your initial reaction to watching the videos of early minstrel shows?
2. How have minstrel shows affected the way America treats slaves, freemen, and African Americans?
3. Provide examples of modern day minstrelsy that you have seen on tv, film, or music videos.

Write a minimum 350-word reflection about how the eras of Western European class

Write a minimum 350-word reflection about how the eras of Western European classical music from the Middle Ages to the Baroque, are or are not relevant to your experience of music today, using specific examples from ch 8-10 of the textbook. You must discuss at least three musical examples or pieces. You do not have to agree that these concepts are relevant to your musical experience today, but whether you do or do not agree, you need to explain why you hold your position.
Possible Topics
Some questions that you can answer to structure your reflection are:
1. How is music represented visually today as compared to the middle ages? What role does music notation play in contemporary musical practice, if any? How does this change depending on the type of music you are discussing?
2. What cultural, social, philosophical, or political influences shaped the musical practices discussed in chapters 8-10? What cultural, social, philosophical, or political influences shape the music you listen to today?
3. What type of instruments were used in chapters 8-10 and how do those instruments relate to contemporary instruments used in different musical traditions?
4. How does the use of lyrics and singing relate to the practice of chapters 8-10?
5. How does the practice of musical performance compare to today? What were concerts like in chapters 8-10, what are they like today, and are there any relationships between these?
You do not have to answer all these questions. You can write the entire reflection on one question, answer all five, or make up your own questions, but again, you do need to discuss three separate pieces of information or musical pieces found in chapters 8-10.
You are not required to use any sources other than the textbook, but if you use any sources other than the textbook you must acknowledge this by citing the source in some way.
The textbook is Music Appreciation – A Guide for the Active Listener. I have a digital log in if needed.
https://www.khpcontent.com/

Listen to the following links. Describe the overall differences in the bands and

Listen to the following links. Describe the overall differences in the bands and listen in particular to the soloists and describe the differences in the performances
Bix
Hot 7 –