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Question Description


200 words explaining what you hear for all the artistic musical performances in EACH of the three examples given (i.e. 3 examples x 200 words each = 600 word assignment total).
These journal entries should explain your understanding concerning each piece listened to, so comment on what you hear, how it associates with the video lectures and/or corresponding readings from the assignment text, your impression of what you hear, any of the questions listed to encourage deeper thought you feel appropriate, etc. Musical terminology gained from the vocabulary assignments are appropriate and expected to be used in the appropriate fashion, as well as the use of complete sentences, correct grammar, spell check, and other tools at your disposal, including proper use of valuable information in the accompanying descriptions. *I want to see evidence in your reports that the clips were viewed and the descriptions were read.* Listed here are some basic ideas on what to include in your journals to help get you started: https://musicedhighlights.wordpress.com/2011/06/09/getting-our-students-to-listen/

Example ONE: The tone poem “Thus Spoke Zarathustra” by Richard Strauss (1864-1949) is representative of Romantic characteristics of the previous period: BIG sound, emphasis on brass/percussion, and very directional melody/harmony. Watch the following mini-biography:
https://www.youtube.com/watch?v=WotqojovYrU (Links to an external site.)This highly recognizable opening section ‘Sunrise’ is played here to remind us of where we left off in the study of this course:Strauss: Also sprach Zarathustra / Dudamel · Berliner Philharmoniker (Links to an external site.)Strauss: Also sprach Zarathustra / Dudamel · Berliner Philharmoniker

The first Gymnopédie by Frenchman Erik Satie (1866-1925) is an example of the rejection of tradition found in Impressionism (the first large-scale movement against tradition (avant-garde), that would lay the foundation for Twentieth Century art). Watch the following mini-biography:
https://www.youtube.com/watch?v=fhHYqcEeHWw (Links to an external site.)It is likely you have heard this work marked ‘slow and sad’, which was also published with the accompanying poem from La Perdition by J. P. Contamine de Latour: “Slanting and shadow-cutting a bursting stream, Trickled in gusts of gold on the shiny flagstone, Where the amber atoms in the fire gleaming, Mingled their sarabande with the gymnopaedia.” But Satie was known for his biting satire so who knows his true intent of the piece… That being said: note how it is the exact opposite of the first piece played in this example:“Gymnopédie No. 1” by Erik Satie (Olga Scheps) (Links to an external site.)"Gymnopédie No. 1" by Erik Satie (Olga Scheps)

Example TWO: Igor Stravinsky (1882-1971) has the dual distinction of composing the most infamous piece of music ever, but is also regarded as one of the most versatile composers of the Twentieth Century. Watch the following mini-biography:
https://www.youtube.com/watch?v=JNdu4mG7Phc&feature=emb_title (Links to an external site.)In 1911 he begins making a name for himself by fulfilling commissions for the influential Russian Ballet based in Paris. Ever growing in acclaim his third and final ballet for the troupe was the now legendary ‘Rite of Spring’, which with its’ dissonant thunderous harsh harmony, extremely avant-garde choreography and primitivistic subject regarding pagan fertility rites (the innuendo of suggesting sexuality in public), created controversy before the 1913 premiere even started. The uproar of the audience brought the performance to an abrupt halt as physical confrontations erupted and spilled into the streets causing a riot in Paris. This not only cemented the fame of Stravinsky and his ballet, but the notoriety quickly led to ‘Rite of Spring’ being recognized as an influential masterpiece all over the world. The scenario is separated into two parts leading up to the sacrificial dance where a virgin is selected to sacrifice herself by dancing to the death, thus sanctifying the earth and convincing the gods to bless them with fertility for another year.Joffrey Ballet Rite of Spring 1987 (2 of 3) (Links to an external site.)Joffrey Ballet Rite of Spring 1987 (2 of 3)

I put this in here so we can hear a few things: first an example of jazz from the height of its’ popularity during swing era, second so we can hear the electric guitar used in art music during the study of this course, and lastly so we can have an example of popular influence that begins to separate tradition and the controversial evolution of 20th century art. This piece is “Singing the Blues’ by one of the most influential soloists of the 1920’s, Bix Beiderbecke (1903-1931). This tune was written during his time with America’s most popular dance band, the Paul Whiteman Orchestra. It is typical of a jazz tune: The tune is presented unaltered, followed by improvisation, then closing with the familiar tune once again. While the tune and improv is played on guitar here, the accompaniment heard is also on guitar, just played separately and looped in order to continue as long as the soloist plays…

CLICK HERE TO VIEW (Links to an external site.)

Example THREE: Expressionism perhaps the most difficult part of this class for 2 reasons – first: for me this incredibly important development in music history deserves way more than a brief overview and one random example, and second: for students the sound of music from this technique is incredibly challenging. Hearing these examples by themselves is deceiving, because if you’ve ever watched horror or dark thriller movie genres you’ve likely heard atonal music: it’s just often easier to embrace with imagery. What you have to remember is the earlier discussion regarding this music more effectively trying to convey a greater range of emotion than traditional tonality, which is largely limited in description to “major keys are happy & minor keys are sad”…
With that in mind, watch the following mini-biography:
https://www.youtube.com/watch?v=8agu-501670 (Links to an external site.)also watch the segments on Arnold Schoenberg (1874-1951) & Anton Webern (1883-1945) between 31:00-38:15, bearing in mind the breakdown of the tonal system and why they were attempting to convey a greater emotional range and comment on this video for example 3:Simon Rattle – Dancing on a Volcano (COMPLETE) (Links to an external site.)Simon Rattle - Dancing on a Volcano (COMPLETE)