... COURSE NAME | MUS 1101 - Music Appreciation | CLASS MEETINGS | North Metro Campus (NMC): 20867: M – W: 12:00 – 1:15, Rm: 109. 20868: M – W: 1:30 – 2:45, Rm: 109. Marietta Campus (MC): 20945: T – TH: 3:00 – 4:15, Rm: B160. 20836: T – TH: 10:30 – 11:45, Rm: B160. | CAMPUS/ROOM | Room 231 – Mountain View Campus, Mornings. | CREDIT HOURS | 3 | PREREQUISITE | ENG 1101 with C or better. | INSTRUCTOR | Pedro R. Rivadeneira Ph.D. | FACULTY EMAIL | privadeneira@ChattahoocheeTech.edu | OFFICE HOURS | Online Mondays, Wednesdays and Fridays or any other time that works for you. | TEXTBOOK and other resources you will need. | Text Book: The Enjoyment of Music, 12th ed. Shorter Version, 2011, Kristine Forney, Andrew Dell’antonio and Joseph Machlis with the Online Study Space which includes Video and iMusic Examples and also the e-book. New York: Norton & Company. The e-book is recommended, it has everything you’ll need; text, visual and listening examples all in one place which you can stream and it is cheaper than the paper copy of the book. For instructions as to how to access or purchase the online materials you are going to be needing for this course go to the “Lessons” tab in Angel, then click on the link that says: “Instructions for Purchasing The Enjoyment of Music online Materials.” Open and download the PDF file and follow the...
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...Essay on “The Great Gatsby” by Francis Scott Fitzgerald The book ”The Great Gatsby” written by Francis Scott Fitzgerald, processes lots of different themes. One of those themes is the so-called “American dream”, a dream of success. One of the main characters, Jay Gatsby, you could say is living this dream. His life is extravagant and filled with all the material goods money can buy, Yes Jay Gatsby has it all, or does he? All of this is seen from our narrator’s point of view Nick Carraway, who also along with Gatsby is one of the main characters. In my essay on ”The Great Gatsby” I have chosen to keep my focus on chapter 3, the chapter takes place at Nick Carraway’s first party at Jay Gatsby’s Place. As mentioned earlier the narrator of the book is Nick Carraway, with a 1st person limited point of view, so we hear every thought Nick Carraway has “I believe that on the first night I went to Gatsby’s house …”. The fact that we hear every thought Carraway has helps us relate and understand the way he acts. Negatively 1st person narrative is unreliable to the reader, because we only se the situation from one point of view. It’s also a disadvantage because the main character isn’t aware of all events. And therefore as a reader we are very eager to hear what’s going on and what the other characters are thinking. In the book there is also use of direct Talk between the Reader and the narrator “Reading over what I have written so far, I see that I have …”. Because of this we get...
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...Breno Schmidt 6/28/2013 MUS 111 Foundations in Music Reading & Listening: Prelude and Chapters 3 & 4. Chapter 3: Repetition On this chapter the author explain about all different kinds of Repetition that the composers can use on the Music. The author gave an example how composers construct musical phrases. But this also can be problematic. And they have also a three fundamental units of musical speech: Motive (shortest division of theme or phrase), Phrase (three fundamental units of musical speech) and Period (can be short or long until the harmonic come to a close. Exact repeats depends what the composer wants on the music or they can variate the kinds of repetitions. The transposed repeats are made up of exact repeats of a motive, like in the example on the chapter 1 (Haydn). Also, the author compared an example to see about function of repetitions on Haydn’s. Haydn after 2 beats of silence, the gesture repeats the same. The notes are completely the same, but the meaning now it’s completely different. On music repeat a lot times means what it matters. Vocabulary: Repeat: To say again. Startles: To cause to make a quick involuntary movement or start. Grunt: To utter a deep guttural sound Sublime music: Inspiring awe; impressive. Compositional: The combining of distinct parts or elements to form a whole. Chapter 4: “Comma, Semicolon, Period.” On this chapter 4, the author compared music as the way we speak. When we write a speech or a poem we need to write with pauses...
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...10:30am-1:30pm 311 Level: * Jonathan Chism, chism@rice.edu, Office hours: Thursdays, 1:00pm-4:00pm * Darrius Hills, darrius.d.hills@rice.edu, Office Hours: Tuesdays, 1:00pm-4:00pm * Jason Jeffries, joj1@rice.edu, Office Hours: Wednesdays, 9:00pm-12:00pm Course Description: Understanding religion as the “Quest for Complex Subjectivity” or more simply the effort to make life meaningful in complex ways, this course explores the relationship between Hip Hop culture and religion. That is to say, this course is concerned with discussion of the ways in which Hip Hop culture discusses and provides life meaning in complex ways. This will be accomplished by: (1) discussion of the history and content of Rap Music; (2) examination of religion in rap music; (3) exploration of the religious...
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...Relationship between human appetite and music Chapter 1 THE PROBLEM AND ITS SETTING/INTRODUCTION Introduction There are a lot of services served in a restaurant, like, high quality food and drinks, skilled staffs, nice ambiance and good music. Consumers are not aware that music is part of the service offered. And subconsciously, they didn’t know that music can boost their appetite and affect their mood in eating. Background of the Study Music and noise level can affect people’s enjoyment of what they eat (Journal of Culinary Science and Hospitality). Appetite in 2006, found that listening to music increased the amount of food eaten and the duration of meals, but that the speed and volume of the music didn’t have a significant effect. Taste is the most obvious sense associated with food, but it is by no means the only sense we engage to to enjoy a good meal. In fact, all our senses come into focus when we eat. According to Hopkins (2007) study found that music has the ability to influence the speed with which we eat. Slow music slows us down; test subjects listening to slow music downed three mouthfuls of food per minute, as compared to the five mouthfuls diners listening to a fast beat consumed. Hoteliers and restaurateurs know that taste is only one aspect of good meal. In national settings, Tin Drum Café in Atlanta, Steven Chan, the owner of fast casual concept and Asian street food eatery Tin Drum Cafe, was originally inspired by the atmosphere and...
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...Instrumentals : A Music Into Our Ears A Research Paper Presented to The Class of Miss Rachelle Lynne A. Rosales Camp General Emilio Aguinaldo High School In Partial Fulfillment Of the Requirements for the Subject English IV Submitted by: Josh Gabriel Hornilla John Gabriel Celis IV – Gomez Chapter I 1 Introduction Instrumental songs are music that can entertain us and relieved stress. It can also be a fun of everybody when playing an instrument like piano, guitar drums, etc. In this generation, many people likes the genre of Hip Hop, R & B, Rock, Pop, and the famous genre nowadays is Korean Pop (K-Pop). So the researchers want to know if Instrumental songs are important in our everyday ...
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...RYERSON UNIVERSITY Department of Philosophy and Music CMUS 501, Winter 2015 Traditional Musics of the World Class Times: Wed: 6:30-9:30 pm Room: POD368 Instructor: Gerry McGoldrick E-mail: gerrymcg@ryerson.ca Office Hrs: Wednesdays before or after class COURSE DESCRIPTION: This course examines musical cultures around the world, focusing on traditional genres. Course content covers conceptual, structural, rhythmic and modal systems. The functions and meanings of music in diverse cultures will be examined. Music from various regions, including East and South East Asia, Africa, and North America, will be discussed. GOALS OF THE COURSE: To survey specific musical cultures from around the world. To develop an understanding of how these cultures are reflected in their musics by examining their creation, uses, elements, transmission, and value. To improve your ability to discuss and understand musical concepts and pieces through analysis of basic musical parameters. COURSE EVALUATION: Listening Quiz 1 10% Week 6 Test 1 25% Week 6 Essay 30% Week 10 Listening Quiz 2 10% Week 13 Final Test (In-class) 25% Week 13 Please notify the professor, in writing, of any accommodations requested during the term for religious observances or disability, by the second class as per university policy. Any alterations in assignments, tests or deadlines will be discussed in class prior to implementation. This course is lecture-based...
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...material, which is provided “as is”, and without warranties. As always, the advice of a competent legal, tax, accounting or other professional should be sought. The author and publisher do not warrant the performance, effectiveness or applicability of any sites listed or linked to in this Ebook. All links are for information purposes only and are not warranted for content, accuracy or any other implied or explicit purpose. www.LearningToPlayPiano.net 2 Table of Contents Table of Contents...............................................................................................2 Chapter 1 – Why Play the Piano?......................................................................3 Chapter 2 – Looking at the Piano......................................................................4 Chapter 3 – The Home Keys and A to G...........................................................4 Chapter 4 – What Are Scales?...
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...O. BMME – III Chapter Summaries (Highschool Music Methods) Artistry in Effective Teaching: Command of Content and Mastery of Methods Effective music teaching as artistry is one of the key points in this chapter. Teaching music is an artistry because it involves performing as well as musicality. Teaching music is a “planned performance” in the sense that a music teacher prepares his/her lessons and then “performs” it in front of his/her class. In order for music teaching to become artistry it is, first and foremost, essential that the teacher possesses a good command of his/her content or subject matter. Having a good command of and intimate knowledge of your subject matter is not a simple thing because your subject matter is composed of everything you have learned in college. That knowledge will help you, as a teacher, to “lead all types of students in the study of sequential concepts and skills.” The sequence mentioned and its content may come from a number of sources. A music teacher preparing his/her sequence of study and content must take into consideration the following: the music curriculum of the school that employs him/her, the past lessons of the students, chat he/she has learned in college, music appreciation books, contents of different teaching approaches (Kodaly, Orff, Suzuki, etc.), the National Standards of Competencies, as well as curriculums of other music programs that may be helpful. Another key point stressed in this chapter is the use of “high-quality...
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...Chapter 1: Questions To Consider 1. Music is universal in the sense that music is heard everywhere, all around the world there is music. Music is not a universal language because it does not follow the strict rules that languages follow when carrying certain meanings. Music is not as black and white as language, different people from different cultures might interpret different feelings and emotions from a piece of music then someone from some where across the globe. 2. When you classify music as “classical”, “folk”, or “popular”, you are inevitably categorizing music and valuing one genre higher than another. It is hard to have a neutral categorizing system to identify such a broad subject. 3. An ethnomusicologist might approach the study of Western classical music music more in depth than a musicologist would. An ethnomusicologist has phases and they must go through extensively when studying one type of music. A musicologist might just study the artifacts used to make that music. 4. Fieldwork is the first-hand study of music at its origin. Fieldwork is very important to ethnomusicologists because they throw themselves in to the culture, recording, photographing, living, eating the life where a certain music originated. This way that can have the best understanding of the deep complex culture of music they are studying. 5. You must have an interdisciplinary approach when studying World Music because there is so much music from so many different cultures that you...
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...Chapter 1 questions 1. What do ethnomusicologists mean when they say, “Music is universal, but it is not a universal language”? Music cannot convey specific meanings though specific symbols and it is questionable whether music can really can transcend linguistic barriers. 2. What are the potential problems in classifying music as “classical,” “folk,” or “popular”? They assert a hierarchal value system in which classical is typically considered highest, folk of a much lower value, and popular at the lowest level. 3. How might an ethnomusicologist approach the study of Western classical music differently from a musicologist? They would take into consideration their cultural context. 4. What is “fieldwork”? What is its importance to the study of world music? Fieldwork is a first hand study of music in its original context, it allows us to travel to a specific area where there is musical curiosity. 5. In what ways does world music study require an interdisciplinary approach? You have to look at it through all the different aspects. 6. What is ethnocentrism? Have you ever experienced it? The unconscious assumption that ones own cultural background is “normal,” while that of others is “strange” or “exotic.” Chapter 2 questions 1. Which of the four basic components of music is most helpful in identifying a world music tradition? why? The most helpful way to learn to recognize a world music tradition is to become familiar with its media. In order to identify a specific...
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...1.5 user guide Table of Contents Chapter 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Torq Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Decks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Main Waveform Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 PFL/Headphone Cue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Browser/Database . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Effect Racks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Sampler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Snapshots. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Master Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Chapter 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Windows XP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Windows Vista . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Mac . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Installation . . . . . . ...
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...Extra Credit and chapter 12 South Asia 1. Why does Indian classical tradition dominate the musical image of South Asia in the west? 2. Discuss the following terms important to a Hindustani classical music performance: Raga, Alap, Gat, Tala, Rasa. 3. Compare and contrast Hindustani and Carnatic music traditions. 4. How do filmi songs differ from Qawwali songs? 5. In what ways is Indian music spiritual? 6. What made India and Indian music attractive to the “world traveler” or “hippy” generation of the 1960s and 1970s? Southeast Asia 1. To what extent are the terms classical, folk, and popular appropriate labels for describing Southeast Asian Music? 2. What are some factors that help maintain traditional Southeast Asian music in the face of modernization? 3. Metrical cycles are characteristic of many Southeast Asian music. How do they work in the sites reviewed? 4. How do the types of “heterophony” found in Vietnamese Tai Thu, Thai Piphat, and Javanese Gamelan differ? 5. Though Thailand and Vietnam are both part of Southeast Asian, what historical and cultural factors have determined the present musical differences? 6. Compare Javanese and Balinese Gamelan in terms of their function and use. How do their differing functions affect their respective musical styles? East Asia 1. How do attitudes toward traditionality and modernization affect music differently in china than they do in Japan and South Korea 2. In China how did the Cultural Revolution affect the development...
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...Perry Sherman Mufhl 330 August 28, 2015 Questions to Consider Chapter 1 1) What do ethnomusicologists mean when they say, “Music is universal, but it is not a universal language”? A) Ethnomusicologist believes that music transcends many cultures differently. All societies have music or some sort whether it’s through dance, rituals, chants, or instrumental. Ethnomusicologists argue that music from a language standpoint of communication it can’t be mutually understood due to the complex music systems. 2) What are the potential problems in classifying music as “classical,” folk, “or “popular”? The potential problems of a classifying music as classical folk or popular are that the terms used carried a different set of meanings and attitude in the different eras. For example folk carries a lot of the Romantic Era and it creates problems when discussed with non-European music. Classical associates with music form Ancient Greece and Rome but at times describe the highest value of something. Popular may refer to music that is adopted on a broad base of media outlets. 3) How might an ethnomusicologist approach the study of Western classical music differently from a musicologist? An Ethnomusicologist approach would to examine and study the culture. To enhance their study, they would try to get firsthand experience in one the cultures rituals or ceremonies. A musicologist approach would to create musicals scores close to the original content from primary sources...
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...Chapter1 Q1. What do ethnomusicologists mean when they say, “Music is universal, but it is not a universal language?” A1. “Ethnomusicologists use this phrase to bring cultures together. The problems with the metaphor are many. First, music is not a language, at least not in the sense of conveying specific meanings through specific symbols, in standard patterns analogies to syntax, and governed by rules of structure analogies to grammar. While attempts have been made to analyze music in liquistic terms, these ultimately failed because music is a totally different realm. Second, it is questionable whether music really can transcend linguistic barriers and culturally determined behaviors, through some forms of emotional communication, such as crying, are so fundamentally human that irrationally all perceive it the same way. What we see with music does not support the motion that music is a universal language, unfortunately, and we do not believe such a concept to be useful in examining the world’s music.”(3) Q5. In what ways does world music study require an interdisciplinary approach? A5. “World music causes have no such canon, and certainly no list of great composers. The world is too large and there are too many choices consensus to form. Therefore, one must consider not only how to organize such a course but what to include. What should every world music student knew? If the organization is geographical, what genres and particular examples should ‘represent’ a country or...
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