HOW MUSIC WORKS, Part II:
Pitch Complete the following and save and attach it in WORD (.docx). Your Name: Textbook Edition You Are Using: (Older 2nd Edition or Newer 3rd Edition) Our Chapters 4, 5, and 6 Music Journal Questions – Submit Your Responses To All Three Here! 1/23/22, 8:19 AM https://canvas.seattlecentral.edu/courses/2179723/assignments/25330560 Page 2 of 17 Our Chapter 4 Objectives In this chapter, students will learn the following: The four distinctive features of melody Scale systems in Western Music Scale-like systems in non-Western musics An introduction to chords and harmonization in Western and non-Western musics The Chapter 4 Overview Pitch is the element of music determined by its frequency. Tones may have either determinate or indeterminate pitch. One melody may be distinguished from another by its basic features such as range, direction, character, and contour.
Each musical culture has its own pitch system in which an octave is divided into a set number of pitches and organized into pitch systems including the Western scales and similar systems unique to other musical cultures. Each culture also has its process for modulation, ornamentation, etc. A brief introduction to the relation of pitch to chords and harmony with both Western and non-Western systems concludes the chapter. Our Chapter 4 Music Journal – Part 1: The Informative Content Melody (https://www.learner.org/series/exploring-the-world-of-music/melody/) (https://www.learner.org/series/exploring-the-world-of-music/melody/)
1. Click the video link above to view, take notes, and write a four to six paragraph response to Melody. Be sure to list anything you noticed that was new to you or clarified (better understood). Be sure to include any portion(s) that seemed to stand out to you in your four to six (or more) paragraph response – anything that you found interesting! To prepare for question 2, look at the following terms below. Locate, read, and become familiar with their definitions and applications in Chapter 4 of our textbook. 2. Look at the words below. After each word, write “I Am Already Familiar With” or “I Did Not Know.” Then select Four (4) of the terms below to define and write why you believe they are important (relevant) as you continue your study of music from around the world. a) Interval b) Scale c) An Octave Our Chapters 4, 5, and 6 Music Journal Questions – Submit Your Responses To All Three Here! 1/23/22, 8:19 AM https://canvas.seattlecentral.edu/courses/2179723/assignments/25330560 Page 3 of 17 d) Range or Tessitura e) Melody f) Major Scale/Key or Tonality g) Minor Scale/Key or Tonality h) The Tonic i) Pentatonic Scale j) Blues Scale k) Modulation l) Microtones m) Ornamentation n) Articulation o) Legato p) Staccato q) Mode r) Chord s) Harmony t) Harmonization u) Chord progression v) Arpeggio Our Chapter 4 Music Journal – Part 2: Listening, Identifying, and Describing what you are hearing Tràng An Flowers Group from Vietnam (https://www.youtube.com/watch?v=fF_TtfsNvco)
Our Chapters 4, 5, and 6 Music Journal Questions – Submit Your Responses To All Three Here! 1/23/22, 8:19 AM https://canvas.seattlecentral.edu/courses/2179723/assignments/25330560 Page 4 of 17 (https://www.youtube.com/watch?v=fF_TtfsNvco) The Tràng An Flowers Group from Vietnam features the following instruments: T’rung – traditional folk-musical instrument is made of short bamboo tubes differing in size Đàn bầu – a monochord “one-string” zither Sáo – flute Đàn tam thập lục – a hammered dulcimer similar to the yangqin from China Drums and Electric Bass Guitar 3. Click on the Tràng An Flowers Group from Vietnam video above and write your musical observations here for your responses to this question 3. The Đàn bầu is the instrument playing all of the melody here. What function do the other instruments perform in this music? 4. One of the greatest composers of American Popular Music was Harold Arlen (1905-1986). Arlen composed the following song which was almost cut from the 1939 film classic, The Wizard of Oz. I am always moved by this film, the wonderful music, and this scene in particular. The combination of Judy Garland’s (1922-1969) (Dorothy) voice, this amazing Harold Arlen song, Herbert Stothart’s (1885-1949) underscoring, and Toto (her dog) are beyond words. This famous melody begins with an octave leap in the very first two notes! Click on the link below to view, musically describe, and comment on what you are experiencing here. Judy Garland as “Dorothy” singing Over The Rainbow from The Wizard of Oz (1939) (https://www.youtube.com/watch?v=8TOBzT-1LfU) (https://www.youtube.com/watch?v=8TOBzT-1LfU) Part 3: Your Chapter 4 Reflections Our Chapters 4, 5, and 6 Music Journal Questions – Submit Your Responses To All Three Here! 1/23/22, 8:19 AM https://canvas.seattlecentral.edu/courses/2179723/assignments/25330560 Page 5 of 17 5.
What in this chapter, was new to you and sparked an interest in knowing more about? OUR CHAPTER FIVE MUSIC JOURNAL HOW MUSIC WORKS, Part III: Dynamics, Timbre, and Instruments Complete the following and save and attach it in WORD (.docx). Our Chapter 5 Objectives In this chapter, students will learn the following: The element of dynamics, having to do with the relative loudness and softness of tones The element of timbre, which relates to the sound quality or “tone quality” of a sound Musical instruments, the actual material objects (including the human body) responsible for generating the tones we hear in music and their classification through the Sachs-Hornbostel system The Chapter 5 Overview Dynamic ranges (the levels of volume) in music may cover a spectrum from silence to deafening loudness. Such dynamic contrast is an important aspect of music with varying dynamic ranges found in different styles and types of music.
Describing differences in Timbre (pronounced like “tamber”) is challenging because the available English language vocabulary is highly subjective. Music borrows words from other disciplines to describe the different qualities of sound. Despite the challenges inherent in describing timbre, doing so is important in distinguishing between music traditions, styles, instruments, and performers. Technically, timbre is a product of relationships between the partials that constitute musical tones. One good way to start to identify the different timbres we hear in sound is to think of them as different colors. Think of a color that comes to mind when hearing the Biwa from Japan, the color you would give to the timbre of the Balafon from West Africa, the color of the Trumpet played by Miles Davis with his Harmon mute inserted without the stem inside of it, or the color that comes to mind when you hear the Aboriginal Australian instrument called the didjeridu. Each will have its own unique hue. Our Chapters 4, 5, and 6 Music Journal Questions – Submit Your Responses To All Three Here! 1/23/22, 8:19 AM https://canvas.seattlecentral.edu/courses/2179723/assignments/25330560 Page 6 of 17 It is also good to think in terms of light or dark shades which help describe these tone quality (timbre) descriptions.
The brightness of a flute being played up in a high range as compared to that same flute playing the lower to lowest pitches (on a regular concert flute down to a “C” or with the B foot extension, a low “B”). When these lower notes are sounding that same flute has a much darker and earthy quality of sound or timbre. Instruments are divided into five classifications by the Sachs-Hornbostel classification system: Chordophones, Aerophones, Membranophones, Idiophones and Electrophones. Each culture, however, has its own specific system of classifying instruments used in within the musics of that culture. The Dynamics in music refers to the how loud or soft different tones in music are. Gradations along the continuum of dynamics are generally referred to as very soft, soft, medium, loud, very loud or by a set of Italian musical terms (such as piano (p) = soft; mezzo piano (mp) = moderately soft; mezzo forte (mf) = moderately loud; forte (f) = loud; etc). If the dynamic level gradually changes from softer to louder, the volume is said to crescendo. If the dynamic level gradually changes from louder to softer, the volume is said to decrescendo. Our Chapter 5 Music Journal – Part 1: The Informative Content Timbre (https://www.learner.org/series/exploring-the-world-of-music/timbre-the-color-of-music/) 1. Click the video link above to view, take notes, and write a four to six paragraph response to Timbre. Be sure to list anything you noticed that was new to you or clarified (better understood). Be sure to include any portion(s) that seemed to stand out to you in your four to six (or more) paragraph response – anything that you found interesting! To prepare for question 2, look at the following terms below. Locate, read, and become familiar with their definitions and applications in Chapter 5 of our textbook. 2. Look at the words below. After each word, write “I Am Already Familiar With” or “I Did Not Know.” Then select Four (4) of the terms below to define and write why you believe they are important (relevant) as you continue your study of music from around the world. a) Decrescendo b) Crescendo c) Acoustic (as in acoustic instrument) d) Dynamic range e) Ensembles Our Chapters 4, 5, and 6 Music Journal Questions – Submit Your Responses To All Three Here! 1/23/22, 8:19 AM https://canvas.seattlecentral.edu/courses/2179723/assignments/25330560 Page 7 of 17 f) Harmonics g) Didjeridu h) Instrumentation i) Hornbostel-Sachs classification system j) Aerophones k) Chordophones l) Membranophones m) Idiophones n) Electrophones o) Multitrack recording p) Digital sampling q) Overdubbing Our Chapter 5 Music Journal – Part 2: Listening, Identifying, and Describing what you are hearing Our Chapter 5 Musical Illustration Number 16 – Distinctive timbres of several world music Instruments (http://highered.mheducation.com/sites/dl/free/0073526649/418948/16_World_Music_Instruments.mp3) http://highered.mheducation.com/sites/dl/free/0078025192/418948/16_World_Music_Instruments.mp3 (http://highered.mheducation.com/sites/dl/free/0078025192/418948/16_World_Music_Instruments.mp3) 3. Click the audio recording file link above to listen to the different instruments and complete the Chart below in response to Our Chapter 5 Musical Illustration Number 16 – Distinctive timbres of several world music Instruments. Time Instrument Describe the Timbre Possible Instrument Classification (Idiophone, Chordophone, Aerophone, Membranophone, ! Our Chapters 4, 5, and 6 Music Journal Questions – Submit Your Responses To All Three Here! 1/23/22, 8:19 AM https://canvas.seattlecentral.edu/courses/2179723/assignments/25330560 Page 8 of 17 Electrophone) 0:00-0:06 Indonesian Anklang 0:07-0:18 Mexican guitarron 0:19-0:26 Ugandan mandinda (xylophone) 0:27-0:37 Native American powwow drum 0:38-0:48 Javanese Gong 0:49-0:53 Japanese Our Chapters 4, 5, and 6 Music Journal Questions – Submit Your Responses To All Three Here! 1/23/22, 8:19 AM https://canvas.seattlecentral.edu/courses/2179723/assignments/25330560 Page 9 of 17 sho (mouth organ) 0:54-0:59 West African axatse (rattle) 1:00-1:07 Appalachian dulcimer 1:08-1:19 Balinese suling (bamboo flute) 1:20-1:24 Andean siku (panpipes) Our Chapters 4, 5, and 6 Music Journal Questions – Submit Your Responses To All Three Here! 1/23/22, 8:19 AM https://canvas.seattlecentral.edu/courses/2179723/assignments/25330560 Page 10 of 17 Delia Derbyshire (1937-2001) Wonderful English musician and composer of electronic music. She carried out pioneering work with the BBC Radiophonic Workshop during the 1960s, including her electronic arrangement of the theme music to the British science-fiction television series Doctor WHO. She has been referred to as “the unsung heroine of British electronic music,” having influenced musicians including Aphex Twin, the Chemical Brothers and Paul Hartnoll of Orbital. 4. Click below to view, listen, and respond to the Theme to the BBC television show Doctor WHO (1963). The Our Chapters 4, 5, and 6 Music Journal Questions – Submit Your Responses To All Three Here! 1/23/22, 8:19 AM https://canvas.seattlecentral.edu/courses/2179723/assignments/25330560 Page 11 of 17 melody to the famous theme was composed by Ron Grainer, but is was Delia who brought it to life electronically. Be sure to describe the various timbres you hear in this very cool music! Theme to the BBC television show Doctor WHO (1963) – composed by Ron Grainer, Realized (electronically brought to life) by Delia Derbyshire (https://www.youtube.com/watch? time_continue=5&v=75V4ClJZME4&feature=emb_logo) (https://www.youtube.com/watch?time_continue=5&v=75V4ClJZME4&feature=emb_logo) Part 3: Your Chapter 5 Reflections 5. What in this chapter, was new to you and sparked an interest in knowing more about? OUR CHAPTER SIX MUSIC JOURNAL HOW MUSIC WORKS, Part IV: Texture and Form Complete the following and save and attach it in WORD (.docx). Our Chapter 6 Objectives In this chapter, students will learn the following: How texture defines relationships between parts in musical works Texture may be Single-line, multiple-part, or distinctive (interlocking, call-and-response, etc.) Form may be through-composed or feature repetition, patterning, or organized into distinctive sections. Techniques for determining texture and form in music. The Chapter 6 Overview Our Chapters 4, 5, and 6 Music Journal Questions – Submit Your Responses To All Three Here! 1/23/22, 8:19 AM https://canvas.seattlecentral.edu/courses/2179723/assignments/25330560 Page 12 of 17 Texture is the element of music that accounts for relationships between different parts in a musical work, while Form is the element that accounts for how music works are organized. Music can have a variety of different textures. Think of what it is like when you pick up and hold one single sheet of paper between your fingers. Compare that to holding 2, 3, 4, or 5 sheets of paper between your fingers. You can easily feel the difference in textures—one sheet is thin and light in weight; while the two or more sheets feel more dense and weighted. Music shares this textural characteristic. Monophonic texture is when the music only has one note sounding at a time – this is common in most forms of Chant. (one single sheet of paper) Polyphonic texture is when the music has two or more notes sounding at a time – this is the texture we hear in most of the music we experience. (two or more sheets of paper) There are different types of Polyphonic texture to consider such as the simple melody on top with chords underneath – Homophonic Texture; or something called Heterophonic Texture – where the music features a single melody (like monophonic texture), yet varied versions of that melody are performed simultaneously; or multiple part textures which can feature two or more different melodies being sung or played at the same time – known as Counterpoint or Contrapuntal Texture. Also, distinctive textures such as interlocking and call-and-response are also found in world musics. The Form of a musical work may be through-composed (the music continually evolves with new material being presented in each section—nothing is repeated—each new section brings fresh musical material) or may be strophic (verse-chorus) featuring repetition, patterning, and sectional organization. This chapter highlights ostinato-based forms, cyclic forms and forms with contrasting formal sections (verse-chorus, for example.) Our Chapter 6 Music Journal – Part 1: The Informative Content Texture (https://www.learner.org/series/exploring-the-world-of-music/texture/) 1. Click the video link above to view, take notes, and write a four to six paragraph response to Texture. Be sure to list anything you noticed that was new to you or clarified (better understood). Be sure to include any portion(s) that seemed to stand out to you in your four to six (or more) paragraph response – anything that you found interesting! To prepare for question 2, look at the following terms below. Locate, read, and become familiar with their definitions and applications in Chapter 6 of our textbook. 2. Look at the terms below. After each word, write “I Am Already Familiar With” or “I Did Not Know.” Then select Four (4) of the terms below to define and write why you believe they are important (relevant) as you continue your study of music from around the world. Our Chapters 4, 5, and 6 Music Journal Questions – Submit Your Responses To All Three Here! 1/23/22, 8:19 AM https://canvas.seattlecentral.edu/courses/2179723/assignments/25330560 Page 13 of 17 a) Texture b) Form c) Monophonic d) Polyphonic e) Heterophony f) Drone g) Unison h) Harmonized texture i) Multiple-melody texture j) Interlocking k) Call-and-response l) Ostinato m) Layered ostinatos n) 12-bar blues (form) o) Cycle (in a cyclic musical form) p) Verse-chorus form Our Chapter 6 Music Journal – Part 2: Listening, Identifying, and Describing what you are hearing Twelve Bar Blues: A Funny Way of Asking – 2nd Edition Textbook CD1-19 (click on Modules and scroll down) or in the 3rd Edition Spotify Links PL 6-14. 3. Listen to and read about A Funny Way of Asking on pages 80-82. Use the following chart representing the first four cycles of the 12 Bar Blues to write brief notes describing the contrasting musical features, including tempo, dynamics, rhythm, melodic contour, and timbre, which distinguish one cycle of the 12 Bar Blues from the next. Cycles Description/Comments Our Chapters 4, 5, and 6 Music Journal Questions – Submit Your Responses To All Three Here! 1/23/22, 8:19 AM https://canvas.seattlecentral.edu/courses/2179723/assignments/25330560 Page 14 of 17 Cycle 1 (0:00-0:20) Saxophone solo Cycle 2 (0:21-0:40) Vocals (verse 1) Cycle 3 (0:41-1:00) Vocals (verse 2) Cycle 4 (1:01-1:21) Saxophone solo) Our Chapters 4, 5, and 6 Music Journal Questions – Submit Your Responses To All Three Here! 1/23/22, 8:19 AM https://canvas.seattlecentral.edu/courses/2179723/assignments/25330560 Page 15 of 17 Single-Line (Monophonic) Textures Music with a single-line texture (Monophonic Texture) is essentially one note-at-a-time being played or sung. It can come from one singer or instrument or from many singers or instruments that perform the same sequence of pitches in the same rhythm all together in what is known as Unison. 4. Listen to and write down anything you notice in the following beautiful chant Alleluia Vidimus Stellam from the Roman Catholic Church during the Middle Ages: alleluia: vidimus stellam – middle ages (https://www.youtube.com/watch?v=ApX4DJvPpEg) (https://www.youtube.com/watch?v=ApX4DJvPpEg) Multiple-Part (Polyphonic) Textures (Counterpoint) and Forms with Contrasting Sections Cantata No. 140 – music of Johann Sebastian Bach, performed by The Amsterdam Baroque Orchestra and Choir (https://www.youtube.com/watch?v=QIHFfuzKYPI) (https://www.youtube.com/watch?v=QIHFfuzKYPI) 1 Wachet auf, ruft uns die Stimme – Form – Chorale – SATB Choir – Key – E-flat major – 3/4 meter 2 Er kommt – Form – Recitative – Tenor Soloist – Key – C minor – Free Meter 3 Wann kommst du, mein Heil? – Form – Duet – Soprano and Bass – Key – C minor – 6/8 meter 4 Zion hört die Wächter singen – Form – Chorale – Tenor Soloist – Key – E-flat major – 4/4 meter 5 So geh herein zu mir – Form – Recitative – Bass Soloist – Wandering tonalities – Free meter Our Chapters 4, 5, and 6 Music Journal Questions – Submit Your Responses To All Three Here! 1/23/22, 8:19 AM https://canvas.seattlecentral.edu/courses/2179723/assignments/25330560 Page 16 of 17 6 Mein Freund ist mein! – Form – Duet – Soprano, Bass, Oboe – Key – B-flat major – 4/4 meter 7 Gloria sei dir gesungen – Form – Chorale – SATB Choir – Key – E-flat major – 4/4 meter Cantata No. 140 – Wachet auf, ruft uns die Stimme (‘Awake, calls the voice to us’), BWV 140, is also known as “Sleepers Wake.” This church cantata by Johann Sebastian Bach is regarded as one of his most mature and popular sacred cantatas. He composed the chorale cantata in Leipzig for the 27th Sunday after Trinity and first performed it on 25 November 1731. The Cantata No. 140 by Johann Sebastian Bach (1685-1750) is centered on a primary melody – heard in the 1 , 4 , and 7 (final) movements. To hear the primary melody all by itself, start by listening to the 7 (final) movement of the Cantata No. 140 (the 24:24 mark) – here the Chorale melody is sung without counterpoint by the whole choir in a simple homophonic texture. Then go to the very beginning (Movement 1) and listen for that primary melody being sung beginning at the 42 second mark! When you get to the 4th Movement (the 13:27 mark), that primary melody will come back here being sung by the tenors – and at the same time you will hear a brand new melody (which begins the movement) being played on the orchestral instruments. Notice how these two different melodies fit perfectly with each other – Bach was amazing! 5. Click above to view and listen to the Cantata No. 140 composed by Johann Sebastian Bach. the Write down anything you notice (music characteristics such as texture, timbre, melody, specific instruments you recognize, mood(s) conveyed, etc.) in the seven movements from Cantata No. 140. This composition is just a brief look into the greatness of Johann Sebastian Bach (1685-1750). Jewish Klezmer Music Klezmer, a now-international Jewish style if dance music that originated in Eastern Europe, often features contrasting sections in free rhythm and metered rhythm. This genre is believed to have originated around the 15 century with secular musicians called kleyzmorim with a repertoire of dance songs for weddings and other celebrations. Originally, the term klezmer referred to the instruments, then to the musicians, and, in the early 20 century, to the genre. Melodies in klezmer music are expressive and imitate the human voice with various techniques imitating sobs, laughing, and more. Most often, the lyrics and song titles are in Yiddish. Many of the dances and melodic forms are similar to eastern European traditional musics, especially those of Romania and Bulgaria. Some of the better known late 20 century klezmer ensembles in the United States are the Klezmer Conservatory Band, The Klezmorim, and st th th th th th th Our Chapters 4, 5, and 6 Music Journal Questions – Submit Your Responses To All Three Here! 1/23/22, 8:19 AM https://canvas.seattlecentral.edu/courses/2179723/assignments/25330560 Page 17 of 17 the Klezmatics. The sounds of klezmer may also be heard in western art music by Bernstein and Copland, among others. budapest klezmer band – yidl mit´n fidl (https://www.youtube.com/watch?v=JxtPNEuPOwY) (https://www.youtube.com/watch?v=JxtPNEuPOwY) The Klezmatics – A glezele vayn (https://www.youtube.com/watch?v=dxAEwZPHhsc) (https://www.youtube.com/watch?v=dxAEwZPHhsc) 6. Click above to listen to, view, and write down what you notice in these two examples of this amazing Klezmer music! Part 3: Your Chapter 6 Reflections 7. What in this chapter, was new to you and sparked an interest in knowing more about?
