Category: Music Theory

Project Description
This project involves creating a piece of public history. We will work together to compile examples of how Hip Hop is practiced in your community. Each of you then will explore one facet of your community’s Hip Hop scene in a creative fashion. As with Module 1, we will work together in this space. The Community project then will serve as a resource for your Written Assignment for Module 2.
Here’s what I would like you to do:
In Week 6:
Enter the name of your neighborhood/borough, city and state (and nation, if you reside outside the U.S.). Place your neighborhood/borough, city and state in the title of your entry
Post a 75 -100 word description of your community and provide some examples of how Hip Hop is practiced in your locality. Try to include at least three examples. Some possible examples might be: student or community groups; bars or nightclubs; radio stations; youth organizations; permission walls; beat making workshops; b-boy/b-girl practice sessions.Please write your description in your own words, and include a citation or web link for where you found your material. (Do not cut and paste entries from other sources, though you may use these resources for finding your own material).
In Weeks 7 and 8, begin to explore one aspect of Hip Hop in your community in further detail.
Choose one or more Hip Hop activities that are being practiced in your community, and following the model of “Style Wars”, go out and learn more about them.Please try to interview participants in the activity, and if possible, attend a show or activity.
You may also shape your project around a Hip Hop activity that you yourself practice if you are involved in Hip Hop in that way.
Make sure to get good accurate information about the individuals associated with the activityDocument the activity with good detailed notes, images, and/or video.
If it is absolutely impossible for you to visit a live organization or event, you may go to a community-based Hip Hop web site instead.
Add the further aspects of Hip Hop in your community by responding to your entry for Week 6. You are encouraged to respond to other’s threads as well.
Please let me know if you are having difficulty making contacts or visiting an event, as I might be able to suggest ways to guide you.

Compare and Contrast the following three performances. Describe the styles, instrumentation, solos, drum patters, bass patterns, piano comping, tempos, and overall characteristics of each performance
https://youtu.be/JN6vCdmOV-QLinks to an external site.
https://youtu.be/WRuY3_4BxhELinks to an external site.
https://youtu.be/EYVmxKxMqE4Links to an external site.

Continuing with your song from First Song: Phase III, complete this unit’s Contemporary Songwriting readings. This involves reading each chapter’s EXPOSITION section and then following its TUTORIAL instructions. The readings are listed here:
Contemporary Songwriting, Part II Chapter 19 and 20 (for Live users)
REQUIREMENTS
GarageBand users should adhere to these requirements:
The form of your song should be as follows, with eight measures per section (except where indicated) and arrangement markers for all sections:
Intro (four measures)
Verse 1
Verse 2
Chorus 1
Verse 3
Chorus 2
Bridge
Chorus 3
Outro
The content of all verses should be the same, and the content of all choruses should be the same.
The intro should consist of one non-drum, non-melody instrument from the verse, and a Drummer track Intro region.
The bridge should have the regions of two non-melody, non-drum instruments from the verse and/or chorus.
The bridge should have a Drummer track Bridge region.
The added verse and chorus regions should stop one measure before the end of the bridge.
Of the three non-melody instruments in the bridge, one of them should only be in the second half of the bridge (so, the first four measures should be deleted).
A new melody should be composed for the bridge, completing the same melody tasks that were used previously:The melody should have two- or four-measure phrases only.
There should be some melodic structure (i.e., repetition of phrases).
All melodies should be quantized to 1/8 or 1/16.
Melody notes should not overlap.
All melody notes should be on white keys.
Melodies should have been created with the Octave of the Musical Typing window set to C3.
The outro should be the same as the chorus, but with a Drummer track Outro region.
The key/chord of all choruses and the outro should be changed.
All choruses and the outro should be changed by the same transposition — e.g., all by +5, or all by -7, etc.
An instrument that is not melody, drums, or playing in the Intro should be deleted from Verse 1.
A different instrument that is not melody, drums, or playing in the Intro should be deleted from Verse 1, Verse 2, and Chorus 1.
A loop from the Tambourine or Shaker Instrument categories of the loop browser should be in Chorus 3 and the Outro, looped as necessary to take up the full 16 measures.
A loop from the Vocals Instrument category and the Single Descriptors category of the loop browser, with the correct Scale chosen, should be in the Outro, looped as necessary to take up the full eight measures.
Live users should adhere to these requirements:
The form of your song should be as follows, with eight measures per section (except where indicated) and locators at the beginnings of all sections:Intro (four measures)
Verse 1
Verse 2
Chorus 1
Verse 3
Chorus 2
Bridge
Chorus 3
Outro
The content of all verses should be the same, and the content of all choruses and the outro should be the same.
The intro should consist of the verse clips without the melody.
The bridge should have the InstV verse clips in the InstV track and the InstC chorus clips in the InstC track, stopping one measure before the end of the bridge.
A new melody should be composed for the bridge, following these same melody requirements that were used previously:The melody should have two- or four-measure phrases only.
There should be some melodic structure (i.e., repetition of phrases).
All melodies should be quantized to 1/8 or 1/16.
Melody notes should not overlap.
All melody notes should be from the white keys of the computer MIDI keyboard.
The outro should be the same as the chorus, but with a Drummer track Outro region.
For one of these tracks (or pairs of tracks), Intro and Verse 1 clips should be deactivated:Inst
InstV and InstC
Bass
Drums1
For a different one of these same tracks (or pairs of tracks), Intro, Verse 1, Verse2 , and Chorus 1 clips should be deactivated.
A new drum loop selected from the same browser locations used previously should enter in the bridge and continue through the end of the song in the Drums2 track, with a one measure break at the end of the bridge.
SUBMISSION INSTRUCTIONS
Upload the project file for the song as a submission for this assignment. A project file is a GarageBand file or a Live file. The file extensions for these are:
.band for GarageBand files
.als for Live files
Special note for GarageBand users: Canvas will not accept GarageBand files as assignment submissions in their native .band form. Instead, they must be compressed into .zip files. There are two ways to compress a GarageBand file:
Automatic Compression With Chrome. Use the Google Chrome browser to upload the GarageBand file to Canvas. Chrome will compress it automatically during the upload. Chrome can be obtained hereLinks to an external site..
Manual Compression. Compress the GarageBand file into a .zip file before uploading it, then upload the .zip file. Apple has compression instructions hereLinks to an external site.. Note that a GarageBand file must be closed before compressing it. An open GarageBand file will not compress.

Continuing with your song from First Song: Phase III, complete this unit’s Contemporary Songwriting readings. This involves reading each chapter’s EXPOSITION section and then following its TUTORIAL instructions. The readings are listed here:
Contemporary Songwriting, Part II Chapter 19 and 20 (for Live users)
Live users should adhere to these requirements:The form of your song should be as follows, with eight measures per section (except where indicated) and locators at the beginnings of all sections:
Intro (four measures)
Verse 1
Verse 2
Chorus 1
Verse 3
Chorus 2
Bridge
Chorus 3
Outro
The content of all verses should be the same, and the content of all choruses and the outro should be the same.
The intro should consist of the verse clips without the melody.
The bridge should have the InstV verse clips in the InstV track and the InstC chorus clips in the InstC track, stopping one measure before the end of the bridge.
A new melody should be composed for the bridge, following these same melody requirements that were used previously:The melody should have two- or four-measure phrases only.
There should be some melodic structure (i.e., repetition of phrases).
All melodies should be quantized to 1/8 or 1/16.
Melody notes should not overlap.
All melody notes should be from the white keys of the computer MIDI keyboard.
The outro should be the same as the chorus, but with a Drummer track Outro region.
For one of these tracks (or pairs of tracks), Intro and Verse 1 clips should be deactivated:Inst
InstV and InstC
Bass
Drums1
For a different one of these same tracks (or pairs of tracks), Intro, Verse 1, Verse2 , and Chorus 1 clips should be deactivated.
A new drum loop selected from the same browser locations used previously should enter in the bridge and continue through the end of the song in the Drums2 track, with a one measure break at the end of the bridge.
SUBMISSION INSTRUCTIONSUpload the project file for the song as a submission for this assignment. A project file is a GarageBand file or a Live file. The file extensions for these are:.band for GarageBand files.als for Live filesSpecial note for GarageBand users: Canvas will not accept GarageBand files as assignment submissions in their native .band form. Instead, they must be compressed into .zip files. There are two ways to compress a GarageBand file:Automatic Compression With Chrome. Use the Google Chrome browser to upload the GarageBand file to Canvas. Chrome will compress it automatically during the upload. Chrome can be obtained hereLinks to an external site..
Manual Compression. Compress the GarageBand file into a .zip file before uploading it, then upload the .zip file. Apple has compression instructions hereLinks to an external site.. Note that a GarageBand file must be closed before compressing it. An open GarageBand file will not compress.
Note that Live files do not need to be compressed.

topic: music and adolescents
Q1. Emil experiences anxiety and often struggles to socialise with others, but he has a part time job as a cashier at a supermarket. Emil catches the bus to work and during this bus ride he deliberately listens to music that he knows will lift his mood and get him into a good headspace to interact with customers. If you had to predict Emil’s age solely based on the way he uses music, what age range would you estimate?
1. adolescent
2. young adult
3. middle aged adult
4. other adult
Q2. Neveah loves Thrash Metal. Her mother hates it because she believes listening to thrash music causes poor mental health and suicide. According to our experts, how should Nevaeh’s mother react?
1. She should stop Nevaeh from listening to the music because it is making Nevaeh feel bad after listening to it.
2. She should prevent Nevaeh from listening to the music because metal music is satanic music and will cause Nevaeh to become angry.
3. She should not question Nevaeh’s music choices because music is a great way for Neveah to achieve an emotional release. 4. She should first seek to understand how Neveah is using the music.
Q3. An adolescent who finds that music seems to have a stronger emotional effect on them than it does on their friends is more likely to be:
1. An extroverted person.
2. A depressed person. 3. An empathic person.
4. A sensitive person.
That is all the questions and I want to all correct answer thanks

Write a review that compares and contrasts the multiple spiritual musical traditions of America; incorporate race, culture, and belief into your assessment.
BEFORE YOU BEGIN: Remember to incorporate the following guidelines from the syllabus into your writing.
Formal essay style (1-2 pages, no more than 3!) is expected, including format, grammar, punctuation, and proper citation. Papers should be double-spaced with Times New Roman 12-point font and include a header and proper citation in your preferred style of formatting (MLA, APA, or Chicago Style, 17th edition). Please follow the rubric guidelines or your grade will be affected. The writing guidelines for reviews is broken down into 5 categories, with each category receiving up to 5 possible points:
Does the response address the topic at hand?
Does the response show a knowledge of the reading and media materials?
Does the response demonstrate writing clarity and conciseness? (If your review is only 1 page, it needs to be extremely well-crafted in order to follow these guidelines.)
Does the response properly cite sources used?
Does the response demonstrate proper grammar, spelling, punctuation, and other general writing skills?

Write a review that compares and contrasts the multiple spiritual musical traditions of America; incorporate race, culture, and belief into your assessment.
BEFORE YOU BEGIN: Remember to incorporate the following guidelines from the syllabus into your writing.
Formal essay style (1-2 pages, no more than 3!) is expected, including format, grammar, punctuation, and proper citation. Papers should be double-spaced with Times New Roman 12-point font and include a header and proper citation in your preferred style of formatting (MLA, APA, or Chicago Style, 17th edition). Please follow the rubric guidelines or your grade will be affected. The writing guidelines for reviews is broken down into 5 categories, with each category receiving up to 5 possible points:
Does the response address the topic at hand?
Does the response show a knowledge of the reading and media materials?
Does the response demonstrate writing clarity and conciseness? (If your review is only 1 page, it needs to be extremely well-crafted in order to follow these guidelines.)
Does the response properly cite sources used?
Does the response demonstrate proper grammar, spelling, punctuation, and other general writing skills?

topic: music and adolescents
Q1. Emil experiences anxiety and often struggles to socialise with others, but he has a part time job as a cashier at a supermarket. Emil catches the bus to work and during this bus ride he deliberately listens to music that he knows will lift his mood and get him into a good headspace to interact with customers. If you had to predict Emil’s age solely based on the way he uses music, what age range would you estimate?
1. adolescent
2. young adult
3. middle aged adult
4. other adult
Q2. Neveah loves Thrash Metal. Her mother hates it because she believes listening to thrash music causes poor mental health and suicide. According to our experts, how should Nevaeh’s mother react?
1. She should stop Nevaeh from listening to the music because it is making Nevaeh feel bad after listening to it.
2. She should prevent Nevaeh from listening to the music because metal music is satanic music and will cause Nevaeh to become angry.
3. She should not question Nevaeh’s music choices because music is a great way for Neveah to achieve an emotional release.
4. She should first seek to understand how Neveah is using the music.
Q3. An adolescent who finds that music seems to have a stronger emotional effect on them than it does on their friends is more likely to be:
1. An extroverted person.
2. A depressed person.
3. An empathic person.
4. A sensitive person.
That is all the questions and I want to all correct answer
thanks

Scales:
A scale is a series of musical notes arranged in ascending or descending order. The most common scale is the Major scale, which consists of seven notes separated by whole and half steps. The pattern of whole (W) and half (H) steps in a major scale is W-W-H-W-W-W-H. For example, the C Major scale is C-D-E-F-G-A-B.
Modes:
Modes are scales derived from the major scale by starting on a different degree of the scale. Each mode has a unique sound and character. The seven modes derived from the major scale are:
Ionian Mode: Same as the major scale.
Dorian Mode: Starts on the second degree of the major scale. The pattern is W-H-W-W-W-H-W.
Phrygian Mode: Starts on the third degree. The pattern is H-W-W-W-H-W-W.
Lydian Mode: Starts on the fourth degree. The pattern is W-W-W-H-W-W-H.
Mixolydian Mode: Starts on the fifth degree. The pattern is W-W-H-W-W-H-W.
Aeolian Mode: Same as the natural minor scale.
Locrian Mode: Starts on the seventh degree. The pattern is H-W-W-H-W-W-W.
Understanding scales and modes is crucial for creating melodies, harmonies, and improvising in various musical styles. They provide the foundation for much of Western music.

Requirements: 5-7 pages NOT including the instrument list at the end, type your answers below each question, Times New Roman 12 font, double spaced, 1” margins; use complete sentences and correct spelling and grammar.At the end of this document is a list of what may have been played. No drum circle uses everything.
What is a ‘Drum Circle’? (Cite references, internet link will do).
What is the history of the drum circle? (Cite references, internet link will do).
Where and how are drum circles used? (Cite references, internet link will do).
How would you explain a drum circle to someone who has never experienced one?
What specific instruments were used in this drum circle?(In other words, what kinds of drums and hand percussion were used, and what did you play)?
Describe how the drum circle unfolded: what was first, what was next, etc.
Describe your reactions to each phase of the drum circle- did anything surprise you about the drum circle?
What part did you like best and why?
What part did you like least and why?
What were you able to gain from this experience?
For this drum circle, i used a drum called a djembe. so can you write me a report about this?