Category: Music

In this assignment you will be creating a 60-120 second long stereo composition. I know some of you will be tempted to go longer – please do not – I would prefer that you spend more time crafting a shorter piece. You can build and use the pieces you created in Assignment 2 – or you can create a new piece from scratch. For this particular composition I do not want to hear a typical pop tune. I do not want to hear drums, keys, guitars, layered. I want you to play with sound creating a soundscape or audio collage – be creative and see what you can make! Voice/story/poetry is absolutely fine if you so choose but not necessary. The emphasis is on a clear concept, careful editing and processing, and creating a vivid experience for the listener. Please look at the rubric to see what elements you need to have to do well on this assignment. You can use Audacity or any DAW of your choice.
Method:
Begin by creating a graphic score for the piece. This can be done using any media of your choice – pencils, pens, crayons, digital tools, collage/manipulation of photos – but make sure it has a clear way that you can read it and use it to help guide you to create a music composition or as Varese says “organize sound in time.” Check out the module on Graphic Notation for inspiration. Please do spend time on this and make a score that is more complex than the simple doodle I create in the video showing the principles of graphic scores. (I would only give the score I make in the demo a 1/4 – I was showing concepts not doing the work). I recommend starting with a graphic score and then creating the sonic portion instead of the other way around.
Next select your source files – as many as you like. Use your graphic notation score to help guide you in choosing how many sounds you need and what kinds of sounds they should be. You can use sounds from ANY source, (including sound you used for assignment 2 or ones you record yourself, freesound.org or youtube etc.), making sure the quality is good, and that you layer them so that they form a continuous soundscape, with background (long & softer) and foreground (short & louder) sounds, and clean transitions — no clicks, please. If you are uncertain whether a sound is suitable, just ask!
Process and arrange these sounds to make a composition. Make sure to play with panning (left right) and reverb (A sound with no reverb will sound like its close to the front and a sound with lots of reverb will sound like its farther back). Take the time to make something you are proud of and you will do well on this assignment. Remember the final piece should be a soundscape – not a song – although musical elements are absolutely allowed.
You can use simple sound fx to create a soundscape – but I want to hear some processing. One easy way to do this is to use the same sound multiple times – each time applying different processing so that it is continually transforming. You can use all of the effects that Audacity or your DAW offers — stretching, speed and pitch changes, adding reverb, reversing, panning and equalization, and anything else goes. When you are finished you should export (or bounce if using a different software than Audacity) your final file into a wav, aif or mp3 with the file name: YourName-Exercise4.wav. When you are finished creating your composition remember to take some screenshots of Audacity or your DAW so that we can see all the layers of your composition.
Submit:
You will need to submit at least 4 files via Canvas. Once again use your name in the file name please.
1 – jpg of the graphic score you created to inspire your composition.
2 – wav, .aif or .mp3 audio file between 60-120 seconds in length
3 – Screen shots of the tracks you have layered and created in Audacity or other DAW. (On the mac use command-shift-4 to do this. On the PC use – Ctrl + Print Screen (Print Scrn). You can use as many screen shots as needed to capture all of your layers. Please shrink the tracks so you can just see the volume and pan indicators on the left side. Individual sounds do not need to be documented.
4 – A pdf with a simple listing of the source of all of the sounds you have used – Name of sound, website link, or the fact that you recorded it yourself.
Video Links:
Lecture on Graphic Notation
Assignment 4 Video Instructions
Also on the home page – scroll down to the bottom below class videos, weekly pdfs and readings and at the bottom you will see Cage’s book filled with graphic scores as well as two other graphic notation resources. This should give you many ideas of the vast possibilities of graphic notation.
Tips:
Make sure to try out all of the effects in Audacity or your DAW. Try changing the different parameters in the effects as well – don’t just use them the way they load up. Make sure to save multiple copies of your composition so you feel safer experimenting. Paulstretch is a great tool for stretching a shorter audio clip and transforming it into a drone if you are having troubles making a background sound. Have fun and be creative in exploring the tools.
The time-shift tool () will allow you to shift a ‘clip’ on the track. To use create a clip, select the part of the track you’d like move with the cursor ( I ) and then choose Edit/Clip – Boundaries/Split (command i ). You now should be able to move the newly created clip with the ( ) tool. You can also move only the Left channel of a stereo track this way but it’s tricky.
Volume control is very important. Use the envelope tool to adjust the track level. (You can watch my assignment 4 video to see how to use this as well) You must click to create a point. You can then move that point left, right and up and down. This is great for creating swells or making sure you can hear your foreground sounds. To effectively fade out or fade in a track the Fade In/Fade Out commands under Effects work best. To use these simply select where you want the process to start and end with the cursor and then select which one you wish to use. Make sure the end of your piece fades out nicely and does not just cut off abruptly.

As stated in emails, you will only be responsible for creating a timestamped analysis of a song for this paper. You will not need to do the research portion.
This will be worth a maximum of 6 extra packback points. This assignment is optional, doing it will in no way hurt your grade, worst case senario, you get no extra credit.
Part 2
Provide a timestamped analysis of the chosen song. This must include:
Song flow with timestamps at each formal part of the songMust include large formal sections and small formal sectionsThese songs will not be in the Verse Refrain form like tin pan alley songs. They will have a different form. Note different formal parts with Letters such as “A” or “B” or “C”. Think bigger in your analysis of formal parts.
There may or may not be a 12 bar blues in this collection of songs. The 12-bar blues should be shown just like the last guide.
A one sentence description of the song at each formal part
The lyrics to each formal part (if applicable)
Timestamps must be within 1 second, be sure you use the exact recordings provided in the Spotify playlist.
Song Analysis formatting example
Song Analysis formatting examplePuttin’ on the Ritz – Irving Berlin
Time Stamp
Formal part
Lyrics
Descriptions
0:00
Introduction
(INSTRUMENTAL)
Starts loud gets soft
0:14
Verse
part 1
Have you see the well to do up and down Park Avenue On that famous thoroughfare, with their noses in the air.
Soft drum beat and trumpets in the background
0:25
part 2
High hats and arrow collars, White spats and lots of dollars, Spending every dime for a wonderful time
Continues the feel of the verse
0:36
Refrain 1
A
If you’re blue and you don’t where to go to why don’t you go where fashion sits? Puttin’ on the Ritz
Repeated ascending melody ends with the name of the song
0:47
A
Different types who wear a day coat Pants with stripes and cut-a-way coats, Perfect fits, Puttin’ on the Ritz.
Same as the previous section
0:58
B
Dressed up like a million-dollar trooper. Trying hard to look like Gary Cooper Super-duper
Bridge goes higher than the previous melody is more flowing and less syncopated
1:09
A
Come let’s mix where Rockefeller walk with sticks and umbrellas in their mitts, Puttin on the Ritz.
Same as the previous A sections
1:20
Refrain 2
A
(INSTRUMENTAL)
Trumpets take the melody with a response from the saxophones at the end of the phrase
1:31
A
(INSTRUMENTAL)
Exact repeat of the previous phrase
1:42
B
Tips his hat just like and English Chappy to a lady with a wealthy pappy, very snappy
Same bridge as before with different lyrics
1:54
A
You’ll declare it’s simply topping to be there and hear them swapping smart tidbits, Puttin on the Ritz
Return of ascending melody with new words. Ends with a final statement of the name of the song.
Phonograph Blues – Robert Johnson
https://open.spotify.com/track/1vPzpKiVXQt5BsZ91GN…
(note: the descriptions on this would not be acceptable. This is just to show how a 12 bar blues should look in terms of formatting)
Time Stamp
Formal part
Lyrics
Descriptions
0:00
Introduction
Instrumental
0:10
Chorus 1
A
Beatrice, she got a phonograph
And it won’t say a lonesome word
0:20
A
Beatrice, she got a phonograph
And it won’t say a lonesome word
0:30
B
What evil have I done?
What evil has the poor girl heard?
0:40
Chorus 2
A
Beatrice, I love my phonograph
But you broke my windin’ chain
0:50
A
Beatrice, I love my phonograph
But you have broke my windin’ chain
Sings high
1:00
B
And you taken my lovin’
And you gave it to your other man
1:10
Chorus 3
A
Now we played it on the sofa, now
We played it ‘side the wall
My needles have got rusty, baby
It will not play at all
This chorus plays with the form of the words
1:20
A
We played it on the sofa
And we played it ‘side the wall
1:29
(1:30)
B
But my needles have got rusty
And it will not play at all
1:39
Chorus 4
A
Beatrice, I go crazy
Baby, I will lose my mind
1:48
A
Baby, I go crazy
Honey, I will lose my mind
1:58
B
Why don’t you bring your clothes back home
And try me one more time?
2:09
Chorus 5
A
She got a phonograph
And it won’t say a lonesome word
Repeat of the first chorus
2:17
A
She got a phonograph
Ooh, won’t say a lonesome word
2:27
B
What evil have I done?
Oh, what evil has the poor girl heard?
Song Analysis formatting example
Song Analysis formatting examplePuttin’ on the Ritz – Irving Berlin
Time Stamp
Formal part
Lyrics
Descriptions
0:00
Introduction
(INSTRUMENTAL)
Starts loud gets soft
0:14
Verse
part 1
Have you see the well to do up and down Park Avenue On that famous thoroughfare, with their noses in the air.
Soft drum beat and trumpets in the background
0:25
part 2
High hats and arrow collars, White spats and lots of dollars, Spending every dime for a wonderful time
Continues the feel of the verse
0:36
Refrain 1
A
If you’re blue and you don’t where to go to why don’t you go where fashion sits? Puttin’ on the Ritz
Repeated ascending melody ends with the name of the song
0:47
A
Different types who wear a day coat Pants with stripes and cut-a-way coats, Perfect fits, Puttin’ on the Ritz.
Same as the previous section
0:58
B
Dressed up like a million-dollar trooper. Trying hard to look like Gary Cooper Super-duper
Bridge goes higher than the previous melody is more flowing and less syncopated
1:09
A
Come let’s mix where Rockefeller walk with sticks and umbrellas in their mitts, Puttin on the Ritz.
Same as the previous A sections
1:20
Refrain 2
A
(INSTRUMENTAL)
Trumpets take the melody with a response from the saxophones at the end of the phrase
1:31
A
(INSTRUMENTAL)
Exact repeat of the previous phrase
1:42
B
Tips his hat just like and English Chappy to a lady with a wealthy pappy, very snappy
Same bridge as before with different lyrics
1:54
A
You’ll declare it’s simply topping to be there and hear them swapping smart tidbits, Puttin on the Ritz
Return of ascending melody with new words. Ends with a final statement of the name of the song.
Phonograph Blues – Robert Johnson
https://open.spotify.com/track/1vPzpKiVXQt5BsZ91GN…
(note: the descriptions on this would not be acceptable. This is just to show how a 12 bar blues should look in terms of formatting)
Time Stamp
Formal part
Lyrics
Descriptions
0:00
Introduction
Instrumental
0:10
Chorus 1
A
Beatrice, she got a phonograph
And it won’t say a lonesome word
0:20
A
Beatrice, she got a phonograph
And it won’t say a lonesome word
0:30
B
What evil have I done?
What evil has the poor girl heard?
0:40
Chorus 2
A
Beatrice, I love my phonograph
But you broke my windin’ chain
0:50
A
Beatrice, I love my phonograph
But you have broke my windin’ chain
Sings high
1:00
B
And you taken my lovin’
And you gave it to your other man
1:10
Chorus 3
A
Now we played it on the sofa, now
We played it ‘side the wall
My needles have got rusty, baby
It will not play at all
This chorus plays with the form of the words
1:20
A
We played it on the sofa
And we played it ‘side the wall
1:29
(1:30)
B
But my needles have got rusty
And it will not play at all
1:39
Chorus 4
A
Beatrice, I go crazy
Baby, I will lose my mind
1:48
A
Baby, I go crazy
Honey, I will lose my mind
1:58
B
Why don’t you bring your clothes back home
And try me one more time?
2:09
Chorus 5
A
She got a phonograph
And it won’t say a lonesome word
Repeat of the first chorus
2:17
A
She got a phonograph
Ooh, won’t say a lonesome word
2:27
B
What evil have I done?
Oh, what evil has the poor girl heard?

For this week’s discussion, begin by reading this play: Dont Change the Words.pdf
Don’t worry, it’s a very short script.
Background: Dramatist’s Play Service is an agency that handles royalties for amateur productions of many popular plays. DPS hired well known playwright David Lindsay-Abaire to write a brief play that would address the sometimes complex contractual language that goes with doing a production of a play. The intent was to present the subject in a manner that is fun and understandable.
Some facts about producing plays:
Unlike screenwriters, playwrights retain ownership and control of the plays they write.
When plays are performed a fee, known as a royalty, is paid by the producing organization to the playwright. This usually happens through an agent. This contractual process is called licensing.
Any performance of a play for an audience requires a royalty payment to its author. This is how authors earn their living.
Even when audiences are not charged money to see a show, the royalty payment is still due.
Royalties are due for each scheduled performance.
Many plays that are very old fall into the “public domain” and may be performed without a fee. Shakespeare for example.
Plays that are in public domain may be changed or adapted into new versions. Charles Dickens’ A Christmas Carol for example. However, the new version would require licensing like any other play.
So..
Can you think of a circumstance where you have seen a performance that may not have been licensed?
Have you seen or perhaps participated in a show where the producer/director altered the content?
What is the rationale for the requirement that the show not be changed, edited, or revised without the author’s consent?
The play in the link above suggests that understanding of intellectual property rights is not widespread, even among people that create theatrical productions. Should intellectual property law be taught in schools?
How do issues of intellectual property turn up in other areas of the arts beyond theater?
How does intellectual property law support or hinder progress in the arts?

For this assignment, create and lay out a slide presentation (e.g. using PowerPoint, Google Slides, etc.) with the following required slides/sections. (You may include more information, but the slides/sections listed below are all required.)
Include a “rough draft” of content on each slide/section. It doesn’t have to be perfect at this point, but you should have some information on each of these slides/sections. Information on individual slides will ultimately be formatted as a bullet point list. Slides should also include pertinent pictures/graphics.
Include “presenter notes” for each slide. Again, this does not have to be perfect at this point but put at least 100 words in each slide’s presented notes area so your peers have something to read/review.
Peer review each other’s work. Give CONSTRUCTIVE feedback (constructive meaning helpful and useful, not just “this looks bad” or “do more”) and be professionally polite with each other. The point is to improve each other’s work and lift each other up.
Presentation Structure
The following list details the structure of your presentation (slide headers and slide content). Some slides will have more information than others; in this case, break up “heavy” slides into multiple slides (e.g. “Geography Part 1”, “Geography Part 2”):
Title SlideTitle slide with your name and topic
GeographyGeographic location, topography, climate of the country/region
GovernmentType of government; any large historical shifts in government
Population & LanguageSize of population and language(s) spoken
Religion & SpiritualityOrganized religion(s), if any, and common religious or spiritual practices/rituals
EducationEducational system, including music education
Music & DanceTraditional music and dance in rituals and/or ceremonies
Instrument types and uses including unique playing techniques
Culture and society pertaining to music
Additional Information Other unique points of interest.
SourcesInclude the sources you’ve already determined earlier in this course.
Provide an updated list of sources used; any new source must be described and justified.
Cite your sources using APA formatting
Submission Requirements
For the final submission, the following will be required. Get a head start by including some of these things in your rough draft. Again, this is a rough draft, so all this content does not have to be included at this point.
You must include “presenter notes” for each slide.
Write the presenter notes in full sentences, NOT bullet lists.
The presenter notes will be directly related to information visible on associated slide.
If you were to read the presenter notes aloud in a live presentation, the total time of your entire presentation would run no less than 20 minutes. This will equate to between presenter notes of 200-300 words per slide.
Each slide should have engaging photos/graphics to highlight the information.
There must be at least two working YouTube or Spotify music links included somewhere in the presentation (not on the sources slide; they do not count as sources) that highlight the major types of music from your selected country/region(s). These YouTube or Spotify links may NOT be ones previously used in this course or those from the textbook. These will be different from any YouTube documentary etc. you have used as a source.

Write your answers to the following questions (50-75 words per question):How would you assess your understanding of Irish music and do you associate any of its aspects with American folk music? (5 pts)
Before watching the video, read the complete description below:Eleanór a Rún sung by Róisín El Safty at the Willie Clancy Summer School, Miltown Malbay. The love song Eleanor a Run (Eleanor my secret love) is unusual in that it is in the form of a dialogue. It was composed in the sixteenth century but became attributed to the early seventeenth-century harper Cearbhal Ua Dalaigh because of his love poems to Eleanor Cavanagh, daughter of Sir Morgen Cavanagh of Clonmullen Castle, Co. Carlow. The melody of the song was included in Charles Coffey’s opera The Beggar’s Wedding in 1728 and Edward Bunting published a variant of the air in his A General Collection of Ancient Irish Music (1796) which he collected from the harper Denis Hempson.
Now watch the following video. Thinking about the HIP approach and knowing what the song is about, what is your objective understanding of this song and how do you assess the singing style? (10 pts)
Based on material presented in the textbook and online, identify two points that reinforced or transformed your perception of the music of Ireland. (5 pts)

Instructions
For this assignment, create and lay out a slide presentation (e.g. using PowerPoint, Google Slides, etc.) with the following required slides/sections. (You may include more information, but the slides/sections listed below are all required.)
Include a “rough draft” of content on each slide/section. It doesn’t have to be perfect at this point, but you should have some information on each of these slides/sections. Information on individual slides will ultimately be formatted as a bullet point list. Slides should also include pertinent pictures/graphics.
Include “presenter notes” for each slide. Again, this does not have to be perfect at this point but put at least 100 words in each slide’s presented notes area so your peers have something to read/review.
Peer review each other’s work. Give CONSTRUCTIVE feedback (constructive meaning helpful and useful, not just “this looks bad” or “do more”) and be professionally polite with each other. The point is to improve each other’s work and lift each other up.
Presentation Structure
The following list details the structure of your presentation (slide headers and slide content). Some slides will have more information than others; in this case, break up “heavy” slides into multiple slides (e.g. “Geography Part 1”, “Geography Part 2”):
Title SlideTitle slide with your name and topic
GeographyGeographic location, topography, climate of the country/region
GovernmentType of government; any large historical shifts in government
Population & LanguageSize of population and language(s) spoken
Religion & SpiritualityOrganized religion(s), if any, and common religious or spiritual practices/rituals
EducationEducational system, including music education
Music & DanceTraditional music and dance in rituals and/or ceremonies
Instrument types and uses including unique playing techniques
Culture and society pertaining to music
Additional Information Other unique points of interest.
SourcesInclude the sources you’ve already determined earlier in this course.
Provide an updated list of sources used; any new source must be described and justified.
Cite your sources using APA formatting.
For the final submission, the following will be required. Get a head start by including some of these things in your rough draft. Again, this is a rough draft, so all this content does not have to be included at this point.
You must include “presenter notes” for each slide.
Write the presenter notes in full sentences, NOT bullet lists.
The presenter notes will be directly related to information visible on associated slide.
If you were to read the presenter notes aloud in a live presentation, the total time of your entire presentation would run no less than 20 minutes. This will equate to between presenter notes of 200-300 words per slide.
Each slide should have engaging photos/graphics to highlight the information.
There must be at least two working YouTube or Spotify music links included somewhere in the presentation (not on the sources slide; they do not count as sources) that highlight the major types of music from your selected country/region(s). These YouTube or Spotify links may NOT be ones previously used in this course or those from the textbook. These will be different from any YouTube documentary etc. you have used as a source.
You must have at least 5 pertinent sources cited in APA format. See this guide about APA citations if needed
USE THESE 5 SOURCES BELOW
hourttps://www.benvaughn.com/the-history-and-influences-of-mexican-music/
https://www.liveabout.com/music-of-mexico-son-ranchera-mariachi-2141530#:~:text=Mexico’s%20Rich%20Musical%20History&text=The%20music%20of%20Mexico%20incorporated,three%20of%20these%20cultural%20influences
https://www.brazilbrasil.com/culture/history-brazilian-music/#:~:text=Pre%2D20th%20century&text=In%201587%2C%20Gabriel%20Soares%20de,thus%20began%20Brazilian%20popular%20music.

Brazilian Music

https://www.history.com/news/origin-latin-music-styles

Write your answers to the following questions (50-75 words per question):How would you assess your understanding of Irish music and do you associate any of its aspects with American folk music? (5 pts)
Before watching the video, read the complete description below:Eleanór a Rún sung by Róisín El Safty at the Willie Clancy Summer School, Miltown Malbay. The love song Eleanor a Run (Eleanor my secret love) is unusual in that it is in the form of a dialogue. It was composed in the sixteenth century but became attributed to the early seventeenth-century harper Cearbhal Ua Dalaigh because of his love poems to Eleanor Cavanagh, daughter of Sir Morgen Cavanagh of Clonmullen Castle, Co. Carlow. The melody of the song was included in Charles Coffey’s opera The Beggar’s Wedding in 1728 and Edward Bunting published a variant of the air in his A General Collection of Ancient Irish Music (1796) which he collected from the harper Denis Hempson.
Now watch the following video. Thinking about the HIP approach and knowing what the song is about, what is your objective understanding of this song and how do you assess the singing style? (10 pts)
Based on material presented in the textbook and online, identify two points that reinforced or transformed your perception of the music of Ireland. (5 pts)

In your presentation include:
The name of the instrument, family of instruments it belongs to
A picture of the instrument and if possible, a sound or video example that features the instrument being played
Pull together about 2-5 pages or so introducing the instrument. DO NOT COPY AN EXISTING SOURCE! Rather, create a new and interesting introduction from the information you have found
At the end of your presentation, list the sources you have used.

Please see attached video link. As ridiculous as this first video is, it nonetheless highlights some important distinctions between the cultures of classical music and jazz. In particular, what does this video suggest about the different notions and values surrounding the idea of a “work,” or “masterwork,” of music? And who gets creative freedom: composers? performers? both?

Comparison essay
Focus papers with provable, supportable thesis statements;
• Write paragraphs that each develop and support a topic sentence;
• Use MLA format and documentation;
• Identify and correct patterns of error in grammar and mechanics.