Final
 
Oral and Aural Assessment

Step 1

  • Use the following Dropbox Link to practice pronunciation for the following words

  • Record yourself demonstrating pronunciation for the following words

  • Upload your recording in the Final Exam section of your Jimdo

 

  1. Enlightenment

  2. Symphony

  3. Harpsichord

  4. Cello

  5. Oboe

  6. Timpani

  7. Cadences

  8. Sonata

  9. Mozart

  10. Beethoven

  11. Haydn

  12. Minuet

  13. Rondo

  14. Romanticism

  15. Lieder

  16. Schubert

  17. Schumann

  18. Chopin

  19. Mendelssohn

  20. Verdi

  21. Wagner

  22. Puccini

  23. Tchaikovsky

  24. Brahms

  25. Mahler

Done :)

 

 

 

Step 2

  • Use the following examples to prepare for the Aural Assessment below

Example 1 Mozart Eine Kleine Nachtmusik

Example 2 Mozart Marriage of Figaro

Example 3 Beethoven 5th Symphony

Example 4 Beethoven 9th Symphony

Example 5 Beethoven Fur Elise

Example 6 Lieder Schubert the Trout

Example 7 Verdi Anvil Chorus from Il Trovatore

Example 8 Wagner Ride of the Valkyries

Example 9 Tchaikovsky Dance of the Sugar Plum Fairy Nutcracker

Example 10 Tchaikovsky 1812 Overture

 

Bonus

Classical Music Mashup

Awesome History of Classical Music

 

Step 3

  • Match the composers/titles to the examples located in this Dropbox Link

1. E       A.  Mozart Eine Kleine Nachtmusik

2. B       B.  Mozart Marriage of Figaro

3. J        C.  Beethoven 5th Symphony

4. F       D.  Beethoven 9th Symphony

5. A       E.  Beethoven Fur Elise

6. H       F.  Lieder Schubert the Trout

7. D       G.  Verdi Anvil Chorus from Il Trovatore

8. G      H.  Wagner Ride of the Valkyries

9. C        I.  Tchaikovsky Dance of the Sugar Plum Fairy Nutcracker

10. I      J.  Tchaikovsky 1812 Overture

 

 

Book, Score & CD Tour 

Step 1

  • Spend a class exploring various books, scores and CD's from the following periods

  1. Classical

  2. Romantic

 

Step 2

  • Comment on 2 favorite resources you found for each period

  1. Title.

Verdi, Requiem for Four Solo Voices and Chorus, G. Schirmer, Inc—Romantic

Beethoven, Ode to Joy An Die Freude Vocal Score, Edition Peters, No. 2227—Classical.

Brahms, A German Requiem Ein Deutsches Requiem, Op. 45, Edition Peters, No. 3673—Romantic. 

Mozart, The Magic Flute, Faber Music Limited—Classical

 

  1. Description. Verdi—I immediately opened up the Dies Irae, so that's a sign. It's a big gray book with a lot of music. There is English for most of everything, and the spacing is beautiful. Beethoven—I noticed that in this little green book, there is a lot of introductory piano. The spacing is more squinched, and the words have no English translation. Brahms—I love a good ol' Edition Peters book! I flipped through this book and I noticed that there were very many key changes, and it only seemed to get easier (from an instrumentalist's point of view) next to the end. I'm not quite sure why those modulations were chosen. Mozart—The Magic Flute was beautiful both in and out... I had to listen to some music (right here). I didn't expect there to be English translations of everything. 

  2. Reasons Why.

-Verdi—Initially, it was the death of Rossini in November 1868. Verdi and several other Italian composers wanted to mark the event by joining forces in writing a collaborative Requiem for the great man – Verdi wrote the Libera Me movement. The resulting work was not a success, though, and was soon abandoned.

-Beethoven—"Ode to Joy" (German: "An die Freude", first line: "Freude, schöner Götterfunken") is an ode written in the summer of 1785 by German poet, playwright, and historian Friedrich Schiller and published the following year in Thalia. A slightly revised version appeared in 1808, changing two lines of the first and omitting the last stanza. "Ode to Joy" is best known for its use by Ludwig van Beethoven in the final movement of his Ninth Symphony, which does not set the entire poem and reorders some sections (Beethoven's text is given in that article). Beethoven's tune (but not Schiller's words) was adopted as the Anthem of Europe by the Council of Europe in 1972, and subsequently the European Union. 

-Brahms—The idea of composing a requiem in the German language based on texts from the Lutheran Bible and the Apocrypha began to take shape in Brahms' mind in 1857, a year after the death of his friend and mentor, Robert Schumann. But it wasn't until 1865, following the death of Brahms' mother, that he took up composition of the music in earnest.

After another three years, the work stood complete, having grown from a choral piece into a cantata, and then into a seven-movement Requiem for chorus, soloists and orchestra. In the process, it became the central work of Brahms' career, the one that established him as a composer of major stature and linked two of the most important spheres of his lifelong musical endeavor, the vocal and the symphonic.

-Mozart—The music of The Magic Flute closely underscores the drama. Mozart used varied musical styles to depict his characters. Folksy birdcatcher Papageno—a role first played by Schikaneder himself—and his late-appearing sweetheart Papagena (the names derive from the German word for “parrot”) are given unpretentious, folklike melodies. By contrast, the deceptive Queen of the Night is portrayed as an Italianate coloratura indulging in both vocal and emotional histrionics. 

 

 

Concert Review 

Step 1

Note:  We will pay your entrance fee to the Green Mountain Academy Events listed below

Choose 1 of the following local performance venues for your Concert Review

 

Step 2

  • Choose from one of the following concert review formats

  1. Formal Written Paper

  2. Keynote, Prezi, Power Point, Google Docs—that's the one! 

  3. Oral Report with Supporting Notes

 

Step 3

  • Integrate at least 3 aspects of each HOT PINK category in your review

 

A.  Basic Information to Include

  1. When and where did the concert take place? How long did it last? The concert was on the 27th of February, 2019. It lasted for about an hour-ish. 

  2. How many pieces were performed? What were they called and how many movements were in each? Who composed each piece? There were 21 pieces. Their names were as follows, with their composers:

-Till There Was You, from the Music Man

- Prelude in C, J.S Bach

- Hallelujah, Leonard Cohen

-Panis Angelicus, C. Frank

- Jasmine Frangrance, Hezhanhao

- Manhattan, Sara Bareilles

- Sonetto 47 del Petraca, F. Liszt

- She used to be mine, from Waitress

- Original Song by Ayden Crispe

- Grande Valse Brillante, by F. Chopin

- And So It Goes, Billy Joel

- Nocturne Op. 9, No. 2, F. Chopin

- Come out and play, Billie Eilish

- Sonata No. 1 E minor, J. Brahms

- Se tu Ma'ami, G. Pergolesi

- Grape Jelly, Original Song by Natalie Ewens

- House of the Rising Sun, Animals

- Memory, from Cats

- Nice songs in the moving heaven, Jianghui Cui

- Warrior, Demi Lovato

- Sonata Fantasia Mvt. 1, N. Kapustin

 

  1. Who were the performers (name of the ensemble and/or names of the soloists)? They were all soloists, save for the a cappella group. The names of the performers were as follows:

-Finula Cree, acc. Neil Freebern 

- Sabayo Matiku & Irén Hangen Vazquez

- Olivia Brand & Julia Brand 

- Jessop Burrow acc. Linda Hueckel 

- Nancy Chen

- Florrie Hynds & Angela Caggiano

- Haden Myers

- Emily Asciutto, acc. Linda Hueckel

- Ayden Crispe & Markie Matuscik

- Lydia Zhang

- Unaccompanied Minors

- Lisa Li

- Hazel Seiden & Dan Seiden 

- Jing Yi Sutherland Lovick & Cindy Chen

- Zoe Grigsby acc. Linda Hueckel 

- Natalie Ewens

- Will Addington & August Stauffer

- Emi Craig acc. Cindy Chen 

- Wendy Tang

- Olivia Brand

- Hayden Myers

The Unaccompanied Minors included: Matthew Scott, Miles Allen, Sabayo Matiku, Anna Freebern, Kaia Hansen, Angela Caggiano, & Annabelle Mackson

  1. If there was a conductor, what was his or her name? No conductors here, my friend. 

  2. What types of instruments were played and/or what types of voice parts were featured? There was a bass, tenor, alto, and soprano divisi for the a cappella, and the other vocal soloists were tenors, alti, and soprani, there was the piano, the guzheng, the cello, the guitar, and the harmonica. 

  3. Was there any special purpose to the concert? If so, explain. It was to showcase the talent in the BBA student community, and to showcase the new Steinway piano. 

 

B.  General Questions to Keep in Mind

  1. What was your general reaction to the concert? How did the performance sound to you? I really enjoyed the concert, and I was delighted to have witnessed some incredible pieces. Some of the performances could have used a little love, but I think that they were all incredibly done. 

  2. Was the music performed well? Yes it was. 

  • Were the musicians rhythmically “together”? Mostly, yeah. 

  • Were they playing/singing in tune? I think everyone had pretty accurate pitch most of the time. 

  • Did any instruments or voices stick out? Matthew Scott. Need I say more? 

  • How would you rate the musicians’ technical ability and the energy of their performance? The energy was really good, especially for such a quick run through prior. 

  • Did they seem well prepared for the concert? I think so!

  3.  Which composition did you like best? Why? (e.g., what specifically did you like about the piece itself or the way it was performed?) I adored Ayden Crispe's original song just because it was so different. She as a very unique voice, and I don't think I've ever heard harmonica with guitar! 

  4.  Which composition did you like least? Why? I didn't quite like the "Warrior", by Demi Lovato performance. I think that it didn't really fit into the genre of music that was being played that night, especially because the audio track that was accompanying the soloist was of poor quality.  

  5.  Did any of the compositions trigger an emotional response from you? What were your specific feelings or thoughts in response to the music? I got really happy and bouncy when Lydia Zhang was performing!

  6.  Is this type of concert experience new to you? How do you think that might influence your perceptions of what you heard and observed? This was my third Calliope, but I think that the featured Steinway was a new thing for BBA & for me. I think that the performers were exceptional and really knew what they were doing. Steinway really does it like that. 

  7.  What makes a performance an artistic event? I think that I felt really inspired, and as long as you remember something about the performance, then it wasn't a wasted artistic event. 

 

C.  Specific Points to Consider

  1. Describe what you heard and observed using 3 of the following musical terms, elements, and concepts discussed in class.

  • Genre (symphony, concerto, string quartet, etc.) It was mostly... solo. Everything. A cappella, Solo, and Combos. 

  • Stylistic period (Baroque, Classical, Romantic, etc.) There was... everything. Except for Baroque. No one does that anymore. I heard a lot of Romantic & Contemporary in there. 

  • Mood (emotion conveyed by the music and performers). Mostly happy dappy :)

  • Pitch To what extent does pitch vary throughout the piece? How do changes in pitch reflect changes in mood? There were so many different performances, but I think that each had their shift to accentuate whatever they may have been portraying. 

  • Rhythm (beat, accent, tempo, meter, syncopation) How were the elements of rhythm used to create special or interesting musical effects? I really liked the syncopation with the guzheng pieces—I heard quite a few meter changes. 

  • Tempo (speed) How do changes in tempo effect changes in mood? House of the Rising Sun. Now that had some SHPEED

  • Dynamics (level of sound) Identify changes in dynamics and discuss the effect these changes create. I enjoyed the Kapustin piece—it had a lot of dynamic change in it. 

 

  2.  Using the musical terminology and concepts covered in class, discuss the most interesting musical elements or features of the pieces that were performed. I think that Nocturne Op. 9, No. 2, F. Chopin was the most interesting piece just because I thought that the speed was really quick, which made the whole thing that much more intriguing. I enjoyed the octave jumping because it really paired well with the dynamics and the tonal painting. 

  3.  Compare the pieces from this performance with other compositions you have studied in class, noting similarities and differences. I'd like to compare the Op. 9, No. 2 to "Come out and play", by Billie Eilish. The differences lie in the vocals that are used in Billie's song, and I think that the similarities lie in the suggested dissonances that are used for brief periods. 

  4.  How does this concert compare to the performance(s) you attended previously? I think this concert was SO much better than the last concert... I mean, my favorite part of the last one was the Chiquitita, performed by Matt Scott and Anna Freebs. 

 

 

D.  Outside Research

  1. When was each of the pieces from the performance composed?

Classical Compositions: 

- Prelude in C, by J.S Bach—1722

- Sonetto 47 del Petraca, F. Liszt—1835-1838

- Grande Valse Brillante, by F. Chopin- 1833

- Sonata No. 1 E minor, J. Brahms—1862-1862

- Se tu M'ami, G. Pergolesi—1894

- Sonata Fantasia Mvt. 1, N. Kapustin—1989

 

  1. Why were they written? Some of these were written to profess unrequited love, some of them were written to impress other composers, and a lot of them were commissioned, and a few of them were written just for the heck of it. 

  2. What is each composer’s background? Include the following information

    • Major works

    • Birth and (if applicable) death dates

    • Historical or stylistic period to which the composer belongs

    • The composer’s influence on contemporaries or later musicians. 

 

Here ya go: 

 

J.S Bach:

—Major Works: 

Suite No. 2 in B minor, BWV 1067, Badinerie

Harpsichord concerto, in D Minor, BWV 1059 : 2nd movement

Toccata in D Minor

—Birth & Death:

birth- March 31st, 1685

death- July 28th, 1750

—Historical Period: 

Baroque Era

—Influence: 

He redefined polyphonic music and how we express song form. Look at four part writing! 

 

Franz Liszt: 

—Major Works: 

La Campanella

Piano Sonata in B minor

Hungarian Rhapsody No. 2

—Birth & Death: 

birth: October 22nd, 1811

death: July 31st, 1886

—Historical Period:

 Romantic period

—Influence: 

Liszt had a lot of connection to literature and art works. He really went for the political and cultural aspects of performance and conducting. 

 

Frédéric Chopin:

—Major Works: 

Nocturnes, Op. 9

Fantaise-Impromptu

Piano Concerto No. 1 

—Birth and Death: 

birth: March 1st, 1810

death: October 17th, 1849

—Historical Period: 

Romantic Period

—Influence:

Chopin developed the modern technique and style that we use today. Most of his works were purely for the piano, which added a lot of color and expression to pieces composed. 

 

  1. Performer Trivia

J.S Bach—he lost, not one, but both his parents ༼ つ ͠° ͟ ͟ʖ ͡° ༽つ

Franz Liszt—audiences would be disappointed if he didn't break any piano strings & would fling their panties at him ┌(▀Ĺ̯ ▀-͠ )┐

Frédéric Chopin—he died listening to the polish national anthem. 

 

Step 4

  • Pair and Share Concert Review

1.  Who was your partner? Anna Freebs

2.  Describe their concert going experience. She enjoyed it very much, and was very impressed by the chorus being almost entirely memorized and loved the use of dynamics for the winter concert. 

3.  What was their biggest take away from the performance? That an ensemble could sound like they were one voice.

 
 
Period Projects 

Step 1

  • Choose 1 project (numbers) from each period (letters)

  • Present topics through an authentic artifact of your own creation (3-D model, Video, Power Point, Google Doc, Prezi, Keynote, Creative Writing Narrative, etc.) using supporting materials (quotes, images, audio, etc.)

Note: These can be done as separate documents or housed in a single format

 

PRESENTATION RIGHT HERE :):) 

  

 

Content & Final Reflection 

Step 1

  • How has the music of the Classical and Romantic Periods influenced and inspired contemporary artists?  Provide examples.

I think the biggest thing that I see is the usage of a chorus... there is a melody in songs, and then there's a chorus repetition, and then later, a bridge. Something like that. Many of today's songs are influenced by chords and chordal sequences that have been established since the Classical and Romantic Period. Lookie Adele! 

The music also contains non-western melodies and leaves out romanticism.The Contemporary also introduces new scales as bases for melodies (whole-tone, modes, and chromatic) and chord uses. Some common characteristics, which are not always present and are not only specific to this period, include:

1. Fewer lyrical melodies than other periods.

2. Dissonant Harmonies

3. Complex rhythms

4. Percussiveness

5. Greater use of percussion, brass, and woodwind.

6. Uses synthetic and electronic sounds 

 

Step 2

  • Provide examples of resources/organizations that provide 'classical' music to consumers and patrons on a local level. 

Sage City Symphony is a community orchestra based in Bennington, Vermont, United States, that tackles ambitious works from the traditional repertoire as well as commissioning new works.[1] It was formed in 1972 by its first musical director, noted composer Louis Calabro, who was on the faculty of Bennington College. Sage City Symphony maintains its relationship with the College, relying on the campus for rehearsal and performance space.

The Symphony attracts amateur as well as professional musicians without the requirement of auditions, drawn from Vermont, Massachusetts and New York states. It presents four concerts a year, starting rehearsals in September for a performance featuring a major orchestral work in November. The Symphony restarts rehearsals after the New Year for three concerts presented February through May: a Chamber Concert, Youth Concert and a final Spring concert featuring a significant orchestral work. 

 

Step 3

  • Review the Benchmark Goals you set for yourself in Getting Started: What is it that you hope to know and/or be able to do at the conclusion of the course? 

A.  Comment on your semester achievements in relation to your initial goals. I have gotten a much better understanding on the differences between Classical and Romantic music, which is what I really needed to work on so I could know what I wanted to play. 

B.   How well did you achieve your goal? What goals were met? What goals were not met? I stayed organized to a point... I got a lot of my work done before the due date because I was working on music theory a lot of the time. 

C.  What has been the greatest benefit/most rewarding aspect of your learning experience? Listening to the music on the Norton Website has been my absolute favorite. I just loved the sound quality and the mixing of different audios at the same time. 

D.  How well did you avoid sources of interference to stay on task? Pretty well?? I bought some earphones so I could stay on task. Senioritis did NOT help. 

 

Step 4

  • Review your Unit 1 Self Regulation Inventory

A.  Comment on how you addressed the weaknesses you identified and/or how you overcame challenges in regards to achieving success this semester. I worked hard and enjoyed myself. 

B.  Reassess the 30 true/false statements for the Self Regulation Inventory.  Compare your current ratio to your initial one. They all seem true... still. I had a problem signing in, but that was mostly it. 

C.  How would you approach the process differently if you had another opportunity to learn in this manner? I would have had more peer involvement. 

D.  What have you learned about learning? That it's very difficult to work unmotivated. Which was Unit 7. 

E.  How does what you learned relate to other things you have been learning or have experienced? I enjoy analyzing the music that I play and think of it in relation to the composer's life. 

F.  How has your thinking about your thinking (metacognition) changed? It hasn't :)

 

Step 5

  • Use the following Rubric to guide your responses regarding your semester achievements

Work Habits

A.  Identify areas of strengths. I have perfect class attendance, and I think I work very well independently. 

B.  Identify areas of needed improvement. I need to use the sign-in system more frequently to manage attendance and course data. I get this false sense of security when Julie says hi to me. 

C.  What strategies might you use in the future to overcome these challenges? I mean, I'm graduating soon, so I'm just going to recommend signing in before talking to Julie at all (such a distraction!) ( ᐛ )و

 

Step 6

  • Briefly review the assignments you have submitted for Units 6-9

A.  Comment on the quality of work reflected in your ePortfolio as well as the content of your manilla folder. It's been some of my best. I put a lot of time into those compositions... I always wanted something different (green, anyone?). My manilla folders were empty ᕕ( ᐛ )ᕗ

B.  Did you modify your portfolio approach for the second part of the semester or repeat your approach from the first part? I only used a lot more of my calendar :)

 

Step 7

Answer the following questions regarding the future use of the course material

  • Identify 3 of the most important concepts or skills you learned in this course. I learnt the history and lives of a lot of composers. 

  • Explain why you perceive these concepts or skills to be important. I think it was important because I can better understand the emotion behind a piece of music that I could pick up. 

  • How do you anticipate using these concepts or skills in the future? In trying to give off my take on the music, I will relate to my Music History days :)

 

Step 8

  • Please provide some advice and words of wisdom for students taking this course in the future. DON'T PROCRASTINATE. SET REAL, ATTAINABLE GOALS FOR YOURSELF. AND TRY STICKING TO THEM. Stay patient :)

 

Step 9

  • Please help us sculpt the future of the course by providing feedback, suggestions, etc. related to Unit Content, Listen, Launchpad, Wix, On-Campus, ePortfolio, Work Flow, etc. It worked perfectly :)

  

 

 

HONORS TRACK

Book Review

Step 1

    •    Please submit the following

1.  Title & Author. This is Your Brain On Music, by Daniel J. Levitin. 

2.  Brief Summary of the Reading Material to include 3-5 quotes/passages (including page #). The book goes about explaining where music came from historically, how we develop our tastes and how we use that insight in our life. The book talks about evolution and how music made a connection to speech and how that, in turn, makes connections to our brainsies. Some good passages: "Our comprehension of the world around us begins with specific and individual cases—a person, a tree, a song—and through experiences with the world, these particular objects are almost always dealt with in our brains as members of a category" (Levitin, 146). Another: "Music memory is another aspect of musical expertise. Many of us know someone who remembers all kinds of details that the rest of us can't. This could be a friend who remembers every joke he's ever heard in his life, while some of use can't even retell we've heard that same day" (Levitin, 215). Another: "Cross explicitly acknowledges that what music has become, today, with the influence of time and culture, is not necessarily what it was fifty thousand years ago, nor should we expect it to be. But considering ancient music's character does account for why so many of us are literally moved by rhythm; by almost all accounts the music of our distant ancestors was heavily rhythmic. Rhythm stirs our bodies. Tonality and melody stir our brains" (Levitin, 263). 

3.  Please answer the following

    •    Describe your thoughts, feelings and/or emotional response to the reading. I feel a lot smarter than I did before picking the book up! This book was funnier than I expected, and the usage of anecdotal information was a perfect accompaniment to the more scientific reading. 

    •    What was the most important insight you gained from the reading? Listening to music in the past and in the present moment affects how you process it in the future, and that shapes how you're going to react to it. 

    •    What surprised you the most in the reading? That ear-worms can last for a really, really long time and that they were generally short and melodically memorable, with unique intervals that are interesting for your brain to jump back to. 

    •    What did you already know? I knew the basic physics around the actual movement on sound and how frequency works in collaboration with exterior forces. 

    •    In what ways might you be able to apply the reading material to your musical interests? This book kinda let me let go of what I thought I knew about "practice makes perfect" and shifted it more to "practice makes permanent," which moved me to practice in a more efficient manner that was true to the piece. It doesn't really matter how talented you are (to a point) if you don't practice. Also, books about music are really fun!