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One of the most common detriments to jazz musicians is their predisposition to substance abuse as a way to enhance the creative process.

The following passage from the Miles Davis autobiography details some of his experience during the 50s with his first quintet and others. The reading ties together many names and concepts that have been discussed in class, so a name guide will not be included. The passage may contain strong language and mature themes, but provides real insight into the lives of important figures in jazz.
One of the most common detriments to jazz musicians is their predisposition to substance abuse as a way to enhance the creative process. Based on the interactions in the reading, describe the effect substances have had on Miles Davis’ relationships with fellow musicians.
5-7 sentences. Be sure to use content from the reading to support your conclusions

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Lastly, can you draw any connections to musical behaviors in your life or culture?

ou are required to write a 5-page (double-spaced, standard tabs) research paper about a musical culture NOT covered in this course. Areas covered in this course include India, Indonesia, Japan, Middle East, Sub-Saharan Africa, Latin America and the Caribbean, so you can choose any part of the world OTHER than these. Some areas to consider are: Native America, Polynesia, Australia, China, Korea, Ireland, Portugal, Greece, Arctic Circle…. wherever, as long as it’s not covered in our course.
For this assignment, please use Nettl’s 3-part model, addressed in “Unit 1: Introduction” and Chapter 1 in our textbook. Focus on the Sounds, Behaviors and Ideas or Conceptions that govern the sounds and behaviors of the musical genre/activity you choose. It’s best if you stick to a specific genre or ensemble from whatever region you choose for this research paper. For example, if you wanted to write about music from Spain, don’t try to summarize all Spanish music (too broad, too big) but pick a specific genre or activity to focus on, such as Flamenco. Want to research Hawaiian music? Stick to hula or string bands. The point is, focus on one genre or activity from a region and give in-depth details, not just a broad, surface cultural overview.
Sound:
What sounds are you hearing? Talk about the instruments (and voices) of the musical genre/activity. What are they made of and what do they sound like? Are there any rules or restrictions surrounding these instruments, like who can play or when one can play? Can you comment on the texture and form of the music? Texture refers to layers of activity. How many musicians are present and how do they relate to one another? Form refers to how the music is organized and presented,. How long does a performance last and how are the melodies and rhythms arranged. Lastly, what does the music sound like to you, the outsider?
Behaviors:
What activities are associated with this musical genre/activity? What are people doing while this musical activity is happening? Is there a specific purpose or function surrounding this music, or is it just for enjoyment/entertainment? Does this musical activity have any behavioral restrictions regarding religion, age or gender? Is everyone participating communally or are the musicians/singers/dancers presenting music to an audience…. why? Lastly, can you draw any connections to musical behaviors in your life or culture?
Ideas/Conceptions:
What ideas or conceptions govern the sounds and behaviors of your chosen musical genre/activity? Why are people creating this music and why are people participating? Address ideas surrounding history, culture and musical evolution. Most musical genres throughout the world express indigenous and foreign, or outsider aspects. What traits are uniquely regional, or indigenous, and what traits are coming from an outside influence and why? Again, almost all music has a combination of both! How have politics, religion or human migration affected this musical genre/activity? Lastly, can you relate what you learned to your own life experiences?

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In each case, do you think that the cover version was a “rip-off” of the original, or that it was a new treatment of the original?

Discussion Questions for Early Rock ‘n’ Roll Covers:
“Shake, Rattle, and Roll”: original version
Links to an external site. recorded by Big Joe Turner, 1954; cover version
Links to an external site. by Bill Haley and the Comets,
“Mystery Train”: original version
Links to an external site. written and recorded by Junior Parker, 1953; cover version
Links to an external site. by Elvis Presley, 1955
What are the main similarities and differences between the original and cover versions of each of these songs?
Compare and contrast the vocal performances of Big Joe Turner and Bill Haley, and Junior Parker and Elvis Presley in their versions of these songs.
In each case, do you think that the cover version was a “rip-off” of the original, or that it was a new treatment of the original?
In your opinion, which version has a better “feel”? Why?

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I need an outline first.

Write and submit an essay which provides a detailed discussion and musical analysis of- The final scene of Richard Strauss’s Salome. Will send some sources when hired. I need an outline first.

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They will understand how midi sequences are not music but simply information that give characteristics to music, such as instrument choice, rhythmic choice, volume, and more.

Students will write their own MIDI songs online. The project will help students understand how
MIDI organizes music, and how MIDI can offer great flexibility in programming music. They will
understand how MIDI sequences are not music but simply information that give characteristics to
music, such as instrument choice, rhythmic choice, volume, and more.
Read unit 5 and review the power point
Chapter 5 – MIDI.ppt Download Chapter 5 – MIDI.ppt
Complete the Unit Project from the book.
Compose 2 MIDI sequences, export as an Mp3 not .mid (midi file) and upload to canvas
You may use any DAW of your choice,
This project call for two separate compositions . Make sure to have:
two different tempos (bpm)
two different drum beats
have two different sets of 4 instruments in each composition
Name each composition (lastname_title.mp3)
Use Resource 2 if you do not have a DAW
Online Sequencer (Links to an external site.)
To save your work in the online sequencer see below: Use the pulldown menu nest to the cloud upload icon to save and export your file.

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We regard bach as a creative and productive artist, both as a composer and performer, but these job requirements list time-consuming teaching duties and restrictive personal conduct.

Learning Goal: I’m working on a music multi-part question and need an explanation and answer to help me learn.
Read the list of duties Bach was required to fulfill for his job in Leipzig, then answer the questions. Copy and paste the list of questions, then reply below each one so we see the connection between the question and your response. There is not a minimum word count, but you are expected to demonstrate that you studied the PDF and gave thoughtful reflection.
Describe one or two of the listed duties that stand out to you as surprising or unexpected.
List some conditions our society believes someone living now would need to thrive creatively.
We regard Bach as a creative and productive artist, both as a composer and performer, but these job requirements list time-consuming teaching duties and restrictive personal conduct. What can we learn about creativity and the creative process from Bach’s experience and musical output?

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Failure to submit an acceptable thesis (1st installment) by the 8th week will result in an automatic grade of f for the course.

Learning Goal: I’m working on a music writing question and need an explanation and answer to help me learn.
Installment #1 (20 points): Students will submit the introduction of the paper (title, topic and the person related to your topic, why you chose this person and topic, and your thesis in bold print). This introduction may be anywhere from a few sentences to two pages in length, as long as the above requirements are met. Failure to submit an acceptable thesis (1st installment) by the 8th week will result in an automatic grade of F for the course.
Students will submit the introduction of the paper, which should include the title, the musician you chose to focus on, why you chose this person, and your thesis in bold print. This introduction may be anywhere from a few sentences to two pages in length, as long as the above requirements are met.
Below is a list of acceptable musicians to focus on… Louis Armstrong – Trumpet (PREFERED)
Early Jazz/New Orleans
Louis Armstrong -trumpet
Sidney Bechet – clarinet/soprano saxophone
Jelly Roll Morton – piano
Fats Waller – piano
Big Bands/Swing Era
Duke Ellington – piano
Count Basie – piano
Billie Holiday – voice
Lester Young – saxophone
Coleman Hawkins – saxophone
Benny Goodman – clarinet
Lionel Hampton – vibraphone
Be-Bop
Charlie Parker – saxophone
Dizzy Gillespie – trumpet
Thelonious Monk – piano
Ella Fitzgerald – voice
Sonny Rollins – saxophone
Charles Mingus – bass
Art Tatum – piano
Clifford Brown – trumpet
Sarah Vaughan – voice
Bud Powell – piano
Max Roach – drums
Roy Haynes – drums
Cool Jazz
Miles Davis – trumpet
Paul Chambers – bass
Cannonball Adderley – saxophone
Hard Bop
Art Blakey – drums/bandleader
Benny Golson – saxophone
Horace Silver – piano
Freddie Hubbard – trumpet
Lee Morgan – trumpet
Joe Henderson – saxophone
Tony Williams – drums
Elvin Jones – drums
Free Jazz
Ornette Coleman – saxophone
Cecil Taylor -piano
Sun Ra – alien
Anthony Braxton – saxophone
Charlie Haden – bass
Genre-crossing
Miles Davis – trumpet
John Coltrane – saxophone
Herbie Hancock – piano
Wayne Shorter – saxophone
Ron Carter – bass
Chick Corea – piano
Jaco Pastorius – electric bass
Piano Trio Leaders
Bill Evans – piano
Oscar Peterson – piano
Horace Silver – piano
Dave Brubeck – piano
Ahmad Jamal – piano
Kieth Jarrett – piano
Modern players (currently active)
Wynton Marsalis – trumpet
Branford Marsalis – saxophone
Chris Potter – saxophone
Brad Mehldau – piano
Joshua Redman – saxophone
Christian McBride – bass
Brian Blade – drums
Larry Goldings – piano/organ
Roy Hargrove – trumpet
Nicholas Payton – trumpet
Pat Metheny – guitar
John Scofield – guitar
Joe Lovano – saxophone
Michael Brecker – saxophone
Currently thriving
Robert Glasper – piano
Aaron Parks – piano
Ambrose Akinmusire – trumpet
Gilad Hekselman – guitar
Marcus Gilmore – drums
Eric Harland – drums

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Music

Students can assume that they are teaching at a 6th-grade level and the students have a mastery of any previous concepts (ex: if teaching the four major stroke types, assume they understand full rebound strokes and sticking policy).

Learning Goal: I’m working on a music multi-part question and need an explanation and answer to help me learn.
Create a 6-8 minute lesson plan explaining and demonstrating a fundamental snare drum concept from the list below. Students can assume that they are teaching at a 6th-grade level and the students have a mastery of any previous concepts (ex: if teaching the four major stroke types, assume they understand full rebound strokes and sticking policy).
Topics (pick one):
1) Grip/Fulcrum, Full rebound strokes, & Straight sticking policy at 8th and 16th note rhythms, with subdivisions.
2) The four major stroke types (full, down, tap, up) and how these are incorporated into various accent exercises and the “paradiddle” rudiment.
3) First exposure to double strokes, by both “stroking” the doubles out and utilizing rebound, including roll exercises.
Assignment Part 1:
Plan your lesson like you would plan a mini-lesson for a beginner class (6th grade). Assume everyone is “warmed up” and you can jump right into new material and exercises unless you need to reference concepts already mastered.
Utilize the Percussion Tech Snare Drum Packet from Canvas. I attached this below as a pdf file. If using exercises from this PDF, please have printed copies or present them on-screen so we can follow along as if we were your class. If using original materials, please have them printed or on-screen.
Any additional presentation tools are welcome. (slides, videos, etc.) However, these will not improve your grade. You will only be graded on the quality and delivery of your content.
I attached an example of what a lesson plan should look like in a pdf down below

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Learning Goal: I’m working on a music multi-part question and need an explanation and answer to help me learn.

Learning Goal: I’m working on a music multi-part question and need an explanation and answer to help me learn.
Please put your answers below each question and only answer
them using these two articles only. No other resource can be used. No Plagarism!!

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Learning Goal: I’m working on a music discussion question and need an explanatio

Learning Goal: I’m working on a music discussion question and need an explanation and answer to help me learn.
Read the information on Mozart and the Enlightenment below, listen to the two pieces of music in the links, and respond to the discussion prompt.
Link to Mozart and the Enlightenment (Links to an external site.)
Link to Bach’s Toccata and Fugue in D Minor (Links to an external site.)
Link to Mozart’s “Eine Kleine Nachtmusik”–A Little Night Music (Links to an external site.)
Discussion Prompt:
Listen to the two pieces of music above. The first is by Bach and is a Baroque piece (before Enlightenment). The second is by Mozart and is an 18th c. Classical piece.
What differences can you hear in the two works in regard to melody, mood, and instrumentation? (I don’t expect musical expertise here-just a lay person’s)
Of the two composers, which do you find has the greater influence on contemporary popular music and why? Cite an example–e.g. Eminem’s “Lose Yourself” has Bach’s Basso Continuo (continual bass line). Approx. 500 words.
Music Bach-Beethoven.pptx Download Music Bach-Beethoven.pptx
Music Bach-Beethoven.pptx