This is an essay that relates to hip hop music. So fro this essay you have to fi

This is an essay that relates to hip hop music. So fro this essay you have to fi

This is an essay that relates to hip hop music. So fro this essay you have to find a hip hop artist and some of his/her tracks to analyze.and you also have to do some research on this artist. With this topic, you will focus on how a specific artist engages the history of their local city, with ideas informed by Tricia Rose’s ideas about the post-industrial city and related writings. For example, consider these questions: how does the artist reference the local geography or culture of their city? How is the artist’s biography and experiences related to the city? For this analysis, you should focus on no more than 3 tracks by the artist, either from a single album or from three different stages in their career. Its important to go into some detail regarding the lyrics and music, rather than discussing the issues broadly.
Use of Readings: must make substantive use of at least two course readings( which provide below, you can choose 2 of 4 below.). Also, you have to find two peer-reviewed articles by yourself.
You must to read “Tricia Rose” article below to understand the idea mentin the topic.
1500 words double space, 12pts, New time Roman. Have to follow MLA format.

For this assignment, choose one of the listenings from Unit 1 . spotify list: ht

For this assignment, choose one of the listenings from Unit 1 .
spotify list: ht

For this assignment, choose one of the listenings from Unit 1 .
spotify list: https://open.spotify.com/playlist/4ZmBDuBgI8SytwPXv3M6tp?si=65ed381807064697
Your assignment is to create a listening guide for this piece and write a short accompanying text. You may choose the format of your listening guide. For instance, you may decide to create a charts, a graphic, or some other visual representation for your piece. Alternately, you may create a purely textual listening guide. You might also choose to create an audio or video listening guide.
What to do:
1. State which listening you have chosen.
2. Make a listening guide for your chosen piece. This listening guide should be aimed at an audience of high school or undergraduate students; presume that they have no music theory knowledge. Creative approaches to listening guides are encouraged. Do not simply provide a listing of time codes and musical features. Rather, guide your listener through the music with the goal of helping them make their own connections, and perhaps even extensions, about the sounds they are hearing. On which musical elements would you like your listeners to focus and why?
Remember, it is up to you to choose the format of your listening guide.
Charts, graphics, or other visual representations should be about 1/2 to 1 page in length (PDF)
Written listening guides should be about 3/4 to 1 page in length (Word doc, double-spaced).
Audio or video listening guides should be about 1-2 minutes long (mp3, m4a, mp4)
3. Then, write a short accompanying text (250-350 words) for your listening guide. What musical elements does your listening guide foreground? Point the listener to two or three key musical moments and explain how you have represented these in your listening guide.

I’m going to attend an orchestral concert I will send the information regarding

I’m going to attend an orchestral concert I will send the information regarding

I’m going to attend an orchestral concert I will send the information regarding the concert because it is very famous songs. You can easily look up in order to complete the essay as if you were there.
LAPhil: A Century of Film Music
John Williams Spotlight
John Williams guides a journey through cinematic history and the soundtracks that scored
Hollywood’s greatest moments from Vertigo and The Godfatherto Indiana Jones and Batman.
Program
Alfred NEWMAN
20th Century Fox Fanfare
KORNGOLD
Main Title from Captain Blood
Miklós RÓZSA
Prelude (Main Title) from Ben-Hur
WAXMAN
Sunset Boulevard Suite
HERRMANN
Scène d’Amour from Vertigo
Alex NORTH
“Forest Meeting” and “March” from Spartacus
Alfred NEWMAN
Cathy’s Theme from Wuthering Heights (with Ms. Wang)
Maurice JARRE
Suite from Lawrence of Arabia
Intermission
Danny ELFMAN
Main Title from Batman
John WILLIAMS
Excerpts from Close Encounters of the Third Kind
GOLDSMITH
The Hunt from Planet of the Apes
MORRICONE
Main Title from Once Upon a Time in the West (with Ms. Newman)
Thomas NEWMAN
The Night Window from 1917
John WILLIAMS
“Scherzo for Motorcycle and Orchestra” from Indiana Jones
ROTA
Suite from The Godfather
Alan SILVESTRI
Suite from Back to the Future
professors instructions:
THE CONCERT REPORT:
A concert report is required for this class after attendance to a live professional concert. Make sure to plan your concert attendance well in advance so that you can make the scheduled deadlines for your concert report.
THE CONCERT:
You must attend a professional “classical” SYMPHONY ORCHESTRA concert such as the Los Angeles Philharmonic, Los Angeles Opera, Pacific Symphony, Pasadena Symphony, or some other professional large ensemble concert. Small group concerts or chamber music concerts and recitals are NOT appropriate for this assignment. If you are not sure if a concert is suitable, ask me! You MUST attend a concert with an entire orchestra and a conductor. Write an essay about your experience following these guidelines:
GUIDELINES FOR CONCERT REPORTS:
Write an essay about your experience following these guidelines
Typed, free of grammatical and spelling errors
Write 3-5 pages and attach a picture of your ticket stub on a separate page
Briefly describe the performance setting and which types/genres of music were performed. Indicate the historical eras that were represented on the program
List the performing forces and if any verbal remarks that were given. Could you follow the order of the performance?
Did you read about the work(s) before or after the performance? If so, in which source(s)? Site them.
Were there any aspects of the performance that were unfamiliar to you? If so, what? Were there any aspects about the performance that surprised you? Which?
Choose two works from the program and compare and contrast these works with references to specific musical elements. You must choose two separate movements or pieces. Your comparison of individual pieces must form the main discussion in your paper!
State your overall reaction to the concert and additional comments
Please upload the first draft of your 3-5 page paper on CANVAS.
FORMAT REQUIREMENTS:
3-5 typed pages
12-point Times New Roman font
Double-spaced on 8.5 x 11 paper with one-inch margins
A heading should be placed in the top-right corner consisting of your name, course title/number, Dr. Mitchell’s name, and the date (single-spaced).
A creative, interesting title and page numbers
ASSIGNMENT DETAILS
CONTENT:
The report is about YOUR observations of one live concert of at least 90 total minutes of music. Your live concert choice must be approved by Dr. Mitchell before the performance.
A successful report will address these categories:
1. Performance setting and types of music: give the date, place, and name(s) of groups performing. Briefly describe the performance setting. For example, you might include your observations on the look of the performance space, performers’ attire, audience’s attire, etc. and how it affected your concert-viewing experience. Which types/genres of music were performed (symphony, opera, solo, chamber, etc.)? What pieces did you hear? Who were the composers, and what are their historical eras?

2. The main body of your report (about 3 pages long) should focus on accurately applying the knowledge gained in this class to the specific music you heard. Narrow your focus to two movements or short pieces from the concert video, and do one or more of the following:
a. Choose two movements or short pieces from the program contrast/compare these works with references to specific musical elements.
b. Choose two movements or short pieces, and give an overview of their overall character. What types of moods or feelings did they evoke? (refer to specific musical elements in your descriiption)
c. Choose the music composition you liked best, and describe why, using specific musical elements. Choose the music composition you liked least and describe why, using musical elements. Use YOUR ears (not the internet’s ideas). Listen for the basic elements discussed in class, and apply them to the music. Try to highlight what really “stuck out” to you about the musical selections highlighted in this section.

3. Evaluate your concert-viewing experience: What did you enjoy about the performance? What would have improved your experience? How did the performance fit or surprise your expectations? Were there any aspects of the performance that were unfamiliar or surprising to you? If so, what? What was the overall reaction of the audience or people in the audience (if there was one)? Watch it with a family member/friend, and write a little about their concert impressions.
You must do ALL of the above-listed requirements in order to earn full credit. Take a look at the Rubric to make sure that you have

Analysis the music: Listening Guide. Take 3 minutes of a work by a classical Ind

Analysis the music: Listening Guide. Take 3 minutes of a work by a classical Ind

Analysis the music: Listening Guide. Take 3 minutes of a work by a classical Indian composition (perhaps from the Indian music PowerPoint). Write down the times on the left, the changes in the music and what elements you hear on the right. Note the main theme, bridges or changes to themes, instrumentation, rhythm, melody, dynamics, and texture as best you can. Do you hear any meaning in the work? Why did you choose this work? Please include a link and all the performance information: the title, composer, performers, conductor, etc. See the student example posted here, even though it is from a classical Western work. I am interested in how those skills translate to a Indian work that you analyze.

To receive full credit – Please read and follow all directions associated with d

To receive full credit – Please read and follow all directions associated with d

To receive full credit – Please read and follow all directions associated with discussion postings. Watch the tutorial to be sure you understand the process and grading criteria.
This week’s discussion topic is about how music is “sold” or shared (legally and illegally) on the internet. Composers and musicians have traditionally been able to earn income through sales of their recorded works and compositions. File sharing compensation laws and illegal file sharing sites have changed this in the internet age, making it more difficult for artists to be paid for music distributed over the internet. This assignment has you read about the fairly new Music Modernization Act, signed into law in 2018, and also includes jazz composer Maria Schneider’s testimony to Congress about how the large players in data collection have gotten around paying artists for the intellectual content/creative property. Artists and record companies continue making efforts to work with lawmakers to look at current file sharing law.
Research MORE information on this topic to find a variety of viewpoints that will help you form an educated opinion on the topic.
Assigned Readings:
Grammy winning Jazz Composer Maria Schneider testimony to Congress about musicians’ ability to make a living in the new digital era, and creative property issues:
Written transcript of her testimony:
https://docs.house.gov/meetings/JU/JU03/20140313/1…
Instructions
Discussion Grading Rubric
25 points each post
First Post
Topic Understanding 10 points
-shows understanding of topic and makes thoughtful opinion based on research
10 points – Very clear that readings were understood by incorporation into postings
5 points – Somewhat unclear that readings were understood by incorporation into postings
0 points – Postings reflect no evidence of assigned readings
Opinion 10 points
10 points – Opinion is clear and supported with facts/citations from student research.
5 points – Opinion is hard to understand and facts/citations don’t clearly support the opinion
0 points – Opinion is not based on any research, hard to follow and not supported by any facts/citations
Quality of Writing 5 points
5 points – Clear & articulate • Has correct grammar & punctuation • Quotes are properly cited
2 points – Contains several proofing errors • Contains documentation citation errors • Writing is not clear and professional
0 points – Contains multiple mechanical errors • writing is informal and/or inappropriate • Citations are missing

Introduction and resources The Concert Report is our most important assignment o

Introduction and resources
The Concert Report is our most important assignment o

Introduction and resources
The Concert Report is our most important assignment of the entire term. It is our final project; your ability to successfully complete it showcases your skills gained in this course.
Today, we take another bite out of the project by practicing our research skills in the context of music. We began our work with the Lyrica Concert ‘Theoretical Program’ with basic program deciphering and broad ideas for our introduction. Now, we focus on two small parts for the body of our paragraph, which is a music analysis.
I have selected “Mars–The Bringer of War” and ‘Venus– Bringer of Peace” from Holst’s The Planets from our theoretical program. Please watch and listen to each video below at least once for this portion of the assignment.

Your concert report (final project) requires you to incorporate a cited academic source, in addition to citing the concert video you watch. Today, you will practice incorporating music-specific research into your writing. The information below walks you through this process.
Research Gustav Holst and The Planets on the Oxford Music Online Dictionary (more reputable and universally accepted resource than Wikipedia). Read the scholarly article and take note on how it influences what you observed in The Planets. Here are instructions on how to access the database:
Go to PCC’s Shatford Library’s webpage (https://pasadena.edu/library/Links to an external site.).
At the bottom of the page, click the “Databases” icon, which will lead you to an A-Z Database List.
Scroll to “Oxford Music Online” and click the link.
Enter your Lancerpoint username and password.
Search for the composer Gustav Holst and read through some articles- you might want to narrow your search to this particular piece, The Planets.
Is this process not working? Click Accessing PCC Library Database Help
Canvas_Overview.pngWhat to Submit
You will upload a document with the following:
One to two paragraphs including a minimum of one idea from your research which is related to your musical ideas/experiences from listening to ‘Mars’ and ‘Venus’ from Holst’s The Planets. Use your research as either
evidence to backup your own assertions OR
a diving board from which to spring into your own observations
After your paragraph, make a ‘page break’ and give me a citation page in MLA format. It will contain:
Proper citation of the videos you streamed for the concert
Proper citation of your academic source (minimum one)
Grading and Hints
Grading will evaluate
Ability to relate research back to your own thoughts
Ability to provide in-paragraph citation
Proper academic voice and grammar
Citation list with both videos viewed AND your academic source(s)
Remember, academic dishonesty earns you a 0 for any assignment in the course. Please do not plagiarize, have another person do you work, or act in other dishonest ways.
Help with Citations
It is ok to use an ‘automatic generated’ citation program. But, always double check it.
Here are citation resources for this assignment:
How to Cite a webpage in MLA Format(you will need to scroll down the page for this topic)
How to Cite Youtube
In-paragraph citations (scroll down page) in this Citation Help.

Antonio Vivaldi (1678-1741) was one of the most celebrated and influential com

Antonio Vivaldi (1678-1741) was one of the most celebrated and influential com

Antonio Vivaldi (1678-1741) was one of the most celebrated and influential composers in all music history. You will be listening to, and analyzing two different musical works by Antonio Vivaldi (––You will listen to and analyze both violin and orchestra concertos). The first selection is a violin and string orchestra concerto titled “Spring,” from Vivaldi’s Four Seasons. The second selection is a violin and string orchestra concerto titled “Winter,” from Vivaldi’s Four Seasons. Each of these violin and string orchestra concertos from Vivaldi’s Four Seasons is in three movements (–– As written into your coursework readings, a Movement is a musical piece that sounds complete in itself, but is part of a larger composition. There is usually a small pause between each Movement during concerti and symphonies. Most Baroque concertos have three Movements: The first movement is usually fast, the 2nd movement slow, and the last movement being fast again – usually in a dance movement tempo). Listen to each entire concerto (both the Spring and Winter concerti) before making an analysis. Please view the following video and answer some of the following questions:

Please view this Video before attempting your Discussion Board post writings. Please listen to all three movements of this violin and string orchestra concerto titled the “Spring” concerto from Vivaldi’s Four Seasons. (NOTE: The Spring concerto’s 1st movement runs from the video beginning until “3:50” timing mark. The Spring concerto’s 2nd movement runs from the “3:55” –– “6:22” timing mark. The Spring concerto’s 3rd movement runs from the “6:30” –– “10:34” timing mark). See the following Video Link: “https://vimeo.com/440193219”.
Please view this Video before attempting your Discussion Board post writings. Please listen to all three movements of this violin and string orchestra concerto titled the “Winter” concerto (NOTE: The Winter concerto’s 1st movement runs from the “10:50” until “14:14” timing mark. The Winter concerto’s 2nd movement runs from the “14:18” –– “16:01” timing mark. The Winter concerto’s 3rd movement runs from the “16:02” –– “19:20” timing mark). Listen to the entire “Winter” concerto from Vivaldi’s Four Seasons. See the following Video Link: “https://vimeo.com/440193219”.

(Discussion Board Credit: up to “10–Points”. This Discussion Board Post written in Two paragraphs, –– on the single Discussion Board Post submission).
In your analysis, please include all the following:
Instrumentation (––For each concerto). Try to provide an educated guess as to which instruments are featured in this performance.
Tempo (––Provide tempo markings for each of the Concerto’s Movements. You can use vernacular terms, such as fast, or slow, or medium-fast, or you can employ actual musical terms such as Allegro, or Andante. Please refer to your class readings ).
Which instrument(s) are featured on the main melodies (––Be specific ).
Dynamics (––Provide dynamic volume analysis for each of the Concerto’s Movements. You can use vernacular terms, such as loud, soft, or medium soft, or medium-loud, or musical terms such as Forte, Piano, or Pianissimo. Please refer to your class readings ).
Which stylistic period do these concertos belong to? (––e.g.: The Classical Period? The Baroque Period? The Renaissance Period? Provide an educated answer based on your course readings).
Programatic Music (––Programmatic music is music associated with a story, idea, scene, or a pictorial representation. It is usually music that carries extramusical representations) characteristics. Example, do you hear bird chirpings in the short trills during Spring concertos’ 1st movement? Can feel the coldness and frigid quality of the melody during the Winter concertos’ 1st movement? (––Provide specific examples).
Did you like, or did not like what you heard? Why? And or why not? Be specific and provide examples (––Avoid General statements such as, “I find the music boring”, or “the music not interesting”, etc. Again provide specific examples of why, or why not you enjoyed the music. Examples may include connotations and or experiences that the music brings to your mind, or that maybe you have heard this music before or similar music before, etc.)

Please Post One Original Discussion Board writings submission based on Videos assigned for the Asynchronous class meeting days, see syllabi class calendar. Please refer to your Canvas LMS Calendar for all Discussion Board Posts due dates.
Your Original Discussion Board post must be between 350 and 500 words total.
Sydney_Opera_House(1).jpg
NOTE: You will not be able to view other student’s Discussion Board Post writings until you create and submit your original Discussion Board Post. Please do NOT “PLAGIARIZE” (e.g.: copy-and-paste from anywhere) any contents that are not your original writings. (In accordance with the course syllabus, any PLAGIARISM will embody immediate failure in this class, and the student will be expelled from Miami Dade College. Please see your Miami Dade College student handbook: https://www.mdc.edu/rightsandresponsibilities/).

Please see attached chapter. The opening chapter of our main text for this cours

Please see attached chapter.
The opening chapter of our main text for this cours

Please see attached chapter.
The opening chapter of our main text for this course is short but abundant. In it, the author (David Hesmondhalgh) articulates several interrelated abstract questions and ideas about music that he will consider for the duration of the book, and he offers a preview of the analyses and arguments that will follow (in subsequent chapters) in support of his inquiry into those questions. (Soon enough, in your Individual Philosophical Essay assignments, each of you will practice articulating abstract questions and ideas about music that you wish to consider at length through carefully reasoned analysis and argumentation. Your own questions may or may not happen to overlap with the author’s, but either way you can learn from the author’s approach to “philosophizing” about music.)
For our discussion: Consider the many (carefully thought-out) questions that the author articulates in this chapter. Tell us which one of his questions resonates most with your own abstract curiosity about music.
Next, explain how the author sees this particular question fitting into the scope or plan of his overall project. (For example, why does he believe it to be an especially important question? How might addressing this question fit into his overall argument about “why music matters”? What is the author assuming—for instance, about “value” or about “human flourishing”—in raising such a question in the first place? What key vocabulary, concepts, or categories does the author require in order to articulate or to prepare to address this question? Are such terms or concepts already familiar to you?)
Finally: The author writes that his overall argument in the book will constitute a “critical defense” of music. What does he mean by a “critical defense”? (In other words, what does it mean to offer “a defense” of music? Also, how might “a critical defense” be different than, simply, “a defense”?)

– Read and be prepared to discuss the following: Batstone, “A Dance from Iglau:

– Read and be prepared to discuss the following: Batstone, “A Dance from Iglau:

– Read and be prepared to discuss the following: Batstone, “A Dance from Iglau: Gustav Mahler Bohemia, and the Complexities of Austrian Identify”; Barham, “Mahler, Heimat and Randkultur”; and Barham, “‘Made in Germany’: Mahler, Identity and Musicological Imperialism,” in Mathis-Rozenzweig, Gustav Mahler. Be prepared to discuss how these authors (and those whose work they cite) understand social identities such as Austrian, German, Bohemian, Slavic, Habsburg, Hohenzollern, and so on. What do you think of all this? Are social identities fixed? fluid? permeable? How does any of this relate to the various maps shown in our first seminar meeting (some of which are available in our Canvas course space under the tab Files > Maps)? Submit CREs of any two of the three articles.