Music appreciation

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Watch the video on the trombone.

The Beatles: a musical appreciation and analysis by composer, Howard Goodall CBE

Day 9 Watch this video on the percussion instruments. Day 10 Listen to the composer talk about his violin concerto. Watch and listen to his violin concerto. Now read the quote on this page. From what you have seen so far, do you think there are an infinite number of musical possibilities for creating new music? Why or why not?

Read and listen fully to everything in the page. Try to hear what is being described. Day 12 Read and listen fully to the page on Mahler borrowing.

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Read and listen fully to everything. Click on the play buttons on the timeline as well. Write a paragraph about what things Mahler borrowed and how he used them. Give specific examples. You are going to be writing about music. Use these lessons to learn about what to listen for and how to describe it. Read about his use of words and listen to the music. Day 15 Use all the links on the timeline and across the top of the page.

Read and listen. Remember to listen for what they are describing. How do they describe what you are hearing? Day 18 Read the epilogue on Mahler. Listen to the three pieces of music. Use your music terminology and write about the music you heard. What is similar in them all? How do they related musically? Listen to the symphony. Write a description of the symphony. Use your terminology. Day 20 Learn about the oboe.

Learn about the tuba. Day 21 Learn about the piccolo. Learn about the bass clarinet. Learn about keyboards. Then do it for the letter O. Listen to the concerto. While you are listening, write a description of the music. Use your music terminology. Plus, listen to the original tunes and then try to hear them in his music. Also, watch the videos.

MUS - Music Appreciation: AH1 - Colorado Community Colleges Online

Listen for what is being described. Listen to it. Turn up your volume. Use each of the four tabs. While you are listening, write a description of it. Music description rubric. Record your score out of 5. What makes it different from a violin? Learn about the double base.

What makes it different from a cello? Learn about the cor anglais. What makes it different from an oboe. Watch the videos, listen to everything and do the short activities. On the last exhibit, listen to the music played at different speeds and answer the questions. Does it change the meaning? Listen to the fourth movement of this 5th symphony. Just listen. Close your eyes. Turn away from the computer. What do you hear? Then listen to the piece again. What do you think when it changes its sound around ? What do you feel as the drum at the end slows down? There are no right answers.

The only wrong answer is not having a thought.

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What do you think of the symphony? Stop at Write a description of the music. Start at Read through your vocabulary and study your words. When we get to the end of the alphabet, there will be a test. Day 36 Learn about the E Flat Clarinet. Read about the contrabass clarinet. Learn about the contrabassoon. Read about the saxophone.

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  • Day 37 Learn about the bass trombone. Also learn about the xylophone. Do you think when you hear an instrument you could recognize easily if an instrument is from the string, brass, woodwind or percussion family? Use this page to review if necessary. Ask someone to click on the four different instrument family sections on this page. Can you identify the instrument family?

    Record 2 points for each correct answer, 1 point if you get it on the second guess. First you will identify instruments. Second, you will identify music.

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    • Third, you will take a multiple choice music terminology test. The words you will be tested on will come from here. Here is the list of instruments you need to be able to recognize by sound. You will hear them playing different tunes for your test.

      How to Reinforce Healthy Music Habits for Homeschoolers

      Course Overview The Acellus Music Appreciation course provides an overview of the development of western music from Pre-Renaissance to Modern times on the European continent and in America. The focus is on select composers and how the influenced musical styles — and on enjoying our rich heritage of music. This course was developed by the International Academy of Science. Unit 2 - Baroque Music In this unit students gain understanding of Baroque Music, beginning with setting.

      Unit 3 - Classical Music In this unit students learn about music from the Classical Period, beginning with the setting in which the music was composed. Unit 4 - Pre-Romantic Music In this unit students explore the music of the Pre-Romantic Period, beginning with the historical and cultural setting of the music, followed by the musical setting.

      They study the work of Felix Mendelssohn, including his Symphony No. Unit 5 - Early Romantic Music In this unit, students study early Romantic music, beginning with the setting. At first, the class was almost painfully awkward. We would listen, the assistant band director would smile at us, ask what we heard, and we stared back at him, near silent. But he modeled responses for us, pointing out particular phrasings or how instruments might interact inside a piece.

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      He played the song again and we tapped along. He was right. You had to listen closely because it was underneath the music, but that was the point, I realized I was listening closely, more closely than ever before. What were we learning in music appreciation? If the goal was to arm us with background about things like the phrygian scale v.

      What we were learning is that we possessed the powers to observe listen to the world and interpret that world for ourselves. Hindsight, and many years of teaching have allowed me to see what a gift this was, to be exposed to an approach which made space for students to practice their own values. If the goal was to appreciate music, the goal was met.

      We not only appreciated music, we appreciated our own abilities to appreciate music. We were very briefly on that stage. Which brings me to the main thrust of my argument, far too late by standards of convention, but I wanted to tell the story of music appreciation first. A class on the Theory and Practice of Humor meant I could share lots of things which would engender laughter, after which we could ask why exactly we were laughing, the same way my music appreciation teacher could ask why we were bopping along to the music at our desks.

      Students could also bring humor to me, expanding the palate of what we discussed beyond my own preoccupations. Later, they would attempt to write their own humorous pieces, bringing their understanding from observation, to self-generated theory, to execution. Most of the students in that kind of class already love stories and reading, so to set aside some time for me or one of them to read a story out loud in class and spend a few moments afterwards marveling about how it worked its spell on us is as natural as anything.

      It can be somewhat harder in a course like first-year writing. As my pedagogy evolved, however, and I disaggregated some of the component parts of thinking through writing, we found ways to observe and interpret and allow students to make knowledge for themselves and their audiences. When students appreciate how to target an audience, how to craft a message that matters, how to refine their own process for maximum benefit, how one writing experience may translate to the next, unfamiliar one, they are gaining a kind of confidence.

      This was true in music appreciation, where the early semester silence became late semester cacophony as we tried to be first to notice something in a new recording.