Expert answer:Watch music videos and answer questions.
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Surname 1
1.
I come from the world of performing, where you are constantly
getting feedback from the audience. Something that keeps me on
my toes is a saying we have among musicians, “You’re only as
good as your last performance.” I maintain the same mentality
when it comes to teaching. Yes, at the end of the semester, you’ll
fill out a form to give feedback, but that’s too late, and it’s too institutionalized. This is your chance to share your thoughts on the
current semester.
Remember, this class has two parts: the Canvas assignments
and Connect4Education. About half of you have lots of catching
up to do on C4E. If you don’t do the C4E portion, you will fail the
class. If this is news to you, go look up the greensheet on Canvas.
The C4E coursework is important because it introduces some
technical musical language and concepts. It also provides the
more traditional approach to teaching music appreciation.
The Canvas portion was developed because I wanted to compliment the C4E material with some tangential topics that were more
open-ended.
This is an actual assignment that will be graded. I’m hoping to get
thoughtful feedback that I can use to continue to improve on this
course. There’s no music portion, though here are some suggestions for music to listen to while you write.
William Byrd (1543-1623)
Mass for 3 Voices
(Links to an external site.)
Links to an external site.
Surname 2
Johann Sebastian Bach (1685-1750)
Goldberg Variations
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Links to an external site.
Joseph Haydn (1732-1809)
Cello Concerto in C
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Links to an external site.
Wolfgang Amadeus Mozart (1756-1791)
Twinkle, Twinkle Little Star Variations
(Links to an external site.)
Links to an external site.
Johannes Brahms (1833-1897)
Brahms Intermezzo, Op. 118, No. 2 in A major
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Links to an external site.
Surname 3
1.) Share your thoughts on the C4E material. Is the material useful in exploring the vast topic of music appreciation?
2.) Look back at the Canvas assignments. Were the musical selections useful in exploring the vast topic of music appreciation?
Share your thoughts.
3.) Is there some music you’d like to explore? There are a few
more Canvas assignments that can be used to explore different
kinds of music.
4.) Both music and learning can be powerful social activities. One
of the big limitations of this on-line format is that everyone is sitting at their screens individually, and we really miss out on the social potential of an in-person class. You also don’t get to meet
other people taking the class, which, in my opinion, is something
else we give up for the convenience of an online course. I’ve tried
giving extra credit for attending live events with friends. I’d love to
know if you have any ideas on how to refine this online class to allow for more of a personal touch?
5.) Please share any other thoughts.
2.
Composer: Franz Schubert
Surname 4
Song: Der Erlkönig (The Erlking)
Singer: Dietrich Fischer-Deskau
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In this poem, set to music by Franz Schubert, there are 5 characters involved. A narrator, the father, the son, the horse, and the
Erlking. The song is in German, but the video is subtitled.
1.) Copy the text from the video and state the character delivering
the line. I’ve given you the first bit as an example. Underline the
character and italicize the text. If you’re unsure who the characters are, listen to and watch the video a few more times. Note
some of the changes that happen as the singer and pianist switch
roles. Listen to the changes in his facial expression, the tone of
his voice, the sound and texture of the piano. Most of you will
need to listen to this piece several times.
Narrator: Who rides so late, through night and wind? It is a father
with his child. He carries his boy in the crook of his arm. He
clasps him tightly, he keeps him warm.
Father: Son, why are you hiding your face?
Surname 5
2.) What is the Erlking? This poem is full of images and events. I
hope you are able to capture some of those elements in your imagination.
3.) The introduction to the song is solo piano hammering away,
imitating the frantic horseriding. What does the piano do throughout the song to reflect the poem and the drama?
4.) Describe Dietrich Fischer-Deskau’s (the singer) facial expressions as he embodies the different characters: narrator, father,
son, and Erlking.
5.) Tell me about Fischer-Deskau’s expression from 2:59-3:08.
Does it remind you of any characters from a movie?
Extra Credit 1 – up to 2 points:
Sand Animation
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Links to an external site.
6.) Now that you’ve watched the original performance, how does
this visualization of the song compare to your original imagery of
the story? Think about how books have become movies, and consider that whole debate about books vs movie. In this case, what
is gained? What is lost?
Extra Credit 2 – up to 2 points.
Oxford Leider
Surname 6
(Links to an external site.)
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7.) Compared to the original and to the Sand Animation version,
what is gained and what is lost? Do you agree with the order that I
presented these 3 different versions: the original first, followed by
two animated versions? Or maybe you have a different idea?
…
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