This collection is the second of five dealing with the rudiments of music.
Music, Heritage, and Community is about the use of music, presentations, and XR tools to support anti-racist teaching and to engage the community. This resource features interviews with professional musical artists who work with The Rhapsody Project, a Seattle-based community organization, and it also includes interviews with a Northwest Virtual Reality Specialist about the use of of virtual reality (VR) to teach local Black history. A variety of tools, including non-digital organic tools, online conferencing tools, and extended reality (XR) can further support teaching practices to decolonizing classrooms and be used to build community.
Welcome to Music 1300, Music: Its Language History, and Culture. The course has a number of interrelated objectives:
1. To introduce you to works representative of a variety of music traditions.These include the repertoires of Western Europe from the Middle Agesthrough the present; of the United States, including art music, jazz, folk, rock, musical theater; and from at least two non-Western world areas (Africa, Asia, Latin America, the Caribbean, the Middle East, Indian subcontinent).
2. To enable you to speak and write about the features of the music you study,employing vocabulary and concepts of melody, rhythm, harmony, texture, timbre,and form used by musicians.
3. To explore with you the historic, social, and cultural contexts and the role of class, ethnicity, and gender in the creation and performance of music,including practices of improvisation and the implications of oral andnotated transmission.
4. To acquaint you with the sources of musical sounds—instruments and voices fromdifferent cultures, found sounds, electronically generated sounds; basic principlesthat determine pitch and timbre.
5. To examine the influence of technology, mass media, globalization, and transnationalcurrents on the music of today.
The chapters in this reader contain definitions and explanations of musical terms and concepts,short essays on subjects related to music as a creative performing art, biographical sketchesof major figures in music, and historical and cultural background information on music fromdifferent periods and places.
This course begins with the premise that the 1960s mark a great dividing point in the history of 20th century Western musical culture, and explores the ways in which various social and artistic concerns of composers, performers, and listeners have evolved since that decade. It focuses on works by classical composers from around the world. Topics include the impact of rock, as it developed during the 1960s - 70s; the concurrent emergence of post serial, neotonal, minimalist, and new age styles; the globalization of Western musical traditions; the impact of new technologies; and the significance of music video, video games, and other versions of multimedia. The course interweaves discussion of these topics with close study of seminal musical works, evenly distributed across the four decades since 1960; works by MIT composers are included.
In this lesson, created in partnership with the Association for Cultural Equity, students gain a deeper understanding of what life might have been like for a working class person during this period of American history by examining the songs and stories of Nimrod Workman. Born in 1895, Workman began working in the West Virginia coal mines at fourteen years old, and continued for 42 years. By analyzing Workman's songs and personal stories, which were recorded by Alan Lomax in 1983, students gain a first-hand account of one of the most dangerous, violent, and least regulated industries in American history, and discover the relationships between labor, industry, and the government from the 1890s to the end of World War II.
In this lesson, created in partnership with the Association for Cultural Equity, students discover how the banjo and music making more generally among slaves contributed to debates on the ethics of slavery. They listen to slave narratives, examine statistics, and read primary sources to better understand how slavery was conceptualized and lived through in the 18th and 19th centuries. Throughout the lesson, students return to videos created by Alan Lomax of pre-blues banjo player Dink Roberts as a way to imagine what music among slaves in the United States may have sounded like.
In this lesson, created in partnership with the Association for Cultural Equity, students discover the causes, characteristics, and lasting effects of the Second Great Awakening by examining the biographies of historical figures associated within the movement. They also consider how Sacred Harp Singing represents the ideals of the Second Great Awakening by watching Alan Lomax's ethnographic videos of a Sacred Harp performance.
In this lesson, created in partnership with the Association for Cultural Equity, students trace how the French and Indian War led to the Acadians' displacement and their resettlement in Louisiana by examining historical maps and reading excerpts from Henry Wadsworth Longfellow's poem Evangeline: A Tale of Acadie. In addition, students will examine historical documents and ethnographic film clips from the Alan Lomax Collection to consider how music and dance has been a way for the Acadian/Cajun community to preserve their cultural and genetic lineage, even in the most perilous of circumstances.
A collection of PDF fillable worksheets aligned with most common instrumental music method books. These can be attached to an LMS so students can access, complete, and submit electronically.
Music Theory for the 21st–Century Classroom is an openly–licensed online four–semester college music theory textbook. This text differs from other music theory textbooks by focusing less on four–part (SATB) voiceleading and more on relating harmony to the phrase. Also, in traditional music theory textbooks, there is little emphasis on motivic analysis and analysis of melodic units smaller than the phrase. In my opinion, this led to students having difficulty with creating melodies, since the training they are given is typically to write a “melody” in quarter notes in the soprano voice of part writing exercises. When the assignments in those texts ask students to do more than this, the majority of the students struggle to create a melody with continuity and with appropriate placement of harmonies within a phrase because the text had not prepared them to do so.
Music Theory for the 21st–Century Classroom is an openly–licensed online college music theory textbook that is meant to take the student from the basics of reading and writing pitches and rhythms through twelve–tone technique and minimalism over the course of four semesters. This text differs from other music theory textbooks by focusing less on four–part (SATB) voiceleading and more on relating harmony to the phrase. Also, in traditional music theory textbooks, there is little emphasis on motivic analysis and analysis of melodic units smaller than the phrase. Whenever possible, examples from popular music and music from film and musical theater are included to illustrate melodic and harmonic concepts, usually within the context of the phrase. Practice exercises (with answers), homework exercises, and practice tests are included.
This class is an introduction to the analysis of tonal music. Students develop analytical techniques based upon concepts learned in 21M.301-21M.302. Students study rhythm and form, harmony, line and motivic relationships at local and large scale levels of musical structure. Three papers (totaling 20 pages, one to be revised) and one oral presentation are required.
How can we identify the expressive qualities of music through movement? Students demonstrate expressive qualities of music through movement.
Students demonstrate expressive qualities of music through movement.
In this course, students study concepts and practice techniques of improvisation in solo and ensemble contexts. The course examines relationships between improvisation, composition, and performance based in traditional and experimental approaches. Hands-on music making will be complemented by discussion of the aesthetics of improvisation. Weekly lab sessions support work on musical technique. Guest artist / lecturers will engage students through mini-residencies in jazz with film, Indian music, electronic music, and blending improvisation with classic music; and an accompanying concert series will feature these artists in performance. Open by audition to instrumental or vocal performers.
European orchestra musical instruments with classification, and the country and year of the most recent commonly used version of the instrument. A link to a Youtube example is provided.
Students explore first and second endings by singing and moving.
Students identify musical form through movement.
This resource was created by Prairie Compton, in collaboration with Dawn DeTurk, Hannah Blomstedt, and Julie Albrecht, as part of ESU2's Integrating the Arts project. This project is a four year initiative focused on integrating arts into the core curriculum through teacher education, practice, and coaching.
Students learn to identify tension and release within a piece of music.