Live performance is an essential part of Western musical culture, and can be a different experience than the solitary listening practices that we often engage in. While we do not have the opportunity in an online summer class to attend concerts like we do in the regular school year, we will use technology to bring live performances to our virtual classroom.
Select one performance from the list below. All performances are available on a playlist linked to Moodle. Some of the performances include material we have studied, while others are other examples of similar styles. How did the information that you had before the performance, from readings, videos, and listening experiences, shape your expectations of the performance? How did the “live performance” aspect of the experience–watching people making music–affect your reception of the music as an audience member? Respond to these questions in approximately 500 words, typed and double-spaced. You can submit your completed response below.
Options for listening:
Strozzi, “Amor dormiglione”
An example from class material sung live. Note that the singer is both singing and accompanying herself, as would have been likely for performances at the time of composition.
Schubert, Erlkonig
Another example from class performed by one of the most famous Lieder performers of the 20th century, Dietrich Fisher-Dieskau. This video has subtitles for you to follow.
Sumer is icumin in
This is the same piece as from class, although the group has arranged it differently, both in terms of how they use the pes and round and by using instruments. You will want to consider how they have arranged the music.
Orff, Carmina burana
This is a recording of the entire cantata, but it starts with the movement that we studied. If you feel you have enough material feel free to stick to the first movement, or listen to another movement (in addition) if you’d like.
Part, Cantate Domino canticum novum
This performance includes both the piece that we studied and another, but you can stick to just the piece we studied.
Responses will be graded according to the following rubric:
90+: A cogent response to the performance that demonstrates critical reflection; the writer cites specific details from the performances to illustrate their ideas. The writing is mature with sophisticated sentences, effective use of both musical and non-musical language, and observing the conventions of written English.
80-89: A thoughtful and clearly competent response to the performance. The writer cites examples from the performance, although not always with the same detail or clarity as a 9/10 response. The writing is clear if less fluent than a 90+ response, using both musical and non-musical language appropriately and observing the conventions of written English.
70-79: A satisfactory response to the performance, sometimes marginally so, with fewer examples from the performance to illustrate their response. The writer’s ideas are less developed, and the writing style is less effective, but generally uses musical terminology appropriately and observes the conventions of written English.
60-69: The response is unsatisfactory in one or more of the following ways: it responds to the assignment questions illogically, it may lack coherent ideas and sufficient examples, it may reflect an incomplete understanding of the topic. The writing is characterized by at least one of the following: inappropriate use of music terminology; occasional major errors in grammar or usage, or frequent minor errors.
59 and below: The response is weak in multiple areas and presents a simplistic, incoherent, or inappropriate response to the assignment questions; it reflects some significant misunderstanding of the topic. The writing is characterized by at least one of the following: inappropriate use of music terminology; many repeated errors in grammar or usage.
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