Music and the Media, Week One Notes
Music and the Media, Week One Notes MUNM-25100
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This 4 page Class Notes was uploaded by Kaitlyn Gendron on Wednesday February 3, 2016. The Class Notes belongs to MUNM-25100 at Ithaca College taught by Dr. Peter Rothbart in Winter 2016. Since its upload, it has received 29 views. For similar materials see Music and the Media in Music at Ithaca College.
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Date Created: 02/03/16
Music and the Media Notes Week One Aaron Copland – 1 Modern American Classical Composer o 3 Levels of Listening to Music/Perception 1.) Sensuous/Emotional The initial level of scene perception Level of pure sensation and reaction 2.) Associative/Expressive The level of memory, conscious or subconscious Where we associate a stimulus with something (Ex. This is our song Ex. This reminds me of…) 3.) Sheerly Musical/Syntatic Good vs. Bad judgment is formed Reading: Copland Music and Imagination “The Gifted Listener” Pgs. 17- 30 An imaginative mind is essential for music because it is so free and abstract 2 principles for talented listening: o 1.) The ability to open oneself up to musical experience o 2.) The ability to evaluate critically that experience Must be able to see “all around the structural framework of an extended piece of music” Reverence for the classics within music often turns into a discrimination against all other music Reading: Copland What to Listen for in Music Chapters 1-3 Chapter One o To understand music you must listen to it. You cannot learn just by simply reading about it and learning to understand what is on paper. o Copland believes anyone can understand music except for those who cannot recognize a melody. He feels that they are hopeless and can never discover/gather a deeper meaning of music. Chapter Two o There are 3 Planes of Listening: 1.) The Sensuous Plane 2.) The Expressive Plane 3.) The Sheerly Musical Plane o Sensuous- Listening for the pleasure of the musical sound itself o Expressive- Copland believes that all music has an expressive power and a certain meaning behind the notes constitutes what the piece is about and what the piece is saying. You should not have to connect music to anything definite. It does not always symbolize or represent something. o Sheerly Musical- Listening to elements of the music is what defines it as being sheerly musical. To listen for pleasure. Rhythms, harmonies, tone colors, staccatos are all examples of musical elements that make pieces appeal to the ear, and make us enjoy music for the purpose of being ‘sheerly musical’ Chapter Three o Composing isn’t about feeling inspired persay, it is more of whether or not the composer feels like composing. It is second nature to them- they do not need to be specifically inspired. o Every composer must start with a musical idea- A theme that comes to them. Eg. An accompanimental figure Eg. A purely rhythmic idea o Sees the rise and fall of a melodic, written musical line sometimes changes it just for the view of the line versus just the conceptual melody persay o Must change the theme into something with meaning by changing dynamics or rhythm to give it a mood o Arguably the less interesting and definite a theme is the more interesting they can become (through layering) o Composers must decide which realm of music their piece would be best for (ex. Opera, String Quartet, Song, Symphony 3 Types of Composers in Musical History 1.) Spontaneously inspired composer- Ex. Franz Schubert o Music simply flows out of them, can’t get to paper fast enough 2.) Constructive Type- Ex. Beethoven o Begins with a theme and works over the theme for some time. o Strives for perfection o Most composers fall into this category 3.) Traditional Type- Ex. Bach, Palestrina o Creating music in a well-known, and accepted way and doing it better than anyone has done before. o Begins with a pattern vs. a theme (4 Lesser Accepted Type) Pioneer Type- Ex. Debussy o Opposite of traditionalist clearly oppose conventional solutions of musical problems -Schubert created song form almost singlehandedly -Bach and Palestrina improved upon what had been done before them Reading: David Manning White and Richard Averson eds. Sight, Sound, and Society “Communication and the Creative Process” Pgs 87-91 The basis of communication in the Cinema is emotion(al) One must allow themselves to be succeptable to the film itself- not harden themselves so they cannot appreciate what the film’s goal is While appreciating a film during its projection intellect plays a much smaller part than emotions. Emotional components of a film often do not respond readily to analysis Reading: Media Reader Shirley Biagi, ed., “Trivializing America: Entertainment” Pgs 17-19 People are seeking entertainment constantly (Eg. TV, Radio) not to reward themselves after a long day of work most often it is out of sheer boredom Since citizens consume so much entertainment everyday we are desensitized to many visuals and concepts so it takes much more to shock us.
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