Essay about Listening Report

21.  Composers began to write polyphonic songs that were not always based on chant, what were they based on instead?

Two composers about this period are: (Hildegregard of Bingen What's more Leonin-ca. ). - those primary 500 quite some time from claiming this period, those pre-dominate kind of music might have been alluded should as Gregorian chant, a monophonic vocal music that might have been sung Previously, church. Those stayed of the time saw a bit by bit evolving unpredictability in the music from serenade comprising of a absolute melodic line will two part composing called organum, Furthermore At last should polyphonic consecrated (religiously based) compositions known as motets (often setting of prayers) Furthermore massenet (settings for specific writings from the custom move fact Mass). A large portion

The Medieval period began in 500 A.D. and ended in 1450 A.D. During this time in particular, the Catholic Church had significant influence on how music was used and created. Sacred music, for example, was most prevalent because of this. Due to the religious nature of this period, music in the church had to adhere to very specific regulations, some of which included prayers such as plainchants or Gregorian chants. A single melody without harmony, or one musical part sung together in unison, is called a Monophonic melody, which was sung primarily by monks. Some time later, around 900 A.D., the using of two melodic lines was permitted by the church, this music was called organum. A low, continuous note called a drone, was sung at the same time as the main melody. The two melodies were often moving in contrasting motion to each other. By the Late-Medieval period, 1100 A.D., the music of the church had shifted from monophonic to more polyphonic, often two or more varying parts.

Listening is a skill that requires active, rather than passive, participation to advance shared understanding and minimise misinterpretation. Lang, Floyd and Beine (2000) describe active listening as a skill that ‘focuses on attending to patients’ clues, ie, utterances and/or behaviors that are not explicit but may have special meaning and suggest unshared ideas, concerns, and expectations’. This essay will discuss how active listening strategies such as analysing and displaying non-verbal body language, clarifying meaning and accuracy, expressing understanding for the speaker’s feelings through empathy and silence contribute to effective communication by encouraging the speaker to convey his or her thoughts, building trust and

There were three choral groups performed, and they sang different songs with different language. The first group used the drum instrument and the third group used piano instrument. The second group didn’t use any instrument.

1 in G Major, BWV 1007. I really loved this piece because the first part, the prelude, is super familiar and it helped to know the music beforehand so I could just follow along with the melody. The other two movements, Sarabande and Gigue, were new to me but just as exciting and pleasant as the prelude. Technique-wise, this entire piece is lovely and Dr. Snyder executed it very well. The notes were very clean and precise, and his use of vibrato and rubato were excellent. Because he was a soloist, it did not matter whether he kept tempo since he did not need to maintain a rhythm with anyone else, unless the music instructs the musician to keep a steady tempo. It is the same with dance, if one is a soloist, that person does not have to worry about matching the movements of another dancer. I also enjoyed that the Sarabande was so peaceful. It was quite flowy, smooth, and overall gentle. I especially loved the intro to this movement, with a grand entrance that figuratively just filled me with anticipation for the rest of the song. It was also just the right amount of time; it was not too long or too short. I also really liked the Gigue. One reason is because it’s different than the prelude and the Sarabande, so it gives variation to this collection. This last movement was very lively and cheerful, a difference compared to the previous two movements. When I listened, I could imagine a village scene with little kids dancing around a maypole, and it just made me

​ A woman named Hildegard of Bingen wrote a Gregorian chant piece called” O Rubor Sanguinis (O Redness of Blood). As the tenth child of her parents, they gave her as a tithe to the church. In turn, she received a great education especially learning to write and note music as well as founded her own convent. Gregorian chants were either composed by men or women, it was a rule of the church that both gender wasn’t allowed to sing together. Men could sing in the church or monasteries while women were more to convents. So, in Hildegard’s O Rubor Sanguinis, you hear only women voices as was the case with most of her music. Listening to the song, I can hear the women’s voices in unison which makes it easy to follow the melody. I can’t clap to find a beat to it which is understandable because it’s sacred music and meant for prayer and meditation. You also hear multiple notes being sung to one syllable or

The oratorio and cantata of the eighteenth century were both linked, unlike opera, to religious themes. Although intended for very different uses and circumstances of performance, all three genres contained musical commalities. Not surprisingly, the three genres would

During the Medieval era, the Roman Empire and the Roman Catholic Church were the economic, political, and social authority in western Europe. The church’s strong political influence also greatly dictated artistic expression including visual arts and music. The church employed all scribers, artists, musicians and commissioned for their artwork to be sublime and sacred. The musical texture during this time was monophonic meaning, there was a single vocal. An example of a monophonic musical sound during this period were Gregorian chants, named after Pope Gregory I.

Achille-Claude Debussy or Claude Debussy was a French 20th century composer known for his prominent role in impressionistic music. Debussy never described his pieces as impressionism as he disliked the term when it was associated with his music. Born in Saint-Germain-en-Laye, he and his family left for Paris in 1867 only to move to Cannes in 1870 to escape the Franco-Prussion war. Claude Debussy learnt to play piano from an Italian violinist by the name Jean Cerutti and later studied under a woman, by the name of Marie Mauté de Fleurville, who claimed to have been a pupil of Frédéric Chopin. In 1872 he was enrolled in the Paris Conservatoire and remained there to develop musically over the next 11 years. Debussy was infamous for his experimental nature breaking

Before Beethoven struck the new note of romance in music, songwriters generally used one of two patterns for their songs: (1) the simple folk-song pattern in which the same melody is repeated for each stanza of the poem, and which is called a strophic song; or (2) the elaborate pattern of arias in the Italian style of singing which is full of runs and trills (McGehee 406).

His music was the first to go against the traditional language of the 19th century (Lockspeiser, n.d.). He didn’t believe you had to follow a procedure to create harmony (Lockspeiser, n.d.). Claude created a “21 note scale” that drowned the sense of tonality (Lockspeiser, n.d.). He rejected that the string instruments had to be mostly lyrical (Lockspeiser, n.d.). He saw that the woodwinds didn’t need to be broadcasted because they create wide variety’s of colour (Lockspeiser, n.d.). In Debussy’s music almost every instrument became a soloist (Lockspeiser, n.d.). Concerning the piano Claude mimicked eighth, quarter, and half notes with illusions of them (Lockspeiser, n.d.). Wagoner said that, “Debussy was a wonderful sunset that had been mistaken for dawn,” (Lockspeiser, n.d.). This means that people often didn’t understand his music and thought it was to complicated so they shunned it when in reality he was testing the so called laws of music and leaving a mark on history. Most of Debussy’s music is associated with Impressionism (Bonds 2015, 345). Impressionism is an artistic movement spread by French painters (Bonds 2015, 345). Debussy brought new sounds out of the piano and orchestra alike (Bonds 2015, 345). He didn’t like the term Impressionism because he claimed he was only trying to make something new (Bonds 2015,

This dissertation examines the Gregorian Chant and its background. The Gregorian Chant is in similar terms church music. It is sung as a single vocal line in free rhythm and a restricted scale. Throughout this dissertation the writer starts by going into detail about the history of the chant and also other background information during this time and ends by giving speculations about the Old Roman Chant. The Gregorian Chant came about as a change to the Roman ecclesiastical song. It was said to be sung “almost universally in medieval western and central Europe”. The Roman Chant was taken by the franks. The essay suggests that the melodies were passed on by word of mouth causing changes, and that the chant might have changed before it ever appeared

Gregorian chant, synonymous to plainchant, was considered the official music of the Catholic Church for centuries. It is believed that Gregorian chant was not composed by the human mind but yet, a higher being as it they are supposed to be melodies that come directly from the Holy Spirit. Gregorian chant derives from Pope Gregory the Great, whom received these melodies and shared this with those of the Catholic faith. Gregorian chant is simply a form of prayer, written in Latin and considered to be the melodies of “true prayer.” Gregorian chant was not recorded; they were transmitted orally. These chants were composed to be performed during liturgy; a church service. Gregorian chant

Beginning at around 476 AD, the medieval era is mostly related to the church as most music from this era is sacred. The style of this era, the Gregorian chant is monophonic only comprising of the plainchant (or the single- line melodies of early church music) in texture only comprising of the plainchant (or the single- line melodies of early church music). It is not until the arrival of the French composers Léonin and Pèrotin in 1100 and 1200 respectively that polyphony would be incorporated into musical worship with the “decoration” of Gregorian chant with one or more simultaneous musical lines, thus transitioning from Gregorian chant to Organum. During this era, most of the music and roles for musicians belonged to the church except for the troubadours of southern France and the trouvères of northern France. The music was responsorial between the mass and the father during church and was