In your responses, please answer every question I ask below and explain yourself thoroughly. Also, please do NOT plagiarize any part of your response.

This week in module 2, we discussed several musical works as examples for our new musical materials. Since we are still moving through our beginning musical materials, our discussion will be a bit similar to last week. This week, you will be choose a piece that was featured in Module 2 and discuss the musical material we have connected it with.

1. (6 Points) Prompt: Choose one piece from Module 2 (Listed below). Why does your choice exemplify the musical material we connected it with so well? Can you think of any other musical examples in which that material has the same effect? Which ones and why? They do not have to be “Classical” examples and can be from any genre, since we have not yet built up a broad listening history of Classical music.

Again, don’t worry about having the “wrong” answers, I want you to practice listening and discussing with these materials in mind. If you are confused by the prompt, there is a brief example below.

Make Sure to Address in Your Reponse:

• What piece did you choose? Why did you choose this piece? (Choose from the list below)
• Why is your choice a good example of the musical material it represents and exemplifies?
• Can you think of any other musical works that are also good examples of this musical material?
  • What is another example and why?
    • Your example does not have to be a “Classical” example and can be from any genre, since we have not yet built up a broad listening history of Classical music.

1. (2 Points For Each Response) Respond to TWO other student‘s posts: Make sure to discuss the subject matter in detail and engage the other students with respectful commentary. I want thought out discussion responses that ask new questions of your classmates.

Choose From the List Below (Each composition is followed by their relevant musical material concept):

1. 1. “Kyrie” by Hildegard von Bingen (If you are listening to this work elsewhere, such as YouTube, make sure it is a performance with NO instruments and only a single voice to start.) (Monophonic Musical Texture)
   2. “Battle Hymn of the Republic” by Steffe and Howe. (Homophonic Musical Texture)
   3. “Jesu, Joy of Man’s Desiring” by J.S. Bach. (Polyphonic Musical Texture)
   4. “Greensleeves” Traditional. (Binary Musical Form)
   5. “Simple Gifts (Shaker hymn)” Traditional. (Ternary Musical Form)
   6. Symphony No. 5, Mvmt I by Beethoven. (Fast Tempo)
   7. Aase’s Death by Grieg. (Slow Tempo)
   8. “Ode to Joy” by Beethoven. (Loud Dynamics)
   9. “Sonata Pathétique” by Beethoven. (Soft Dynamics)

Brief Example: In your discussion, you could discuss how “Aase’s Death” by Grieg is a great example of how tempo can effect a musical work. The slow Adagio tempo of “Aase’s Death” allows emotion to saturate the music and without this slow tempo, the work would not be the same or as powerful. Another example of a slow tempo aiding the emotion of the work is Beethoven’s “Moonlight Sonata.” As with Grieg’s “Aase’s Death,” “Moonlight Sonata’s” tempo leaves room for emotional expression by the performer. The sorrow heard in “Moonlight Sonata” would not be as effective with a faster tempo.