Discussion/Response #9: The Shining or Psycho

Writing

MUSIC110

Grossmont College

Question Description

Discussion/Response #9: The Shining or Psycho

  1. Watch the movie clips (either The Shining or Psycho) and listen carefully to the music score.
  2. Pick one part of a scene that stands out to you and briefly (1-2 sentences) explain why this particular moment "caught your ear." Describe is happening in the scene with the characters and describe what is happening in the music (high, low? chaotic, controlled? beautiful, ugly?)
  3. How does the music support the action in the scene? Be specific. This should be the main part of your mini-essay. (You can use this as a starting place for your longer movie essay.)
  4. Cite your sources (Links to an external site.) - including your textbook. Points deducted for not citing references. You may use MLA format. (Links to an external site.)
  5. Response should be one-two paragraphs. Use full sentences, no abbreviations, and check your spelling for full credit.

After posting your response, comment on TWO students' responses. You may ask a question or demonstrate further understanding of the topic.

enderecki - Threnody (Animated Score) (Links to an external site.)

(Use this as your alternative if you don't want to watch The Shining.)

The Shining (3/7) Movie CLIP - All Work and No Play (1980) (Links to an external site.)The Shining: All Work and No Play

The Shining - Bat Scene (Links to an external site.)The Shining: The Bat Scene

WARNING - VIOLENCE & FOUL LANGUAGE

Compositions: Polymorphia & Utrenja - Kanon Paschy

Come Play With Us - The Shining Movie CLIP (1980) (Links to an external site.)The Shining: The Twins

WARNING - BLOOD and IMPLIED VIOLENCE

Composer: Penderecki

Composition: De Natura Sonoris #1

Unformatted Attachment Preview

W. W. Norton & Company, Inc. • www.NortonEbooks.com THE ENJOYMENT OF MUSIC ESSENTIAL LISTENING SECOND EDITION Kristine Forney, Andrew Dell’Antonio and Joseph Machlis SECOND EDITION The Enjoyment of MUSIC ESSENTIAL LISTENING SECOND EDITION The Enjoyment of MUSIC ESSENTIAL LISTENING Kristine Forney Professor of Music California State University, Long Beach Andrew Dell’Antonio Distinguished Teaching Professor of Music The University of Texas at Austin Joseph Machlis Late of Queens College of the City University of New York B W.W. NORTON & COMPANY NEW YORK LONDON W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first began publishing lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of Norton’s publishing program—trade books and college texts—were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Editor: Spencer Richardson-Jones Developmental editor: Susan Gaustad Electronic media editor: Steve Hoge Ancillaries editor: Justin Hoffman Assistant editor: Ariella Foss Marketing manager, music: Amy Parkin Production manager: Andrew Ensor Photo editor: Michael Fodera Permissions editor: Megan Jackson Design: Lissi Sigillo Art director: Rubina Yeh Page layout: Carole Desnoes Indexer: Marilyn Bliss Composition: Jouve North America Manufacturing: Courier, Kendallville The text of this book is composed in Dante with the display set in Gill Sans. Copyright © 2013, 2011, 2008, 2007, 2003, 1999, 1995, 1990, 1984, 1977, 1970, 1963, 1955 by W.W. Norton & Company, Inc. Copyright © 1991, 1983 by Joseph Machlis. All rights reserved. Printed in the United States of America. Library of Congress Cataloging-in-Publication Data. Forney, Kristine. The enjoyment of music/Kristine Forney, Professor of Music, California State University, Long Beach; Andrew Dell’Antonio, Distinguished Teaching Professor of Music, University of Texas at Austin; Joseph Machlis, Late of Queens College of the City University of New York. Essential listening, second edition. pages cm Includes index. ISBN: 978-0-393-91255-5 (pbk.) 1. Music appreciation. I. Dell’Antonio, Andrew. II. Machlis, Joseph, 1906-1998. III. Title. MT90. M23 2013 780—dc23 2012043317 W. W. Norton & Company, Inc., 500 Fifth Avenue, New York, NY 10110-0017 wwnorton.com W. W. Norton & Company Ltd., Castle House, 75/76 Wells Street, London W1T 3QT 1 2 3 4 5 6 7 8 9 0 CONTENTS Thematic Contents Listening Guides xv xx Online Video and iMusic Examples Preface xxi xxv PART 1 Materials of Music 3 PRELUDE 1 Listening to Music Today . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 CHAPTER 1 Melody: Musical Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 The Structure of Melody CHAPTER 2 Rhythm and Meter: Musical Time. . . . . . . . . . . . . . . . . . . . . . . . . . 12 Metrical Patterns / Rhythmic Complexities CHAPTER 3 Harmony: Musical Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 The Organization of Harmony / Consonance and Dissonance CHAPTER 4 The Organization of Musical Sounds. . . . . . . . . . . . . . . . . . . . . . 19 The Chromatic Scale / The Major Scale / The Minor Scale / Diatonic vs. Chromatic / The Major-Minor System CHAPTER 5 Musical Texture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Types of Texture / Contrapuntal Devices v vi CONTENTS CHAPTER 6 Musical Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Structure and Design in Music / The Building Blocks of Form CHAPTER 7 Musical Expression: Tempo and Dynamics . . . . . . . . . . . . . 34 The Pace of Music / Loudness and Softness / Tempo and Dynamics as Elements of Expression CHAPTER 8 Voices and Instrument Families. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Musical Timbre / The Voice as Instrument / The World of Musical Instruments CHAPTER 9 Western Musical Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 String Instruments / Woodwind Instruments / Brass Instruments / Percussion Instruments / Keyboard Instruments CHAPTER 10 Musical Ensembles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Choral Groups / Chamber Ensembles / The Orchestra / Wind, Jazz, and Rock Bands / The Role of the Conductor / The Orchestra in Action / LG 1 Britten: The Young Person’s Guide to the Orchestra CHAPTER 11 Style and Function of Music in Society . . . . . . . . . . . . . . . . 57 The Concept of Style / Musical Styles in History Understanding Historical Style Periods / Understanding Categories of Music 61 PART 2 The Middle Ages and Renaissance 63 PRELUDE 2 Music as Commodity and Social Activity . . . . . . . . . . . . . . . . 64 From Antiquity to the Middle of Things / Markets and Courts / HTTN 1: Opening Doors to the East / Looking Out and Looking In / Musicians in Medieval and Renaissance Society CHAPTER 12 Voice and Worship: Tradition and Individuality in Medieval Chant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Life in the Medieval Cloister / Plainchant: Music of the Church / LG 2 Hildegard of Bingen: Alleluia, O virga mediatrix CONTENTS CHAPTER 13 Singing in Friendship: Musical Collaboration in Early Secular Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Grounds and Rounds / LG 3 Sumer is icumen in / Renaissance Social Singing: The Madrigal / LG 4 Farmer: Fair Phyllis CHAPTER 14 Remember Me: Personalizing the Motet in the Renaissance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Renaissance Sacred Music / LG 5 Josquin: Ave Maria . . . virgo serena CHAPTER 15 Glory Be: Music for the Renaissance Mass . . . . . . . . . . . 85 The Renaissance Mass / The Reformation and Counter-Reformation / LG 6 Palestrina: Pope Marcellus Mass, Gloria A Comparison of Medieval, Renaissance, and Baroque Styles 91 PART 3 The Baroque Era PRELUDE 3 Music as Exploration and Drama 93 .......................... 94 “Baroque” Art and Culture / Main Currents in Baroque Music / HTTN 2: The Rise of the Professional Female Singer CHAPTER 16 Performing Grief: Purcell and Early Opera . . . . . . . . . . 100 The Components of Opera / Early Opera in Italy / Opera in England / LG 7 Purcell: Dido and Aeneas, Act III, Dido’s Lament CHAPTER 17 Musical Sermons: Bach and the Lutheran Cantata. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 The Lutheran Chorale and Cantata / Bach and the Lutheran Cantata / LG 8 Bach: Cantata No. 140, Wachet auf, Nos. 1 and 4 CHAPTER 18 Textures of Worship: Handel and the English Oratorio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 The Oratorio / LG 9 Handel: Messiah, “Rejoice greatly” and “Hallelujah” vii viii CONTENTS CHAPTER 19 Grace and Grandeur: The Baroque Dance Suite . . . 117 Baroque Instruments / The Baroque Suite / LG 10 Handel: Water Music, Alla hornpipe CHAPTER 20 Sounding Spring: Vivaldi and the Baroque Concerto. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 The Baroque Concerto / LG 11 Vivaldi: Spring, from The Four Seasons, I CHAPTER 21 Process as Meaning: Bach and The Art of Fugue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 Keyboard Instruments in the Baroque Era / The Fugue and Its Devices / Bach’s Keyboard Fugues / LG 12 Bach: Contrapunctus I, from The Art of Fugue A Comparison of Baroque and Classical Styles 133 PART 4 Eighteenth-Century Classicism 135 PRELUDE 4 Music as Order and Logic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136 Classicism and Enlightenment Culture / Elements of Classical Style / The Patronage System CHAPTER 22 Musical Conversations: Haydn and Classical Chamber Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141 Expanding Musical Ideas / Classical Forms / The Second Movement: Theme and Variations / LG 13 Haydn: Emperor Quartet, II CHAPTER 23 The Ultimate Instrument: Haydn and the Symphony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 The Classical Orchestra / The Second Movement: A-B-A' / LG 14 Haydn: Symphony No. 100 (Military), II CHAPTER 24 Expanding the Conversation: Mozart, Chamber Music, and Larger Forms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 Mozart’s Eine kleine Nachtmusik / The First Movement: Sonata-Allegro Form / The Third Movement: Minuet-and-Trio Form / LG 15 Mozart: Eine kleine Nachtmusik, I and III CONTENTS CHAPTER 25 Conversation with a Leader: The Classical Concerto. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158 Movements of the Classical Concerto / The Last Movement: Rondo Form / LG 16 Haydn: Trumpet Concerto in E-flat Major, III CHAPTER 26 Personalizing the Conversation: Beethoven and the Classical Sonata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 The Sonata in the Classical Era / LG 17 Beethoven: Moonlight Sonata, I CHAPTER 27 Disrupting the Conversation: Beethoven and the Symphony in Transition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167 Beethoven’s Symphonies / HTTN 3: Beethoven and the Politics of Music / LG 18 Beethoven: Symphony No. 5 in C Minor CHAPTER 28 Making It Real: Mozart and Classical Opera . . . . . . . . 175 Classical Opera / LG 19 Mozart: Don Giovanni, Act I, scene 2 / HTTN 4: Mozart and the World of Opera CHAPTER 29 Mourning a Hero: Mozart and the Requiem. . . . . . . . 182 Sacred Music in the Classical Era / LG 20 Mozart: Dies irae, from Requiem A Comparison of Classical and Romantic Styles 187 PART 5 The Nineteenth Century 189 PRELUDE 5 Music as Passion and Individualism . . . . . . . . . . . . . . . . . . . . . 190 An Age of Revolutions / Romantic Writers and Artists / Romanticism in Music CHAPTER 30 Musical Reading: Schubert and the Early Romantic Lied. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 The Lied / Schubert and the Lied / LG 21 Schubert: Elf king (Erlkönig) CHAPTER 31 Dancing at the Keyboard: Chopin and Romantic Piano Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201 The Nineteenth-Century Piano / The Short Lyric Piano Piece / LG 22 Chopin: Mazurka in B-flat Minor, Op. 24, No. 4 ix x CONTENTS CHAPTER 32 Musical Diaries: Hensel and Programmatic Piano Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207 Women and Music in Nineteenth-Century Society / LG 23 Hensel: September: At the River, from The Year CHAPTER 33 Marketing Music: Foster and Early “Popular” Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212 Music in Early North America: Cultivated and Vernacular / Stephen Foster, Parlor Song, and Minstrelsy / LG 24 Foster: Jeanie with the Light Brown Hair CHAPTER 34 Personal Soundtracks: Berlioz and the “Program Symphony” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216 Romantic Program Music / LG 25 Berlioz: Symphonie fantastique, IV CHAPTER 35 Sounding a Nation: Smetana and the Nationalistic Symphonic Poem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221 Varieties of Orchestral Program Music / Musical Nationalism / LG 26 Smetana: The Moldau / HTTN 5: Music, Folklore, and Nationalism CHAPTER 36 Absolutely Classic: Brahms and the Nineteenth-Century Symphony. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228 Absolute Music in the Romantic Era / LG 27 Brahms: Symphony No. 3 in F Major, III CHAPTER 37 Multimedia Hits: Verdi and Italian Romantic Opera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233 Women and Nineteenth-Century Opera / Verdi and Italian Opera / LG 28 Verdi: Rigoletto, Act III, excerpts CHAPTER 38 Total Art: Wagner and German Romantic Opera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242 Wagner and German Musical Theater / LG 29 Wagner: Die Walküre, Act III, opening and finale CHAPTER 39 Dramatic Devotion: Verdi and Romantic Sacred Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249 Ensemble Vocal Music in the Nineteenth Century / HTTN 6: Verdi and the Power of Music / LG 30 Verdi: Libera me (excerpt), from Requiem CONTENTS CHAPTER 40 Mythical Impressions: Program Music at the End of the Nineteenth Century . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255 Symbolism and Impressionism in Paris / Translating Impressions into Sound / HTTN 7: The Paris World Exhibition of 1889: A Cultural Awakening / LG 31 Debussy: Prelude to “The Afternoon of a Faun” A Comparison of Romantic, Impressionist, and Early Twentieth-Century Styles 261 PART 6 The Twentieth Century and Beyond 263 PRELUDE 6 Music as Modern and Postmodern. . . . . . . . . . . . . . . . . . . . . . . 264 Early Modernism / Features of Early Musical Modernism / The Postmodern Turn CHAPTER 41 Calculated Shock: Stravinsky and Modernist Multimedia. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271 Ballet and Western Music / LG 32 Stravinsky: The Rite of Spring, Part I (excerpts) CHAPTER 42 American Intersections: Jazz and Blues Traditions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278 Ragtime, Blues, and New Orleans Jazz / HTTN 8: The Roots of Jazz / The Jazz Singer Billie Holiday / LG 33 Holiday: Billie’s Blues CHAPTER 43 Modern America: Still and Musical Modernism in the United States . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284 The Harlem Renaissance / LG 34 Still: Suite for Violin and Piano, III CHAPTER 44 Folk Opera? Gershwin and Jazz as “Art” . . . . . . . . . . . . 289 Tin Pan Alley and Popular Music in the Early Twentieth Century / George Gershwin and “Cultivated Jazz” / LG 35 Gershwin: Summertime, from Porgy and Bess xi xii CONTENTS CHAPTER 45 Sounds American: Copland and Musical Nationalism in the United States . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295 Sousa and the Wind Band Tradition / Copland and the American Orchestral Soundscape / LG 36 Copland: Appalachian Spring (excerpts) CHAPTER 46 Also American: Revueltas and Mexican Musical Modernism. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301 Musical Traditions of Mexico / Silvestro Revueltas: “Mestizo Realist” / Music from the Mariachi Tradition / LG 37 Revueltas: Homage to Federico García Lorca, III / HTTN 9: Preserving Mexico’s Musical Traditions CHAPTER 47 Staged Sentiment: Bernstein and American Musical Theater . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307 Musical Theater in North America / Leonard Bernstein and West Side Story / LG 38 Bernstein: West Side Story (excerpts) CHAPTER 48 New Sound Palettes: Mid-Twentieth-Century American Experimentalists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315 Early Experiments / The Music of John Cage / LG 39 Cage: Sonatas and Interludes, V / George Crumb and Avant-Garde Virtuosity / LG 40 Crumb: Caballito negro CHAPTER 49 Returning with Interest: Dylan, Corigliano, and Postmodern Reworkings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321 Bob Dylan as Singer-Songwriter / John Corigliano and the Contemporary Song Cycle / LG 41 Corigliano: Prelude, from Mr. Tambourine Man CHAPTER 50 Neo-Romantic Evocations: Sheng, Higdon, and Program Music into the Twenty-first Century. . . . . . . . . . . . . . . . . . . . . . . . . . 327 Bright Sheng and the Meeting of Musical Cultures / LG 42 Sheng: Prelude, from China Dreams / Jennifer Higdon and Neo-Romantic Ideals / LG 43 Higdon: blue cathedral (excerpt) CHAPTER 51 Less Is More: Pärt and Spiritual Minimalism . . . . . . 334 Minimalism / LG 44 Pärt: Cantate Domino canticum novum CHAPTER 52 Underscoring Meaning: Williams and Music for Film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339 Sound and Film / Star Wars and Beyond / LG 45 Williams: Raiders’ March CONTENTS CHAPTER 53 Reality Shows: Adams and Contemporary Opera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344 John Adams and Post-Minimalism / LG 46 Adams: Dr. Atomic, “At the sight of this” / HTTN 10: Murder, Monsters, and Mayhem in Modern Opera INTERLUDE 1 Music in Sacred Spaces I-1 INTERLUDE 2 Music for Stage and Screen INTERLUDE 3 Music Among Friends INTERLUDE 4 Music in Public Spaces APPENDIX 1 Musical Notation APPENDIX 2 Glossary Credits Index A-21 A-23 A-7 A-1 I-4 I-8 I-12 xiii THEMATIC CONTENTS MUSIC IN SACRED SPACES INTERLUDE 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I-1 CHAPTER 12 Voice and Worship: Tradition and Individuality in Medieval Chant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Hildegard of Bingen: Alleluia, O virga mediatrix CHAPTER 14 Remember Me: Personalizing the Motet in the Renaissance . . . . . . . . . . . . . . . . . . . . . . . . . . . ...
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