Listening Journal | Coursehero Helper

I’m studying for my Music class and don’t understand how to answer this. Can you help me study?

write at least 200 words explaining what you hear for all the artistic musical performances in EACH of the three examples given (i.e. 3 examples x 200 words each = 600 word assignment total).

These journal entries should explain your understanding concerning each piece listened to, so comment on what you hear, how it associates with the video lectures and/or corresponding readings from the assignment text, your impression of what you hear, any of the questions listed to encourage deeper thought you feel appropriate, etc.

visit this site for more guidance:

https://musicedhighlights.wordpress.com/2011/06/09/getting-our-students-to-listen/

Example ONE: The lute becomes one of the most recognizable instruments from the Renaissance, and it continues to be incredibly important throughout the Baroque. Take a look at this image of the variety of common examples, and what characteristic shape they all have in common: https://en.wikipedia.org/wiki/File:Deutsches_Museum_(121282543).jpg (Links to an external site.)
While played somewhat similarly and often compared to a guitar, they actually have different origins, volume, and sound quite different in many other ways as well. As you play the example from the link just below, notice in particular how many strings this lute has. This is a dance piece in binary form (meaning: you hear the first theme twice back-to-back, then the second theme twice back-to-back – outlined as AABB).

https://jcjc.hosted.panopto.com/Panopto/Pages/View…
Example TWO: This piece first illustrates a very important musical concept: that the smaller the instrument or vibrating medium the higher the pitch, and conversely the larger the instrument or vibrating medium the lower the pitch (notice how the consort of recorders from left to right get larger – therefore progressively lower in pitch from left to right). Second this work is not only by one of the most important secular composers of the late Renaissance John Dowland (1562-1626) and considered perhaps the greatest lute player of all time, but it is also one of the two most important dance types of the Renaissance: the pavane and galliard. These two dances were often grouped together into what is known as paired dances, where one begins with the slow duple meter pavane then immediately followed by the faster triple meter galliard.

https://youtu.be/WXkRgUvY6PM

Example THREE: Improvements to the process of printing music made having music in the home more affordable and more easily attained, that in concert with the Renaissance ideal that everyone should be able to perform music made music entertainment in the home a common Renaissance occurrence. The madrigal is the most important secular song form of the Renaissance, and though ‘born’ in Italy around 1520, it quickly found a flourishing home in England where some of the most famous tunes were composed. The madrigal is often considered to be most properly an a cappella work, in this excerpt from an older comprehensive historical program on the lute you hear instruments accompanying various English selections. After the credits from 1:00-2:30 you’ll hear ‘Now is the Month of Maying” by Thomas Morley (1557-1602), then from 3:40-5:45 ‘Of All The Birds That I Do Know’ by John Bartlet (fl.1606-1610) and ending with ‘Ah Robin’ by William Cornysh (1465-1523). I’ll include on the text for the Morley since they all are in English, however do note the use of word painting bird calls in the Bartlet, and after the performance of ‘Ah Robin’, include the answer to this question in your journal observations: how did composers pay tribute to Queen Elizabeth?
“Now is the month of maying, when merry lads are playing. Fa la la la etc.
Each with his bonny lass, upon the greeny grass.,. Fa la…
The Spring, clad all in gladness, doth laugh at Winter’s sadness. Fa la…
And to the bagpipe’s sound, the nymphs tread out their ground. Fa la…
Fie then! why sit we musing, youth’s sweet delight refusing? Fa la…
Say, dainty nymphs, and speak, shall we play barley break?Fa la…”