Music

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All resources in Music

Open Music Library

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"The Open Music Library is an initiative from Alexander Street to build the world’s largest free index of digital resources for the study of music. Curated by a community of music scholars, students, teachers and librarians, the Open Music Library brings together peer-reviewed journal articles, books and music scores from the world’s digital collections. Using shared ontologies, linked open data and principles of the semantic web, the Open Music Library integrates disparate digital collections and establishes meaningful links between the items they hold"--OML website.

Material Type: Primary Source, Reading

Music Fundamentals 1: Pitch and Major Scales and Keys

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This module addresses the following music fundamentals topics: 1 Introduction to Pitch Notation in Music 2 Clef 3 Introduction to the Piano Keyboard 4 Pitch: Sharp, Flat, and Natural Notes 5 Chromatic and Diatonic Half Steps 6 Octave Designations in Music 7 Key Signature 8 Major Keys and Scales 9 Scale Degrees of the Diatonic Scale 10 Enharmonic Spelling 11 The Circle of Fifths

Material Type: Module

Author: Terry B. Ewell

Music Fundamentals 2: Rhythm and Meter

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This module addresses the following music fundamentals topics: 1 Duration: Note Lengths in Written Music 2 Duration: Rest Length 3 Dots, Ties, and Borrowed Divisions 4 Rhythm 5 Time Signature 6 Introduction to Subdivisions in Simple Meters 7 Simple and Compound Time Signatures 8 Meter in Music 9 Introduction to Subdivisions in Compound Meters 10 Pickup Notes and Measures 11 Tempo

Material Type: Module

Authors: Catherine Schmidt-Jones, Terry B. Ewell

Music Appreciation (Georgia Gwinnett College)

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Authors' Description: "The author of this text has intentionally kept it general in nature in order to create a platform for those who want to expand content into more in depth studies of the mentioned concepts and traditions. I believe that appreciation of any subject comes from open-minded exposure to that topic. With the arts this generally must happen at a moment when the message and meaning of the work resonates naturally with the appreciator. Each instructor of music appreciation brings a unique expertise in differing genres. I encourage you to utilize this text along with musical examples of your choice. The music appreciation specific goals (found in the syllabus) vary between individual classes as the instructors see fit. These goals will be achieved by those who have competently met all of the requirements of the course. For the course that this text accompanies the goals for each student are: To gain basic exposure to the elements of music and their treatment in music To learn historical and cultural signifiers in a diverse body of music • To approach listening to music actively/analytically and to reflect on the experience To understand the factors that contribute to musical style in their own music and music presented in the course To gain knowledge about differing musical aesthetics and trends To become more knowledgeable and sensitive to varied human expression through music If we endeavor together to reach these course goals the successful student will be able to: Describe elements of music that s/he hears, employing correct musical terminology Place music into an appropriate historical and cultural context Listen critically and discuss a wide variety of musical styles Analyze the stylistic features of a diverse group of musical styles Identify nationalistic tendencies in musical expression Identify musical diversity and aspects of our global society"--Galileo Open Learning Materials.

Material Type: Textbook

Authors: Catherine Kilroe-smith, Catherine Kilroe-Smith, Elizabeth Whittenburg Ozment, Georgia Gwinnett College, Irina Escalante-chernova, Irina Escalante-Chernova, Marc Gilley, Rachael Fischer, Todd Mueller

Music: Its Language, History, and Culture

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Welcome to Music 1300, Music: Its Language History, and Culture. The course has a number of interrelated objectives: 1. To introduce you to works representative of a variety of music traditions.These include the repertoires of Western Europe from the Middle Agesthrough the present; of the United States, including art music, jazz, folk, rock, musical theater; and from at least two non-Western world areas (Africa, Asia, Latin America, the Caribbean, the Middle East, Indian subcontinent). 2. To enable you to speak and write about the features of the music you study,employing vocabulary and concepts of melody, rhythm, harmony, texture, timbre,and form used by musicians. 3. To explore with you the historic, social, and cultural contexts and the role of class, ethnicity, and gender in the creation and performance of music,including practices of improvisation and the implications of oral andnotated transmission. 4. To acquaint you with the sources of musical sounds—instruments and voices fromdifferent cultures, found sounds, electronically generated sounds; basic principlesthat determine pitch and timbre. 5. To examine the influence of technology, mass media, globalization, and transnationalcurrents on the music of today. The chapters in this reader contain definitions and explanations of musical terms and concepts,short essays on subjects related to music as a creative performing art, biographical sketchesof major figures in music, and historical and cultural background information on music fromdifferent periods and places.

Material Type: Textbook

Author: Douglas Cohen

Introduction to Music Appreciation

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Introduction to Music Appreciation is about listening, appreciating, understanding, and discussing music. It explores the history, aesthetics, and criticism of Western music for an enhanced understanding of the topic. Chapters include: Musical Elements, Critical Listening, and Course Overview; Early Western Art Music; The Baroque Era; The Classical Era; The Romantic Period; Twentieth-Century Music; Jazz; and Music of the World.

Material Type: Textbook

Authors: American Public University System, Bethanie Hansen, Cathy Silverman, David Whitehouse

MUSC 105 – Music Appreciation

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"The purpose of this course is to help students further enhance their appreciation for music as a creative tool of the imagination, as entertainment, and as a window into who we are as social beings. Part of the course also helps students to advance their listening skills, which leads to a better understand of what music actually contains. For this purpose, the course explores western classical music; American folk, popular and religious music; along with a sampling of music from non-western cultures. Course content is divided into modules. Each module includes text readings, listening examples, videos, and study/review questions. Thought-provoking discussion board topics, written assignments, Power Point presentations, and group projects are also included in some of the modules"--Open Course Library.

Material Type: Full Course, Textbook

Authors: David Such, Spokane Community College

The Jazz Republic

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"The Jazz Republic examines jazz music and the jazz artists who shaped Germany's exposure to this African American art form from 1919 through 1933. Jonathan O. Wipplinger explores the history of jazz in Germany as well as the roles that music, race (especially Blackness), and America played in German culture and follows the debate over jazz through the fourteen years of Germany's first democracy. He explores visiting jazz musicians including the African American Sam Wooding and the white American Paul Whiteman and how their performances were received by German critics and artists. The Jazz Republic also engages with the meaning of jazz in debates over changing gender norms and jazz's status between paradigms of high and low culture. By looking at German translations of Langston Hughes's poetry, as well as Theodor W. Adorno's controversial rejection of jazz in light of racial persecution, Wipplinger examines how jazz came to be part of German cultural production more broadly in both the US and Germany, in the early 1930s. Using a wide array of sources from newspapers, modernist and popular journals, as well as items from the music press, this work intervenes in the debate over the German encounter with jazz by arguing that the music was no mere "symbol" of Weimar's modernism and modernity. Rather than reflecting intra-German and/or European debates, it suggests that jazz and its practitioners, African American, white American, Afro-European, German and otherwise, shaped Weimar culture in a central way"--Publisher's website.

Material Type: Reading

Author: Jonathan O. Wipplinger

The Black Musician and the White City: Race and Music in Chicago, 1900-1967

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"Amy Absher's The Black Musician and the White City tells the story of African American musicians in Chicago during the mid-twentieth century. While depicting the segregated city before World War II, Absher traces the migration of black musicians, both men and women and both classical and vernacular performers, from the American South to Chicago during the 1930s to 1950s. Absher's work diverges from existing studies in three ways: First, she takes the history beyond the study of jazz and blues by examining the significant role that classically trained black musicians played in building the Chicago South Side community. By acknowledging the presence and importance of classical musicians, Absher argues that black migrants in Chicago had diverse education and economic backgrounds but found common cause in the city's music community. Second, Absher brings numerous maps to the history, illustrating the relationship between Chicago's physical lines of segregation and the geography of black music in the city over the years. Third, Absher's use of archival sources is both extensive and original, drawing on manuscript and oral history collections at the Center for Black Music Research in Chicago, Columbia University, Rutgers's Institute of Jazz Studies, and Tulane's Hogan Jazz Archive. By approaching the Chicago black musical community from these previously untapped angles, Absher offers a history that goes beyond the retelling of the achievements of the famous musicians by discussing musicians as a group. In The Black Musician and the White City, black musicians are the leading actors, thinkers, organizers, and critics of their own story"--Publisher's website.

Material Type: Reading

Author: Amy Absher