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Experiencing Music

Experiencing Music. Chapter 3 Section 1. Quote. “If a man does not keep pace with his companions, perhaps it is because he hears a different drummer.” - Henry David Thoreau Essayist(1817-62)

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Experiencing Music

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  1. Experiencing Music Chapter 3 Section 1

  2. Quote • “If a man does not keep pace with his companions, perhaps it is because he hears a different drummer.” - Henry David Thoreau Essayist(1817-62) • What does this mean? How does this pertain to life and music?

  3. Listening to Music • Our ears are among 5 of the sensory organs through which we experience the world around us. • What are the 5 sensory organs? • Aural- hearing related experience to music

  4. Levels of Listen • We have different levels of listening that we will discuss. • Perceptive, Casual, and Sensuous What senses are being used in this scene?

  5. Levels of Listening • Music sometimes blends into the background, becoming part of the ambient- surrounding noise. • This is also known as “elevator music.” • You usually just casually listen it and even tune it out at times. • This is known as Causal Listening.

  6. Levels of Listening • In other situations, music may command your full attention. • You don’t just hear the music, you listen to it actively. • You become so absorbed in it and yield to its emotional and physical power. • This is known as Sensuous listening. • This is when you get “goose bumps”. • Can you think of a time when you have had that feeling before?

  7. Levels of Listening • For some people, listening can go further than just the sensuous listening. • This level is called perceptive listening. • Perceptive listening- listening to and appreciating a musical work for its full range of technical and expressive properties. • The more fully we understand music, the more apt we are to have a heightened response- a peak experience.

  8. Perceptive Listening • During the peak experience, we are so caught up in music both sensuously and perceptively that we lose ourselves in it. • Time appears to stop and we feel transported to the music. • We call this the aesthetic experience. • Aesthetic- characterized by a heightened sensitivity to the content, form, or emotional impact of an artistic work or event.

  9. Level of Attentiveness • None Causal Sensuous Perceptive Listening ListeningListening • Oblivious <------------------------------------------------------------- Peak Listening • None Awareness; Goose bumps; Analytical; enjoyment strong emotional appreciation for response technical aspects Impact of Music

  10. Listening • Listen to the recording of John Philip Sousa’s “Washington Post March” • For each situation below, place them as (a) casual listener, (b) sensuous listener, or (c) perceptive listener • Situation 1: You are sitting in the reviewing stand at a Fourth of July parade. The crowd around you is talking noisily, and vendors are hawking refreshments. The band is approaching in the distance, and the sounds of the march are faint. • Situation 2: The band arrives at the reviewing stand. The musicians each turn and face you as they play. You can feel the beat of the drums. The brilliance of the woodwinds and high brass slices the air. You feel stirred by the music. • Situation 3: While in class, you are analyzing various musical aspects of the march. You are focusing on the social function of the music.

  11. Listening • Answers to the recording: • Situation 1: casual listening • Situation 2: sensuous listening • Situation 3: perceptive listening • How could you turn any of the situations into a “peak” listening situation? • When you are not aware of other people and there are no distractions.

  12. Bell Ringer 9/27/12 • What are the 3 types of listening in order from least important to most important?

  13. Becoming a Perceptive Listener • When you listen perceptively, you rely on your knowledge of music to understand the music. • These include melody, rhythm, harmony, timbre, texture, and form. • The more we know about these elements of music, the better we can understand the music. • Two additional concepts that will help you become a perceptive listener are scale and interval.

  14. Learning the Scale • Scale- a sequence of tones arranged in rising pitches. • In Western music, most of the scales that we hear are either major or minor. • In composing the “Washington Post March,” for example, Sousa drew upon the tones from a major scale. • Major Scale- a sequence of eight pitches built on the pattern of two whole(w) steps, one half(h) step, three whole steps, and one half step.

  15. W W H W W W H

  16. Solfege Listen to “Do-Re-Mi” by Harry Connick Jr.

  17. Intervals • The way a melody is constructed often influences the way a piece of music affects us. • A melody can move up by step or skip, down by step or skip, or remain the same by repeating the tone. • Interval-the distance in pitch between two tones • To determine the difference in pitch between two tones in staff notation, count both tones, plus the lines and spaces between them.

  18. Intervals

  19. Listening • Listen to these three familiar examples to see if you can name the tune based on the interval of the first two pitches. • Do you know other songs with memorable starting intervals? • How many can you name?

  20. Listening • Example 1: Wedding March (Here comes the Bride) • Example 2: “Over the Rainbow” • Example 3: “Somewhere”

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