Category: Music

Hey I want the essay with simple words, alsos my professor summits the assay to IA generator. 
that bellow is the indication please be specific, and also my professor check the citations, so please
For your final project, you will create a lesson for a course like this one, introducing a musical culture not covered in this course. Your lesson should include preparatory readings, a lecture (broadly defined) including specific musical examples, and discussion questions and/or applied activities. If your lesson plan is in the form of a live lecture or performance, it may be delivered live during our scheduled class and final exam times or recorded and submitted on Blackboard. If your lesson is a wiki-style page or other product that can be used asynchronously, please submit it through Blackboard. Your lesson should provide an overview of important aesthetic features, and introduce key social, political, cultural, and historical considerations of this musical culture. All sources referenced must be properly cited in the standard bibliographic format with which you are most familiar.
This project will be completed in four phases. (1) You will submit a 250-word (max) proposal, naming the music you will discuss, outlining relevant social themes, and briefly describing some possible themes for discussion and/or discussion questions. You must also list at least 3 reputable sources you may consult for your project. (2) You will create an initial draft of the project, which should be as complete and polished as possible. If your project will be a recorded performance or lecture, create a detailed outline of the information you will cover and assemble any supporting audiovisual materials you plan to use. There will be a peer review during which you will receive constructive feedback from your classmates. You will also each be expected to give feedback on at least one other student’s project. (3) You will have a chance to revise the project, taking your peers’ feedback into account before delivering the final draft. In the last weeks of the class, you will give a presentation (15 minutes maximum) on your topic. If you choose a live presentation as the form for you final project, you will be graded. If you choose a different format, you will still be expected to present, but it will be treated as one final chance to ask for feedback from your peers. (4) If you gave a graded presentation, you will submit your bibliography through Black Board. If you did not give a graded presentation, you will submit your full project and bibliography through Black Board.
For the proposal, you will receive full credit if it meets all of the criteria listed under (1) in the previous paragraph and seems manageable within the scope of this class. If not, I will give advice, and you will have a chance to revise and resubmit your proposal.
HERE I HAVE AN SLIdDE THAT CAN HELP WITH THAT:
https://docs.google.com/presentation/d/1dlkvlv2aw6lh0m5syX80gXaNulEyHUI1x6J0a7Hlm_k/edit?usp=sharing
PLEASE CAN YOU PUT SOMTHING ABOUT THE SONG LA PERLA FROM RESIDENTE 
and also la vuelta al mundo from residente 
also
quiero bailar from Ivy queen

Explore the role of music in shaping Dominican Diaspora communities around the world. Investigate how Dominican musicians and musical traditions are preserved, adapted and reinterpreted in diaspora contexts, influencing notions of identity and belonging. 
Please find a short outline attached: 
Introduction:
Define the concept of diaspora and its importance in preserving cultural heritage.
Introduce the vibrant musical landscape of the Dominican Republic.
Establish the central thesis: the pivotal role of Dominican music in shaping and sustaining diaspora communities’ identities across the globe. 
Historical Context of Dominican Diaspora:
Outline the historical context of Dominican migration waves, emphasizing significant periods and destinations.
Discuss the socio-political factors driving migration, such as economic opportunities, political unrest, and globalization.
Highlight the formation of diaspora communities and their cultural challenges in maintaining Dominican identity abroad.
The Evolution of Dominican Musical Traditions:
Explore the diverse genres and styles of Dominican music, from merengue and bachata to salsa and reggaeton.
Trace the historical roots of these musical traditions and their evolution over time.
Discuss the cultural significance of Dominican music as a form of expression, resistance, and solidarity within the diaspora
Cultural Preservation:
Examine how Dominican musicians in diaspora communities preserve and transmit traditional musical practices.
Highlight the role of cultural institutions, such as community centers and music schools, in fostering musical heritage.
Discuss the importance of intergenerational transmission of musical knowledge in maintaining cultural continuity.
Adaptation and Reinterpretation in Diaspora Contexts:
Analyze how Dominican musicians abroad adapt traditional musical elements to reflect their diasporic experiences.
Explore the fusion of Dominican music with other genres and cultural influences in diaspora settings.
Discuss the creative ways in which diaspora artists reinterpret Dominican musical traditions to navigate issues of identity and belonging. 
Influencing Notions of Identity and Belonging:
Examine how Dominican music serves as a source of cultural pride and solidarity within diaspora communities.
Discuss its role in fostering a sense of belonging and connection to Dominican heritage among diaspora youth.
Explore how musical performances and events become sites of cultural celebration and community-building in diaspora contexts. 
Conclusion:
Summarize the central arguments presented in the essay.
Reflect on the enduring significance of Dominican music in preserving and reshaping diaspora identities.
Emphasize the potential of music as a powerful tool for cultural resilience, solidarity, and collective empowerment within diaspora communities. 
Additional Notes:
Make sure to incorporate specific examples of Dominican musicians and diaspora communities throughout the essay to illustrate key points effectively. Make sure to provide A+level material and make it personal and touching in your writing style. 

DON’T FORGET TO CHECK OFF AND ATTACH YOUR CHECKLIST! Papers missing the checklist will lose three points.
THE REPORT – Read very carefully!
For this semester you will draw your musical performances from this recorded event: YouTube Symphony Orchestra 2011 Grand Finale.Links to an external site.  The entire performance, including discussions about various performers, lasts almost 2 1/2 hours. For your paper, choose any pieces that you like making sure that you have a total of at least 45 minutes of music. You can find the timings and names of the pieces/composers in the expanded notes. 
The concert report should read much like an in-depth newspaper review, combining factual information with your own critical evaluation and including the following elements:
• name and composition of performing group, location and date of performance (intro paragraph)
• general type of concert: string quartet, vocal recital, symphony, choral concert, etc. Names of pieces and composers (intro paragraph)
• physical description of performing group and performance venue
• general description of compositions and musical style.
• more detailed personal descriptions of your chosen pieces. Include musical information on style, rhythmic and melodic features, solos, etc. This is the most important part of the paper. Make sure this description goes beyond the poetic! If you find a piece that reminds you of soldiers marching, butterflies, etc., that’s OK. But you need to tell me what it is in the music that makes you feel that way. Describe melody, tempo, dynamics, rhythms, texture, etc. Do not use a template approach. (In other words, don’t limit all of your descriptions to the same one or two musical elements, such as tempo.) Remember that this assignment must consist of your personal descriptions of what you heard.
• Many genres of classical music are multi-movement. In other words, they consist of more than one section and each is actually an individual piece. For example, a symphony typically consists of four different movements. Other multi-movement genres include concerto, string quartet, suite, cantata, chamber music, sonata, etc. For such genres, you must provide a separate description for each movement. 
• your overall reaction to and judgement of the concert
• audience response
Your concert report should be 3-4 typewritten pages in length, double-spaced. Top and side margins should be approximately 1” in size with the exception of the left side margin, which may be 1-1/2 “. Use a reasonable font size. Any final paper with substantial errors in grammar and/or spelling will not receive a grade higher than C+. Make sure your paper is well organized with introductory and concluding paragraphs and a clear, logical order to the main body of the work.
Coordinate your knowledge gained in class with your comments on the concert. I don’t expect technical formal analyses of compositions, but show me that you understand general terms and genres as covered in class. For example, if you hear a concerto or symphony, describe it in a way that shows me your understanding of what a concerto or symphony is. Don’t confuse individual movements and separate works.
Do not include any outside information, including info about composers’ lives, etc. This paper is ONLY about what you see and hear. 
I will be happy to look over drafts that are completed at least a week before the due date. Drafts should be considered your best work and a possible final submission, and not merely notes.
_______________
Further assignment info
In this assignment I will be looking for:
– the presence of all required information listed above
– comments that consist of at least five to six complete sentences per composition or movement. Don’t write a list; write a paragraph with complete sentences.
– comments that vary to reflect the individuality of each piece or movement. In other words, don’t use a template approach: “The tempo was….the dynamics were….the instruments were…” etc., for each piece.
– don’t call anything a “song” unless someone is singing.
– This paper must reflect YOUR observations only. Even one sentence of description taken from an outside source constitutes plagiarism and will earn you a grade of “zero.”
In your paper, names of works should be underlined or in italics except for art songs, opera selections, etc., which should be in quotes. Check with your book or with me if you have questions about format.
I will be happy to look over drafts that are completed at least a week before the due date. Drafts should be considered your best work and a possible final submission, and not merely notes.
Sample (good) student musical description
“In the first movement of the sonata you can clearly hear the predominance of the violin over the piano. There are many sudden dynamic switches between piano and forte, and the violin alternates between playing long held-out notes and shorter, more staccato notes, which gives the impression of rising excitement in the music. As the piece continues the violin and piano begin to echo each other’s flowing musical ideas, and their differing timbres are very striking. Next, the excitement continued to build as the piano began sharply accenting its tones, and there was a clear accelerando in the tempo accompanied by successive crescendos and decrescendos in the dynamics. The movement finished with a suddenly loud passage, followed by a quick very soft ending.”
Things to avoid…
Make sure that your comments (and those on the final live concert report) are not overly general, feature inappropriate use of terminology,  or state that something is in a certain style without describing why. The comments below have been extracted from previous years’ assignments, and are examples of the types of overly general or nonsensical remarks to avoid. Hope this helps!
Throughout, the music was monophonic, homophonic, and polyphonic.
The melody and harmony are there, and are distinct and interesting.
This is a female piano piece.
Many dynamics were used, and I like this.
The music was clearly well formed.
The composition clearly contained texture.
The melody of this song is metronome because of how the tempo is.
The melody is in harmony.
The music contains duple and triple harmony.
The ending is unmistakable.
The composer really knows how to use instruments.
I liked the disjunct harmony.
This piece was in retardando style.
The piece had many movements, but they were all the same and very boring.
The piece had a lot of high and low notes, and really impressed me.
The ending made the melody and harmony.
The song was made up of notes, which made it interesting.
The harmony in this piece is tonal.
This piece sounds Italian. (Why?)
This piece sounds French.  ”
The symphony had both loud and soft spots.
LINK TO LIVE SYMPHONY ORCHESTRA FINALE :  https://www.youtube.com/watch?v=LnKJpYGCLsg&ab_channel=YouTubeSymphonyOrchestra2011

Folk music, by its very nature, defies singular definition. The term “folk” acts now almost as an umbrella term, encompassing a vast array of sub-genres – each with its own distinct character. From the introspective intimacy of indie-folk to the experimental spirit of free-folk and the pop-infused melodies of folk-pop, the genre thrives on its inherent flexibility. This study focuses on a specific subgenre ‘Folktronica’ that emerged alongside these sub- genres during the early 1990s folk revival. Folktronica, a subgenre of indie and alternative music that emerged in the early 1990s, juxtaposes traditional folk instrumentation and lyrical themes with electronic music production techniques. This fusion creates a soundscape that bridges the organic and synthetic realms (Reynolds, 2011).
This revival arose amidst a rock-dominated music scene, a stark contrast to the “great boom” of American folk music witnessed in the mid-1950s to mid-1960s (Rosenberg, 1993, pp. 2-3). However, that earlier revival met its demise with Bob Dylan’s controversial electrification at the 1965 Newport Folk Festival. “Electric Dylan” (Wald, 2015) sent shockwaves through the folk community, dividing purists who saw it as a betrayal of the genre’s traditional acoustic roots. Dylan’s political alignment with the New Left further complicated the issue. His embrace of electric instrumentation alienated those who saw folk music as a pillar of authenticity, and further angered the New Left as they had lost the political figure they saw in Dylan through this shift.
Fast forward to the present day, and the landscape and audience reaction has dramatically shifted. Contemporary artists like Bon Iver, Francis and the Lights, The Japanese House,
and Phoebe Bridgers are celebrated for seamlessly blending their folk sensibilities with contemporary genres like punk, pop, electronic music, and even hip-hop (Keenan, 2003). This willingness to experiment and push boundaries exemplifies the enduring spirit of folk music – a genre that thrives on evolution and reinterpretation. Bruno Nettl and Helen Myers, in their seminal work Folk Music in the United States (1976), declare that ‘folk culture is inherently dynamic’, undergoing ‘continuous evolution’. While the influence of the past remains evident, the practices and aesthetics of folk music are subject to ongoing transformation, driven by both the active participants in the tradition and the scholars who study its ever-evolving repertoire.
The focus of this work is to delves into the way contemporary indie musicians within the genre of ‘Folktronica’ utilise extreme processing techniques like the use of harmonisers, formant and pitch shifting within their music. I will be doing so alongside three supported case studies, wherein I have recreated tracks from the stated artists as per the practical output of my project. These artists will be Bon Iver, The Japanese House and Imogen Heap, however I will also be delving into techniques used by other artists within the genre.
Furthermore, I will explore and discuss the ramifications of these techniques and of the ‘Digital Voice’ on the established association with authenticity and emotional expression within music, begging the question – ‘By manipulating the human voice through extreme production processing (I.e formant shifting, pitch shifting, vocoders and harmonisers…) does the act of vocalisation lose its physicality and the emotional resonance traditionally associated with the embodied voice?’. I would like you to discuss how artists like bon Iver, Imogenheap, phoebe bridgers etc keep the human element of the voice despite the production techniques used etc. and more examples

Watch the entire Concert Performance.  You should do some additional research on your own about the works, composers, conductors, performers, ensembles, etc. so that you can write about them in your review. When writing about the works performed, please include some historical background and context. After you have written about the history and facts, if is your turn to be a music critic! What was great about the performance? What worked, what didn’t. How could the performance have been better? How does this particular performance of these works compare to other performances of the same works? (This means you will need to do a little research and watch other performances/versions to compare.) Please use the terminology we learn in this course in this assignment.
Prokofiev’s “Romeo and Juliet” 

Link to the synopsis of Prokofiev’s “Romeo and Juliet”

Romeo & Juliet Synopsis

This assignment will entail a written 3-page review of the concert given below. For each concert, there needs to be a 3-page review on it. so that is 2 separate 3-page papers, one on the first concert and one on the second. I need you to go into depth in talking about like the tone of the concert, the melody, rhythm, harmony, form, texture, style, and use of materials of music for both papers.
Concert 1: https://www.youtube.com/watch?v＝hDXWK3W477w
Concert 2: https://www.youtube.com/watch?v＝Yb6jULNu5ik

Concert: https://www.youtube.com/watch?v=i8KC-ZmwtOQ
For full credit, your essay must fulfill the following requirements:
• the essay must be at least 1,000 words (approximately 4 pages)
• you must utilize concepts and terminology of music
• you must identify a specific technique, style, or formalistic property of the music (identify which piece or pieces you are describing)
• you must accurately connect the music to the period it is from, with specific traits
• demonstrate an understanding of how creative work in music mirrors and shapes human experience
Suggestions for what to include:
• describe the event: date, location, venue
• describe the performers and instruments
• include brief biographical information on the composers and/or performers (cite your sources)
• for one to several specific pieces: write about how the period and style are reflected in what you hear. What are your impressions of the piece, and how do they mesh with or contrast what you have learned?

I need two 3-page papers written as a review on the 2 concerts I will paste the links below. In these separate papers, they need to cover tone, melody, harmony, rhythm, form, texture style, genre, and materials used in the music. To make sure I am clear, I am ordering 6 pages, 3 pages for one concert, and 3 pages for the other.
Concert 1: https://www.youtube.com/watch?v＝hDXWK3W477w
Concert 2: https://www.youtube.com/watch?v＝Yb6jULNu5ik