MUSIC

MUS 175Expanded Listening Exercise #1 (25 points possible)Due: Wednesday, February 10, 2016 by 11:59pm (online submission to D2L)The audio files for this assignment are available on D2L. Responses to thesequestions must betyped. You do not need to retype the questions, simply number your answers as they arelistedbelow. Your responses should address each question thoroughly but will rarely need to exceeda paragraph in length. Answers must be in your own words and should use proper grammarand complete sentences. Submit this assignment online by following the instructions below:Instructions for D2L Submission:Log on to D2LClick on this course (MUS 175 Understanding Music)Click “Assessments”Select “Dropbox”Click on Expanded Listening #1Upload your file (pdf or Microsoft Word document)Press “Submit.”O Pastor Animarum (Part 1 of 2)Hildegard von BingenUsing this chart as a reference for the beginning and end of each phrase, answerthequestions below. You may need to listen to each section individually multiple times aswellas jump back and forth between sections.Phrase Timing Text Text translation1 0:00—0:17 O Pastor animarum et O prima vox O shepherd of our souls, O first voice2 0:17—0:30 per quam omnes creati sumus through which we were all created3 0:30—0:48 nunc tibi, tibi placeat ut digneris May it now please you4 0:48—1:03 nos liberare de miseriis to free us from our miseries5 1:03—end et languoribus nostris and feebleness1.) Describe the contour (the shape of the melodic line) of Phrase 1. Make sure youindicatewhere the movement between intervals is disjunct and conjunt. You must provide awritten response but may also include a diagram. Be as specific as possible!If you planto include a diagram, remember to leave blank space when typing your response.2.) Describe the contour of phrase 2 using the same guidelines as the question above.Howis it different from phrase 1?3.) How do phrases 3, 4 and 5 relate to the first two phrases?4.) Based on your answer to question 3, how would you describe the form ofthis pieceusing letter designations (for example: ABBCA, ABCAB, AABBA, etc.).5.) Describe any differences you hear when comparing phrase 1 to phrase 4. How doanyalterations affect the mood or character of the music?6.) What do you notice about the pitch at the beginning and ending of each phrase?Howdoes this relate to the concept of key/tonality?MUS 1757.) Listen to each syllable of phrase 4 (nos—lib—er—ar—e—de—mis—er—iis). Whichsyllables are presented melismatically? Which are presented syllabicly?8.) Identify a point in the music (provide the timing in minutes and seconds) thatyouregard as emotionally stirring, intense, or satisfying. Describe how Hildegard vonBingen manipulates the musical elements involved to achieve this effect.Ave Maria (Part 2 of 2):Josquin des PrezUsing the recording of Ave Maria on D2L, answer the following questions. Be sureto note thespecific timings (listed in brackets by minuets and seconds) that each questionreferences.9.) Ave Maria (0:00-0:45)Text: Ave Maria gratia plena Dominus tecum virgo serena.Describe the musical texture used to set the words Ave Maria through Dominus tecum.How does this change during the words virgo serena (0:35–45)?10.) Ave Maria (0:45–1:22)Describe the difference in musical texture between 0:45–1:00 and 1:08–1:22. Usingyour own words (no fancy music terms required), what is noteworthy or interestingabout the treatment of rhythm from 1:08–1:22?11.)Ave Maria (1:22–1:38)How many phrases can you indentify in this short passage? Describe how they aresimilar and/or different from each other.12.)Ave Maria (4:00–4:11)Text broken down by syllable: O—Ma—ter—De—iWhat musical texture is used in this short passage? Listen very carefully to the harmonyduring these five syllables and determine which of the five syllables is the mostdissonant.