Music Critique Guidelines: Read Chapter 12 Style And Functio ✓ Solved

Music Critique Guidelines1 Read Ch 12 Style And Function Of Music

Read chapters 12 "Style and Function of Music in Society" and 13 "Putting Music into Words" to understand music classification, analytical approaches, and detailed description techniques. Choose one cultivated and one vernacular performance from provided options. Post your choices for approval. Gather detailed observations about each performance, noting specific timings and connecting musical elements to the discussion. Develop a thesis that unites cultivated and vernacular music by highlighting a shared musical element and an opposing one. Support this thesis with three comparison points: presentation style, musical mechanics, and personal response, each including detailed descriptions, specific timings, and musical elements. Write a minimum of 3 1/4 pages, double-spaced, in 12pt font, with 1-inch margins, using complete sentences, proper grammar, and full paragraphs. Include an introduction with your thesis and performance choices, a body of at least three paragraphs, and a conclusion relating back to your thesis. Submit as a Word document titled with your name. No headers or citations are required; use "I" perspective based on your personal impressions. Carefully check for plagiarism before submitting.

Sample Paper For Above instruction

The relationship between cultivated and vernacular music can be complex yet profoundly interconnected. While these two forms of music often seem to differ in purpose, presentation, and style, they both serve as vital expressions of human emotion and cultural identity. In this critique, I will analyze one cultivated performance—Mozart’s Requiem—and one vernacular performance—Kirk Franklin’s Gospel. By examining their presentation, musical mechanics, and personal effects, I aim to illustrate how both types of music, despite their differences, share core elements that deepen our appreciation of musical diversity.

My chosen cultivated performance was Mozart’s Requiem, a choral masterpiece renowned for its solemnity, emotional depth, and technical precision. Conversely, my vernacular choice was Kirk Franklin’s Gospel, a vibrant, soulful expression of faith infused with energetic rhythms and passionate delivery. Both performances elicited distinct but meaningful responses, rooted in their respective presentation styles and musical elements.

First, regarding presentation style, Mozart’s Requiem creates an atmosphere of reverence and introspection. The venue’s acoustics amplified the choir’s clarity and the grandeur of the orchestral arrangement, which was meticulously rehearsed, reflecting high professionalism. The calm, controlled energy of the performers fostered an environment of awe and reflection, encouraging the audience to contemplate themes of mortality and divine intervention. In contrast, Franklin’s Gospel performance exuded vibrant energy and emotional immediacy. Franklin’s charismatic leadership and the lively congregation created an atmosphere of celebration and spiritual unity. The rhythmic handclaps, gospel-style call-and-response, and exuberant vocal expressions energized the space, eliciting feelings of joy and communal spirituality.

Musically, both performances showcased key elements that shaped their character and impact. In Mozart’s Requiem, the use of choral form, dynamic contrasts, and melodic development at approximately 4 minutes into the piece highlighted the composer’s mastery in creating tension and release. The intricate harmonies and contrapuntal textures underscored the solemn mood. Conversely, Franklin’s gospel at 3 minutes 44 seconds was characterized by a driving rhythm, powerful vocal melismas, and the use of call-and-response structures. These elements contributed to a sense of urgency and spiritual uplift. The instrumentation in Mozart’s piece, with strings and choir, created a rich, textured sound, while Franklin’s gospel relied heavily on piano, drums, and a full choir to build energy and momentum.

Both performances affected me personally in profound ways. Mozart’s choral masterpiece evoked feelings of introspection, awe, and reverence. I was struck by the technical precision and the emotional depth conveyed through the music’s dynamics and harmonic tension. It offered a silent contemplation that resonated deeply within. Franklin’s gospel performance stirred feelings of joy, enthusiasm, and spiritual connection. The lively tempo and powerful vocals uplifted my mood and fostered a sense of communal celebration. This contrast illustrates the versatility of music in evoking diverse emotional responses, from solemn reflection to exuberant joy.

Thoroughly analyzing these performances reveals how cultivated and vernacular music, despite their distinct styles and presentation methods, share foundational musical elements such as melody, rhythm, and emotional expressiveness. Both serve as essential avenues for cultural expression and emotional release, demonstrating that appreciation of both forms enriches our understanding of human creativity. Cultivated music’s complexity and vernacular music’s immediacy are complementary; together, they reflect the breadth of human artistic expression, reminding us that music’s power lies in its ability to connect on multiple levels—intellectually, emotionally, and spiritually.

References

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