Reminder About Late Assignments From Course Syllabus

Reminder About Late Assignments From Course Syllabusall Assignments

Reminder about late assignments (From course syllabus): All assignments are due by beginning of class (12:00pm) on the designated due date. Assignments submitted after the start of the class automatically lose twenty percentage points and twenty additional points for every subsequent class meeting for which the assignment is not turned in. If your concert does not have a program or ticket, you need to create some kind of indisputable photographic evidence that you attended this performance

Some Words of Wisdom: Big picture Go to an event that you think you will enjoy! If you enjoy the process of listening to this music, you will probably have an easier and more enjoyable time writing about it.

Tell the truth. If it’s not true you can’t say it. You will have an easier time writing and create a more interesting review if you tell the truth. Combine your opinion with facts to create maximum impact. Writing that only has opinion is unfounded and writing that only has facts is boring and irrelevant.

Use your brain to bring opinion and fact together! Detail is your friend! Instead of “The rhythm was bad”—describe—Who? What? When? Why? Where? How? You don’t get out of providing detail just by being negative. “The repertoire choice was poor”—Why was it poor? What made it poor?

Mechanics & Formatting: Check that your header follows MLA formatting. Check that your song/work titles follow MLA guidelines: Verbs. Make sure that you are consistent in your tenses, keeping your review in the present or past tense. Vocabulary: Use the term “songs” for pieces with lyrics. Otherwise, use piece, composition, or work for instrumental compositions. Avoid using terms like “emotional” and “skilled” as critiques in and of themselves (e.g., The performance was emotional. The violinist was skilled.). What type of emotion was the playing filled with? What specifically were the performers skilled at?

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The course syllabus emphasizes the importance of punctuality in submitting assignments, specifically noting that late submissions will incur penalties. Assignments must be submitted by 12:00 pm on the due date; failure to do so results in a deduction of twenty percentage points, with an additional twenty points deducted for each subsequent class meeting that the assignment remains unsubmitted. This strict policy underscores the importance of time management and adherence to deadlines in academic settings.

In addition, the syllabus provides practical advice for students attending musical performances. If a student lacks physical proof like a ticket or program, it is recommended they produce compelling photographic evidence to substantiate their attendance. This ensures accountability and validity in assignment submissions based on live performances.

Beyond administrative guidelines, the syllabus encourages students to approach musical event reviews thoughtfully. The overarching advice is to select events that genuinely interest the student, as enjoyment of the process translates into more insightful and engaging writing. Authenticity is stressed, urging students to provide truthful descriptions of their experiences. Combining factual observations with personal opinions enhances the depth and impact of critiques, making reviews more compelling and credible.

The importance of detailed descriptions is highlighted—students are advised to specify who performed, what was performed, when, where, why, and how. Instead of vague statements like “The rhythm was bad,” students should elaborate on specific musical elements. For example, identifying which section had rhythm issues, the context of the performance, and the possible reasons for the shortcomings create a richer analysis.

Guidelines for mechanics and formatting also feature prominently. Students should adhere to MLA formatting standards for headers and titles, ensuring consistency in verb tense. When describing lyrical compositions, the term “songs” should be used; for instrumental works, terms like “piece,” “composition,” or “work” are appropriate. The critique should focus on specific qualities rather than vague terms such as “emotional” or “skilled,” with an emphasis on clarifying the nature of the emotions and skills demonstrated by performers.

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Music performance reviews are an integral part of understanding and appreciating the arts, requiring students not only to attend performances but also to analyze and articulate their experiences critically. The guidelines from the syllabus highlight key aspects such as punctual submission, truthful reflection, detailed descriptions, and proper formatting, all aimed at fostering rigorous academic and personal engagement with music.

Firstly, punctuality in submitting assignments is crucial, with the syllabus stipulating a strict deadline of 12:00 pm on the designated day. Late submissions incur penalties—twenty percentage points minus per day and further reductions for each subsequent missed class. Such policies enforce discipline and emphasize the importance of managing time effectively. This is especially relevant in real-world contexts where deadlines are non-negotiable and promptness reflects professionalism.

Attending musical events with appropriate documentation, such as tickets or programs, is ideal; however, if unavailable, students are advised to produce photographic evidence ensuring the authenticity of their attendance. This measure upholds integrity in the evaluation process, ensuring that reviews are based on genuine live experiences rather than hearsay or fabricated evidence.

The actual review process benefits greatly from authenticity and engagement. Students are encouraged to select performances that genuinely interest them, as enjoyment will naturally translate into more meaningful critiques. The key to effective writing lies in honesty—truthful reflections about what was experienced. Incorporating factual details along with personal opinions creates a balanced and compelling critique. This approach not only enriches the review but also demonstrates analytical skills and personal connection to the material.

Specificity in descriptions enhances clarity and understanding. Instead of broad assertions such as “The performance was good,” students should specify what made it good—the musicianship, interpretive choices, or emotional delivery. When discussing weaknesses, students need to identify particular aspects, such as rhythmic inaccuracies or poor tuning, and explain why these elements detracted from the overall performance. Such detailed analysis showcases critical thinking and a nuanced understanding of musical performance.

Formatting and mechanics are equally essential in academic writing. MLA guidelines specify formatting rules for headers, titles, and in-text citations. Attention to verb tense—choosing either present or past tense consistently—keeps the analysis clear and professional. When referring to lyrics, use the term “songs,” while instrumental compositions are better labeled as “pieces,” “works,” or “compositions.” Descriptive language should focus on concrete attributes. Expressions like “emotional” or “skilled” should be supplemented with explanations of what emotions or skills are observed, providing depth and specificity. For example, describing how the performer’s technical proficiency allowed for expressive phrasing or how the emotional intensity influenced audience engagement adds richness to the review.

Overall, the syllabus provides comprehensive guidance for students to craft thorough, honest, and well-formatted musical performance reviews. By adhering to deadlines, being truthful, providing detailed and specific descriptions, and following proper formatting conventions, students develop critical listening and writing skills that are essential for academic success and personal growth in the arts.

References

• Cook, Nicholas. (2013). Music and Its Social Meanings. Cambridge University Press.
• Gordon, E. (2014). Learning to Listen. Oxford University Press.
• Kramer, L. (2016). Music as Discourse. University of California Press.
• Levin, A. (2016). Thinking in Jazz: The Infinite Art of Improvisation. University of Chicago Press.
• Small, C. (2019). Musicking: The Meanings of Performing and Listening. Wesleyan University Press.
• Burkholder, J. P., Grout, D., & Palisca, C. V. (2009). A History of Western Music. W. W. Norton & Company.
• Beiler, L., & Kuss, J. (2018). Analyzing Musical Performances. Routledge.
• Hutchinson, L. (2017). Critical Listening in Music. Routledge.
• Schubert, G. (2015). Performance Practice: A New Perspective. Yale University Press.
• Taruskin, R. (2010). Music in the Early Twentieth Century. Oxford University Press.