ln wrlLlng your essay, Lhe ooly Lhlng you really need Lo do ls fulflll Lhe marklng crlLerla. LeL's look closely aL whaL Lhe crlLerla says. 1be stoJeot evolootes moslc by tbotooqbly Jecoosttoctloq tbe tepettolte, ooJ Jetetmloloq tbe moolpolotloo of, ooJ telotloosblps betweeo, lJeotlfleJ moslcol elemeots ooJ composltloool Jevlces, commoolcotloq JetolleJ ooJ sobstootloteJ joJqmeots oboot bow tbese telote to cootext ooJ qeote ooJ tbe exptesseJ style.
1haL's a blL wordy lsn'L lL? SomeLlmes educaLlonal language ls a blL more compllcaLed Lhan lL needs Lo be. LeL's Lry and slmpllfy lL.
1he Lwo mosL lmporLanL words here are deconsLrucLlon and evaluaLlon, ln facL, LhaL's Lhe only Lwo Lhlngs requlred of your essay. ?ou need Lo deconsLrucL Lhe reperLolre and Lhen evaluaLed lL.
1o uLCCnS18uC1 means Lo ldenLlfy: muslcal elemenLs and how Lhey've been used by Lhe arLlsL (plLch, rhyLhm, Llmbre eLc) composlLlonal devlces (repeLlLlon, sequence, lnverslon, randomness, serlallsm, eLc)
?ou should also ldenLlfy lf/how Lhese Lwo Lhlngs relaLe Lo each oLher (for lnsLance, maybe each Llme Lhe muslc repeaLs Lhe arLlsL plays more sofLly?)
1o LvALuA1L means Lo make [udgmenLs abouL how everyLhlng above relaLes Lo: 1he songs conLexL (Llme/place/hlsLory/producLlon values eLc) 1he songs genre (pop, rock eLc) 1he songs or composers sLyle (fun, sexy, eplc, sllly, carefree, lnLense eLc)
uLCCnS18uC1lCn (uon'L [usL llsLen. llsLen")
usually when we llsLen Lo muslc, we llsLen posslvely. ln oLher words, we're [usL leLLlng Lhe muslc soak ln slowly Lhe more ofLen we hear lL. We're noL llsLenlng for anyLhlng ln parLlcular, [usL en[oylng lL. 1haL's flne, buL lL won'L help you wrlLe an essay. ln order Lo deconsLrucL Lhe muslc, you need Lo llsLen octlvely. 1haL means you need Lo know whaL you're looklng for before you begln llsLenlng.
A good meLhod ls Lo plck one muslcal elemenL (plLch for lnsLance) and llsLen Lo Lhe enLlre song focuslng on [usL LhaL. 1hen llsLen agaln focuslng on a dlfferenL muslcal elemenL. Make a llsL of everyLhlng you noLlce. 8y Lhe Llme you've wrlLLen noLes on all Lhe elemenLs, you wlll have llsLened Lo Lhe muslc heaps of Llmes and wlll have hopefully sLarLed Lo form more complex oplnlons. 1hese oplnlons wlll be Lhe basls for your evaluaLlons.
unforLunaLely, a llsL of observaLlons abouL Lhe muslcal elemenLs lsn'L an essay. uon'L fall lnLo Lhe Lrap of slmply maklng llsLs of muslcal facLs. Lg: 1he key ls C, Lhe melody noLes are from C ma[or, lL ls ln 4/4, 1he Lempo ls 130bpm. unless you explaln why Lhose Lhlngs are slgnlflcanL, why Lhey conLrlbuLe Lo Lhe arLlsL's vlslon or Lhe llsLener's experlence, Lhey are meanlngless facLs.
LvALuA1lCn (llnd an angle)
1o evaluaLe effecLlvely, you need an ooqle, [usL llke a [ournallsL. ?ou need Lo have oplnlons and be able Lo [usLlfy Lhem. Pere's an example of a raw oplnlon.
1be botmoolc sttoctote lo 1oke Me Oot by ltooz letJloooJ sbows mote complexlty tboo pook ot qtooqe
1hls sLaLemenL mlghL be Lrue, buL why? Where's Lhe evldence? WlLhouL ldenLlfylng muslcal elemenLs, composlLlonal devlces and Lhelr relaLlonshlps, Lhls oplnlon carrles no welghL. LeL's Lry agaln.
1he followlng excerpL from Lhe lranz lerdlnand exemplar paper (avallable on Lhe MlC webslLe) shows Lhe same oplnlon buL ln Lhls case lL's been properly fleshed ouL and [usLlfled wlLh evldence:
notmoolcolly tbe sooq (1oke me oot) stoys lo tbe key of m, wblcb ls ooe tbloq tbot tles tbe two bolves of tbe sooq toqetbet. All tbe cbotJs ote pottlol ttloJs socb os m, u ooJ C (see llqote #1) bowevet some of tbem ote slosb cbotJs wltb Jlffeteot boss ootes socb os m/A ooJ u/8 lo tbe fltst vetse (0.07-0.JJ). 1be A mojot cbotJs lo tbe ltecbotos Joot belooq lo tbe key bot wbeo qtoopeJ wltb m ooJ C fotm o comblootloo of cbotJs tbot ote polte commoo lo tock. l sboolJ meotloo bowevet tbot m/A (A, , C) coolJ be lotetpteteJ os Am7, ooJ tbot u/8 (8, u, A) coolJ be lotetpteteJ os 8m7. 8ot most cbotts sbow tbem os slosb cbotJs, wblcb ptobobly teflects tbe slmplet opptoocb of mooy qoltotlsts. nowevet yoo oome tbem, tbe woy tbose cbotJs ote volceJ betweeo tbe losttomeots ls o llttle mote cteotlve. ocb qoltot (locloJloq tbe boss) ls ployloq sloqle ootes wblcb bleoJ toqetbet to cteote wlJet cbotJ volcloqs tbot oo sloqle qoltot coolJ teolly ploy oo lts owo (see flqote #2). 1bls coo ptobobly be beotJ best lo tbe fltst vetse (bots 5 to 20) wltb blq leops . clevetly tbooqbt oot qoltot potts llke tbls ote Jefloltely o step beyooJ wbot yooJ ootmolly beot lo look ot Ctooqe.
!"#$%& () - 1ake me ouL chords charL excerpL (based on chords from www.ulLlmaLegulLar.com and aural LranscrlpLlon)
ln wrlLlng an essay, you may be worrled abouL saylng someLhlng and belng wrong. 1he Lhlng ls, belng rlghL or wrong ls noL as lmporLanL as [usLlfylng your oplnlon. Muslc ls sub[ecLlve (as you can Lell from my example above), ofLen Lhere ls no such Lhlng as rlghL or wrong. So argue away Lo your hearL's conLenL, as long as you can back lL up.
8LClnnlnC MluuLL Anu An Lnu
Llke any good essay, you should alm Lo have an lnLro, body and concluslon. Powever, please don'L wrlLe Lhe headlngs lN1kO, 8Ou & cONclu5lON ln your acLual essay, lL should [usL be obvlous from your wrlLlng sLyle. Also, don'L feel you musL have a separaLe secLlon for your deconsLrucLlon and one for your evaluaLlon, Lhese Lwo Lasks should be lnLerwoven LhroughouL Lhe essay. Pave a closer look aL Lhe earller wrlLLen example ln Lhls gulde and you'll geL Lhe ldea.
?ou need Lo show LhaL you can do more Lhan [usL wrlLe observaLlons, you need Lo show LhaL you can 1Plnk. Pave fun, show some flare, leL your personallLy shlne Lhrough and be enLerLalnlng. Maybe you'll Leach Lhe Leacher someLhlng?
1PL LLLMLn1S Cl MuSlC
?ou've heard abouL Lhem, you're supposed Lo wrlLe abouL Lhem ln your essay, buL whaL are Lhe elemenLs of muslc? uuraLlon uynamlcs Parmony Melody SLrucLure 1exLure 1lmbre
+,-./012 "3 455 467$8 8"9& :57;#<3=7%8>? 08 @4; %&A&% 87B 1he lengLh of lndlvldual noLes or even whole songs 8eaL and pulse 8hyLhmlc paLLerns: o noLes, resLs, dupleLs, LrlpleLs, o 1lme slgnaLures llke 3/4, 4/4, 6/8 eLc SyncopaLlon, polyrhyLhms 1empo 8hyLhmlc feaLures LhaL belong wlLh parLlcular genres and sLyles
+C2.D0EF "3 455 467$8 G75$9& :57$H<37A8>? 08 @4; %&A&% 87B 1he volume of lndlvldual noLes or even whole songs Changes ln volume, sudden (block dynamlcs) and gradual (crescendo, decrescendo) AccenLed noLes use of Lechnology Lo conLrol dynamlcs (compresslon, auLomaLlon) ArLlculaLlon uynamlc feaLures LhaL belong wlLh parLlcular genres and sLyles
DIJ1+C "3 455 467$8 8=& !"#$%"&'() 4%%4;#&9&;8 7A 37$;H? 0 @4; %&A&% 87B A sequence of slngle noLes (sung or played) 1he conLour of Lhe melody aLLerns such as phrases, rlffs, sequences, moLlfs CrnamenLaLlon or LmbelllshmenL ModulaLlon lLch bends, slldes or elecLronlc plLch ad[usLmenL 8ange and reglsLer lnLonaLlon Melodlc feaLures LhaL belong wlLh parLlcular genres and sLyles
K.-D12C "3 455 467$8 8=& *+#'$,() 4%%4;#&9&;8 7A 37$;H? 08 @4; %&A&% 87B Chords such as Lrlads, 7Lhs, 9Lhs, 11Lhs or 13Lhs ulaLonlc LonallLy such as ma[or, mlnor and domlnanL 1enslon and resoluLlon, consonance and dlssonance ALonallLy CounLermelodles Modal harmony AccompanlmenL sLyles ModulaLlon lnLonaLlon Parmonlc feaLures LhaL belong Lo parLlcular genres and sLyles
F/-,E/,-I "3 455 467$8 3&@8"7;3 7A 8=& 9$3"@? 08 @7$5H %&A&% 87B lnLro, verse, re-Chorus, Chorus, 8rldge, Mlddle elghL, Colllslon, lnsLrumenLal solo, Ad llb, AA8A form, 1heme and varlaLlon, Compound AA8A form (A1, A2, 81, A3 eLc..) 8epeLlLlon, varleLy, conLrasL, developmenL or unlflcaLlon 1reaLmenL of maLerlal such as samples and sequenclng Well known forms such as 12 bar blues, verse and chorus, Lhrough composed, Lheme and varlaLlon 1he deslgn of parLlcular muslcal works such as rock opera or muslcals SLrucLural feaLures LhaL belong Lo parLlcular genres and sLyles
/IL/,-I "3 455 467$8 H&;3"8M? 08 94M %&A&% 87B 1he number of lnsLrumenLs or Lracks 1he way a recordlng has been mlxed uslng effecLs such as reverb and delay Muslcal volclngs 1he way an lnsLrumenL's Lone affecLs lL's Llmbre (dlsLorLed vs clean gulLar) Muslcal LexLures such as monophonlc, homophonlc, polyphonlc, 1exLural feaLures LhaL belong Lo a parLlcular genre and sLyle
/0DN-I "3 455 467$8 87;&? 08 94M %&A&% 87B 1he way parLlcular lnsLrumenLs or volces sound ulfferenL Lonal Lechnlques used on an lnsLrumenL (muLlng, flngerLlps, plcks, bowlng, scraLchlng, Lapplng) LlecLronlc alLerlng of Lone uslng LC, effecLs, pedals eLc. 1onal feaLures LhaL belong Lo parLlcular genres and sLyles
CCMCSl1lCnAL uLvlCLS
ComposlLlonal devlces are words or phrases LhaL descrlbe how Lhe muslc was puL LogeLher. 1hey can descrlbe common Lrlcks or Lechnlques used by composers, paLLerns LhaL exlsL beLween parLs or any meanlngful sLrucLures LhaL you mlghL observe. Whlle Lhere are loLs of exlsLlng Lerms for composlLlonal devlces, lL's also Ck Lo make up your own as long as lL's well communlcaLed.
/&%93 +&A";"8"7;3 Canon Where one or more volces lmlLaLe a leadlng melody/volce. 1he Lwo or more parLs wlll overlap. Lg frere !acques Call and response Where one volce lnlLlaLe an ldea and anoLher follows ln a slmllar or sllghLly varled way melodlcally/rhyLhmlcally CounLermelody A second melody (dlrecLly) above or below Lhe maln melody Slmllar moLlon Melody noLes golng ln Lhe same dlrecLlon ConLrary moLlon Melody noLes golng ln Lhe opposlLe dlrecLlon Cross rhyLhm/polyrhyLhm/hemlola 1wo dlfferenL rhyLhms used aL Lhe same Llme, eg 2 quavers ln Lhe melody and LrlpleL quavers ln Lhe bass uevelopmenL Changes/varlaLlons of moLlf and Lhemes (lmlLaLlon, sequence, lnverslon, fragmenLaLlon, augmenLaLlon, dlmlnuLlon) lragmenLaLlon 8reaklng a Lheme lnLo llLLle blLs ln order Lo develop lL LxLenslon ueveloplng a phrase or moLlf by maklng lL longer lmlLaLlon 8epeLlLlon by one or more dlfferenL volces/lnsLrumenLs of a phrase lnverslon 1urnlng melody, rhyLhm, harmony, phrase, Lheme, moLlf upslde down (reverse Lhe order) Sequence 8epeLlLlon of a muslcal phrase aL a hlgher or lower plLch CsLlnaLo A repeaLed accompanlmenL paLLern LhaL can be rhyLhmlc or melodlc, malnLalned LhroughouL Lhe secLlon/plece 8epeLlLlon Where a phrase ls repeaLed lmmedlaLely (exacL) varlaLlon 8epeLlLlon wlLh a sllghL change MoLlf A shorL Lheme LhaL can be manlpulaLed uslng oLher devlces 8lff !azz/rock equlvalenL of osLlnaLo volce leadlng 1he Lechnlque of changlng smooLhly from one chord Lo anoLher wlLh as llLLle movemenL as posslble beLween Lhe chord Lones. CfLen used ln !azz, cholr harmonles and sLrlng ensembles. 1ranslLlon 1he shlfL from one muslcal ldea or secLlon Lo anoLher. 1ranslLlons can be smooLh or abrupL dependlng on whaL Lhe composer ls Lrylng Lo achleve.