From The World of Music, 7th Edition

(3-Compact Disc Set)



These assignments are all designed to enhance the student's appreciation of music and critical listening skills. As long as the student gives answers to the questions that are thoughtful and well written, the student will receive credit for journal entries. All questions assigned must be answered to receive credit for an individual journal entry. Each journal is worth five points.


CD #1, Track #24 is written "CD1:24", that way you know EXACTLY what CD and Track you are to be listening to. "LG" is for "LISTENING GUIDE". Each selection has a "Listening Guide" to give you more information about the piece. This is where you will find the "Goals" & "Reflections" that you will be answering.


Each journal is due on the dates provided in the syllabus. The journals will all be open to complete at any time for students to work ahead. Students may turn in the journals via email attachment or in hard copy. If completion of the Journals becomes an issue then I reserve the right to institute the late work policy where late Listening Journals will get reduced credit. Each journal counts for 5 points toward your grade, with a total of 100 points possible.


Remember, each selection should be listened to a minimum of 3 - 5 times before you attempt to answer the questions. Reading through the Goals and Reflections for each piece will help you in answering your journals. Answers need to be in complete sentences. Indicate the (prompt) question that you are answering, by retyping or paraphrasing the question.


All Listening Journal assignments MUST be typed, double-spaced and use the music terminology properly to receive full credit. Check the glossary in the back of the text if you are not sure of the concept or definition.


Journal 1:      


Part 1: Write a short musical biography of yourself. Include in the biography the following items: Name, your major, why you are taking this course, what kind of music you like and listen to, your favorite radio station, and the last musical event you attended. Also, include information about musical training (i.e.: instruments you play) or experience you have. Do you play an instrument? Are you a vocalist? Anything else you think I might need to know is also welcome.


Journal 2:                                                                                                                                     

1. CD1:1, LG1 pg. 33 - 35 "Sylvie" – Huddie Ledbetter

-        Describe the pulse or rhythm of this piece

-        Describe the vocal timbre

-        How is the music of verses 3 and 4 different from that of the other verses?

2. CD1:2, LG2 pg. 35 - 36 "Body and Soul" – Benny Goodman

Describe the melody, rhythm, timbre, texture, and context of this piece of music.


Journal 3:

1. CD1: 27 and 28   LG 27: Answer goals two and three for “Rabbit Dance”

                                 LG 28: Respond to the last two “Discuss” questions for “Butterfly Dance”

Journal 4:

1. CD1 Track 29  

LG29: Explain how “Get Up, Stand Up” expresses the socio-political aspects of reggae aspects.


Journal 5:

1. CD 1 Track 30     LG 30: Describe the instrumentation in this piece of music what makes the piece distinctive musically. What makes the music unique?


Journal 6:

1. CD1:7, LG7 pg. 51 "Bourgeois Blues" - Leadbelly

-        Describe the vocal style of Leadbelly

-        Describe the instrumental style and how the guitar interacts and complements the singer

2. CD1:8, LG8 pg. 54 - 55 "Call It Stormy Monday" - B.B. King

-        Identify the elements of music and style that make this a blues song, vocally, and instrumentally.

-        Describe the function of each instrument you can hear in this song


Journal 7:

1. CD1:10, LG10 pg. 64 - 65 "Amazing Grace" - Tramaine Hawkins

-        Research the background of this song online, summarize the song’s history and include the source you used to find the information.

-        How does Hawkins capture the spirit of this song?

2. CD1:11, LG11 pg. 67 "I'm Headed for the Promised Land" - Chuck Wagon Gang      

-     Describe the texture and tempo of this song.

-        Compare the style of this performance with that of black gospel and other styles.

3. CD:12, LG12 pg 68 – 70 “Lord of the Dance- Steven Curtis Chapman

-        Describe Chapman’s vocal quality and what kind of mood his singing evokes.

-        Describe the instruments used in this piece and how they contribute to the song’s texture.


Journal 8: (Chapter 5) Jazz Styles

1. CD1:13, LG13 pg. 81 - 82 "Hotter Than That" - Louis Armstrong

-        Identify the instruments in this piece and explain how they are working together and independently.

-        Describe the vocal elements of this song, especially the “scat singing”, explain how they fit into the concept of improvisation in jazz

2. CD1:14, LG14 pg. 85 - 86 "Mood Indigo" - Duke Ellington

-        Explain how the texture of this piece is different than the previous piece, “Hotter than That”

Journal 9:

1. CD1:15, LG15 pg. 86 -87 “’Round Midnight” – Carmen McRae

-        Define the mood, or tone, that is established by this piece.

2. CD1:16, LG16 pg. 89 - 91 “Bloomdido – Charlie Parker

                  -      Explain how this piece is different and similar to “Hotter than That”.

3. CD1:17, LG17 pg. 91 - 92 "Round Midnight" - Thelonious Monk

-        Describe tempo, mood, instrumentation, improvisational style.


Journal 10

1. CD 1:18, LG18 pg. 93 - 94 “Summertime – Miles Davis

-        Describe how this piece fits the characteristics of cool jazz

2. CD1:20, LG20 pg. 98 “Futures” - Chick Corea

-        Assign a label to this music: Experimental? Easy listening? Cool? Bebop? Something else? Explain what you hear in the music that causes you to give it that label, and then, provide a definition from the book or online that confirms your categorization.

Journal 11:     (Chapter 6) American Popular Music

1. CD1:21, LG21 pg. 109 - 111 "I Get a Kick Out of You" from Anything Goes

- Diagram the form of this song, to include musical intros and breaks, verses, choruses, melodic introductions and repeats, and/or the conclusion. Explain happens musically and lyrically in each part or section of the songs,.

2. CD1:22, LG22 pg. 112 - 113 "New San Antonio Rose" - Bob Wills

-        Identify solo instruments and sections of instruments and how they interact in the piece.

-        After researching Western Swing on the Internet, explain why Bob Wills and Western Swing is significant for Tulsa, Oklahoma.

Journal 12

1. CD1:23, LG23 pg. 116 - 117 Uncle Pen” - Ricky Skaggs

-        Compare this style with those developed by other country artists, such as Bob Willis and the Texas Playboys (LG 15) and Gretchen Wilson (LG 17)

-        Explain two ways the musical style is different, and two ways the music is the same.

2. CD1:24, LG24 pg. 119 “Don’t Forget to Remember Me” – Carrie Underwood

-        Compare this song and the singing style with the previous two songs (Bob Wills’ western swing (page 112) and Ricky Skaggs’ bluegrass (page 116).

-        Explain what the singer is trying to convey with her lyrics.


Journal 13

1. CD1:25, LG25 pg. 123 - 124 “Good Golly Miss Molly” - Little Richard

Respond to Reflections #1, #3 and #4.

-        What is the main function of the piano part in this piece?

-        How is this music different from current popular music?

-        Describe Little Richard’s vocal style.

2. CD1:26, LG26 pg. 127 “Un-break My Heart” - Toni Braxton

Respond to Goal #2 and Reflections #1.

-        Describe the relationship of the music and words.


Journal 14: Introduction to Western Classical Music

1.      Before we begin studying Western Classical Music, what is your opinion of it now?

2.      Have you ever bought a CD of “Classical” music?

3.      Have you ever attended a concert of a symphony orchestra, a concert band, or a concert choir?

4.      If you have never attended a symphonic concert, would you if the tickets were free? If you had to pay for them?

5.      If you answered all of the above with little or no information, figure out one piece of Western art music, sometimes called “classical music” that has in some way or another made it into your ears and life.


Journal 15: (Chapter 9) Music to 1600 Middle Ages and Renaissance

1. CD2:13, LG44 pg. 189 - 190 “Antiphon for Easter Sunday

-        Describe the musical characteristics of the chant, particularly its melodic shape, texture, and rhythm

-        Is this chant syllabic or melismatic? Why?

2. CD2:15, LG46 pg. 195 - 197 "Benedicta es"

-        Does this music convey feeling, mood, and emotion? What is it?


Journal 16:

1. CD2:16, LG47 pg. 197 - 198 "Gloria" from Missa Benedicta es – Palestrina

 How does this vocal music compare to the previous two examples, “Benedicta es” and                        “Antiphon for Easter Sunday”?


2. CD2:19, LG50 pg. 204 - 205 "The Frog Galliard"

Respond to Goal #5 and Reflection #3.

-        Describe the mood and/or tone of this music.

-        Which parts of this music would be considered relatively simple and which parts relatively complex?

3. CD2:21, LG52 pg. 208 – 210 "Jubilate Deo" – Giovanni Gabrielli

 Respond to all Reflections #1, #2, #3.   

-        In what ways is this piece polyphonic, homophonic, or both?

-        Compare and contrast this motet with the previous polyphonic pieces.

-        Typically, motets are sacred polyphonic choral compositions. Describe your reaction to this instrumental version.

Journal 17: (Chapter 10) Music of the Baroque (1600 - 1750)

1. CD2:26, LG55 pg. 223 Fugue in C Minor, No. 2 from the Well-Tempered Clavier, Bk 1 – J.S. Bach

               What impact does the minor key have in this piece?

              What is a fugue and how does this piece fulfill that definition?

2. CD2:28-29, LG57 pgs. 227 – 230 Cantata no. 140, Wachet Auf – J.S. Bach

-        Describe the timbre and texture of the vocals in this piece.

3. CD2:30-31, LG58 pgs. 231 – 232 Music for the Royal Fireworks, Mvt. 2 and 4 – Handel

                   -    What is program music and how does this piece fulfill that definition?


Journal 18:     (Chapter 11) Music of the Classical Period

1. CD2:32, LG59 pg. 239 - 240 "E Susanna non vien!...Dove sono,” - Mozart

-        Describe the vocal style of a the opera singer in this piece. Then, compare it with the style of a folk, jazz, or pop singer.

2. CD3:1, LG60 pg. 241 - 243 Symphony No. 39 in E flat Major (IV) – Mozart

       -      Describe the melody, rhythm, texture, timbre, and context of this piece.

3. CD3:2, LG61 pg. 245 - 246 String Quartet in C Major ‘Emperor’ – Movement II – Haydn

-        Describe theme and variations form.

-        How does the theme and variations form compare to jazz?

4. CD3:3, LG62 pg. 250 - 251 Piano Sonata No. 8 in C minor, ’Pathetique,’ Mvt. III – Beethoven

-        ” How would you describe this music?


Journal 19:     (Ch.12) Music of the Romantic Period/(Ch.13) Music of the Twentieth Century

1. CD3:4, LG63 pg. 258 -259 Trio for Piano, Violin, and Cello in d, Mvt. I – Mendelssohn-Hensel

-        In what ways is this music Classical? In what ways is it Romantic?

2. CD3:5, LG64 pg. 261 “How Lovely Is Thy Dwelling Place" from the German Requiem – Brahms

-        In what ways does the music reflect or reinforce the text?

3. CD3:6, LG65 pg. 263 Prelude No. 6 in B minor – Chopin

-        What makes Prelude No. 6 absolute music?

-        What musical characteristics in this piece allow us to classify it as Romantic?


Journal 20

1. CD3:7, LG66 pg. 264 - 265 "An Silvia" – Schubert

 1. What makes the music in this composition strophic?

 2. How does the form of this song relate to modern popular music? (hint: verse/chorus)    

2. CD3:8, LG67 pg. 267 - 268 Romeo and Juliet Fantasy Overture – Tchaikovsky

-        Describe the mood of this piece of music.

-        What makes this music romantic in character?

3. CD3:9, LG68 pg. 270 Piano Concerto No 2 in c minor (I" – Rachmaninoff

Respond to both Reflections.

-        Discuss what it means to be a virtuoso

-        How does this example reflect virtuosic performance?


Journal 21

Chapter 13

1. CD3:10, LG69 pg. 277 - 278 "Jeux de Vagues") – Debussy

-        Describe three musical characteristics of this piece that allow it to be called impressionist.


2. CD3:11, LG70 pg. 281 - 282 Le Sacre du Printemps – Stravinsky

-        Describe the various timbres and instruments in this piece.

-        What mood does it evoke?

-        Why do you think it was not popular when it first was performed but is now considered an important piece of 20th century music?

Journal 22

1. CD3:12, LG71 pg. 290 - 292 Billy the Kid – Aaron Copland

-        What kind of atmosphere is this piece trying to create?

-        Describe the way in which instruments in this composition complement one another?

2. CD3:14, LG73 pg. 295 Preludes for Piano, no. 1 – George Gershwin

-        Compare this piece with the prelude by Chopin (see Listening Guide 65, pg 263).

3. CD3:15, LG74 pg. 298 - 299  Le Creation du Monde – Milhaud

      -  Describe the melody, rhythm, texture, tone and context of this piece.


Journal 23:

1.      What is one of your current favorite popular songs?

2.      Who is the Artist?

3.      Why do you like this song?

4.      What musical element(s) give(s) the song its appeal?

5.      Where did you learn about it?


Journal 24:

1. What one piece of music did you hear in this class that you had not heard before but are now more appreciative of the artist, the style of music, or the genre? Why?


Journal 25:

1. What did you find most enjoyable or helpful about this class?

2. What did you find least enjoyable or helpful about this class?

3. What suggestions do you have for the class?

4. Explain one major difference in your active musical listening  skills now as opposed to when the class began?


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