Expanded 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 these
questions must be
typed. You do not need to retype the questions, simply number your answers as they are
below. Your responses should address each question thoroughly but will rarely need to exceed
a paragraph in length. Answers must be in your own words and should use proper grammar
and complete sentences. Submit this assignment online by following the instructions below:
Instructions for D2L Submission:
Log on to D2L
Click on this course (MUS 175 Understanding Music)
Click on Expanded Listening #1
Upload your file (pdf or Microsoft Word document)
O Pastor Animarum (Part 1 of 2)
Hildegard von Bingen
Using this chart as a reference for the beginning and end of each phrase, answer
questions below. You may need to listen to each section individually multiple times as
as jump back and forth between sections.
Phrase Timing Text Text translation
1 0:00—0:17 O Pastor animarum et O prima vox O shepherd of our souls, O first voice
2 0:17—0:30 per quam omnes creati sumus through which we were all created
3 0:30—0:48 nunc tibi, tibi placeat ut digneris May it now please you
4 0:48—1:03 nos liberare de miseriis to free us from our miseries
5 1:03—end et languoribus nostris and feebleness
1.) Describe the contour (the shape of the melodic line) of Phrase 1. Make sure you
where the movement between intervals is disjunct and conjunt. You must provide a
written response but may also include a diagram. Be as specific as possible!
If you plan
to 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.
is 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 of
using letter designations (for example: ABBCA, ABCAB, AABBA, etc.).
5.) Describe any differences you hear when comparing phrase 1 to phrase 4. How do
alterations affect the mood or character of the music?
6.) What do you notice about the pitch at the beginning and ending of each phrase?
does this relate to the concept of key/tonality?
7.) Listen to each syllable of phrase 4 (nos—lib—er—ar—e—de—mis—er—iis). Which
syllables are presented melismatically? Which are presented syllabicly?
8.) Identify a point in the music (provide the timing in minutes and seconds) that
regard as emotionally stirring, intense, or satisfying. Describe how Hildegard von
Bingen manipulates the musical elements involved to achieve this effect.
Ave Maria (Part 2 of 2):
Josquin des Prez
Using the recording of Ave Maria on D2L, answer the following questions. Be sure
to note the
specific timings (listed in brackets by minuets and seconds) that each question
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. Using
your own words (no fancy music terms required), what is noteworthy or interesting
about 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 are
similar and/or different from each other.
12.)Ave Maria (4:00–4:11)
Text broken down by syllable: O—Ma—ter—De—i
What musical texture is used in this short passage? Listen very carefully to the harmony
during these five syllables and determine which of the five syllables is the most
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