Chapter1MusicListeningandYou..ppt

* Ask the students if they had a moment when listening to a piece that caused them to have a chill run up and down their spines or heard a piece that brought them to the point of tears. * Tell the students that they should not expect (or want) every piece to be similar to what they already know and like. They will get much more out of the course if they “put on a different set of ears” when they enter the room. In other words, they may need to adjust their expectations about the music they will hear in the course. * Bring up Contents again. Click on the final portion of Farandole, which combines the opening melody and the second theme. Ask the students if they have heard one of those melodies earlier in the class. They should begin trying to remember what they have listened to. * Go back to the Contents and click on Rodrigo’s Concierto de Aranjuez. Have the class listen to the opening English horn and guitar solos. They are a good example of music’s ability to project feelings. * Tell the class that technology is providing them an amazing new aid that does a lot of things to help them learn to hear what’s happening in a piece of music. And the Listening Guides in the book provide a good intermediate set in perceiving a musical work. The Active Listening Guides and the Listening Guides in the text are excellent preparation for listening to the work without any visual help, which is the way music is usually experienced. * Tell the class that technology is providing them an amazing new aid that does a lot of things to help them learn to hear what’s happening in a piece of music. And the Listening Guides in the book provide a good intermediate set in perceiving a musical work. The Active Listening Guides and the Listening Guides in the text are excellent preparation for listening to the work without any visual help, which is the way music is usually experienced. * Ask the students to open their books and follow the work using the Listening Guide. P