Exercise 3

Create and perform a short piece of music, about 30 seconds long, based on a 3:2 polyrhythm.
It may be improvised or composed.

You may work with a partner.

You may only use your body (hands, voice, feet, etc.) or an instrument that is physically played (i.e. not programmed).

It does not need to be complicated. In fact, simple is preferred. But keep in mind the overall form of the piece. Think about repetition and variation, expectation and surprise, tension and release...

Use at least 4 variations on the pattern, which should be internalized before improvising, or after composing. 

examples:
     - accent        3: x . x . x . |x . X x x . |
                     2: x . . X . . |x . . x . . |
     - subdivision   3: X x X . X . |X . X . X . |
                     2: X . . X . . |X . . X x x |
     - phase         3: x . x . x . |x . x . x . |
                     2: > x . > x . |. x . . x . |
     - omission      3: x . . . x . |. . x . x . |
                     2: x . . x . . |x . . . . . |
     - shift point of reference
                        X x x X x x |X x X x X x |
                        1-2-3 2-2-3  1-& 2-& 3-&
                        (6/8 meter)  (3/4 meter)

Submit a video or audio file of your piece to D2L Dropbox. (Quicktime is easy).


Rhythmic Transcription

The verses of 'Lucy in the Sky with Diamonds' (Lennon & McCartney) are written in a triple meter. We will ignore the chorus, which is in a duple meter.
Underline the words that aline with the first beat of the triplets (1-2-3 or 1-trip-let).

1  2    3   1    2  3 1    2  3 1  2  (3)
Picture yourself in a boat on a river
With tangerine trees and marmalade skies
Somebody calls you, you answer quite slowly
A girl with kaleidoscope eyes
Cellophane flowers of yellow and green
Towering over your head
Look for the girl with the sun in her eyes
And she's gone
Follow her down to a bridge by a fountain
Where rocking horse people eat marshmallow pies
Everyone smiles as you drift past the flowers
That grow so incredibly high
Newspaper taxis appear on the shore
Waiting to take you away
Climb in the back with your head in the clouds
And you're gone
Picture yourself on a train in a station
With Plasticine porters with looking-glass ties
Suddenly someone is there at the turnstile
The girl with kaleidoscope eyes

Hearing in the Womb

Watch the linked videos and read the following article and speculate on the impact of our earliest sensations on the way we make music, or could make music, and the function of music as it relates to our earliest sensations.

  • Try to imagine what the sonic experience is like without associated meaning.
  • Do womb sounds take on any associated meaning?
  • Does the womb experience suggest anything about the function of music?

Video 1Life in the Womb Before Birth

Video 2Womb Sounds

Reading: What’s it Like in the Womb?

Much has been made of the benefits of playing classical music to children because it supposedly enhances spatial development. Why not, some speculate, do the same for the unborn child?

Indeed, fetuses breathe in time to music they enjoy, according to Dr. Rene Van de Carr, a California OB-Gyn who teaches parents how to stimulate unborn babies through music and other exercises at the Prenatal University in Hayward, Calif. He is also author of “While You’re Expecting … Your Own Prenatal Classroom.”

Dr. Van de Carr claims such aural stimulation not only increases neural connections in the brain and enhances brain growth, but encourages parents to be more attentive and interactive and sets expectations for achievement later on. He suggests expectant parents stimulate their babies for about five to 10 minutes twice a day. The key is not to get too repetitive with any one activity or the baby will tune it out, he says.

Yet much of the hullabaloo over the so-called Mozart effect has been exaggerated, says Janet DiPietro, a developmental psychologist who studies fetal development at Johns Hopkins University. The research has been done primarily on adults, and the only children that have been studied were 3- and 4-year-olds, who were actually playing the music on keyboards rather than simply listening to it.

And many experts say the jury’s still out on whether it’s in-utero interventions — or simply genetics and a nurturing environment after birth — that make your baby smarter, more musically inclined or better adjusted.

“I tell people that if they like classical music then play it, but if they don’t, then don’t,” says DiPietro. “It think it’s irrelevant to the fetus, unless the mom likes to come home, put her feet up and turn on music that’s relaxing to her. That’s the way the baby gets the effect.”

Get Those Brussels Sprouts Outta Here

Your baby’s sense of touch begins to develop early in pregnancy as it explores the uterine wall, umbilical cord and even its own body parts, spending the most time touching its face. As early as the ninth week, your baby will respond when its lips or areas around the mouth are touched. By the eighth month, it moves towards the source with mouth open, the beginnings of the rooting reflex, which the baby needs to begin nursing and sucking on a bottle after birth.

Continue reading “Hearing in the Womb”

Create a website or blog at WordPress.com

Up ↑