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The Grain of the Voice 2022 Best
The Grain of the Voice and Imaginative Writing. Part 1: The “grain of the voice” typically refers to an individual vocal timbre, or tone quality. It is what makes Bessie Smith’s voice distinct from Madonna’s, Rihanna’s, and so on.
The Grain of the Voice
Instructions for Part 1: The Grain of the Voice The “grain of the voice” typically refers to an individual vocal timbre, or tone quality. It is what makes Bessie Smith’s voice distinct from Madonna’s, Rihanna’s, and so on. But, as we have seen, “grain of the voice” has a wider significance. For one thing, it can be a metaphor for any individualizing aspect of music that escapes easily described structures of meaning. And even in its more limited reference to voices, the vocal quality may interact with other musical elements, like form, rhythm, dynamics (volume), harmony, genre, etc.
The Grain of the Voice
Take James Brown’s iconic scream. Listen to the first three minutes of “Super Bad,” and pay attention not only the timbre of his screams, but how they relate to the form and change. This song has a verse and a bridge (he cries out “bridge!”), each containing its own groove. At the end of the first bridge, Brown unleashes two screams (at 2:21 and 2:25). Yes, the grain is recognizable as James Brown. But more than that, his screams join an important moment in the song’s form: they are the loudest and highest at the bridge’s end. From that climax they release the song back to a new verse while also summoning howling echoes from the saxophone soloist.
The Grain of the Voice
More can be said. But notice how even this brief description has linked the grain of the voice to relevant features and moments in the song. Read the above text. Don’t skip it. Then, choose two performers, one from EACH column below, and write a one to two-page paper (double-spaced text) or record a five to ten-minute video essay that reports on how the grain of each voice relates to specific features of their music. Maybe it intensifies them, challenges them, befits them, etc. The James Brown example focused on form and dynamics; you do not have to do the same.
The Grain of the Voice
You may compare/contrast them if you like, but that is not required. If you do compare two performers, do NOT spend time on the obvious (e.g., the fact that they are different). Criteria for grading: 1) Completeness: two selections, one from each column, and examples for each; 2) Makes a case: relevant connections between each “grain of the voice” and specific musical features; 3) Justified with detailed observations from the music. Instructions for Part 4: Imaginative Writing Choose one of the following people. Write about the proposed subject from their point of view. Write a minimum of one page double-spaced on the topic.
The Grain of the Voice
You are imagining how this person would have addressed the issue. You are not trying to find what they actually said about it (if anything). Pick specific songs to discuss. Be detailed in your arguments—for instance, for option b, have Friedan cite specific songs and state why they are “good” for her understanding of feminism or why they are feminist. Be sure to model your writing on their general thinking and concerns (but you may also try to write in their style and with their vocabulary as a bonus).
The Grain of the Voice
Provide citations at the end of the document listing which writings of your authors you consulted to get a sense of their ideas and style (there are multiple sources of their writing or interviews on the internet—read at least one essay/interview from your author, or skim several). a. Huey Newton on soul music as part of Black identity. b. Betty Friedan on Janis Joplin or Grace Slick as feminist icons. c. Timothy Leary on the use of music to attain deeper consciousness. https://youtu.be/PSjyTLTIt_s
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Creating a concrete poetry. 2022 Best
This assignment focuses on creating a concrete poetry. Concrete poetry is a type of poetry in which the words of a poem are given a visual representation in the shape of the poem itself. The visual shapes of the poems are just as important in conveying the intended effect as the poem’s content, such as meaning, words, rhythm, rhyme, etc.
Creating a concrete poetry.
Paper details: Concrete poetry is a type of poetry in which the words of a poem are given a visual representation in the shape of the poem itself. The visual shapes of the poems are just as important in conveying the intended effect as the poem’s content, such as meaning, words, rhythm, rhyme, etc. The term “concrete poetry” was coined in the 1950s by Brazilian poets and its principle tenet is that using words as part of a specific visual work allows for the words themselves to become part of the poetry, rather than just unseen vehicles for ideas. Concrete poems have been created based on the shapes of stars, cats, apples, trees, candles, faces, and many other shapes.
Creating a concrete poetry.
The words or content that create each shape align with the shape itself. For example, the shape of an airplane is created with associated content, ascending into the sky. The words that make the airplane outline state, “a flick, a shudder to soar, a push–the nose, the wings held high and steady–the plane is ready to touch the sky.” As our textbook mentions, poetry can foster creativity. Concrete poetry is particularly effective in early childhood education because it merges the two most important elements of children’s literature: content/narrative and illustration. Instructions Your assignment in this module is to send home a concrete poetry assignment (including directions and a sample poem) for your early childhood classroom.
Creating a concrete poetry.
In this mock assignment, the student and his/her parent/guardian will create a concrete poem using/tracing the outline of one of each of their hands. The child and family member must describe how they use their hands, what they like about their hands, and/or why hands are important. Once you complete your directions to send home with a child and your sample hand poem to be attached to these directions, you will ask a friend/family member (preferably one with a child) to complete the second page as if they were your student and parent. Then, you will scan both pages and attach them online for grade submission.
Creating a concrete poetry.
Have fun and be creative! Please review the following templates for this assignment; each template is numbered. You may use these templates as your own documents or create something similar. Download Concrete Poetry Pages 1–2Download Concrete Poetry Pages 1–2 Download Concrete Poetry Page 3Download Concrete Poetry Page 3 You may also wish to print the assignment instructions: On page 1, clearly type or hand write directions to the parents and students, defining concrete poetry and outlining the project (stay positive, write in letter format, and write clearly on half of the horizontal page).
Creating a concrete poetry.
Also, you may use phrases from the description above or below when defining concrete poetry in your directions. On page 2, create a sample “hand poem” that you have completed with the outline of your own hand on the other half of the horizontal page. You may write and/or draw inside your hand, around the edges, in the fingers, etc. It may rhyme or not. There are no limits with concrete poetry! Be creative so you will inspire the student and his/her parent to be creative! Page 3 will be a completed set of “hand poems” by a parent/guardian and child.
Creating a concrete poetry.
Please prep the horizontal space for the parent/guardian as if you would really send this home by labeling the spaces, drawing a line down the center, etc. Although this may be a friend and his/her child, please imagine this is your student and his/her parent/guardian. Upload both complete documents. Evaluation: After completing the assignment, evaluate and consider how you did. If you were to use this assignment in an early childhood education classroom, how would you alter or change it? What did not work so well? https://youtu.be/or4HGck4g2o
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