This week's readings and listening assignments were great fun for me, as the music started to dive into more recognizable music styles. It is easy to make the connections between modern popular music and the music of the blues and swing.
The textbook and listening assignments first explored blues music from the 1920s and 1930s. Blues music was categorized into two groups: classic blues (which was interestingly the type of blues that was adjusted to sound more like the hit music of the upper class) and country blues (which was truly the more original type of blues). We listened to several pieces in each category.
The primary difference between classic blues and country blues is the refined stylizing of classic blues. The African American performers who popularized blues, like W.C. Handy and Bessie Smith, were able to do so because they took stylized the more refined version to imitate some of the vocal qualities, but not all, from the country blues style. It seems that America just wasn't "ready" for country blues yet, so the artists refined the music to imitate the music of dance bands, sentimental crooning songs, and Tin Pan Alley songs, adding just touch of blues, such as 12-bar blues form, to make it more refined. Country blues artists kept things more authentic, often playing, as did Blind Lemon Jefferson in "The Black Snake Moan" and Robert Johnson in "Cross Road Blues" with their own ideas of tempos and meter and following less pronounced form.
Hillbilly records also came into play during that time period, which set the stage for what is now modern country music. The primary difference between race music like the blues and hillbilly music was that hillbilly music was made by Caucasians for the enjoyment of Caucasians. Maintaining deep roots in southern culture, hillbilly records involved more conservative values, standard hillbilly instruments like the fiddle, banjo, guitar, and mandolin, nasal, clear vocals, and southern twang in their accent that greatly appealed to the people of the south. The Carter Family and Jimmie Rodgers, while have distinctly different sounds, were the first artists to truly pioneer hillbilly music.
When the Great Depression hit in 1929, the music industry was greatly affected. During the Great Depression, the Swing Era began, from 1935-1945, helping people to overcome and escape their difficult day-to-day life. Swing music helped to recover the music industry during the Depression because of sales records with bigger dance bands. I enjoyed listening to Swing music most of all this week. My husband and I enjoy swing dancing together, so many of the pieces of music, like "Taking a Chance on Love" by Benny Goodman and His Orchestra" and "One O'Clock Jump" by Count Basie were familiar to us. We tried out some of our swing moves as we listened, and it was lots of fun! Fun is a great descriptive word for swing music. It is no surprise to me that so many people used the music to escape their difficult lives during the Great Depression, since the great fun and upbeat music could help anyone escape!
Sunday, January 26, 2014
Sunday, January 19, 2014
Module 2 - Social Dance, Jazz, and Tin Pan Alley
This week's videos, readings, and listening assignments focused on a rather short period in American music history - the 1920s and 1930s - but one in which recorded music exploded into mainstream life. Some of the music I listened to was recorded before the invention of the microphone in 1925, and the other half was recorded after. This provides the listener with significant differences in quality of recorded performances.
Before the Microphone
Many of the recordings that I listened to that were recorded before the microphone were of similar styles and related to dance music. For my own enjoyment, I listened to "Mary" by the Joseph C. Smith Orchestra (found on youtube here), which was the first piece of music to become popular because of the recorded performance as opposed to the sheet music, and "Dardenella" by the Selvin Novelty Orchestra (found on youtube here), which was the first piece of recorded music to sell one million copies. Following those, I listened to the assigned rag pieces. The two rag pieces "Castle House Rag" and "Tiger Rag" were very similar in style. Like typical rags, both pieces contained several differing themes and no really obvious melody. With each theme, a new instrument seemed to be featured. This added contrast to a piece of music that retained the interest of the listener. I particularly found myself toe-tapping to "Tiger Rag," which contained very prominent syncopation and several stoptime sequences that involved three beats of other instruments and one or two beats of only sliding trombone.
Also in the style of early jazz was the recording of "Dipper Mouth Blues," performed by the Creole Jazz Band. I chose this as my discussion assignment, and I found another recording of the performance from the Lawrence Welk show in 1960 (found on youtube here). The two performances are very different from one another. In the original performance by the Creole Jazz Band, the music is much looser and free. The Lawrence Welk show version is very refined and high class, and sounds much more like typical Tin Pan Alley style, marked by grace, gentleness, and sophistication, but still upbeat and fun. Both are excellent performances. I particularly enjoy the impeccable clarinet solo in the 1960 performance. "Dipper Mouth Blues" set the stage for future jazz by switching back and forth between the refrain that remains the same each time and the improvised sections in between.
After the Microphone
The rest of the music had quite a better recording quality, as it was recorded after the invention of the microphone. The microphone essentially allowed for a new era of singers called "crooners" who used the microphone as an instrument to amplify their voices and to create a particular smooth sound that allowed for ultimate intimacy between the performer and audience. The first of these crooners was Bing Crosby. I found a youtube video of his performance in the short film "Blue of the Night" which you can see here. In the same style was Gene Austin's beautiful performances of "My Blue Heaven" from 1927. As I listened to Austin perform the piece, I couldn't help but be reminded of one of my favorite childhood videos from Disney Sing-Along Songs that sort of mocked crooners in a lighthearted way. The sound recording of the one I was reminded of can be found here on youtube. Austin's performance imitates recitative and aria, as there is a verse that sets up the main melody very nicely, and the main melody is repeated as the refrain. The primary part of the performance that reminded me of the video from my childhood was the use of the sound "boo" to scat a section during the second return of the refrain. I think my students would be entertained, since I still have the original VHS video of the Disney Sing-Along Songs "Fun with Music" to show them the real crooners, and then show them the mockery. I feel like there is the possibility of a lesson plan with comparing and contrasting and/or the discussion of satire. I should add that I was in college before I realized that the Disney version was satire because of my limited experience with listening to actual crooners.
Another performance after the invention of the microphone, but not used for crooning, was the performance of "East St. Louis Toodle-Oo" by Duke Ellington and His Washingtonians. The primary characteristics that made this performance different from the earlier mentioned dance music, besides the better recording quality, was the complexity of harmonic ideas that Duke's band uses. The textbook mentions that Duke was an excellent and progressive arranger, and the obvious representation of an older man who is bent like a toad can easily be heard in the performance, including both the harmonic structure and the use of muted brass with a growling sound. I look forward to exploring more of Duke's music in the future weeks to see more of the development of his arranging style, since the textbook mentions that this is one of his earliest recordings.
As the textbook discussed the development of jazz music, I was reminded of this excellent musical I performed with my students last year in fourth grade. The students really enjoyed learning about famous jazz musicians (and playing them as characters). I usually do one musical per year, so I used this musical last year as the curriculum for jazz exposure (and I learned a lot, as I had never heard of an alarming number of the featured musicians, including Jelly Roll Morton and King Joe Oliver and many more, and I had no idea that Louis Armstrong was nicknamed Satchmo, since I had essentially no jazz history experience). I think I'd like to develop the curriculum further and include the information somehow. Many of the listening examples in this book are real examples of the music performed by those who are mentioned in the musical as well.
Additionally, this week's listening assignments have prompted me that I would like to further study Irvin Berlin and George Gershwin's works and find ways to incorporate them into lessons about American music history. I am sure I could find youtube sections of movies like "An American in Paris" and "Annie Get Your Gun" that are considered age-appropriate by my administration and the parents in my district. This has been an issue in the past.
Before the Microphone
Many of the recordings that I listened to that were recorded before the microphone were of similar styles and related to dance music. For my own enjoyment, I listened to "Mary" by the Joseph C. Smith Orchestra (found on youtube here), which was the first piece of music to become popular because of the recorded performance as opposed to the sheet music, and "Dardenella" by the Selvin Novelty Orchestra (found on youtube here), which was the first piece of recorded music to sell one million copies. Following those, I listened to the assigned rag pieces. The two rag pieces "Castle House Rag" and "Tiger Rag" were very similar in style. Like typical rags, both pieces contained several differing themes and no really obvious melody. With each theme, a new instrument seemed to be featured. This added contrast to a piece of music that retained the interest of the listener. I particularly found myself toe-tapping to "Tiger Rag," which contained very prominent syncopation and several stoptime sequences that involved three beats of other instruments and one or two beats of only sliding trombone.
Also in the style of early jazz was the recording of "Dipper Mouth Blues," performed by the Creole Jazz Band. I chose this as my discussion assignment, and I found another recording of the performance from the Lawrence Welk show in 1960 (found on youtube here). The two performances are very different from one another. In the original performance by the Creole Jazz Band, the music is much looser and free. The Lawrence Welk show version is very refined and high class, and sounds much more like typical Tin Pan Alley style, marked by grace, gentleness, and sophistication, but still upbeat and fun. Both are excellent performances. I particularly enjoy the impeccable clarinet solo in the 1960 performance. "Dipper Mouth Blues" set the stage for future jazz by switching back and forth between the refrain that remains the same each time and the improvised sections in between.
After the Microphone
The rest of the music had quite a better recording quality, as it was recorded after the invention of the microphone. The microphone essentially allowed for a new era of singers called "crooners" who used the microphone as an instrument to amplify their voices and to create a particular smooth sound that allowed for ultimate intimacy between the performer and audience. The first of these crooners was Bing Crosby. I found a youtube video of his performance in the short film "Blue of the Night" which you can see here. In the same style was Gene Austin's beautiful performances of "My Blue Heaven" from 1927. As I listened to Austin perform the piece, I couldn't help but be reminded of one of my favorite childhood videos from Disney Sing-Along Songs that sort of mocked crooners in a lighthearted way. The sound recording of the one I was reminded of can be found here on youtube. Austin's performance imitates recitative and aria, as there is a verse that sets up the main melody very nicely, and the main melody is repeated as the refrain. The primary part of the performance that reminded me of the video from my childhood was the use of the sound "boo" to scat a section during the second return of the refrain. I think my students would be entertained, since I still have the original VHS video of the Disney Sing-Along Songs "Fun with Music" to show them the real crooners, and then show them the mockery. I feel like there is the possibility of a lesson plan with comparing and contrasting and/or the discussion of satire. I should add that I was in college before I realized that the Disney version was satire because of my limited experience with listening to actual crooners.
Another performance after the invention of the microphone, but not used for crooning, was the performance of "East St. Louis Toodle-Oo" by Duke Ellington and His Washingtonians. The primary characteristics that made this performance different from the earlier mentioned dance music, besides the better recording quality, was the complexity of harmonic ideas that Duke's band uses. The textbook mentions that Duke was an excellent and progressive arranger, and the obvious representation of an older man who is bent like a toad can easily be heard in the performance, including both the harmonic structure and the use of muted brass with a growling sound. I look forward to exploring more of Duke's music in the future weeks to see more of the development of his arranging style, since the textbook mentions that this is one of his earliest recordings.
As the textbook discussed the development of jazz music, I was reminded of this excellent musical I performed with my students last year in fourth grade. The students really enjoyed learning about famous jazz musicians (and playing them as characters). I usually do one musical per year, so I used this musical last year as the curriculum for jazz exposure (and I learned a lot, as I had never heard of an alarming number of the featured musicians, including Jelly Roll Morton and King Joe Oliver and many more, and I had no idea that Louis Armstrong was nicknamed Satchmo, since I had essentially no jazz history experience). I think I'd like to develop the curriculum further and include the information somehow. Many of the listening examples in this book are real examples of the music performed by those who are mentioned in the musical as well.
Additionally, this week's listening assignments have prompted me that I would like to further study Irvin Berlin and George Gershwin's works and find ways to incorporate them into lessons about American music history. I am sure I could find youtube sections of movies like "An American in Paris" and "Annie Get Your Gun" that are considered age-appropriate by my administration and the parents in my district. This has been an issue in the past.
Sunday, January 12, 2014
Module 1 - Listening
This week, I listened to youtube versions of the pieces of music in our textbooks because I have not yet received my textbook. I found versions of most of the music on youtube, and I delighted in nearly all of it. I was not able to read the backgrounds or further information of the music that I listened to since I have not yet received the textbook, and I am looking forward to doing that this week, when, Amazon assures me, I receive it on the 14th.
I teach elementary general music and beginning band, and I have been very excited to do popular music units with my students, particularly American popular music, for several years. I have no formal education in popular music, however, so I have been at a stopping point while trying to figure out how I could go about teaching it accurately, appropriately, and meaningfully for children. I have such a deep understanding of music, and I have studied lyrics for years, and I have studied instruments and harmonies and the music business, so there is great depth to my understanding of popular music that I simply cannot figure out how to meaningfully communicate to my students. I was relieved when reading the Woody PDF that the author said this is a common reason why music educators do not teach popular music.
It is unrealistic for me to allow my students to create their own rock bands, as was sort of suggested in the Woody text, although I would enjoy overseeing that if it was a possibility, but I can certainly expose them to and let them explore music of America from different centuries. With youtube easily accessible on my school computer and with my projector, I can realistically show videos and discuss the backgrounds of the music, particularly with my third and fourth graders.
The first few pieces I listened to were very Appalachian sounding. Again, with no formal text, I cannot be sure that I am speaking accurately, so I am generalizing from my previous knowledge of American vernacular music. First, I listened to a haunting rendition of "Barbry Allen" by Jean Ritchie. She had a clear, bright voice, and sang the piece completely a capella, maintaining the same musical key throughout. She added small yodels and ornamentations, particularly cascading on downward movement. The piece was strophic and very repetitive tonally. I wanted to listen to the lyrics, but I had a hard time focusing on them, as I was distracted by my aching wish to be able to sing like that. Following Jean Ritchie, I listened to two arrangements of "Soldier's Joy," one by Gid Tanner, and one by Tommy Jarrell. The first was sung in a group with lyrics and solo trade-offs. The second was completely solo with fiddle playing harmonies with itself, with no lyrics. Following those, I listened to several that seemed to be similar categorized, including Dink Roberts singing "Roustabout," which was an interesting experience. It seemed that Dink Roberts made music primarily for the joy of making music. This performance seemed to be on his front porch or the like, on a somewhat out-of-tune banjo. The watcher could easily see the hard times he had experienced as his face lit up while singing, highlighted by missing front teeth and watery eyes. It was a strange kind of beautiful to watch him enjoy making music, and I was surprised to read that the recording was made in 1983, because the music and the person seemed much more 1930s to me. Next, I listened to my favorite, "Stack O Lee Blues" by Mississippi John Hurt. The recording was labeled as being from 1928, but it sounded so very modern. This makes me think that perhaps there is a fad to reflect that type of music again. Mississippi John Hurt performed so sweetly and gently, and the harmonic transitions were simple but divine. I thoroughly was moved as I listened to the performance.
Here are links to those videos, in order of discussed:
http://www.youtube.com/watch?v=9l3VePGR-QA
http://www.youtube.com/watch?v=_p952jSLddg
http://www.youtube.com/watch?v=KWMZ2dP0Eas
http://www.youtube.com/watch?v=Vvo1OP1OJ0c
http://www.youtube.com/watch?v=HlniDmj10u8
Next, I listened to several very different sounding pieces. First, what seemed like a work song, I listened to Lightning Washington Long John (I am not sure which of this was the song title and which was the performer). The piece was extremely repetitive, and the steady beat was kept with a noise throughout. The piece was call and response, with the leader singing a line, and the group repeating it exactly. The form of the song was verse, refrain, verse, refrain, and so forth. I would like to delve more into work songs, as I think it could be an excellent unit for children that directly relates to American history.
Here is the link to that video:
http://www.youtube.com/watch?v=4G5KtQynWvc
There was also one mariachi piece that I could access: "Son de la Negra." It was different from most mariachi pieces I've heard. There were lots of tempo and meter changes throughout, which would have made it a very fun but complex piece of music for dancing. There was singing a few times throughout, but it was mostly instrumental. The singing seemed to be at least a four part men's chorus.
Here is the link to the mariachi video:
http://www.youtube.com/watch?v=qKEm19lMjuQ
Shifting gears completely, the next piece was a Stephen Foster folk song performed by an obviously classically trained singer, Thomas Hampson, with the Jay Ungar Trio. He performed the piece beautifully, with accurate pitch and light changes between register. The piece was "Jeanie with the Light Brown Hair." My second graders did a world music Folk Concert last year, and this was one of the pieces they performed for American folk music. I know this type of music is very realistic for the study of children, but I do not think my students would react well to this classic performer. I am wondering how I could go about finding a more folk-sounding performance, since this one sounds so classical. I can just hear them giggling as they listen to the "opera singer." My other attempts at legitimizing opera music for them have been in vain. (An interesting tidbit: one of the youtube commenters says that Stephen Foster wrote this piece about a real girl named Jeanie who ended her relationship with him because he was an alcoholic. This is not a fact I'd share with my students, but I am interested to delve further into it, just the same.)
Here is the link to Thomas Hampson performing "Jeanie":
http://www.youtube.com/watch?v=dMfgZJ5de_k
I finished my listening this week with two pieces mentioned in our discussion board. One is the piece my classmate Kaylin Kava mentioned. She remembered driving around while a teenager goofing off in the car to the song "Temperature" by Sean Paul. I did not recognize the song title, and I wanted to see if I knew the song. I had never heard it before, although I had heard many songs like it. Apparently it was released in 2006 and was one of the biggest hits. 2006 was my sophomore year of college, and I was very busy into the world of classic, choral, and vocal jazz music at the time, so I did not listen to any pop music. I suppose I missed the release of the song. I found myself getting frustrated that the very fast paced lyrics left me in the dust. I do not generally like music when I can't understand the lyrics. I did, however, find myself dancing several times, because the music moves me physically. This is something I noticed recently in my 2.5 year old nephew. He "rocks out" to modern rap music that has a good dance beat. I wonder if it is natural or learned, especially after watching him instinctively enjoy fast-paced rap at his age.
Here is the link to Kaylin's piece:
http://www.youtube.com/watch?v=dMfgZJ5de_k
Last, I listened to my own piece from the discussion board, as it makes me nostalgic. I listened to several versions. The first was the classic "God Only Knows" by the Beach Boys from Pet Sounds. The second was a version where someone edited the accompaniment to be very soft so it appears that the vocals are a capella. I delighted in that, as the instrumental sometimes covers the complexity of the vocal harmonic line. The third was a live performance in rehearsal sung by Carl, which was also very enjoyable as it was more raw and less polished than the other versions. I mostly listened to the other versions because I haven't done that before, and I was very interested. It was mostly for my enjoyment's sake.
Here are the links to those videos:
http://www.youtube.com/watch?v=EkPy18xW1j8
http://www.youtube.com/watch?v=OvNXPkK7JY8
http://www.youtube.com/watch?v=4EgAhLs1Epg
I enjoyed listening to the different music. I look forward to reading its context this week when I receive the textbook and expounding upon it.
I teach elementary general music and beginning band, and I have been very excited to do popular music units with my students, particularly American popular music, for several years. I have no formal education in popular music, however, so I have been at a stopping point while trying to figure out how I could go about teaching it accurately, appropriately, and meaningfully for children. I have such a deep understanding of music, and I have studied lyrics for years, and I have studied instruments and harmonies and the music business, so there is great depth to my understanding of popular music that I simply cannot figure out how to meaningfully communicate to my students. I was relieved when reading the Woody PDF that the author said this is a common reason why music educators do not teach popular music.
It is unrealistic for me to allow my students to create their own rock bands, as was sort of suggested in the Woody text, although I would enjoy overseeing that if it was a possibility, but I can certainly expose them to and let them explore music of America from different centuries. With youtube easily accessible on my school computer and with my projector, I can realistically show videos and discuss the backgrounds of the music, particularly with my third and fourth graders.
The first few pieces I listened to were very Appalachian sounding. Again, with no formal text, I cannot be sure that I am speaking accurately, so I am generalizing from my previous knowledge of American vernacular music. First, I listened to a haunting rendition of "Barbry Allen" by Jean Ritchie. She had a clear, bright voice, and sang the piece completely a capella, maintaining the same musical key throughout. She added small yodels and ornamentations, particularly cascading on downward movement. The piece was strophic and very repetitive tonally. I wanted to listen to the lyrics, but I had a hard time focusing on them, as I was distracted by my aching wish to be able to sing like that. Following Jean Ritchie, I listened to two arrangements of "Soldier's Joy," one by Gid Tanner, and one by Tommy Jarrell. The first was sung in a group with lyrics and solo trade-offs. The second was completely solo with fiddle playing harmonies with itself, with no lyrics. Following those, I listened to several that seemed to be similar categorized, including Dink Roberts singing "Roustabout," which was an interesting experience. It seemed that Dink Roberts made music primarily for the joy of making music. This performance seemed to be on his front porch or the like, on a somewhat out-of-tune banjo. The watcher could easily see the hard times he had experienced as his face lit up while singing, highlighted by missing front teeth and watery eyes. It was a strange kind of beautiful to watch him enjoy making music, and I was surprised to read that the recording was made in 1983, because the music and the person seemed much more 1930s to me. Next, I listened to my favorite, "Stack O Lee Blues" by Mississippi John Hurt. The recording was labeled as being from 1928, but it sounded so very modern. This makes me think that perhaps there is a fad to reflect that type of music again. Mississippi John Hurt performed so sweetly and gently, and the harmonic transitions were simple but divine. I thoroughly was moved as I listened to the performance.
Here are links to those videos, in order of discussed:
http://www.youtube.com/watch?v=9l3VePGR-QA
http://www.youtube.com/watch?v=_p952jSLddg
http://www.youtube.com/watch?v=KWMZ2dP0Eas
http://www.youtube.com/watch?v=Vvo1OP1OJ0c
http://www.youtube.com/watch?v=HlniDmj10u8
Next, I listened to several very different sounding pieces. First, what seemed like a work song, I listened to Lightning Washington Long John (I am not sure which of this was the song title and which was the performer). The piece was extremely repetitive, and the steady beat was kept with a noise throughout. The piece was call and response, with the leader singing a line, and the group repeating it exactly. The form of the song was verse, refrain, verse, refrain, and so forth. I would like to delve more into work songs, as I think it could be an excellent unit for children that directly relates to American history.
Here is the link to that video:
http://www.youtube.com/watch?v=4G5KtQynWvc
There was also one mariachi piece that I could access: "Son de la Negra." It was different from most mariachi pieces I've heard. There were lots of tempo and meter changes throughout, which would have made it a very fun but complex piece of music for dancing. There was singing a few times throughout, but it was mostly instrumental. The singing seemed to be at least a four part men's chorus.
Here is the link to the mariachi video:
http://www.youtube.com/watch?v=qKEm19lMjuQ
Shifting gears completely, the next piece was a Stephen Foster folk song performed by an obviously classically trained singer, Thomas Hampson, with the Jay Ungar Trio. He performed the piece beautifully, with accurate pitch and light changes between register. The piece was "Jeanie with the Light Brown Hair." My second graders did a world music Folk Concert last year, and this was one of the pieces they performed for American folk music. I know this type of music is very realistic for the study of children, but I do not think my students would react well to this classic performer. I am wondering how I could go about finding a more folk-sounding performance, since this one sounds so classical. I can just hear them giggling as they listen to the "opera singer." My other attempts at legitimizing opera music for them have been in vain. (An interesting tidbit: one of the youtube commenters says that Stephen Foster wrote this piece about a real girl named Jeanie who ended her relationship with him because he was an alcoholic. This is not a fact I'd share with my students, but I am interested to delve further into it, just the same.)
Here is the link to Thomas Hampson performing "Jeanie":
http://www.youtube.com/watch?v=dMfgZJ5de_k
I finished my listening this week with two pieces mentioned in our discussion board. One is the piece my classmate Kaylin Kava mentioned. She remembered driving around while a teenager goofing off in the car to the song "Temperature" by Sean Paul. I did not recognize the song title, and I wanted to see if I knew the song. I had never heard it before, although I had heard many songs like it. Apparently it was released in 2006 and was one of the biggest hits. 2006 was my sophomore year of college, and I was very busy into the world of classic, choral, and vocal jazz music at the time, so I did not listen to any pop music. I suppose I missed the release of the song. I found myself getting frustrated that the very fast paced lyrics left me in the dust. I do not generally like music when I can't understand the lyrics. I did, however, find myself dancing several times, because the music moves me physically. This is something I noticed recently in my 2.5 year old nephew. He "rocks out" to modern rap music that has a good dance beat. I wonder if it is natural or learned, especially after watching him instinctively enjoy fast-paced rap at his age.
Here is the link to Kaylin's piece:
http://www.youtube.com/watch?v=dMfgZJ5de_k
Last, I listened to my own piece from the discussion board, as it makes me nostalgic. I listened to several versions. The first was the classic "God Only Knows" by the Beach Boys from Pet Sounds. The second was a version where someone edited the accompaniment to be very soft so it appears that the vocals are a capella. I delighted in that, as the instrumental sometimes covers the complexity of the vocal harmonic line. The third was a live performance in rehearsal sung by Carl, which was also very enjoyable as it was more raw and less polished than the other versions. I mostly listened to the other versions because I haven't done that before, and I was very interested. It was mostly for my enjoyment's sake.
Here are the links to those videos:
http://www.youtube.com/watch?v=EkPy18xW1j8
http://www.youtube.com/watch?v=OvNXPkK7JY8
http://www.youtube.com/watch?v=4EgAhLs1Epg
I enjoyed listening to the different music. I look forward to reading its context this week when I receive the textbook and expounding upon it.
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