Tag Archives: music

Led Zeppelin

OK parents and teachers, if you have headbangers in the house, literally and metaphorically in your respective cases, then you might have use for this reading on Led Zeppelin and its accompanying vocabulary-building and comprehension worksheet. I just wrote this yesterday. That said, I suspect that for the right kind of learner, this will be high-interest material, so I’ve tagged it as such.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Brian Eno

A couple of hundred years ago when I was a high school student myself, the primary form of one-upmanship in my crowd consisted in identifying the most obscure, and often the most unlistenable, prog rock band. Then, at exactly the right moment, i.e. when it would most effectively reflect one’s own cultural superiority, one would drop the name of said band into conversation, generally editorializing on the band’s “excellence.” Personally, I wasted a lot of time and money on this exercise in status anxiety, buying and listening to execrable records by bands like Jade Warrior, Aphrodite’s Child (my faux sophistication required me to feign affection for the atrocious album 666 by Aphrodite’s Child), and other groups and artists on Vertigo Records.

And this to some extent continues–or at least it did ten years ago when I was out in the Upper Midwest visiting my hometown. At a cocktail party, one of my interlocutors mentioned to several of us that he’d recently seen Peter Hammill live. I think he assumed that we wouldn’t know that Mr. Hammill had been a founding member of another of these prog rock bands, Van der Graaf Generator, or, indeed, that I still had Mr. Hamill’s song “Imperial Zeppelin,” from his solo album Fool’s Mate, in one of my current playlists. I decided it was best, at age almost fifty, to pass on taking the conversation any further.

Anyway, if you have such students, if they don’t already know about him, this reading on Brian Eno and its accompanying vocabulary-building and comprehension worksheet might be of some interest. Eno remains a major figure–and of deserved interest because of his work with David Bowie and U2, to name just two artists with whom he has worked–so this material, relatively speaking, is au courant. But he was, in my day, somewhat arcane–and for me, also mostly unlistenable.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Bono

To finish up this morning, here is a reading on Bono, the lead singer of the rock group U2, along with its vocabulary-building and comprehension worksheet. This work raises some interesting questions about the privileges and responsibilities of fame. I’ve never been a big fan of U2, and Bono has been a bit too messianic for my tastes. In any case, I assume that this is high-interest material, so I have tagged it as such.

It’s hard to argue, however, with the way he has accepted social responsibility for his fame and used it for good works.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Two Reading and Comprehension Worksheets on Bob Dylan

The first record I owned, at the age of ten or eleven, was Pete Seeger Sings Woody GuthrieMy father brought it home for me one day. I loved it from the first time I listened to it, and I still listen to it now. Within a couple of years, I managed to follow Woody Guthrie’s influence to Bob Dylan, whose music I also continue to listen to almost 50 years later. In fact, many of his records, particularly Blood on the Tracks and John Wesley Harding receive almost weekly play here at Mark’s Text Terminal.

To my mind, it’s nearly impossible to underestimate the cultural importance of Bob Dylan’s work. In fact, so much ink has been spelled on it by so many astute critics that I hardly need to belabor the point here. While I know his selection for the Nobel Prize in Literature is controversial, my own opinion is that the man who wrote “Desolation Row” and “Visions of Johanna,” to mention just two of his most brilliant songs, certainly earned his laurels as a writer of lasting worth and importance.

So, last but not least on this May morning, I have two sets of readings and comprehension worksheets on Bob Dylan. The first set is a general biography of Bob Dylan’s musical career and is in some respects anodyne. The second set, which to some extent, by comparison, renders the first set of documents anodyne, is this reading and comprehension worksheet on Bob Dylan’s switch to electric music in 1965 and his legendary (or legendarily disastrous) appearance at the Newport Folk Festival in that year. It’s worth mentioning that Dylan’s appearance at Newport in 1965 is something of a cultural touchstone, both a gotterdammerung moment and an intimation of what was to come in American popular music. It pops up in various places as a reference point to a particular moment in the history of popular music.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Happening

“Happening: Happenings developed from a combination of assemblage and environment art as artists sought to free art further from the constraints of the wall and the frame. Resembling performance, these events often involved sculpture, sound, time, motion, and living persons. While participants began with a plan, there was no rehearsal and no repeat performance. Spontaneous audience participation was sometimes encouraged. Allen Kaprow is credited with inventing happenings, which took place in New York City in the 1960s.”

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.

Harlem Renaissance

“Harlem Renaissance: With the largest concentration of African-American, West Indian, and African populations in the U.S., Harlem had become the ‘Negro Capital’ (as it was then called) of America by the early 20th century. After World War I, the flourishing intellectual, artistic, musical and political scene focused on historical recollection and redefinition of the African-American experience. Among the best-known artists are Aaron Douglas, William Johnson, and Jacob Lawrence.”

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.

Kismet

“Kismet: A musical play (1953) based on a play (1911) by Edward Knoblock about a poet turned beggar who has a series of adventures reminiscent of The Arabian Knights. The music of Alexander Borodin was arranged by Robert Wright and George Forrest. The title comes from the Turkish qismet (‘portion’ or ‘lot’) and is now commonly understood to mean ‘fate.’ Kismet is sometimes advanced as a more becoming alternative to ‘Kiss me” in Horatio Nelson’s putative last words, ‘Kiss me, Hardy.’”

Excerpted from: Crofton, Ian, ed. Brewer’s Curious Titles. London: Cassell, 2002.

John Lennon

OK, I’m drawing down to the last couple of posts for this morning. Here is a high-interest (depending on whom you’re teaching, I guess) reading on John Lennon along with its accompanying vocabulary-building and comprehension worksheet.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

The Algonquin Wits: Beatrice Kaufman Attends a Concert at Carnegie Hall

Beatrice Kaufman, who held little appreciation for music of any sort, once accompanied Oscar Levant to Carnegie Hall to hear Stokowski conduct Bach’s B Minor Mass. While en route to the theater Beatrice realized they were going to be late and urged her escort, ‘In heaven’s name let’s hurry or we’ll miss the intermission.’”

Excerpted from: Drennan, Robert E., ed. The Algonquin Wits. New York: Kensington, 1985.

The 8 Gregorian Church Modes

“Dorian * Hypodorian * Phrygian * Hypophrygian * Lydian * Hypolydian * Mixolydian * Hypomixolydian

The exact origins of this eightfold organization of modes that completely dominated the church music of medieval Christendom remains contentious. Most authorities accept that the Carolingian court borrowed them from ninth-century Byzantine liturgies, which themselves arose out of the ancient priestly chants of the Near East.

Just as in ancient Greece, generation after generation of writers sought to define the effects of their emotions. Dorian was considered to be serious and to tame the passions; Hypodorian tended towards the mournful and tearful; Phrygian incited passion and led towards mystical revelry; Hypophrygian was the mode of tender harmony that tempered anger; Lydian was the music of cheerful happiness; Hypolydian was the tone of devout and emotional piety; Mixolydian united pleasure and sadness; and Hypomixolydian aspired to a sense of perfection and secure, contented knowledge.”

Excerpted from: Rogerson, Barnaby. Rogerson’s Book of Numbers: The Culture of Numbers–from 1,001 Nights to the Seven Wonders of the World. New York: Picador, 2013.