Early in the history of Western art music, notation was sometimes quite vague and did not specify every aspect of a performance – there were a lot of choices left up to the performers. This means that two modern recordings of the exact same composition may actually vary quite a lot.

For your first longer paper, select a pair of recordings from the options on the next page, and write a paper of c.1,000 words (+/-10%) explaining the differences and similarities between the two recordings. Be specific, detailed, and use technical terms including meter, mode (major/minor), texture, musical device, and instrumentation wherever possible. You are not required to use external sources, but anything you quote from another author must be acknowledged with appropriate and accurate citations.

You will have to listen to the recordings a few times to get to know them properly and compare them closely.

First think of the similarities that are consistent through the recordings – these might be meter, mode, musical device, and texture. Take stock of these similarities and mention them.

Then listen to the differences. While listening, use the following questions to guide your notes on the differences between the recordings:

• What types of instruments/voices can you hear? Do they differ between the two recordings? Do the timbres differ between the recordings? Is the texture different? (Tip: search online for the names of the performers to find out who they are, what they specialize in, and about the instruments they play or their voices.)
• Are the two recordings at the same pitch? Is one higher/lower than the other? (Tip: listen to the first couple of seconds of each recording to compare them.)
• Are the two recordings different speeds? Which is faster/slower? If there is a difference in speed, what effect does this have on the overall feel?
• Are there differences in the dynamics, articulations, and/or rhythms?
• Are there any substantial differences in the music they play? Does one of the recordings add an introduction, or other additional sections? (Tip: if you are comfortable reading music, search online for a copy of the music and follow it while listening to the two performances.)
• Does one recording add more ornaments to the melody lines than the other? Can you tell what the performers are adding?
• What is the overall difference in mood or effect between the recordings? What of the above elements contribute to this?
• Which of the recordings did you prefer, and why?
• Do not take up space with composer biography, performer biographies, or general background information. Be focused and discuss the recordings in detail. While discussing the recordings in your paper, refer to the two different recordings as “Recording 1” and “Recording 2” to save space.

Deadline: Sunday, March 1, 11:59pm. It is strongly recommended that you start working on this paper early so that you have enough time to become familiar with the recordings and organize, write up, and edit your observations. Late assignments will be penalized by 10% per day late.

Word count: c.1,000 words (+/-10%). Include a word count at the bottom of your work.

Submission requirements:

• Upload your work as a Microsoft Word (doc or docx) file. No other file types will be accepted. Include your full name and Introduction to Music Online: Paper No.1 at the top of the document.
• Your document should have double line spacing on letter-size paper and use Times New Roman, 12pt, or a similar font.
• All submitted work must be your own. Any quoted material must be cited in a conventional manner. Please note that your work will be automatically checked for plagiarism by the Turnitin service, and that any plagiarism infractions will be treated severely.

Questions? Email with any questions or problems from the “Inbox” button on the left of the screen.

Grading rubric:

Select one option:

Each option consists of two different recordings by different modern performers of the same written composition.

Option 1: Two recordings of La Quarte Estampie Royal (The Fourth Royal Estampie), by an anonymous composer, 13th century (medieval).

Recording 1: performed by the ensemble Hespèrion XXI:

Recording 2: performed by the ensemble Aurea Proportio:

Option 2: Two recordings of Zefiro Torna (Zephyrus Returns), composed by Claudio Monteverdi, 17th century (early baroque).

Click here for a translation of the sung text: Translations for Paper 1, option 2

Recording 1: performed by singers John Potter and Douglas Nasrawi, accompanied by the ensemble Tragicomedia:

Recording 2: performed by singers Nuria Rial and Philippe Jaroussky, accompanied by the ensemble L’Arpeggiata:

Option 3: Two recordings of Chromatic Fantasy, composed by Johann Sebastian Bach, 18th century (late baroque).

Recording 1: performed on the harpsichord by Trevor Pinnock:

Recording 2: performed on the harp by Andrew Lawrence-King: