Place: Vienna, Austria

Time: 1781

#1: Melody is witty and humorous (especially in Finale)

#2: Form is sonata, minuet and rondo for movements

#3: Timbre is a standard String Quartet (2 Violins, Viola, Cello)

Place: USA (likely New York)

Time: 1974

#1: Harmony is filled with sustained tones converging to one

#2: Rhythm is not established

#3: Contribution of Integration; music helps bring people together

Place: Vienna

Time: 1808

#1: The melody contains Beethoven's famous 4 note leitmotif

#2: Beethoven uses contrasting dynamics (loud and soft sections)

#3: This song is for aesthetic enjoyment and is a symbol of masterful composition in the Romantic Era

Place: Los Angeles

Time: 2016

#1: Uses "Pop" form; a sequence of verses, choruses and bridges

#2: Rhythm uses syncopation and has a steady beat

#3: The song has emotional expression with its themes of love and empowerment

Place: Germany

Time: 1876

#1: Form is sonata-allegro and trio for movements

#2: For dramatic effect, Brahms liked to change tempi particularly in sections of the finale

#3: This symphony is a nod to Beethoven's symphony no. 9, containing a similar melody to Ode to Joy. It acts as a message to say that symphonies did not die after Beethoven

Place: Palestrina

Time: 1584

#1: Strict rules about resolution of dissonance (harmony)

#2: Polyphonic, containing multiple vocal lines with different rhythms

#3: The piece was used for ceremonial purposes; it was a part of a Catholic mass

Place: Germany

Time: 1870

#1: Uses leitmotifs to identify characters in the opera

#2: Form contains arias, arioso and recitative sections

#3: The timbre is symphonic, using strings and brass to create grand sounds for the opera

Place: France

Time: 1888

#1: Dynamics are soft throughout the piece

#2: The rhythm is slow and simple

#3: The sounds are made from a piano

Place: USA

Time: 1924

#1: The melody contains the famous clarinet glissando in the beginning of the piece

#2: The form is a rhapsody, which free-flowing and follows nontraditional rules (in reference to classical)

#3: This piece serves to combine the cultures of classical music with jazz by blending elements of each

Place: London

Time: 1977

#1: Williams uses heroic harmonic progressions for the main theme and expressive progressions for the force theme

#2: The dynamics of both pieces have contrasting loud sections and soft sections

#3: The pieces serve to accompany a movie scene, where the harmony and dynamics (for example) would match the current scene of the movie

Place: USA

Time: 1948

#1: The melodies are lyrical and reminiscent of a pastor

#2: The form is episodic, where Copeland creates a narrative in the music

#3: The timbre is orchestral and creates warm tones, perfect for a ranch

Place: USA

Time: 2015 & 2016

#1: The melody is lively and driven for both pieces

#2: The genre is a blend of hip-hop and rap music

#3: These songs serve to spread knowledge of American history through music and theatre

Place: USA

Time: 2016

#1: The melody is expressive and catchy

#2: The tempo is moderate and upbeat, helping to create a lively tune

#3: The song is used to spread positive messages regarding Christianity

Place: France

Time: Middle-Ages

#1: The harmony uses simple 5ths and octaves

#2: The form is strophic, where the same music is repeated for different verses

#3: This piece may be performed during feasts or ceremonies

Place: Italy

Time: 1610

#1: The melody uses melismatic lines, where there are more vocal notes per syllable

#2: The rhythm is flexible and follows the text

#3: This piece invokes an emotional response towards sacred themes

Place: Italy

Time: Baroque Period

#1: The harmony follows modal scales from the Baroque period

#2: The music serves to accompany religious services

#3: Rossi created this piece to help contribute to Jewish culture and identity

Composer: Wayan Gandra (for Kebyar Gandrung)

Place: Bali, Indonesia

Time: 12th Century

#1: Metallophonic timbre; contains gongs, and percussive metallophones

#2: Rhythm is interlocking; each instrument complements the rhythm of another

#3: Used to accompany religious ceremonies, theatres and dances

Place: Ghana

Time: 2006 (Album Release Date)

#1: The dynamics are controlled by the intensity of stamping by the workers

#2: Harmony is absent in this piece, for there is only whistling and percussive stamping

#3: This piece is used to entertain the postal workers

Place: South India

Time: Unknown (songs were passed through generations)

#1: The tempo is slow and relaxed, what one would expect of a lullaby

#2: The texture is a single voice, singing lightly and smoothly

#3: The piece fosters a physical response (a lullaby puts a baby to sleep)

Place: Northern Canada

Time: Pre-Colonial Era to Today

#1: The unique timbre is generated from throat sounds and percussive vocals

#2: The form is improvisation and call-and-response

#3: The piece has a function of community building where it represents an identity of the Innuits

Place: Canada

Time: 2016

#1: The tempo is controlled by the pace of Tanya's singing

#2: The harmony is not emphasized in Inuit Culture, but rather vocalization and rhythm are important

#3: The piece was used to expand Inuit Throat Singing to other cultures and keep it from dying

Place: USA

Time: Civil Rights Era (1960s+)

#1: The rhythm uses syncopations found in jazz music

#2: The dynamics grow louder when Simone wants to convey an emotional message

#3: This piece is used as a protest against racial injustice in Mississippi

Place: USA

Time: Civil Rights Era (1960s+)

#1: The harmony comes from standard jazz chord progrssions

#2: The form is traditional blues, with repeating musical and lyrical sections

#3: The song acts to preserve the identity of jazz and blues. It reflects the cultural context of blues in this period.

Composers: Charles Tindley

Place: USA

Time: Civil Rights Era (1960s+)

#1: The texture is homophonic, having singers collectively sing one message

#2: The tempo is march-like, mimicking a social justice march

#3: This song serves to protest and acts as an anthem for the civil rights movement

Composer: Charles Tindley

Place: USA

Time: Civil Rights Era (1960s+)

#1: The melody is soulful and funky

#2: The timbre combines horns, guitars and a jazz rhythm sections

#3: This song functions as empowerment for Black identity and pride

Place: Brazil

Time: 16th Century

#1: The melodies are simple, repetitive and were influenced by African Culture

#2: The rhythm is regulated with berimbaus, pandeiros, and atabaques. Rhythm is the foundation for the movements found in Capoeira

#3: The music is used to disguise Capoeira from a fighting style to a dance. It has the function of physical response and of stability of culture

Place: Central Afr. Rep.

Time: Pre-colonial rule in Africa

#1: This piece uses water as an instrument, creating a unique timbre

#2: The piece fosters a physical response, since the BaAka people are required to swim to perform

#3: Through water drums, the BaAka people connect with nature since they play instruments made by nature

Place: Central Afr. Rep.

Time: Pre-colonial rule in Africa

#1: The melody is generating through yodelling

#2: The music fosters a physical response as people are clapping and dancing while singing

#3: The music functions as community building and stability of culture for the BaAka people

Place: Germany

Time: Middle-Ages

#1: The texture is monophonic, feature a single melodic line

#2: The dynamics are not written for Medival music, so it is up to the performer to interpret the appropriate dynamics

#3: This piece was used for Hildegard to express himself in a spiritual context