view/listen to the 3 pieces below, each representing a 20th Century composer. Give your first impression of each. It would help to write notes as you listen, noting time marks. Specifically, answer these questions for each work. In separate paragraphs, one per piece, use a title heading for each piece:Messiaen – L’Ascension, for solo organhttps://www.youtube.com/watch?time_continue=217&v=L1Qxixombe0&feature=emb_title1. Was your first reaction to the piece attraction, revulsion or neutral? Why?2. What do you think the composer was trying to convey? Does the title of the piece inform you about his motivation?3. What kind of compositional techniques and/or philosophy is the composer known to follow? (consult text and/or web source-but do not copy and paste something from Wikipedia)4. Discuss how melody, harmony, texture and dynamics are used in ways different from the previous periods of music.KONTAKTE by Karlheinz Stockhausenhttps://www.youtube.com/watch?v=uMccQo5syb8&feature=emb_title1. Was your first reaction to the piece attraction, revulsion or neutral? Why?2. What do you think the composer was trying to convey? Does the title of the piece inform you about his motivation?3. What kind of compositional techniques and/or philosophy is the composer known to follow? (consult text and/or web source-but do not copy and paste something from Wikipedia)4. Discuss how melody, harmony, texture and dynamics are used in ways different from the previous periods of music.Music for 18 Musicianshttps://www.youtube.com/watch?v=xU23LqQ6LY4&feature=emb_title1. Was your first reaction to the piece attraction, revulsion or neutral? Why?2. What do you think the composer was trying to convey? Does the title of the piece inform you about his motivation?3. What kind of compositional techniques and/or philosophy is the composer known to follow? (consult text and/or web source-but do not copy and paste something from Wikipedia)4. Discuss how melody, harmony, texture and dynamics are used in ways different from the previous periods of music.
