For this report, you will write about a composer and
work that was performed on the concert using at least three
online sources. Please write the essay according to “example of the
essay” (I wrote the first sentence) and follow the guidelinesThe
file named “the opera I attended” has all the info about the
opera.
Concert Report Sample: Opera
On Friday, April 12, I attended a performance at the Temple
University Opera Theater in
Philadelphia of Il ritorno d’Ulisse in patria. The
performance was conducted by Esa-Pekka
Salonen, and the principal roles were sung by Nina Stemme
(Elektra), Adrianne Pieczonka
(Chrysothemis), Waltraud Meier (Klytämnestra), Eric Owens
(Orest), and Gerhard Siegel
(Aegisth). This production was noteworthy because it was the
last one by the late French
director Patrice Chéreau.
According to Grove Music Online, Strauss was “after the
deaths of Wagner and Brahms
. . . the most important living German composer.” He made his
reputation with the tone poems
he wrote in the 1880s and 90s. Although he had composed three
operas prior to Elektra, the
third of these, Salome (premiered in 1905), established him
as the preeminent German opera
composer of the time. Elektra followed close on its
predecessor’s heels. Having seen the play by
Hugo von Hofmannsthal in October 1905, and Strauss was so
impressed that he contacted the
playwright about turning it into an opera. This was the
beginning of one of the most famous
partnerships between a composer and a librettist in the
history of opera.
Elektra tells the story of the title character’s desire that
the murder of her father, the
King Agamemnon, be avenged. His murderers were Klytämestra,
her mother, and her lover,
Aegisth. As the action of the opera unfolds, we also learn
that her brother, Orest, had been
exiled since the murder because he also sought to avenge
Agamemnon’s murder. He returns
under an assumed identity with the news that Orest is dead.
When Elektra recognizes him, the
two plot together to kill their mother and her lover. After
doing so, Elektra and her sister
Chrysothemis dance in celebration. In Hofmannsthal’s play,
the opera ends with Elektra’s
sudden collapse and death, but in the Chéreau production, it
ends with her sitting, staring into
space. She had become a shell of a human, having suffered a
devastating psychological collapse.
This was the first opera I have attended. When I arrived at
the opera house, I was
impressed at its splendor. The surroundings suggested to me
what a grand occasion attending
an opera can be. I had a good seat where I could see the
orchestra and most of what was
happening on stage. Since the opera was sung in German, the
translation of the text was
displayed on the back of the seat in front of me. The
audience sat quietly and respectfully
throughout. While the set was rather plain, it seemed to well
suited to the way the director told
the story. He seemed to want the audience to think about the
psychological dramatic as much as
the visible action on the stage. While Strauss’s music was
often loud, harsh, and even ugly at
times, it fit the story well and helped heighten the
excitement of the plot. Still, some of the
music was also cheerful, such as when Chrysothemis sang that
she wanted children; and some of
it was tender, such as the music after Elektra recognized her
brother.
While this was my first opera, it certainly won’t be my last!
WORKS CONSULTED
Gilliam, Bryan. Rounding Wagner’s Mountain : Richard Strauss
and Modern German Opera.
Cambridge: Cambridge University Press, 2014. Accessed
February 9, 2019. ProQuest
Ebook Central.
Gilliam, Bryan. “The Strauss–Hofmannsthal Operas.” Chapter.
In The Cambridge Companion
to Richard Strauss, edited by Charles Youmans, 119–35.
Cambridge Companions to
Music. Cambridge: Cambridge University Press, 2010.
doi:10.1017/CCOL9780521899307.008.
Gilliam, Bryan, and Charles Youmans. 2001 “Strauss, Richard.”
Grove Music Online. 9 Feb.
2019.
http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.0
01.0001/omo-9781561592630-e-0000040117.
Murray, David. 2002 “Salome.” Grove Music Online. 9 Feb.
2019.
http://www.oxfordmusiconline.com.libproxy.temple.edu/grovemusic/view/10.1093/gm
o/9781561592630.001.0001/omo-9781561592630-e-5000904614.
CONCERT REPORT GUIDELINES
General Guidelines
Your concert report should be five or six paragraphs, and it
should run between 500 and 600
words. You will select one piece from the program and write
about it.
Outline
Your report will follow this outline:
•
•
•
•
•
•
•
Paragraph 1: When and where was the concert? Who were the
performers? What did
they perform?
Paragraph 2: Tell about the composer of the piece you’ve
selected. You’ll use the sources
that you cite in the “Works Consulted” section.
Paragraph 3: Tell about the piece. Again, use the sources
from your “Works Consulted”
section.
Paragraph 4: Tell about the performance of the piece you’ve
chosen.
Paragraph 5: Describe the audience and their behavior
Paragraph 6 (may include in paragraph 5 depending on length):
What were your
impressions of the entire concert? Do you anticipate
attending another concert? Was
your curiosity aroused about a particular piece or performer?
If you did not enjoy the
concert, feel free to say so and why.
Works Consulted: List three works (not including the program
notes or Wikipedia) that
you used for paragraphs 2 and 3. Use the Chicago Manual of
Style Notes and
Bibliography format (see below for more details).
File types
I will only accept reports in Microsoft Word format with
“.docx” extensions (not “.doc”
extensions).
If you use a different word processor than Microsoft Word
(for example, Google Docs, Libre
Office, Open Office, or Pages), you will need to convert your
document to a Microsoft Word
.docx file.
Formatting Guidelines
Your report should be double-spaced, and you should use an
11-point serif font such as Times
New Roman, Palatino, Georgia, Garamond, Book Antiqua, etc. Do
not use a sans-serif font (like
Arial or Helvetica), a monospace font (for example, Courier
New), a calligraphic font (Mistral,
Monotype Corsiva, Segoe Print, Segoe Script, etc.) or any
other fancy font.
Word Document Header
Your document header should be formatted as follows:
On the left side, provide the course number and section on
the first line and the section on the
second line.
On the right side, provide your name right-justified.
To get to the header section, double click at the top of any
page in your document. By default,
Word provides the paragraph and tab settings so that you need
only to insert two tabs to get to
the right margin. You can then press “Enter” or “Shift-Enter”
to get to the second line.
Works Consulted
Your paper will include a section entitled “Works Consulted.”
There, you will furnish citations
for three works in the Notes and Bibliography format
prescribed by the latest online edition of
the Chicago Manual of Style. They should be in alphabetical
order.
Getting the your citation in the proper form is usually easy,
because most online services offered
by Temple’s library provide a way for you to cut and paste
the proper format.
If you are citing an article from a reference work (such as
Oxford Music Online), the article page
will usually contain a link that allows you to obtain the
citation in the proper format. For
example, for the New Grove article on the composer Richard
Strauss, look at the upper-right
section of the content on the page where you will see our
icons. Selecting the second icon (which
looks like a pencil) will bring up a window that allows you
to choose the proper form for your
citation:
When the citation window opens up, it will look something
like this:
In the drop-down following “Preview citation in,” choose
“Chicago.” The citation will be
displayed in the proper format immediately below. Select the
text of the citation and paste it
into your report. Make sure that all of the italics are
exactly as you saw them in the citation
when you copied it!
For online journal articles, you will follow a similar
procedure. Here is an article hosted by
ProQuest.
The window that pops up contains a much longer set of
citation styles in its drop-down. Make
sure you choose “Chicago 17th Edition (Notes &
Bibliography).
Be aware that not all services offer the 17th edition of the
Chicago Manual. In those cases, select
the latest edition displayed.
For books, you can find the citation on the library catalog’s
page for the book:
The citation window lists five different formats. Choose
“Chicago Notes & Bibliography
(15th)/Turabian (6th):
You can find a brief guide to Chicago Manual citation styles
on this page:
https://www-chicagomanualofstyle-org.libproxy.temple.edu/tools_citationguide/citationguide-1.html#cg-journal
This page, however, will not cover all the styles you may
need. If, for example, you need to cite
an encyclopedia article (for example, from Oxford Music
Online), see the sections of the Chicago
Manual 14.232: Reference works consulted in physical formats
and 14.233: Reference works
consulted online.
Your citations should be formatted as double-spaced,
hanging-indented paragraphs (at 0.5
inches). Using Microsoft Word, your ruler should look
something like this:
If you don’t know how to use or display the ruler in
Microsoft Word, search for instructions on
Google.
Proofing
You should turn on the grammar options for Microsoft Word
listed below. An explanation of
each of these is at
https://support.office.com/en-us/article/select-grammar-and-writing-styleoptions-ecd60e9f-6b2e-4070-b30c-42efa6cff55a
– ID0EABAAA=Windows. (Note that the rules
for Mac OS are a subset of those for Windows. You only need
to concern yourself with rules
common to both platforms, all the relevant ones of which are
listed here.)
Punctuation
•
Question Mark Missing
•
Punctuation marks in succession
•
Subject Verb Agreement
•
Comma Splice
•
Too Many Determiners
•
Comma Use
•
Comma After Introductory Phrase
•
Complex words
•
Comma After Greetings
•
Double Negation
•
Comma Before Quotations
•
Jargon
•
Date Formatting
•
Nominalizations
•
Comma with Conjunction
•
Passive voice with Known Actor
•
Missing Comma
•
Passive Voice with Unknown Actor
Grammar
•
Wordiness
•
Academic Degrees
•
Words Expressing Uncertainty
•
Adjective Used Instead of Adverb
•
Agreement with Noun Phrases
•
Clichés
•
Capitalization
•
Vague Adjectives
•
Commonly Confused Words
•
Comparative Use
•
Contractions
•
Hyphenation
•
Informal Language
•
Incorrect Verb Form after Auxiliary
•
Slang
•
Indefinite Article
•
Possessives and Plural Forms
Clarity and Conciseness
Vocabulary Choice
Formal Language
Punctuation Conventions
•
Oxford Comma
•
Punctuation Required with Quotes
•
Spaces Between Sentences
Correct any errors that Word identifies. Note that Word may
not recommend all the words in
your document (especially names of composers and performers).
Nevertheless, you are
responsible for submitting a first draft free of any of the
errors that Word is capable of detecting.
Before submitting your paper, please read it aloud. If you
find sentences that sound strange to
your ears, revise them. After you’ve completed a revision,
read your paper aloud again. Revise
as necessary and continue until you have a paper in which you
cannot detect anything that
sounds incorrect to you.
First Draft Rubric
You will begin your paper with 100 pts. You will lose points
for the following:
Each element missing from the Outline above.
-5
Each spelling error
-1
Capitalization errors
-1
Each grammatical error that Microsoft Word can catch -1
Fewer than 475 words
-1 for every 10 words below 475
More than 625 words
-1 for every 10 words above 625
Revision Rubric
In addition to the items in the First Draft Rubric, you will
lose points for the following on the
revised version of your paper:
Full credit
• Insightful evaluation of the performance.
• Thoughtful description of the experience.
• Impressive description of the piece performed.
-10 points
• Convincing evaluation of the performance.
• Convincing description of the experience.
• Convincing description of the piece performed.
-20 points
• Adequate evaluation of the performance.
• Adequate description of the experience.
• Adequate descriptions of the pieces performed.
-30 points
• Weak or no evaluation of the performance.
• Weak or no description of the experience.
• Inadequate or no descriptions of the pieces performed.
-40 points
• Paper contains too many errors and omissions.
…
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