Assignments will vary by undergraduate class level, with some individual assignments; see specific assignment instructions.
1. What does Floyd mean by the term “musical trope”?
2. In what sense does he suggest that call-response functions as a “master trope” able to encompass other tropes within it?
3. How does Floyd see this master trope of call-response in relation to the activity of musical analysis?
in response to pages 60-62 and 68-69:
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