it is a technical music question

You need to watch this youtube video, and discuss for form, and others (rhythm, tempo, and meter) (you might review in chapter 3).

https://www.youtube.com/watch?v=lSm6ugjEpdY

In addition, you need to write a short analysis of the piece from the point of view of a Referential Listener. (You might review in chapter 1).  

300 words minimums.  

I am sending you the information of rhythm, tempo, and meter from the course so it will be easier for you:

tension and relaxation. The alternation of tension and relaxation is experienced in motion and registered in the mind. The body’s nervous and muscular systems respond to the rhythmic quality of music, creating a subjective feeling and mood in the listener. The subsequent visible and invisible responses to music are based on our perception of how music moves in time from one point of emphasis to another. These points of rhythmic emphasis or stress—called the beat in musical terms—are visibly evident in dance.

Traditionally, the fundamental elements of music includeG. F. Handel
Water Music: Suite No. 2 in D major, HWV 349 – II: Alla Hornpipe

J. S. Bach
Suite No. 3 in D major, BWV 1068: Air

The technical term for slowing down the tempo is In the Hall of the Mountain King. Mounting excitement is achieved by a gradual, though clearly noticeable, increase in tempo (accelerando), and volume (crescendo) as the protagonist, Peer Gynt, sneaks into the Mountain King’s castle and is subsequently persecuted by the Mountain King and his band of trolls. Listen to the five levels of increasing intensity in this music.

Ritardando refers to music that gradually slows down. Ritardando is therefore the opposite of accelerando. Another equivalent Italian term forritardando is rallentando. Ritardandos usually help to close off sections of a piece of music by providing an air of finality to a composition. Thefinal bars of Handel’s Hallelujah Chorus from Messiah exemplify this use of ritardando.

In some styles of music, tempo is rigid and consistent. In other styles, there is give and take. To make the music more expressive, the performer may slightly speed up in some places and slow down in others. This subtle speeding up and slowing down is called Click to play a duple meter.

In duple meter, pulses are heard in pairs, with the stress or accent placed on the first pulse of each pair, and the weak or unstressed on the second. Each pair of pulses constitutes one measure. Tap the pulse of this excerpt and count.

Count out loud 1, 2, 1, 2, 1, 2 as you listen. This is duple meter.

J. S. Bach
Suite No. 3 in D major, BWV 1068: Air

Triple Meter

A pattern in which a strong beat is followed by two weak beats creates Click to play a triple meter.

In triple meter, pulses are grouped in 3s with the stress placed on the first pulse in each group. Each group of three pulses constitutes one measure. Tap and count to this example in G. F. Handel
Water Music: Suite No. 2 in D major, HWV 349 – II: Alla Hornpipe

Some novice listeners confuse tempo and meter. They are two distinctly different components of music and are independent of one another. A piece may be in duple meter and have either slow or fast tempo:

J.S. Bach
Suite No. 3 in D Major, HWV 349: Air (slow duple meter)

G. F. Handel
The Arrival of the Queen of Sheba (fast duple meter)

F. Chopin
Waltz in C-sharp minor (fast triple meter)

Meter 2

Syncopation

Composers often use the element of surprise to hold our interest in music, giving us something unexpected. We have heard how composers establish a steady pulse and consistent tempo, create a meter by grouping pulses, and create rhythm patterns using combinations of long and short tones. We generally expect rhythmic patterns, pulses, and tempos to work together in a consistent manner, with stressed tones occurring at predictable points in the music based on their relative length or because they fall on a stressed beat.

Sometimes composers decide to change all of that and place stressed tones in unexpected places. This is called G. F. Handel
Water Music: Suite No. 2 in D major, HWV 349 – II: Alla Hornpipe

You may wish to listen again, paying attention to the two halves of the first phrase—usually called the antecedent and the consequent, or sometimes question and answer. Notice how Handel places the accent away from the first beat in the antecedent, but brings it back to the first beat in the consequent.

This is the antecedent phrase with the accent off the first beat:

Antecedent
Accent off the first beat

Now, listen to the consequent phrase with the accent on the first beat:

Consequent
Accent ON the first beat