Note: This page is no longer in any way affiliated with International School Manila. I'm leaving it up because my feedback has been that others have found it useful. Check out the rest of my website, and current interests and activities, at Grolsons.com
Family Page . About Patrick Gross and Family
AAAforSuccess . Workshop / website for Self Esteem and Success Skills: Accept, Aim, Act!
IT: International Teacher . Website (still in formation) meant to be a useful resource for US teachers overseas.
IBMusic Lecture Notes for International Baccaulaureate Music Course (1998-2000) which Patrick taught at ISM.
Mozart Clarinet Concerto
K.622
Set Work for Time Band III
Classical & Opera CF Guide: Burkat Biography of the composer
Wolfgang Amadeus Mozart (b. Salzburg, January 27, 1756;
d. Vienna, December 6, 1791)
Mozart is much in evidence today. His music is heard in TV commercials
and he has entered our pop mythology as the crass innocent of
Peter Schaeffer's Amadeus . His music is reputed to make one smarter.
But amidst the hype, the genius that lies under the smooth and
supple surface of his work is often missed or misunderstood.
There are several factors contributing to Mozart's prodigious
accomplishment. He was, to begin with, born with an extraordinary
talent, but also had a musician father who carefully and patiently
nurtured that talent. By four he was learning to perform new pieces
perfectly in an hour, and by five he was beginning to compose.
Just before his sixth birthday his father began a series of travels
that took him to the major musical centers Munich, Vienna, London,
Paris and also throughout Italy. At each stop the young composer
was exposed to new musical styles, an exposure that was not available
to many of his contemporaries. In Germany he was heard the work
of the Mannheim symphonists. In London he heard the music of Johann
Christian Bach, youngest son of the great J.S. Bach. In Italy
he was introduced to the conventions of Italian opera seria and
opera buffa. All of this he assimilated and synthesized into his
own individual voice. At the age of eleven he responded with his
own his opera, the first of 21 he would write during his short
life.
Another consequence of his early travels was a dissatisfaction
with his home, Salzburg, where he and his father were in the service
of the Elector, Archbishop Colloredo. In great foreign cities
he had been the talk of the town, but in Salzburg he and his family
ate with the servants. Nevertheless, he continued to sharpen his
skills through the 1770's, receiving operatic commissions from
abroad and composing serenades, divertimenti, concerti and masses
for the Salzburg court.
By 1777 his disaffection with life in Salzburg became too much
and he set out once more for Paris, where he believed he could
establish a more satisfying career. But, far from establishing
himself professionally, Mozart met with dissapointment and disaster
in Paris. No significant opportunities materialized and, in July,
1778, hearing that his mother had died, Mozart left Paris and
headed back to Salzburg arriving in early 1779.
Mozart once again took up the demeaning job of assistant Kappellmeister
to the Archbishop, and worked there for two more years. Travelling
to Vienna as part of the Archbishop's entourage, he decided he
would stay, parting with Colloredo on less than friendly terms
(he was physically ejected from Colloredo's Vienna palace by the
Archbishop's steward). Once again, he set about starting a career,
and took lodgings with the family of a former paramour, Aloysia
Weber. Though his father did not approve, Mozart fell in love
with, and married Aloysia's younger sister Constanza.
In Vienna, Mozart experienced the quick rise to fame and the speedy
decline that we still see today in the lives of popular entertainers.
For several years there was a Mozart rage, but the composer's
powerful imagination eventually outran the comprehension of his
audience. The fickle public, which was really only interested
in novelty, turned away from him to another, now forgotten, favorite
composer. Suddenly, the vigorous, successful, and wealthy young
musician was prematurely aged, chronically ill, and penniless
- though his creative powers were undiminished.
In 1786, his great opera The Marriage of Figaro , written to a
libretto by the Court Poet, Lorenzo Da Ponte, was a popular success,
both in Vienna and Prague, but the controversial nature of the
story, based on Beaumarchais' revolutionary play, did not please
the imperial court. In early 1787 Mozart's father died, leaving
him even more dispirited.
Though his opera Don Giovanni , commssioned for the Prague Opera,
was also a huge success in late 1787, Mozart slid further and
further into debt. Somehow, amidst all this gloom, he managed
to compose three of his greatest and most popular works, the Symphonies
Nos. 39, 40, and 41. He also had one more operatic success, The
Magic Flute, but it was too late to be of any help to him. When
he was commissioned to write a requiem mass in late 1791, Mozart,
deeply ill, became convinced he was being directed by God to compose
his own memorial. He died before he could finish it.
Notes on the composition:
Clarinet Concerto in A, K. 622 (1791)
The Concerto in A Major, Mozart's last work in the concerto
form, was inspired by and written for Anton Stadler, the player
for whom he had composed a number of other works. The most important
of these were the Clarinet Quintet, K. 581; the Trio in Eb, K.
498; the solos in his last opera La Clemenza di Tito and the clarinet
parts in his vocal trios. Stadler was a close friend of Mozart
in Vienna in the closing years of the composer's life and he and
his brother Johann played in many of the Austrian composer's works,
including those already mentioned.
Mozart's now celebrated Clarinet Concerto, completed just two
months before his death, was begun as early as 1789 as a concerto
for basset horn in G Major. The only surviving autograph manuscript
is, in fact, of the incomplete first movement of this version.
The basset horn had an extended range to low C and it was this
instrument on which the performance was probably given. The concerto
was published in 1801, ten years after Mozart's death, in an arrangement
for normal clarinet in A, the instrument that is well known today.
[The Bb clarinet is more common yet.]
The orchestra in this concerto comprises strings, flutes, horns
and bassoons and is used throughout with great freedom and subtlety
in continual dialogue with the
clarinet. The color range of the solo instrument is fully exploited,
in three different registers.
The opening Allegro is the most extended and there are long passages
in minor
keys, typical of the mature Mozart. Some of the music is reminiscent
of that in the
opera The Magic Flute, written shortly before.
The beautiful Adagio is like one of the arias from his great operas,
mellifluous and deeply searching.
Ending the work is a Rondo in dance rhythm which combines infectious
gaiety with, at times, the darker side of the composer's incredible
genius.
1st Movement:
Ritornello - Sonata Form
Homophonic texture
Key of A major
Form:
R1 (TUTTI) EXPOSITION (meas1)
S1 (solo) SOLO EXPOSITION (meas57)
primary theme (from tutti as well) in tonic
important parallel minor motif (meas78)
secondary theme (meas100) in dominant (E major)
R2 (TUTTI) (meas155)
S2 (solo) DEVELOPMENT (meas 172)
R3 (TUTTI)
S3 (solo) RECAPITULATION (meas 248)
primary theme in tonic (meas251)
minor motif (meas272)
secondary theme now in tonic (meas288)
CLOSING SECTION BEGINS (meas316)
R4 (TUTTI)
2nd Movement
Adagio
Longing, searching melody
D major (the subdominant)
Profound, almost religious feeling
Broadly ABA
Section A (meas1-32)
phrase stated in solo; repeated in orchestra (8+8)
descending phrase; same pattern
Section B (meas 32-59)
more declamatory and more rhapsodic
ends with cadenza
Repeat of Section A (meas60-82)
this time orch does not repeat first phrase
Coda (meas 83-end)
active clarinet with light orch acc.
3rd Movement
Lilting dance rhythm
Interplay between soloist and tutti
In a rondo, the "ritornello" always returns in the tonic
key.
In between, episodes may modulate into a variety of keys; spends
a significant amount of time in D major.
Rondo form
Overarching structure is ABACA (coda)
First big section: "A"
A(meas1) 8 meas theme restated by the ripieno
B (7 meas scaler passage, Emajor)
A (meas24) rondo returns
C (meas31) ascending ww; sequence in strings; solo/tutti, solo/tutti;
big cadence in A major: I6 V I...I
2nd big section: "B" (meas57-113)
D?(meas57) Lyrical theme in solo clarinet; solo/tutti; moving
thru different keys
3rd big section "A2" (meas114-137)
A(meas114) rondo returns (last meas. slightly different)
E (orch modulates)
4th big section"C"(meas138-246) new theme (lilting theme)
F: modulates to D major:
G(meas186) back in A major ; more modulation; 3 fermatas, more
solo/orch interplay
5th big section "A'"(247-300)
A(meas 247) rondo returns, restated by ripieno (248-300 are identical
to opening)
6th big section"coda" (301-346)
Your notes, thoughts, corrections:
Review Sheet
HIGH BAROQUE - CLASSICAL
(Time Band 3: 1700-1800)
Early Baroque (1600-1650)
Middle Baroque (1650-1700)
High Baroque (1700-1750)
Classical (1750-1830)
I. The High Baroque:
The Era:
Important Figures:
Visual art:
Style:
Form:
Melody:
Tone Color :
Harmony:
Rhythm:
Composers:
Johann Sebastian Bach (German 1685-1750)
George Frideric Handel (German [English] 1685-1759)
Dominco Scarlatti (Italian 1685-1757)
Antonio Vivaldi (Italian 1678-1741)
Genres:
Opera
Oratorio
Cantata
Fugue
Suite
Sonata
Concerto
Vocabulary:
II. The Classical Era
The Era:
Important Figures:
Visual art:
Style:
Form:
Melody:
Tone Color :
Harmony:
Rhythm:
Composers:
Christoph Willibald Gluck (German 1714-1787)
CPE Bach (German 1714-1788)
JC Bach ( German 1735-1782)
Franz Joseph Haydn (Austrian 1732-1809)
Wolfgang Amadeus Mozart (Austrian 1756-1791)
Ludwig van Beethoven (German 1770-1827* we'll cover in time band II)
Genres:
Sonata
Symphony
String Quartet
Concerto
Opera
Vocabulary:
ANALYSIS PROJECT (ASSESSMENT)
1) Structural and technical analysis (aural): [25 points maximum]
accurate outline of form (5)
correct identification of meter (5)
correct identification of tonality (5)
correct identification of instruments (5)
communicates ideas clearly (5)
2) Artist/composer background (WWW). [25 points maximum]
accurate biography
appropriate depth of information
suitable clarity of prose, good writing mechanics
3) English translation. [10 points maximum]
translation is present and complete if song has Spanish lyrics
text is related to structure and/or composer
where translation is not applicable these points will be applied
towards mechanics
4) Emotional / Intellectual reaction [20 points maximum]
cogent description of personal reaction.
5) Class presentation [20 points maximum]
Evidence of preparation (5)
Communicates clearly (5)
Accuracy of analysis; translation (verbal perspective) (5)
Personal reaction (verbal perspective) (5)
Comments:
Review Sheet
Set Culture: IB Music Exam
Recording: (World Music Network The Andean Selection) The Music
of The Andes: The Rough Guide RGNET 1009
Text: The Rough Guide to World Music
Supplemental Reading: Appropriate entries in The New Harvard Dictionary
of Music
Geography:
History:
Vocabulary:
Anhemitonic -
Chicha -
Conjunta -
Cuzco -
Hocket -
Huayno -
Huayla -
Mestizo -
Nueva Canción -
Quechua -
Yaraví -
Instruments:
Antara (aka zampoños) -
Charango -
Latin percussion instruments -
Quena -
Style
Form -
Melody -
Tone Color -
Harmony -
Rhythm -
Artists:
Awatiñas
Inti Illimani
Víctor Jara
Emma Junaro
Picaflor de los Andes
Rumillajta
INTERNAL PERFORMANCE ASSESSMENT
NAME:_____________________________________________________ SL HL GRADE______
CANDIDATE NUMBER:______________ NATURE OF PERFORMANCE:______________DATE:______
TITLE 1:_______________________________COMPOSER:___________________INST:_______
TITLE 2:_______________________________COMPOSER:___________________INST:_______
TITLE 3:_______________________________COMPOSER:___________________INST:_______
CRITERION A (CREATIVITY, ORIGINALITY, IMAGINATION)
"overall combined impact of the performance...spontaneity
and creative, imaginative ways of focusing on the piece...lack
of clichés and safeness"
CRITERION B (TECHNICAL COMPETENCE AND CONTROL OF ELEMENTS)
"makes musical sounds fluently...physical coordination"
CRITERION C (INTERPRETATIONAL ASPECTS OF STYLE)
"dynamics, phrasing etc."
CRITERION D (AESTHETIC CONTENT)
"conveys the intended meaning of the music"
CRITERION E (ABILITY TO ASSESS OWN GROWTH AND DEVELOPMENT)
"judgments throughout the course not just at the interview..."
5 4 3 2 1 SPECIFICS: COMMENTS:
TONE QUALITY AND INTONATION
DYNAMICS
ARTICULATION / DICTION
RHYTHM / PULSE
PHRASING
TECHNIQUE
COMMENTS:
TOTAL
STRUCTURAL: How many distinct groups of voices/instruments perform in the example? Describe their interaction.
TECHNICAL: What is the meter of this piece? Describe any changes.
CONTEXTUAL: Discuss the significance of St. Mark's Basilica in late Renaissance vocal and instrumental music.
Paper I, Section Two (World Music)
Music of Indonesia
Gandrung Bulo (no score provided)
Structural Question:
How many verses in this song? Describe the structure of each verse.
Band IV
Refer to the score Fair Phyllis, the 1599 English madrigal composed by John Farmer.
Technical Question: (10 min.)
Discuss the musical device (or devices) Farmer uses to express the text in this work. Use specific examples from the score in your answer.
Review Sheet
RENAISSANCE - EARLY BAROQUE
(Time Band 4: 1550 - 1700)
The Renaissance (1450 - 1600)
Early Baroque (1600-1650)
Middle Baroque (1650-1700)
Preface: The Middle Ages
I. The Renaissance:
The Era:
Visual art:
Important figures:
Composers:
Ockeghem (Neths. c.1430-1495)
Josquin des Prez (Neths.c1440-1521)
Orlandus Lassus (Neths. 1532-1594)
Thomas Tallis (English c1505-1585)
William Byrd (English1543-1623)
Thomas Morley(English c.1557-1602)
Dowland (English 1553 - 1626)
Weelkes (English 1576 - 1623)
Palestrina (Italian c1525 - 1594)
G. Gabrieli (Italian 1552 - 1612)
Monteverdi (Italian 1567 - 1643)
Style:
Form:
Melody:
Tone Color :
Harmony:
Rhythm:
Genres:
mass -
motet -
chanson -
madrigal -
Instruments:
crumhorn -
cornett -
lute -
sackbut -
rackett -
recorder -
shawm -
viol -
Vocabulary
ayre
a cappella
academy
ballett
cantus firmus (Medieval)
consort
chorale
canzona
cori spezzati
fauxbourdon
frottola
lied
pedal
pavane - galliard
ricercar
word painting (or tone painting)
II. The Early and Middle Baroque:
The Era:
Important Figures:
Visual art:
Style:
Form:
Melody:
Tone Color :
Harmony:
Rhythm:
Composers:
Claudio Monteverdi (Italian 1567 - 1643)
Girolamo Frescobaldi (Italian 1583-1643)
Heinrich Schütz (Germany 1585 - 1672)
Lully (France 1632 - 1687)
Henry Purcell (English c1659 - 1695)
Arcangelo Corelli (Italian 1653 - 1713)
Couperin (French 1668 - 1733)
(The masters of the late Baroque, in Time Band III: Handel, Bach, Vivaldi)
Genres:
Cantata -
Opera -
Oratorio -
Organ music-
toccata -
fugue -
chorale based pieces -
mass -
Sontata -
Suite -
Vocabulary:
aria -
arioso -
bel canto -
equal temperament -
castrati -
basso continuo -
ground bass -
major-minor tonality -
monody -
The Camerata -
terraced dynamics -
ostinato -
patronage -
recitative -
ritornello -
sinfonia -
virtuoso -
Side One
1) Set Work: Giovanni Gabrieli: Sonata Pian' e Forte,
, from Sacrae Symphoniae.. Performed by London Brass Ensemble
in 2 choirs of 4 voices: flugelhorn, 2 tenor trombones, bass trombones;
trumpet, alto trombone, 2 tenor trombones.
2) Gregorian Chant: Graduale: Haec dies
3) Organum: Hans Sachs: Alleluia Justus ut palma
4) Notre Dame style: Perontin: Sederunt - Gradual for St.
Steven's Day
5) Mass: Palestrina: Pope Marcellus Mass, Agnus Dei.
6) Motet: Orlandus Lassus: Tristis est anima mea
7) Lied: Heinrich Isaac: Innsbruck ich muss dich lassen
8) Frottola: Marco Cara: Io non compro piu speranza
Side Two
1) Italian Madrigal: Claudio Monteverdi: Cruda Amarilli
2) Chanson: Claudin de Sermisy: Tant que vivray
3) Ballett: Thomas Morely Now Is the Month of Maying
4) English Madrigal: John Farmer: Fair Phyllis
5) Opera: Monteverdi, Orfeo Prologue and Act II excerpts
Bonus Tracks:
6) Josquin: El Grillo
7) Praetorius: Terpsichore "Courante"
8) Praetorius: Terpsichore "Volte"
9) Morley: Those dainty daffadillies
Checklist as of 1-20-98 (Please make sure you have these valuable study aids in your files)
Performance and Composition
Your journal which outlines your creative process in composition
and performance preparation
Performance piece project (analysis)
Twentieth Century
20 Century listening tape and outline
In-depth analysis of ALL of African Sanctus (group projects)
Twentieth century composers list and biographies (from web page
group project)
Stravinsky (5 works) Packet (class project)
Listening guide 68 (Stravinsky's Symphony of Psalms) nice outline
of form
Stravinsky bio and listening guide for Rite of Spring
Liner notes for Petroushka (breakdown of sections)
Review sheet
World Music
Program notes from Nov. 24 Koto music performance
Program notes from Nov. 26 Lucrecia Kasilag visit
Music Cultures of the Pacific, the Near East and Asia: Island
Southeast Asia from The Philippines to Indonesia (Chapter Two)
Handout
Folkways Music of Indonesia liner notes
IB study guide to same (class project)
Musicologist' classification of instruments
Other
Course Outline
Checklist for Analysis
2 complete IB tests, and other IB questions
Last year's notes on the Baroque, Classical, and Romantic Eras
Last year's materials on fundamentals of music theory and harmony
Circle of 5th's diagram
"What to expect this spring" breakdown
Review Sheet
TWENTIETH CENTURY
(Time Band 1: 1900 - present)
The Era:
Technological explosion, scientific advances, two World Wars, the nuclear bomb, mass availability (inevitability) of music in everyday life.
Major Composers:
John Philip Sousa (American,1854-1932)
Claude Debussy (French, 1862-1918)
Ralph Vaughan Williams (English 1872-1958)
Maurice Ravel (French, 1875-1937)
Charles Ives (American, 1874-1954)
Sergei Rachmaninoff (Russian, 1873-1943)
Arnold Schoenberg (Austrian, 1874-1951)
Bela Bartok (Hungarian, 1881-1945)
Igor Stravinsky (Russian, 1882-1971)
Edgar Varese (French 1883-1965)
Anton Webern (Austrian, 1883-1945)
Alban Berg (Austrian)1885-1935)
Sergei Prokofiev (Russian,1891-1953)
Aaron Copland (American, 1900-1990)
Dmitri Shostakovich (Russian, 1906-1975)
Elliott Carter (American 1908-)
Oliver Messiaen (French, 1908-1992)
John Cage (American, 1912-1992
Benjamin Britten (English, 1931-1976)
Leonard Bernstein (American, 1918-1990)
Karlheinz Stockhausen (German, 1928-)
George Crumb (American, 1929-)
Krzysztof Penderecki (Polish, 1933-)
Steve Reich (American, 1936-)
Philip Glass (American, 1937-)
Style:
Form Continued use of most older principles of form.
Melody Extreme range, wide leaps, disjunct motion, asymmetry.
Tone Color Exploitation of extremes in texture and timbre,
exploration of electronic and synthesized sounds.
Harmony Emancipation of dissonance. Unresolved, or new resolutions
of dissonance, atonality, polytonality, pantonality, clusters,
stacked chords, quartal harmony.
Rhythm Extremes of tempo, changing meter, cross-rhythms, polyrhythms,
irregular accents
Genres:
Impressionism - term borrowed from painting. "Objective." Whole tone scales, parallel chord movement, unresolved dissonance, especially seventh and ninth chords. "Shimmering, floating quality."
Expressionism - extremely subjective approach of Schoenberg, Berg and Webern. "Art should express the inner consciousness of its creator rather than external reality," thus, extremes, distortion, exaggeration.
Primitivism - the deliberate evocation of primitive power through insistent rhythms and percussive sounds, as in Stravinsky's Rite of Spring.
Neoclassicism - emotional restraint, balance and clarity, a return to forms and stylistic features of the 18th century.
Nationalism - late Romantic trend, deliberate use of folk music and themes to give music a distinct national flavor.
Avant-gard - on the leading edge of a change in style.
Vocabulary:
aleatory
atonality
bitonality
glissando
serial music
microtone
minimalism
Moog synthesizer
musique concrete (Fr.)
ostinato
pentatonic
polychord
polyrhythm
polytonality
retrograde
quartal harmony
Sprechstimme (Ger.)
tone cluster
whole tone scale
Music studied:
African Sanctus
The Rake's Progress
Petroushka
The Rite of Spring
The Firebird
Wozzack
A Survivor from Warsaw
Different Trains
Music for 18 Musicians
Concerto for Orchestra
Music for Strings, Percussion and Celesta
Ancient Voices of Children
Pierrot lunaire
Poeme Electronique
Clarinet Concerto (Mozart)
Standard Level / Higher Level External and Combined Assessment
External Assessment:
Paper 1 (Listening) May 18, 1999 [20 %]
Section One: Structural, Technical and Contextual
questions associated with listening excerpts. These will not be
the set works. Scores may or may not be provided.
Band 1 (1900-present) / Band 2 (1800-1899) / Band 3 (1700-1799)
/ Band 4 HL Only (1550-1699)
Section Two: World Music Listening Extracts from Set Cultures: Music of Indonesia / Music of the Andes. Structural, Technical and Contextual Questions. No scores will be provided. Excerpts will come from prescribed music (we will have at least listened to).
Paper 2 (Technical Literacy, Short Essay) May 19, 1999 [30%]
These questions are more general than paper one questions.
Section One: Technical Literacy
Part A: Study of Music in Western Society: Prescribed Works
African Sanctus / Kinderscenen / Mozart Clarinet Concerto / (HL
Only) Sonata Pian'e Forte.
SL will be asked to answer 2 of 3 questions/ HL will be asked
to answer 3 of 4 questions.
You may bring/use clean (unmarked) copies of the scores to these
works.
Part B: Study of World Music - Prescribed Cultures. You will be asked to answer 2 of 4 questions (HL will need to answer one on EACH culture)
Section Two: Short Essays
Part A: Study of Music in Western Society. There will be a couple of questions for each Time Band. You are to answer ONLY ONE question. The catch: you are not allowed to refer to the set works as examples/descriptions.
Part B: Study of World Music - Music of the five regions of the world. You will answer one question, NOT about one of the set cultures. It will be a very general question.
Combined Assessment:
[HL Performance 25%, Composition 25%; SL Performance or Composition 50%]
Performance (based on IB Taping, Week of March 1, and IB Recitals March 17 & 18)
2 (HL 3) works OR 2 (HL 3) movements from a sonata OR similarly
substantial work including: electro-acoustic, electronic or computer
music of a substantial collection of Non-Western Music.
Each candidate's performance should last for approximately 15
minutes, and must be recorded.
The teacher is required to conduct and record interviews with
candidates; on the same cassette as the performance.
Criteria of Assessment:
A- Creativity, Originality and Imagination
B- Technical Competence and Control of Elements
C- Interpretational Aspects of Style
D- Aesthetic Content and Presentation
E- Ability to Assess Own Growth and Development
Composition
Portfolio of 2 (HL 3) pieces, which may be original compositions, arrangements or improvisations, together with the working papers used for their development during the preparation period. The pieces may be in any style, but must reflect a coherent educations experience over the duration of the course.
Criteria of Assessment:
A- Creativity, Originality and Imagination
B- Coherence, Unity and Appropriateness to the Medium
C- Technical Competence and Control of Elements
D- Aesthetic Content
E- Ability to Assess Own Growth and Development
Achievement levels in assessment of performance and composition:
1 - weak or incompetent
2 - below average skills
3 - average skills
4 - above average skills
5 - outstanding skills
20th Century
Listening Tape (updated 10/23/98)
Side I:
1. Bartók: Music for Strings, Percussion and Celesta, (1936) mvmt. 3 and 4. Chicago symphony / Fritz Reiner, conductor (1958) (14:00)
2. Varèse: Poème électronique, Direct Magnetic Tape Creation / Robert Craft, conductor (8:05)
3. Crumb: From Where Do You Come, My Love, My Child? from Ancient Voices of Children, Jan De Gaetani, Mezzo-soprano; Contemporary Chamber Ensemble, Arthur Weisberg, conductor (4:15)
4. Schoenberg: Pierrot lunaire (1912)
(room for more - please cue up to end of this Schoenberg cut when I ask for your tape back)
Side II:
1. Reich: Different Trains 1. America Before the War 2. Europe During the War 3. After the War.
(you will have some of "Electric Counterpoint" recorded after this point. We may eventually record over this as well.)
I. Listening (1-10)
Mark with: B = Baroque C = Classical R = Romantic * = something
else
Give a short description.
II. What is music? (Answer in a short, clear paragraph)
III. Terms
Mark with: B = Baroque C = Classical R = Romantic
Give a short definition.
1. fugue
2. exposition
3. sonata
4. chorale
5. concerto
6. basso continuo
7. perfect authentic cadence
8. impressionism
9. oratorio
10. suite
IV. Composers
Mark with: B = Baroque C = Classical R = Romantic
For what were they noteworthy?
1. Haydn
2. Mozart
3. Bach
4. Beethoven
5. Schubert
6. Debussy
7. Vivaldi
8. Stravinsky
9. Gabrieli
10. Fanshawe
V. Write me a letter.
SHORT ESSAY / PART A / STUDY OF MUSIC IN WESTERN SOCIETY
TIME BAND 1: (1900-present)
Discuss the vocal performance styles available to "classical" singers compared with "pop/rock" singers in twentieth century music. To support your answer make reference to specific pieces of music and/or performers.
or
TIME BAND 2: (1800-1900)
Write about the orchestral tone poem as an example of programme
music during the nineteenth century, with reference to TWO compositions.
Giovanni Gabrieli: Sonata Pian' e Forte (from Sacrae Symphoniae)
published 1597
Essentially a double-chorus Venetian motet for instruments.
One of the first instrumental ensemble pieces printed which designates
particular instrument for each part:
Choir I 35 yards Choir II
cornett between viol
3 trombones choir lofts 3 trombones
One of the earliest instrumental ensemble pieces in which dynamics are specified.
cornett:
viol:
Renaissance trombone:
Giovanni Gabrielli (c.1555-1612)
Nephew of Andrea Gabrielli; succeded him as organist at St.
Mark's Basilica in Venice in 1585; remained there until his death.
A transitional figure between the late Renaissance and the early
Baroque.
St. Mark's
A splendid example of Byzantine architecture; spacious interior bathed in green-gold light, the domes outside, the big square. The Venitians were not into asceticism. Two organs, both played by experts. The most coveted positions in Europe. This was the big time. The widely seperated choir lofts were the most important feature as far as influence on music goes.
Congratulations on the successful completion of your TAPING AND PORTFOLIO PRESENTATIONS!
When we come back from SPRING BREAK we will:
1) Take a Mock PAPER 2 Exam.
Study tips:
1) Review the SET WORKS, especially Mozart and Fanshawe.
2) Review Mozart as a composer
3) Review Music of Indonesia, with specific reference to individual
pieces of
music, and to the Henry Cowell liner notes.
4) Review music of the Philippines, to the depth in which we studied
it.
2) Study Kinderszenen in depth. You will do formal, phrase structure, harmonic, and contextual analysis on the scene of your choice (in case you'd like to get a head start.
3) Study Music of the Andes as a brief but intensive unit.
4) Have almost three weeks of intensive, in-depth review. You should prepare for this with a careful self-directed review of all notes, materials, and text reading you have had over the course of the last two years.
5) You can get a SPRING BREAK listening tape from me Friday, and also a clean copy of each of the set works scores. You MUST NOT WRITE ON these copies, as you will need them (BLANK) for the Paper 2 Exam on May 19.
IB Exams (our only remaining worry):
Paper 1 (Listening Paper): Tues. May 18; HS Auditorium 1:00pm
Paper 2 (Essays): Wed. May 19; HS Auditorium 8:00amSpring
Break Listening Tape
(Kinderszenen / Indonesia / Andes)
Side A
(From Robert Schumann Poetische Miniaturen (Poetic Miniatures):
1. Von fremden Ländern und Menschen
2. Kuriose Geschichte
3. Hasche-Mann
4. Bittendes Kind
5. Glückes genug
6. Wichtige Begebenheit
7. Träumerei
8. Am Kamin
9. Ritter vom Steckenpferd
10. Fast zu ernst
11. Fürchtenmachen
12. Kind im Einschlummern
13. Der Dichter spricht
(From Smithsonian Folkways Music of Indonesia ed. Henry Cowell):
14. CELEBES: Gandrung Bulo (Bamboo Drums) "side 1 band
1"
15. CELEBES: Gandrung Bulo (Sung by 2 Singers) "side 1 band
2"
16. BALI: Ketchak: Portion of Monkey Dance, vocal "side 1
band 6"
17. WEST JAVA: Mamaos (Comic Song), Mang Eppen "side 2 band
2"
18. SUNDANESE: Water Music (Eling, Eling) "side 2 band 3"
(abrupt cut at end of tape: this track continues on SIDE B
Side B
1. SUNDANESE: Water Music (Eling, Eling) "side 2 band
3" (CONTINUES)
2. BALI: Pubradaya (Sitting Dance) "side 3 band 5"
(long pause)
(From Rough Guide To The Music Of The Andes)
3. Victor Jara: Te Recuerdo Amanda "track 17"
4. Picaflor De Los Andes: Un Pasajero En Tu Camino "track
14"
5. Rumillajta: Atahuallpa "track 4"
6. Emma Junaro: De Regresso "track 3"
Pre-exam (take-home component)
I.B. Paper Two Question
Due: December 18 (with World Music Research Question Project)
Verbatim from Paper Two, page three, Section One - Technical Literacy, Part B: Study of non-Western music - prescribed cultures (May 1998) IBH Exam:
Music of Indonesia (20 points)
Either
a) Compare any two musical items from different areas of Indonesia, commenting on instruments, melody, rhythm, and any other features of interest.
Or
b) What is gamelon ? Illustrate your answer with reference to one particular piece of music.
Verbatim from Paper Two, page five, Section Two - Short Essay, Part B: Study of non-Western music - music of the five regions of the world (May 1998) IBH Exam:
Music of the five regions of the world (25 points)
This question is worth 25 marks. You should not refer to the music of Indonesia or the music of the Pygmies of the Ituri Forest in your answer. [These were the two prescribed cultures in 1996]
The five regions of the world are defined as:
The Americas, Africa, the Middle East, India, the Pacific Rim.
Referring to one culture from one of the regions listed above, describe some of the beliefs associated with its music.
EXTERNAL EXAM SUCCESS STRATEGIES
1. Study and learn the material well. Review in small doses,
regularly, beginning now. Do not CRAM.
2. Visualize yourself doing well. Use affirmations.
3. Remember it is more about SKILLS (especially with regard to
analysis of FORM, and MEANING behind the music). You need specific
details to support your arguments, but these are secondary. Don't
get hung up memorizing a bunch of facts.
4. That being said, choose several pieces of music (from a variety
of time periods) in addition to the set works, which "speak
to you," and get intimately familiar with them. For the IB
exam, it is better to know fewer things in-depth, than more things
superficially.
5. It is a timed exam. Get in the habit of using time wisely.
Keep moving. Know when to "fold" and move on.
6. Be very careful to read (or know in advance) the instructions
carefully. Answering the wrong number or distribution of questions
carries a heavy penalty!
Paper One (20% of your total IB grade)
Paper One is the LISTENING paper. There will be recorded excerpts, chosen probably in part for their obscurity, which you will be expected to analyze aurally on the spot. Scores may or may not be provided.
Section 1: Study of Music in Western Society
HL (7 questions total) SL (6 questions total)
4/4 Structural Questions 3/3 Structural Questions
1/4 Technical Questions 1/3 Technical Questions
2 other questions 2 other questions
(from 3 Contextual and/or remaining 2 Technical Questions)
These questions are arranged by TIME BAND. These are the majority of IB questions we have been drilling in class. Note the emphasis on STRUCTURAL questions.
Section 2: Study of World Music
HL (4 questions total) SL (2 questions total)
1/2 Structural Questions 1/2 Structural Questions
1 Question on other Culture
2 additional questions 1 additional question
The questions are arranged by culture; the extracts should be from the music we have studied (generally) in class.
1. Bring your own tape walkman with fresh batteries. A fast
rewind/cue is a plus.
2. If you spend about 10 minutes on average on each question you
are working at the right pace.
3. Spend the first few minutes of the exam time looking over the
questions and deciding which to answer. Work towards your strengths!
This is a key strategy.
4. You do not have to answer the questions in any particular order.
Paper Two (30% of your total IB grade)
Note that Paper Two is worth more of your total grade than Paper One. This is the TECHNICAL LITERACY / SHORT ESSAY paper. The questions are more general, to allow you to display a depth of knowledge in certain areas of YOUR CHOICE.
HL (7 questions total) SL (6 questions total)
Section 1 Part A: Study of Music in Western Society
HL SL
3/4 Questions on Set Works 2/3 Questions on Set Works
Section 1 Part B: Study of World Music
HL SL
2/4 Questions on Set Cultures 2/4 Questions on Set Cultures
(one on each culture) (either or both cultures)
Section 2 Part A: Study of Music in Western Society
HL SL
1/8 Questions on 4 Time Bands 1/6 Questions on 3 Time Bands
Section 2 Part B: Study of World Music
1 compulsory question on particular culture the student has chosen to study (not a set culture)
1. You may have blank (unmarked) copies of each of the set works with you for the exam. Thus, the examiner will expect SPECIFIC references to the music. As you proceed, cite specific measures, phrases, etc. to support your statements. It is not so important that you spend a lot of time to find the BEST example of what you are looking for, as long as you cite an appropriate example.
2. Note that you will have a lot of leeway to find a question
that you know a lot about; Section 2 Part A has up to 8 questions
and you chose 1.
Kinderszenen
"Scenes of Childhood" opus 15, 1838
Set Work for Time Band II
Biography of the composer:
Robert Schumann (German)
(born Zwickau, 8 June 1810; died Endenich, 29 July 1856).
The son of a bookseller, he early showed ability as a pianist
and an interest in composing as well as literary leanings. He
was also enthusiastic over the writings of 'Jean Paul' (J.P.F.
Richter), girl friends and drinking champagne, tastes he retained.
In
1821 he went to Leipzig to study law but instead spent his time
in musical, social and literary activities. He wrote some piano
music and took lessons from Friedrich Wieck. After a spell in
Heidelberg, ostensibly studying law but actually music, he persuaded
his family that he should give up law in favour of a pianist's
career, and in 1830 he went to live with Wieck at Leipzig. But
he soon had trouble with his hands (allegedly due to a machine
to strengthen his fingers, but more likely through remedies for
a syphilitic sore). Composition, however, continued; several piano
works date from this period.
In 1834 Schumann founded a music journal, the Neue Zeitschrift
für Musik; he was its editor and leading writer for ten
years. He was a brilliant and perceptive critic: his writings
embody the most progressive aspects of musical thinking in his
time, and he drew attention to many promising young composers.
Sometimes he wrote under pseudonyms, Eusebius (representing his
lyrical, contemplative side) and Florestan (his fiery, impetuous
one); he used these in his music, too. His compositions at this
time were mainly for piano: they include variations on the name
of one of his lady friends, Abegg (the musical notes A-B-E-G-G),
the character-pieces Davidsbündlertänze ('Dances of
the league of David', an imaginary
association of those fighting the Philistines), Carnaval (pieces
with literary or other allusive meanings, including one on the
notes A-S-C-H after the place another girl friend came from),
Phantasiestücke (a collection of poetic pieces depicting
moods), Kreisleriana (fantasy pieces around the character of a
mad Kapellmeister) and Kinderszenen ('Scenes from Childhood').
Affairs of the heart played a large part in his life. By 1835
he was in love with Wieck's young daughter Clara, but Wieck did
his best to separate them. They pledged themselves in 1837 but
were much apart and Schumann went through deep depressions. In
1839 they took legal steps to make Wieck's consent unnecessary,
and after many further trials they were able to marry in 1840.
Schumann, understandably, turned in that year to song; he wrote
circa 150 songs, including most of his finest, at this time, among
them several groups and cycles, the latter including Frauenliebe
und -leben ('A Woman's Love and Life') and Dichterliebe ('A Poet's
Love'), which tells (to verse by Heine) a tragic Romantic story
of the flowering of love, its failure and poet's exclusion from
joy and his longing for death. Schumann, as a pianist composer,
made the piano partake fully in the expression of emotion in such
songs, often giving it the most telling music when the voice had
finished.
In 1841, however, Schumann turned to orchestral music: he wrote
symphonies and a beautiful, poetic piece for piano and orchestra
for Clara that he later reworked as the first movement of his
Piano Concerto. Then in 1842, when Clara was away on a concert
tour (he disliked being in her shadow and remained at home), he
turned to chamber music, and wrote his three string quartets and
three works with piano, of which the Piano Quintet has always
been a favourite for the freshness and Romantic warmth of its
ideas. After that, in 1843, he turned to choral music, working
at a secular oratorio and at setting part of Goethe's Faust. He
also took up a teaching post at the new conservatory in Leipzig
of which Mendelssohn was director.
But he was an ineffectual teacher; and he had limited success
as a conductor too. He and Clara moved to Dresden in 1844, but
his deep depressions continued, hampering his creativity. Not
until 1847-8 was he again productive, writing his opera Genoveva
(given in Leipzig in 1850 with moderate success), chamber music
and songs. In 1850 he took up a post in Düsseldorf as town
musical director. He was at first happy and prolific, writing
the eloquent Cello Concerto and the Rhenish Symphony (no.3: one
movement depicts his impressions in Cologne Cathedral). But the
post worked out badly because of his indifferent conducting. In
1852-3 his health and spirits deteriorated and he realized that
he could not continue in his post.
In 1854 he began to suffer hallucinations; he attempted suicide
(he had always dreaded the possibility of madness) and entered
an asylum, where he died in 1856, almost certainly of the effects
of syphilis, cared for at the end by Clara and the young Brahms.
http://w3.rz-berlin.mpg.de/cmp/schumann_r.html
Notes on the composition:
The thirteen scenes comprise a unified musical entity in spite of the varying tonalities. The subtitles are intended to help the listener to grasp the music emotionally. It makes little difference that Schumann admitted to often choosing the programatic title after the piece had been composed.
In the middle of the work (#7), Träumerei (Dreaming),
becomes the inner culmination of the whole - a contemplative
pause in the colorful diversity of scenes.
Short melodic phrases and repeated sections dominate the work.
Each scene evokes a discernable mood through tonality, melody,
harmony, rhythm, expressive elements and form.
Your notes:
Sonata Pian' e Forte, by Giovanni Gabrieli
4. Discuss the use of physical space as a compositional element in this work.
Music of the Andes
6. Either
(a) With reference to two particular Andean songs, discuss
some of the musical characteristics that might also be found in
western music.
Or
(b) With reference to one particular song, comment on
the structure of Andean music in relation to its performance.
Use notation as appropriate to illustrate your answer.
Music of the Andes
PROJECT
Choose one title which interests you from the Rough Guide Music of the Andes CD. Record the cut onto your "Spring Break" Listening Tape (there is space at the end of side B for this).
1) Listen to the song several times; as best you can aurally map the form, like this:
Example:
Title: Imaginary Andes Song
Performed by: Villi Andilli
Composed by: (traditional)
Meter: quadruple compound
Tonality: Pentatonic / G
Instruments: quena, charango, guitars, electric bass, percussion,
harp, panpipes
OUTLINE OF FORM:
Introduction (4 Meas): Percussion and guitars rhythmic figures
A: Quena melody (8 Meas, repeated)
B: Harp melody, tremolos (16 meas)
A: (repeated)
B: (repeated)
Short coda, fades on final B section repeated
2) Using the web as a resource, research the artist(s) / composers.
3) If the song has Spanish lyrics, translate them (use friends or teachers or a good dictionary).
4) React to the piece, emotionally and/or intellectually.
5) Condense the above into a one page synopsis, which you will present to the class MONDAY, April 19 (and then turn in to me).
6) This will represent the culmination and end of our ANDES unit, we will begin KINDERSZENEN study on Wednesday, April 21, and INTENSIVE REVIEW on Monday, April 26.
Unit Exam:
Time Band IV (1550-1700) The Renaissance into the Baroque
I. Practical Application: Genres (40 points; 10 points each)
1) Listen to the four excerpts and classify each as a MASS, MOTET, MADRIGAL, CHANSON, SONATA, or OPERA. (2 points)
2) Further identify each as belonging to: MEDIEVAL, EARLY RENAISSANCE, LATE RENAISSANCE, or EARLY BAROQUE. (2 points)
Fully explain your reasoning. (6 points)
(Excerpts A, B, C, and D will be played, three times each)
II. Short Essay (choose two of three) (30 points; 15 points each)
A) Discuss the impact of SECULAR HUMANISM on music in the Renaissance and Baroque.
B) Discuss cori spezzati.
C) Compare tone painting in the Renaissance and the Doctrine of Affections in the Baroque.
III. Vocabulary (25 points) (1/2 point for term; 1/2 point for letter)
Supply the term to match the definition given. In the margin, put (M) for Middle Ages, (R) for Renaissance and (B) for Baroque; give the letter for which the term PRIMARILY applies.
A) A learned society, founded for the purpose of furthering
the arts, literature or science. The Camerata is a notable example.
B) Divided choirs, a practice which was exploited especially in
sixteenth century Venice.
C) An early precursor of the modern trombone.
D) A sustained note in the bass, over which harmonies move.
E) Music to be "sounded" or played. Contrasts with "cantata."
F) A formal song used in opera.
G) An instrument made of wood or ivory, with finger holes but
with a cup shaped mouthpiece like a modern brass instrument.
H) A repeated figure in the bass, as in Montiverdi's opera. Not
to be confused with basso continuo.
I) Accompanied, expressive solo song. An example: Vittoria
mio core!
J) Imitation of speech in opera
K) Opera without action, costumes or scenery.
L) Unaccompanied. The ideal of Renaissance vocal music.
M) An instrumental form related to the motet; the precursor of
the fugue.
N) Different pitched family of like instruments -- produced homogenous
texture.
O) Like a madrigal but dance-like, strophic, homphonic and employing
a fa la la refrain.
P) Different pitched family of un-like instruments. Still produced
a relatively homogenous texture.
Q) In this time band, German polyphonic song of the late Middle
Ages and Renaissance.
R) The epitome of the supreme monarch; quoted as saying "I
AM the state."
S) Polyphonic vocal work set to a sacred Latin text.
T) Secular polyphonic vocal work for 4 to 6 voices, in which polyphonic
sections contrast with chordal sections; particular attention
is paid to the text.
U) He is intimately associated with the Council of Trent; composed
the Pope Marcellus Mass.
V) Important Renaissance composer, especially known for his progressive
motets.
W) In this time band, French secular polyphonic song of the 14-16th
centuries.
X) Form which evolved from dance pairings like Pavane-Galliard.
Y) Tuning system applied to keyboard instruments which encouraged
increased chromaticism and movement between less closely related
keys.
Z) The modal music of the Renaissance gave way to this, (Ionian/Aolian),
system of tonality which remains common today.
Note that there are twenty six letters in the alphabet. You get a free point! Smile.
IV. Technical application (5 points)
A) Identify the chords with asterisks (meas. 3 and 4). (1 point
each)
B) Describe the relationship between the two chords. (2
points)
C) Describe what the bass is doing (two words). (1 point)
Identify Time Band (Period); guess at composer. Describe elements
of the music to defend your viewpoint.
Form
Melody
Harmony
Texture
Rhythm
Timbre
Expressive Elements
dynamics
tempo
INSTRUMENTAL:
1. Mozart Piano Concerto in A K. 488: First movement NRAWM
vol2 CD8/14-29
2. Gabrielli Sonata Pian' e Forte
3. Schumann Phanasiestuck-Grillen and In Der Nacht
4. Rochberg: Nach Bach
VOCAL:
5. Schubert: Lied, Gretchen am Spinnrade
6. Dowland: Flow my tears
7. Bach Cantata Wachet Auf: tenor recitative Er Kommt
8. Mahler: Kindertotenlieder
David Fanshawe's African Sanctus
PROJECT
Structural, Technical and Contextual Analysis:
For the excerpt, or movements of African Sanctus assigned to you, analyze all elements as fully as you are able. Include form, structure, melody, harmony, dynamics, instrumentation/voicing, rhythm, text, and the use of recordings in your analysis.
Use a variety of "frames," or approaches. You may choose to create charts or graphs. For example you might create a dynamic curve, or a map of the form of the excerpt. You should also mark directly on the score. You may wish to use color coding; if you do, please include a key.
Your analysis should include a significant amount of harmonic (vertical, Roman Numeral / chord name) analysis, especially at cadential and modulatory points. It is not necessary to analyze every vertical structure in your excerpt, however.
Additionally, use whatever resources you can find to illuminate background about the excerpt: What part of Fanshawe's "cross-shaped journey" influenced this particular part of his composition? Is it dedicated to someone? What can you find out about that person?
Your project will culminate with a narrative summary paper which clearly communicates what you learned about the structure, or form, of your movements, the technical elements and manner in which Fanshawe combined them, and the context, or greater message which you feel the composer communicates in his work.
You will turn in your research notes, marked score, and any graphs, maps or supplemental analysis materials you create along with your typed summary paper.
If you approach your work with the attitude that you intend to become the world's leading expert on those few pages of music, you are on the right track to getting the most out of this assignment.
After individual assessment, we will combine our work to produce a complete and hopefully authoritative in-depth analysis of the entire composition. Enjoy!
GRADING:
Structural, Technical and Contextual Analysis:
1) Mechanics: __________ of 5 pts.
Overall organization, presentation, correct grammar and usage, clarity.
2) Content: __________ of 20 pts.
Structural analysis: clearly communicates your understanding of the organization of the score.
Technical analysis: shows evidence of your use of a variety of strategies in technical analysis, is accurate in descriptions, and makes connections with structure and context.
Contextual analysis: clearly and accurately gives background information, shows evidence of research beyond the liner notes, finds meaning, or message, and relates that meaning or message to structural and technical elements of the work.
Comments:
Overall grade __________ of 25 pts. or __________