1. Chopin
2. Brahms
3. Beethoven
4. Wagner
5. lietmotif
6. ABA form
7. Mendelssohn
8. recapitulation
9. a lyrical character piece
10. involved with von Meck
11. The Farewell Symphony
12. Eroica
13. Mussorgsky
14. Robert Schumann
15. Franz Schubert
16. through composed
17. thematic transformation
18. etude
19. absolute music
20. virtuoso
A. playing was artful, not powerful
B. Paganinni was one
C. holds the record for unpaid composer debt!
D. associated with Napolean
E. a transitional figure to the Romantic
F. characteristic three-voice texture
G. opposite of program music
H. nocturne
I. Berlioz
J. first movement of a symphony has it
K. married to Clara
L. Tschaikowsky
M. well-adjusted composer, and rich, too!
N. strophic
O. Symphonie Fantastique
P. cyclic principle
Q. evolution of the theme (it changes)
R. study
S. composed over 600 lieder, lived to compose
T. the Valkyries had their own one
U. stuck to classical forms; Wagner thought he was a fuddy-duddy
V. second theme in dominant
W. second theme in tonic
X. they blew out the candles, one by one
Y. one of the mighty fistful
Erlkonig form
Listening Question
Kinderscenen No. 7 Träumerei "Dreaming"
Robert Schumann
Analyze this excerpt with special reference to melodic construction
and harmony. Do the musical features fulfill the implications
of the title? How?
(30 points)
1. Bach
2. Vivaldi
3. Handel
4. stretto
5. pedal point
6. da capo aria
7. fortspinnung
8. Rameau
9. Wachet Auf, Ruft Uns Die Stimme
10. Doctrine of Affections
11. ornaments
12. fugue
13. suite
14. oratorio
15. Pio Ospedale della Pieta
16. Vienna
17. basso continuo
18. Water Music
19. cantata
20. harmonic rhythm
A. synonymous with thoroughbass, a sort of early lead sheet
B. Handel's floating light masterwork
C. Il priete rosso
D. the overlapping entries of a fugue
E. ABA form
F. Vivaldi's orphan musicians
G. an important theorist
H. harmonies change over a sustained tone
I. music capital of Europe during this era
J. Weimar, Cöthen, Leipzig
K. literally, "sung"
L. that Baroque quality of continuous unfolding, evolutionspinning.
M. a German Englishman
N. a codified expression of emotions, sort of a forerunner of
Wagner's lietmotif.
O. trills, turnarounds etc. which "dress up" the melody
P. a Baroque church cantata, by Bach
Q. rate of harmonic change
R. binary form
S. a complex sort of canon, basically
T. based upon dances like the Allemande
U. cheap-to-produce opera
Listening Question
Extract details: Antonio Vivaldi Concerto Grosso in G Minor,
Op 3 No 2 (Allegro)
Describe the interaction between the orchestra (the concerto
grosso, or large ensemble) and the soloists (the concertino,
or little ensemble-here two violins and a cello).
(30 points)
OK here are your questions! I "tweaked" them a little, to enhance your Spring Break enjoyment. These are due April 28.
1) Compare the way in which Schubert uses the piano to convey fright in Erlkönig with the way in which his contemporary, Schumann portrays fright in Fürchtenmachen, (movement 11 of his Kinderscenen). (Contextual, courtesy of Seung Young)
2) What makes this work characteristically Romantic? (Contextual, courtesy of Saena)
3) Complete the following chart, adding an item for each stanza, change of character, or change of key or tonality.
Stanza Text Character Key Comments (optional)
1 Wer reitet so... Narrator Gminor acc. represents horse
2 Mein sohn, was.. Father Gminor lower register
2 Siehst, Vater, du... Son Cminor higher register
3 Du liebes Kind... Erlkönig Bb major very soft!
(Technical and Structural, courtesy of Bee Seon)
4) Discuss Schubert's use of dynamics to convey extra-musical ideas. (Technical, courtesy of Jaakko).
5) Discuss the musical devices Schubert employs to convey
mood. Further, explore how his choice to use through-composed
form enhances his ability to convey mood. (Structural and
technical, courtesy of Judy)
6) Examine the chord in measure 47 (Er - LEN -könig
...). Describe this chord. How does it function harmonically,
in relation to the chord which follows it (F major)? Does this
chord have extra-musical function, as well? What does
it represent? (Technical and Contextual, inspired by Em)
Markscheme:
1. Accept any legitimate comparisons which cite specifics in both pieces of music. Only half marks if only one piece is described. (5)
2. Full marks for at least three Romantic traits, supported by specific examples in the text. (5)
3. Chart:
Stanza Text Character Key Comments (optional)
1 Wer reitet so... Narrator Gminor acc. represents horse
2 Mein sohn, was.. Father Gminor lower register
2 Siehst, Vater, du... Son Cminor higher register
3 Du liebes Kind... Erlkönig Bb major very soft!
4. Mein Vater.. Son Dminor* high reg. / ambig. key
4. Sei ruhig... Father G Major low, reassuring
5. Willst, feiner knab..Erlkoning C major (a step up from last
time)
6. Mein vater... Son e minor* (same ambig; a step up)
6. Mein sohn Father c#m-->dm changes key
7. Ich liebe dich Erlkonig Eb -->dm turns sinister!
7. Mein vater... Son mods to Gm height of tension!
8. Dem vater... Narrator Gm intersting V of V / V I at end
There is room for dissention with the chart; anything resembling the above THAT IS DEFENSIBLE will earn full marks. (5)
4. Any accurate description of dynamics, related to an extra-musical idea, will earn full marks. (5)
5. Full marks for two musical devices, supported with specific examples, and a reference to the through composed form For example: dynamics, rhythm (the triplet figure) (5)
6. Full marks for either interpretation: embellishing harmony (ie a neighbor or passing chord) or vii of F; with dominant function. 3 point for identifying it as a dim 7. (5)
1. Mozart
2. Haydn
3. Beethoven
4. The Magic Flute
5. The Creation
6. K.
7. three
8. recapitulation
9. Pastoral Symphony
10. rondo
11. The Farewell Symphony
12. Eroica
13. The Marriage of Figaro
14. Don Giovanni
15. Salieri
16. Esterhaza
17. Vienna
18. Salzburg
19. Nikolaus
20. the Archbishop of Salzburg
A. Haydn's summer spot, all year
B. not a breakfast cereal, Mozart's cataloger
C. a hint for the prince
D. turned a 4 note motive into a symphony
E. Mozart's last opera
F. a controversial libretto (banned, yet!)
G. probably didn't really poison Mozart
H. Mozart's birthplace
I. music capital of Europe during this era
J. Beethoven's Third
K. a program symphony
L. a "dark" Mozart opera
M. Mozart's patron
N. thirteen miniatures
O. ABACADA
P. 2nd theme in tonic here
Q. standard number of movements in a classical concerto
Haydn's patron
Listening Question
Mozart: Catalogue Aria of Don Giovanni (Leporello)
Discuss how Mozart uses both the orchestral accompaniment, and the meter of this aria to reinforce the text. (Note the aria is in two distinct sections, each with a different meter and tempo.
(30 points)
Performance
Reflection
(Journaling assignment)
Regarding your performance last Friday night, address the following:
Your preparation / planning / practice for the event
Your actual performance
Challenges: equipment, nerves, etc.
What went well / what are you proud of?
What could stand for improvement / what did you learn?
The event as a whole
Anything else you feel inspired to write about.
Due: Thu 5/25/00
I. Theory (and Ear Skills)
1. Circle of 5ths : Key signatures be able to
reproduce a diagram of the circe of 5ths. Understand its harmonic
significance.
2. Intervals be able to identify and write intervals
above a given note
3. Triad spelling be able to reproduce our "chart"
of "naturally major, minor and diminished triads."
Be able to spell (notate) triads in root position major,
minor, diminished and augmented.
4. Scale degrees / function in key understand the
nomenclature of function for example, identify the supertonic
in the key of a minor as "B"
5. Rhythmic notation be able to add a single note
to make a measure add up correctly, considering its time signature.
6. Four part voice leading given a key signature
and Roman numerals, supply correct four part voice leading employing
root position and first inversion diatonic triads for a brief
progression.
7. Cadences - authentic, plagal, deceptive, half
be able to identify in context.
8. Seventh chords - (dom7, maj7, min7, dim7) identify
by name and quality.
9. Ear skills hear harmonic and melodic intervals,
quality of triads, seventh chords, a short and easy melodic dictation.
II. History
1. Baroque
2. Classical
3. Romantic
Know major stylistic traits, important composers, instruments and vocabulary from review sheets!
III. IB Questions (application) (HALF the points of the final live here)
1. Structural
2. Technical
3. Contextual
Listening questions from Band 2 (1800-1900) and Band 3 (1700-1800)., and a technical literacy or short essay question.
Hot tips: get familiar with a Romantic sonata and a Baroque concerto. Bone up on works of Handel, Berlioz and Schumann. Know sonata form.
STUDY HARD! GOOD LUCK!
Fryderyk Chopin: Nocturne in E flat Major, Opus 9 No. 2
Structural: Discuss Chopin's use of ornamentation as a structural element
Technical:
a) What is the meter of this piece?
b) Discuss the use of rubato in this characteristic Chopin piano
work.
Contextual: Discuss the appropriateness (or inappropriateness)
of the word Nocturne as a title for this piece.
Friday May 5
Berlioz
Library time
Tuesday May 9
Chopin
Brahms
Library / MIDI lab time (Composer projects / 8 meas melody composition
/ Concerto composition)
Thursday May 11
Wagner
Romantic Era Review
Library / MIDI lab time (Composer projects / 8 meas melody composition
/ Concerto composition)
Monday May 15
Romantic Composer Project Due
Composer presentations
(Seung Young May 15 1pm IB paper 1; May 16 8am IB paper 2)
Wednesday May 17
Romantic Era Quiz / IB question
Classical Review
Friday May 19
Classical Era Quiz / IB question
Baroque Review
Tuesday May 23
Baroque Quiz / IB Question
Workshop time / Finalize compositions ("Concerto")
Thursday May 25
Final Theory Quiz
Monday May 29: Review Day
All outstanding work due: 8 measure melody final, all SA's,
concerto composition, all late work. None will be accepted under
any circumstance after today!
Final Exam TBA
Franz Schubert (1797-1828), Austrian
Frederec Chopin (1810-49), Polish/French
Felix Mendelssohn (1809-47), German
Robert Schumann (1810-56), German
Franz Liszt ((1811-86), Hungarian
Hector Berlioz (1812-69), French
Richard Wagner (1813-83), German
Giuseppe Verdi (1813-1901), Italian
Clara Schumann (1819-96), German
Bedrich Smetana (1824-1884), Czech
Johannes Brahms (1833-97), German
The Mighty Fistful (The Russian Five)
Modest Mussorgsky (1839-1881)
Mily Balakirev (1837-1910)
Alexander Borodin (1833-87)
Cesar Cui (1835-1918)
Nikolai Rimsky-Korsakov (1844-1908)
Georges Bizet (1838-75), French
Peter Tchaikovsky (1840-93), Russian
Richard Strauss (1856-1949), German
Anton Dvorak (1841-1904), Czech
Giacomo Puccini (1858-1924), Italian
Biography (Reasonable depth -- not a book, but not a paragraph.
Give all the essential details, and a few additional interesting
ones.)
Achievement (Why is this composer famous, almost 200 years later? What IMPACT did s/he have on future composers?)
Music (Works and style summary; not a comprehensive list, but a highlights or "greatest hits" compilation)
**Chosen work analyzed in-depth. Choose a moderate
length work characteristic of the composer's style. Procure a
recording and score (I can help with this). Listen and react
to it intellectually and emotionally.
Structural: examine the phrase structure, and overall
organization of the work
Technical: choose a short (8-16 measure) segment and
perform a harmonic analysis. Pay particular attention to cadence
points.
Contextual: when, why and how did the composer write
the work? Early or late in his career? What influences came
to bear on the work? Did the work have any particular significance
to later composers? To you?
You may work independently or in teams of two. However, if you work together, I will expect an **in-depth analysis from each of you.
GRADING:
50 % Biography / Achievement / Music
Accurate information
Presented clearly
Sources cited
Good mechanics and grammar
50% In-depth analysis
Appropriate work chosen (representative and characteristic)
Accurate and insightful analysis, communicated clearly (technically
correct)
Due: May 15, 1999
Gretchen am Spinnrade
Schubert's Gretchen am Spinnrade sets a famous scene
from Goethe's Faust in which Gretchen sits spinning thread
while thinking of Faust. How is the spinning wheel depicted in
this song? Why is this an effective device for depicting the
spinning wheel?
How does this device also capture Gretchen's mood?
Where does the wheel suddenly stop, and then gradually start again? What does this suggest about Gretchen's feelings at this point? (use lyrics as reference point).
1. Define CADENZA.
2. SONATA FORM (complete the chart):
EXPOSITION
1st theme in tonic; bridge
2nd theme in _________or_________
_______________
builds tension...
_______________
1st theme in ___________
2nd theme in __________
___________
Is it primarily a CLASSICAL or a BAROQUE form?
Name a specific movement which employs sonata form _____________________.
3. Define OPERA BUFFA
4. Define LIED.
5. Get to work on those review sheets; ask questions; more quizzes like this are on the way!
Ludwig van Beethoven, Symphony No. 3 in Eb Major (Eroica) 1803, Allegro con brio (first movement)
1. What are some of the unusual features of this movement?
2. According to many analysts, the PRINCIPAL THEME is treated
as a person in a drama, struggling against other players and triumphing
in the end. How does Beethoven use changes in the principal motive
(meas. 3-8) to convey struggle and triumph?
(Hint: Look at the versions of this idea in the development,
at meas. 408, and meas. 424 in the recapitulation, and at meas.
639 in the coda.
3. What other devices does Beethoven use in this movement to suggest a dramatic struggle ending in triumph? How do the very long development and coda contribute to this effect? Use specific musical references in your answer.
MARKSCHEME:
20 POINTS (up to seven points each)
1. Length, treatment of the principal theme (as a character in a drama). Weight of development and coda relative to exposition. Harmonic treatment (abrupt modulations)
2. movement through keys;
3. (any reasonable and well supported answer will earn marks)
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:
arpeggio -
binary form -
cadenza -
concerto -
concertino -
circle of fifths -
da capo aria -
doctirne of affections - (Affectenlehre)
harmonic rhythm -
hemiola -
libretto -
ornaments -
overture - (French, Italian)
passicaglia -
pedal point -
scordatura -
stretto -
ternary form -
tone painting
thoroughbass -
Instruments:
high trumpet -
oboe -
recorder -
pipe organ -
string family -
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:
Alberti bass -
canon -
coda -
empfindsamer Stil -
intermezzo
minuet and trio
orchestra -
opera buffa -
patronage -
rondo -
scherzo -
sonata form -
Sturm und Drang -
style gallant -
theme and variations -
Instruments:
The orchestra -
Sonata Form:
I.B. Question (10 minutes each)
1. In Schumann's Kinderscenen, each movement is a small
vignette which conveys a mood or an event related to childhood.
How does Hasche-Mann (Catch Me) convey the idea or mood
implied by the title? Use appropriate musical language and reference
to elements of music in your answer.
2. Refer to the first three Kinderscenen (the ones we have listened to as a class). Discuss the progression of keys in these three "movements", and the relationship among them.
Complete this chart: (5 points)
*
Part Two: Ear Skills (20 points)
Identify the melodic and harmonic intervals played by the instructor: (5 points)
1. _____
2. _____
3. _____
4. _____
5. _____
Identify the QUALITY (Major, minor, augmented or diminished) of the triads played: (5 points)
1. _____
2. _____
3. _____
4. _____
5. _____
Notate the single line melody played, with attention to both
correct pitch and rhythm: (5 points)
*
Ignoring the introduction, identify the meter of the excerpt played, using correct terminology:
_____________________________ (5 points)
Part Three: Application of Skills (IB Questions) (60 points)
Answer these questions on separate paper, except for the chart as indicated. (5 points each except as noted).
A) Refer to Vivaldi's Concerto Grosso, Op 3 No 2; Allegro (2nd Movement)
1. Examine measures 45-55: What key is this passage in? Defend
your answer.
2. Continue to refer to measures 45-55. Describe the relationship
between this passage, and the opening passage.
3. Vivaldi, the leading Italian composer of the late Baroque,
is often described as a "master of the concerto." Discuss
Vivaldi as a concerto composer.
B) Refer to JS Bach's Praeludium et Fuga in A minor; BWV 543
1. Compare the prelude to Vivaldi's Concerto Grosso.
2. Complete this chart of the fugal exposition: (8 points)
*
3. Describe the passage from measure 141 until the end.
4. Analyze the final measure with three Roman numerals: (3 points)
5. Discuss Johann Sebastian Bach.
C) Refer to the Unidentified Musical Example
Big hints: Be careful of the viola (C) clef. Remember a V7 chord is spelled is a dominant chord with a minor 7th added.
1. Describe the chord on the downbeat of measure 70.
2. Describe the chord which immediately precedes it (the "and
of four" 8th note chord which might even be analyzed as simply
a passing harmony).
3. Describe the relationship between these two chords.
4. Using all clues available (language, instrumentation, harmonic
treatment, phrase structure, etc.), make an educated guess as
to the era, genre, composer, and function of the work from which
this excerpt is taken. Defend your reasoning with as much contextual
information and background as you are able to include.
Antonio Vivaldi: Concerto Grosso in G Minor Op 3 No 2
(You may use your music and your notes)
1. Structural: Describe the overall structure of the Allegro (2nd movement).
2. Technical: Describe the relationship between the passage which begins in the second half of measure 45, and the opening passage in measure 14.
3. Contextual: What might the premiere of this work have been like?
1. Desribe the cultural conditions in Venice in the early 18th century (1700's).
3. In which city and for which institution did Vivaldi work for most of his career?
4. What was the 18th century attitude toward new music? How did this attitude affect Vivaldi?
5. In Vivldi's concertos, what instruments does he favor as soloists?
6. What is the typical pattern of movements in Vivaldi's concertos, including the nubmer of movements and their tempo, forms, and key relationships?
7. What innovations did Vivaldi contribute to the slow movement of the concerto?
8. How does Vivaldi treat texture and contrasts of texture in his concertos?
9. How are dissonances treated in the first movement of Vivaldi's
Op. 3, No. 2 NA
WM 78a?
10. Complete this chart of the form:
Vivaldi Concerto Grosso, Op. 3, No. 2: II
Allegro
Beg Meas Section Tutti/Solo Melodic Key
14 Rit T a gm
17 Rit T b gm
20 Rit T c gm
Johanna Sebastian Bach
George Frideric Handel
Antonio Vivaldi
Alessandro and son Domenico Scarlatti
Biography (Reasonable depth -- not a book, but not a paragraph. Give all the essential details, and a few additional interesting ones.)
Achievement (Why is this composer famous, almost 300 years later? What IMPACT did he have on future composers?
Music (Works and style summary; not a comprehensive list, but a highlights or "greatest hits" compilation)
**Chosen work analyzed in-depth. Choose a moderate
length work characteristic of the composer's style. Procure a
recording and score (I can help with this). Listen and react
to it intellectually and emotionally.
Structural: examine the phrase structure, and overall
organization of the work
Technical: choose a short (8-16 measure) segment and
perform a complete harmonic analysis. Pay particular attention
to cadence points.
Contextual: when, why and how did the composer write
the work? Early or late in his career? What influences came
to bear on the work? Did the work have any particular significance
to later composers? To you?
You may work independently or in teams of two. However, if you work together, I will expect an **in-depth analysis from each of you.
GRADING:
50 % Biography / Achievement / Music
Accurate information
Presented clearly
Sources cited
Good mechanics and grammar
50% In-depth analysis
Appropriate work chosen (representative and characteristic)
Accurate and insightful analysis, communicated clearly (technically
correct)
Due: November 15, 1999
Grading Rubric for Composer Biography / In-Depth Music Analysis
I. Composer Biograhy (50%)
Organization
Accuracy
Level of Detail
Source Citation
A - Clear organization, use of sub-headings or clear topic
sentences
Historical detail accurate
Describes composer's general biography, family background, training,
musical influences, and impact on music history
Cites all sources fully, uses cited quotes and/or footnotes
B - Generally organized, largely accurate, perhaps less detail
than an A paper, sources still cited fully.
C - Organizational problems, some inaccuracies, lacking detail,
sources may not be cited properly.
D - Unacceptable effort, but an effort nontheles
II. In-Depth Music Analysis (50%)
Selection of appropriate literature (reasonable length, characteristic
style)
Depth of Analysis (given level of musical development of student)
Formal/structural analysis, phrases, cadences
Harmonic analysis: especially with regard to tonic/dominant
relationship
A - Shows or discusses overall form, especially with regard
to relationships among phrases; identifies at least some important
cadences, shows evidence of thoughtful study.
B - Shows evidence of study, makes a commendable attempt at
analysis; identifies some phrases/events/elements of structural
significance and identifies as such.
C - Makes a defensible attempt at thoughtful analysis on some
level
D - Unacceptable effort, but an effort nontheless
(as on the IB exam, grammar and usage are treated leniently,
provided that the student communicates his/her ideas effectively)
Remember you need to be keeping a log of your lab activity.
INTERVAL EAR TRAINING!!! This is one of the most important aural skills you will need to develop. Melodic dictation and harmonic dictation depend upon it.
4. Chalk up at least 60 tries with at least 80% correct!
Some tips:
1. LISTEN!
2. NO, REALLY CLEAR YOUR MIND AND LISTEN! These will become part of you, and like recognizing your friend's voice on the phone will get really easy. But through drill and repetition, not by magic.
3. SING. Sing the lowest note and in your mind make it the tonic of a major scale. Sing the major scale ascending. Did you hear the upper note?
4. It's OK to have the program PLAY it more than once. Play it several times. Play it and sing it back. After you get the right answer, sing it!
5. Practice singing the DIATONIC intervals first, on scale degree numbers. UNTIL IT IS EASY! 1-2, 1-3, 1-4, 1-5, 1-6, 1-7, 1-1.
6. Try to let it be fun. Don't get frustrated. It is a skill, like hitting a golf ball. Bad shots are ALLOWED in practice.
Due Fri. Oct. 8
Remember you need to be keeping a log of your lab activity.
Part One: Scale Degrees
1. Choose "Scale Degrees" from the Drill menu.
2. Lets keep it easy for starters: Choose (your choice, Treble
or Bass) from the clef menu, and "Major" from the Level
menu.
3. A point we haven't covered fully: Leading tone is a half
step below the tonic. Subtonic is a whole step below the tonic.
4. Chalk up at least 30 correct, with at least 90% correct.
Part Two: Scale Ear Training
1. Choose "Scales Ear Training" from the Drill menu.
2. In the box that appears, make sure "Major/minor"
is checked, and the other choices ARE NOT
3. A minimum of 30 correct, with at least 90% correct.
4. A little help:
Major scale is easy: the familiar "do re mi"
Harmonic minor jumps out at you because of the interval of an
augmented second between the 6th and 7th scale degrees. Sounds
"exotic."
Melodic minor ascending sounds like a major scale with a minor
third scale degree. Listen for 5-6-7-8; especially the half step
between 7 and 8.
Natural minor has that WHOLE step between 7 and 8; that is, it
employs the subtonic.
In each of these exercises, if you reach 30 correct, but your
total percentage is less than 90, you must keep on playing until
you raise the percentage (it will slowly go up with more correct
responses).
1. Choose Scales from the Drill menu.
2. Choose Treble from the Clefs menu.
3. Choose Major Scales from the Scales menu.
4. Choose Options menu and make sure Allow Typed Answers is NOT
selected. (One of the skills you want to develop is keyboard
familiarity).
5. Choose Auto Next Note and Auto Next Question to make entry
a little easier, and make sure the boxes say what you want them
to before hitting Check.
6. Chalk up 25 correct and then:
7. Change to Natural Minor in the Scales menu.
8. Change to Bass in the Clefs menu.
9. Chalk up 25 more correct.
Part Two: Intervals
1. Choose Intervals from the Drill menu.
2. Choose Beginning from the Level menu.
3. You must click both radio buttons, Quality and Size: even
if the "correct" answer is already lit up, the program
will mark you wrong if you do not click on both.
4. Chalk up at least 50 tries, and continue (if necessary) until
your percentage score reaches at least 90%.
5. If you like, just for fun, try some "Intervals Ear Training"
(under the Drill menu). You may be surprised at how well you
do, after hearing the intervals played in the previous drill.
Remember to save your progress report, either on disk or printed up, and bring them to me. Due on or before Sept. 10 (Friday)
Write a short piece for two fixed pitch percussion instruments with the following characteristics:
·it displays and exploits a short rhythmic theme based
upon a phrase or group of words, which will also serve as your
title (For example: "strawberry jam"
)
·compound meter
·the upper part is rhythmically more active/complex than
the lower part
·the piece is 16 measures long, in two 8 measure sections
·it displays both repetition and contrast
·you can perform it (with a friend playing the lower part)
·it is musically interesting, yet relatively simple
·you can explain the form
Notate it (by hand please) with good calligraphy.
Due: 9 Sept.
Project 2
Write a short, four phrase melody for the instrument of your choice. You may write in any key, but for this assignment must then stay in the key. No chromatic notes (accidentals) except to conform to a melodic minor scale (if your melody is in minor).
·begin with a pick-up note or notes
·the first note must be either the dominant or the tonic,
and the last note must be the tonic
·make sure you have a balance between steps and leaps
·be able to tell us where the climax, or high point, of
each phrase, and of the whole little song, occurs
·this should be a draft and revision process, just like
good essay writing
·if you get stuck see me
You may notate by hand or use the computer program of your choice. We will be learning Finale as a class as time goes on. Neatness always counts.
Due: 15 Sept.
1. Find "Music Lessons" on lab computer
2. Double click the program to open it.
3. Set as follows:
Drill: Note Names
Clefs: Treble
Level: Chromatic (this allows accidentals)
Options: Allow Typed Answers
Sound: Use Mac
4. You may type the answer ( b is a flat and shift 3 is a sharp)
or use the mouse to point at the correct piano key (you must get
the octave right, though!)
5. Continue until you have chalked up 50 tries and at least 94%
correct.
6. Change to Clefs: Bass and chalk up at least 30 more tries
(total of 80) and at least 90% correct.
7. Switch to
Drill: Key Signatures
Clefs: Random (don't be bothered by the alto clef; the NUMBER
of sharps or flats remains the same--they just move around a little).
Level: so check mark appears on Major and Minor, and Sharp and
Flat keys.
8. Chalk up 30 tries minimum, and be at least 94% correct.
9. The 1st help window can be useful.
10. If you finish and have time, work on interval drills.
11. Save your Progress report to disk to turn in to me, or print
it up!
Dear Students and Parents,
Welcome to IB Music! You are embarking on an exciting and challenging two year journey of musical growth and discovery. We will approach the topic as a community of learners--commitment, self-discipline and sustained effort are paramount to your success.
The IB syllabus is undergoing a major revision which will presumably be in place for the 2000-01 exam cycle (your exam). The planned changes are major improvements over the existing program, in terms of flexibility and relevance of the curriculum to you as a studying musician. I've included a DRAFT overview below. Don't worry--changes will be incorporated as they happen and you will be well prepared for all external assessments.
Overview of the Program
Objectives:
·development of performance skills through solo
or ensemble music making
·development of compositional skills through exploration
and investigation of musical elements
·use of appropriate musical language and terminology
to describe and reflect a critical understanding of musical issues
·development of perceptual skills in response to musical
stimuli (LISTENING)
·knowledge and understanding of music in relation to time
and place (HISTORY)
·general musical development over the course of study
HL (240 hours)
I. Performance
II. Composition
III. Musical Perception and Analysis
Assessment:
1) Listening Paper (five musical extracts; five questions)
2) Performance (solo or small ensemble)
3) Composition (3 compositions)
4) Portfolio (music from own culture / 2000 words; music from
another culture / 2000 words; journal.
SL (150 hours)
I. Performance (solo or group: jazz band, symphonic band, show
choir, orchestra)
-- or --
I. Composition
II. Musical Perception and Analysis
Assessment:
1) Listening Paper (five musical extracts; five questions)
2) Performance (solo or large ensemble) or Composition (two compositions)
3) Portfolio (music from own culture / 1500 words; music from
another culture / 1500 words; journal.
Required ISM materials:
1. The Enjoyment of Music and Study Guide, 6th Ed. Machlis/Forney
2. Harmonic Materials in Tonal Music 7th Ed. Part 1 and 2,
Harder/Steinke
Supplementary materials will be supplied by instructor. You will be asked to provide several good quality blank 90 min cassette tapes to record listening examples for home study.
Class Grade: (internal assessment)
30% Performance preparation / composition work / portfolio
30% Quizzes and Exams
20% Daily participation/ Homework / class discussion / independent
work ethic
20% Projects
Our first unit will deal with The Materials of Music, melody, rhythm, harmony, texture, form, expressive elements, musical instruments, and style.
Communication is key:
Never hesitate to contact me. I don't mind phone calls at
home, but please remember we have a three year old who is asleep
after 8pm. I do check my e-mail regularly.
Patrick Gross: ext 228 or 230; Home phone: 896-4273 E-mail:
grossp@ismanila.com
Additionally, we have some exciting things brewing with intranet
and inernet at the school, as these develop we will use them as
tools to the fullest extent possible. We also have a newly expanded
midi lab which we will incorporate into our studies.
I'm looking forward to a great year with you.
Musically yours,
Patrick Gross