Igor Stravinsky ( )

Size: px
Start display at page:

Download "Igor Stravinsky ( )"

Transcription

1 Igor Stravinsky ( ) Stravinsky created an individual voice by developing several traits, most from Russian traditions. Distinctive qualities Undermining meter through unpredictable accents and rapid changes of meter Frequent ostinatos Static blocks of sound juxtaposed or layered Discontinuity and interruption Dissonance based on diatonic, octatonic, and other collections Dry, antilyrical, but colorful use of instruments Stravinsky forged these traits during his Russian period. He became arguably the most important composer of his time.

2 Biography Stravinsky was born near St. Petersburg to a well-to-do musical family. He studied composition and orchestration privately with Rimsky-Korsakov. Sergei Diaghilev commissioned Stravinsky to compose for the Ballet Russes. Stravinsky moved to Paris in 1911 and remained there after the Russian Revolution. Capitalizing on the notoriety of the Rite of Spring, Stravinsky performed tirelessly as a pianist and conductor, which increased his international recognition. He eventually settled in Hollywood, and several of his pieces incorporate American styles.

3 Russian Period (to 1918) The Firebird (1910) The ballet is based on Russian folk tales. Human characters are portrayed with diatonic music and supernatural creatures with octatonic or chromatic music.

4 Petrushka ( ) The opening scene presents blocks of static harmony with repetitive melodic and rhythmic patterns. Seemingly unrelated musical events interrupt each other, creating an aural equivalent to Picasso's cubism. Stravinsky borrows several Russian folk tunes and simulates folk harmony (see HWM Example 31.7). To depict the supernatural, Stravinsky draws upon a biting octatonic sound. The "Petrushka chord" is derived from an octatonic scale (see HWM Example 31.8).

5 The Rite of Spring ( ) The ballet, set in prehistoric Russia, does not tell a story, but shows a fertility ritual in which an adolescent girl is chosen for sacrifice and dances herself to death. Nikolay Roerich designed the sets and costumes, and Vaclav Nijinsky was the choreographer. The scenario, choreography, and music are marked by primitivism, a deliberate representation of the crude and uncultured (see HWM Figure 31.6). The audience at the premiere broke into a riot (see HWM Source Reading, page 824). The music has since become one of Stravinsky's most commonly performed works.

6 Danse des adolescents (Dance of the Adolescent Girls) from The Rite of Spring (see NAWM 145a and HWM Example 31.9) The dissonant opening chord uses all seven notes of the A-flat harmonic minor scale. The emphasis on pure pulse contributes to the sense of primitivism. The metrical hierarchy of beats is negated as each pulse is played with the same strength. Unpredictable accents destroy any sense of regularity.

7 The entire scene is built from ostinatos that create static blocks of sound. Stravinsky builds up textures by layering two or more strands of music on top of each other. The contrasting blocks of sound share several pitches, which lend a sense of continuity. The movement incorporates a Russian folk tune (measure 43) and two folklike melodies. Stravinsky often links a motive with a specific instrumentation. Stravinsky prefers a dry, rather than lush, timbre in his orchestration.

8 Danse sacrale (Sacrificial Dance) from The Rite of Spring (see NAWM 145b) This is the last dance of the ballet. Stravinsky adopts two additional strategies that reduce meter to pulse. Rapidly changing meters Unpredictable alternation of notes with rests

9 The opening, section A The main idea (measures 2-5) is repeated many times. Other similar figures alternate with the main idea.

10 Section B begins in measure 34. The section begins softly with pulsing chords and a chromatic melodic idea. The section builds to a frightening climax (measures 91-92). It suddenly returns to the opening dynamic and begins to build again.

11 The A section returns, transposed down a semitone (measure 116). A new section begins at measure 149. The section features percussion instruments. A whole-tone scale, introduced by the horns (measure 154), is transformed into a folklike melody (measures ). The opening of section A briefly interrupts (measures ). A bass ostinato is introduced at measure 203, and the material of section A builds to a final climax.

12 L'histoire du soldat (The Soldier's Tale, 1918) Wartime economy forced Stravinsky to turn to small musical ensembles. This ballet is scored for six solo instruments and percussion. Using dance movements, such as a tango, waltz, and ragtime, Stravinsky discovered ways to imitate familiar styles within his own musical style.

13 Neoclassicism Neoclassicism denotes a broad movement that took place from the 1910s to the 1950s. Composers revived, imitated, or evoked styles, genres, and forms of pre-romantic music, particularly from the eighteenth century. Neoclassicism rejected the high emotions of Romanticism. Stravinsky used neoclassicism as a new avenue for his own distinctive style. Stravinsky's neoclassic music has an emotional detachment and can be seen as anti-romantic. Neoclassical period ( )

14 Pulcinella (1919), a ballet commissioned by Diaghilev The work consists of orchestrations of pieces by Pergolesi, an eighteenth-century composer. Through orchestrating Pergolesi's pieces, Stravinsky discovered the past.

15 Symphonies of Wind Instruments (1920) This work features many of the same methods as The Rite of Spring, but unlike The Rite of Spring, it is an abstract composition. Along with Pulcinella, this work marks the beginning of Stravinsky's neoclassicism.

16 composer in the neoclassic style, which culminated in the opera The Rake's Progress (1951).

17 Symphony of Psalms, first movement (1930; see NAWM 146 and HWM Example 31.10) Symphony of Psalms is a three-movement work for mixed chorus and orchestra that uses psalms from the Latin Vulgate Bible. Baroque features Perpetual motion Frequent ostinatos Fully developed fugue in the second movement Stravinsky maintains an objective rather than emotional sound; he omits violins, viola, and clarinets. Some traits remain from the Rite, such as changing meters and unexpected rests. But the music is less dissonant and has characteristics of earlier music, such as the Gregorian chant style at the entrance of the voices. The juxtaposition of contrasting blocks of material articulates an abstract form. The movement alternates two main sections, and there is a contrasting middle section (see diagram in the commentary to NAWM 146).

18 Neotonality Tonal centers are established through repetition and assertion, not through traditional harmony. At the beginning, E-minor chords alternate with sixteenth-note arpeggiations. When the voices enter, E is the main focus. E is also sustained in the bass. The A sections are primarily diatonic, using the notes of E Phrygian. The B sections are largely octatonic. Stravinsky juxtaposes E and G and also moves from E to G at the close.

19 Stravinsky and Schoenberg Partly because of his use of tonal centers, audiences preferred Stravinsky's music to Schoenberg's. Both composers had supporters who argued about the need for tradition. The two composers were closer in spirit than might be first perceived.

20 Serial period ( ) In the 1950s, Schoenberg's twelve-tone techniques were extended to parameters other than pitch, which became known as serialism. Stravinsky adapted serial techniques, but maintained many of his distinctive characteristics in his late works, including: In Memoriam Dylan Thomas (1954), a song cycle Threni ( ), for voices and orchestra, on texts from the Lamentations of Jeremiah Movements ( ), for piano and orchestra

21 Influence Stravinsky's impact on other composers is similar to that of Wagner and Debussy. Many elements that he created became commonplace. He popularized neoclassicism. His support for serialism helped gain him a strong following. His writings, such as Poetics of Music, have been widely read.

22 Béla Bartók ( ) (see HWM biography, page 830, and Figure 31.8) Bartók synthesized elements of Hungarian, Romanian, and Bulgarian peasant music with elements of the German classical tradition. Biography Bartók was born in a small Hungarian city (now in Romania). He began piano lessons at age five and began to compose at age nine. He studied piano and composition at the Budapest Academy of Music and returned there in 1907 to teach piano. A virtuoso pianist, he concertized throughout Europe. He also edited the keyboard music of classic composers.

23 Bartók as an ethnomusicologist Bartók collected thousands of folk songs, edited them into collections, and wrote about folk music. He used audio recording in his field research (see HWM Figure 31.9). He argued that peasant music better represented the nation than urban music. In 1934 he accepted a position as ethnomusicologist at the Academy of Sciences.

24 Bartók enjoyed a productive compositional period until the threat from Nazi Germany forced him to flee to the United States. He settled in New York, but suffered financially and physically until his death from leukemia in 1945.

25 Musical influences In his early career, he modeled his music on the works of classical masters, such as Bach, Beethoven, and Liszt. He was later inspired by the works of modernists, including Richard Strauss, Debussy, Schoenberg, and Stravinsky. Bartók and folk music He arranged many peasant tunes. He created original works by blending rhythmic, melodic, or formal characteristics of peasant music with classical and modern traditions.

26 Major works He created a distinctive style in his early works. Bluebeard's Castle (1911), a one-act opera, mixes Hungarian elements with influences from Debussy. Allegro barbaro (1911) and other piano music treated the instrument in a percussive manner.

27 Following World War I, his works grew more dissonant. Two Violin Sonatas (1921 and 1922) The Third and Fourth String Quartets The Miraculous Mandarin, an expressionistic pantomime

28 His later works are his most widely known. The Fifth and Sixth String Quartets Music for Strings, Percussion and Celesta (1936) Concerto for Orchestra (1943)

29 Mikrokosmos ( ) 153 piano works in six books of graded difficulty The work is of great pedagogical value.

30 Musical style Bartók maintained a single pitch center, using diatonic and other scales. He built melodies from repeated and varied motives. Bartók retained elaborate contrapuntal procedures from the classical tradition, such as the fugue. He drew upon complex rhythms and meters common in peasant traditions. His harmonies, often dissonant, are frequently built from seconds and fourths. He was fond of symmetry.

31 Music for Strings, Percussion and Celesta The work has four movements, similar to a classical symphony. Slow fugue Fast sonata form Slow arch form Rondo finale

32 The fugue theme appears in each of the other movements. Each movement contains canon and imitation, often in inversion. The outer movements are in A, and the inner movements center on notes a minor third above (C) and below (F-sharp).

33 The work is neotonal. All of the movements center on tritone relationships. The slow movement centers on F-sharp with C as a competing pole (see HWM Example 31.11). The themes, created by varying small motives, are often in diatonic modes.

34 Peasant elements Bulgarian dance meters alternate twos and threes; Bartók adopts a pattern in the fourth movement. The Serbo-Croatian song is heavily ornamented, partly chromatic, and speechlike (parlando-rubato), which is imitated near the beginning of the third movement (see HWM Example 31.13). Other characteristics include drones, snapped pizzicatos, and percussive dissonant chords.

35 Music for Strings, Percussion and Celesta, third movement (NAWM 147) The movement is a modified arch form: ABCB'A'. The four phrases of the opening fugue theme separate these sections (measures 19, 34, 60, and 74).

36 Section A (measures 1-18) The palindromic form of the third movement is foreshadowed in the opening xylophone solo (see HWM Example 31.12). The section also features glissandos on the timpani, low string tremolos, and chromatic figures in the violas and violins. The pitches center on F-sharp and C, the tonal poles of the movement.

37 Section B (measures 20-33) Two solo violins and celesta share the B theme. The eerie background consists of string trills, parallel major sevenths articulated by the piano, violin glissandos, and tremolos.

38 Section C (measures 35-59) The section opens with glissandos, pentatonic scales in the harp, piano, and celesta, and a twisting theme in tremolos. This texture is known as Bartók's "night music." The theme builds to a climax, where a new motive appears (violin I, measures 44-45). The new motive, sometimes played in retrograde, is related to the third phrase of the fugue theme, which enters at measure 60.

39 Section B' (measures 63-72) The B theme is in canon at the tritone. The accompanying texture is similar to the first half of section C. Section A' (measures 75-83) presents an abbreviated version of the opening section.

40 Charles Ives ( ) (see HWM biography, page 836, Biography and Figure 31.10) Ives was born in a small Connecticut city, where his father was a bandmaster and music teacher. He became the youngest professional church organist in the state at age fourteen. His father taught him theory and an experimental approach to sound. He studied music with Horatio Parker at Yale. Ives settled in New York, working as an organist. He chose a career in the insurance business and built one of the most successful agencies in the nation. He composed music in the evenings and weekends, but retired from composing in 1918 due to a health crisis. Although he worked in obscurity, he was later recognized as the first American composer to create a distinctly American body of art music.

41 Ives was fluent in four distinct spheres of composition, and he combined elements of each in his mature music. American vernacular music He grew up surrounded by American vernacular music, including parlor songs, minstrel shows, and marches directed by his father. He composed numerous marches and parlor songs.

42 Protestant church music Ives sang and played organ in church for much of his early life. He learned all of the styles prominent in American Protestantism, which were cultivated in his studies with Parker.

43 European classical music He played major organ works by composers such as Bach and transcriptions of other classical works. He studied art music with Parker. His First Symphony is modeled after Dvo ák's New World Symphony.

44 Experimental music He experimented with new sounds, including polytonality (melody in one key and accompaniment in another), in his youth. Processional for chorus and organ is an essay on possible chord structures (see HWM Example 31.14a). Scherzo: All the Way Around and Back for chamber ensemble is a palindrome that builds on dissonant ostinatos (see HWM Example 31.14b). The Unanswered Question (1908), his best-known experimental work, combines both tonal and atonal layers in one work.

45 Synthesis Ives composed in classical genres after 1902, but mixed in other styles and sounds that he knew. The Second Symphony paraphrased American popular songs, borrowed passages from classic composers, and combined them in a symphonic idiom.

46 Cumulative form American hymn tunes can be found in Ives's Third Symphony, four violin sonatas, and First Piano Sonata. In each, thematic development occurs first and leads to the themes at the end. In this process, Ives asserts the universal value of his country's music (see HWM Source Reading, page 840).

47 Many of Ives's later pieces have programs celebrating American life. Three Places in New England presents orchestral pictures of: The first African-American regiment in the Civil War A band playing at a Fourth of July picnic A walk by a river with his wife during their honeymoon

48 A Symphony: New England Holidays captures the spirit of national holidays. Concord Mass., , his second piano sonata, pays tribute to the writers in that city at that time: Emerson, Thoreau, Hawthorne, and the Alcotts. The Fourth Symphony, a philosophical work, poses and seeks to answer the "searching questions of What? and Why?" Quotations of American tunes are frequent, often layered on top of each other. Ives frequently mixed styles within a single work.

49

50 General William Booth Enters into Heaven (1914; see NAWM 148 and HWM Example 31.15) This song is based on a Vachel Lindsay poem that pictures the founder of the Salvation Army leading the poor and downtrodden into heaven. Although it is an art song, Ives mixes aspects of American vernacular music, church music, and experimental music. Several hymns and American tunes are paraphrased, and a cumulative form leads to an entire verse of the hymn There Is a Fountain Filled with Blood.

51 Opening section (measures 1-18) Ives imitates Booth's bass drum with dissonant chords on the piano. Over the "street beat," the vocal line presents phrases derived from There Is a Fountain Filled with Blood.

52 Second section (measures 19-39) Ives gives each group of followers a different musical characterization. He uses ostinatos, parallel dissonant chords, and other modernist sounds. The hymn tune returns with the refrain.

53 The "mighty courthouse" (measures 40-81) A crowd is suggested through a rising and falling whole-tone scale in the voice and ostinatos in the piano. The piano paraphrases Oh, Dem Golden Slippers in measures with the suggestion of banjo playing. Ives adds a bugle call and a hint of the hymn Onward, Upward in measures

54 The appearance of Jesus (measures 82-91) There Is a Fountain is heard in the piano. This is the first mostly diatonic passage in the song. The slow tempo and soft dynamics suggest the dignity and serenity of Jesus.

55 Closing section (measures ) The march beat returns in the piano. At the climax, the complete verse of There Is a Fountain is sung. The action stops near the end, and the closing refrain is set twice, over soft arpeggiated chords and then in four-part Protestant harmony. The parade fades away in the distance.

56 Influence Ives's influence was felt after World War II. He could justifiably be called the founder of the experimental-music tradition in the United States.

57 Composer and Audience Modernism widened the split between popular and classical music. Modernism targeted those willing to study and listen to a work repeatedly. Such works became favorites of other composers, but were held in disdain by audiences. Films have introduced both excerpts from modernist works and modernist techniques to general audiences. Compositions by all six of the composers mentioned here have found a permanent place in the classical repertory, and interest in their music has tended to increase.

Charles Ives ( ) (see HWM biography, page 836, and. Figure 31.10)

Charles Ives ( ) (see HWM biography, page 836, and. Figure 31.10) Charles Ives (1874-1954) (see HWM biography, page 836, and Biography Figure 31.10) Ives was born in a small Connecticut city, where his father was a bandmaster and music teacher. He became the youngest

More information

Name: Class: Date: ID: A

Name: Class: Date: ID: A Name: Class: _ Date: _ Final Exam Multiple Choice Identify the choice that best completes the statement or answers the question. 1. The two principal centers of nineteenth-century ballet were France and:

More information

Text page: 393 Workbook Packet: VII-1 Page: 111. An overview of cultural, artistic and political events of the twentieth century

Text page: 393 Workbook Packet: VII-1 Page: 111. An overview of cultural, artistic and political events of the twentieth century Part VII Guided Study Notes The Twentieth Century and Beyond Twentieth Century and Beyond Test #1, chapters 1 11 Next Activity: Twentieth Century Overview, pages 393 398 1 Read pages 393-398 and list 3

More information

Igor Stravinsky -The Rite of Spring, Pt. 1, Intro & first three dances

Igor Stravinsky -The Rite of Spring, Pt. 1, Intro & first three dances Songs Claude Debussy - Nocturnes, no. 1, Nuages (clouds) Genre: Symphonic Poem Form: approximately A B A form Style: Impressionism Ensemble: Orchestra English horn, clarinets, bassoons, drums, flute, timpani,

More information

Chapter 22. The Tonal Tradition. Thursday, February 7, 13

Chapter 22. The Tonal Tradition. Thursday, February 7, 13 Chapter 22 The Tonal Tradition Neoclassicism and the New Objectivity Neoclassicism- the deliberate imitation of an earlier style within a contemporary context, reached its height in the 1920s and 1930s

More information

Musical styles. Russian period (Primitivism) Neo-classicism (up to about 1950) Serialism

Musical styles. Russian period (Primitivism) Neo-classicism (up to about 1950) Serialism Stravinsky The son of a leading bass at the Mariinsky Theatre in St. Petersburg Studied with Rimsky-Korsakov (1902-8) Also influenced by Tchaikovsky, Borodin, Glazunov and (from 1907-8) Debussy and Dukas.

More information

ILLINOIS LICENSURE TESTING SYSTEM

ILLINOIS LICENSURE TESTING SYSTEM ILLINOIS LICENSURE TESTING SYSTEM FIELD 212: MUSIC January 2017 Effective beginning September 3, 2018 ILLINOIS LICENSURE TESTING SYSTEM FIELD 212: MUSIC January 2017 Subarea Range of Objectives I. Responding:

More information

31. Stravinsky Symphony of Psalms: movement III (for Unit 3: Developing Musical Understanding) Background information and performance circumstances

31. Stravinsky Symphony of Psalms: movement III (for Unit 3: Developing Musical Understanding) Background information and performance circumstances 31. Stravinsky Symphony of Psalms: movement III (for Unit 3: Developing Musical Understanding) Igor Stravinsky Background information and performance circumstances In 1910 the Russian composer Igor Stravinsky

More information

Chapter 22. Alternatives to Modernism

Chapter 22. Alternatives to Modernism Chapter 22 Alternatives to Modernism Key Terms Traditionalism Neoclassicism Jazz Breaks Nationalism Hymn Theme and variations Film music Leitmotiv Square dance Ambivalence Toward Modernism Some modernists

More information

ILLINOIS LICENSURE TESTING SYSTEM

ILLINOIS LICENSURE TESTING SYSTEM ILLINOIS LICENSURE TESTING SYSTEM FIELD 143: MUSIC November 2003 Illinois Licensure Testing System FIELD 143: MUSIC November 2003 Subarea Range of Objectives I. Listening Skills 01 05 II. Music Theory

More information

Grade Level 5-12 Subject Area: Vocal and Instrumental Music

Grade Level 5-12 Subject Area: Vocal and Instrumental Music 1 Grade Level 5-12 Subject Area: Vocal and Instrumental Music Standard 1 - Sings alone and with others, a varied repertoire of music The student will be able to. 1. Sings ostinatos (repetition of a short

More information

Breaking Convention: Music and Modernism. AK 2100 Nov. 9, 2005

Breaking Convention: Music and Modernism. AK 2100 Nov. 9, 2005 Breaking Convention: Music and Modernism AK 2100 Nov. 9, 2005 Music and Tradition A brief timeline of Western Music Medieval: (before 1450). Chant, plainsong or Gregorian Chant. Renaissance: (1450-1650

More information

Music Theory. Fine Arts Curriculum Framework. Revised 2008

Music Theory. Fine Arts Curriculum Framework. Revised 2008 Music Theory Fine Arts Curriculum Framework Revised 2008 Course Title: Music Theory Course/Unit Credit: 1 Course Number: Teacher Licensure: Grades: 9-12 Music Theory Music Theory is a two-semester course

More information

3 against 2. Acciaccatura. Added 6th. Augmentation. Basso continuo

3 against 2. Acciaccatura. Added 6th. Augmentation. Basso continuo 3 against 2 Acciaccatura One line of music may be playing quavers in groups of two whilst at the same time another line of music will be playing triplets. Other note values can be similarly used. An ornament

More information

Strathaven Academy Music Department. Advanced Higher Listening Glossary

Strathaven Academy Music Department. Advanced Higher Listening Glossary Strathaven Academy Music Department Advanced Higher Listening Glossary Using this Glossary As an Advanced Higher candidate it is important that your knowledge includes concepts from National 3, National

More information

Music Department Page!1

Music Department Page!1 Music Department Page!1 AH Understanding Music Listening Concepts Name Melody / Harmony Page!2 Words in this section describe what is happening in the melody or tune. The melody can be decorated in various

More information

Unit 8 Practice Test

Unit 8 Practice Test Name Date Part 1: Multiple Choice 1) In music, the early twentieth century was a time of A) the continuation of old forms B) stagnation C) revolt and change D) disinterest Unit 8 Practice Test 2) Which

More information

ANDREW WILSON-DICKSON - BIOGRAPHICAL NOTE

ANDREW WILSON-DICKSON - BIOGRAPHICAL NOTE ANDREW WILSON-DICKSON - BIOGRAPHICAL NOTE Andrew Wilson-Dickson was born in London in 1946 and now lives and works in Cardiff, Wales. As a child he began to learn the piano at the age of seven and began

More information

Articulation Clarity and distinct rendition in musical performance.

Articulation Clarity and distinct rendition in musical performance. Maryland State Department of Education MUSIC GLOSSARY A hyperlink to Voluntary State Curricula ABA Often referenced as song form, musical structure with a beginning section, followed by a contrasting section,

More information

Complexity. Listening pleasure. Xiao Yun Chang MIT 21M.011 Essay 3 December

Complexity. Listening pleasure. Xiao Yun Chang MIT 21M.011 Essay 3 December Xiao Yun MIT 21M.011 Essay 3 December 6 2013 Complexity Stravinsky, The Rite of Spring, Part I, first half Schoenberg, Pierrot Lunaire, Songs 18 and 21 Webern, Symphony, Opus 21, Movement 2 Berg, Wozzeck,

More information

Sgoil Lionacleit. Advanced Higher Music Revision

Sgoil Lionacleit. Advanced Higher Music Revision Sgoil Lionacleit Advanced Higher Music Revision Useful links: http://www.dunblanehsmusic.co.uk/sqa-past-papers.html http://www.educationscotland.gov.uk/nqmusic/advancedhigher/allconcepts.as p HIGHER http://files.snacktools.com/iframes/files.edu.flipsnack.com/iframe/embed.html?hash=fzk52nj1&wmode=opaque&forcewidget=1&t=1457730457

More information

3. Berlioz Harold in Italy: movement III (for Unit 3: Developing Musical Understanding)

3. Berlioz Harold in Italy: movement III (for Unit 3: Developing Musical Understanding) 3. Berlioz Harold in Italy: movement III (for Unit 3: Developing Musical Understanding) Background information Biography Berlioz was born in 1803 in La Côte Saint-André, a small town between Lyon and Grenoble

More information

Chapter 30: Neoclassicism and Twelve-Tone Music

Chapter 30: Neoclassicism and Twelve-Tone Music Chapter 30: Neoclassicism and Twelve-Tone Music I. Neoclassicism A. Introduction 1. The carnage of World WarI reverberated in the arts: hope, glory, beauty, love, etc. seemed out of reach, naive, and unattainable.

More information

Symphony in C Igor Stravinksy

Symphony in C Igor Stravinksy Symphony in C Igor Stravinksy One of the towering figures of twentieth-century music, Igor Stravinsky was born in Oranienbaum, Russia on June 17, 1882 and died in New York City on April 6, 1971. While

More information

NEW YORK STATE TEACHER CERTIFICATION EXAMINATIONS

NEW YORK STATE TEACHER CERTIFICATION EXAMINATIONS NEW YORK STATE TEACHER CERTIFICATION EXAMINATIONS June 2003 Authorized for Distribution by the New York State Education Department "NYSTCE," "New York State Teacher Certification Examinations," and the

More information

Music Curriculum Glossary

Music Curriculum Glossary Acappella AB form ABA form Accent Accompaniment Analyze Arrangement Articulation Band Bass clef Beat Body percussion Bordun (drone) Brass family Canon Chant Chart Chord Chord progression Coda Color parts

More information

Bela Bartok. Background. Song of the Harvest (violin duet)

Bela Bartok. Background. Song of the Harvest (violin duet) Background Bela Bartok (1881-1945) has a distinctive musical style which has its roots in folk music. His compositions range from the aggressively energetic to slow and austere, creating a unique twentieth-century

More information

MARK SCHEME for the May/June 2011 question paper for the guidance of teachers 0410 MUSIC

MARK SCHEME for the May/June 2011 question paper for the guidance of teachers 0410 MUSIC UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS International General Certificate of Secondary Education www.xtremepapers.com MARK SCHEME for the May/June 2011 question paper for the guidance of teachers

More information

Tonality Tonality is how the piece sounds. The most common types of tonality are major & minor these are tonal and have a the sense of a fixed key.

Tonality Tonality is how the piece sounds. The most common types of tonality are major & minor these are tonal and have a the sense of a fixed key. Name: Class: Ostinato An ostinato is a repeated pattern of notes or phrased used within classical music. It can be a repeated melodic phrase or rhythmic pattern. Look below at the musical example below

More information

44. Jerry Goldsmith Planet of the Apes: The Hunt (opening) (for Unit 6: Further Musical Understanding)

44. Jerry Goldsmith Planet of the Apes: The Hunt (opening) (for Unit 6: Further Musical Understanding) 44. Jerry Goldsmith Planet of the Apes: The Hunt (opening) (for Unit 6: Further Musical Understanding) Background information and performance circumstances Biography Jerry Goldsmith was born in 1929. Goldsmith

More information

Grade 6 Music Curriculum Maps

Grade 6 Music Curriculum Maps Grade 6 Music Curriculum Maps Unit of Study: Form, Theory, and Composition Unit of Study: History Overview Unit of Study: Multicultural Music Unit of Study: Music Theory Unit of Study: Musical Theatre

More information

CALIFORNIA Music Education - Content Standards

CALIFORNIA Music Education - Content Standards CALIFORNIA Music Education - Content Standards Kindergarten 1.0 ARTISTIC PERCEPTION Processing, Analyzing, and Responding to Sensory Information through the Language and Skills Unique to Music Students

More information

Largo Adagio Andante Moderato Allegro Presto Beats per minute

Largo Adagio Andante Moderato Allegro Presto Beats per minute RHYTHM Rhythm is the element of "TIME" in music. When you tap your foot to the music, you are "keeping the beat" or following the structural rhythmic pulse of the music. There are several important aspects

More information

Late Romantic

Late Romantic Late Romantic 1890-1914 Impressionism Impressionism in Painting Movement active from 1870-1920 Against French tradition of painting Monet and others held their own art shows Against representational art

More information

PULCINELLA SUITE: SINFONIA, GAVOTTA, VIVO. Stravinsky

PULCINELLA SUITE: SINFONIA, GAVOTTA, VIVO. Stravinsky PULCINELLA SUITE: SINFONIA, GAVOTTA, VIVO Stravinsky CONTEXT Drama expressed through dance ballet Developed in French Court in 17 th Century Great Russian Ballets 19 th Century, composers such as Tchaikovsky

More information

WSMTA Music Literacy Program Curriculum Guide modified for STRINGS

WSMTA Music Literacy Program Curriculum Guide modified for STRINGS WSMTA Music Literacy Program Curriculum Guide modified for STRINGS Level One - Clap or tap a rhythm pattern, counting aloud, with a metronome tempo of 72 for the quarter beat - The student may use any

More information

43. Leonard Bernstein On the Waterfront: Symphonic Suite (opening) (For Unit 6: Further Musical Understanding)

43. Leonard Bernstein On the Waterfront: Symphonic Suite (opening) (For Unit 6: Further Musical Understanding) 43. Leonard Bernstein On the Waterfront: Symphonic Suite (opening) (For Unit 6: Further Musical Understanding) Biography Background Information and Performance Circumstances On the Waterfront was made

More information

Copyright 2009 Pearson Education, Inc. or its affiliate(s). All rights reserved. NES, the NES logo, Pearson, the Pearson logo, and National

Copyright 2009 Pearson Education, Inc. or its affiliate(s). All rights reserved. NES, the NES logo, Pearson, the Pearson logo, and National Music (504) NES, the NES logo, Pearson, the Pearson logo, and National Evaluation Series are trademarks in the U.S. and/or other countries of Pearson Education, Inc. or its affiliate(s). NES Profile: Music

More information

29 Music CO-SG-FLD Program for Licensing Assessments for Colorado Educators

29 Music CO-SG-FLD Program for Licensing Assessments for Colorado Educators 29 Music CO-SG-FLD029-02 Program for Licensing Assessments for Colorado Educators Readers should be advised that this study guide, including many of the excerpts used herein, is protected by federal copyright

More information

GCSE MUSIC REVISION GUIDE

GCSE MUSIC REVISION GUIDE GCSE MUSIC REVISION GUIDE J Williams: Main title/rebel blockade runner (from the soundtrack to Star Wars: Episode IV: A New Hope) (for component 3: Appraising) Background information and performance circumstances

More information

ST. JOHN S EVANGELICAL LUTHERAN SCHOOL Curriculum in Music. Ephesians 5:19-20

ST. JOHN S EVANGELICAL LUTHERAN SCHOOL Curriculum in Music. Ephesians 5:19-20 ST. JOHN S EVANGELICAL LUTHERAN SCHOOL Curriculum in Music [Speak] to one another with psalms, hymns, and songs from the Spirit. Sing and make music from your heart to the Lord, always giving thanks to

More information

Active learning will develop attitudes, knowledge, and performance skills which help students perceive and respond to the power of music as an art.

Active learning will develop attitudes, knowledge, and performance skills which help students perceive and respond to the power of music as an art. Music Music education is an integral part of aesthetic experiences and, by its very nature, an interdisciplinary study which enables students to develop sensitivities to life and culture. Active learning

More information

Connecticut State Department of Education Music Standards Middle School Grades 6-8

Connecticut State Department of Education Music Standards Middle School Grades 6-8 Connecticut State Department of Education Music Standards Middle School Grades 6-8 Music Standards Vocal Students will sing, alone and with others, a varied repertoire of songs. Students will sing accurately

More information

2010 HSC Music 2 Musicology and Aural Skills Sample Answers

2010 HSC Music 2 Musicology and Aural Skills Sample Answers 2010 HSC Music 2 Musicology and Aural Skills Sample Answers This document contains sample answers, or, in the case of some questions, answers could include. These are developed by the examination committee

More information

Course Outcome Summary

Course Outcome Summary Course Information: Music 5 Description: Instruction Level: Grade 5 Course Students in this course perform varied repertoire using proper singing, recorder and accompanying technique, and understanding

More information

LEVELS IN NATIONAL CURRICULUM MUSIC

LEVELS IN NATIONAL CURRICULUM MUSIC LEVELS IN NATIONAL CURRICULUM MUSIC Pupils recognise and explore how sounds can be made and changed. They use their voice in different ways such as speaking, singing and chanting. They perform with awareness

More information

LEVELS IN NATIONAL CURRICULUM MUSIC

LEVELS IN NATIONAL CURRICULUM MUSIC LEVELS IN NATIONAL CURRICULUM MUSIC Pupils recognise and explore how sounds can be made and changed. They use their voice in different ways such as speaking, singing and chanting. They perform with awareness

More information

Lesson Two...6 Eighth notes, beam, flag, add notes F# an E, questions and answer phrases

Lesson Two...6 Eighth notes, beam, flag, add notes F# an E, questions and answer phrases Table of Contents Introduction Lesson One...1 Time and key signatures, staff, measures, bar lines, metrical rhythm, 4/4 meter, quarter, half and whole notes, musical alphabet, sharps, flats, and naturals,

More information

K-12 Performing Arts - Music Standards Lincoln Community School Sources: ArtsEdge - National Standards for Arts Education

K-12 Performing Arts - Music Standards Lincoln Community School Sources: ArtsEdge - National Standards for Arts Education K-12 Performing Arts - Music Standards Lincoln Community School Sources: ArtsEdge - National Standards for Arts Education Grades K-4 Students sing independently, on pitch and in rhythm, with appropriate

More information

FUNDAMENTAL HARMONY. Piano Writing Guidelines 0:50 3:00

FUNDAMENTAL HARMONY. Piano Writing Guidelines 0:50 3:00 FUNDAMENTAL HARMONY Dr. Declan Plummer Lesson 12: Piano Textures There are several important differences between writing for piano and writing for vocal/choral/satb music: SATB range rules no longer apply.

More information

7. Stravinsky. Pulcinella Suite: Sinfonia, Gavotta and Vivo

7. Stravinsky. Pulcinella Suite: Sinfonia, Gavotta and Vivo 7. Stravinsky Pulcinella Suite: Sinfonia, Gavotta and Vivo (For Unit 6: Further Musical Understanding) Background information and performance circumstances The Russian composer, Igor Stravinsky wrote the

More information

Music Curriculum Map Year 5

Music Curriculum Map Year 5 Music Curriculum Map Year 5 At all times pupils will be encouraged to perform using their own instruments if they have them. Topic 1 10 weeks Topic 2 10 weeks Topics 3 10 weeks Topic 4 10 weeks Title:

More information

Bite-Sized Music Lessons

Bite-Sized Music Lessons Bite-Sized Music Lessons A series of F-10 music lessons for implementation in the classroom Conditions of use These Materials are freely available for download and educational use. These resources were

More information

Haydn: Symphony No. 101 second movement, The Clock Listening Exam Section B: Study Pieces

Haydn: Symphony No. 101 second movement, The Clock Listening Exam Section B: Study Pieces Haydn: Symphony No. 101 second movement, The Clock Listening Exam Section B: Study Pieces AQA Specimen paper: 2 Rhinegold Listening tests book: 4 Renaissance Practice Paper 1: 6 Renaissance Practice Paper

More information

1. Content Standard: Singing, alone and with others, a varied repertoire of music Achievement Standard:

1. Content Standard: Singing, alone and with others, a varied repertoire of music Achievement Standard: The School Music Program: A New Vision K-12 Standards, and What They Mean to Music Educators GRADES K-4 Performing, creating, and responding to music are the fundamental music processes in which humans

More information

Music Education. Test at a Glance. About this test

Music Education. Test at a Glance. About this test Music Education (0110) Test at a Glance Test Name Music Education Test Code 0110 Time 2 hours, divided into a 40-minute listening section and an 80-minute written section Number of Questions 150 Pacing

More information

Brahms Piano Quintet in F minor - 3 rd Movement (For Unit 3: Developing Musical Understanding)

Brahms Piano Quintet in F minor - 3 rd Movement (For Unit 3: Developing Musical Understanding) Brahms Piano Quintet in F minor - 3 rd Movement (For Unit 3: Developing Musical Understanding) Background information and performance circumstances Biography Johannes Brahms was born in Hamburg, Germany

More information

CROSSWALK. Music. Georgia Performance Standards (GPS) to Georgia Standards of Excellence (GSE) Kindergarten Grade 12

CROSSWALK. Music. Georgia Performance Standards (GPS) to Georgia Standards of Excellence (GSE) Kindergarten Grade 12 CROSSWALK Music Georgia Performance Standards (GPS) to Georgia Standards of Excellence () Kindergarten Grade 12 Table of Contents Beginning Band Fourth Grade-Fifth Grade... 4 Beginning Chorus Kindergarten-Fifth

More information

The Baroque Period: The Romantic Era: th & 21st Century Classical Music: 1900-Present day. Course work and revision materials

The Baroque Period: The Romantic Era: th & 21st Century Classical Music: 1900-Present day. Course work and revision materials Course work and revision materials The Baroque Period:1600-1750 The Romantic Era: 1810-1900 20th & 21st Century Classical Music: 1900-Present day www.creativeartsmusic.wordpress.com Name:... Class:...

More information

WASD PA Core Music Curriculum

WASD PA Core Music Curriculum Course Name: Unit: Expression Key Learning(s): Unit Essential Questions: Grade 4 Number of Days: 45 tempo, dynamics and mood What is tempo? What are dynamics? What is mood in music? Competency: Concepts

More information

Music Curriculum Summary

Music Curriculum Summary Music Curriculum Summary Through Music, children learn to see and express themselves and the world in a different way. At St John s children develop their knowledge of music through the Dalcroze Eurythmic

More information

2007 Music. Intermediate 2. Finalised Marking Instructions

2007 Music. Intermediate 2. Finalised Marking Instructions 2007 Music Intermediate 2 Finalised Marking Instructions Scottish Qualifications Authority 2007 The information in this publication may be reproduced to support SQA qualifications only on a non-commercial

More information

Unit Outcome Assessment Standards 1.1 & 1.3

Unit Outcome Assessment Standards 1.1 & 1.3 Understanding Music Unit Outcome Assessment Standards 1.1 & 1.3 By the end of this unit you will be able to recognise and identify musical concepts and styles from The Classical Era. Learning Intention

More information

Handel. And the glory of the lord

Handel. And the glory of the lord Handel And the glory of the lord Schoenberg Peripetie Reich Electric Counterpoint Bernstein Something s Coming Moby Why Does My heart Feel So Bad? Davis All Blues Buckley Grace Capercaillie Skye Waulking

More information

Advanced Placement Music Theory

Advanced Placement Music Theory Page 1 of 12 Unit: Composing, Analyzing, Arranging Advanced Placement Music Theory Framew Standard Learning Objectives/ Content Outcomes 2.10 Demonstrate the ability to read an instrumental or vocal score

More information

GENERAL MUSIC Grade 3

GENERAL MUSIC Grade 3 GENERAL MUSIC Grade 3 Course Overview: Grade 3 students will engage in a wide variety of music activities, including singing, playing instruments, and dancing. Music notation is addressed through reading

More information

2016 HSC Music 1 Aural Skills Marking Guidelines Written Examination

2016 HSC Music 1 Aural Skills Marking Guidelines Written Examination 2016 HSC Music 1 Aural Skills Marking Guidelines Written Examination Question 1 Describes the structure of the excerpt with reference to the use of sound sources 6 Demonstrates a developed aural understanding

More information

MUSIC PROGRESSIONS. Curriculum Guide

MUSIC PROGRESSIONS. Curriculum Guide MUSIC PROGRESSIONS A Comprehensive Musicianship Program Curriculum Guide Fifth edition 2006 2009 Corrections Kansas Music Teachers Association Kansas Music Teachers Association s MUSIC PROGRESSIONS A Comprehensive

More information

MUSIC (MU) Music (MU) 1

MUSIC (MU) Music (MU) 1 Music (MU) 1 MUSIC (MU) MU 1130 Beginning Piano I (1 Credit) For students with little or no previous study. Basic knowledge and skills necessary for keyboard performance. Development of physical and mental

More information

9. Shostakovich String Quartet No. 8, Op. 110: movement I (for Unit 6: Further Musical Understanding)

9. Shostakovich String Quartet No. 8, Op. 110: movement I (for Unit 6: Further Musical Understanding) 9. Shostakovich String Quartet No. 8, Op. 110: movement I (for Unit 6: Further Musical Understanding) Background information and performance circumstances String Quartet No. 8 by Dmitry Shostakovich (1906

More information

HS/XII/A. Sc. Com.V/Mu/18 MUSIC

HS/XII/A. Sc. Com.V/Mu/18 MUSIC Total No. of Printed Pages 9 HS/XII/A. Sc. Com.V/Mu/18 2 0 1 8 MUSIC ( Western ) Full Marks : 70 Time : 3 hours The figures in the margin indicate full marks for the questions General Instructions : Write

More information

Trumpets. Clarinets Bassoons

Trumpets. Clarinets Bassoons LISTENING GUIDE RTÓK (1943) One of artók s last works, the was premiered by the oston Symphony Orchestra at Symphony Hall on December 1, 1944. The score was a commission from Serge Koussevitsky, the orchestra

More information

Program for Stories, Legends and Fairy Tales 11.30am, 25 October am, 27 and 28 October 2015 The Courier-Mail Pizza, South Bank Parklands

Program for Stories, Legends and Fairy Tales 11.30am, 25 October am, 27 and 28 October 2015 The Courier-Mail Pizza, South Bank Parklands Program for Stories, Legends and Fairy Tales 11.30am, 25 October 2015 10.30am, 27 and 28 October 2015 The Courier-Mail Pizza, South Bank Parklands The Program - Stories, Legends and Fairy Tales The Program

More information

LESSON 1 PITCH NOTATION AND INTERVALS

LESSON 1 PITCH NOTATION AND INTERVALS FUNDAMENTALS I 1 Fundamentals I UNIT-I LESSON 1 PITCH NOTATION AND INTERVALS Sounds that we perceive as being musical have four basic elements; pitch, loudness, timbre, and duration. Pitch is the relative

More information

Paper Reference. Paper Reference(s) 1426/03 Edexcel GCSE Music Paper 3 Listening and Appraising. Monday 22 May 2006 Afternoon Time: 1 hour 30 minutes

Paper Reference. Paper Reference(s) 1426/03 Edexcel GCSE Music Paper 3 Listening and Appraising. Monday 22 May 2006 Afternoon Time: 1 hour 30 minutes Centre No. Paper Reference Surname Initial(s) Candidate No. 1 4 2 6 0 3 Signature Paper Reference(s) 1426/03 Edexcel GCSE Music Paper 3 Listening and Appraising Monday 22 May 2006 Afternoon Time: 1 hour

More information

Five Points of the CMP Model

Five Points of the CMP Model Five Points of the CMP Model Excerpted from Chapter 10: CMP at a Glance Shaping Sound Musicians: An innovative approach to teaching comprehensive musicianship through performance GIA Publications, Inc.,

More information

Cambridge International Examinations Cambridge International General Certificate of Secondary Education. Published

Cambridge International Examinations Cambridge International General Certificate of Secondary Education. Published Cambridge International Examinations Cambridge International General Certificate of Secondary Education MUSIC 040/ Paper Listening MARK SCHEME Maximum Mark: 70 Published This mark scheme is published as

More information

MUSIC THEORY CURRICULUM STANDARDS GRADES Students will sing, alone and with others, a varied repertoire of music.

MUSIC THEORY CURRICULUM STANDARDS GRADES Students will sing, alone and with others, a varied repertoire of music. MUSIC THEORY CURRICULUM STANDARDS GRADES 9-12 Content Standard 1.0 Singing Students will sing, alone and with others, a varied repertoire of music. The student will 1.1 Sing simple tonal melodies representing

More information

Poulenc Trio for Oboe, Bassoon and Piano, Movement II (1926)

Poulenc Trio for Oboe, Bassoon and Piano, Movement II (1926) W Poulenc Trio for Oboe, Bassoon and Piano, Movement II (1926) These notes supplement the annotated scores on Moodle and are designed to be used in conjunction with them. What should I revise? Spend lots

More information

MUSIC. An Introduction to Early Twentieth-Century Music

MUSIC. An Introduction to Early Twentieth-Century Music MUSIC An Introduction to Early Twentieth-Century Music I. Basic Elements of Music Theory 20% A. Sound and Music 1. Definitions a. Music Is Sound Organized in Time b. Music of the Western World 2. Physics

More information

MSN Encarta Standard - Print Preview - Harmony (music)

MSN Encarta Standard - Print Preview - Harmony (music) Page 1 of 7 Print Preview Harmony (music) Article View On the File menu, click Print to print the information. Harmony (music) I. INTRODUCTION Harmony (music), the combination of notes (or pitches) that

More information

FINE ARTS Institutional (ILO), Program (PLO), and Course (SLO) Alignment

FINE ARTS Institutional (ILO), Program (PLO), and Course (SLO) Alignment FINE ARTS Institutional (ILO), Program (PLO), and Course (SLO) Program: Music Number of Courses: 52 Date Updated: 11.19.2014 Submitted by: V. Palacios, ext. 3535 ILOs 1. Critical Thinking Students apply

More information

The Pines of the Appian Way from Respighi s Pines of Rome. Ottorino Respighi was an Italian composer from the early 20 th century who wrote

The Pines of the Appian Way from Respighi s Pines of Rome. Ottorino Respighi was an Italian composer from the early 20 th century who wrote The Pines of the Appian Way from Respighi s Pines of Rome Jordan Jenkins Ottorino Respighi was an Italian composer from the early 20 th century who wrote many tone poems works that describe a physical

More information

Romantic Era Practice Test

Romantic Era Practice Test Name Date Part 1 Multiple Choice Romantic Era Practice Test 1) Romantic style flourished in music during the period A) 1600-1750 B) 1750-1820 C) 1820-1900 D) 1900-1950 2) Which of the following is not

More information

Assignment Ideas Your Favourite Music Closed Assignments Open Assignments Other Composers Composing Your Own Music

Assignment Ideas Your Favourite Music Closed Assignments Open Assignments Other Composers Composing Your Own Music Assignment Ideas Your Favourite Music Why do you like the music you like? Really think about it ( I don t know is not an acceptable answer!). What do you hear in the foreground and background/middle ground?

More information

Scene from Claude Debussy s Pelleas et Melisande. The escape from Romantic music.

Scene from Claude Debussy s Pelleas et Melisande. The escape from Romantic music. 20 th Century ism s Scene from Claude Debussy s Pelleas et Melisande The escape from Romantic music. What are isms As mentioned before, a complete study of all the trends after the common practice period

More information

The Baroque Period. Better known today as the scales of.. A Minor(now with a #7 th note) From this time onwards the Major and Minor Key System ruled.

The Baroque Period. Better known today as the scales of.. A Minor(now with a #7 th note) From this time onwards the Major and Minor Key System ruled. The Baroque Period The Baroque period lasted from approximately 1600 1750 The word Baroque is used to describes the highly ornamented style of fashion, art, architecture and, of course Music. It was during

More information

MUSIC (MUS) Music (MUS) 1

MUSIC (MUS) Music (MUS) 1 Music (MUS) 1 MUSIC (MUS) MUS 2 Music Theory 3 Units (Degree Applicable, CSU, UC, C-ID #: MUS 120) Corequisite: MUS 5A Preparation for the study of harmony and form as it is practiced in Western tonal

More information

Norman Public Schools MUSIC ASSESSMENT GUIDE FOR GRADE 8

Norman Public Schools MUSIC ASSESSMENT GUIDE FOR GRADE 8 Norman Public Schools MUSIC ASSESSMENT GUIDE FOR GRADE 8 2013-2014 NPS ARTS ASSESSMENT GUIDE Grade 8 MUSIC This guide is to help teachers incorporate the Arts into their core curriculum. Students in grades

More information

Cambridge International Examinations Cambridge International General Certifi cate of Secondary Education

Cambridge International Examinations Cambridge International General Certifi cate of Secondary Education Cambridge International Examinations Cambridge International General Certifi cate of Secondary Education MUSIC 040/0 Paper Listening For examination from 05 MARK SCHEME Maximum Mark: 70 Specimen The syllabus

More information

Loudoun County Public Schools Elementary (1-5) General Music Curriculum Guide Alignment with Virginia Standards of Learning

Loudoun County Public Schools Elementary (1-5) General Music Curriculum Guide Alignment with Virginia Standards of Learning Loudoun County Public Schools Elementary (1-5) General Music Curriculum Guide Alignment with Virginia Standards of Learning Grade One Rhythm perform, and create rhythms and rhythmic patterns in a variety

More information

JAMAICAN RHUMBA. EXPLORE Dance Inspirations. 15 and 16 March 2017 QSO Studio

JAMAICAN RHUMBA. EXPLORE Dance Inspirations. 15 and 16 March 2017 QSO Studio JAMAICAN RHUMBA EXPLORE Dance Inspirations 15 and 16 March 2017 QSO Studio Arthur Benjamin Composer, Conductor and Pianist Arthur Benjamin was an Australian, born in Sydney in 1893 his family moved to

More information

Lesson One. New Terms. a note between two chords, dissonant to the first and consonant to the second. example

Lesson One. New Terms. a note between two chords, dissonant to the first and consonant to the second. example Lesson One Anticipation New Terms a note between two chords, dissonant to the first and consonant to the second example Suspension a non-harmonic tone carried over from the previous chord where it was

More information

Partimenti Pedagogy at the European American Musical Alliance, Derek Remeš

Partimenti Pedagogy at the European American Musical Alliance, Derek Remeš Partimenti Pedagogy at the European American Musical Alliance, 2009-2010 Derek Remeš The following document summarizes the method of teaching partimenti (basses et chants donnés) at the European American

More information

Music Appreciation Final Exam Study Guide

Music Appreciation Final Exam Study Guide Music Appreciation Final Exam Study Guide Music = Sounds that are organized in time. Four Main Properties of Musical Sounds 1.) Pitch (the highness or lowness) 2.) Dynamics (loudness or softness) 3.) Timbre

More information

M T USIC EACHERS.CO.UK. An analysis of Mozart s piano concerto K488, 1 s t movement. the internet service for practical musicians.

M T USIC EACHERS.CO.UK. An analysis of Mozart s piano concerto K488, 1 s t movement. the internet service for practical musicians. M T USIC EACHERS.CO.UK the internet service for practical musicians. S o n a t a f o r m i n t h e c l a s s i c a l c o n c e r t o : An analysis of Mozart s piano concerto K488, 1 s t movement G a v

More information

UNDERGRADUATE MUSIC THEORY COURSES INDIANA UNIVERSITY JACOBS SCHOOL OF MUSIC

UNDERGRADUATE MUSIC THEORY COURSES INDIANA UNIVERSITY JACOBS SCHOOL OF MUSIC UNDERGRADUATE MUSIC THEORY COURSES INDIANA UNIVERSITY JACOBS SCHOOL OF MUSIC CONTENTS I. Goals (p. 1) II. Core Curriculum, Advanced Music Theory courses, Music History and Literature courses (pp. 2-3).

More information

La Salle University MUS 150 Art of Listening Final Exam Name

La Salle University MUS 150 Art of Listening Final Exam Name La Salle University MUS 150 Art of Listening Final Exam Name I. Listening Skill For each excerpt, answer the following questions. Excerpt One: - Vivaldi "Spring" First Movement 1. Regarding the element

More information

MUSIC Hobbs Municipal Schools 6th Grade

MUSIC Hobbs Municipal Schools 6th Grade Date NM State Standards I. Content Standard 1: Learn and develop the essential skills and technical demands unique to dance, music, theatre/drama, and visual art. A. K-4 BENCHMARK 1A: Sing and play instruments

More information

Music at Menston Primary School

Music at Menston Primary School Music at Menston Primary School Music is an academic subject, which involves many skills learnt over a period of time at each individual s pace. Listening and appraising, collaborative music making and

More information