You ll find digital resources and this book in digital format at ecasals.net/en/musiciieso ESO. A. B. Cañizares J. Colomé M. A.

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1 You ll find digitl resources nd this book in digitl formt t ecsls.net/en/musiciieso II ESO A. B. Cñizres J. Colomé M. A. Mestro MUSIC

2 tble of contents Unit 1 pge 4 Unit 2 pge 22 Unit 3 pge 40 Unit 4 pge 58 Introduction: In concert In context In film In concert: Alleluj, Mgnifict, nonymous Messe de Notre Dme, by Guillume de Mchut Chnteri pour mon corge, by Guiot de Dijon Time of monsteries nd minstrels Percevl le Gllois Vision In concert: Kyrie, from the Mss for Four Voices, by Willim Byrd O Mirtillo, Mirtillo nim mi, by Cludio Monteverdi Recercd segund sobre el cnto llno L Spgn, by Diego Ortiz The glory of polyphony Elizbeth The Tudors In concert: Arrivl of the Queen of Sheb, from Solomon, by G.F. Händel Cnon in D mjor, by J. Pchelbel Bdinerie, from Orchestrl Suite No. 2, by J.S. Bch The exubernt ornmenttion of the Broque Mrie-Antoinette Tous les mtins du monde In concert: 2nd mov., Pino Concerto No. 23, by W.A. Mozrt Che frò senz Euridice?, from Orfeo ed Euridice, by C.W. Gluck String Qurtet No. 4, op. 18, by L.v. Beethoven The forml blnce of Clssicism Amdeus Goy en Burdeos In the studio 1. Scred chnts 2. A troubdour in medievl Spin 1. The vocl music of the Renissnce 2. Music nd song in plces 3. The instrumentl music of the Renissnce 1. Music for singing 2. Instrumentl music 1. Vocl music in Clssicism 2. The prominence of instrumentl music In theory 1. The chrcteristics of sound (I): pitch 2. The chrcteristics of sound (II): loudness 1. The chrcteristics of sound (III): timbre 1. Tonlity 1. Intervls 2. Chords At number : Hound Dog, by Elvis Presley 1962: I Cn t Stop Loving You, by Ry Chrles 1968: Hey Jude, by The Betles 1978: Night fever, by Bee Gees Video While My Guitr Gently Weeps, by George Hrrison Blue Monk, by Thelonius Monk On Reflection, by Gentle Gint Fndngo, from Quintet No. 4, G. 341, G341, by Luigi Boccherini Compring O Virgo splendens, nonymous, nd While My Guitr Gently Weeps, de George Hrrison Nepolitn Gllird, by Antonio Vlente nd Blue Monk, by Thelonious Monk Fugue No. 16, by J.S. Bch nd On Reflection, by Gentle Gint Andnte, from Symphony No. 94, nd Fndngo, from Quintet No. 4, G. 341, by Luigi Boccherini In digitl Experimenting with type of music similr to tht of the Middle Ages using Audcity nd MuseScore. Identifying some of the chrcteristics of improvistion in udio clips of Renissnce music with Audcity. Recording instruments with Audcity nd observing the wveforms. Modifying the tessitur nd writing fugue using MuseScore. Listening to the differences between cdences. Plying live 2. Melody: Schirzul Mrzul; Stell Splendens 3. Plying together: Imgine, John Lennon Dicttion 2. Melody: Greensleeves, trditionl 3. Plying together: I m Yours, Json Mrz Dicttion 2. Melody: 2nd mov., Concerto No. 4, Op. 8, Winter, by Antonio Vivldi 3. Plying together: Money, Money, Money, Mmm Mi nd Wterloo, by ABBA 2. Melody: Andnte, from Symphony No. 94, The Surprise, by F. J. Hydn; Adgio, from Clrinet Concerto, W. A. Mozrt 3. Plying together: We Are the Chmpions, Queen In imges Prologue of the Cnticles of Holy Mry, Alfonso X the Wise Mgnifict, by Cristóbl de Morles Fugue No. 6, in D minor, BWV 851, by Johnn Sebstin Bch Ah! Vous diri-je, mmn K265, by Wolfgng Amdeus Mozrt

3 Unit 5 pge 74 Unit 6 pge 92 Unit 7 pge 108 Unit 8 pge 124 Introduction: In concert In context In film In concert:symphony No. 4 Itlin, by Felix Mendelssohn L cmpnell, by Frnz Liszt 3rd mov., Symphony No. 3, by Johnnes Brhms The sentimentl exlttion of Romnticism Copying Beethoven The Fifth Element In concert: Slvonic Dnce No. 1, by Antonín Dvo ˇ ák Hoe-Down, from Rodeo, by Aron Coplnd Gymnopédies No. 1, by Erik Stie Musicl ntionlism nd Impressionism Ann Krenin Ocen s Eleven In concert: Adgio for Strings, by Smuel Brber Violin Concerto, by Albn Berg Pino Concerto No. 2, by D. Shostkovich Musicl vnt-grdes of the 20th century 2001 The Shining In concert: Good Vibrtions, by The Bech Boys Wht s Going On, by Mrvin Gye Smells Like Teen Spirit, by Nirvn Urbn music Bck to the Future Wyne s World In the studio 1. Music s mens of expression / 2. The voice t the service of the text / 3. The pssion of instrumentl music 1. The rise of ntionlist music 2. The visul evoction of musicl Impressionism 1. Musicl innovtions up to Musicl vnt-grdes fter Mrking the pulse of society 2. Roots music in Spin In theory 1. The period 1. Improvistion 1. Chord fctors 2. Non-chord tones or embellishing tones 1. Mking your own instrument 2. The new musicl lnguge 3. Noise pollution At number : Every Breth You Tke, by The Police 1987: Bd, by Michel Jckson 1988: Red Red Wine, by UB : Empire Stte of Mind, Jy-Z Video Soundtrck of Str Wrs, by John Willims Soundtrck of An Americn in Pris, by George Gershwin Soundtrck of The Plnet of the Apes, by Jerry Goldsmith Ode to Joy, from L. v. Beethoven nd Himno l Alegrí, by M. Ríos Compring Symphony No. 6, Pstorl, by L. v. Beethoven nd Str Wrs, by J. Willims Spnish Suite, Op. 47, by I. Albéniz nd Concerto in F, by G. Gershwin Works by K. Stockhusen, J. Cge, S. Reich nd J. Goldsmith Ode to Joy, from L. v. Beethoven nd Himno l Alegrí, by M. Ríos In digitl Creting work with different udio trcks inspired by imges from film. Writing chords with MuseScore nd composing melody in different keys over certin chords. Composing piece of music with excerpts from works in different styles nd from different composers with Audcity. Listening to different musicl styles nd rrnging them chronologiclly using Audcity. Plying live Dicttion 2. Melody: Of Foreign Lnds nd Peoples, by Robert Schumnn 3. Plying together: Skyfll, by Adele Dicttion 2. Melody: Orientl Dnce, by Enrique Grndos 3. Plying together: All My Loving, by The Betles Dicttion 2. Melody: Adgio, from the Concierto de Arnjuez, by Joquín Rodrigo 3. Plying together: Every Breth You Tke, by The Police 2. Melody: Summertime, from Porgy nd Bess, by George Gershwin 3. Plying together: Another Brick in The Wll, by Pink Floyd In imges Mrch to the Scffold, from Symphonie fntstique, by Hector Berlioz In the Steppes of Centrl Asi, by Alexnder Borodin Sequenz III, by Lucino Berio Innuendo, by Queen Appendix pge Finl proposl: Wimoweh 3. Spnish trditionl dnces 2. Music in Spnish populr festivls 4. Flmenco COMPETENCES ACTIVITIES Culturl nd rtistic Lerning to lern Digitl Entrepreneuril inititive Science nd technology Socil nd civic Advnced Chllenge

4 1 A troubdour plys for noble couple. Illustrtion from the Cntigs de Snt Mrí (13th century). IN CONCERT Alleluj, Mgnifict nonymous (monks from the Abbey of Notre-Dme de Fontgombult) Messe de Nostre Dme Guillume de Mchut (Ensemble Gilles Binchois) Chnteri pour mon corge Guiot de Dijon (Ensemble Micrologus) ORCHESTRATE YOUR COMPETENCES... SOCIAL AND CIVIC: knowledge of the historicl nd culturl context of the Middle Ages. CULTURAL AND ARTISTIC: development of seculr nd religious music from the 5th to the 15th centuries. SOCIAL AND CIVIC: plying song in group.

5 in context Time of monsteries nd minstrels in film Percevl le Gllois (1978) Songs from the 12th nd 13th centuries, dpttion by Guy Robert Vision (2009) Ordo Virtutum, by Hildegrd von Bingen

6 in the studio 1 1. Scred chnts 1.1 Gregorin chnt In the Middle Ages, the Christin church built mny monsteries nd cthedrls. They were importnt culturl centres, s mnuscripts which compiled the knowledge of the time were copied in their librries. The music used in religious celebrtions ws only vocl. A system of musicl nottion ws devised to help trnsmit nd preserve this music. For long time it ws considered tht, in the 7th century, Pope Gregory I (hence the nme Gregorin) hd ordered the unifiction of tunes tht hd been sung during the liturgy for centuries, but it is now believed tht this process ws crried out by the Crolingin kings, including Chrlemgne, in the 8th nd 9th centuries. Compiling Gregorin chnts in the Middle Ages required system of musicl nottion, which ws grdully perfected over the centuries. At the end of the 10th century, lines strted to be used to represent pitch nd, in the 14th century, signs to indicte the durtion of the notes. The possibility of fithfully writing down music ws very importnt milestone for the development of western music. The picture shows the mnuscript of Ludrio di Corton, from the 13th century. Pslms, ntiphonies, responsories nd common chnts from the Mss tht the clerics recited or sng in the choir re ll prt of Gregorin chnt. Tody, it is the officil chnt of the Ctholic Church. Gregorin chnt is chnt with single melody (monody) without instrumentl ccompniment ( cppell). It hs free rhythm, wich is dpted to the Ltin text. Its melody is clled syllbic, in the cses in wich ech syllble of the text corresponds to sound, nd melismtic, when severl sounds correspond to single syllble. Its nture inspires serenity nd medittion in the believer. Pter noster, Gregorin chnt. Anonymous The Pter Noster, lso known s The Lord s Pryer, is Christin pryer tht ppers in the episode of the Sermon on the Mount. Here, Jesus of Nzreth, ccording to the Gospel of Mtthew, recommends privte pryer with simplicity, nd offers this exmple of pryer to ddress the Lord. This pryer is prt of the Mss. Pter noster qui es in celis: snctificetur Nomen Tuum; dvenit Regnum Tuum; fit volunts Tu, sicut in celo et in terr. Pnem nostrum quotidinum d nobis hodie; et dimitte nobis debit nostr, sicut et nos dimittimus debitoribus nostris; et ne nos inducs in tenttionem; sed liber nos Mlo. Amen Our fther who re in Heven, hllowed be thy nme; thy kingdom come; thy will be done on erth s it is in Heven. Give us this dy our dily bred; nd forgive us our trespsses, s we forgive those who trespss ginst us; nd led us not into tempttion, but deliver us from evil. Amen. The Lord s Pryer (1896), by Jmes Tissot. # 6

7 1 in the studio ctivities 1. Red the following sttements bout the Gregorin chnt in the Pter Noster nd sy whether they re true or flse. b c d e f g h i It fetures voices unccompnied by instruments, or in other words, it is n cppell chnt. It is chnt with single melody sung in unison: it is monodic. It hs regulr rhythm with very insistent bets. The text is in Ltin nd its content is religious. It is solemn music t the service of the text. There re shrp contrsts, from very loud to very soft. The melody does not mke big leps. It employs musicl note for ech syllble: it is syllbic. It uses lrge group of notes over one syllble of the text: it is melismtic. 1.2 The discovery of chnt for severl voices From the 9th century took plce n innovtion to give greter solemnity to the liturgicl chnts of the Church. A second voice (vox orgnlis) ws dded to the Gregorin melody (vox principlis), resulting in genre known s orgnum. Vox principlis Vox orgnlis Notice how in this exmple of orgnum, the second voice runs prllel nd t distnce of fourth. When other voices were dded, chnts with severl (poly) voices (phones) were creted, or in other words, polyphony. This ws prctised in Notre Dme Cthedrl in Pris in the 13th century, where the composers Leonin nd Perotin worked, s well s mny nonymous rtists. In the 14th century, musicl compositions for the liturgy were chrcterised by the serch for new sounds nd polyphonic forms. Two of the most importnt forms were: motet: religious vocl composition for severl voices bsed on prior liturgicl melody. cnon: prt or section in which the voices enter successively, repeting the melody plyed by the previous voice. Two of the most importnt composers of this period were Philippe de Vitry nd Guillume de Mchut. Perotin is the most importnt composer from the Notre Dme School, where polyphony first begn. He wrote the oldest compositions for four voices preserved. # 7

8 in the studio 1 O Virgo splendens, nonymous cnon, Red Book of Montserrt O Virgo splenden is n ntiphony written in the form of cnon. An ntiphony is melody tht is sung s chorus of the verses of pslm, nd cnon is polyphonic composition in which the voices enter successively, nd ech one repets nd imittes the melody sung by the previous voice. It is dedicted to the Virgin of Montserrt (Brcelon), venerted sttue t the Monstery of Montserrt, plce of pilgrimge since the Middle Ages. The work is prt of collection clled Llibre vermell de Montserrt (or Red Book, due to the colour of the cover), which contins cnticles nd dnces to entertin pilgrims who reched the monstery, took refuge in the church t night nd spent the dy in the squre. O Virgo splendens, hic in monte celso mirculis serrto fulgentibus ubique, quem fideles conscendunt universi. Ei piettis oculo plcto cerne ligtos fune pecctorum, ne infernorum ictibus grventur, sed cum betis tu prece vocentur. Oh splendid Virgin on this serrted mountin, shining with mirculous wonders, where the fithful of the universe scend. Ah! The mercy of your peceful gze frees those enmeshed by the bonds of sin, so their suffering is no longer mde, but cn be blessed by your intercession. ctivities 2. Look t the Gregorin nottion of the mnuscript nd sy whether the following sttements re true or flse. b c d There re mesure signs. The nottion is squre. It uses the stve. There re indictions of time. 3. Look t the modern nottion nd indicte which words re melismtic. Do rhythmic reding with the nme of the notes. 4. Listen to O Virgo Splendens nd mrk the correct nswer. b c d e Is it cppell music? yes no Do they lwys sing in unison? yes no It is monodic work tht cn be sung in more thn one voice. yes no For how mny voices is it? two three It is interpreted by choir of mle voices. yes no # 8

9 1 in the studio 2. A troubdour in medievl Spin The music tht is not intended for religious worship is clled seculr music. In the Middle Ages, music ws used to liven up fest dys, to entertin nd to ccompny dncing in the streets, cstles nd noble houses. Troubdours were poets who composed both verses nd music. Of noble origin, they creted refined songs bout courtly love, which prised the ldy nd chivlry or lmented the misfortunes of bttles. Fmous troubdours were Adm de l Hlle nd Alfonso X the Wise. Minstrels were rtists who spred nd populrised the songs of the troubdours. They recited, plyed instruments, dnced, sng nd plyed gmes before the courtiers nd commoners. Unlike the troubdours, they were usully of humble origin. In medievl Spin, music ws n everydy element in Islmic, Christin nd Jewish cultures. Some medievl instruments used to ply seculr music re the bgpipes, the flute, the porttive orgn, the hurdy-gurdy, the dulcimer, the rebec, the vihuel, nd the oud, or lute. Most troubdour poetry ws composed in Occitn in southern Frnce, nd hs been one of the min influences on Europen poetry over the centuries. The picture shows the Occitn noble Arnut Dniel, one of the best troubdours, prised by Dnte nd Petrrch. ctivities 5. Mtch the musicl instruments in the following minitures of the Cntigs de Snt Mrí, by Alfonso X the Wise, with their nmes, nd sy if they re chordophones or wind instruments. porttive orgn b viol c bgpipes d dulcimer e hurdy-gurdy f hrp 6. Wtch the following videos of modern performnces of the three Cntigs de Snt Mrí plyed with the instruments bove: porttive orgn, viol, bgpipes, dulcimer, hurdy-gurdy nd hrp. Nme the instruments tht pper in ech video. Cntig 57 Cntig 105 Cntig 384 # 9

10 in the studio 1 Cnticle Ros ds ross, from the Cntigs de Snt Mrí, by Alfonso X the Wise A cntig, or cnticle, is sung poem. The Cntigs de Snt Mrí were compiled during the second hlf of the 13th century by Alfonso X the Wise. Amongst the 423 melodies tht mke up the collection, there re troubdour songs, dnces, romnces nd songs with Arb nd Jewish influences. Some refer to scenes of pilgrims on the rod to Sntigo de Compostel. Most re written in Glicin nd contin chorus. Ros ds ross is love cnticle, lyric poem tht worships the Virgin. It is strongly linked to the love cnticle. Red the text of the cnticle s you listen nd notice how the troubdour s beloved object of love is the Virgin. Ros ds ross e Fror ds frores, Don ds dons, Sennor ds sennores. Ros de beldd e de preçer e Fror d legri e de przer. Don en mui pïdos seer, Sennor en toller coits e doores. Ros ds ross e Fror ds frores Atl Sennor dev ome muit mr, que de todo ml o pode gurdr; e pode-ll os pecdos perdõr, que fz no mundo per mos sbores. Ros ds ross e Fror ds frores Devemo-l muit mr e servir, c punn de nos gurdr de flir; des i dos erros nos fz repentir, que nos fzemos come pecdores. Ros ds ross e Fror ds frores Est don que tenno por Sennor e de que quero seer trobdor, se eu per ren poss ver seu mor, dou o demo os outros mores. Ros ds ross e Fror ds frores Rose of ll roses nd Flower of ll flowers, Womn of ll women, Ldy of ll ldies. Rose of beuty nd firness nd Flower of joy nd plesure. Womn who is pious, Ldy who removes troubles nd pins. Rose of ll roses nd Flower of ll flowers One must love this ldy, who cn protect us from ll evil nd who cn forgive ll sins, done in the world for the wrong resons. Rose of ll roses nd Flower of ll flowers We must love her nd serve her, s she strives to protect us from erring; she mkes us repent from our errors tht we commit s sinners. Rose of ll roses nd Flower of ll flowers This womn tht I hold s my Ldy nd whose troubdour I wnt to be, if I could hve her love, to the devil with ll other loves. Rose of ll roses nd Flower of ll flowers ctivities 7. Red the following sttements bout the cnticle nd sy whether they re true or flse. b c d e f g h It is cppell vocl music sung by femle choir. It is chnt in which syllbic singing predomintes over melismtic. It strts with chorus or refrin tht is repeted fter ech verse. The melody is identicl in ech verse nd rhyme is repeted every three verses. The refrin is repeted fter ech verse, encourging people to prticipte. It is polyphonic chnt becuse it hs single melody. The rhythm is more pronounced thn in the Gregorin melodies. Among the instruments herd there re porttive orgn, vihuel nd tmbourine. # 10

11 1 in theory 1. The chrcteristics of sound (I): pitch The chrcteristics of sound re: pitch, loudness, durtion nd timbre. Remember tht the production of sound requires n emitter or source tht produces wves nd medium tht trnsmits them. In generl, if these wves follow regulr pttern they re considered to be sound, nd when they follow n irregulr pttern they re considered to be noise. Look t the shpe of the wve on the left, wich corresponds to hlf second of note plyed on guitr, nd t the wve on the right, which corresponds to hlf second of cymbl crsh. The chrcteristics of the wves determine the chrcteristics of the sound. 1.1 Pitch Pitch is the qulity of sound tht llows us to distinguish high sound from low one. The pitch of sound depends on the frequency, or the number of vibrtions per second (cycles) of wve. Frequency is mesured in hertz (Hz), nd one hertz is the equivlent to one vibrtion per second. The more vibrtions per second, the higher the sound. Look t the following exmple. Wve frequency: 440 Hz Wve frequency: 880 Hz Note tht in the wve on the right (A5), the wve cycles re nrrower; there re more vibrtions per second thn in the wve on the left (A4). The frequency is higher nd, therefore, the sound is higher. In the wve on the left, the frequency is lower nd therefore the sound is lower. The norml rnge of humn hering is between 20 Hz nd Hz. Mny nimls hve much wider rnge of hering thn us. Cts, for exmple, perceive frequencies between 55 Hz nd Hz! # 11

12 in theory 1 In music, the reference pitch for tuning is A440, or A4, which vibrtes t 440 Hz. Wtch the video of n orchestr being tuned: the oboe gives the A440, which is picked up by the violins nd then the rest of the instruments. 1.2 Indicting the octve Pitch nottion Look t the wves on the previous pge: the two notes re clled A, but the number of cycles in A5 (880 Hz) is double tht of A4 (440 Hz). When the reltionship between two sounds is two to one (double or hlf), we sy tht the intervl between them is n octve. Therefore, for ech octve we go up, there re twice s mny vibrtions, nd ech octve we go down, there re hlf s mny vibrtions. Since the twelve notes re repeted severl times, when note is not on stve we hve to specify to which octve it belongs. A number is therefore dded tht specifies the octve. All notes corresponding to the sme octve, from C to B, re given the sme number. The lower octve is one number lower, nd the upper octve is one higher. G3 A3 B3 C4 D4 E4 F4 G4 A4 B4 C5 D5 E5 F5 G5 A5 B5 C6 In Spin, the Frnco-Belgin system is used, in which middle C of the pino is clled do3, but there other methods. The most common re the scientific pitch nottion, the most used in the world, in which middle C on the pino is known s C4, nd the Helmholtz pitch nottion, used in Germny, in which middle C is nmed c. Musicl notes in this book re given using scientific pitch nottion High octve nd low octve You lredy know bout the dditionl lines which re dded to the stve to notte higher or lower notes. There is nother resource used to notte notes tht do not fit on the stve without dditionl lines: ottv lt (high octve) mens tht these notes should be plyed one octve higher thn they re written. If the symbol 8v were not used, we would need mny dditionl lines. sounds like ottv bss (low octve) tells the musicin to ply this frgment one octve lower thn it is written. sounds like # 12

13 1 in theory 1.3 Nottion: the C-clef You lredy know tht in music we indicte the pitch of sounds with the position of the musicl notes on the stve. You re lso fmilir the G-clef, for high notes, nd the F-clef, for low notes. Another clef is used for sounds in the middle register: the C-clef. Although the C-clef cn hve five positions, only two re used nowdys: one of them is the lto clef, in which C4 is plced on the third line of the stve. Viol scores re written in the lto clef, such s these brs from Mozrt s Sinfoni Concertnte. The other position is tht of the tenor clef, in which C4 is plced on the fourth line of the stve. Some registers of the bssoon, the trombone nd the cello re written in the tenor clef, such s these brs of cello from Beethoven s Trio No. 4 Op The chrcteristics of sound (II): loudness Loudness, or volume, is the chrcteristic of sound tht llows us to differentite soft sound from loud sound. Loudness is determined by the mplitude of the vibrtions. The greter the mplitude of the wve, the louder the sound. Other fctors influencing loudness re: listener, the lower the loudness perceived. sity, the louder the sound is perceived. The unit used to mesure loudness is the decibel (db). A converstion t norml volume hs level of 60 db. In music, the volume is reflected in the use of dynmics. There re two types: pinissisimo or ppp) to the loudest (forte or fff). indicted using hirpins (crescendo, decrescendo, etc.). These two wves hve the sme cycles, but the second hs greter mplitude, so is louder. # 13

14 in theory 1 ctivities 1. Complete this tble of frequencies in your notebook. A4 440 Hz A3 A5 880 Hz A7 2. Look t the wves nd sy which one corresponds to the note A3 nd which one to the note A7. b 3. In your notebook, write the note nd the pitch of the deepest sound mde by the soprno recorder. 4. In your notebook, write the nmes of the notes nd their pitch. b 5. In your notebook, write the nme nd pitch of the notes. Look t the clefs. b c 6. Listen to the excerpt of Vltv (The Moldu) from Má Vlst (My Homelnd) by Bedrich ˇ Smetn, nd complete the digrm with the following dynmic indictions: p, mf, f, ff, dim. (Diminuendo: grdully becoming softer) The river Moldv s it psses through Prgue. 7. Indicte whether the following sttements re true or flse. b c d Vibrtions re mesured in Hz. The unit of intensity is db. To write the lower notes, we use the bss clef. The decibel mesures the mount of vibrtions from the emitter of the sound. # 14

15 1 Hound Dog, by Elvis Presley Rock & roll Rock & roll cme bout s result of Afro-Americn musicl influences, such s rhythm & blues, Western swing nd country, which were populr mong white people. In the 1950s it becme symbol of teenge rebellion. The quick bet nd fst tempo of mny songs were perfect to dnce to nd vrious dnce styles emerged. The min instruments re the electric guitr, the bss or electric bss nd the drums, but mny rtists plyed the pino or the sxophone. t number 1 Nº.1 in 1956 Other groups nd singers The Pltters Little Richrd Bill Hley & The Comets Fts Domino Chuck Berry Elvis Presley Elvis Presley ( ), ws first nd foremost singer but lso composer nd n ctor. Mny of his songs mde it to number 1 nd his ppernces in film nd television were followed by millions of viewers. Other fmous songs re Hertbrek Hotel, Jilhouse Rock, Love Me Tender, Blue Suede Shoes nd Hound Dog. ctivities Films The Ten Commndments The Serchers Around the World in 80 Dys The King nd I 1. The structure is simple: section of twelve brs tht re repeted. How mny times? Which re slower? 2. The song only hs chords of three degrees: I, IV nd V. Where do these degrees come from? 3. Wht instruments cn you her? Which one plys the solo? In which chorus? news Lucy Autherine, the first Afro-Americn student to be in enrolled t n Americn university, in Albm, is received by protesters, ending in her expulsion. The first Eurovision Song Contest is held. This is the music event with the lrgest udience in the world. It ws minly followed on the rdio, becuse very few Europens owned television. # 15