One of the world s most lauded chamber ensembles, the Australian Chamber Orchestra is renowned for its inspired programming and unrivalled virtuosity, energy and individuality. Its unique programming extends across six centuries, spanning popular masterworks, adventurous cross-artform projects and pieces specially commissioned for the ensemble. Outstanding Australian violinist Richard Tognetti has been at the helm of the ACO since 1989.
Erkki-Sven Tüür (b.1959) is an Estonian composer. His career has been quite diverse ranging from studying flute and percussion at the Tallinn Music School He headed the rock band In Spe, one of Estonia s most popular in the 80 s. He cemented his reputation as a serious composer in the 90 s with commissions from ensembles including the Helsinki Philharmonic, the Stockholm Saxophone Quartet and the City of Birmingham Symphony Orchestra. More information about Tuur s composition style can be found here.
A THREE MOVEMENT work with ideas quite reminiscent of composers such as Bartok, Stravinsky and even film music of Hermann (Psycho) ACTION Focuses on a sense of rhythmic drive throughout, alluding to the title of the movement well. PASSION In contrast to the first movement, it explores more emotion with a sense of a building tension as the texture grows throughout the movement. Greater emphasis on legato lines in each part that gradually build to a cluster of sound. Pitch extremes, rhythmic complexity and dynamic range at the climax before a diminishing of sound at the conclusion. Illusion More energetic use of rhythm. Some connections to baroque style motifs. Tüür deconstructs these ideas alluding to a more postmodern treatment of them.
Each sequence of Lessons provided by the ACO will focus on developing key skills: and This sequence of lessons will focus on The first movement Action-Passion- Illusion (Action) uses DURATION in very specific ways to create music reflective of the movement s title. The composer describes this movement as a vigorous movement with two parallel developments: the material, consisting of quavers ff and semiquavers pp, follows rather different paths.
DURATION An essential ingredient that enables composers to create interesting, unique, conventional and sometimes unconventional pieces of music. There are three main focuses for duration: METER The underlying beat/pulse in a piece of music creating both unity and contrast within a piece. Creates unity when it is clearly identifiable. Creates contrast when it is either ambiguous (not easily identified) or constantly changing. TEMPO The speed of a piece of music. Very eeffective when creating different moods or atmosphere within a piece. Faster tempo often indicates more energy, drive, action, anger, etc. Slower tempo can often create a more serene, calm, contemplative atmosphere. RHYTHM The combination of long and short note values to create patterns. Highly effective at creating movement or stillness in a piece. It can also be used to create a sense of tempo change when the meter does not actually change. Another important element of rhythm is the use of accents to place emphasis on strong or weak beats to create regular or irregular (syncopation) rhythmic patterns.
Let s see how Tüür uses these elements of duration in the first movement of his work Action The meter is somewhat disrupted at points due to this stabilising quaver motif sometimes resuming on an unexpected or weak beat (Figure 2) Tüür creates his sense of action through the constant rhythmic drive provided by the repetitive quaver motif that persists throughout the movement (Figure 1). Tüür does not specifically make scored tempo changes in this movement. A sense of tempo change is achieved through his use of rhythmic devices and articulation.
This is the element that Tüür manipulates the most to create this movement. He juxtaposes multiple elements of duration to achieve the parallel development mentioned in his earlier description.
Tüür uses musical motifs that are reminiscent of both Igor Stravinsky s Rite of Spring and Bernard Hermann s Psycho. Using the table to help you, discuss the use of duration elements in these score excerpts. Regular rhythms/ rhythmic grouping (Bar 21) Use of staccato accents (.) on the repeated quaver motif (Bar 21) Irregular rhythms/ syncopation (Bar 22-3) Use of classical marcato accents (>) on the syncopated chords motif (Bar 22-3) Use of varying note value groupings to create rhythmic confusion and meter ambiguity. Groupings include Paired quavers; triplet quavers; syncopated quaver groupings; semiquavers; quintuplet quavers; triplet crotchets. (Bar 65) b21: b22-3: Complete the first example as a group/class and then try to complete the other two individually before sharing your thoughts with the rest of the group/class.
Identify the METER of the excerpt. Does the feel of the pulse change? If so, how is this achieved and what is the effect? Identify the TEMPO of the excerpt. Does the feel of the tempo change? If so, how is this achieved and what is the effect? Identify the RHYTHMIC features in the excerpt. These may include repetitive patterns, use of accents/articulation to create rhythmic effects, use of different note values and rests. Once identified, discuss the musical effects of these compositional choices.
Identify the METER of the excerpt. Does the feel of the pulse change? If so, how is this achieved and what is the effect? Identify the TEMPO of the excerpt. Does the feel of the tempo change? If so, how is this achieved and what is the effect? Identify the rhythmic features in the excerpt. These may include repetitive patterns, use of accents/articulation to create rhythmic effects, use of different note values and rests. Once identified, discuss the MUSICAL EFFECTS of these compositional choices.
Identify the METER of the excerpt. Does the feel of the pulse change? If so, how is this achieved and what is the effect? Identify the TEMPO of the excerpt. Does the feel of the tempo change? If so, how is this achieved and what is the effect? Identify the rhythmic features in the excerpt. These may include repetitive patterns, use of accents/articulation to create rhythmic effects, use of different note values and rests. Once identified, discuss the MUSICAL EFFECTS of these compositional choices.
Now that you have completed the guided activity above, let s formulate the information into an examination answer. There are THREE main steps to successfully answering an aural examination question: 1. READ AND UNDERSTAND THE QUESTION BEING ASKED. Ask yourself what the question is requiring Rephrase the question to ensure you KNOW what is being asked 2. STATE WHAT YOU CAN HEAR USING ACCURATE MUSICAL TERMINOLOGY KNOW your vocabulary and musical terminology It s always good to have a glossary of terms for each concept that can build over time An excellent resource for starting your glossary is HSC Online 3. GIVE EVIDENCE FOR YOUR OBSERVATION/ ANALYSIS FROM THE EXAMPLE (AUDIO OR SCORE) ALWAYS support your point by stating WHERE the feature or occurrence is in the excerpt. You can use bar references, section references or even lyric references to give your examples
An excerpt from the Psycho Prelude by Hermann will be played SIX times for you to answer the following questions. 1. DISCUSS the ways in which various rhythms are used in this excerpt. 2. HOW is tension created in this piece? Refer to at least one musical concept in your answer. 3. WITH specific reference to concepts of music, explain how contrast is achieved in this excerpt. As you answer each of the questions above, go through the 3 STEPS and gradually build up your answer. Over time this process will become quicker for you until it becomes SECOND NATURE!
REMEMBER THE AURAL PAPER DOES NOT REQUIRE YOU TO WRITE YOUR ANSWER LIKE A LONG ANSWER OR ESSAY STRUCTURE (Only the last question in Music 2 requires this). BULLET POINTS ARE FINE FOR YOUR ANSWER. TABLES WITH INFORMATION ARE ALSO FINE FOR YOUR ANSWER.
When you go to the concert, use the knowledge and skills we have explored and consider the following questions: 1. How do the three elements of duration (meter, tempo and rhythm) contribute to the overall effectiveness of Tüür s work Action - Passion Illusion? 2. Can you identify different ways duration has been used by composers in the other works performed in the concert? Were they similar or in contrast to how Tüür used duration? 3. After you have seen the concert, write down three ways you could use elements of duration in your own composition work. Give examples from what you saw/heard at the concert to help you remember the techniques used by Tüür and the other composers.
Teacher's Notes for reference to the Draft Australian Curriculum: The Arts and NSW Stage 6 Music 1 & Music 2 Syllabus. General Capabilities LIT Reading the score, writing about the Concepts of Music (CoM). NUM Identifying and discussing meter and rhythm. ICT Utilising internet resources. CCT Critically discussing the set work/s. PSC Sharing personal responses to set work/s. EU Working collaboratively with peers in group discussions. ICU Discussing cultural issues surrounding the set work/s. Cross-Curriculum Links & Priorities English, Humanities and Social Sciences, Mathematics, History, Language Viewpoints 2 Extend discussions into the links between the repetitive nature of these works and that of cultural music of Asian regions (eg; Balinese, Chinese).
NSW Stage 6 Syllabus Links MUSIC 1 Topic Links Music of the 20 th & 21 st Centuries Music for Small Ensembles Music and the Related Arts (Hermann & Stravinsky) MUSIC 2 Topic Links Music 1900 1945 Music 1945-25 Years Ago Music of the Last 25 Years (Although the Tüür work is not Australian) MUSIC 1 Outcome Links P 4,5,6,7,8,10,11 H 4,5,6,7,8,10,11 MUSIC 2 Outcome Links P 4,5,6,7,8,10,11 H 4,5,6,7,8,10,11
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