SHIRLEY BOYS' HIGH SCHOOL
MUSIC DEPARTMENT
Name:_______________________________________
2004
Music
Level One
Achievement Standard 90017 V2 [1.6]
Demonstrate Knowledge of Music Works
Credits: 4
Internal Assessment Resource
Set work #1 of 2 for 2004
'Hallelujah Chorus'
from Handel's "Messiah"
1
2004
Music
Level One
Achievement Standard 90017 V2 [1.6]
Demonstrate Knowledge of Music Works
Credits: 4
Internal Assessment Resource
'Hallelujah Chorus' by Handel
________________________________________________________________
Student Instructions Sheet
________________________________________________________________
Read through all the information given to you before starting work. Make sure
you understand what you are being asked to do. Ensure that you know what is
required to be working towards an achievement, achievement with merit, or an
achievement with excellence grade for this achievement standard.
The Context and setting for this task will include the following:
1. The assessment task deadline is Wednesday 19 May, at 8.30am. It must
be handed into your teacher by that date and time.
2. This assessment activity, consisting of two tasks, takes place in class over
10 periods and for homework. Resources available to you include handout
booklets on the Baroque period, Handel and analysis information, as well
as texts in class –
a. Music Dictionaries,
b. History of Music by Roy Bennett,
c. Making Music Your Own Books 7 & 8,
d. Score Reading Form and History by Annie O Warburton,
e. The Literature of Music by Robert Field-Dodgson.
3. You have spent about seven weeks on pre-assessment activity - studying
the themes and listening to the work with score, as well as studying the
background to the work (social, and historical and cultural context).
4. You will have most of each of the available ten periods to work on this
activity, with direction from your teacher as necessary.
2
Detailed Instructions:
This assessment activity consists of TWO tasks, both of which must be
completed:
TASK 1 Research into the Social and Historical Context of the Baroque
period, Handel and Oratorio.
&
TASK 2 Analysis of the musical elements and features of the Hallelujah
Chorus.
----------------------------------------------------------------------------------------------------------TASK 1 Research into the Social and Historical Context of the Baroque
period, Handel and Oratorio.
Write your answers to this task on A4 refill paper. Clearly label each sheet with
your name.
Credit will be given for the quality and depth of your answers.
For merit or excellence you are expected to go beyond the minimum
requirements, and for researching information from a wider range of resources
than those just listed on page two.
You have been issued information booklets and book references to help you
locate relevant material for your written answers. Please use them, and keep
them in your ringbinder.
A. THE BAROQUE PERIOD
1
2
3
4
Draw a timeline showing the approximate dates of the Baroque period,
and include Handel and at least two other main composers.
Name, and explain in at least one paragraph, influences on Handel’s
musical style.
What were the important political and social issues of the Baroque period?
Summarise these into at least one paragraph.
Write at least one sentence about each musical element of the Baroque
era, using the following headings:
Timbre
Texture
Melody
Rhythm
Modality/ Dynamics Mood
Tonality
3
B.
GEORGE FREDERIC HANDEL
5 Write a minimum of a one-page summary of Handel's life including:
a. When and where he was born (city and country)
b. where he lived, including the place he lived in most of his life
c. who he worked for
d. what kind of works he wrote (genre), including examples
e. any other information about Handel’s life that you think is significant
to our understanding of him as a composer and WHY you think this
is so
C.
ORATORIO
6 What are the similarities and differences between opera and oratorio? You
should compare them by using two lists side by side.
You need to consider: staging, costuming, acting, text, voicing,
instrumentation, individuals and/or groups, venues, musical forms eg song.
List at least one point for each aspect.
TASK 2
Analysis of the Musical elements and features of the Hallelujah
Chorus.
Answer questions as fully as you can, by giving full sentence answers when
required.
1
Draw up a table, using the format below. It is advised that you put this in
landscape form. Include the following information in the relevant columns:
i
define each key bolded term
ii.
find a clear example of each of the terms, using bar number
references, and detailing voicing. Eg monophonic texture bars
41 and 42 in the bass part.
iii.
justify why you have selected this as a clear example.
a
b
c
d
e
f
g
h
Key bolded TERM
monophonic texture
homophonic texture
imitation
Fugue
(identifying the subject,
answer and counter subject)
terraced dynamics
Modulation
word painting
polyphonic texture
(two different themes
combined).
i definition
ii example
iii explanation
4
2
Now, you are to be the Musical Detective – a Musical Forensic scientist.
You have been given an extract from the 'Hallelujah' Chorus by
Inspector Scott to detect the key features of the music and the
fingerprints of Handel’s musical style.
Glue your extract onto the middle of an A3 sheet of paper to give you
room for identifying, labelling, and explaining the features listed below
this diagram.
Below is an example of how to identify, label and explain a feature.
Bars 46-49 Imitation
Soprano part follows the alto 2
bars later
Score
Extract
Identify, clearly label and explain the following features on your extract:
a - A pedal
b - Homophonic texture
c - Polyphonic texture
d - A plagal cadence, using
Roman numerals, and
label it
e - Orchestra doubling the
voices
f - The one instance where
an instrument plays
without voices
g Find an example of word painting.
h Repetition
i Fragments of main themes. Which fragments
of themes are used, and label and name them
where they first occur in the extract. Eg
Theme #1
j Key or keys in this extract
k Melodic sequence
L Instrument doubling the voice part, but without
a rest in the instrument part.
5
Assessment Schedule
'Hallelujah Chorus' Assessment
Tas
k
Evidence
You are working
towards
Achievement
1
1. Timeline with Baroque dates:
1600 – 1750. Dates for Handel
(1685 – 1759) and 2 others eg
Bach (1685 – 1750), etc.
2. Influences on Handel’s Style:
 Travels to Italy
 Learnt about styles and
techniques of Scarlatti in
opera and Corelli in
instrumental forms
 English experience –
business decision to change
from writing operas to
oratorios
 Change of King
Timeline shows Baroque
dates with Handel and 2
other composers
TWO facts expressed in
a paragraph
You are
working towards
Achievement with Merit
You are working
towards
Achievement with
Excellence
AT LEAST THREE facts
expressed in a
paragraph
1
3. Social/Political Climate during
Baroque period:
 Time of turmoil eg 30 years
war
 Religious persecution
 End of power of Spain and
Rome
 Age of discovery
(scientifically,
industrially, socially,
artistically and
philosophically)
 Musical experimentation
 Less domination by the
church meant composers
could move into other forms
of music
THREE facts, including
at least TWO of:
 30 yrs war
 religious division
 age of discovery
AT LEAST FOUR facts
expressed in detail
2
4. Music Elements:
 Texture: balance of
homophonic and polyphonic
 Rhythm – driving forward
provided by basso continuo
 Mood – one mood
throughout an entire
movement
 Timbre – string section basis
of orchestra; importance of
organ, harpsichord
 Dynamics – contrasts; use of
terraced dynamics; echo
effects
 Modality – Modes replaced
by maj/min key system
 Melodies – spun-out includes
ornamentation
At least THREE
elements expressed,
each with at least one
fact stated.
AT LEAST FIVE
elements expressed in
some detail.
3
5. Handel’s life:
a. Halle, Germany in 1685.
b. Lived in Hamburg from 1703
Travelled to Italy, 1706 –
1710
Lived in Hanover - visits to
England, 1710
Lived in England for rest of
his life from 1712
c. Kapellmeister to Elector of
Hanover in 1710
Queen Anne temptress 1712
Elector of Hanover became
George I, forgave his
truancy and doubled his
pension
Worked for Duke of
Chandos in 1718
Employed under patronage
of George II in 1729
d. operas
oratorios
instrumental music
secular choral works
church music
cantatas/other vocal music
(Ref: Warburton p124 for
egs)
e. any other evidence supplied
Some detailed aspects
Detailed aspects of 5a –
of AT LEAST three areas 5d covered PLUS the
of 5a. – 5d.
following:
Response to 5e includes
Responses to 5a – d
some information about
a. should include
Handel’s life that is
city, country and
significant to
DOB
understanding him as a
b. about 3 of 5
composer.
places identified
c. about 3 of 5
people identified
d. about 4 of 6 kinds
of works identified
with at least one
example for each
Response to 5e
includes detailed
information about
Handel’s life that is
significant to
understanding him as a
composer. Student gives
a reason as to WHY this
might be so
4
6. Opera/Oratorio Differences:
Oratorio: Biblical or epic text;
no scenery; no props; no
costumes; no acting;
orchestra; solo/chorus; church
performance; overture; aria,
recit, chorus. [Opera on next
page]
Opera: based on myth/legend;
scenery; props; costumes;
acting; orchestra; solo/chorus;
concert hall/theatre
performance; overture; aria,
recit, chorus.
Accurate comparative list
of AT LEAST 7 out of 10
features for ORATORIO,
and AT LEAST 7 out of
10 for OPERA.
5
2
1. Table format with definitions of
key bolded terms, with examples
and justifications (explanations):
a. monophonic – single,
unaccompanied melodic line eg b
12-14: all (tutti) in unison
b. homophonic – melodic line with
harmony eg b4-11: Theme I in Sops
with others giving harmonic support
c. imitation – repeating idea by a
different voice(s) eg b 6: between
choir and orchestra
d. fugue - ‘flight’contrapuntal form
with main idea (subject); imitation of
it another voice (answer), whilst
main idea continues with new
material (counter-subject) eg b41-50
Theme 4 follows S+A format
e. terraced dynamics – contrasted
blocks of sound eg b33-41 p/f
f. modulation – key change eg b26
to A major – V-I cadence +
accidental
g. word painting – vivid musical
illustrations of the meanings of
certain words eg b33-41 T3 – we
inferior on earth – Lord above loud,
higher pitched
h. polyphonic – 2 or more
independent melodic lines sounding
together eg b22 Themes I and II are
heard in combination
Definition supplied for (i)
AT LEAST 7 out of 8 key
bold terms PLUS (ii)
identification of AT
LEAST 5 out of 8
musical examples with
bar numbers
Achievement evidence
PLUS (ii) voicing detail
for AT LEAST 6 out of 8
musical examples
Merit evidence PLUS
(iii) clear explanation of
AT LEAST 6 out of 8
examples
6
2. Identification of features:
a. Pedal eg b51-57 Pedal A in
top voices
b. Homophonic eg b53 – 62:
Theme I/V with chordal
accompaniment, cause
Theme V has a pedal note
role
c. Polyphonic eg b45 – 51:
fugal which is a contrapuntal
form (Theme IV)
d. Plagal cadence eg b58 – 60
IV-I in D repeated
e. Orchestral doubling eg b45
double lines of some voices
eg VlII doubles altos
f. Instrument w/out voices eg
bar 62 Trumpet plays on its
own during beat 2
g. Word painting eg holding of
word Lord represents
enduring reign b 52-53
h. Repetition – as in plagal
cadence. Motive repetition in
Theme 1
i. Fragments of themes –T1,
4,5 b52, 45, 51
j. Key(s) – starts in A; D at b46
modulates again to A, back
to D, then to E (b61)
k. Melodic sequence eg b58-60
l. Instrument doubling w/out
rest eg strings and voices
from b61-62
10 out of 12 features
identified and clearly
labeled on score extract
Achievement PLUS
explanation of 8 out of
12 features
Achievement PLUS
explanation of 10 out of
12 features
7
Judgement Towards Achievement
Judgement Towards Merit
Judgement Towards Excellence
9
opportunities
offered
for 6 opportunities offered for Merit
3 opportunities offered for Excellence
Achievement Task 1: Q1, 2, 3, 4, 5, 6 Task 1: Q2, 3, 4, 5e, and Task 2: Task 1: Q5e, and Task 2 Q1(iii), 2
and Task 2: Q1(i), 1(ii), 2
Q1(ii), 2
You must obtain SEVEN questions at
Achievement Standard to be awarded You must obtain Achievement PLUS
Achievement overall for this work
FOUR questions at Merit Standard to
be awarded Merit overall for this work
You must obtain Merit PLUS TWO
questions at Excellence Standard to be
awarded Excellence overall for this
work
NB: The award of the grade for this music work contributes towards the final grade of achievement standard 1.6: Demonstrate
knowledge of music works. The final grade will be determined on the balance of evidence over TWO works studied, including a
New Zealand work.
8