$20 SCHOOLS’ TICKETS PROGRAM RESOURCES
BEETHOVEN, MOZART V
BEETHOVEN
GROSSE FUGUE
AUSTRALIAN CHAMBER ORCHESTRA
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.
SEE THE
ACO IN
ACTION
Outstanding Australian
violinist Richard
Tognetti has been at
the helm of the ACO
since 1989.
LUDWIG VAN BEETHOVEN
•
SOME IMPORTANT FACTS:
– One of the most influential composers of
all time
– Born in 1770 and died in 1827
– A transitionary figure – he was key in
moving music from the Classical period –
with strict form and function – to the
Romantic period – which “broke rules”
and emphasised emotional connections
to music
– Featured on a golden record, sent into
space on the Voyager probe for aliens to
find
– Went profoundly deaf later in life
– Most people consider his compositions
later in life to be his best … which were
also those he would never hear
STRING QUARTET IN B FLAT MAJOR, OP.130
Composed 1825
Movements:
1.Adagio
ma non
troppo –
Allegro
2. Presto
3. Andante con
moto ma non
troppo (poco
scherzoso)
4. Alla
danza
tedesca:
Allegro
assai
5. Cavatina:
Adagio
molto
espressivo
6. Grosse
Fuge:
•Overtura:
Allegro(fuga)
•Meno mosso e
moderato
•Allegro molto e
con brio
AURAL/ MUSICOLOGY
• Each sequence of Lessons provided
by the ACO will focus on
developing key skills:
PERFORMANCE,
COMPOSITION and
AURAL/MUSICOLOGY.
• This sequence of lessons will focus
on AURAL AND
PERFORMANCE by examining
STYLE
• DISCLAIMER: This resource
discusses using the concepts of
Music. These are known as
elements in Queensland and are
different in other states, but are
still central to the written
response.
STYLE
• STYLE refers to the musical
characteristics present in a given
genre of music.
•
Many people use style and genre
interchangeably.
•
It is the heavy backbeat in rock
music – it is the clave rhythm in
Latin music – terraced dynamics in
baroque music.
TERRACED DYNAMICS
Expressive style typical of some early music in which volume
levels shift abruptly from soft to loud and back without
gradual crescendos and decrescendos
• KNOWING elements of style for
basic genres you encounter will help
you in your aural and performance.
•
Let's go through these one at a time
and find out how.
CLAVE RHYTHM
A rhythmic pattern used as a tool for temporal organization
in Afro-Cuban music.
Present in Abakuá music, rumba, conga, son, mambo, salsa,
songo, timba and Afro-Cuban jazz.
The five-stroke clave pattern represents the structural core
of many Afro-Cuban rhythms.
STYLE AND AURAL SKILLS
• First, some revision.
• In the last sequence of lessons
(Cinemusica and Dvorak) we
developed a scaffold to answer
written aural questions. I'd highly
recommend looking at it – it can
be found on the ACO website.
Here is a very quick recap .
GREAT!
• (Note - This resource discusses
using the concepts of Music.
These are known as elements in
Queensland and are different in
other states, but are still central
to the written response.)
Step one – get a scrap bit of paper, and write down
what you hear.
Step two – use these observations to write more
complete answers on your answer sheets. Remember
to:
1 – Use the language of the question
2 – Use the concepts of music
3 – Be as specific as possible
PRACTICE QUESTION
• Here's a practise question.
• Listen to the first 60
seconds of Beethoven's
Grosse Fugue
• And answer the following
question:
• Describe how the
concepts of music are
used in the excerpt.
• You can do this
individually, or as a class.
PRACTICE QUESTION
• Many of you might be asking: So
… how does knowing elements of
style help me here?
• Many students get stuck on step
one. They don't know what to
listen for, they don't know how
or what to write down. This is
where knowing style can help.
• SO – if you know the style of
Fugue, you now have things to
look for, things to write about
and fancy words to use.
•
• Try listening again, but this time,
you know what you're listening
for.
The Fugue
– Know
your style!
• Often contrapuntal (two or more
independent melodic lines which
intertwine)
• Has two or more voices
• Built around a theme that recurs in
different voices
• Often has a subject (the main theme)
and a counter-subject (a development of
the main theme.)
PRACTICE QUESTION
• Let's try a more
popular Genre.
• See if you can list
elements of style for
ROCK MUSIC
ROCK MUSIC –
elements of style
PACTICE QUESTION
- Instrumentation
– Electric guitar,
bass, drums,
vocals
• How many did you get?
- Structurally –
Strophic or
verse/chorus
- Heavy back beat
- 4/4 time
signature
• So if you know the STYLE
of the piece you're
writing about, you have
lots to say.
• You could almost write a
response without even
listening to the music!
• (Don't try this at home.)
STYLE AND PERFORMANCE
• Believe it or not, your examiners know their style, and it's one of the
things they're listening for in your performances.
• If you know the STYLE of the piece you are performing, you can
demonstrate a deeper understanding of your piece by bringing out
the stylistic characteristics.
• Watch the video of BEETHOVEN again:
• And, now knowing the style, see if you can see them. Look for:
–
–
–
–
Counterpoint (more than one melody at a given time)
The subject (the main theme that is repeated in many different voices)
The counter-subject (a development of the main theme)
Different voices that carry the subject and/or countersubject
• Performance and Aural becomes a lot clearer with a deeper
understanding of STYLE.
ACTIVITY
Each student picks a different style and
make a poster for the room. Your goals are:
•
To teach your classmates, clearly and
articulately, the elements of style for
that genre.
– Keep it CLEAR
– Keep it SIMPLE
– Keep it MEMORABLE
•
Every once in a while it might be a good
idea to see how much you can
remember about each style of music.
GOOD LUCK!
AT THE CONCERT
• When you go to the concert, use the
knowledge and skills we have explored and
consider the following questions:
• What elements of style can you hear in the
ACO's performance?
• How do they demonstrate their understanding
of style?
• How does their understanding of style change
the performance?
TEACHER’S NOTES
Teacher's Notes for reference to the Draft Australian Curriculum: The Arts and NSW
Stage 6 Music 1 & Music 2 Syllabus.
General LIT – Reading the score, writing about the Concepts of Music
Capabilities (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 & English, Humanities and Social Sciences, Mathematics, History,
Priorities 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).
TEACHER’S NOTES
NSW Stage 6 Syllabus Links –
MUSIC 1 Music of the 20th & 21st
Topic Links Centuries
Music for Small Ensembles
Music and the Related Arts
(Hermann & Stravinsky)
MUSIC 1 P – 4,5,6,7,8,10,11
Outcome Links H – 4,5,6,7,8,10,11
MUSIC 2 Music 1900 – 1945
Topic Links Music 1945-25 Years Ago
Music of the Last 25 Years
(Although the Tüür work is not
Australian)
MUSIC 2 P – 4,5,6,7,8,10,11
Outcome Links H – 4,5,6,7,8,10,11
OPPORTUNITIES FOR YOUNG
MUSICIANS WITH THE ACO
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with the ACO