Year 12: AS Music
Learning Objectives
Lesson Content
-To recognise key fingerprints of
the postmodernist period and the
anthem
Performance Friday
Essay Due
- To review the elements of music
and use them to identify key
points in a set work
-To apply improved knowledge of
the elements of music to set work
studies
Annotate text
-Most important words
-Sum up meaning
The Lamb – the context
• Tavener is a British composer
• Do not confuse with the Renaisance composer
• Song for Athene 1997
• This was written in 1982 and is an anthem
• Text by Blake
• Scored for SATB (treble)
•What are ranges of each voice?
• An example of postmodernism
Jonathan Kramer – Music Theorist
on Postmodernism
•
Challenges barriers between 'high' and 'low' styles
•
Shows disdain for the often unquestioned value of structural
unity
•
Questions the mutual exclusivity of elitist and populist values
•
Avoids totalizing forms (e.g., does not want entire pieces to be
tonal or serial or cast in a prescribed formal mould)
•
Distrusts binary oppositions
•
Includes fragmentations and discontinuities
Aural Analysis
Sing
Reflect
Analyse
A deeper musical understanding…
Understanding the text
Poetic structure:
There are five couplets (pairs of lines) in each stanza.
• Couplet 1 has two similar six-syllable lines.
• 5 has the same line twice.
• 2, 3 and 4 are rhyming couplets with seven-syllable lines.
Musical structure:
Verse 1 1-10
Verse 2 11-20 (rescored of previous – what difference in voices)
Strophic
Texture
Identify each of the following textures within the piece
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Monophonic
2 part
4 part
Homorhythmic
Octave writing
Two parts doubled at the octave
Text setting and rhythm
How does Tavener use rhythm to control and promote
the Blake text?
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Syllabic
Flexible
Slow movement in even quavers
No time signature or bar lines
Augmentation – sense of being slower
Homorhythmic
Melody and structure
Strophic
Monothematic – 7 notes – economical (b.1&2)
analyse this ‘cell’
• Moves in step, conjunct, repetition, small intervals
only
• ‘Prime’
• Retrograde
• Inversion
Harmony and Tonality
A tale of 2 halves!
List conventional and non conventional tonal and
harmonic features…
Unconventional
Conventional
No key sig
Implied G major
Bitonal Eb vs G
Aeolian mode bar 7-11
Bar 7 unprepared 7th in tenor ‘thee’
Consecutive 5ths in sop and tenor
Functional – phrases end with V-I
Harmonies in 3rds at this point
Suspensions
Built on triads and 7th
Year 12: AS Music
Learning Objectives
Lesson Content
-To recognise key fingerprints of
a good comparisons essay
Essay planning
-To apply improved knowledge of
the elements of music to set work
studies
Homework: essay and
consolidation
bccsmusicdepartment@wordpress.com
-To identify passing notes,
accented passing notes, echappe,
auxiliary notes,
The Lamb
Compare and contrast the use of tonality and harmony and melody
in Dowland and Monteverdi
[18]
To be able to consolidate musical features into
the musical elements.
Structure
Tonality and Harmony
Texture and Instrumentation
Rhythm and Metre
Melody
Text Setting
Teacher led lesson
context of work (research)
note taking
score annotation
Studying a set work?
Homework
listening
consolidation
Comprehension questions
Essay writing
Consolidation lesson
Private study
Revise for exam
Private Study
Paraphrase notes provided
Annotated score from lessons and the notes
Own notes – added consolidation
Notes written up in the A3 elements grid with detail
Monteverdi research and homework all present
Folder Scrutiny
Consolidation – notes, private
study
Context
Instrumentation & Timbre
Form & Structure
Tonality & Harmony
Melody
Rhythm & Metre
Texture