MUSIC CURRICULUM
Course Title: History and Appreciation of Music IV Version: 0.1 Deo Preparatory School of Georgia Grade: 4 5/29/2001 02:09
1. Course Goals Students shall be given an overview of music from the Classical period. Students should know basic facts about the composers covered in this course: a. First and Last Name. b. Country of Birth. c. Brief Life History.
2. Course Objectives
Topic Instructional Meas. Approx. Align. Compl. Materials time (Periods) 1. History of the Classical Period 1 a. Overview of Europe, the countries and map of Europe in this period b. A brief history of the major events, wars, and issues of the period c. Life in the 1700s – what people ate, how they dressed, how they traveled, and how they listened to music d. Overview of the musical landscape of the Classical Period – Music Schools of the day; How composers were retained; Influence of the church; Musical forms (Masses, Motets, Folk Music, etc.); How people were exposed to music (i.e. how we take radio, tapes and CDs for granted) 2. Concerto for Piano No.5 Op.73 “Emperor” (L. van Beethoven) 4 a. L. van Beethoven Life history Survey of most famous works b. Definition of concerto. Contrast concertos written to highlight one or more instruments vs. other forms (symphony, sonata).
DEO History and Appreciation of Music III Curriculum Page 1 of 5 Version 0.10 5/29/2001 02:09 c. Introduction to Classical orchestration – contrast with concertos from Baroque period. d. Survey of instruments of the Classical period. (i.e. What’s new since the Baroque period) e. Study the evolution and mechanics of the piano (percussion) from instruments such as the harpsichord (plucked). f. Survey Beethoven’s other piano concertos. If time allows, listen to excerpts. 3. Triple Concerto Op.56 (L. van Beethoven) 3 a. Contrast concerto for a single instrument to those written for a group of instruments. b. Review the concept of musical theme, and trace Beethoven’s use of theme in this concerto. c. Examine the role the various solo instruments and the orchestra use to develop the theme(s). d. Contrast the mood, tempo, rhythm between the movements of the concerto. e. Examine the concept of virtuosity. (Trills, arpeggios, scales and other adornments). f. Introduce the concept of pizzicato used in this concerto. 4. Symphony No.3 Op. 55 “Eroica” (L. van Beethoven) 3 a. Examine the history of this symphony. Also look at the context relative to Beethoven’s impending deafness, thoughts of suicide, etc.) b. Examine the symphonic form, and its importance in the classical period. c. Analyze the first movement of the symphony. Look at the use of instruments, theme and other devices to achieve its grand scale. d. Listen for the pictures evoked by the music. e. Survey Beethoven’s other symphonies. If time allows, listen to excerpts (esp. No. 7 & 9) 5. Sonata for Piano No.14 Op.27 No.2 “Moonlight” (L. van Beethoven) 2 a. History of this sonata b. Examine the sonata as a musical form. c. Look at the piano technique and dynamics employed by Beethoven (extreme soft and loud, speed and complex keys) d. Survey other well-known sonatas written by Beethoven (not just piano). If time allows, listen to excerpts. 6. Clarinet Concerto K622 (W.A. Mozart) 4 a. W.A. Mozart: Life History (comment on film “Amadeus” – not completely factual) Survey of most famous works b. Study the clarinet as a reed instrument, its characteristics and history. c. Contrast the tone and mood of the three movements.
DEO History and Appreciation of Music III Curriculum Page 2 of 5 Version 0.10 5/29/2001 02:09 d. Compare the use of theme with concertos previously studied. Examine Mozart’s use of theme, and at how themes are developed by the solo instrument and orchestra. e. Examine Mozart’s use of major and minor keys within a movement. f. Survey Mozart’s other well-known concertos. If time allows, play excerpts. 7. Symphony No. 41 “Jupiter” K551 (W.A. Mozart) 3 a. Review the symphony as a musical form. b. Contrast this symphony with that of Beethoven No.3. Examine the similarities and differences. Note that Mozart’s symphonies are more uniform in style, melody and texture. c. Look for patterns in the movements. (1st: Bold orchestral bursts; 2nd: Gentle and lyrical; 3rd: Recap of exposition, etc.) d. Survey of Mozart’s most famous symphonies. If time allows, play excerpts. 8. Concerto for Piano No.21 K467 (W.A. Mozart) 3 a. Look at the means of achieving virtuosity on the piano (study 1st movement). Note the use of trills, scales and other techniques. b. Contrast this concerto with Beethoven’s 5th. Look for similarities as well as differences in technique, style, texture etc. c. Examine the 2nd movement for Mozart’s use of rhythm. Contrast with Beethoven. d. Survey Mozart’s other well-known concertos (not just piano). If time allows, play extracts. 10. Sinfonia Concertante for Violin and Viola K364 (W.A. Mozart) 2 a. Define the Sinfonia Concertante; compare with the Concerto Grosso from the Baroque period and the concerto. b. Examine the violin and viola. Compare and contrast them, and look at their role in the modern orchestra. c. Listen to the use of major and minor keys in this work, and how they change the mood of the movements. d. Survey the most well-known of Mozart’s chamber and orchestral music. Is time allows, listen to excerpts. 11. Symphony No.9 D944 “The Great” (F. Schubert) 3 a. Franz Schubert: Life history Survey of most famous works b. Compare this symphony with those of Beethoven and Mozart previously studied. c. Survey Schubert’s other well-known orchestral works. If time allows, play excerpts. 12. Piano Quintet in A major D667 “Trout” (F. Schubert) 2 a. Introduce the concept of chamber music. Look at the various –tets (quartet, quintet, sextet,
DEO History and Appreciation of Music III Curriculum Page 3 of 5 Version 0.10 5/29/2001 02:09 octet, etc.) b. Study the use of theme by the individual instruments, and how each instrument can take on the lead role, or support the others. c. Examine the evolution of chamber music from the Baroque period. (The disappearance of the basso continuo; the replacement of the harpsichord) d. Survey other well-known chamber works by Schubert. If time allows, play excerpts. 13. Symphony No.101 “Clock” (F.J. Haydn) 3 a. Franz Joseph Haydn: Life history Survey of most famous works b. Look at the history of the “London” symphonies. c. Compare the Haydn symphonic style with those of Mozart, Schubert and Beethoven. Attempt to trace the evolution of symphonic style by placing these four composers on a style- line, pointing the way to the Romantic period. Note that this line may not be chronological. d. Listen for and analyze the technique that gives this symphony its nickname. e. Survey other well-known works (not just symphonies) of Haydn. If time allows, listen to excerpts.
3. Student Materials:
4. Teacher Materials: Reference Books:
Teaching aids: Orchestra Board, depicting the instruments of the orchestra and their position on the stage, wall mountable. Stave, with detachable clefs and notes, wall mountable.
Music Sources:
5. Classical Teaching Methodology:
DEO History and Appreciation of Music III Curriculum Page 4 of 5 Version 0.10 5/29/2001 02:09 Teaching at this level is work-centric. i.e. A work is introduced, and then various concepts illustrated or suggested by that work are discussed. The work is the vehicle for musical concepts. For each work: a. Discuss the life history of the composer. At this level, where the composer was born, lived and any interesting stories or anecdotes about the composer’s life will suffice. It is only necessary to do this the first time a composer is introduced in the year the course is taught. b. Where possible, discuss the story behind the composition of the work. Many works have specific stories and anecdotes associated with them. c. Where appropriate, discuss the story represented by the work (e.g. the story of the Nutcracker for the Nutcracker Suite) d. Develop an awareness of musical form (i.e. Concertos, Symphonies, Operas, etc.). e. Develop an awareness of musical pitch (i.e. concepts of high and low pitch, and intervals). f. Develop an awareness of timing and counting in music (i.e. two, three and four time music). Clapping and tapping help. g. Develop an awareness of theme and variation, including fugue etc. h. Develop an awareness of key (at this stage, major vs. minor keys) i. Attempt to identify the instruments of the orchestra where they are prominent or easily identifiable in the work. Where appropriate, contrast different sounds that can be produced by the same instrument using different techniques (e.g. violin). j. Where possible and appropriate, encourage visualization of scenes or pictures intended by the composer in the work. k. Where appropriate, make students aware of other well known similar or contrasting works, even if they are not part if the course’s listening list. l. Look for opportunities to introduce music theory through a work (e.g. Haydn’s Surprise Symphony to introduce the major third interval, or loud/soft concepts, etc.)
Don’t be afraid to play a work (or parts of it) more than once. Many works “grow” on one when they become familiar. Where possible and time allows, previously studied works can be reviewed later in the course to help the students recognize them.
Be prepared. Know the work, research it and its composer, and know more than the students are likely to ask. Know the history of the period and places connected with the work. Know the dates, people’s names and place names connected with the work (or at least, have them at your fingertips!). If you succeed in passing on your enthusiasm for the music to your students, you may be surprised what they may ask. Always anticipate their questions, and prepare accordingly.
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