Music10 M1 Q1-.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Music10 M1 Q1-.Pdf 10 Music – Grade 10 Alternative Delivery Mode Quarter 1 – Module 1: Music of the 20th Century First Edition, 2020 Republic Act 8293, section 176 states that: No copyright shall subsist in any work of the Government of the Philippines. However, prior approval of the government agency or office wherein the work is created shall be necessary for the exploitation of such work for a profit. Such agency or office may, among other things, impose as a condition the payment of royalties. Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names, trademarks, etc.) included in this module are owned by their respective copyright holders. Every effort has been exerted to locate and seek permission to use these materials from their respective copyright owners. The publisher and authors do not represent nor claim ownership over them. Published by the Department of Education Secretary: Leonor Magtolis Briones Undersecretary: Diosdado M. San Antonio Development Team of the Module Writers: Samuel A. Banda, MA.Ed.Ad., Jan Elmar P. Tabamo, Tirso K. Torniado Content Editor: Raquel Rita D. Salingay, EdD, Daniel A. Flores Language Editor: Karen Mae B. Segumpan Reviewer: Ernesto D. Reciña, Jr., EPS – MAPEH Susan M. Saa Illustrator: Shiera G. Canlas Layout Artist: Jebson Ray C. Jamorol Management Team: Chairperson: Arturo B. Bayucot, PhD, CESO III Regional Director Co-chairperson: Victor G. De Gracia Jr. PhD, CESO V Asst. Regional Director Randolph B. Tortola, PhD., CESO IV School Division Superintendent Shambaeh A. Usman, PhD Asst. Schools Division Superintendent Mala Epra B. Magnaong, PhD., Chief CLMD Members: Neil A. Improgo, PhD, EPS-LRMS Bienvenido U. Tagolimot, PhD ESP-ADM Elbert R. Francisco, PhD, Chief-CID Ernesto D. Reciña, Jr. EPS-MAPEH Rejynne Mary L. Ruiz, PhD, LRMS Manager Jeny B. Timbal, PDO II Shella O. Boasco,Division Librarian II Printed in the Philippines by: Department of Education – Division of Bukidnon- Region X Office Address: Fortich St. Sumpong, Malaybalay City Telefax: (088) 813-3634 E-mail Address: [email protected] 10 MUSIC Quarter 1 Music of the 20th Century Style This instructional material was collaboratively developed and reviewed by educators from public schools. We encourage teachers and other education stakeholders to email their feedback, comments and recommendations to the Department of Education at [email protected]. We value your feedback and recommendations Department of Education. Republic of the Philippines TABLE OF CONTENTS Page COVER PAGE COPYRIGHT PAGE TITLE PAGE TABLE OF CONTENTS WHAT THIS MODULE IS ABOUT Note to the Teacher/ Facilitator Note to the Learner Note to the Parents/Guardian Module Icons WHAT I NEED TO KNOW WHAT I KNOW (Pretest) Lesson 1- (Impressionism to Modern Nationalism) What I Need To Know 1 What I Know 1 What’s In 3 What’s New 3 What is it 4 What’s More 10 Independent Practice What I Have Learned 12 What I Can Do 12 Assessment 13 Guided Assessment 15 Independent Assessment Additional Activities 14 Lesson 2- (Characteristic Style and Movements of Music) What I Need To Know 15 What I Know 15 What’s In 16 What’s New 16 17 What is it What’s More 18 Guided/Controlled Practice Independent Practice What I Have Learned 19 What I Can Do 19 Assessment 20 Guided Assessment Independent Assessment Additional Activities 21 Lesson 3- (Music Performance Practice) What I Need To Know 22 What I Know 22 What’s In 23 What’s New 23 What is it 24 What’s More 24 Independent Practice What I Have Learned 24 What I Can Do 25 Assessment 27 Guided Assessment Independent Assessment Additional Activities 27 Lesson 4- (Musical Forms) What I Need To Know 29 What I Know 29 What’s In 30 What’s New 30 What is it 31 What’s More 34 Independent Practice What I Have Learned 35 What I Can Do 35 Assessment 36 Guided Assessment Independent Assessment Additional Activities 37 Lesson 5- (Music and Visual Arts of the 20th Century) What I Need To Know 38 What I Know 38 What’s In 39 What’s New 39 What is it 40 What’s More 41 Independent Practice What I Have Learned 44 What I Can Do 44 Assessment 45 Guided Assessment Independent Assessment Additional Activities 46 Lesson 6- (The Exploration of Arts and Media in Music) What I Need To Know 48 What I Know 48 What’s In 50 What’s New 50 What is it 51 What’s More 52 Independent Practice What I Have Learned 52 What I Can Do 53 Assessment 53 Guided Assessment Independent Assessment Additional Activities 54 Lesson 7- Music and Musical Performance) What I Need To Know 55 What I Know 55 What’s In 56 What’s New 56 What is it 57 What’s More 58 Independent Practice What I Have Learned 59 What I Can Do 59 Assessment 60 Guided Assessment Independent Assessment Additional Activities 61 Lesson 8- ( Performance Task: Rubrics) 62 POSTTEST 63 ANSWER KEYS 65 REFERENCES 71 Introductory Message Welcome to the Music 10 Alternative Delivery Mode (ADM) Module on Music of the 20th Century Styles. This module describes distinctive musical elements of given pieces in 20th century styles which were collaboratively designed, developed, and reviewed by educators both from public and private institutions to assist you- the teacher or facilitator. It helps the learners in meeting the standards set by the K to 12 Curriculum while overcoming their personal, social, and economic constraints in schooling. This learning resource hopes to engage the learners in guided and independent learning activities at their own pace and time. Furthermore, this also aims to help learners acquire the needed 21st century skills while taking into consideration their ability to adapt to change. Note to the Teacher In response to the need for today’s challenging new normal way of living due to pandemic, this module for Grade 10 learners is the first book uniquely designed to achieve the goals set by the Department of Education. It is expected that with the use of the modern technologies that we have, millennial teachers are foretold to be more innovative, creative, resilient, and orally competent. As a facilitator, you are expected to orient the learners on how to use this module. You also need to keep track of the learner’s progress while allowing them to manage their learning. Furthermore, you are expected to encourage and assist the learners as they do the tasks included in the module. Note to the Learners Learning occurs anywhere and anytime. With this, modules are developed to address the Education for All (EFA) goals of our country. As you go through the pages, you will discover the variety of learning and insights on the 20th century music with the help of technology. You will also appreciate the easy-to-follow lesson format and new the concepts introduced with an interesting application followed by a clear explanation and examples. The writer of the module would like to commend you on giving time to answer some activities designed to develop your knowledge and skills in learning the music in the 20th century and its musical elements and styles. Your decision to engage yourself in learning this module is a worthwhile experience for you as a learner. Note to the Parents/Guardian As a parent/guardian, you are expected to participate and facilitate diverse learning experiences and activities of your child outside the school premises. We believe that your engagement will create conditions in which your child learns more effectively. By assessing your child in taking up his/her lessons, you will become an important factor in your child’s overall learning and education. Good luck! Hope you will enjoy working with this module. This module has the following parts and corresponding icons: How to Learn from this Module To achieve the objectives cited above, you are to do the following: • Take your time reading the lessons carefully. • Follow the directions and/or instructions in the activities and exercises diligently. • Answer all the given tests and exercises. Icons of this Module At the end of this module you will also find: References This is a list of all sources used in developing this module. The following are some reminders in using this module: 1. Use the module with care. Do not put unnecessary mark/s on any part of the module. Use a separate sheet of paper in answering the exercises. 2. Don’t forget to answer What I Know before moving on to the other activities included in the module. 3. Read the instructions carefully before doing each task. 4. Observe honesty and integrity in doing the tasks and checking your answers. 5. Finish the task at hand before proceeding to the next. 6. Return this module to your teacher/facilitator once you are through with it. If you encounter any difficulty in answering the tasks in this module, do not hesitate to consult your teacher or facilitator. Always bear in mind that you are not alone in this endeavour. We hope that through this material, you will experience meaningful learning and gain a deep understanding of the relevant competencies. In this module, you will learn to evaluate and assess the composers and the musical elements applied in the 20th century. The module is divided into seven lessons, namely: • Lesson 1 – Impressionism to Modern Nationalism • Lesson 2 – Characteristic Style and Movements • Lesson 3 – Music Performance Practice • Lesson 4 – Musical Forms • Lesson 5— Music and Visual Arts of the 20th Century • Lesson 6—The Exploration of Arts and Media in Music • Lesson 7—Music and Musical Performance After going through this module, you are expected to: 1.
Recommended publications
  • Durham E-Theses
    Durham E-Theses English Folk under the Red Flag: The Impact of Alan Bush's `Workers' Music' on 20th Century Britain's Left-Wing Music Scene ROBINSON, ALICE,MERIEL How to cite: ROBINSON, ALICE,MERIEL (2021) English Folk under the Red Flag: The Impact of Alan Bush's `Workers' Music' on 20th Century Britain's Left-Wing Music Scene , Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/13924/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 English Folk under the Red Flag: The Impact of Alan Bush’s ‘Workers’ Music’ on 20 th Century Britain’s Left-Wing Music Scene Alice Robinson Abstract Workers’ music: songs to fight injustice, inequality and establish the rights of the working classes. This was a new, radical genre of music which communist composer, Alan Bush, envisioned in 1930s Britain.
    [Show full text]
  • The Study of the Relationship Between Arnold Schoenberg and Wassily
    THE STUDY OF THE RELATIONSHIP BETWEEN ARNOLD SCHOENBERG AND WASSILY KANDINSKY DURING SCHOENBERG’S EXPRESSIONIST PERIOD D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Sohee Kim, B.M., M.M. Graduate Program in Music The Ohio State University 2010 D.M.A. Document Committee: Professor Donald Harris, Advisor Professor Jan Radzynski Professor Arved Mark Ashby Copyright by Sohee Kim 2010 ABSTRACT Expressionism was a radical form of art at the start of twentieth century, totally different from previous norms of artistic expression. It is related to extremely emotional states of mind such as distress, agony, and anxiety. One of the most characteristic aspects of expressionism is the destruction of artistic boundaries in the arts. The expressionists approach the unified artistic entity with a point of view to influence the human subconscious. At that time, the expressionists were active in many arts. In this context, Wassily Kandinsky had a strong influence on Arnold Schoenberg. Schoenberg‟s attention to expressionism in music is related to personal tragedies such as his marital crisis. Schoenberg solved the issues of extremely emotional content with atonality, and devoted himself to painting works such as „Visions‟ that show his anger and uneasiness. He focused on the expression of psychological depth related to Unconscious. Both Schoenberg and Kandinsky gained their most significant artistic development almost at the same time while struggling to find their own voices, that is, their inner necessity, within an indifferent social environment. Both men were also profound theorists who liked to explore all kinds of possibilities and approached human consciousness to find their visions from the inner world.
    [Show full text]
  • Rethinking Minimalism: at the Intersection of Music Theory and Art Criticism
    Rethinking Minimalism: At the Intersection of Music Theory and Art Criticism Peter Shelley A dissertation submitted in partial fulfillment of requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee Jonathan Bernard, Chair Áine Heneghan Judy Tsou Program Authorized to Offer Degree: Music Theory ©Copyright 2013 Peter Shelley University of Washington Abstract Rethinking Minimalism: At the Intersection of Music Theory and Art Criticism Peter James Shelley Chair of the Supervisory Committee: Dr. Jonathan Bernard Music Theory By now most scholars are fairly sure of what minimalism is. Even if they may be reluctant to offer a precise theory, and even if they may distrust canon formation, members of the informed public have a clear idea of who the central canonical minimalist composers were or are. Sitting front and center are always four white male Americans: La Monte Young, Terry Riley, Steve Reich, and Philip Glass. This dissertation negotiates with this received wisdom, challenging the stylistic coherence among these composers implied by the term minimalism and scrutinizing the presumed neutrality of their music. This dissertation is based in the acceptance of the aesthetic similarities between minimalist sculpture and music. Michael Fried’s essay “Art and Objecthood,” which occupies a central role in the history of minimalist sculptural criticism, serves as the point of departure for three excursions into minimalist music. The first excursion deals with the question of time in minimalism, arguing that, contrary to received wisdom, minimalist music is not always well understood as static or, in Jonathan Kramer’s terminology, vertical. The second excursion addresses anthropomorphism in minimalist music, borrowing from Fried’s concept of (bodily) presence.
    [Show full text]
  • The Modernist Kaleidoscope: Schoenberg's Reception History in England, America, Germany and Austria 1908-1924 by Sarah Elain
    The Modernist Kaleidoscope: Schoenberg’s Reception History in England, America, Germany and Austria 1908-1924 by Sarah Elaine Neill Department of Music Duke University Date:_______________________ Approved: ___________________________ R. Larry Todd, Supervisor ___________________________ Severine Neff ___________________________ Philip Rupprecht ___________________________ John Supko ___________________________ Jacqueline Waeber Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 ABSTRACT The Modernist Kaleidoscope: Schoenberg’s Reception History in England, America, Germany and Austria 1908-1924 by Sarah Elaine Neill Department of Music Duke University Date:_______________________ Approved: ___________________________ R. Larry Todd, Supervisor ___________________________ Severine Neff ___________________________ Philip Rupprecht ___________________________ John Supko ___________________________ Jacqueline Waeber An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 Copyright by Sarah Elaine Neill 2014 Abstract Much of our understanding of Schoenberg and his music today is colored by early responses to his so-called free-atonal work from the first part of the twentieth century, especially in his birthplace, Vienna. This early, crucial reception history has been incredibly significant and subversive; the details of the personal and political motivations behind deeply negative or manically positive responses to Schoenberg’s music have not been preserved with the same fidelity as the scandalous reactions themselves. We know that Schoenberg was feared, despised, lauded, and imitated early in his career, but much of the explanation as to why has been forgotten or overlooked.
    [Show full text]
  • Schoenberg: 'Peripetie' from Five Orchestral Pieces, Op
    Schoenberg: ‘Peripetie’ from Five Orchestral Pieces, Op. 16 (1909) Learning Objectives: - To know and understand the origins and features of the genre expressionism. - To know about the life and works of Arnold Schoenberg. - To understand how Serialist techniques are used in the set work ‘Peripetie’. Starter: What do you think expressionism is and what do think expressionist musicians, artists and writers were trying to portray? Use the resources provided by Mrs Dunn to help you! ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ Key Features of expressionism: Expressionist music is atonal-it avoids being in one particular key and using the main chords in that key, therefore giving each of the 12 semitones equal importance. Each piece generally confines itself to expressing one intense _ _ _ _ _ _ _. Composers make full use of the pitch range of instruments, exploring the difference in instrumental colour that can be heard at the extremes of the instruments registers. Timbre is felt to be as important as melody-the sound of the instruments is felt to contribute to the melody as much as pitch. Extremes of dynamics are common, from as quiet as possible to as loud as possible. This can be even more dramatic in large ensembles when the music can go from just a few instruments playing very quietly to the full ensemble playing very loudly. Pieces tend to be quiet short (it is difficult to write a piece of considerable length without the framework of a key structure and the use of the recognisable themes that can be developed!) Extended learning task: Research the composer Arnold Schoenberg.
    [Show full text]
  • Dialectical Composing
    Ming Tsao Dialectical Composing Having been asked to write something for the topic Perspectives for Contemporary Music in the Twenty-First Century, I cannot help but be influenced by my compo- sition and teaching activities in Germany for the past seven years where compo- sition seminars are often good indicators for new critical perspectives. Yet I have been surprised that the composition classes of many, if not most, music schools in Germany have been comprised by a majority of non-German students, even non-European students. Could it be the case that critical perspectives on music composition in Germany are in essence ways in which the rich history of the Ger- man-Austrian musical tradition will be reflected by foreign voices? The filmmak- er Jean-Marie Straub, when filming Hölderlin’s Der Tod des Empedokles in 1986, defended his use of foreign actors where German was not their mother tongue by stating that because of Germany’s recent history only through “foreign tongues” could the language of Hölderlin be heard and appreciated.1 The poet Lyn Hejini- an continues this idea in her essay Barbarism—a term originating from the Ancient Greek as foreigner or “someone not belonging to the dominant linguistic commu- nity”—by which she states that a “barbarian art” is one “intimately occupied with the strangeness of its native terrain.”2 And with such terrain, one can “become the advocate and topographer of border states”3 for the purpose of “reestablishing life on marginal territory, and making lines of contact between marginality and the domestic security which usually suppresses such knowledge.”4 In music, such lines of contact suggest a dialectical exchange between “uprooted” categories of sensa- tion such as rhythm, meter, consonance, melody, pathos—uprooted by “resisting every form of domestication” and “corroding the boundaries of the old, ruling 1 Barton Byg, Landscapes of Resistance: The German Films of Danièle Huillet and Jean-Ma- rie Straub (Berkeley: University of California Press, 1995), p.
    [Show full text]
  • 20Th Century Book Inside
    Y Y R R U U T T N N E E R R E E C C V V O O h h t t C C S S 0 0 I I music of the D D 2 2 DISCOVER MUSIC OF THE 2Oth CENTURY 8.558168–69 20th Century Cover 6/8/05 15:22 Page 1 20th Century Booklet revised 12/9/05 3:22 pm Page 3 DISCOVER music of the 20th CENTURY Contents page Track list 4 Music of the Twentieth Century, by David McCleery 9 I. Introduction 10 II. Pointing the Way Forward 13 III. Post-Romanticism 17 IV. Serialism and Twelve-Tone Music 24 V. Neoclassicism 34 VI. An English Musical Renaissance 44 VII. Nationalist Music 55 VIII. Music from Behind the Iron Curtain 64 IX. The American Tradition 74 X. The Avant Garde 85 XI. Beyond the Avant Garde 104 XII. A Second Musical Renaissance in England 118 XIII. Into the Present 124 Sources of featured panels 128 A Timeline of the Twentieth Century (music, history, art and architecture, literature) 130 Further Listening 150 Composers of the Twentieth Century 155 Map 164 Glossary 166 Credits 179 3 20th Century Booklet revised 12/9/05 3:22 pm Page 4 DISCOVER music of the 20th CENTURY Track List CD 1 Claude Debussy (1862–1918) 1 Prélude à l’après-midi d’un faune 10:33 BRT Philharmonic Orchestra, Brussels / Alexander Rahbari 8.550262 Arnold Schoenberg (1874–1951) Five Piano Pieces, Op. 23 2 Walzer 3:30 Peter Hill, piano 8.553870 Alban Berg (1885–1935) Violin Concerto 3 Movement 1: Andante – Scherzo 11:29 Rebecca Hirsch, violin / Netherlands Radio Symphony Orchestra / Eri Klas 8.554755 Anton Webern (1883–1945) Five Pieces, Op.
    [Show full text]
  • Sociological Probe Into the Expressionist Avant-Gardism
    FACULTY OF SOCIAL SCIENCES Shifting the Role and Meaning of Composition: Sociological Probe into the Expressionist Avant- Gardism Master's Thesis MGR. JAKUB FILIP Supervisor: doc. PhDr. Csaba Szaló, Ph.D. Department of Sociology Programme Sociology Brno 2021 SHIFTING THE ROLE AND MEANING OF COMPOSITION: SOCIOLOGICAL PROBE INTO THE EXPRESSIONIST AVANT-GARDISM Bibliographic record Author: Mgr. Jakub Filip Faculty of Social Studies Masaryk University Department of Sociology Title of Thesis: Shifting the Role and Meaning of Composition: Sociological Probe into the Expressionist Avant-Gardism Degree Programme: Sociology Supervisor: doc. PhDr. Csaba Szaló, Ph.D. Year: 2021 Number of Pages: 90 Keywords: music, social action, ideal-typical conception, agency, phenomenology, Expressionism, Avant-Gardism, The Second Viennese School, Arnold Schoenberg 2 SHIFTING THE ROLE AND MEANING OF COMPOSITION: SOCIOLOGICAL PROBE INTO THE EXPRESSIONIST AVANT-GARDISM Abstract This Master's thesis applies selected methodological approaches related to examin- ing both dynamics of social action and producing subjective meanings in connection with the Avant-Garde Expressionist composers of the Second Viennese School. We- berian ideal-typical conception is a central methodological point of departure which is extended by the concept of agency as well as Schutzian non-historical phenome- nological perspective relating to intersubjective nature of experience. The author offers his own ideal-typical constructs of avant-garde music and examines its func- tional nexus with composers' capabilities to act independently of the sociocultural structures. Furthermore, the thesis offers a unique insight into the very nature of highly ambiguous behavior that shaped the avant-garde endeavors. The reader is thus offered a perspective into the social dynamics of collective intentions shifting the role and meaning of music composition.
    [Show full text]
  • Impressionism and Expressionism
    Impressionism and Expressionism Impressionism and Expressionism are not only found in music but also in art. Impressionism in art had its start at around 1870 in France. The impressionistic art illustrates the world around us with a focus on colours and different shades. The word term impressionism comes from Claude Monet’s work “Impression- a sunrise”. In contrast to impressionist painters, expressionist artist weren't so much concerned about truthful motives and nice forms. They more so wanted to share and pass on their feelings. In Expressionism it is more about what goes on in the human himself than in his environment. “The Scream” from Edvard Munch is a representable piece of art of the Expressionist era. Like the Impressionist art the music from this period focuses on the colours rather than on the form. This means that impressionist composers didn't want to write in a special musical form as the Viennese Classic or the Romantic did. There for impressionist music isn't bound to any rules given by a musical form. More importantly they concentrated on the tone colour to convey the atmosphere and the mood of a specific moment. Often musical ideas aren't brought to an end and are mixed with others to create one timbre. In impressionist music scales are used without any specific rules. A whole range of different types of scales are used like the chromatic, pentatonic, whole note scale or even modes. Bitonality or Polytonality aren't uncommonly used which shows once again that the timbre is more important than any rules implemented by other composers.
    [Show full text]
  • VERGE 13 Mark Blair Crossroads of Boulez and Cage: Automatism In
    VERGE 13 Mark Blair Crossroads of Boulez and Cage: Automatism in Music The twentieth century is simultaneously and paradoxically the most progressive and regressive era in human history to date. While the accelerated rate of technological growth that occurred in this century provided an unprecedented standard of convenient living, it is also accountable for the swift annihilation of millions in Hiroshima and Nagasaki. Improvements in communication and transportation shrunk the world to a previously unimaginable size, yet political and provincial conflict on a global scale made different regions seem farther removed from each other than ever before. Likewise, the music of this century is filled with contrast. Like any of an individual’s traits and behavioral patterns, music is a product of its social environment. As author Reginald Smith Brindle writes, “Music has always reflected the outside world and sublimated it, breathing the mysticism of the medieval epoch, the poetry and finesse of the Elizabethan court, the superficial charms and graces of the rococo period, and so on” (1). Being a century fraught with two world wars, a four-decade nuclear standoff, and several revolutions and subsequent counter-revolutions, composers of the twentieth century had no shortage of social fodder to influence highly varied music. The musical timeline in this century begins with the breakdown of tonality, with late romantic/early modernist composers such as Gustav Mahler (1860 – 1911) and Richard Strauss (1864 – 1949) setting the trend. From there, the second Viennese School took the baton, with its leader, Austrian composer Arnold Schoenberg (1874 -1951), bringing structure to atonal composition via his twelve-tone technique.
    [Show full text]
  • Mh-Mgde Review Suggestions
    University of South Carolina School of Music REVIEW SUGGESTIONS FOR THE MUSIC HISTORY PORTION OF THE MUSIC GRADUATE DIAGNOSTIC EXAMINATION Suggested Sources to consult: 1. Burkholder = Burkholder, Grout, Palisca, A History of Western Music, 7th ed. (W. W. Norton); please take note of the Glossary at the end of the volume; you may also want to consult the online chapter outlines at <http://www.wwnorton.com/college/music/grout7/outlines/>. 2. NAWM = Burkholder and Palisca, Norton Anthology of Western Music, 5th ed. (W. W. Norton), 2 vols. (available with two CD packets) 3. Robert Morgan, Twentieth Century Music, or Glenn Watkins, Soundings 4. The New Grove Dictionary of Music and Musicians, 2d ed. 5. The New Harvard Dictionary of Music, rev. ed. (2003) 6. Recordings of important works/genres not in NAWM Format of the Examination: I. Aural styles recognition — You will be asked to give at least three defining characteristics, the type of work (movement of a symphony, part of an opera, solo song with piano or orchestra accompaniment, etc.), a 50-year period in which the piece may - 1 -have been written, and the name of a likely composer for several excerpts of music that illustrate musical styles from around 1430 to the present. Preparation — Listen analytically to music that illustrates major post-1400 styles (Renaissance, Baroque, Classical, 19th century, post-1900). II. One essay Preparation — Review major developments in each of the primary, post-1400 music periods (Renaissance, Baroque, Classical, 19th century, post-1900); possible topics include: important types of instrumental music (instrumental music before 1600, instrumental during the Baroque period, etc.); important types of vocal music (16th-century Roman Catholic and/or Protestant church music, the development of opera during the 17th century, etc.); what was new during various subperiods of music (i.e., early Baroque, Classical period, first three decades of the 20th century, etc.)? III.
    [Show full text]
  • Expressionist Music 1 Expressionist Music
    Expressionist music 1 Expressionist music Expressionism as a musical genre is difficult to exactly define. It is, however, one of the most important movements of 20th Century music. The three central figures of musical expressionism are Arnold Schoenberg and his pupils, Anton Webern and Alban Berg, the so-called Second Viennese School. Musical expressionism is defined in a narrow sense as embracing most of Schoenberg’s post-tonal but pre-twelve-tone music, which is to say that of his "free atonal" period, roughly from 1908 to 1921. More broadly, other music from the same period with shared characteristics is also included (Fanning 2001). It can therefore be said to begin with Schoenberg's Second String Quartet (written 1907–08) in which each of the four movements gets progressively less tonal. The third movement is arguably atonal and the introduction to the finale is very chromatic, arguably has no tonal centre, and features a soprano singing "Ich fühle Luft von anderem Planeten" ("I feel the air of another planet"), taken from a poem by Stefan George. This may be Arnold Schoenberg, the key figure in the Expressionist movement. representative of Schoenberg entering the 'new world' of atonality. In 1909, Schoenberg composed the one act 'monodrama' Erwartung (Expectation). This is a thirty minute, highly expressionist work in which atonal music accompanies a musical drama centered around a nameless woman. Having stumbled through a disturbing forest, trying to find her lover, she reaches open countryside. She stumbles across the corpse of her lover near the house of another woman, and from that point on the drama is purely psychological: the woman denies what she sees and then worries that it was she who killed him.
    [Show full text]