1.1 Gregorian Chant in the Middle Ages, the Christian Church Built Many Monasteries and Cathe- Drals
Total Page：16
File Type：pdf, Size：1020Kb
You’ll find digital resources and this book in digital format at ecasals.net/en/musicIIeso II ESO A. B. Cañizares J. Colomé M. A. Maestro MUSIC table of contents Unit 1 Unit 2 Unit 3 Unit 4 page 4 page 22 page 40 page 58 In concert: In concert: In concert: In concert: Alleluja, Magnificat, Kyrie, from the Mass for Four “Arrival of the Queen of 2nd mov., Piano Concerto anonymous Voices, by William Byrd Sheba”, from Solomon, by G.F. No. 23, by W.A. Mozart Messe de Notre Dame, by O Mirtillo, Mirtillo anima mia, Händel “Che farò senza Euridice?”, Guillaume de Machaut by Claudio Monteverdi Canon in D major, by J. Pa- from Orfeo ed Euridice, by Introduction: Chanterai pour mon corage, by Recercada segunda sobre el chelbel C.W. Gluck In concert Guiot de Dijon canto llano “La Spagna”, by “Badinerie”, from Orchestral String Quartet No. 4, op. 18, In context In context: Diego Ortiz Suite No. 2, by J.S. Bach by L.v. Beethoven In film Time of monasteries and In context: In context: In context: minstrels The glory of polyphony The exuberant ornamentation The formal balance of Clas- In film: In film: of the Baroque sicism Perceval le Gallois Elizabeth In film: In film: Vision The Tudors Marie-Antoinette Amadeus Tous les matins du monde Goya en Burdeos 1. Sacred chants 1. The vocal music of the 1. Music for singing 1. Vocal music in Classicism In the studio 2. A troubadour in medieval Renaissance 2. Instrumental music 2. The prominence of instru- Spain 2. Music and song in palaces mental music 3. The instrumental music of the Renaissance 1. The characteristics of sound 1. The characteristics of sound 1. Tonality 1. Intervals In theory (I): pitch (III): timbre 2. Chords 2. The characteristics of sound (II): loudness At number 1 1956: Hound Dog, 1962: I Can’t Stop Loving You, 1968: Hey Jude, 1978: Night fever, by Elvis Presley by Ray Charles by The Beatles by Bee Gees Video While My Guitar Gently Blue Monk, by Thelonius Monk On Reflection, by Gentle Giant “Fandango”, from Quintet Weeps, by George Harrison No. 4, G. 341, G341, by Luigi Boccherini O Virgo splendens, Neapolitan Galliard, by Anto- Fugue No. 16, by J.S. Bach and “Andante”, from Symphony Comparing anonymous, and While My nio Valente and Blue Monk, by On Reflection, by Gentle Giant No. 94, and “Fandango”, Guitar Gently Weeps, Thelonious Monk from Quintet No. 4, G. 341, de George Harrison by Luigi Boccherini Experimenting with a type of Identifying some of the Recording instruments with Listening to the differences In digital music similar to that of the characteristics of improvisation Audacity and observing the between cadences. Middle Ages using Audacity in audio clips of Renaissance waveforms. Modifying the and MuseScore. music with Audacity. tessitura and writing a fugue using MuseScore. 1. Rhythm 1. Rhythm 1. Rhythm 1. Rhythm 2. Melody: Schiarazula 2. Melody: Greensleeves, Dictation 2. Melody: “Andante”, from Playing live Marazula; Stella Splendens traditional 2. Melody: 2nd mov., Concerto Symphony No. 94, “The 3. Playing together: Imagine, 3. Playing together: I’m Yours, No. 4, Op. 8, “Winter”, by Surprise”, by F. J. Haydn; John Lennon Jason Mraz Antonio Vivaldi “Adagio”, from Clarinet Dictation 3. Playing together: Money, Concerto, W. A. Mozart Money, Money, Mamma 3. Playing together: We Are Mia and Waterloo, by ABBA the Champions, Queen In images “Prologue” of the Canticles of Magnificat, by Cristóbal de Fugue No. 6, in D minor, BWV Ah! Vous dirai-je, maman Holy Mary, Alfonso X the Wise Morales 851, by Johann Sebastian Bach K265, by Wolfgang Amadeus Mozart Unit 5 Unit 6 Unit 7 Unit 8 page 74 page 92 page 108 page 124 In concert:Symphony No. 4 In concert: In concert: In concert: “Italian”, Slavonic Dance No. 1, by Anto- Adagio for Strings, by Samuel Good Vibrations, by The by Felix Mendelssohn nín Dvoˇ ák Barber Beach Boys La campanella, by Franz Liszt “Hoe-Down”, from Rodeo, by Violin Concerto, by Alban Berg What’s Going On, by Marvin Introduction: 3rd mov., Symphony No. 3, by Aaron Copland Piano Concerto No. 2, by D. Gaye In concert Johannes Brahms Gymnopédies No. 1, by Erik Shostakovich Smells Like Teen Spirit, by In context In context: Satie In context: Nirvana In film The sentimental exaltation of In context: Musical avant-gardes of the In context: Romanticism Musical nationalism and Im- 20th century Urban music In film: pressionism In film: In film: Copying Beethoven In film: 2001 Back to the Future The Fifth Element Anna Karenina The Shining Wayne’s World Ocean’s Eleven 1. Music as a means of ex- 1. The rise of nationalist music 1. Musical innovations up to 1. Marking the pulse of In the studio pression / 2. The voice at the 2. The visual evocation of 1950 society service of the text / musical Impressionism 2. Musical avant-gardes after 2. Roots music in Spain 3. The passion of instrumental 1950 music 1. The period 1. Improvisation 1. Chord factors 1. Making your own In theory 2. Non-chord tones or embe- instrument llishing tones 2. The new musical language 3. Noise pollution At number 1 1983: Every Breath You Take, 1987: Bad, by Michael Jackson 1988: Red Red Wine, by UB40 2009: Empire State of Mind, by The Police Jay-Z Video Soundtrack of Star Wars, Soundtrack of An American in Soundtrack of The Planet of “Ode to Joy”, from L. v. by John Williams Paris, by George Gershwin the Apes, by Jerry Goldsmith Beethoven and Himno a la Alegría, by M. Ríos Works by K. Stockhausen, J. “Ode to Joy”, from L. v. Comparing Symphony No. 6, “Pastoral”, Spanish Suite, Op. 47, by I. by L. v. Beethoven and Star Albéniz and Concerto in F, by Cage, S. Reich and J. Goldsmith Beethoven and Himno a la Wars, by J. Williams G. Gershwin Alegría, by M. Ríos Creating a work with different Writing chords with MuseScore Composing a piece of music Listening to different musical In digital audio tracks inspired by images and composing a melody with excerpts from works in di- styles and arranging them from a film. in different keys over certain fferent styles and from different chronologically using chords. composers with Audacity. Audacity. 1. Rhythm 1. Rhythm 1. Rhythm 1. Rhythm Dictation Dictation Dictation 2. Melody: “Summertime”, 2. Melody: Of Foreign Lands 2. Melody: Oriental Dance, by 2. Melody: “Adagio”, from the from Porgy and Bess, by Playing live and Peoples, by Robert Enrique Granados Concierto de Aranjuez, by George Gershwin Schumann 3. Playing together: All My Joaquín Rodrigo 3. Playing together: Another 3. Playing together: Skyfall, by Loving, by The Beatles 3. Playing together: Every Brick in The Wall, by Pink Adele Breath You Take, by The Floyd Police In images “March to the Scaffold”, from In the Steppes of Central Asia, Sequenza III, by Luciano Berio Innuendo, by Queen Symphonie fantastique, by by Alexander Borodin Hector Berlioz Appendix 1. Final proposal: Wimoweh 3. Spanish traditional dances page 141 2. Music in Spanish popular festivals 4. Flamenco COMPETENCES ACTIVITIES Cultural and artistic Entrepreneurial initiative Advanced Learning to learn Science and technology Challenge Digital Social and civic 1 A troubadour plays for a noble couple. Illustration from the Cantigas de Santa María (13th century). ORCHESTRATE YOUR COMPETENCES... SOCIAL AND CIVIC: IN CONCERT knowledge of the historical and Alleluja, Magnificat cultural context of the Middle Ages. anonymous (monks from the Abbey of Notre-Dame de Fontgombault) CULTURAL AND ARTISTIC: development of secular and religious Messe de Nostre Dame music from the 5th to the Guillaume de Machaut (Ensemble Gilles Binchois) 15th centuries. Chanterai pour mon corage SOCIAL AND CIVIC: Guiot de Dijon (Ensemble Micrologus) playing a song in a group. in context Time of monasteries and minstrels in film Perceval le Gallois (1978) Vision (2009) Songs from the 12th and 13th centuries, Ordo Virtutum, adaptation by Guy Robert by Hildegard von Bingen in the studio 1 1. Sacred chants 1.1 Gregorian chant In the Middle Ages, the Christian church built many monasteries and cathe- drals. They were important cultural centres, as manuscripts which compiled the knowledge of the time were copied in their libraries. The music used in religious celebrations was only vocal. A system of musical notation was devised to help transmit and preserve this music. For a long time it was considered that, in the 7th century, Pope Gregory I (hence the name Gregorian) had ordered the unification of tunes that had been sung during the liturgy for centuries, but it is now believed that this process was carried out by the Carolingian kings, including Charlemagne, in the 8th and 9th centuries. Compiling Gregorian chants in the Middle Ages Psalms, antiphonies, responsories and common chants from the Mass that required a system of musical notation, which was gradually perfected over the centuries. At the clerics recited or sang in the choir are all part of Gregorian chant. Today, the end of the 10th century, lines started to be it is the official chant of the Catholic Church. used to represent pitch and, in the 14th century, signs to indicate the duration of the notes. The possibility of faithfully writing down music was a Gregorian chant is a chant with a single melody (monody) without instru- very important milestone for the development of mental accompaniment (a cappella). It has a free rhythm, wich is adapted western music. The picture shows the manuscript of Laudario di Cortona, from the 13th century. to the Latin text. Its melody is called syllabic, in the cases in wich each syllable of the text corresponds to a sound, and melismatic, when several sounds correspond to a single syllable.