Music
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- Created by: Ellie Gilbert
- Created on: 03-02-13 12:53
Music in the 20th Century- EXPRESSIONISM
Perepitie- 1909, Schoenberg
- A high level of dissonance
- Extreme contrasts of dynamics
- Constantly changing textures
- ‘Distorted’ melodies and harmonies
- Angular melodies with wide leaps
- very large orchestra with some unusual instruments such as the piccolo
- each of the motifs is based on a hexachord
- free rondo form
- imitation between the different insruments in the middle section to build the piece up
- final section there is an orchestral tutti, texture is homophonic
- extreme dynamics
- extreme ranges of insruments
- 3/4, 2/4 and 4/4
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Music in the 20th Century- MINIMALSISM
Electric Counterpoint- 1987, Steve Reich
- Layers of ostinati
- Constantly repeated patterns that are subjected to gradual changes
- Layered textures
- Interlocking repeated phrases and rhythms
- Diatonic harmony
- tonal ambiguity- E Minor, no d sharp
- use of technology, speakers, microphone, panning effects, amps
- gradual build up of texture
- resultant melody
- fade out
- complex, polyphonic texture
- opening monophonic- guitar two starts
- static harmony
- very fast throughout, metronome mark 192
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Music in the 20th Century- MUSICAL THEATRE
Something's Coming- 1957, Leonard Bernstein
- a fusion of Classical, Blues and Jazz
- jazz harmony
- syncopated rhythms
- push rythms, anticipating the beat
- extensive use of short riffs
- cross rhythms
- layered texture, melody with accompaniment
- tenor male voice
- STRUCTURE- A B A1 B1 OUTRO -FADE OUT
- blues notes
- syllabic melody
- repeated melodic ideas- ostinatos, riffs
- D Major modulating to C Major
- fast throughout
- pinaissimo to start, gradually building up the fade out
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Western Classical Music- And the Glory of The Lord
And the Glory of The Lord- 1741, Handel
- orchestra often doubles the vocal lines
- 4 main motifs
- A Major, trrple metre, lively tempo makes the piece lively- word setting, looking forward to the coming of the Lord
- homophonic (alto voice starts the piece), monophonic (all voices at the end), polyphonic
- diatonic harmony
- syllabic and mellismatic setting of the words
- baroque
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Western Classical Music- Raindrop Prelude
Raindrop Prelude- 1839, Chopin
- romantic period
- written during a storm (progmattic). The repeated A flats in the left hand represent raindrops- dominanat pedal
- expressive and emotional
- melody with accompaniment
- monophonic- bar 82 and 83
- ternary form
- texture is thicker in section B due to melody in chords in the left hand
- shorter repeat of A section, only 6 bars followed by codetta
- occasion chromatic harmony adds colour
- sections A and B end with imperfect cadences. Whole piece ends with perfect cadence
- 4/4
- A= D Flat major B= C Sharp minor A= D Flat major
- rubato throughout
- quiet dynamics. Crescendos and diminuendos. Section B is much louder
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Western Classical Music- Symphony No 40, first mov
Symphony No 40, first movement- 1788, Mozart
- sonata form
- classical orchestra
- homophonic texture- bar 85 and at end
- development section modulates to B Major and E Minor
- diatonic harmony throughout
- 1st is rhythmic and repetitive. 2nd subject more lyrical
- octave doubling between 1st and 2nd violins
- canon in bar 81 between the strings
- simple rhythms with occasional syncopation to build up momentum
- G Minor
- Molto Allgro. 4/4
- Bar 28, full orchestra forte
- sudden contasts fo dynamics
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Popular Music in Context- All Blues- Modal Jazz
All Blues- Miles Davies, 1957
- solo with accompaniment
- 12 bar blues progression
- 12 bar blues chord sequnce makes up harmony with added jazz chords
- mixolydian mode
- improvisation- meldoy develops each time,more complex, more chromatic
- syncopated rhythms. Swing rhythms.
- 6/4
- fidds on saxophones in 3rds
- in G
- 156 beats per min- jazz waltz
- trumpet uses harmon mute
- fade out
- frontline instruments- trumpet, alto sax, tenor sax
- drum kit is played with brushes at the start
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Popular Music in Context- Grace - Folk Rock
Grace- Jeff Buckley, 1994
- solo with accompaniment
- INTRO LINK BRIDGE LINK
- power chords, sliding, parallel chords used
- some dissonant harmonies
- piece begins in low in Buckleys register. Melisma used on the words Love and Fire
- melody extends in verse two. Buckley uses falcetto to reach a top B
- final verse towards the end is sang an octave higher than other verses
- mostly syllabic vocalisation
- E Minor- ambiguious opening, starts on F Minor chord
- 12/8, 64 dotted crochets per/min
- dynamics are largely unvaried
- drop d tuning- e string to a d (instrumentation)
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Popular Music in Context- Why Does My Heart Feel S
Why Does My Heart Feel So Bad?- Moby (Richard Hall), 1999
- techno dance music
- A Minor
- breakdown section provides contrast, sometimes silence
- build up of texture at beginning
- verse and chorus structure
- Amazing Emily Goes Dancing Crying Fun! - Am, Em, Gm, Dm, C, F
- diatonic harmony
- based on two samples from black gospel choirs
- 4/4
- syncopated rhythms in piano, vocals and strings
- Am, bit choruses are in C
- dynamics build throughout piece. All instruments frop out providing contrast
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World Music- Skye Walking Song
Skye Walking Song- Capercaille, 2000
- celtic fusion
- low alto voice
- pentatonic melody, G, A, B, D, E
- heterophonic texture. Monophonic opening. Contrasting texture as vocal lines are unaccompanied/ full band plays
- call and response- a work song to relieve the boredom, keep the workers in time
- diatonic throughout. Modal feel
- mainly syllabic. Only two main phrases with vocables are used
- cross rhthms. Syncopated rhythms in vocal melody
- 12/8
- G Major. Lack of dominant D chord suggests a more modal tonality
- moderate tempo throughout
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World Music- Rag Desh
1) Anoushka Shankar- 2001
- sitar
- based on Raga
- tabla drums accompany
- ALAP- slow intro, free rhythm, sitar only
- GAT- fixed composition, moderate tempo. Improvisations are based on the tal
- JHALA- lively, fast tempo. Sitar is strummed to create rhythmic excitement
- Uses the JHAPTAL(10) and the TINTAL(16)
2) Chiranji Lai Tanwar: Male Voice- 2004
- sarod is plucked, sarangi is bowed, pakhwa drum, small cymbals, tabla, voice
- KEHERWA TAL: 2+2+2+2(8)
- ALAP- slow intro, no pulse. Sarangi and voice intoduce notes of the raga
- BHAJAN- song in verse form. Dynamics and tempo increase. Short solos for sarangi and sarod. Tabla joins in
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World Music- Rag Desh
3) Steve and Benjy- Bansuri, esraj and tabla- 2004
- ALAP- slow. Bansuri becomes more developed, plays the notes of the raga. The esrag takes over. Instruments alternate improvise phrases. Drone on the tampura. No regualr pulse
- GAT 1- slow. Bansurie melody over the drone. Dialouge between players, repeats 3 times
- Fixed compostion- becomes more aggitated. Instruments swap function
- GAT 2- fast. Uses ekatal cycle. Bansuri more developed. Tabla solos. Bansuri plays tans. Piece ends with three tihais
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World Music- Yiri
Yiri- Koko
- opening is monophonic
- graduall texture build up, layered texture
- hetrophonic texture
- based on the heptatonic scale in G flat major. Short patters, call and response
- ostinato ideas on drums. Syncopated ideas, cross rhythms
- G Flat Major, modal effect
- slow tempo intro.
- 4/4. Moderate tempo and constant tempo throughout.
- largely unvaried dynamics, texture determines dynamics
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