19th Century Music Year 10 Unit 2
This term we are studying Music from the 19th Century - particularly program music. Unlike most Western Music up until this point in history, program music is structured as a story with many different character themes and plots.
Throughout the term you will be required to keep a webpage up to date with your responses and other tasks. When you have completed all the tasks at the end of the term you will press 'share' at the top of the page, select a category and fill out the other details before sending the link to the teacher to be marked. See the bottom of this page for 'how to' save your link. Some assessments will need to be sent before the end of the term and you will be instructed on how and when you should do that.
Formal & Coursework Assessment
**note: much of the content/activities are taken and derived from Rachel Hocking's website
Please organise your webpage in the following order of both formal & coursework assessment:
Coursework Task 1: Franz Liszt Les Préludes
- Look through the score and identify all expressive markings, along with their meanings, and then listen to the music to see how these expressive markings sound.
- Compare and discuss each section of the work which has its own expressive qualities
- The preface that Liszt gave to the work is ‘what else is our life but a series of preludes to that unknown Hymn, the first and solemn note which is intoned by Death?’. Discuss in 150 words or less how this is a good example of the overly-dramatic sentiment that was typical of this period and discuss expression in the light of this.*
*you will be marked on only number 3 of this - this task will be done in class with assistance of your teacher
Coursework Task 2: Economical Composing
Les Préludes is divided into eight sections, some featuring clear musical characters such as a march and a storm.
- Analyse the one basic motif the melodic content uses which is transformed throughout the work.
- Analyse these large structures through the musical concepts to find how each section’s character depends on how these concepts are used.
Coursework Task 3: Thematic Transformation
Students to choose a theme from one of the following works:
Chopin’s Nocturne Op 9 No 2
Grieg’s In the Hall of the Mountain King
Part 1: Notate the theme (4-8 bars in total) and upload a picture of your notation
Part 2: Transform the theme four times:
- Change the rhythm
- Change the tonality or pitch
- Change the tempo
- Change using a combination of rhythm, tonality or pitch & tempo
Once completed, film your thematic transformations (4 altogether) and upload them to YouTube. Set your video to 'private' - this option is available in the Video Manager section of your YouTube account. Copy your YouTube link for each video making sure they have the correct titles as above and put them in your webpage under 'Coursework Task 3: Thematic Transformation'.
Coursework Task 4: Romantic Performer
You are to prepare a Romantic period piece for presentation. The piece needs to be from the 19th century but can be re-interpreted on your instrument. You will have some class time for preparation & consultation with your teacher. You are to record your performance (rather than live performance), upload it to YouTube (private video if you choose) and copy the link into your webpage. Click on composer names below for several song options. Once you have decided use the IMSLP/Petrucci database to find scores:
Coursework Task 5: Analysis - TCHAIKOVSKY TONE COLOUR
Tchaikovsky’s Nutcracker Suite
Students use the following Prezi to listen to the work and do some activities on the tone colour of the piece
- Create a new heading ‘The Romantic Orchestra: Tchakovsky’s Nutcracker Suite
- Using the score as a reference list the instruments used
- One of the unusual instruments that Tchaikovsky famously included in this suite is the Celeste (Celesta). Watch the video below to hear the Celeste play ‘Dance of the Sugarplum Fairy’. Which instrument does it remind you of?
The Dance of the Sugar Plum Fairy
The Dance of the Sugarplum Fairy uses a structure called Ternary form. This is when a piece of music has three distinct sections: A, B, A.
- Section A – the main theme
- Section B – contrast
- Section A – return of the main theme
- In addition, a Coda (finishing music) is used at the end of the piece
Copy the information (above) into your Adobe Spark page
Listen to the entire Dance of the Sugar Plum Fairy and take note of the time for each section change:
- Section A - beginning
- Section B - 1 minute
- Section A return - 1 minute 44 seconds
- Coda - 2 minutes 27 seconds
Include the following information in Adobe Spark page:
- Which instruments can be clearly heard in Section A?
- Which instruments can be clearly heard in Section B?
- Which dynamics are used in Section A – piano? forte? crescendo? diminuendo?
- Which dynamics are used in Section B - piano? forte? crescendo? diminuendo?
- Which section uses plucking strings?
- Something different happens at 1 minute 30 – describe what it is
- Something different happens in the Coda – describe what it is
Just for fun!
Formal Assessment Task
All information regarding your formal assessment task will be given to you and completed separately to your webpage