Transcript File - Dyatmika Music

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USE THE WEBSITE!!!
Watch the videos, listen to the music. Make notes and revise the key points
Go through the powerpoints. Can you still answer the questions/complete the tasks you were given?
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Make a list on musical terms and their definitions both general and specific to each work
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Brainstorm questions you think you might be asked and create a plan on how you will answer them
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Read around the subject. This is especially important for Section C. e.g. Research music from an area
of the world you are interested in
Turn your notes, powerpoints
into something else
Make a musical map, a
spider diagram, a mnemonic,
visual representations, a
mind map, post it notes
Share your work and revision
with others
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have made
Both work on a practice
question together or work
separately and then mark
each others
Practice Questions –
Can be found on the
website
Email them to me or come
and see me. I am more
than happy to mark them
and give feedback.
SECTION A
• Structures – Symphony (Beethoven 5), Sonata
form of 1st movement (Beethoven 5), Theme and
Variations (Beethoven Trio), Menuet an dTrio
(Mozart) vs Scherzo (Beethoven)
• Features typical of Viennese Classical Style
• Detailed commentary on movements from Set
works – Beethoven 5, Mozart
• Comparisons of composers e.g. Mozart vs
Beethoven, developments Beethoven made
Understand the ways in which Beethoven’s Symphony No.5 both
honoured and broke the tradition of Classical symphonic form
Beethoven’s Symphony No.5 has been described as ground
breaking in terms of both its technical and its emotional impact.
With specific reference to at least 2 movements give examples
that support this statement.
Beethoven’s Symphony 5 is perhaps the most famous of all
Classical Symphonies. Beethoven honoured but sometimes broke
with the tradition of Classical Symphonic writing. Give evidence to
support this statement with specific reference to at least two
movements of Symphony No. 5
Beethoven’s Orchestra
Beethoven created a bigger sound by adding more instruments to the Classical Orchestra.
The new instruments didn’t all play in every single piece. Beethoven just used them from
time to time.
Beethoven’s Sound
The structures of Beethoven’s symphonies are Classical –
they’re the same structures used by Mozart and Haydn. The
music sounds very different though – the earlier Classical music
sounds light and elegant but Beethoven’s is full of tension and
drama.
• He uses contrasting sections of the orchestra e.g. the brass
playing against the strings
• There are big variations in the dynamics
• The rhythm drives the music forward
• Beethoven’s orchestral works have powerful themes
• The theme used in the 5th symphony is a great example…
Mozart & Haydn versus Beethoven
KEY DIFFERENCES
Another reason for the great fame and popularity of this Symphony is that it distills so
much of Beethoven's musical style.
Obvious differences in style are…
• the size and nature of the orchestra
• expansion of dynamic range
• the much greater length of the movements and
symphony as a whole
• Beethoven’s modulations range far more widely (for
effect in their own right, but also to sustain the greater
length of the movements).
• the fact that all four movements seem to grow from
seeds sown in the opening measures – develop from
the 4 note motif.
KEY DIFFERENCES
between Mozart & Haydn v Beethoven
Obvious differences are
• the size and nature of the orchestras
• expansion of dynamic range
• the much greater length
• the transformation of the third movement into a much faster Scherzo (together
with its change of scoring detail, e.g. pizzicato, in its repeat)
• its extensive link and lack of break before the 4th movement.
• The opening of the last movement of the Beethoven Symphony, following the long
build-up, offers a striking example of the effect which a minor/major contrast can
make.
• the first movement, in particular, offers early opportunities to hear a new
approach, e.g. it does not open with a theme expressed in clearly-balanced 4 + 4bar phrases – the stop-start pauses signal a more ‘motivic’ technique; two unison
horns at bar 59 are given a prominent thematic role.
• Beethoven’s modulations range far more widely (for effect in their own right, but
also to sustain the greater length of the movements).
KEY DIFFERENCES
between Mozart & Haydn v Beethoven
• There are strong underlying similarities of structure: the
number and nature of movements, the use of Sonata Form,
Menuet (Scherzo) and Trio and repeats. Both second
movements use variations (though Beethoven’s are much
looser and integrated into a more continuously structured
movement). The harmonic language, in terms of
tonic/dominant and use of cadences is there, but
Beethoven’s modulations range far more widely (for effect
in their own right, but also to sustain the greater length of
the movements). The famous repeated perfect cadences at
the end of Beethoven’s last movement might well be
compared with some of Mozart’s repetitions – not as many,
but emphatic and, judged in accordance with overall
proportions, similar in their intentions of confirming
finality.
Key Questions – 1st Movement
• Typically themes were expressed in clearly balanced 4+4
phrases. Do Beethoven’s themes adhere to this?
• Normally in a movement in sonata-allegro form in a minor
key, the second theme in the exposition appear in the
major key. Does Beethoven honour that tradition?
• If Beethoven’s treatment of sonata-allegro form honours
tradition he will bring the second theme back in the minor
key in the recapitulation. Does this happen?
• A solo oboe suddenly interrupts the recapitulations. Was
this oboe “cadenza” in the exposition?
• Consider the length of the coda. Is it longer or shorter than
the exposition?
KEY DIFFERENCES - Movement I
• The first movement, in particular, offers early
opportunities to hear a new approach, e.g. it
does not open with a theme expressed in
clearly-balanced 4 + 4-bar phrases – the stopstart pauses signal a more ‘motivic’ technique
• The coda which is the longest section of the
movement
Key Questions – 2nd Movement
• The second movement in a symphony was traditionally takes
on the form of Theme and Variations based on one theme. Is
this how Beethoven approaches his second movement?
Key Questions – 3rd Movement
• Traditionally the third movement is in Menuet and Trio form.
Does Beethoven adhere to this?
• The trio would usually be played by a contrasting instrument.
Is this true in Beethoven’s Symphony No.5?
• Typically in the third movement the A section would be
repeated in the same form and using the same
instrumentation. Is this what Beethoven does?
KEY DIFFERENCES - Movement II
• Theme and Variations form based on two themes
instead of one
• very complex and lacks the clearly sectionalized
variations found in Schubert and Mozart
• Beethoven’s variations are much looser and
integrated into a more continuously structured
movement
• The second movement (Andante con moto) is a
rather unusual variation form in which two
themes alternate, the first sweet and lyrical, the
second more forceful.
KEY DIFFERENCES - Movement III
• The transformation of the third movement into a much faster
Scherzo
• Starting with Cellos and Basses – soft, mysterious theme
• The trio would usually played by contrasting instrument but in
Symphony No.5 it is played by cellos and basses again, loud
• its change of scoring detail, e.g. The theme returning in pizzicato, in
the repeat of Section A
• During the repeat of the A section – He has the orchestra play the
theme – starting out with the bassoon – same idea but not heroic at
all, not a direct repeat, then the timpani play the melody. Nothing
much happens it is suspended,
• He purposefully avoids a literal repetition so that he can lead from
the scherzo into the fourth movement.
Key Questions – 4th Movement
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The triumphant and exhilarating finale is written in an unusual variant of sonata
form: at the end of the development section, the music halts on a dominant
cadence, played fortissimo, and the music continues after a pause with a quiet
reprise of the "horn theme" of the scherzo movement.
Candidates will need to know exactly which instruments are added to the
orchestra here, three trombones, a piccolo and a double bassoon, and to
understand the intended effect on the capability and texture of
the orchestra. They extended the pitch range considerably at the top and the
bottom and, as a necessary complement to that, strengthened the power and
thickness of the middle of chords.
Much of this movement is homophonic and the new instruments have not been
added to play important solo melodies (although the piccolo can be heard alone in
brief ourishes, e.g. bars 73ff and 329ff).
The movement is often described as ‘weighty’ and the increased power (and
therefore dynamic range) of the orchestra contributes to this.
In an otherwise uncomplicated sonata form, the recalling of the Scherzo at the end
of the development section (bar 153ff) raises the status of a last movement: it is
not a jolly, light- hearted rondo but an organic, significant part of the whole
symphony.
KEY DIFFERENCES - Movement IV
• That it is joined with Movement III into one continuous movement.
Combining two independent movements into one
• the extensive link and lack of break before the 4th movement. The
opening of the last movement of the Beethoven Symphony,
following the long build-up, offers a striking example of the effect
which a minor/major contrast can make.
• Beethoven combines the third and fourth movements, which are
played without pause.
• The triumphant and exhilarating finale is written in an unusual
variant of sonata form: at the end of the development section, the
music halts on a dominant cadence, played fortissimo, and the
music continues after a pause with a quiet reprise of the "horn
theme" of the scherzo movement.
KEY SIMILARITIES
• There are strong underlying similarities of
structure: the number and nature of movements,
the use of Sonata Form, Menuet (Scherzo) and
Trio and repeats. Both second movements use
variations
• The famous repeated perfect cadences at the end
of Beethoven’s last movement might well be
compared with some of Mozart’s repetitions –
not as many, but emphatic and, judged in
accordance with overall proportions, similar in
their intentions of confirming finality.
SECTION B – Picturing Music
• Comparison on how composers depict the
feelings, images etc. related to night time e.g.
Debussy and Smetana – Nymphs in the moonlight
• Berlioz - How does he picture scenes in his
Symphony - emotions of love and loss
• Detailed overview of each of the 3 movements
from Berlioz, Smetana and Debussy
• Other examples of composers portraying night
SECTION C
• Study the answers written by other students in the class
and explore the Musical examples that they have given
• Kiara and Denny – Electronic vs Acoustic
• Kelly – Musical traditions and Genres
• Raissa – Vocal music set in a different language
• Louissa – What makes one singer sound different to
another
• Owen – Instrumental vs Vocal music in expressing emotions
Be aware that one musical example may be used to answer
different types of question