音乐CRP

Year 10 – Preparation for September

September Exam:

You will be tested on:

  • Area of Study 1 (音乐al Forms and Devices).

This will include the set work Eine Kleine Nachtmusik, Movement 3.

  • Area of Study 2 (音乐 for Ensemble)

Area of study 1: 音乐al Forms and Devices

Forms and devices are of fundamental importance in musical composition, and many of the common musical forms and devices used by composers today have their origin in the Western Classical Tradition. The music of the Baroque, Classical and Romantic eras provides the context for a study of binary, ternary, minuet and trio rondo, variation and strophic forms. Learners are encouraged to engage with a variety of music from the prescribed eras, through a range of performing, composing and appraising activities. They are also encouraged to make links between music they listen to, pieces they perform and their own compositions, as well as music by composers from the twentieth and twenty-first centuries who use these forms and devices.

Key concepts and vocabulary includes:

  • repetition
  • contrast
  • anacrusis
  • imitation
  • sequence
  • ostinato
  • syncopation
  • dotted rhythms
  • drone
  • pedal
  • canon
  • conjunct movement
  • disjunct movement
  • ornamentation
  • broken chord/arpeggio
  • alberti bass
  • regular phrasing
  • melodic and rhythmic motifs
  • simple chord progressions including cadences
  • modulation to dominant and relative minor.

Area of study 2: 音乐 for Ensemble

音乐 for ensemble forms the basis for a study of texture and sonority. Through a study of diverse musical styles composed for ensemble, such as jazz and blues, musical theatre and chamber music, learners will consider how music is composed for small groups of instruments and voices. Learners will also consider how texture is manipulated and they are encouraged to use small instrumental/vocal groupings in their own music. Learners are required to perform as part of an ensemble, and through this to actively engage with ensemble music, understanding the relationship between performers on the stage and the audience.

Key concepts and vocabulary includes:

  • monophonic
  • homophonic
  • polyphonic
  • unison
  • chordal
  • layered
  • melody and accompaniment
  • round
  • canon

Learners will also consider how texture is used in the following instrumental and vocal groupings:

  • vocal ensembles (including solos, duets, trios, use of backing vocals)
  • jazz/blues trio
  • rhythm section
  • string quartet
  • basso continuo

The exam paper will consist of multiple choice answers, one-word responses and shorter sentences.

Click here to download the 音乐 resources for Year 10.

今年12 – Preparation for September

September Exam:

You will be tested on:

  • Area of Study A

Area of Study A: The Western Classical Tradition (The development of the Symphony 1750-1900) which includes two set works:

  • Symphony No. 104 in D major, ‘London’: Haydn
  • Symphony No. 4 in A major, ‘Italian’: Mendelssohn

Learners must demonstrate knowledge and understanding of:

  • how musical elements are used in the symphony, including:
    • structure (e.g. sonata form, slow movement forms, minuet and trio, scherzo, sonata rondo, variation forms, cyclic forms and programmatic forms)
    • tonality (e.g. related keys and their function within structure)
    • texture (e.g. monophony, complex combinations of musical lines such as homophony and polyphony, imitation, counterpoint and fugue)
    • melody and thematic development (e.g. phrase structure, melodic devices such as sequence, figuration, ornamentation, augmentation and diminution of thematic material, expansion/fragmentation of the theme, combinations of themes, transposition, re-harmonisation and re- orchestration of the theme)
    • sonority (e.g. contrast and variety of instrumental tone-colours and techniques, and combination of timbres)
    • harmonic language (e.g. typical harmonic progressions, use of cadences, use of the dominant 7ths, secondary and diminished 7ths, circle of 5ths, Neapolitan chords, augmented 6th, chromaticism, modulation and tonicisation)
    • tempo, metre and rhythm (e.g. use of accents, simple and compound time-signatures, characteristic rhythms such as dotted rhythms, hemiola, triplets and other divisions of the beat, syncopation and performance directions)
    • expressive use of dynamics
  • the use of instrumentation and development of the orchestra in the period including:
    • the decline of basso continuo
    • the influence of the Mannheim orchestra
    • the occasional use of brass and percussion during early Classical period
    • the initial dominance of strings with winds used for doubling, reinforcing and filling in the harmonies
    • the increased importance of the woodwind section as they were entrusted with more important and independent material
    • advances in orchestration and orchestral effects due to commissioned works
    • larger orchestral forces (especially brass and percussion)
    • new sonorities (e.g. new instruments, technical improvements and use of instrumental colour
    • programmatic use of the orchestra to create and suggest underlying meaning (e.g. orchestral landscapes, descriptive music, extremes and subtleties of emotion)
  • important symphonic composers and landmark works in the period
  • how and why symphonies were commissioned during the period (e.g.

patronage and the rise of public concerts)

  • how the symphony developed through the period (e.g. length, number of movements and new forms)
  • the programme symphony/symphonic poem
  • reading and writing staff notation including treble and bass clefs in simple and compound time, and key signatures
  • chords and associated chord symbols
  • musical vocabulary and terminology related to the area of study.

The exam paper will include:

  • An extract from two symphonies (not a set work) where students will be asked to identify harmonic, melodic and other features of the piece. (Questions 10 and 11).
  • A comparison question of two extracts of music from two different symphonies where students will be asked to compare the stylistic features of each symphony. (Question 12)
  • a question one either the Haydn or Mendelssohn set work. (Question 13 or 14)

Click here to download the 音乐 resources for 今年12.