IB Music Revision Guide, 3rd Edition: Everything you need to prepare for the Music Listening Examination (Standard and Higher Level 2019-2021) - Softcover

Paul, Roger

Softcover

ISBN 10: 1783088664 ISBN 13: 9781783088669

Verlag: Anthem Press, 2018

Inhaltsangabe

The ‘IB Music Revision Guide 3rd Edition’ includes analyses of all the prescribed works of the International Baccalaureate Diploma Programme music course through to 2021. It also includes a comprehensive overview of all the musical styles and cultures that are examined during the course, practice questions and answers that allow students to check their knowledge, as well as a glossary to help ensure key terms are understood. There are also revision tips and advice on exam technique that will help students prepare for the IB listening exam with confidence. Suitable for Standard and Higher Level.

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Roger Paul has over 28 years of experience as a musician and teacher. From 2005 to 2013 Paul was the director of music at Ellesmere College, and he is currently Head of Academic Music at St Paul's Girls' School, London.

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IB Music Revision Guide

Everything You Need to Prepare for the Music Listening Examination (Standard and Higher Level 2019–2021)

By Roger Paul

Wimbledon Publishing Company

Copyright © 2018 Roger Paul
All rights reserved.

ISBN: 978-1-78308-866-9

Contents

Introduction, 1, 
Musical Terms and Devices, 5, 
Section A, 
Prescribed Works 2019, 9, 
Brandenburg Concerto No. 2 in F Major BWV1047 (c.1719–21) J. S. Bach, 11, 
Dances of Galánta (1933) Zoltán Kodály, 23, 
Links between the Prescribed Works (HL Only), 35, 
Prescribed Works 2020–2021, 41, 
Rhapsody on a Theme of Paganini (1934) Sergei Rachmaninoff, 43, 
Symphony No. 94 in G Major 'Surprise' (1791) Joseph Haydn, 59, 
Links between the Prescribed Works (HL Only), 73, 
Section B, 
Perception and Analysis of Musical Styles, 79, 
Western Classical Music, 81, 
Western Jazz and Popular Music, 97, 
World Music, 103, 
Glossary, 113, 
Suggested Answers for Sections A and B Sample Questions, 121, 
Index, 137, 

CHAPTER 1

BRANDENBURG CONCERTO NO. 2 IN F MAJOR BWV1047 (c.1719–21) J. S. BACH

Introduction

This Prescribed Work is the second of a set of 6 concertos scored for a variety of instrumental combinations which Johann Sebastian Bach sent to Christian-Ludwig, Margrave of Brandenburg-Schwedt in 1721. Concerto No. 2 is believed to have been composed in or around 1719. The Margrave had asked Bach to send him some of his compositions and it is most likely all 6 concertos were written during the period Bach was employed as Kapellmeister to the Prince of Anhalt-Köthen. Indeed most of Bach's chamber and orchestral music dates from his time in this post.

These concertos are mostly of a type called Concerto Grosso (literally 'big concert'), a popular genre among middle to late Baroque composers including Corelli, Vivaldi, Handel and of course Bach. A Concerto Grosso features two contrasting instrumental groups: the concertino, a smaller group of soloists, and the ripieno, the tutti or full orchestra (usually strings). Both of these groups were accompanied by the continuo, which is heard in almost all Baroque music, most commonly a harpsichord and cello, which provided the harmonic filling and bass line respectively. While both groups would have shared some of the same musical material, other themes were played exclusively by the concertino. Furthermore, the part writing for the concertino group was usually more virtuosic and elaborate.

Bach was known as an experimenter, as can be seen in this work, with its unusual concertino group of tromba, (treble) recorder, oboe and violin; his often novel approach to musical structures; and his daring use of harmony and dissonance.

Instrumentation

The 'tromba' referred to by Bach in his score was a natural trumpet in high F, with no valves which meant it played only the notes of the harmonic series. The sound of the tromba in the 18th century was softer in both timbre and dynamic compared to a modern trumpet, which explains why Bach was able to use it in a concertino group alongside a treble recorder, oboe and violin without any problems with balance. The solo tromba part Bach wrote was at one time regarded as unplayable, because of technical difficulties and tuning issues on certain harmonics. It is highly likely he had a particular performer in mind for this part, since virtuoso trumpet and horn players would travel around Europe and were highly sought after. But with research into Baroque performance techniques and construction leading to the development of the so-called Baroque Trumpet, these problems have been overcome and many fine recordings of this work have been made since.

Bach's score also calls for a 'violone' in the ripieno strings. The violone was a name given to a variety of lower stringed instruments, but it is most likely he intended the part to be played by one of the larger double bass viols, similar in size to the modern double bass. Like the double bass the violone sounds an octave lower than written; therefore, it adds real depth to the sound of the orchestra.

Sample Questions

In Section A of the examination there will be one question on each of the two prescribed works. You must choose to answer one of these two questions (as well as a third 'musical links' question which will be discussed later). Here are four sample questions based on the Brandenburg Concerto No. 2 to use for practice. You may answer these in continuous prose or detailed bullet points and you should allow around 30 minutes under timed conditions to complete each question. Reference should be made to an unmarked copy of the score and remember to give precise locations for the musical features you discuss.

1. Brandenburg Concerto No. 2 is regarded as an example of how Bach's music represents the height of the Baroque style. Discuss at least three contrasting passages which illustrate this view.

2. Bach uses a wide range of instrumental timbres and textures in Brandenburg Concerto No. 2. Discuss and illustrate this view, making detailed references to the score.

3. Discuss Bach's use of structure and tonality in the 1st movement of Brandenburg Concerto No. 2.

4. Discuss the changing relationship between the soloists' and ripieno parts across each of the three movements of Brandenburg Concerto No. 2. Refer in detail to specific passages of music.

CHAPTER 2

DANCES OF GALÁNTA (1933) ZOLTÁN KODÁLY

Introduction

This Prescribed Work was composed by Zoltán Kodály (1882–1967) for the 80th anniversary of the Budapest Philharmonic Society in his native Hungary. He took his inspiration from the small town of Galánta, which was part of the Kingdom of Hungary during his childhood there, but is now in present-day Slovakia. Kodály explained that his inspiration for the piece came in two parts:

At that time there existed a famous gypsy band that has since disappeared. This was the first 'orchestral' sonority that came to the ears of the child. The forebears of these gypsies were already known more than a hundred years ago. About 1800 some books of Hungarian dances were published in Vienna, one of which contained music 'after several Gypsies from Galánta'. They have preserved the old traditions. In order to keep it alive, the composer has taken his principal themes from these old publications.

Kodály chose several of these dances for his piece, with five of them making up the principal sections of the one-movement structure. He also wanted to recreate the Verbunkos style of the aforementioned gypsy band. Verbunkos was a Hungarian/ Gypsy dance style with march-like accompaniments from the 18th century which was used to recruit young men into the army, with contrasting slow and fast sections, alternating swagger with foot-stomping energy and excitement.

Kodály's piece is much more than an arrangement of Gypsy folk tunes; they are infused and combined with an eclectic range of styles from 19th-century Romanticism to Impressionism and even Atonality to showcase these traditional melodies within a modern 20th-century Hungarian style of music.

Instrumentation

The piece is scored for orchestra, but not of the size often called for by 20th-century composers:

• Woodwind – 2 each of flute (2nd...

Details zur Ausgabe

• Verlag: Anthem Press
• Erscheinungsdatum: 2018
• Sprache: Englisch
• ISBN 10: 1783088664
• ISBN 13: 9781783088669
• Einband: Taschenbuch
• Auflage: 2
• Anzahl der Seiten: 152
• Kontakt zum Hersteller: Nicht verfügbar
• Verantwortliche Person: Buchpark GmbH; gpsr@buchpark.de; ; Krügerweg 1; Trebbin; Brandenburg; 14959; Deutschland