MUSIC In Tune Secondary Discover the NEW MUSIC series
ISBN: 9788468077475 ISBN: 9788468081090 History of Music II Secondary Introduction to Music I Secondary
The design of the pages, with images and photographs, promotes an understanding of the content and motivates students to learn the content in English. History of Music Introduction to Music Flamenco 3. ACCOM ANY t is menco son . Use p m s sec s or t e ouder e ts nd p m s sord s or t e ot er e ts. Cup your nds to per orm t e sound o p m s sord s nd re u r c ppin or t e p m s sec s. 1 2 1 2 3 4 5 6 7 8 9 10 Body percussion is a fundamental part of flamenco. Cante (singing) and toque (guitar playing) are accompanied by different types of hand claps, and also by finger clicks and zapateado (tapping the floor) performed with shoes with a hard sole and nails on the toe and the heel. Gumboot dance 4. ANCE xo e e, Sout A ric n son . In z p te do, t e d ncer t ps t e oor wit t e w o e oot, t e oot, t e ee , t e ed e o t e ee or t e toe. T ese sic movements re com ined to m e di erent r yt ms. T e step in t e indic ted direction. T e step nd s p t e oot wit ot nds. Gumboot dance appeared at the end of the 19th century in the mines of South Africa. The workers, mostly black men, performed very hard and dangerous tasks. They were forbidden from talking or singing while they worked, so they invented a way to communicate that used the sound of their gumboots. Today, this dance is a symbol of the fight against the racism and repression that black people in South Africa suffered. er orm everyt in 3 times, quic er nd quic er. (twice) (twice) (twice) (twice) (twice) 9 . Rhythmic modes and modal scales Rhythmic modes 3. W ITE OWN t e com in tions o minims nd crotc ets t t it in trip e metre r nd in qu drup e metre r. 4. CA YOUT r yt mic dict tion in p irs, usin t e com in tions o note v ues rom t e previous ctivity. At the beginning of the Middle Ages, religious texts were sung in free time, but at the end of the 12th century rhythmic modes began to be used. These are rhythmic patterns based on a combination of long and short sounds. There were six different patterns, but the main ones were: troc ee i m d cty h q q h q q h 5. E FO M t is score. W ic r yt mic mode is it written in? 44 & ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ Ó Modal scales In the Middle Ages, modal scales were used, which are different to the scales that we use today. 6. SAY w ic o t ese pieces o music uses mod sc e. ➔ omine, Audivi, nonymous. ➔ Für E ise y Ludwi v n eet oven. There were eight modal scales in total. Each scale was determined by the note that started and ended a melody (final note) and the dominant note that organised the melody (tenor note). 7. MA E U me ody usin i m r yt m nd t e sc e in ori n mode. in note tenor note & w w w w w w w w Medieval modal scales A sc e is series o notes or nised in scendin or descendin order t t is used to compose music. T e m in mediev r yt mic modes were ori n, ry i n, Lydi n nd Mixo ydi n. We sti use t em tod y in music improvis tion. 9 yt m is present in m ny spects o n ture: we c n ind it in our e rt e t, t e w ves in t e se , t e cyc e o d y nd ni t or t e se sons o t e ye r. W en we isten to music or per orm r yt m or me ody, we n tur y c p or t p our eet to t e e t. . Rhythm and beat 1. ACCOM ANY W ere Is t e Love? y c Eyed e s wit t is series o sounds. In music, rhythm means a pattern of sounds. These patterns are organised into beats. The beat means the equal parts in which musical time is divided. Some beats are louder than others. This creates a different emphasis when the louder beat is one in every two, in every three or in every four. 2. EAT OUT t ese r yt ms y p ttin your e s. Emp sise t e ouder e ts. ➔ Every two e ts (T e Syncop ted C oc y Leroy Anderson): 1 2 1 2 1 2 1 2 ➔ Every t ree e ts (W tz o t e F owers y yotr I yic Tc iovsy): 1 2 3 1 2 3 1 2 3 ➔ Every our e ts ( y E ep nt W y Henry M ncini): 1 2 3 4 1 2 3 4 . Body percussion The human body is the perfect instrument. We can sing beautiful melodies with our voices and make all types of rhythms with body percussion, like clapping our hands, clicking our fingers or patting our legs. c p in er c ic p t your nd on your c est in er c ic 8 I Rhythm in our blood urin t e Midd e A es, spiritu ity w s more import nt to t e rts t n e uty. Artists t ou t o t eir cre tions s divine o erin s to God, nd t eir m in o ective w s to spre d t e C risti n it nd to demonstr te t e ut ority o t e C urc . . The Middle Ages 1. SAY t ro e o t ese soci roups in t is period. c er y no i ity common peop e 2. EX LAIN t e di erences etween t ese pieces o music. W ic one o t em do you t in is mediev ? W y? ➔ Ador te eum, nonymous. ➔ Nocturne No. 3 y Frédéric C opin. The fall of the Western Roman Empire in 476 marks the start of the Middle Ages. The fall of the Byzantine Empire in 1453 marks the end, although some scholars extend it until the arrival of Columbus in America in 1492. At this time, Christianity was the main unifying element of the Western world, and it had a decisive influence on social, scientific and artistic development. The year 1054 saw the East–West Schism, which divided Christians between the Catholic and the Orthodox Church. The Roman Catholic Church was, together with the nobility, the most important institution in Europe. The monasteries and cathedrals had schools that taught the monks to read and write, so that they could copy the manuscripts of the great authors on all types of subjects. In the 11th century, universities started to appear. Medieval art ➔ E r y in t e Midd e A es, om nesque rt (11t nd 12t centuries) emer ed. It d so er sty e nd su ect m tter. ➔ L ter, Got ic rt ( rom t e 13t to t e 16t century) w s deve oped. It w smore e or te nd orn te. T ey ru ed nd de ended t e territory. T ey wored in ricu ture, ivestoc rmin , cr ts, tr des nd commerce. T ey uided peop e in spiritu m tters. 8 I The Middle Ages Introduction to Music History of Music ESSENTIAL KNOWLEDGE 1. Rhythm and beat 2 Body percussion 3. Writing music 4. Properties of sound 5. Sound and hearing 6. Soundscapes 7. Enjoy the concert! CONNECT WITH REALITY How many different sounds can you make with your body? When we clap our hands or tap our feet, can we call it music? Which everyday sounds bother you? Can excessive sound or noise be bad for our health? When is it better to be silent? Rhythm in our blood ESSENTIAL KNOWLEDGE 1. The Middle Ages 2. Rhythmic modes and modal scales 3. Medieval musical textures 4. Types of music 5. Liturgical music 6. Secular vocal music 7. Instrumental music 8. Music in al-Andalus CONNECT WITH REALITY What were the main artistic styles in the Middle Ages? Do you know any literary works from this period? Do you know how music was written down in the Middle Ages? What do you think the music was like in medieval churches? And in villages and cities? Which instruments can you identify in the picture? What instrument family and type do they belong to? The Middle Ages Student’s material The unit begins with a discussion relating to a personal experience associated with the historical period of the unit or with its contents. ESSENTIAL KNOWLEDGE Lists the basic concepts that will be worked on throughout the unit. CONNECT WITH REALITY Suggests questions on the topic, that will be used to recall learnings and put what students need to learn into context.
ORGANISE YOUR IDEAS SOUND Its properties re… T ey're s own wit … Intensity It distin uis es etween oud nd quiet sounds. yn mic indic tors: pp p mp mf f ff dim. cresc. itc It distin uis es etween i nd ow sounds. Music notes on t e st ve nd t e tre e c e : SOUND WAVES An o ect vi r tes. T e w ves tr ve t rou t e ir, w ter or not er medium, nd re c our e rin or ns. e u r nd or nised nd t ey ee p e s nt. T is type o w ves re c ed sound. Irre u r nd disor nised nd t ey ee unp e s nt. T is type o w ves re c ed noise. T ey're produced w en… T ey're di erent dependin on… T ey're me sured in… T ey c n e… An excess o sound nd noise in our surroundin s is c ed noise po ution nd c n e very d n erous or our e t . T e resu t o t e sounds in sp ce t iven moment is c ed soundsc pe. T eir requency, w ic determines t e pitc o t e sound ( ster in i sounds nd s ower in ow sounds). Hertz (Hz). T eir mp itude, w ic determines t e intensity o t e sound ( r er in oud sounds nd sm er in quiet sounds). eci e s (d). T eir dur tion. Seconds (s). & œ œ œ œ œ œ œ œ It distin uis es etween on nd s ort sounds. ur tion Note v ues nd t eir rests: h q e x Tim re It identi ies w t we e r. T e n me o t e instrument or type o voice. 23 READING On 5th July 2011, one of the most valuable treasures in the cathedral of Santiago de Compostela mysteriously disappeared: the Codex Calixtinus. The book, kept in a security case in the cathedral's archives, disappeared as if by magic. A codex is a book from before the invention of the printing press. It's written by hand and consists of a set of booklets that are sewn together. The codex in the cathedral of Santiago was written in the 12th century. Its name comes from Pope Callixtus II, because it's thought that he decided to compile it. It's a beautifully illustrated manuscript that combines liturgical texts, stories about James the Apostle, as well as a useful guide for travellers, with information about the pilgrims' route to Santiago de Compostela, accommodation, works of art and advice. All this makes it a literary gem, but it's also exceptional from a musical point of view. It contains 22 polyphonic pieces of music and they're some of the oldest compositions for multiple voices that exist in Spain. One of these compositions is the hymn Conguadeant Catholici. It's the first known composition for three voices in the whole Western repertoire. The Codex Calixtinus is a unique source of knowledge about medieval literature and music. This is why, at the time, many people compared the tragedy of its disappearance with the collapse of the Portico of Glory. Thanks to the codex, we have been able to study different types of musical notation and the role of music in the liturgy of the period, but there was still a lot more to discover in the book. Who could have taken it? The police interrogated the users of the archives, both religious people and those working there, and looked for the book all over the cathedral. Since this was a Romanesque building, there were many passages and hidden corners. They even searched the organ! One day, in one of the ten chapels of the temple, a hidden copy of all the keys to the archives was found. This clue finally led them to the thief: an electrician with years of experience working in the cathedral and who had also stolen other documents and objects. After a search that lasted nearly a year, the Codex Calixtinus was returned to its home of more than 800 years, and the codex was now more popular than ever. Today it awaits the visits of experts from all over the world who hope to reveal all its secrets. The stolen codex Key questions W t is codex? W ere is t e Codex C ixtinus ept? W y does it ve t is n me? W t is its content? W y is it import nt rom music point o view? W t is speci out t e ymn Con ude nt C t o ici? Tod y, is not tion sti s import nt s it w s in t e Midd e A es or eepin record o music? 28 I The Middle Ages At the end of each unit: CHECK YOUR PROGRESS This section features a wide range of activities, to test and apply what has been learned. READING This section is dedicated to reading or analysing a news story, in order to encourage CRITICAL THINKING and reflection on different interdisciplinary areas. ORGANISE YOUR IDEAS This section presents the key concepts in diagrams and mind maps that are much easier to learn and absorb. A large number of practical exercises, that will be used to work on musical skills and competences. Creativity development through the interpretation of vocal and instrumental pieces, as well as dances and performing arts. . Properties of sound There are four properties that help us to distinguish one sound from another: duration, pitch, intensity and timbre. We can show all these properties with musical notation. Duration 8. SAY t e correct order o t e r yt ms. A 44 / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ B 44 / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ C 44 / œœœœœ œ œœœœœ œ œœœœœ œ œœœœœ œ Duration tells us if a sound is long or short. We represent it with note values and their corresponding rests. The note value that usually represents the beat is the crotchet, but it could be any note value. n me note v ue rest equiv ent semi reve 4 crotc ets w h q e x minim crotc et 1 crotc et 2 crotc ets qu ver 1/2 crotc et semiqu ver 1/4 o crotc et 9. TA t e r yt ms wit your oot nd per orm t emwit nd c ps. T en m e up t ird r yt m nd write it on one- ine st ve. 44 / ˙ œ Œ œ œ œ Œ œ œ œ œ œ œ œ 44 / œ Œ ‰ œ j ‰ œ j œ œ œ œ œœœœœ œ œ ˙ Parts of a note ➔ T e p rts o note v ue re: ➔ W en qu vers nd semiqu vers o to et er, t eir s oin e c ot er i e t is. iq jjjq flag stem notehead e q 11 Loo t t e scores. W ic sty e o Gre ori n c nt does e c one e on to? Ky ri e e lé i son. - - - - - __________________ Gau á __ __ de mus óm nes _ in Dó _ mi - - - - - in to - - - to cor de me o Copy t e sentences out mediev music nd correct t e wron ones. . Or num is t e e r iest po yp onic orm. T e m in voice w s Gre ori n me ody nd second, p r e voice w s dded. . isc ntus w s new composition in t e sy ic sty e or two to our voices. T e s me text w s sun y t e voices, wit stron r yt m, nd it w s per ormed in processions. c. Conductus consisted o ddin second voice t t moved in contr ry motion to t e Gre ori n me ody. ut t ese types o mediev not tion in c rono o ic order nd de ine t em. mensur neum tic squ re S y w ic type o music e c o t ese sentences descri es: itur ic or secu r. . It w s on y voc . . It w s voc nd instrument . c. It w s per ormed in t e c st es nd pu ic sp ces o towns nd cities. d. It w s written to support re i ious mess e. e. It w s written to te stories o ove nd eroism. . It r du y deve oped rom p inson to po yp ony. Copy nd correct t e t e. Gre ori n c nt Secu r voc music Anonymous. y nown composer. Monop onic, wit ccomp niment. Monop onic, c ppe . It uses mod sc es nd r yt mic modes. It uses mod sc es nd is in ree time. It serves secu r text in L tin. It serves itur ic text in t e oc n u e. er ormed y minstre s nd trou dours. er ormed y mons. Copy e c term next to its de inition. o i rds minstre s trou dours . T ey d n exce ent iter ry nd music educ tion, nd per ormed t eir own son s in t e courts o p ces. . T ey were c erics or students wit ew resources. T ey wrote poetry in L tin t t w s s tiric or critic o t e C urc or power u peop e. c. T ey were cro ts, mime rtists, reciters nd musici ns, nd per ormed in vi e nd city squ res, sin in music composed y trou dours. escri e t ese instruments. ps tery c ri on re ec squ re nd drum urdy- urdy port tive or n s wm Exp in t e simi rities nd di erences etween And usi n, Moz r ic nd Sep rdic music. Exp in ow t ese terms re re ted to e c ot er. me ism tic son oo z nū Gre ori n c nt secu r composition L i re Verme de Montserr t poetic enre 27 CHECK YOUR PROGRESS Answer t e questions in your note oo . . W t d tes m r ed t e st rt nd t e end o t e Midd e A es? . W t were t e two most power u po itic , economic nd cu tur institutions in Europe durin t is period? c. W ere were t e cu tur centres in t is period? d. W ic two rtistic sty es ppened durin t e Midd e A es? e ine t ese terms in your own words in your note oo . . Sc e. . Mod sc e. c. yt mic mode. Copy t e correct sentences nd correct t e wron ones. . Mediev r yt mic modes com ined i nd ow sounds. . In t e Midd e A es di tonic sc es were re dy in use. c. Me odies composed in mod sc es st rt nd end wit t e in note nd ve tenor note t t or nises t e me ody. Write one o t e m in r yt mic modes nd its com in tion o note v ues in your note oo . Cre te n ei t- r me ody usin d cty r yt m nd t e sc e in Lydi n mode. & w w w w w w w w r w monop onic texture nd t e t ree types o po yp onic texture t t you now in your note oo . Copy e c term next to its de inition. texture monop ony po yp ony . A sin e me odic ine. . T e w y in w ic t e me odic ines o composition re com ined. c. Sever independent me odic ines t t re per ormed simu t neous y. Find t e odd one out nd exp in w y. . Troc ee, di tonic, i m , d cty . . Mod , in , minim, tenor. c. Monop ony, contr ry, p r e , drone. Copy nd comp ete. In t e Midd e A es, t e irst po yp onic pieces o music were very simp e, ut t ey ec me more over time nd t e di erent more independent o e c ot er. In t e Midd e A es, t e voices went to et er in t ree w ys, ener tin t ree di erent types o po yp ony: T e voices moved in motion, eepin t e s me etween t em. One voice moved nd t e ot er, c ed t e , rem ined st tic. T e voicesmoved in motion, or in t e direction. Copy nd comp ete t e second me ody in contr ry motion, o owin t e ex mp e in t e irst r. 42 42 & # & # Œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ Œ œ œ Loo t t e score rom t e previous ctivity. W t texture does it ve? W t interv is t ere etween t e irst note o ot voices? in note tenor note 26 I The Middle Ages Flamenco 3. ACCOM ANY t is menco son . Use p m s sec s or t e ouder e ts nd p m s sord s or t e ot er e ts. Cup your nds to per orm t e sound o p m s sord s nd re u r c ppin or t e p m s sec s. 1 2 1 2 3 4 5 6 7 8 9 10 Body percussion is a fundamental part of flamenco. Cante (singing) and toque (guitar playing) are accompanied by different types of hand claps, and also by finger clicks and zapateado (tapping the floor) performed with shoes with a hard sole and nails on the toe and the heel. Gumboot dance 4. ANCE xo e e, Sout A ric n son . In z p te do, t e d ncer t ps t e oor wit t e w o e oot, t e oot, t e ee , t e ed e o t e ee or t e toe. T ese sic movements re com ined to m e di erent r yt ms. T e step in t e indic ted direction. T e step nd s p t e oot wit ot nds. Gumboot dance appeared at the end of the 19th century in the mines of South Africa. The workers, mostly black men, performed very hard and dangerous tasks. They were forbidden from talking or singing while they worked, so they invented a way to communicate that used the sound of their gumboots. Today, this dance is a symbol of the fight against the racism and repression that black people in South Africa suffered. er orm everyt in 3 times, quic er nd quic er. (twice) (twice) (twice) (twice) (twice) 9 Plus: An Appendix where students can review and check key terminology used in the study of music. Pages for digitising the notes on the recorder and the basic chords on the guitar and keyboard in order to carry out the musical interpretations provided throughout the book. It includes a variety of multimedia resources to support learning, such as audio recordings, videos, and a very extensive musical repertoire. All of these can be easily located on the content pages thanks to icons that help to identify them and that can be found in LibroMedia.
Teacher’s materials • Project key features • Specific competences • Neuroscience and emotional education • Teaching suggestions • Assessments • Answers • PDA • LibroMedia • Classroom posters Digital material The series has a Libromedia with: • Videos • Presentations • Recordings • Galleries • Links • Interactive activities • Etc. Flamenco 3. ACCOM ANY t is menco son . Use p m s sec s or t e ouder e ts nd p m s sord s or t e ot er e ts. Cup your nds to per orm t e sound o p m s sord s nd re u r c ppin or t e p m s sec s. 1 2 1 2 3 4 5 6 7 8 9 10 Body percussion is a fundamental part of flamenco. Cante (singing) and toque (guitar playing) are accompanied by different types of hand claps, and also by finger clicks and zapateado (tapping the floor) performed with shoes with a hard sole and nails on the toe and the heel. Gumboot dance 4. ANCE xo e e, Sout A ric n son . In z p te do, t e d ncer t ps t e oor wit t e w o e oot, t e oot, t e ee , t e ed e o t e ee or t e toe. T ese sic movements re com ined to m e di erent r yt ms. T e step in t e indic ted direction. T e step nd s p t e oot wit ot nds. Gumboot dance appeared at the end of the 19th century in the mines of South Africa. The workers, mostly black men, performed very hard and dangerous tasks. They were forbidden from talking or singing while they worked, so they invented a way to communicate that used the sound of their gumboots. Today, this dance is a symbol of the fight against the racism and repression that black people in South Africa suffered. er orm everyt in 3 times, quic er nd quic er. (twice) (twice) (twice) (twice) (twice) 9 yt m is present in m ny spects o n ture: we c n ind it in our e rt e t, t e w ves in t e se , t e cyc e o d y nd ni t or t e se sons o t e ye r. W en we isten to music or per orm r yt m or me ody, we n tur y c p or t p our eet to t e e t. . Rhythm and beat 1. ACCOM ANY W ere Is t e Love? y c Eyed e s wit t is series o sounds. In music, rhythm means a pattern of sounds. These patterns are organised into beats. The beat means the equal parts in which musical time is divided. Some beats are louder than others. This creates a different emphasis when the louder beat is one in every two, in every three or in every four. 2. EAT OUT t ese r yt ms y p ttin your e s. Emp sise t e ouder e ts. ➔ Every two e ts (T e Syncop ted C oc y Leroy Anderson): 1 2 1 2 1 2 1 2 ➔ Every t ree e ts (W tz o t e F owers y yotr I yic Tc iovsy): 1 2 3 1 2 3 1 2 3 ➔ Every our e ts ( y E ep nt W y Henry M ncini): 1 2 3 4 1 2 3 4 . Body percussion The human body is the perfect instrument. We can sing beautiful melodies with our voices and make all types of rhythms with body percussion, like clapping our hands, clicking our fingers or patting our legs. c p in er c ic p t your nd on your c est in er c ic 8 I Rhythm in our blood Flamenco 3. ACCOM ANY t is menco son . Use p m s sec s or t e ouder e ts nd p m s sord s or t e ot er e ts. Cup your nds to per orm t e sound o p m s sord s nd re u r c ppin or t e p m s sec s. 1 2 1 2 3 4 5 6 7 8 9 10 Body percussion is a fundamental part of flamenco. Cante (singing) and toque (guitar playing) are accompanied by different types of hand claps, and also by finger clicks and zapateado (tapping the floor) performed with shoes with a hard sole and nails on the toe and the heel. Gumboot dance 4. ANCE xo e e, Sout A ric n son . In z t w o t e ee or movem to m T e step in t e indic ted direction. T e step nd s p t e oot wit ot nds. Gumboot dance appeared at the end of the 19th century in the mines of South Africa. The workers, mostly black men, performed very hard and dangerous tasks. They were forbidden from talking or singing while they worked, so they invented a way to communicate that used the sound of their gumboots. Today, this dance is a symbol of the fight against the racism and repression that black people in South Africa suffered. er orm eve quic er (twice) (twice) (twice) (twice) (twice)
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