UNIT • • Musical textures II: imitative counterpoint , homorhythmic homophony and melody-dominated homophony. • • Analysis of a scene f rom the f ilm Shakespeare in Love (1998). • • Active listening to O Sacrum Convivium!, C. de Morales. • • Active listening to Stabat Mater, G. P. da Palestrina. • • Performance of Da Pacem Domine, M. Frank. • • Performance of Más Vale Trocar, J. del Encina. • • Performance of Come Again , Sweet Love, J. Dowland. • • Performance of Mille Regret z, J. des Prez. • • Performance of the Allegro pastorale f rom Spring f rom The Four Seasons, A. Vivaldi. • • Making an instrument to accompany the Allegro f rom Spring f rom The Four Seasons, A. Vivaldi. • • Performance of Une Jeune Fillette, J. Chardevoine, and creation of lyrics for its melody. • • Alberti bass. • • Sonata form. • • Active listening to the Allegro f rom Piano Sonata No. 16, W. A. Mozart . • • Active listening to the Molto allegro f rom Symphony No. 40, W. A. Mozart . • • Analysis of an excerpt f rom the f ilm Amadeus (1984). • • Active listening to the Passa Calle f rom Musica Nott urna delle St rade di Madrid, L. Boccherini. • • Performance of the Andante f rom Symphony No. 94 ‘The Surpri se Symphony ’, J. Haydn. • • Creation of an Alberti bass accompaniment for the melody provided. • • Creation of a rondo f rom the excerpts provided. • • Tonality and modality: relative scales. • • Simple and compound metres. • • The triplet . • • Active listening to Largo al Factot um f rom The Barber of Seville, G. Rossini. • • Analysis of a scene f rom the f ilm La Bohème (2008). • • Active listening to Ständchen f rom Schwanengesang, F. Schubert . • • Active listening to the Moderato f rom Caprice Basque, P. Sarasate. • • Analysis of Dance of t he Litt le Swans, a scene f rom the ballet Swan Lake, P. I. Tchaikovsky. • • Performance of Barcarolle f rom The Tales of Hoffmann, J. Offenbach. • • Performance of Va , Pensiero f rom Nabucco, G. Verdi. • • Creation of an audiovisual presentation about a piece of programme music. • • Performance of Largo al Factot um f rom The Barber of Seville, G. Rossini. • • Consonance and dissonance. • • The chromatic scale or twelve-tone scale. • • Mixed metres. • • Active listening to Le Merle Noir, O. Messiaen. • • Analysis and comparison of two pieces of choreography for The Rite of Spring, I. Stravinsky. • • Creation of a melody with a pentatonic scale and another with the chromatic scale. • • Creation of a graphic score for Art ikulat ion, G. Ligeti. • • Performance of Gymnopédie No. 2, E. Satie. • • Creation of an Expressionist melody following the guidelines given. 5 The Romantic period 95 4 The Classical period 73 3 The Baroque period 51 2 The Renaissance 29 1 The Middle Ages 7 • • Musical textures I: monophony and polyphony. • • Analysis of a scene f rom the f ilm The Name of t he Rose (1986). • • Comparing Gregorian chant and secular vocal monophony. • • Creation of different types of polyphonic texture. • • Creation of a Gregorian-style piece of music. • • Performance of Ut Queant Laxi s, G. d'Arezzo. • • Performance of Tant M ’Abeli s, B. de Palou. Listening and perception ES SEN T I A L K N OWL ED GE • • Scale degrees and their functions: tonic and dominant . • • Antecedent and consequent musical phrases. • • Antecedent and consequent cadences. • • Musical ornaments: appoggiatura, trill and mordent . • • Analysis of a scene f rom the f ilm All t he Mornings of t he World (1991). • • Active listening to the Largo - allegro from the Concerto Grosso in D Major No. 1, A. Corelli. • • Glossar y of musical terms. • • Recorder f ingering chart . • • Chords on the guitar. • • Chords on the keyboard. Performance, improvisation and APPENDIX 137 6 The 20th century 117 4 I Contents
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