Each and every one of our music workshops
have been so great, and today marked our final time together. We examined the
musical concepts*, listening for
appreciation.
- Duration
What is the
tempo? Does it change?
How many bars
does the solo last?
How long or
short are the sounds? Are there silences?
What rhythm
patterns feature? Are the rhythms syncopated?
- Pitch
What is the
pitch of the solo voice or instrument?
What is the
melodic contour (shape) of the improvised solo? Does it move by steps or leaps,
does it move up or down?
Is the tonality
major, minor, modal? Is there a change of key?
- Dynamics and expressive techniques
How loud or soft
is the music? Does the dynamic level change?
What techniques
does the soloist use to add to the expressive quality of the music? For example,
are notes played legato or staccato, or accented; does the music slow down or
pause; is the melody line ornamented?
- Tone colour
Which instrument
plays the solo and what other instruments are heard?
Does the soloist
use techniques to modify the tone colour?
Are the sounds
acoustic, electric or electronic?
- Texture
What other
layers of sounds are heard during the solo and what role/s do they serve (for
example, melody, countermelody, harmony, bass line)?
- Structure
How is the
material of the solo organised?
What musical
ideas or motifs feature?
Is there
repetition and contrast within the solo?
Does the solo
include riffs or ostinatos?
(NSW DET 2011)
We spent the duration of the workshop
listening to various pieces and analysing them together according to the six
concepts of music. The first piece
we listened to was Carnival of the Animals – The Swan, by Camille Saint Saens. I
absolutely love this beautiful and tender song, which was originally written
for two pianos and a cello back in 1886. Listening to this piece brought back a
series of emotions and memories, took me back to when I first heard a student
teacher perform this piece in my Year 8 class. Even back then I had been swept
away at how delicate the piece was, and have dreamt of learning the cello
one-day ever since. I was also reminded of the introductory piece to the musical
suite – Royal March of the Lion, as I have taught this on piano to a number of
my students. I find it so interesting how music, emotion and memory are
strongly linked.
Listening to this piece a number of times
over this week has reminded me of something that I recently read in “Is Beauty
the Making One of Opposites?”, where Eli Siegel asks:
“Is there a logic to be found in…every work of art, a
design pleasurably acceptable to the intelligence, details gathered unerringly,
in a coherent, rounded arrangement?—and is there that which moves a person,
stirs him in no confined way, pervades him with the serenity and discontent of
reality, brings emotion to him and causes it to be in him?”
Hearing
this music, it is hard not to be stirred, and in “no confined way.” What we
hear and what we see in our minds are made one: a swan (depicted by the cello)
glides gracefully through water (represented by the piano), its long, elegant
neck yearningly reaching for the sky, and bowing down with modesty. It is both graceful and strong. Here is
Saint-Saens’ stirring music.
The other pieces that we also analysed
throughout the workshop included Grieg’s ‘In the Hall of the Mountain King’,
Elfman’s ‘The Ice Dance’ and Williams’ ‘Harry Potter – Hedwig’s Theme’. I
really loved listening and analysing all these pieces; oh how appreciating
music can be such a wonderful and emotional experience.
To wrap up my music blog entries, I want to
share my favourite classical piece, Pachelbel’s ‘Canon in D’. I learnt this
piece on piano while in high school and absolutely adored it. Somehow, it is
such an indescribable experience to play it, it is just so beautiful and full
of emotion… Below is a video of ‘Canon in D’ using the original instruments that
Pachelbel wrote it for.
And finally, below is a ‘modernised’
version of ‘Canon in D’ – it is very amusing but simultaneously reveals the incredible
talent of these musicians!
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