Singapore 23-25th August 2013 Indexd20uo2axdbh83k.cloudfront.net/20130824/07c3dd6fb0d... · Singapore 23-25th August, 2013, Jodie Townsend 2 IB ASIA PACIFIC REGIONAL WORKSHOP AGENDA

Singapore 23-25th August, 2013, Jodie Townsend 1

Singapore 23-25th August 2013

Index

2 Agenda

5 Aims of Workshop

6 Listening Diary (JLT)

7 Linking Plan “A Turin” (JLT)

8 Differentiated Task – Carolynn Cole (JLT)

9 Year 10 Analysis Task

17 MLI Topics (JLT)

18 MLI Worksheet

19 Categorizing Musics: The position of world music within the

International Baccalaureate Diploma Program – Pip Robinson

30 Commentary on MLI Sample A

31 Two Group 6 Subjects

32 JLT Resource List

35 MLI Sample A with Marks

54 Sample A Listening Paper with marks

64 Sample EE with marks (2012)

93 Workshop Leader’s Workbook 3


IB ASIA PACIFIC REGIONAL WORKSHOP AGENDA DP/MYP Music (Category 1)

Venue, City, Country

Dates

Workshop Leader Jodie Townsend Jodie studied music at the Australian Catholic University doing a Bachelor of Music in Piano Performance with her Honours year in Choral Conducting. She completed her Diploma of Education with Monash University.

Jodie has worked for Geelong Grammar School for the past 18 years and has been the Director of Music for the last eight years. She has examined for the local Victorian examination system (VCE) and has examined for the IB for the last nine years.

She is passionate about the vocal development of children and has a special interest in the changing voice amongst her choristers. Jodie performers as an organist, pianist and singer and lectures locally on classroom music curriculum.

Jodie’s interests range from all forms of sport, cooking, fine wine, antiques and of course music of any description.

All participants are requested to bring with them the following: A usb thumb drive to share resources Laptop (please ensure that your school has given you sufficient administrator rights to be able

to change your IP/network settings so that you can connect to the local network onsite) – bring an power adaptor and a projector adaptor (if a Mac user)

A copy of this Agenda PDF CAT 1 Workbook (will be emailed closer to the date of the conference) Current subject guide (hard copy or electronic) Current Extended Essay Current set works scores – Yellow River Piano Concerto - Xian & Classical Symphony -

Prokofiev A list of books that you find useful in the classroom (ISBN & details) A list of useful web sites Any other material that you have found useful and are willing to share As many questions as you like!


Please note: session topics are subject to change based on needs of the group

TIME/DAY DAY 1 DAY 2 DAY 3

8:30 – 10:00

Welcome & Introduction by IB Asia Pacific Representative

(30 mins)

Session 5: Musical Links Investigation continued & Musical Perception and Analysis

Group discussion on MLI topics/suggestions

Overview of the Listening Paper

Marking student work

Role of set work Teaching and learning

strategies

Session 9: Extended Essay

Overview of the task Suitable extended essay topics

for Music Marking sample work

Questions & answers

Session 1: Introductory

Introductions by participants

Introduction to IB Philosophy

Defining participants’ expectations/goals?

What type of student can succeed in IB Music?

Overview of the Course

Raising awareness of the ideas of “Links” in curriculum (group activity)

Invited speaker Objectifs Centre for Photography and Film? TBC

10:00 – 10:30

Morning Break

10:30 – 12:00

Session 2: Introduction to Performance

Overview of options available

Music education and assessment

Solo Performance Marking student

work Problems of

performance assessment in music

Session 6: Musical Perception and Analysis (cont.)

Example questions on set works for participants & discuss (Group work)


Teaching and learning strategies

Questions and answers

Session 10: TOK and it integration in the Arts

Links that can be drawn between the Arts and TOK

Critical thinking in our students

Incorporating TOK into our everyday teaching - Practical ideas for TOK incorporation into our teaching (group discussion)


Recording strategies (group discussion)

11:00-12:00pm Wushu Performance & Workshop

12:00 – 1:00 Lunch

1:00 – 2:30

Session 3: Performance (cont.)

Group Performance Planning a

programme for assessment over the two years

Internal assessment issues



Session 7: Composition

Overview of the task

The written statement

Internal assessment issues

Marking sample work

Questions & answers

Session 11: Planning your programme & IB Philosophy

How do you plan the course over two years?

Suggestions for scheduling all tasks

Different classroom activities

Differences between HL & SL

Participants presentations & suggestions

2:30 – 3:00 Afternoon Break

3:00 – 4:30

Session 4: Musical Investigation

Clarification of the task

Definition of genre?

Suitable musical investigation topics

Marking Student work

Presentation options (group discussion)


Session 8: Composition continued

Marking sample work Questions & answers

Session 12: Final Plenary Discussion

The Online Curriculum Centre

Sharing of participants recommendations

Have you achieved your goals?

Questions & answers Reflections &

recommendations Summation Evaluation

4:30-5:00pm

4:30-5:00pm Talk and Dance by Eurasian Association

4:30 End of the Day * An official "IB Certificate of Attendance" is awarded to participants who have attended all sessions of a workshop. Please ensure that travel arrangements do not preclude candidacy for a certificate.


Aims of Workshop

To develop a clear understanding of the nature of Music in the IBDP Music Guide and its role within the Diploma as a whole

To gain an understanding of how technology can be applied in our Music classroom and the implications of the components within the IBDP 2011 Music Guide

To give experienced teachers the chance to share ideas to enhance their delivery of this subject

To help all teachers be advocates for The Arts – “revealing interdisciplinary connections” (Music Guide, pg. 5)

To gain an understanding of the implications of TOK, CAS and the EE in relation to Music as a subject

To give teachers an opportunity to work with the criteria for all elements of the course in a forum where discussion will lead to deeper understanding of its application

To inpsire teachers to continue their journey as “active, compassionate and lifelong learners who understand ... differences...” (IB Mission Statement)

To enhance teachers already developed International-Mindedness

Workshop Objectives

Clarify the curriculum as set out in the IBDP Music Guide 2011 giving participants ideas and strategies to implement in their classrooms

Create a strong understanding of the criteria of assessment for all components of the course

Allow teachers to share their experiences, resources and ideas

Exploring the development of curriculum within schools that allows all tasks to be completed to the best of their ability over the two years of the course

Discussing the implications of technology in the IBDP Music Guide 2011

Examining the role of the teacher in the IBDP Music Guide 2011

Reflecting on the role of CAS, EE and TOK in relation to Music as a subject


Title:

Composer:

Genre/Style:

Form/Structure:

Tempo: Time Signature: Tonality/Harmony: Melody:

Instruments:

Texture:

Comparable Work/s:

Special Features:

Characteristics of the genre &/or era


c

Italian Folk Song

A Turin Alla

Rosa Bianca

Texan Folk

Song

- Melismatic

- Homophonic

Indigenous

Australian

Music

- Melismatic

Australian

Art Music

Corroboree –

Anthill

- Use/imitation

20th Nationalism

The Rite of Spring

– Stravinsky

- Ballet

- Anthill influenced by

Andes Folk Music

Te Recorda Amanda –

Victor Jara

- Homophonic

Protest Music

Penderecki

Britten

American

Nationalism

Appalachian Spring

– Copland

- Use of folk tunes

American

Work Songs

- Call & response

- Homophonic Classical Music

- Balanced phrases

- Homophonic

20th

Neoclassicism

- “Back-to-Bach”

Classical Symphony

– Prokofiev

Vietnam Work Songs

- Same type of song

- Polyphonic/heterophonic

Baroque Music

- Polyphonic

- Melodic complexity

Celtic Music

- heterphonic

- Melodic complexity

German

Techo

- Motor rhythms

- Melodic

20th Minimalism

-electronic manipulation

- Ostinatos/repetitiveness

Einstein on the Beach – Glass


Carolyn Coil – (check name and the reference)

Mozart “Jupiter” Assessment Tasks

1. Draw a graph to represent the modulations in the 1st movement

2. Explain the thematic material and how it has been used to unify the 4th movement

3. Find four examples of suspension in the symphony

4. Find 4 examples of Classical characteristics in the 3rd movement

5. Discuss four compositional devices that Mozart uses in the 2nd movement

6. Discuss the use of cadences throughout the Exposition of the 1st movement

7. Explain how this symphony differs from a traditional symphony from this period

8. Discuss Mozart’s use of the orchestra & how he uses this to create contrast.

9. Write a short essay on Mozart’s life as a composer

Students should choose 3 activities but they must run in a row as per noughts and crosses.

Each activity is worth 15 marks


Listening & Analysis Task Year

10 Semester 2 2009

Interview

Power point lecture &

Question & Revision Sheets

Written Magazine Article

Analysis


Interview

• Write a script for an interview with a “representative” artist

from your genre

• Record interview on Film

• Use I-movie to edit and present finished item

• Costumes allowed but not “over-the-top”

• Interview should last 8-15 minutes

• It MUST include “relevant” information about their

composition style & characteristics of their style – see sheet

for help with this

• Written script needs to be handed in by both parties

• Interviews will be a source of revision for students before the

final examination

•

Interview will include:

Brief historical background of the “representative” artist – education,

parenting influences . . . . .

Who were their greatest influences? Why?

Do they perform as a solo act or are their others in their group?

What song would be best to explain their style of music?

What musical elements make up their style of music? (See the

attached sheet – these are only a guideline & you are encouraged to

delve as deep as you like into this representative artists music)

Who have they performed with?

Where have they performed? Any gigs coming up in the future?

What CDs have they produced?

Are they involved in any other ‘art’ areas?


Television Interview Script – Year 10

Name:

House:

Criteria for the Marking VH H

M

L

VL

UG

1. Background information of artist

2. Understanding of musical elements

discussed

3. Accuracy to final interview

4. Informative use of musical examples – CD to

be included

5. Spelling & formatting

6. Technical Language

7. References/Bibliography

Comments:

Total: /35 Grade:


Musical Elements

D • Are their gradual changes of dynamics

(crescendo & diminiuendo)?

• Are there terraced dynamics present?

• How does the artist use dynamics to enhance

their music?

R • What types of rythms are used in their music?

• Is the music syncopated?

• Where are the main accents in the music?

• Are any intruments in particular used to keep the

beat?

S • What types of structures does the artist use in

their music?

• Do they tend to use one type of structure or are

they flexible with this?

M • What key signatures do they use? (major, minor,

modal – other?)

• What has influenced their use of these types of

keys?

I • What instruments do they use in their

compositions?

• Who plays these?

• What instrument do they play?

T • What type of texture is common in their music?

• Timbre?

H • What types of harmonies do they use?

• Do they use predictable chord progressions?

Other • Do they write their own lyrics?

• Do they collaborate with anyone else for their

compositions?

• Does someone else compose their material for

them?


Power point Lecture & Question/Revision Sheet

• 15-20 minutes

• Lecture must include the following elements:

- background of the development of the genre

- general musical characteristics used in this type

of genre (see sheet)

- musical examples to demonstrate elements

- You Tube links or video footage

- All audio/video must run through power point

- You are teaching the class about this genre and

as such must engage them throughout

- Each person in the group must present an equal

portion of the presentation

- Each group will prepare a Revision Sheet with a

marking scheme for students to complete. It is

the responsibility of the group to correct and

return these via Jodie to students. These notes

will be used for revision for the final examination

- Graphic presentation in power point must be of a

high quality


Power Point Lecture – Year 10

Name:

House:


M

L

VL

UG

1. Background & development of genre

2. Timing of lecture

3. Engagement of the class

4. Formatting of display

5. Technical language

6. Understanding of content & ability to transfer

knowledge to class

7. Informative use of musical examples/audio &

visual

8. References/Bibliography

9. Overall presentation

Comments

Total: /45 Grade:


Power Point Lecture

Question/Revision Sheet & Marking Scheme

Name:

House:


M

L

VL

UG

1. Questions cover main elements of genre

2. Answers are correct & succinct

3. Mark allocation clear

4. Presentation

5. Clear references given

6. Overall presentation

7. Marked sheets returned promptly

8. Constructive & positive comments given on

all work marked

9. Correct allocation of marks on returned

material & grade given

Comments:

Total: /45 Grade


Magazine Article

• Using your power point lecture as a starting point you must

present a magazine article on the genre you are studying

making reference to your “representative” artist

This must include: (1000-1500 words)

Remember that this is an article about the GENRE/STYLE and

not an analysis of a piece from this style – you can use examples

from pieces of this genre/style to make your points.

• Background information on the development of the style

• Discussion of the musical elements involved in this style

• Use of musical examples to give evidence about your genre

• It must be presented in an “eye-catching” manner that uses

pictures & other presentation elements available on your

computer

• Bibliography

• Foot notes throughout

• Front cover for your magazine

• See examples following from Year 12 Musical investigations –

note these are on specific pieces but formatting ideas will help

you

•

• When writing this article follow this rule: One point –

argue/discuss – use musical examples as evidence & then

summate


Musical Links Investigation Topics GGS

Please note that some of these were attempted against teacher advice and

their success varies – this is a sample of many attempted

Cultures & Specific Pieces where possible Islamic Chant (Quran Recitation) & Western 20th Art Music (John Cage Wonderful Widow of 18 Springs)

Romanian Bagpipe Music (Cimpoi) & Scottish Bagpipe Music (Doina di jele)

Korean Folk Music (Nodle Kangbyon) & Celtic Folk Song (Lullaby by Loreen Mc Kennitt)

German Dance (Die Alte Kath) & Macedonian Folk Song (Ceresna)

Trinidad Steel Drumming (Soulful Calypso) & Javanese Gamelan (Tabuh Pisam)

Italian Folk Song (A Turin Alla Rosa Bianca) & New Zealand Folk Song (Ka Noho au)

Irish Folk Song (Paddy Works) & Western Carol (March of the Kings)

Armenian Chant (Ognaga Induneli Egher- Accept my prayer) & Australian 20th Choral Music (Kooraegulla by Stephen Leek)

Gamelan (Gong Gede ensemble of the Temple of Batur) & Western 20th Art Music (John Cage Sonata No.3)

German Folk Dance (Zwiefache) & Korean Traditional (Launiger April)

New Zealand Folk Song (Ka Noho au) & Ethiopian Traditional (Dama Chorus)

Gamelan (Javanese Dance Opera) & Western 20th Art Music (Pagodes by Debussy)

Lebanese Traditional (Hala lala layya) & Irish Folk Music (Raggle Taggle Gypsy)

Western Romantic Music (Chopin Waltz No.7 in C# minor, Opus 64, No,2) & Jazz (Autumn in Washington Square)

Baroque (Canon in D – Pachelbel) & Western Rock (Beatles Let it Be)

Italian Folk song A Turin Alla Rosa Bianca (Turin) and Hey Jude (Jude) our favourite 1960s British rock

Trinidad Steel Music (Soulful Calypso) & Jiangnan Sizhu Ensemble Music (Huanle Ge)

Jazz (Blue Bossa) & Western Baroque (Bach Suite No.3 in D major, 2nd movement)

Western Classical (Eine Kleine Nachtmusik – Mozart) & 20th century alternative rock (Pearl Jam – Last Kiss)

20th Rock (Led Zeppelin – Immigrant Song) & 20th Western Art (Ravel – Bolero)

Nepalese Religious Mantra (Omni Mani Padme Hum) & Western Rock/Pop (Beatles – Hey Jude)

20th Western Art (Gershwin – Rhapsody in Blue) & Israeli Folk Song (Hava Nagilia)

Argentinean dance (Carnavalito – El Humahuaqueno) & Greek (Sousta)


Musical Links Investigations – Would this work?

Topic Would this work? Why? Why not? What musical links could be found (if any)?

Romantic Opera music of Puccini with a piece of Music Theatre from someone like Andrew Lloyd Weber.

Australian Aboriginal Music and Contemporary African Fusion Pop.

Bluegrass and Baroque

The Doors Alabama & Hava Nagila Traditional Jewish

Tchaikovsky Ballet and Penny Lane by the Beatles

20th Rock (Led Zeppelin – Immigrant Song) & 20th Western Art (Ravel – Bolero)


This paper is submitted for consideration for the Cultural Diversity in Music Education Conference,

11-13 January, 2010, Sydney. Permission to use in Singapore 23-25 August given by Pip Robinson.

Categorizing Musics: The position of World music within the International Baccalaureate

Diploma Program

Pip Robinson

Victoria, Australia

Graduate School of Education

The University of Melbourne

[email protected]

mailto:[email protected]



Diploma Program

Abstract

Categorizing different musics is a necessary part of the academic study of music. Educators are

required to make decisions regarding this which in turn have implications for student outcomes. The

study of World music is an important component of the International Baccalaureate Diploma

Program music course, however, appropriately categorizing the multitude of musics that fall under

this umbrella is not as simple as it seems. What exactly is World music? How do we make decisions in

appropriately categorizing different musics? How can the educator be sure that he/she is making

correct decisions? This paper explores relevant issues of curriculum, cultural understanding and

sensitivity, global influences, and the fusion and acquisition of different musics, in relation to World

music.



Diploma Program

Why categorize music at all? This is a question that I have pondered for many years.

One obvious answer, though, is that with the evolution of academic studies in music the need to be

able to separate different musics so as to analyze, study and understand them on their own terms has

developed. This need to categorize, however, has also led to ongoing debate concerning the most

appropriate way to pursue this within both the school and the institution. Here, relevant issues of

categorization within one senior secondary curriculum, the International Baccalaureate (IB) Diploma

Program (DP) are discussed.

The IB is, by both name and nature, an international educational program, and is offered for study in

several languages. As stated on the International Baccalaureate Organization (IBO) Mission and

Strategy website page, “We promote intercultural understanding and respect, not as an alternative to a

sense of cultural and national identity, but as an essential part of life in the 21st century” (IBO 2008).

This emphasis on intercultural understanding has obvious implications for subject specific curriculum

content and delivery. The study guide for IBDP music specifies the inclusion of musics from cultures

outside the West. In the Musical Perception section it is stated that “students should actively listen to

a wide range of music from different: parts of the world, musical cultures, time periods” (IBO,

2009:13). The Musical Links Investigation requires students to “explore, analyze and examine the

musical connections existing between two (or more) pieces of music from two distinct musical

cultures” (IBO, 2005:14). So, regardless of the enculturation of the individual student, it is necessary

to them to develop an appreciation and understanding of musical ‘otherness’.

The term ‘musical culture’ is used to define and categorize different musics found across the globe. In

IB workshops these have generally grouped under three distinct umbrellas: Western Art music, Jazz

and Popular music, and World music. It is acknowledged, however, that these umbrellas are not

absolute. So, what is the position of the multitude of musical cultures that fall under the World music

umbrella? How do we appropriately categorize musics that could be considered as fusions and/or

acquisitions? The educator charged with guiding students choices and decisions is often faced with

the dilemma of how to appropriately categorize particular musics, as the decisions made can affect

student outcomes.


One example of the potential difficulty arising when appropriately categorizing music can be seen in

the works composed by Astor Piazzolla. He was the originator of Argentinean Neuvo Tango style

music, however, he also studied composition with Nadia Boulanger in Paris in 1954. Piazzolla wished

for acknowledgement as a composer of the Western Art music cohort, with its associated degree of

musical validity. Despite this, he continually fused the elements of tango with elements of Western

Art music to create his unique musical language in the Neuvo Tango style. His works included pieces

for the Western orchestra and Western chamber ensembles, albeit often with the inclusion of

bandoneon. Piazzolla’s quintet music, in the distinct Argentinean Neuvo Tango style, places him

firmly under the World music umbrella. From other compositions, however, he could quite easily be

categorized as a Western Art music composer, and indeed over the last ten years or so, as his music

has been performed more and more regularly in the concert hall, he appears to have been completely

acquired by this canon.

For the educator charged with guiding the student the only safe path is to avoid musics that have the

potential to be categorized within two separate musical cultures. This means that to avoid these

pitfalls a whole range of musics become ‘unsafe’ to include, and often those musics are most rich in

musical interest because of their ‘unsafe’ status. From another perspective, there is an assumption of a

level of prior knowledge from individual teachers, but in reality, how do we categorize music that we

are unsure of? Each individual musical journey takes one on a particular path, but how do we teach

musics that we are unfamiliar with? Given our enculturation, both social and musical, what criteria

should we use to judge musics that we do not have a deep knowledge of? Despite our desire to teach

those musics exotic to our own understanding, how do we overcome issues of contextual

understanding in relation to understanding particular musics? When considering how to appropriately

categorize a music we must consider the question of what actually constitutes a musical culture.

According to the current definition, as found in the 2009 IB Music Study Guide:

Musical culture refers to a learned way of making and using music, which is shared by a

group of people, and is usually passed down from generation to generation. Music plays

different roles within a culture (for example, entertainment, ceremony, work).


A single musical culture may spread widely across time and place, and many creative

changes can be found within a single musical culture while maintaining its essence (this is

known as musical style). For example, the difference between ska and reggae is a creative

change within a single musical culture (music of the Caribbean), Hence two musical styles

within a single musical culture. Similarly swing and be-bop styles (jazz) are part of a

single distinct musical culture, as are renaissance and romantic (western art/classical

music).

Musical culture is not necessarily defined by time or by geography. Palestrina from the 16th

century and Schoenberg from the 20th century, Villa-Lobos from Brazil and Penderecki from

Poland are all composers of western art/classical music, and therefore part of the same

musical culture.

The same geographical region does not necessarily imply the same musical culture. For example,

western-style pop music created in Japan and kabuki music, also from Japan, are not part of the

same musical culture.

On the other hand, musical style refers to particular characteristic musical features such as melodic

structure, form, improvisation, harmony, articulation, duration, which are common to a set of

musical pieces. (International Baccalaureate Organization 2009)

Despite the development of this definition of ‘musical culture’ to clarify difficulties arising when

categorizing musics, there still appear be difficulties for educators. This is especially relevant when

categorizing musics where there is a lack of familiarity with a particular musical language, or

difficulty with musics that cross boundaries or are a fusion of more than one musical style.

World Music?

So, what actually is World music? There appear to be many interpretations. The term was originally

used in the 1960s by Robert E. Brown to refer to ethnomusicology (Williams, 2005), and in the 1980s

it was adopted by the retail music industry to classify any music that was not Western Art, Jazz or Pop

music. By the late 1990s a rather unspecific general perception has developed of what could be


categorized as World Music. When commenting on the term in 1999 the popular musician David

Byrne suggested that the term was “a catchall that commonly refers to non-Western music of any and

all sorts, popular music, traditional musics and even classical music” (Byrne, 1999:np). He considered

this rather dismissive of these musicians and their music because it appeared to regard many musical

styles as exotic but irrelevant, and therefore ‘not like us’. This attitude, he blamed on commercial

rationalization from non-artistic sources within the music industry.

When determining what should be included as World music there is no clear distinction. It appears,

from the Western academic viewpoint, that all traditional or folk musics generated by indigenous

musicians from any part of the world are classified as World music. Where Bohlman defines World

music as “something unpredictable and fundamentally shaped by encounter and creative

misunderstanding between people making music at cultural interstices” (2002:36-39), Nidel (2004:3)

says that “ideally all music is World music”. The term ‘musical culture’ is used not only to refer to

indigenous classical forms of music found throughout the world but also to describe music that is a

fusion of Western Pop with any non-Western style. One vigorous example is the musical style known

as Cantopop, which combines a basis of Western Popular styles including pop, rock, jazz, rhythm and

blues, and electronica, with Chinese traditional musical elements. It seems that there are a multitude

of interpretations for what qualifies as World music although it is clear that it excludes more

traditional styles of Western Art music, and clear examples of Western Popular music. What are

included under the World music umbrella are musics from all across the world including religious and

secular musics, folk musics, ceremonial music, worksongs and music for entertainment purposes.

Fusion and acquisition

One of the features of Western Art music throughout its history has been that it is acquisitive of other

musics, fusing elements together to create new styles or to add colour or musical flavour. As

mentioned previously, this becomes an issue in the IBDP music course because it has implications for

both teacher and student alike in terms of assessment. The IB description of ‘musical culture’,

although quite specific, leaves some room for interpretation when defining fusion musics. As diverse

peoples have brought together their cultural heritages musical influences have been felt, and fusions

have occurred. Tenzer has made this rather delightful comment on the situation.

http://en.wikipedia.org/wiki/Rhythm_and_blues

http://en.wikipedia.org/wiki/Rhythm_and_blues


It is music’s nature to fuse, recombine, and proliferate like genes. Musicians and

composers, witting or unwitting, acting independently or constrained by beliefs and

institutions, are the matchmakers in these sonic reproductive trysts: no human

intolerance nor any reservations about propriety stopped Spanish melodies from

eloping with West African rhythms to form rumba in racist, socially segregated, late

nineteenth-century Havana. One of ethnomusicology’s most enduring contributions

has been to show that such weddings take place whether the cultural parents approve

of them or not (especially when they don’t it seems), and that they both prefigure and

catalyze social change. (Tenzer, 2006:17)

So then, how do we situate these musics given that there are implications for student assessment?

It appears that there is no definitive answer to be found at the current time. Dissecting the issue further

it can be seen that musical fusions, although having many guises, fall into three broad categories:

fusions that create completely new forms, fusions that maintain the individual integrity of each music

within the emerging style, and other fusions which only have a minor influence on a more dominant

style. An example of the first category is Andalusian music, a great hybrid style that emerged from a

mixture of North African Islamic musics, mixed with musics from both Jewish and Christian

traditions (Bohlman, 2002). An example of the second category is from the Brazilian musician and

composer Milton Nasciemento. In 1990, as part of the campaign to support the Alliance for the People

of the Forest in the rivers of the Amazon basin he produced a CD recording combining the traditional

musics of the tribal groups living along the rivers with his own popular musical style. The two

musical styles represented maintain their integrity while becoming part of the same musical piece

(Nasciemento, 1990). The third category is evident in Western Art music. Composers often assimilate

aspects of other musics into their compositions for a variety of reasons, including timbral interest,

rhythmic diversity, structural development, melodic novelty and harmonic divergence. The resulting

music maintains its integrity as Western Art music. Examples of this can be seen in the development

of Minimalism, a sub-style of Western Art music. Seminal composers in this style including Steve

Reich and Philip Glass were heavily influenced by ‘other’ musics, Reich by African drumming

(Griffiths, 2009), and Glass by musical encounters with Indian musician Ravi Shankar (Strickland,

2009). Looking further back to the Romantic era, Chopin’s compositional style was influenced by

Polish folk music styles, as evident in his Polonaises and Mazurkas (Michalowski & Samson, 2009).

Western Art music has been greatly influenced by a multitude of musical styles throughout its history,

but in turn it has also influenced the development of non-Western musics. Nettl argued that radif, a


Persian instrumental style, and Indian classical instrumental music were both influenced by European

Classical period instrumental music (Tomlinson, 2003). These fusions and acquisitions continue to

occur, meaning that making clear decisions about how to define them absolutely is almost impossible.

So then, with the increasing influence of globalization and fusion, and as global popular culture

becomes even more accessible is it really appropriate to continue to define different musics according

to such definitions?

Globalization, Cultural diversity, Learning

In general terms one of the impacts of an increasingly global worldview on Western education has

been the inclusion of deeper study into aspects of other cultures. Cultural diversity has many forms.

Stokes (2003) suggests that it creates hyphenated-identities, and uses as an example ‘migrant chic’, a

term used to describe German-Turkish multiculturalism in Germany in the mid-1990s. Although

“hyphenated identities became extremely hip, an image of empowerment and cosmopolitanism”

(Stokes, 2003:304), he adds that there were limitations to the phenomenon because it revolved around

fashion, music, cinema and food, rather than addressing real issues of discrimination and associated

socio-political ideals.

There has been much commentary on cultural diversity in music education. Drummond (2005)

suggests that its inclusion is justified because we do, in fact, live in a culturally plural world. He adds

that the inclusion of all cultures removes disadvantage for minority groups, and also discusses the

concept that the majority can learn from the cultural practices of the minority. In another view Davis

(2005) feels that despite music educators including a far greater multi-cultural focus, which has

resulted from the influence of World music on contemporary education thought, a lack of cultural

understanding can have a negative affect.

According to Green (2003), these issues could be addressed through the development of different

pedagogies and learning practices to cater for the transmission of different musics. She also adds that

although cultural diversity should create changes in attitude, it is possible that multiculturalism in

music education could unwittingly be reinforcing social structures rather than breaking them down.

From a similar viewpoint Barton (2004) comments that teaching practices indicate the cultural context

and therefore bias of the educator, and that this impacts on student views and understanding of the

value of different musics. In looking at flaws that can occur in educational cultural plurality,

Drummond (2005), sees the power of the global media as a major influence on the identity


development of young people, enabling many of them to achieve multiple interactions with different

cultures and subcultures. He does, however, question whether it is possible for people to change their

conditioning enough to truly embrace the musics of cultures other than their own. Despite this,

Drummond sees the impact of cultural diversity as positive, regardless of the reasons for its inclusion

in the curriculum. In a further comment, Davis (2005) questions whether lack of cultural

understanding results in the reconfiguration of meaning in musics included for study, mentioning

issues of musical transmission and the related influence of time and place in this equation. As Davis

states, “a culture does not simply determine and seamlessly transmit music to its members, generation

upon generation” (2005:57).

Implicit in these ideas are current music pedagogy within the classroom. Are educators appropriately

equipped to appropriately deliver these ‘other’ musics? Music education necessitates a level of

cultural awareness and interaction in both teacher and learner, whether explicitly or not, according to

Dunbar-Hall (2004). Highlighting the confusion that can occur in the current educational

environment, Davis comments “music education is itself a move within cultural identity” (2005:60).

In supporting the need for music educators to include musics of the world Shehan Campbell (2000)

comments, “as we embrace the wider world of musical cultures, so too will our children” (2000:53).

And so, the future?

As the world continues to change at an ever-increasing speed, the issues facing music educators are

great. The IB has included the study of World music into their DP music course with the best of

intentions, and is to be commended for doing so. However, global considerations, issues of cultural

understanding and sensitivity, and musical fusions and acquisitions are all implicit in classroom

delivery for the individual teacher, many of whom have not themselves been educated to perform in

such an environment. It also needs to be acknowledged that the perspective of IB musical study is still

primarily Western. There is an expectation that the language and analysis techniques applied to all

musics will generally conform to Western academic conventions. So then, although the study of

World musics holds an important position within the IBDP music course, there are still a great many

questions arising for educators, students and curriculum designers alike. Perhaps new directions in

teaching practices at both secondary level, for students and teachers, and tertiary level, for education

students, will be developed to try to equip the future generation of educators to succeed in a more

diverse and inclusive educational setting.


References

Barton, G. (2004). The Influence of Culture on Teaching and Learning. In Proceedings of the XXVIth

Annual Conference 25 – 28 September 2004 (pp. 1-12). Australian Association for Research in

Music Education, December 2004.

Bohlman, P. (2002). World Music: A Very Short Introduction. Oxford and New York: Oxford

University Press.

Byrne, D. (1999). I Hate World Music. In, The New York Times, 3/10/1999.

Davis, R. A. (2005). Music Education and Cultural Identity. Educational Philosophy and Theory,

(Vol. 37, No.1, pp. 47 – 62).

Drummond, J. (2005). Cultural Diversity in Music Education: Why Bother? In Campbell et al.

(Eds.), Cultural Diversity in Music Education (pp. 1-11). Australia: Australian Academic Press.

Dunbar-Hall, P. (2004). Expectations and Outcomes of Inter-Cultural Music Education: A Case Study

in Teaching and Learning a Balinese Gamelan Instrument. In Proceedings of the XXVIth

Annual Conference 25 – 28 September 2004. Australian Association for Research in Music

Education, December 2004 (pp. 144-151).

Green, L. (2003). Music Education, Cultural Capital, and Social Group Identity. In Clayton, M.,

Herbert, T., Middleton, R., (Eds.). The Cultural Study of Music (pp. 263 – 273). New York and

London: Routledge.

Griffiths, P. Steve Reich. Grove Music online.

http://www.oxfordmusiconline.com/subscriber/article/grove/music/23091?q=minimalism

(accessed 10/01/2009).

International Baccalaureate Organization (2009). Music Guide. Wales: International Baccalaureate.

International Baccalaureate Organization (2008). Mission and Strategy http://www.ibo.org/mission/

(accessed 27/09/09).

Kuri, C. & Pessinis, J. (2002). Astor Piazzolla: Chronology of a Revolution. Retrieved August

27, 2009, from http://www.piazzolla.org/biography/biography-english.html.

Michałowski, K., Samson, J (2009). Chopin, Fryderyk Franciszek. Retrieved

February 16, 2009, from

http://www.oxfordmusiconline.com.ezp.lib.unimelb.edu.au/subscriber/article/grove/music/5109

9?q=Chopin#S51099.7

http://www.ibo.org/mission/

http://www.piazzolla.org/biography/biography-english.html


Nasciemento, M. (1990). Txai. CD recording. Columbia: 46871

Nidel, R. (2004). World Music: The Basics. New York: Routledge.

Shehan Campbell, P., (2000). How Musical We Are: John Blacking on Music, Education and Cultural

Understanding. In Journal of Research in Music Education, (Vol. 48, No.4, pp. 336)

Stokes, M., (2003). Globalization and the Politics of World Music, in Clayton, M., Herbert, T.,

Middleton, R., (Eds.), The Cultural Study of Music (pp. 297-308). New York and London:

Routledge.

Strickland, E. Philip Glass. Retrieved January 10, 2009, from

http://www.oxfordmusiconline.com.ezp.lib.unimelb.edu.au/subscriber/article/grove/music/1126

2?q=philip

Tenzer, M. (2006). Analytical Studies in World Music. Tenzer, M., (Ed.). New York: Oxford

University Press.

Tomlinson, G. (2003). Musicology, Anthropology, History. In Clayton, M., Herbert, T., Middleton,

R., (Eds.) The Cultural Study of Music (pp. 31-44). New York and London: Routledge.

Williams, J. (2005). Robert E. Brown; brought world music to San Diego schools. In The San Diego

Union-Tribune, 11/12/ 2005. Retrieved September 28, 2009 from

http://www.signonsandiego.com/uniontrib/20051211/news_lz1j11brown.html

About the author

Pip Robinson is currently Head of Performing Arts at The Kilmore International School in Victoria,

Australia. She will complete a Master of Education at The Graduate School of Education, The

University of Melbourne in 2009. Pip has been teaching the International Baccalaureate Diploma

Program music course for 13 years and in that time has developed a fascination for how different

musics are categorized within school curricula. She also specializes in playing Brazilian choro music.

http://www.oxfordmusiconline.com.ezp.lib.unimelb.edu.au/subscriber/article/grove/music/11262?q=philip

http://www.oxfordmusiconline.com.ezp.lib.unimelb.edu.au/subscriber/article/grove/music/11262?q=philip

http://www.signonsandiego.com/uniontrib/20051211/news_lz1j11brown.html


Commentary to support marking <Music> <Sample A>

<Music Links Investigation

<English> <M-2011>

In the table below please provide a short commentary, maximum of 50 words per question, to

justify the mark allocation per question so that this sample can be made available to workshop

leaders using this sample in a workshop. Please do not refer to the candidate by name or number,

or make comparison to other candidates as this document will need to be annonymised before

uploading on the Workshop leader resource centre (WRC).

Criteria Justification

A While the cultures, examples and links are valid, the student could

have provided more contextual information about the two cultures,

especially considering that both examples came from the same

country.

B The student provides appropriate analysis supporting the arguments

presented. The use of examples in form of notation is quite

informative. The presence of conclusions contribute to the overall

convincing investigation.

C Good use of technical terminology. In addition, the student provides

a glossary that clarifies some of the terms.

D Well organized bibliography and discography. The student provides

footnotes and in general acknowledges most of the sources.

E The student demonstrates commitment in most of the aspects of

this MLI. The result is an investigation that engages the audience.


Two Group 6 Subjects?

Scenario 1:

Students can do Environmental Systems and Societies course which answers the requirements for both Group 3

& 4

The student would then take a language course in Group 1, a language course in Group 2 and the ESS course for

Groups 3 & 4 (only counting as one subject), a math subject in Group 5, an arts course in Group 6 and then have a

“spare” slot in which they could choose to take another arts course

Scenario 2:

Where a candidate is required to have (for example) a certificate in music and in dance, or in theatre and in visual

arts, is a non-regular diploma. Full information relating to the requirements and application are contained with

the Handbook of Procedures for the Diploma Programme within section A5.2.1

Scenario 3:

A new option was announced recently and can be found within the May edition of Diploma Programme coordinator notes:

The Diploma Programme (DP) core as courses

The IB is pleased to announce that from 2012/14, the core elements of the DP – theory of knowledge (TOK),

extended essay (EE), and creativity, action, service (CAS) – will be offered as individually-recognized stand-alone courses for

the first time.

Presently, students are able to take individual course from the six groups of the DP hexagon core. Therefore,

currently, it is only those students who take the full diploma who benefit from and experience the unique elements at the

core of the programme.

The decision to allow DP courses students to experience this integral part of the diploma supports the IB’s

continued dedication to its “access agenda” and is fully encouraged by the DP and education committees of the IB.

If you teach or are a coordinator at an IB World School, please talk to future students about their study options for

2012/14. Schools that are limited to certain options due to national curriculums will be able to tailor a group of DP courses

that fit their needs.

Schools who wished to offer a selection of subjects that did not fit the usual diploma requirements (Scenario 2 &

3) would be able to offer their students a “pick and mix” selection of subjects and the hexagon core.

Students could take whichever subjects they wished, including the option to take two or more arts subjects.

They would not be awarded a diploma, but could do six certificates of their choice as well as the core.

Students should be advised to ensure that doing so would fulfil the requirements of the further education

institution.

All this information can be found Diploma Programme coordinator notes and the Handbook of Procedures for the

Diploma Programme.


Resources

Dr Ken Robinson Comments

Sir Ken Robinson shares his thoughts on Why Arts Education Matters http://www.youtube.com/watch?v=OvxXGYXzoNo

Climate crisis of human resources In this poignant, funny follow-up to his fabled 2006 talk, Sir Ken Robinson makes the case for a radical shift from standardized schools to personalized learning -- creating conditions where kids' natural talents can flourish.

http://www.youtube.com/watch?v=r9LelXa3U_I&feature=relmfu

20 minute clip on the value of the creative mind and how it should be as important as maths, English and science

Do Schools Kill Creativity? Sir Ken Robinson makes an entertaining and profoundly moving case for creating an education system that nurtures (rather than undermines) creativity.

http://www.youtube.com/watch?v=iG9CE55wbtY

Do Schools Kill Creativity http://www.youtube.com/watch?v=iG9CE55wbtY Accessed 22/05/2011

Education Systems Too Narrow http://www.abc.net.au/7.30/content/2009/s2600125.htm

Education Today: Do Schools Really Kill Creativity? http://www.minniscomms.com.au/educationtoday/articles.php?articleid=316

Fertile Minds Need Feeding http://www.guardian.co.uk/education/2009/feb/10/teaching-sats/print Accessed 2/05/2011

Sir Ken Robinson http://en.wikipedia.org/wiki/Ken_Robinson_(British_author) Accessed 5th May 2011

Short bio of Ken Robinson and his work

http://www.youtube.com/watch?v=OvxXGYXzoNo

http://www.youtube.com/watch?v=r9LelXa3U_I&feature=relmfu



http://www.abc.net.au/7.30/content/2009/s2600125.htm

http://www.guardian.co.uk/education/2009/feb/10/teaching-sats/print

http://en.wikipedia.org/wiki/Ken_Robinson_(British_author)


Robinson, Ken (2011-rerpint from 2001) Out of Our Minds – Learning to be Creative, Capstone Publishing, UK ISBN 9781907312472 (cloth), ISBN 9780857081032 (emboi), ISBN 9780857081049 (epub), ISBN 9780857081490 (ebook)

Robinson, Ken (2009), The Element – How Finding Your Passion Changes Everything, Penguin, UK ISBN 978-0-141-04525-2

Book on finding the “element” Easy read but highlights gaps in our education system

Creating/Composing

Owen, Harold (1992), Modal and Tonal Counterpoint, Schirmer, USA ISBN 0-02-872145-4

Music Resources

T Fujita, Y. Hagino, H.Kubo and G. Sato, The Beatles Complete Scores – Full Transcriptions from the Original Recordings, Hal Leonard, USA ISBN 0-7935-1832-6

This is a fantastic resource with the complete transcriptions of the Beatles songs Students have used this for MLI’s and EE’s

Set Works 2013-2014

Yellow River - Xian

Yellow River Piano Concerto – Xian Eulenburg No. 8111 ISBN 977-3-7957-7152-2

The Historical Development and a Structural Analysis of the “Yellow River Piano Concert” – Shan Bai 2006 A dissertation of the Yellow River Concerto – quite informative and helpful

Triple A Learning – Yellow River Concerto These are notes or you can do the course online which is a great help – good analysis notes, helpful ideas etc – just be aware that it is a lot of work and you should seek some time off for PD

Classical Symphony - Prokofiev

http://www.sprkfv.net/journal/three13/classical2.html Prokofiev’s Classical Symphony and the abiding question of sincerity in music (Accessed 1/09/2011)

Triple A Learning – The Classical Symphony These are notes or you can do the course online which is a great help – good analysis notes, helpful ideas etc – just be aware that

http://www.sprkfv.net/journal/three13/classical2.html


it is a lot of work and you should seek some time off for PD

Set Works 2015-2016

World Music

Broughton, S., Ellingham, M., Trillo. R. (1999), World Music- The Rough Guide-Africa, Europe and the Middle East (Volume 1), Penguin, USA ISBN 1-85828-635-2

Broughton, S. and Ellingham, M. (2000), The Rough Guide-Latin and North America, Caribbean, India, Asia and Pacific (Volume2), Penguin, USA ISBN 1-85828-636-0

Fong, F. and Crowe, V. (1994) Sounds Australian: World Music in Australia, Sounds Australian, AUS ISBN 1036-1766

Higgins, J and Shark, B. (2005) More music of our world: multicultural songs and activities for classroom and community, Hal Leonard, USA ISBN 7-3999-32378

Miller, T and Shahriari, A. (2009) World Music: A Global Journey 2nd edition, Routledge, USA ISBN 978-0-415-98878-0 (pbk) ISBN 978-0-203-89216-9 (ebk)

Miller, T.E. and Williams, S. The Garland Encyclopaedia of World Music Volume 4 Southeast Asia, Garland Publishing, USA and UK ISBN 0-8240-6040-7 Volume 1 – Africa Volume 2 – South America, Mexico, Central America and the Caribbean Volume 3 – The United States and Canada Volume 5 – South Asia: The Indian Subcontinent Volume 6 – The Middle East Volume 7 – East Asia: China, Japan and Korea Volume 8 – Europe Volume 9 – Australia and the Pacific Islands

These are great but very pricey – about $600 each They have a CD with each one and can be a bit past students but my kids have used them for MLI’s and EEs I have used quite extensively for my teaching of world music

Sample A

NEW MUSIC SYLLABUS

2009, for first examinations 2011

Workshop leaders’ workbook

BOOK 3

Internal Assessment

CONTENTS

Page 2: Creating

Page 3: Composing: Combo

Page 11: Composing: Another Day is Gone

Page 27: Composing Technology: Voicescape

Page 31: Arranging: Mozart for Violin and Piano

Page 41: Arranging: Mozart for String Quartet

Page 56: Improvising: Piano Improvisation

Page 58: Improvising: Spring Can Really Hang You Up The Most

Page 59: Stylistic techniques: a. Renaissance vocal counterpoint

Page 62: Stylistic techniques: b. Bach chorale

Page 64: Stylistic techniques: c. Figured bass in the baroque style

Page 67: Stylistic techniques: d. Two part 18th-century instrumental

counterpoint

Page 69: Stylistic techniques: e. 18th-century string quartet

Page 71: Stylistic techniques: f. 19th-century song accompaniment

Page 73: Stylistic techniques: g. 12-note/tone techniques

Page 75: Reflective Statement: Nocturne for Piano

Page 78: Reflective Statement: Movement of quartet

Page 80: Solo Performing

Page 81: Solo Performing: cello

Page 83: Solo Performing: xylophone, snare drum, voice

Page 85: Solo Performing Technology: Haydn

Page 87: Solo Performing Technology: Takako

Page 88: Solo Performing Technology: Bach

Page 89: Group Performing

Page 90: Group Performing: Concert band

Page 92: Group Performing: String orchestra

2

Creating

3

Composing

Creating; composing (SLC) – ‘Combo’

This composition, ‘Combo’, has an interesting opening, but needs further development as the riff progresses—it reaches an impasse with the trombone solo repeating the same materials and the following repeated section. The 6/8 section adds interest, but sits very uncomfortably between the original material, which again is not developed harmonically or melodically—the interest is in shifting the material to different instruments, and feels rather contrived. The jam section is, ironically, more successful, but this is improvisation rather than composition. Instruments are used within their ranges, unless the piano part in the jam section is meant to be the trombone (as elsewhere in the composition); this is not clear in the score either. Spacing between instruments is sparse and uncomfortable in terms of balance at times, and the trombone’s role as a bass line is not always idiomatically written. There are some notational inaccuracies and errors, with little in the way of dynamics, and no phrasing, which is particularly important for the trombonist, and the jam section has no notational representation at all.

(No reflective statement is included for the purposes of this exemplar.)

13/25 (+ ‘x’/5 Criterion F Reflection)

Criterion A B C D E F Total

Marks available 5 5 5 5 5 (5) 25 (30)

Marks awarded 2 3 3 3 2 (0) 13

Creating; composing (SLC) – ‘Another Day is Gone’

The opening riff of ‘Another Day is Gone’ is logically developed with an appropriate increase of instrumentation and added complexity of rhythm as the piece progresses. However, there is a sense that the material needs to take on a new direction as the music continues, as much of the material is repeated. Despite a clear shape and directional uniformity of the form, with returning sections, a new section based on further development of, say, the harmonic aspects of the opening riff, for example, would have added considerably more interest to the work. The instrumentation is used effectively, with some colourful effects (cf. the Rhodes bend, and guitar distortion—not unlike that used by Mike Oldfield in ‘Tubular Bells’!). Notation, while generally accurate, is not always clear, and dynamics seem to have been added (in pencil) as an afterthought. There are some uncorrected (computer) errors in the score, and the bass part is one octave too high throughout. ‘Moderate – crotchet/quarter-note =140’ is perhaps not appropriate – 2/2 time with minim/half-note = 70 would suit the style of the piece more. Nevertheless, the piece has enough colour and direction to sustain interest.

(No reflective statement is included for the purposes of this exemplar.)



Marks available 5 5 5 5 5 (5) 25 (30)


27

Composing Technology

Voicescape

Please note that this composition does not form part of the TSM.

Please note that this composition is included on the CD.

The piece entitled Voicescape is a composition assembled using the computer software program Reason 3.0. The piece is intended to present a soundscape of vocal sounds.

The musical elements exhibit some control but there is little development of the musical elements. Although the chosen sounds are balanced in relation to themselves from an orchestration perspective, there is minimal development of the timbral elements. The piece demonstrates no clear identifiable form or structure and therefore exhibits little musical coherence.

The student has selected many of the software’s resource sounds pertaining to the intended presentation of vocal sounds but makes little use of the other available sounds and effects which could enhance the musical interest of this presentation. The sound quality is consistently very good and at an appropriate signal level and well balanced. Equalization and some use of recording effects would have added to the musical interest of this piece.

Overall Voicescape presents some interesting utilization of sounds and combinations of these but lacks creative moments where a better sense of communication might be achieved. One has little sense of the direction this piece is going in.



Marks available 5 5 5 5 5 (5) 25 (30)


30

Arranging

Violin and Piano arrangement of Allegro - Movement 1, Piano Sonata in C major, No. 16,

K. 545, Mozart

(Please note that this arrangement forms part of the Teacher Support Material)

Violin and Piano arrangement of Allegro—Movement 1, Piano Sonata in C major, No.

16, K. 545, Mozart

Moderator comments

Please note that this example is the equivalent of one piece of coursework for the creating component. In order to fulfill the requirements for this component, SL students who choose creating are required to submit two pieces of coursework; HL students must submit three. (See the Diploma Programme Music guide (February 2009) for details.) Please also note that no student reflective statement accompanies this work. For the purposes of this example, therefore, no marks are awarded for criterion F, reflection.

This arrangement of Mozart’s first movement from his Sonata for Piano, No 16 in C major, K 545, is scored for violin and piano. While it could be argued that the student fulfills the requirement of arranging for ―a variety of instruments‖ by adding the violin, the arrangement has many elements that are on the borderline of a ―straightforward transcription‖. (As the guide states: ―A straightforward transcription is not acceptable,‖ page 17.) For instance, in bars 1–12 the student takes the right-hand piano part of the original and writes it for the violin in the arrangement. Basically this part is transcribed note by note (with the only exception being a single note D on the second beat of bar 12, which incidentally creates a chord that is almost impossible to play on the violin). The only new element in these 12 bars is the addition of harmonic filling, such as the left hand of the piano in bars 1–4. Consequently, the ―originality … through manipulation and re-manipulation of musical elements present in the original piece‖ is compromised in this arrangement.

In terms of criterion A (control and development of musical elements) the arrangement shows little exploration and development of the musical elements. The works shows obvious musical coherence (criterion B). However, since the arrangement does not take any risks in relation to harmony, melody, rhythm or structure, it is argued that this coherence had already been achieved by Mozart in the original composition. Similarly, in terms of criterion C (idiomatic understanding of instruments), despite the redistribution of the notes made by the student, the essence of the piano part is as composed by Mozart. The student, then, is almost exclusively responsible for writing the violin part, which is in general playable (with a few exceptions such as the one mentioned above) but does not explore the potential of this instrument. Criterion D (notation) is in general adequate—with the exception of missing details such as dynamics in the opening bars, and the articulation and phrasing details present in the original. In terms of criterion E (impression) the work displays little communication and offers little sense of commitment to devising a creative arrangement of the original piece.

A written reflection is a key element in supporting the student’s approach to the intention, process (and, eventually, outcome) of the work and, if introduced early on during the process, might have helped in this particular instance move the student away from creating a basic transcription towards creating an arrangement.

To sum up, there are very few elements showing artistic creativity in this rather mechanical submission.


Marks available 5 5 5 5 5 (5) 25 (30)


String quartet arrangement of Allegro - Movement 1, Piano sonata in C major,

No. 16, K. 545, Mozart

(Please note that this arrangement forms part of the TSM)

String quartet arrangement of Allegro—Movement 1, Piano Sonata in C major, No. 16,

K. 545, Mozart

Moderator comments


This arrangement for string quartet of Mozart’s first movement from his Sonata for Piano, No 16 in C major, K 545, does not retain anything from the original in terms of instrumentation.

The opening bars already give us some idea of the originality of this arrangement and its pleasing levels of achievement. The opening theme from the original is transformed rhythmically and melodically. The use of syncopation (violin 1), seventh chords (cello), accidentals (violin 1) and “swing” treatment denotes the exploration of elements of three different musical cultures: western art music, jazz and ”salsa”. In bars 8–15 the “swing” element disappears and the arrangement changes style to become more traditional. The student alternates between these two styles in a controlled fashion, creating an arrangement not dissimilar to those made popular by Kronos Quartet or Turtle Island Quartet.

For the reasons already mentioned, criteria A and E (control and development of musical elements, and impression) are probably the strongest areas of this arrangement.

The arrangement shows abundant exploration and control of musical elements with the student clearly having explored instrumentation, harmony and rhythm, among others. The impression that this arrangement gives is probably its best aspect in that the student shows clear artistic direction and commitment by creating an arrangement with a well-defined personality that, at times, is far removed from Mozart’s style. Yet, thanks to good technique, the arranger’s intentions are well conveyed to the listener.

With respect to criterion B (musical coherence), this work is coherent by being incoherent: that is, its coherent personality comes from the measured juxtaposition of three well-defined styles (salsa, jazz and traditional). This alternation gives the arrangement its clearly identifiable “style” and structure.

The presence of bowing indications that are relevant in defining the styles, and the use of appropriate articulation demonstrate good “idiomatic understanding of the instruments” (criterion C). The arrangement indicates appropriate use of specific effects such as pizzicato and “hooked bows”. Furthermore, the student gives bowing indications that show awareness of this aspect of string playing. While the arrangement does not fully explore the possibilities of the instruments, this aspect nevertheless falls within the scope of the “artistic needs” of the piece. However, had the student explored further the potential of the instruments, a more interesting arrangement would have been created.

Notation (criterion D) is in general quite acceptable and seems to represent the intentions of the arranger in terms of rhythm and pitch. Yet, some details are missing (for example, the opening dynamics of the cello line). Articulation details are present but the score is not always tidy. (For example, the articulation indications are often superimposed on bowing or dynamic indications.) We can sense that these are probably the result of the student’s issues with the software, and this underlines the importance of adequate preparation, experimentation and experience.


Marks available 5 5 5 5 5 (5) 25 (30)


56

Improvising

Please note that this Improvisation forms part of the TSM

Please note that the Improvisation is included on the CD

Piano Improvisation

Moderator comments


This student has chosen to present a free improvisation on the piano. The work displays some musical coherence and there is evidence of satisfactory control and development of the musical elements, though the extended use of low notes and the sustaining pedal do create a rather blurred texture. There is also some evidence of influence from the student’s classical repertoire.

The student’s understanding of the technical capabilities (and limitations) of the chosen instrument is demonstrated at a satisfactory level. However, the work displays limited risk-taking and only partially effective spontaneity and musical expression.

The overall impression is that the work shows some creativity, shape and direction and there is some sense of communication and commitment.


Marks available 5 5 5 5 5 (5) 25 (30)


Please note that this Improvisation forms part of the TSM

Please note that the Improvisation is included on the CD

Spring Can Really Hang You Up the Most

Moderator comments


This student has chosen to improvise on this jazz standard by Tommy Wolf and Fran Landesman (arranged by Frank Mantooth). The student plays the alto saxophone, backed by a 19-piece stage band. (The arrangement begins in a ballad style, continues in a swing style, and towards the end there is a return to the ballad.)

The student’s own improvisation displays a highly appropriate understanding of the technical and musical capabilities of the instrument. Advanced scale material is explored, drawn from the supplied chord symbols, and intricate rhythmic figures associated with this style are consistently and effectively controlled. There is also an imaginative use of musical ideas, with a clear interrelationship between these and the original melodic material.

This improvisation is consistently creative and captivating, with highly effective shape and direction. The student’s performance also highlights sensitivity to the other members of the stage band and their musical contributions.


Marks available 5 5 5 5 5 (5) 25 (30)


59

Stylistic Techniques

Please note that this example of stylistic techniques forms part of the Teacher Support Material

Please note that no student reflective statements accompany the following stylistic techniques exemplars.

a. Renaissance vocal counterpoint: O thou art so cruel, Morley

Moderator comments

Please note that this example is the equivalent of one exercise. Students choosing stylistic techniques are required to complete two exercises, and these form one piece of coursework. In order to fulfill the requirements for this component, SL students who choose creating are required to submit two pieces of coursework; HL students must submit three. (See the Diploma Programme Music guide (February 2009) for details.) In addition, please note that no student reflective statement accompanies this work and that some of the extract has been slightly modified. For the purposes of this example, therefore, no marks are awarded for criterion F, reflection.

This is a two-part exercise, where the soprano line and the first three notes of the omitted line are given by the teacher.

Strengths include:

• an understanding of the style

• suspension

• rhythmic imitation

• some control of the musical elements.

Weaknesses include:

• the tenor line, which is too low in places (including some inappropriate spacing between parts)

• incomplete text

• some exposed/consecutive fourths and fifths and unisons

• a missed cadence and final cadential suspension point

• some over-repetition of notes.


Marks available 5 5 5 5 5 (5) 25 (30)


Please note that this example of stylistic techniques forms part of the TSM

b. Bach chorale: Chorale 268, Bach

Moderator comments


A complete chorale melody is given by the teacher in full.

Strengths include:

• a very good attempt at style

• fluent use of harmony

• modulations, which are all noted and well worked

• idiomatic use of upper and lower auxiliary notes.

Weaknesses include:

• tenor and alto parts, which are sometimes rather static

• overlapping or leaping parts

• a rather low tenor part in places

• some passing/auxiliary notes that are not always successful.


Marks available 5 5 5 5 5 (5) 25 (30)


(Please note that this example of stylistic techniques forms part of the TSM)

c. Figured bass in the baroque style: Figured bass 7, Handel

Moderator comments


The figured bass, together with the melodic instrumental part, is given by the teacher in full.

Strengths include:

• an understanding of style

• a harmonically secure realization.

Weaknesses include:

• some consecutive fifths and octaves

• inappropriate chordal texture

• some weak voice-leading

• some errors and omissions (accidentals and chords).


Marks available 5 5 5 5 5 (5) 25 (30)


18th Century Instrumental Counterpoint

(Please note that this example of stylistic techniques forms part of the TSM)

d. Two-part 18th-century instrumental counterpoint: Courante, Handel

Moderator comments


The first five bars are given by the teacher.

Strengths include:

• a very effective attempt at style

• idiomatic development of the material

• very good understanding of harmonic figuration

• effective modulation.

Weaknesses include:

• a cadential hiatus (bar 12)

• some misplaced passing notes

• small notational errors

• one weak progression (bar 13).


Marks available 5 5 5 5 5 (5) 25 (30)



e. 18th-century string quartet: Menuetto Allegretto—Movement 2, String Quartet Op.

64, No. 4, Haydn

Moderator comments


The first violin part is given in full by the teacher.

Strengths include:

• an understanding of the style

• a general harmonic perception

• idiomatic use of instruments.

Weaknesses include:

• unclear modulation

• over-repetitive patterns

• some inappropriate texture (bars 8–10 and 21–4)

• harmonic errors (missing thirds, some incorrect chords)

• notational errors (for example, viola part bars 13–21, incorrect bar numbering)

• no articulation and few dynamics.


Marks available 5 5 5 5 5 (5) 25 (30)



f. 19th-century song accompaniment: Es glänzt der Mond nieder, Brahms

Moderator comments


The vocal line (and original text) is given in full by the teacher.

Strengths include:

• a very good attempt at the style

• effective pianistic figuration and phrasing

• integral dynamic shape

• well-handled modulation

• melodic anticipation.

Weaknesses include:

• occasional imprecise notation, which leads to ambiguity of intention (bars 13, 19, 21)

• some lack of variety in the piano part (bars 10–14)

• no stylistic pedalling (though implicit in the phrasing).


Marks available 5 5 5 5 5 (5) 25 (30)



g. 12-note/tone techniques : Teacher’s own

Moderator comments


A complete statement of the stimulus row (the P0) is given by the teacher in full.

Strengths include:

• an understanding of the style, including use of rows

• some development of the given stimulus

• some dynamic indications

• use of stretto.

Weaknesses include:

• little sense of creative direction and climax

• a lack of idiomatic writing for the piano

• some bare octaves

• some errors of pitch and notation and incorrect labelling

• an incomplete row.


Marks available 5 5 5 5 5 (5) 25 (30)


75

Reflective Statements

Please note that this reflective statement forms part of the TSM

Nocturne for Piano

Moderator comments

The student gives some idea of his/her composition intention (for example, personal challenge), process (for example, challenges found to establish the structure) and outcome (for example, experience acquired on trying to maintain a “big picture”). Nevertheless, the student seemed to take this reflection more as an opportunity to narrate his/her journey and the obstacles found than as an opportunity to explain the artistic choices made based on the aesthetics and style of the piece.

Criterion F Reflection: 3/5

Please note that this reflective statement forms part of the TSM

Movement of Quartet

Moderator comments

The student gives a good idea of his or her composition intention (for example, to gain mastery in composing traditional forms), process (for example, independent composition of themes) and outcome (for example, a longer bridge section with intense harmonic activity). All these major areas of reflection are complemented by statements explaining events such as the length of the bridge (the need to have complex harmonic modulations), lack of harmonic activity in the development (to limit the modulations of the piece), and lack of challenging techniques in the instruments (limited technical proficiency of the players). Overall, these arguments do not appear to be simply excuses to justify choices made, but seem to support the impression of a mature artistic mind.

Criterion F—reflection: 5/5

Criterion A B C D E F

Marks available (5) (5) (5) (5) (5) 5

Marks awarded -- -- -- -- -- 5

80

Solo Performing

Solo Performing Cello

Please note that this performance is included on the CD Please note that this performance does not form part of the TSM

Title: Violincello Concerto in C Major: Moderato

Composer: Haydn

Title: Vocalise

Composer: Rachmaninoff

Title: Suite V Prelude

Composer: Bach

Solo performing (SLS)

This showed a good contrast of selections for the cello, within the capabilities of the student, and played with an understanding of style. The performances generally were proficient technically, though with some slips and small difficulties at times—sometimes the musicality and sensitivity towards the music seemed subservient to achieving the technical demands, particularly in the Haydn. The Rachmaninov was more successful here, with a sense of line and some nuance, though perhaps a little tentative in terms of expressive playing. The Bach was well handled, with an appropriate sense of style throughout, with technical security.

16/20

Criterion A B C D Total

Marks available 4 6 4 6 20

Marks awarded 4 5 3 4 16

Solo Performing Example B

Please note that this performance is included on the CD

Please note that this performance does not form part of the TSM

Title: Etude in C Major

Composer: Musser

Title: Drum Corps on Parade

Composer: J. Pratt

Title: Licorice and Molasses

Composer: J. Pratt

Title: Close Every Door

Composer: Lloyd Webber

Title: Leaning on a Lamp-Post

Composer: N. Gay

Title: Luck Be a Lady

Composer: Loesser

Title: Seize the Day

Composer: A. Menken

Title: Steppin’ Out With My Baby

Composer: I. Berlin

Title: Try to Remember

Composer: H. Schmidt

Solo performing (HL)

This was a varied programme, with three instruments (xylophone, snare drum and voice), though lacking any substantial pieces—the (longer) vocal selection was rather a medley of songs from the shows. The xylophone piece was well played (some small slips), and taken at a good tempo, whilst the snare drum pieces (which were very similar to each other) were cleanly executed—though with little dynamic expression and communicative intent.

The vocal selection showed a voice that had some expressive quality, with some attempts at inhabiting the character who is singing the song, but with varied success. Dynamic contrast and musical communication was attempted, but very much in the same way for each song, which leant to a certain monotony to this section of the programme. The higher register of the voice was sometimes tight and not always fully controlled. However, tuning was generally accurate, with a sense of line throughout.

12/20




85

Solo Performing Technology

Movement 3, String Quartet in G major Op.77, No. 1 Haydn

Please note that this performance forms part of the TSM

Please note that the performance is included on the CD

Moderator comments

Although the student’s performance of this string quartet movement is mainly accurate in its note portrayal, there are some basic misreadings of the score in the development section. There is a good attempt at using appropriate instruments (in this case, string instruments, though others could have been chosen—it is not a requirement that the instruments have to be as in the original score). However, there is little attention given to phrasing, articulation and dynamics, which results in a performance that is lacking in shape and musicality. There is inappropriate vibrato in places, which is a result of not modifying the MIDI (musical instrument digital interface) controller from the default string settings. The result is that the musical subtleties of a quality string quartet sound are lacking. Moreover, more processing effects could have been used to give the piece more ambience as opposed to the resulting dry MIDI sound.

Please note that this piece is chosen as part of the required length of submission and so the mark given reflects the quality of the performance of this piece only, not the performance of the entire programme. For the purposes of this example, therefore, no marks are awarded for criterion A.


Marks available (4) 6 4 6 16 (20)

Marks awarded (0) 2 1 1 4

Takako

Please note that this music technology solo performing does not form part of the TSM.

Please note that this solo performing piece is included on the CD.

The piece is a composition by Takako assembled using the MIDI part of the computer software program Cubase Studio 4.0. The piece presents the jazz piece “Days of Wine and Roses”, a jazz tune by Henry Mancini with lyrics by Johnny Mercer, and is scored for drums, piano and alto saxophone sounds. The control of musical elements exhibit some control but little development of the musical elements. There is no apparent attempt to utilize interpretive dynamics to enhance the musical interest. The resulting saxophone sound employed is weak in the sense that it does not sound like an authentic alto saxophone. Although the performance demonstrates some understanding of this particular jazz style it falls short in utilizing only uncharacteristic root position chords in the piano part. Furthermore, although instruments presented do stay in their proper ranges, the drum part is not presented in a swing style as the original composer would have intended. Instead, the drum part is presented with “straight” quaver/eighth notes. The student has selected many of the software’s resource sounds pertaining to the presentation of the intended instruments but makes little use of the other available effects that could enhance effective musical communication. With a little reverb the sound quality could be enhanced to communicate more effectively. The sound quality is at an appropriate signal level but lacks balance between the three parts with the alto saxophone part dominating the texture of this piece. This results in poor musical communication.

Please note that this piece is chosen as part of the required length of submission. The mark given therefore reflects the quality of the performance of this piece only, not the performance of the entire programme, and therefore, for the purposes of this example, no marks are awarded for Criterion A.

5/15




Fugue No. 1, Well-Tempered Clavier, Book 1 Bach Please note that this performance forms part of the TSM

Please note that the performance is included on the CD

Moderator comments

The example chosen is a 4-part fugue, fulfilling the requirements as stipulated in the guide (p.20). The organ used in the example is indicative of a keyboard instrument on which this fugue may have been performed, though it is not necessary that the performance has to be on a baroque style instrument, as in a performance of this piece on the piano. The organ has appropriate ‘registration’, though the use of a 16ft pitch occasionally obscures the texture. More thought therefore needs to have been given to the instrument selected.

The tempo chosen for the fugue is appropriate, with a final ritardando, though the final chord is over extended. The performance is technically accurate, apart from the opening subject. However, the performance is rather literal and lacking musical shape and phrasing, particularly in regard to the individual parts, which show no thought to articulative detail.

Please note that this piece is chosen as part of the required length of submission. The mark given therefore reflects the quality of the performance of this piece only, not the performance of the entire programme, and therefore, for the purposes of this example, no marks are awarded for Criterion A.

Mark 7/16 (+ ‘x’/4 Criterion A Selection of Programme)




88

Group Performing

Group Performing Concert Band



Concert Band

Title: Of Sailors and Whales

Composer: F. McBeth

Title: Sleep

Composer: E. Whitacre

Title: Shenandoah

Arranger: Frank Ticheli

Group Performing Concert Band

This committed ensemble, a concert band, displays well crafted playing, with transparency and a sense of balance generally, and the group is sensitive to most of the nuances of the music, with an effective dynamic range. Expressive qualities are apparent in different ways, with a sense of mystery (‘Sleep’), excitement/danger (‘Of Sailors and Whales’), or nostalgia (‘Shenandoah’). There is some technical untidiness in intonation and tuning (e.g. the brass in ‘Shenandoah’), and the ensemble is not always fully tight. Perhaps the repertoire is a little too weighted to contemporary North American music. Nonetheless these are challenging and substantial pieces, performed with an effective level of communication.

18/20




Group Performing String Orchestra



String Orchestra

Title: Giga

Composer: Corelli

Title: Andante Cantabile

Composer: Tchaikovsky

Title: Brook Green Suite – Prelude, Air, Dance

Composer: Holst

Group Performance—String Orchestra

There is a sense of commitment and rhythmic vitality throughout the performances by the string orchestra, with the use of different techniques (such as pizzicato in the Holst pieces). There are some difficulties of intonation and ensemble at times, and, whilst there is some sense of style, the playing lacked expressive quality in places. However there is some attempt at musical communication throughout. The portfolio is substantially under time at circa 15 minutes, and this is reflected in the mark awarded for Criterion A.

12/20





Volume 10 – The World’s Music: General Perspectives and Reference Tools

Reck, D. (1997), Music of the Whole Earth, Da Capo Press ISBN 0-306-80749-1

Southern, E. (1997) The Music of Black Americans: A History 3rd edition, Norton, USA ISBN 0-393-03843-2

Quite a heavy read but students have used this for MLI’s and I have read just for general reading

Stock, J. (1996) World Sound Matters: an anthology of music from around the world (teachers manual), Schott, UK ISBN 0-946535-79-5

Stock, J (1996) World Sound Matters: an Anthology of music from around the World (Transcriptions), Schott, UK ISBN 0-946535-81-7

Titon, J (ed) (2005), Worlds of Music: An Introduction to the Music of the World’s Peoples, USA ISBN 0-534-62757-9

VHS Bali Beyond the Postcard 11 Mitchell Street, Bendigo, VIC, 3550 (ph) 054 422433 (fax) 054 411 1448

Great little documentary on the preparation of some young girls for the Legong dance – great bits about gamelan, how it is taught and played

B. Nettl, C. Capwell, I. Wong, T.Turino, P.Bohlman (2004), Excursions in World Music 4th edition, Pearson, USA ISBN 0-13-140305-2

Have not used much but students have found helpful for MLI’s

Bradley, L & Morris, D (2002), Reggae – The Story of Jamaican Music, BBC, UK ISBN 0-563-48807-7

I used this extensively when I developed a Reggae Unit – more specifically Ska


Education

Carolyn Coil http://www.carolyncoil.com/resources-us.htm

Brophy, T. (2008) Assessment in Education: Integrating, Curriculum, Theory and Practice, GIA Publications, USA ISBN 978-1-57999-7144

Coil, Carlolyn (2003), Student Engagement: Strategies to Raise Achievement. Hawker Brownlow, Australia ISBN 1-74025-969-6

While aimed more at primary students I have found many ideas here for making mu tasks more creative and trying to allow individual characters of students shine through

General

Mrs Carey’s Concert http://mrscareysconcert.com/

Documentary of MLC in Sydney and their preparation for their concert in the Sydney Opera house – take my hat off to this lovely lady the size of the end concert is scary!

Music Resource Kit Australian Music Centre Three Australian Post-1970 Pieces – Synergy Percussion

Study kit that accompanies the scores to Moving by Air And Fabian Theory by Nigel Westlake For Marimba and Tape by Martin Wesley-Smith CD of recordings included

Boojum – Music Resource Kit for Secondary Schools by Kim Waldock Australian Music Centre ISBN 0-909168-37-7 +61 02 9247 4677

CD notes with libretto Resource kit with study ideas Music extract score Recording

Sculthorpe An Icon of Australian Music - Peter Sculthorpe Music Resource Kit by Graeme Skinner ISBN 978-0-909168-71-1

Notes with questions etc for kids and CD

Inventing Elena The Music of Elena Kats-Chernin Music Resource Kit by Mark Grandison Australian Music Centre

Notes, tasks etc for teachers and students and recording

http://www.carolyncoil.com/resources-us.htm

http://mrscareysconcert.com/


ISBN 978-0-909168-72-8

Bowman, D and Cole, B ( 1989), Sound Matters – An Anthology of Listening Material for GCSE Music, Schott, UK Teachers Manual ISBN 0-946535-14-0 Score book ISBN0-946535-13-2 CD that matches

Have used this extensively as listening examples for practice exam questions, students have used for MLIs – love this one – sure there would be a new edition by now

DVDs/CDs

Grabsky, P. In Search of Mozart, Seventh Arts Productions

Hicks, Scott (2008), Glass (a portrait of Phillip in twelve parts), Madam, Australia

Meet the Musicians “Joplin” An extraordinary story of a genius whose music helped break down racial barriers, Frank Cento Production (1999) ISBN 82693-00009

Marre, Jeremy (2006), Beats of the Heart: Roots Rock Reggae, Marcom Projects ISBN 3-3214-000966623-2

Palmer, Tony (2007), The Symphony of Sorrowful Songs (Symfonia Piesni Zalosnych), digital remastering Isolde Films

Palmer, Tony (1981) At the Haunted End of the Day – William Walton www.voiceprint.com.au, digital remastering Isolde films (2008) ISBN 0438870322

Palmer, Tony (2007), O Thou Transcendent (The Life of Ralph Vaughan Williams, Isolde Films ISBN 604388-698127

Palmer, Tony Stravinsky (Once, At a Border . . . ) www.vpiceprint.com.au ISBN 04388-7-1150

Palmer, Tony (2008), About Benjamin Britten (A Time There Was….) www.voiceprint.com.au, digital remastering Isolde Films ISBN 604388-711109

Love is in the Air, narrated by Toni Collette, ABC DVD (2003) ISBN 9-398710-399493

All You Need is Love – The Story of Popular Music, 1976-1980 www.voiceprint.com.au, digital remastering Isolde Films (2008)

http://www.voiceprint.com.au/

http://www.vpiceprint.com.au/




ISBN 604388-700004

Gershwin (Meet the Musicians, Frank Centro Production (1999) ISBN 44007-34336

Leonard Berstein, The Gift of Music (an intimate portrait), Unitel Classical (1993) ISBN 44007-34336

Frederic Chopin A Life to Remember (Alan Kogosowski), Edit 1 Video Productions, Australia ISBN 3-321400106602-4 Chopin 1 ISBN 3-321400106602-2 Chopin 2

Destination Music Volume1 (Argentina - South Africa) Maxwell’s Collection Education Video Specialist (2006), Australia ISBN 3-3214-00105953-2

Destination Music Volume 2 (China – Singapore) Maxwell’s Collection Education Video Specialist (2006), Australia ISBN 3-3214-00105955-7

Destination Music Volume 3 (Mexico – New Zealand) Maxwell’s Collection Education Video Specialist (2006), Australia ISBN 3-3214-00105954-0

Destination Music Volume 4 (Spain – Scotland) Maxwell’s Collection Education Video Specialist (2006), Australia ISBN 3-3214-00105957-3

Destination Music Volume 5 (France – Thailand) Maxwell’s Collection Education Video Specialist (2006), Australia ISBN3-3214-00105956-5

Classical Destinations II (Great Cities and their Music) Decca Music Group Limited (2009), Classical Destinations/Bredon Hill Films & TV Productions Pty Ltd (2009) ISBN 044007-627280

La Boheme, Giacomo Puccini (1858-1924), Teatro Real, Madrid, Spain


ISBN 3-3214-00105102-6

The Royal Ballet: Giselle, The Royal Opera House Covent Garden, BBC (2006) ISBN 09478-00993

Tchaikovsky: Nutcracker, Mariinsky Theatre (2007) ISN 44007-43217

Frederick Ashton’s Tales of Beatrix Potter, Royal Opera House Covent Garden and Opus Arte, BBC (2007) ISBN 09478-01001

Frederick Ashton’s La fille mal gardee , Royal Opera House Covent Garden, BBC (2005) ISBN 09478-00992

Tony Palmer’s Film About Margot, digital remastering Isolde Films (2008) ISBN 604388-711000

Rudolf Nureyev’s Romeo & Juliet, Ballet de l’opera de Paris, Bel Air Media (1995), NVC Arts A Warner Music Group Company (2007) ISBN 706301515426

Tony Palmer’s Film about Puccini, Simon Channing-Williams, digital remastering Isolde Films(2008) ISBN 604388-73401

Howard Goodall’s Big Bangs, Programme 1: Notation; Programme 2: Opera ISBN 3-3214-00097188-5

Love this series – great background knowledge for the students

Howard Goodall’s Great Dates, 1564: Palestrina and the rise of the violin; 1791: Mozart & the Magic Flute ISBN 3-3214-00097224-8

Howard Goodall’s Big Bangs, Programme 3: Equal Temperament; Programme 4: Piano


ISBN 3-3214---971877

Howard Goodall’s Big Bangs, Programme 5: Recorded Sound ISBN 3-3214-00097186-9

Howard Goodall’s Great Dates, 1874: Wagner & the Ring Cycle; 1937: Shostakovich, Stalin & Hitler ISBN 3-3214-00097225-5

Classics Explained – Jeremy Siepmann CDs explained a variety or works

Apple Apps & iTunes

A Book of Operas – Their History (Andrews UK) $1.19

A Book of Operas – their histories, their plots and their music by Henry Edward Krehbiel ($4.99?) Seems to be a comprehensive book on operas

An Introduction to Indian Music (iTunes CD) Ravi Shankar $12.30 Good introduction to Indian Sitar music and has the full example from Kamien that is used

Art Authority for iPad, Open Door Networks $5.49

Art and Music (DVDxDVD inc) $4.99 Pictures of artists with matching music – great for teaching general characteristics of artistic periods – you would only use briefly but if can afford great to have

Classical Musical Quiz (London Philharmonic Orchestra Edition) While limited I often start classes with this and the kids enjoy a different way of starting classes

Classical Music (ads Software group) Recordings of “Classical” music with a game/quiz – kids love the quiz for a lesson starter

Composer of the Day (Whittenberg Music Department) Great little lesson starter

History of the Beatles (Scott W. Hotaling) Comprehensive discussion with pictures – good for EE or other individual research projects

History of Elvis Presley (Scott W. Hotaling) Once again comprehensive with pictures

iHarmony (Alberto De Bortoli) Has all modes, chords and notes (written


explanation of what they are and a sound file)

Johann Sebastian Bach ADS Sortware Group, Inc $0.99

Karajan (approx. $15) Ear training programme – have not used much

Key Signature Quiz (created by Jason Neufeld) This is great to start a class with or to give to students who need work with their key signatures – have used heaps

Music: An Appreciation (must have “Inkling” off the Apps store) Love this one – all musical examples inserted into the book with quick reference to meanings of words etc – does not have quite as an extensive range of examples that my “in hand” Kamien has but still has nearly everything I need

Music Dictionaries (many different ones available)

Music History Quite a general look at different musical periods

Music Instruments Has a great deal of unusual instruments – picture and description – has come in handy many times with world music

Music Tools Dictionary – quite extensive

Music Rules

National Art Gallery, London (Pentimento) Art works from this gallery with commentary – although some in French – great for general discussion of that era you might be covering

Penultimate, Music Paper Collection (Cocoa Box Design) $2.99

Psaltis (aCMultimedia, 2010) Book on neumes & the writing of this chant

The Music of India (India NIC Infocom Limited) $2.49 Forward done by Ravi Shankar – had quick look and seems really good

Theory Calculator This App will play any form of scales, chords and intervals – good for aural training


Tuners and metronomes – many available for free or paid

Transpose Really not sure what this ones does – has not been a hit for me

Theory Calculator Plays you scale, chords and intervals and you can choose any key – good for ear work

I-tunes U

American Folk Art Collection

American Paintings, Sculpture and Decorative Arts - Audio

Art and Literature

Art and Music

Black History Monthly

Bluegrass and Old Time String Band Music

Civil War Instrumental Music

“D’ye hear the News?” Selections from the 1689 London Propery Collections

Handel: A Classical Icon

Hip Hop

I Love Jazz

AA317 The Italian Cantastorie

Jazz and Culture

Jazz Insights

MUS 241: The Language of Music

Music and Sound – concerts (The Banff Centre)

Music and Technology - Listening

Music and Technology – Video Lectures

Yale Music Lectures

On to Pop

Picasso: guitars 1912-1914

Religious Music – Historic Recordings

The Royal Ballet Company

Vienna: Art and Design

Documents

Singapore 23-25th August 2013 Indexd20uo2axdbh83k.cloudfront.net/20130824/07c3dd6fb0d... · Singapore 23-25th August, 2013, Jodie Townsend 2 IB ASIA PACIFIC REGIONAL WORKSHOP AGENDA