Deo Preparatory School of Georgia /

MUSIC CURRICULUM

Course Title: /

History and Appreciation of Music III

/ Version: 0.7
Grade: / 3 / 1/10/2000 23:00
  1. Course Goals
  • Students shall be given an overview of music from the Baroque period.
  • Students should know basic facts about the composers covered in this course:
  1. First and Last Name.
  2. Country of Birth.
  3. Brief Life History.
  1. Course Objectives

Topic
/ Instructional Materials /
Meas.
/ Approx. time (Periods) / Align. / Compl.
1.History of the Baroque Period / 1
a.Overview of Europe, the countries and map of Europe in this period
b.A brief history of the major events, wars, and issues of the period
c.Life in the 1600s – what people ate, how they dressed, how they traveled, and how they listened to music
d.Overview of the musical landscape of the Baroque Period – Music Schools of the day; How composers were retained; Influence of the church; Musical forms (Masses, Motets, Folk Music, etc.); How people were exposed to music (i.e. how we take radio, tapes and CDs for granted)
2.Brandenberg Concerto No.2 BWV 1047 (J.S. Bach) / 3
a.J.S. Bach
  • Life history

  • Survey of most famous works

b.Definition of concerto. Contrast concertos written to highlight one or more instruments vs. orchestral concerto.
c.Introduction to Baroque orchestration – Main instruments vs. Continuo
d.Survey of instruments of the Baroque period.
3.Concerto for two Violins BWV 1043 “Double Concerto” (J.S. Bach) / 2
a.Revisit concerto – instrumental form
b.Theme, multiple themes running interwoven together
c.Introduction to Italian terminology used to describe movement tempi (Allegro, etc.)
d.Observe characteristics of Baroque period – low dynamic range, strict structures, etc.
e.Harpsichord as keyboard instrument of the period.
4.Cantata BWV 140 No.4 “Zion hört die Wächter singen” (J.S. Bach) / 1
a.Bach’s devotion.
b.Introduction to cantata as a musical form
c.Observe the interaction between the violins and the continuo
d.Listen to the music while looking at the English translation of the text
e.Discussion on the Scriptural significance of the text
5.Cantata BWV 147 No.6 “Wohl mir, dass ich Jesem habe”, No.10 “Jesus bleibt meine Freude” (J.S. Bach) / 1
a.Observe the interaction between the orchestra and the continuo, skips (broken chords)
b.Listen to the music while looking at the English translation of the text
c.Discussion on the Scriptural significance of the text
d.If time permits, listen to English version “Jesu, joy of man’s desiring”
6.The Art of Fugue BWV 1080 (J.S. Bach) / 2
a.Revision of concept of fugue
b.Compare techniques used to create fugue
  • Time delay

  • Translation (shift up or down in pitch)

  • Variation (change in timing or rhythm)

  • Change in instrumentation or voice

  • Combination of above

c.Select several of the simpler works to study. The more complex works are difficult to analyze.
d.Compare themes and inverted themes. Play the opening theme (4 notes) of No.1, then get the studentsto predict the inverted theme. Then play No.2. This also works well with No.s 3 and 4.
e.To help students to recognize the theme, get them to memorize the opening theme (4 - 6 notes) of No.1 by humming it several times over. Then when listening to the work through, attempt to recognize the same sequence of notes used at a different pitch (higher or lower) and speed (slower and faster). Also works well for No.s 2-5.
f.Review the harpsichord, and note that this work is also available in a piano version.
7.Suite for Orchestra No.2 BWV 1067 (J.S. Bach) / 3
a.Introduce concept of Suite (Overture), its history and development
b.Discuss the dance forms used in the suite
  • Minuet

  • Gigue (Gig)

  • Bourrée

  • Sarabande

c.Minor key of Overture
d.Introduce the Rondo
e.Introduce the concept of Badinerie: flute
f.Use the dances to clap to duple and triple meter
8.Messiah HWV 56 (G.F. Handel) / 5
a.Life history of composer, and his spiritual life
b.Introduce the concept of Oratorio
c.Introduce the concept of Recitative, Aria and Chorus
d.Discuss the history of “Messiah”, and its scriptural basis
e.Discuss the voice used as an instrument in the orchestra
f.Introduce the voice groups Bass, Tenor, Alto, Soprano. Discuss the history of these voice groups in the Baroque context (use of counter-tenors, boy-sopranos etc.)
g.Listen to and discuss the techniques used to carry over emotion, depth, spiritual import, etc.
h.Identify and know the scriptural references used in the various sections studied
9.Concerti Grossi, Op.6 (G.F. Handel) / 3
a.Introduce the concept of the Concerto Grosso, and explain its place in the development in later forms such us the concertos and sonatas of the classical period.
b.Select 2 of the 12 concertos to play through, though extracts from the others may be used. (suggest No.s 5, 7 or 9)
c.Introduce the Italian tempo terms used in the pieces:
  • Allegro

  • Adagio

  • Andante

  • Largo and Larghetto

  • Presto

  • Grave

  • The term “ma non troppo” used after some tempos

d.Look at the similarities between these some of these works and the Overture (i.e. Dance themes)
e.Identify some simple themes, and examine how the different instruments play with the theme and develop it.
10.Suite in F major HWV 348, Suite in D/G major HWV 349/350 “Water Music” (G.F. Handel) / 3
a.Examine the interesting history behind this work.
b.Review the concept of the Suite (Overture); compare with that of Bach’s Overture No. 2 previously studied.
c.Compare the dance forms with J.S. Bach’s Overture No.2. Examine new forms:
  • Menuet (Minuet)

  • Air

  • Bourrée

  • Hornpipe

  • Rigaudon

  • Lentement (Lit. ‘Slow’ from Fr. Lent)

d.Introduce the French Horn, and explain the difference between this and the English Horn. Explain why Handel chose to use this instrument for use in this work.
e.If time allows, look at Handel’s ‘companion’ work, the Fireworks music, and play excerpts.
11.Concertos for Flute Op.10 No.s 1, 2, 3 (A. Vivaldi) / 2
a.Examine the life history of the composer
b.Look at the titles of each work “La tempesta di mare” (The Storm at Sea – No.1); “La Notte” (Night – No.2); “Il gardellino” (The Goldfinch – No.3). Attempt to identify these themes and pictures in the music.
c.Introduce the flute as an instrument. Briefly trace its history to the present.
d.Review the traditional 3 movement structure of the concerto. Look at the exception posed by No.2, which contains 6 movements.
e.If time allows, listen to excerpts from the remaining Op.10 flute concertos.
12.Concerto for Bassoon in E minor RV 484; Concerto for Viola d’amore and Lute in D minor RV 540; Concerto for Oboe and Bassoon in G major RV 545; Concerto for Lute (Guitar) in D major RV 93 (A. Vivaldi) / 4
a.Examine Vivaldi’s versatile use of instruments in the concerto form.
b.Study the instruments and their history for which these various concertos were written:
  • Bassoon

  • Oboe

  • Viola d’amore

  • Lute

c.Examine RV540 and RV545 as examples of concertos written for two instruments.
d.If time allows, examine Vivaldi’s other unusual concertos (e.g. piccolo).
  1. Student Materials:
  1. Teacher Materials:

Reference Books:

Teaching aids:

  • Orchestra Board, depicting the instruments of the orchestra and their position on the stage, wall mountable.
  • Stave, with detachable clefs and notes, wall mountable.

Music Sources:

  1. Classical Teaching Methodology:

Teaching at this level is work-centric. i.e. A work is introduced, and then various concepts illustrated or suggested by that work are discussed. The work is the vehicle for musical concepts. For each work:

  1. Discuss the life history of the composer. At this level, where the composer was born, lived and any interesting stories or anecdotes about the composer’s life will suffice. It is only necessary to do this the first time a composer is introduced in the year the course is taught.
  2. Where possible, discuss the story behind the composition of the work. Many works have specific stories and anecdotes associated with them.
  3. Where appropriate, discuss the story represented by the work (e.g. the story of the Nutcracker for the Nutcracker Suite)
  4. Develop an awareness of musical form (i.e. Concertos, Symphonies, Operas, etc.).
  5. Develop an awareness of musical pitch (i.e. concepts of high and low pitch, and intervals).
  6. Develop an awareness of timing and counting in music (i.e. two, three and four time music). Clapping and tapping help.
  7. Develop an awareness of theme and variation, including fugue etc.
  8. Develop an awareness of key (at this stage, major vs. minor keys)
  9. Attempt to identify the instruments of the orchestra where they are prominent or easily identifiable in the work. Where appropriate, contrast different sounds that can be produced by the same instrument using different techniques (e.g. violin).
  10. Where possible and appropriate, encourage visualization of scenes or pictures intended by the composer in the work.
  11. Where appropriate, make students aware of other well known similar or contrasting works, even if they are not part if the course’s listening list.
  12. Look for opportunities to introduce music theory through a work (e.g. Haydn’s Surprise Symphony to introduce the major third interval, or loud/soft concepts, etc.)

Don’t be afraid to play a work (or parts of it) more than once. Many works “grow” on one when they become familiar. Where possible and time allows, previously studied works can be reviewed later in the course to help the students recognize them.

Be prepared. Know the work, research it and its composer, and know more than the students are likely to ask. Know the history of the period and places connected with the work. Know the dates, people’s names and place names connected with the work (or at least, have them at your fingertips!). If you succeed in passing on your enthusiasm for the music to your students, you may be surprised what they may ask. Always anticipate their questions, and prepare accordingly.

DEO History and Appreciation of Music III CurriculumPage 1 of 6

Version 0.12 5/28/2001 13:44