AS Music revision作为音乐的修订.ppt

AS Music revision Keyboard music: Sweelinck Sweelinck revision - form The form of the work follows exactly the shape of the original Dowland lute song: A;A1: B;B1; C;C1 A bars 1 – 16. A1 bars 17 – 32 B bars 33 – 48. B1 bars 49 – 64 C bars 65 – 81. C1 bars 81 - 98 The form is unusual in comparison to the Schumann and the Shostakovich. Explain why (activity 5) The form of the work is governed by the principle of variation. This is achieved by what means? (activity 6) Sweelinck - texture The majority of the work is homophonic This is achieved by an unusual scoring in a predominantly four part homophonic texture Why is this unusual for a keyboard work? (activity 7) Other types of texture include Semiquaver motion passing between hands bars 23 – 31 Canonic imitation between bars 39 – 44 and bars 55 – 60 Clearly homophonic motion bars 33 - 36 Sweelinck - harmony Sweelinck is very clear in his application of harmony A is in A minor B is in C major (relative major) C starts on the dominant chord of E major ending on the tonic major A cadences on the tierce de Picardie of A major B cadences on the tonic dominant (E major) C cadences on the tierce de Picardie of A major Sweelinck and the keyboard Activity 8 Quiz Activity 9 Quiz Sweelinck harmony Detail There is a great deal of employment of suspensions, false relations and tierce de Picardie A suspension occurs between bars 2 – 3 in the Alto voice A false relation occurs in bar 12 between the soprano and alto voice There is a brief modulation to G major in bar 9 beat 3 – bar 10 beat 1 A tierce de Picardie occurs between bars 14 – 15 Schumann - form Activity 10 Schumann texture All works are homophonic There are a variety of approaches to homophony, no. 11 being a good example The melody may cross between the right and left hand, for example no. 1 bars 1 – 5 and bars 9 – 12. No 11 9 – 12, melody in left hand The right and left hand always have a clear role. This is not always evident in the Sweelinck. No. 1 bars 1 – 8,