1. SCULTHORPE DJILILE BEETHOVEN & MENDELSSOHN
$20 SCHOOLS’ TICKETS PROGRAM RESOURCES
BEETHOVEN & MENDELSSOHN
SCULTHORPE
DJILILE

2. AUSTRALIAN CHAMBER ORCHESTRA
One of the world’s most lauded chamber ensembles, the Australian Chamber Orchestra is renowned for its inspired programming and unrivalled virtuosity, energy and individuality.
Its unique programming extends across six centuries, spanning popular masterworks, adventurous cross-artform projects and pieces specially commissioned for the ensemble.
Outstanding Australian violinist Richard Tognetti has been at the helm of the ACO since 1989.
SEE THE ACO IN ACTION

3. ABOUT SCULTHORPE
Peter Sculthorpe (b. 1929, d. 2014) is one of Australia’s most treasured composers.
He was born in Tasmania but spent a significant time living and working in Sydney.
His works vary in musical genre (orchestral, chamber, piano, vocal, etc.) but his passion for an Australian sound pervades all his compositional output.
It is this unique and valuable sound that has cemented Sculthorpe as a treasured composer and immediately identifiable as Australian.
He was appointed an OBE in 1977 and an AO in 1990 amongst other prestigious honours in his long career.

4. Watch Sydney Youth Orchestra play Djilie here
DJILILE
Djilile (composed 1986) has had many different incarnations since its original instrumentation for solo piano.
Instrumentations have included solo piano, guitar, percussion duet, string quartet, chamber orchestra.
The motivic material used to develop the melody comes from an aboriginal melody originally recorded and collected by AP Elkin and Trevor Jones in the late 1950’s.
The use of indigenous melodic ideas illustrates Sculthorpe’s passion for fostering an Australian sound and voice in modern art music in this country.
The title “Djilile” means ‘whistling duck on a billabong’. Sculthorpe’s affection for this melody is evidenced by his repeated use of it in several other works including Port Essington (1977), Kakadu (1988), Threnody (1991) and Dream Tracks (1992).
Watch Sydney Youth Orchestra play Djilie here

5. TEXTURE Texture is one of the Concept of Music.
It is an essential ingredient that enables composers to create unity or contrast by the way in which they combine layers of sound.
When examining the use of texture in a piece we must consider the following points:
1. How many layers of sound can be heard?
2. What is happening in each of the layers? What is each layer’s role?
3. What effect does this have on the overall piece (unity, contrast, development, etc)?

6. TEXTURE
The 2001 arrangement of Djilile completed by Sculthorpe for the ACO has a brief description of its structure given by the composer himself:
“The present arrangement is a straightforward one, consisting of four statements of the chant separated by interludes and followed by a brief coda. I dedicate it to the Australian Chamber Orchestra, for whom it was written.”
This structural outline allows us to view the score for the piece in an organised manner, to best examine Sculthorpe’s use of texture to shape the work.
The original Djilile melody is stated at the opening by the solo violin:
It then reoccurs THREE more times throughout the work at the following points (always played by the 1st violin):
Fig 2 – Bar 16; Fig 4 – Bar 31; Fig 6 – Bar 51.
Each time the Djilile melody returns the texture is altered. Sometimes greatly and other times in a more subtle manner.

7. SCORE ANNOTATION PREPARATION ACTIVITY:
Now that we have an understanding of what texture is and an outline of the arrangement of Sculthorpe’s work, we can examine the score to analyse how texture has been used throughout the work.
Using the full score or the work, annotate the following parts in preparation for the texture analysis:
Highlight all of the first statement of the Djilile melody (b1-10).
Highlight the other restatements of the Djilile melody occurring throughout the work (b16-25; 31-40; 51-60).
Label each statement of the Djilile melody in numeric order using roman numerals (I, II, III, IV)
Label the CODA (Fig 7 – b63)
Label the start of each interlude “Interlude I, Interlude II, …etc” (Fig 1, Fig 3, Fig 5)

8. SCORE READING/ LISTENING TEXTURE ANALYSIS ACTIVITY:
You can now use your prepared score to help in completing the texture analysis table below. Some of the sections have already been completed for you as a guide. Consider the following questions when completing the Texture Details section:
Is this section monophonic, homophonic, polyphonic or heterophonic? Does it change?
What is the role of each layer?
Are there any other concepts of music contributing to the texture in this section?
Any other notable details to add?

9. SCORE READING/ LISTENING TEXTURE ANALYSIS ACTIVITY:
Complete the table for the Opening, Fig 2, 4 & 6 first.
Complete the table for each of the Interludes (Fig 1, 3, 5) second.
Section
Bars
Label
Texture Details
Opening
1-10
Solo, Djilile melody
Monophonic texture – violin solo.
Iontroduced the Djilile melody.
Use of slurs, ties and accents help to give a haunting feel to the phrasing.
Fig 1
Interlude I
Homophonic texture – violin 1 & 2.
Mostly in rhythmic unison throughout with 2 small interjections from the viola in b12-13 & 15.
Rhythmic unison and identical articulation markings create unity while the viola interjections create some interest.
The musical idea in this interlude sounds like a balancing musical idea to compliment or “answer” the original Djilie melody.
Fig 2
Fig 3
Fig 4
Fig 5
Interlude III
Fig 6
Fig 7
63-66

10. WORDS THAT MAY HELP YOU WITH TERMINOLOGY FOR AURAL OR ANALYSIS TASKS :
POLYPHONIC
LAYERS OF SOUND
articulation
SUPPORT
BASS
interjections
EFFECT
lead
development
instruments
monophonic
difference
UNITY
juxtaposed
HETEROPHONIC
contrast
harmony
sound sources
MELODY
ACCOMPANIMENT
roles
HOMOPHONIC
sustained
detached
unison

11. AURAL EXAMINDATION QUESTIONS:
Now that you have completed the guided activity above, let’s formulate the information into an examination answer. There are THREE main steps to successfully answering an aural examination question:
1. Read and UNDERSTAND the question.
Ask yourself what the question is requiring.
Rephrase the question to ensure you KNOW what is being asked
2. State what you can hear using ACCURATE MUSICAL TERMINOLOGY.
KNOW your vocabulary and musical terminology (above list).
It’s always good to have a glossary of terms for each concept that can build over time.
Look at the other school notes for the ACO season to build your glossary terms list or search online for sites with existing glossary lists to refer to.
3. Give EVIDENCE for your observation/analysis from the example (audio OR score).
ALWAYS support your point by stating WHERE the feature or occurrence is in the excerpt.
You can use bar references, section references or even lyric references to give your examples.

12. QUESTIONS - (Three examples based on past HSC papers)
An excerpt from Djilile by Peter Sculthorpe will be played SIX times for you to answer the following question.
1. Discuss how TEXTURE is used in this excerpt.
2. How is INTEREST created in this excerpt? Refer to at least one musical concept in your answer.
3.With specific reference to TEXTURE, explain how CONTRAST and UNITY are achieved in this excerpt.
As you answer each of the questions above, go through the 3 steps and gradually build up your answer. Over time this process will become quicker and quicker for you until it becomes second nature.

13. TEACHER’S NOTES
Teacher's Notes for reference to the Draft Australian Curriculum: The Arts and NSW Stage 6 Music 1 & Music 2 Syllabus.
General
Capabilities
LIT – Reading the score, writing about the Concepts of Music (CoM).
NUM – Identifying and discussing use of texture.
ICT – Utilising internet resources.
CCT – Critically discussing the set work/s.
PSC – Sharing personal responses to set work/s.
EU – Working collaboratively with peers in group discussions and analysis.
ICU – Discussing cultural issues surrounding the set work/s.
Cross-Curriculum Links & Priorities
English, Humanities and Social Sciences, Mathematics, History,
Viewpoints
1 – Discussing the links between indigenous cultures and the music of Peter Sculthorpe. His use of indigenous musical content in art music.

14. TEACHER’S NOTES NSW Stage 6 Syllabus Links – MUSIC 1 Topic Links
Music of the 20th & 21st Centuries
Music for Small Ensembles
MUSIC 2
Music 1945 – 25 years ago (original work written in 1986)
Outcome Links
P – 4,5,6,7,8,10,11
H – 4,5,6,7,8,10,11

15. OPPORTUNITIES FOR YOUNG MUSICIANS WITH THE ACO
Find out about more great opportunities with the ACO