1. CINEMUSICA BARKTÓK $20 SCHOOLS’ TICKETS PROGRAM RESOURCES
MUSIC FOR STRINGS, PERCUSSION AND CELESTA

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 BÉLA BARTÓK
Bela Bartok was born in Hungary, 1881 and is an important figure in music. He lived through two world wars, revolutions, counter-revolutions, and entanglements with Fascist governments.
He died in America in 1945 after fleeing the Nazis in World War II. Bartok was influenced by Strauss, Debussy, Kodaly and Brahms.
Bartok had a passion for folk music, and spent many years travelling to collect folk tunes. His work became the foundation for what we know today as Ethnomusicology – the study of music in cultural contexts.
His compositions are also heavily influenced by the folk music he collected.

4. MUSIC FOR STRINGS, PERCUSSION AND CELESTA
Composed 1936
This piece was written at a point in Bartok's development where he had diverged from traditional diatonic harmonies. This is reflected in the lack of key signature. There are four movements: 
Movement 1. Andante Tranquillo
A slow movement resembling a fugue with constantly changing time signatures
Movement 2. Allegro
A fast, dance-like movement
Movement 3. Adagio
A slow, “nocturnal” movement featuring extended techniques such as timpani glissandi
This work has appeared in The Shining  (1980) and Being John Malkovich  (1999)
Movement 4. Allegro Molto
A lively finish, influenced by folk melodies

5. AURAL/ MUSICOLOGY
Each sequence of Lessons provided by the ACO will focus on developing key skills: PERFORMANCE, COMPOSITION and AURAL/MUSICOLOGY.
This sequence of lessons will focus on AURAL/MUSICOLOGY.
DISCLAIMER: This resource discusses using the concepts of Music. These are known as elements in Queensland and are different in other states, but are still central to the written response.

6. AURAL ACTIVITY UGH! DISCUSS THE USE OF CONTRAST IN THIS EXCERPT.
For this exercise we will focus on the second movement. Listen to the first 30 seconds and answer the question:
DISCUSS THE USE OF CONTRAST IN THIS EXCERPT.
WRITE this question down!
How do we begin to answer a question like this? Many students can find it overwhelming.
Where do we even start?
What are the examiners looking for?
What do I write?
How do I write it?
UGH!
Today's sequence will discuss one strategy to tackle tricky aural questions like these.
There are many strategies: use one that works for you, and practise it.

7. AURAL ACTIVITY IS THIS A GOOD OR BAD RESPONSE?
LISTEN to the first 30 seconds of the video and read the response below.
Response 1: It has strings and piano and drums in it. The music starts low then goes high. In the beginning it is soft but then it goes loud.
IS THIS A GOOD OR BAD RESPONSE?
Discussion:
WHY is it a bad response?
HOW can we make it better?

8. AURAL ACTIVITY READ RESPONSE 2 Is this a better response? WHY?
So we know what NOT to do? What SHOULD we be doing? 
READ RESPONSE 2
Is this a better response? WHY?
Discussion: What did this response do? Come up with THREE things to do in every aural response.
Response 2: Contrast is demonstrated in this excerpt through tone colour. The piece begins with bright strings, first pizzicato then arco, which contrasts with a mellow piano accompaniment beneath. Contrast is furthered in this setting by the entrance of the timpani at the end of the first phrase.

9. SO HOW DO WE ACHIEVE THIS IMPROVEMENT?
AURAL ACTIVITY
Consider this response:
Response 1: It has strings and piano and drums in it. 
And this:
Response 2: Contrast is demonstrated in this excerpt through tone colour. The piece begins with bright strings, first pizzicato then arco, which contrasts with the more mellow piano accompaniment beneath. Contrast is furthered in this setting by the entrance of the timpani at the end of the first phrase.
Students regularly argue that they say essentially the same thing. Yes, the excerpt does have strings, and piano, and drums, and yes they are all contrasting.
HOWEVER,
the second response gives your examiners more opportunities to give you marks!
SO HOW DO WE ACHIEVE THIS IMPROVEMENT?

10. 1. Use the language of the question. 3. Be as specific as possible.
AURAL ACTIVITY
1. Use the language of the question.
You can write the best response in the world, but if you don't answer what the question asks, you're getting no marks. So, use the language of the question in your response to keep you on target.  
2. Use the concepts of music.
For most students they are central to syllabus and showing you understand these will get you more marks. They also provide you an opportunity to use more metalanguage  – words like pizzicato. When used correctly, technical words will demonstrate a deeper understanding of music and give the examiners more opportunity to give you marks.
3. Be as specific as possible.
Don't just say “There's strings, then there's drums.” You need to give more detail. Where do the strings start? How long do they play for? When do the drums come in? What effect does it have? Many people like to draw diagrams, draw melody lines or structures to help explain their point here. (Discuss with your teacher what is appropriate for your state.)

11. APPLYING THIS KNOWLEDGE
Let's give it a go!
Consider this – you're in your aural exam, and you've been given this question we're working on.
Step one - A good idea here is to get a scrap bit of paper and write down your concepts of music. They'll be helpful as prompts, and to help classify your ideas later.
Step two – write down what you hear.
Let's do that now.
Listen to the first 30 seconds of the second movement and just write down what you hear on a scrap bit of paper. You can listen to it a few times. Try and get six things down.

12. APPLYING THIS KNOWLEDGE
So at this stage your answer sheet is blank, and your scrap bit of paper has the concepts on it and some observations.
Your observations might look something like this:
strings and piano and drums
starts low, goes high
soft, then goes loud
That's great!
Each ONE of these observations will translate into ONE paragraph of writing on your answer sheet.
ONE idea per paragraph. It's the way things work.
ONE idea per paragraph. It's the way things work.

13. AURAL ACTIVITY 1. Use the language of the question
Next, here's the important bit, we use our three rules from earlier to change our scribbled observation on our scrap piece of paper: 
strings and piano and drums
To our written response on our answer sheet:
Contrast is demonstrated in this excerpt through tone colour. The piece begins with bright strings, first pizzicato then arco, which contrasts with the mellow piano accompaniment beneath.
Contrast is furthered in this setting by the entrance of the timpani at the end of the first phrase.
 ACTIVITY: Do this for the two observations:
starts low, goes high
soft, then goes loud
… or any observation suggested from the class that you might like better.
REMEMBER:
1. Use the language of the question
2. Use the concepts of music
3. Be as specific as possible

14. AURAL ACTIVITY GOOD LUCK!
You won't be awesome at answering aural questions overnight. You will get better with practise. By using a scaffold like this one, you are giving the examiners as many opportunities as possible to give you marks.
GOOD LUCK!

15. COMPOSITION ACTIVITY
Many students have trouble remembering the concepts of music. As a class or individuals, compose a little song which students can sing (over and over again) to aide their memory.

16. When you go to the concert, use the knowledge and skills we have explored and consider the following questions:
Using the concepts of music, what observations could you make about this performance?
Identify aspects of:
Structure
pitch
rhythm in the performance.

17. 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 meter and rhythm.
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.
ICU – Discussing cultural issues surrounding the set work/s.
Cross-Curriculum Links & Priorities
English, Humanities and Social Sciences, Mathematics, History, Language
Viewpoints
2 – Extend discussions into the links between the repetitive nature of these works and that of cultural music of Asian regions (eg; Balinese, Chinese).

18. TEACHER’S NOTES NSW Stage 6 Syllabus Links – MUSIC 1 Topic Links
Music of the 20th & 21st Centuries
Music for Small Ensembles
Music and the Related Arts
(Hermann & Stravinsky)
MUSIC 2
Music 1900 – 1945
Music Years Ago
Music of the Last 25 Years (Although the Tüür work is not Australian)
Outcome Links
P – 4,5,6,7,8,10,11
H – 4,5,6,7,8,10,11

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