1. Year 12: AS Music Learning Objectives -To recognise key fingerprints of the postmodernist period and the anthem - To review the elements of music and use them to identify key points in a set work -To apply improved knowledge of the elements of music to set work studies Lesson Content Performance Friday Essay Due Annotate text -Most important words -Sum up meaning

2. The Lamb – the context Tavener is a British composer Do not confuse with the Renaisance composer Song for Athene 1997 This was written in 1982 and is an anthem Text by Blake Scored for SATB (treble) What are ranges of each voice? An example of postmodernism

3. Jonathan Kramer – Music Theorist on Postmodernism Challenges barriers between 'high' and 'low' styles Shows disdain for the often unquestioned value of structural unity Questions the mutual exclusivity of elitist and populist values Avoids totalizing forms (e.g., does not want entire pieces to be tonal or serial or cast in a prescribed formal mould) Distrusts binary oppositions Includes fragmentations and discontinuities

4. Aural Analysis Sing Reflect Analyse A deeper musical understanding…

5. Understanding the text Poetic structure: There are five couplets (pairs of lines) in each stanza. Couplet 1 has two similar six-syllable lines. 5 has the same line twice. 2, 3 and 4 are rhyming couplets with seven-syllable lines. Musical structure: Verse 11-10 Verse 211-20 (rescored of previous – what difference in voices) Strophic

6. Texture Identify each of the following textures within the piece  Monophonic  2 part  4 part  Homorhythmic  Octave writing  Two parts doubled at the octave

7. Text setting and rhythm How does Tavener use rhythm to control and promote the Blake text? Syllabic Flexible Slow movement in even quavers No time signature or bar lines Augmentation – sense of being slower Homorhythmic

8. Melody and structure Strophic Monothematic – 7 notes – economical (b.1&2) analyse this ‘cell’ Moves in step, conjunct, repetition, small intervals only ‘Prime’ Retrograde Inversion

9. Harmony and Tonality A tale of 2 halves! List conventional and non conventional tonal and harmonic features… UnconventionalConventional No key sig Functional – phrases end with V-I Implied G major Harmonies in 3rds at this point Bitonal Eb vs G Suspensions Aeolian mode bar 7-11 Built on triads and 7th Bar 7 unprepared 7 th in tenor ‘thee’ Consecutive 5ths in sop and tenor

10. Year 12: AS Music Learning Objectives -To recognise key fingerprints of a good comparisons essay -To apply improved knowledge of the elements of music to set work studies -To identify passing notes, accented passing notes, echappe, auxiliary notes, Lesson Content Essay planning Homework: essay and consolidation bccsmusicdepartment@wordpress.com The Lamb

11. Compare and contrast the use of tonality and harmony and melody in Dowland and Monteverdi[18]

12. Structure Tonality and Harmony Texture and Instrumentation Rhythm and Metre Melody Text Setting To be able to consolidate musical features into the musical elements.

13. Studying a set work? Teacher led lesson context of work (research) note taking score annotation Homework listening consolidation Comprehension questions Essay writing Consolidation lesson Private study Revise for exam

14. Private Study Paraphrase notes provided Annotated score from lessons and the notes Own notes – added consolidation Notes written up in the A3 elements grid with detail Monteverdi research and homework all present Folder Scrutiny

15. Consolidation – notes, private study Context Instrumentation & Timbre Form & Structure Tonality & Harmony Melody Rhythm & Metre Texture