Section+B+Question+3

media type="file" key="01 So What.m4p" align="center" width="300" height="50"

__** Question 3 (option a) **__ During Semester 2 you studied a short work/movement/section created since 1910. (this can be either the Stravinsky or the Miles Davis). Identify that work.

Title:

Section of work studied (if applicable)

Composer:

Describe how the selected work(s) is representative of a particular music style. In your response refer to **three** elements of music.

__** Question 3 (option b) **__

During Semester 2 you studied a short work/movement/section created since 1910. (this can be either the Stravinsky or the Miles Davis). Identify that work.

Title:

Section of work studied (if applicable)

Composer: a. Describe the structure/form of the work you named above. You may use a diagram in your response.

b. How is repetition used in the work?

Lena and Rory Stravinsky, Symphony Of Psalms movt 1 The overall form of the symphony constists of a prelude (first movt), double fugue (movt 2), and finale (movt 3). The first movement doesn't use a standard classical form. Instead, Stravinsky uses a variety of ideas and links them together using repetition and variation. Eminor block chords repeat throughout the movement, __#|creating__ a sense of structure and also acting as a punctuation mark, stopping flow of semiquaver ostinati. The repetition of this chord creates a sense of familiarity and unity. It also asserts an Eminor tonality through the repetition of these chords.

Stravinsky introduces the main theme (plainchant melody using a repeating semitone) with the altos at figure 4. This theme repeats throughout the movement although there are sometimes slight variation of this plainchant. eg. fig 7 where expanded instrumentation (added basses and cellos) used with the alto part (oboes double this part) to thicken the __#|texture__ and reinforce of the theme. E phrygian ostinati pattern is used extensively throughout the movt. Although the ascending pattern is often slightly varied it helps to create a sense of familiarity as it is continually repeated and used to contribute to the climax of the movement

'So What', by Miles Davis

The form in Miles Davis' 'So What' is written in a form featuring an introduction, a head, and a series of improvised solos, based on the head. The introduction contrasts from the head, as the introduction features a slower tempo, a smaller texture (bass & piano), an ambiguous tonality, addition of silence, unpredictable harmony (dissonant chords) and extended chords, contributing to the free feel in this section. Later on, at the head, it moves to the head, where the feature of call and response was evident, as the bass plays a melody and the piano plays the 'response' motif at bar 2 of the head. This repeats throughout the head, as the drums were added to create drive and anticipation and the trumpet and two saxophones (tenor & alto) were added, creating a thicker texture. The improvisations are based on the head, as these improvisations are all unique, and that they're idiosyncratic to their own style of playing (Bar 33: Davis' solo: clear, rounded tone, melodically simple, Bar 65: Coltrane's solo: virtuosic runs, harsh, nasal tone, melodically complex)

Repetition is used from the call and response motifs from the bass and the piano (trumpets, saxophones later on) at the head. This contributes to the catchy feel lasting throughout the piece. The D Dorian tonality along with the modulation to E-flat Dorian mode is repeated throughout the piece. The repeated exaggeration of the 2+4 beats from the drums are evident from the head onwards, as the rhythm is stable and driving forward, due to the repeated rhythmic patterns of the drums.

Chris W

__**Question 3 (option c):**__

During Semester 2 you studied a short work/movement/section created since 1910. (this can be either the Stravinsky or the Miles Davis).

Identify that work.

Title:

Section of work studied (if applicable)

Composer:

Explain how two of the following elements of music interact with a compositional device. Use examples from the music to support your explanation. Melody: Within Symphony of Psalms, melody is presented primarily in the form of a Neoclassical plainchant. Stravinsky takes the medieval style of the plainchant and modernises it. Melody primarily utilises the compositional device of variation through Symphony of Psalms. Stravinsky takes the initial melodic plainchant and progressively varies it by changing the range, instrumentation and contour of the melody. Melody is also presented in the form of short melodic ideas, such as the ostinati. These short melodic ideas traverse through different variations within the piece, and Stravinsky uses these variations through featuring them as a motific idea. This is evident in Symphony of Psalms as:
 * ** structure/form **
 * ** texture **
 * ** tonality **
 * ** melody **
 * ** rhythm **
 * The main plainchant theme is presented initially in the alto at fig. 4. It consists of a small range, with an alternation between a semitone.
 * Furthermore, this is varied at fig 5 where the melody features melodic augmentation (interval of a third). This creates a higher register and wider intervals
 * At fig 7, the melody is doubled an octave higher in the oboe, affecting the pitch and tone colour.
 * At fig 9, the melody is now monotonal, with rhythmic augmentation and melodic diminution.
 * At fig 13, the melody returns through fragmentation and melodic inversion of the initial melody, starting on the F, as opposed to the initial E (fig.4)

Josh