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Tchaikovsky is regarded as a nationalist composer, 5 as he used ol% music and +rote music inspired "y Russia.s history. His 1812 Overture was +or%ed on it rom 1cto"er 1& to 2ovem"er 19, 1880 3 and su"mitted it to celerate Russia.s deeat to+ards 2apoleon.s 4rand 5rmy at the 6attle o 6orodino in
Tchaikovsky is regarded as a nationalist composer, 5 as he used ol% music and +rote music inspired "y Russia.s history. His 1812 Overture was +or%ed on it rom 1cto"er 1& to 2ovem"er 19, 1880 3 and su"mitted it to celerate Russia.s deeat to+ards 2apoleon.s 4rand 5rmy at the 6attle o 6orodino in
Tchaikovsky is regarded as a nationalist composer, 5 as he used ol% music and +rote music inspired "y Russia.s history. His 1812 Overture was +or%ed on it rom 1cto"er 1& to 2ovem"er 19, 1880 3 and su"mitted it to celerate Russia.s deeat to+ards 2apoleon.s 4rand 5rmy at the 6attle o 6orodino in
The romantic period (1815- 1910) stressed emotion, imagination and
individuality. 1 Romantic music consisted o e!pressive aims and su"#ects as romantics e!plored eelings and composed music either "ased on stories, poems, ideas and scenes or consciously included national $avour "y including ol% music. & 'eter (llych Tchai%ovs%y (18)0-189*) a Russian romanticist +as "orn in the small to+n o ,ot%ins%. -is music +as more in the +estern tradition though he +as in$uenced "y Russian elements. * -e stated. ( am Russian, Russian, in the ullest sense o the +ord.. ) Tchai%ovs%y is regarded as a nationalist composer, 5 as he used ol% music and +rote music inspired "y Russia.s history. Tchai%ovs%y.s 1812 Overture in / $at ma#or, op 0) is one o his "est %no+n +or%s. 0 -e +or%ed on it rom 1cto"er 1& to 2ovem"er 19, 1880 3
and su"mitted it to cele"rate Russia.s deeat to+ards 2apoleon.s 4rand 5rmy at the 6attle o 6orodino in 181&. 8 (t +as 7rst de"uted in the 8athedral o 8hrist the 9aviour in 5ugust 188& 9 . (n his o+n +ords, he ound it :very loud and noisy. 10
1 ;amien, R. (&008) Music: An Appreciation.9 th ed. 2e+ <or%= The >c4ra+--ill companies. page &33 & ("id * i"id ) i"id 5 i"id 0 http=??+++.classical.net?music?comp.1st?+or%s?tchai%ovs%y?181&.php 3 @ampson, A (1999). 1812 Overture in E fat major 0p. 49 (1880. 5vaila"le= http=??+e".%u.edu?Brusscult?culture?handouts?chai%ovs%ii.html 8 Aaugherty, 6 (&010) Mosco!" #istor$. 5vai%a&%e: http=??+++.classical.net?music?comp.lst?+or%s?tchai%ovs%y?181&.php 9 i"id 10 /,/29, /= 'c(ai)ovs)$: (is %i*e an+ !or)s, !it( e,tracts *rom (is !ritin-s an+ t(e +air$ o* (is tour a&ora+ in 1888 Cilliam 'u"lishers, @ondon (1998) Page 1 of 16 Stage 2 Music in Context annotated response for use in 2011 Ref:A98705 !cto"er 201#$ % SAC& 'oard of Sout( Austra)ia 2011 Practical Application PA2 *(ere is considered use of resources+ (o,e-er. t(e footnotes contain so/e errors0 Knowledge and Communication KC1 *(is introduction to t(e in-estigation s(o,s an infor/ed understanding of t(e topic "ut it is too si/p)istic to put it in a (ig(er grade "and0 Analysis A1 *(is infor/ation s(o,s considered understanding of t(e piece in its (istorica) context0 1t (as "een descri"ed as !p0 6#. (o,e-er it is !p0 #90 Romantic orchestras +ere larger than in the classical period and composers +ere e!posed to a +ider variety o instruments. This can "e seen in Tchai%ovs%y.s 1812 Overture as it is scored or a larger orchestra= "rass "and, +ood+inds, "rass, percussion and strings. The use o the "rass "and is considered innovative as it +as not commonly ound in an orchestra. Tchai%ovs%y employs the "rass "and to portray the story o Russia.s deence o 6orodino 11 . (t plays a moti +hich comes rom the orthodo! tune +hich is introduced at the "eginning o the +or%. (Digure 1) Figure 1 Brass band, frst introduce in the Recapitulation Tchai%ovs%y also introduced the use o cannons in this piece to re$ect the Russian military.s advances, orcing the Drench urther to+ard the "orders. 1& The overture is "est %no+n or its climactic volley cannon 7re and ringing chimes, ound in the recapitulation. The 1812 Overture is in the orm o a concert overture, +hich emerged rom the opera overture, +hich +as played at the commencement o an opera, to esta"lish the mood. 1* 5 concert overture is an independent, 11 Aaugherty, 6 (&010) Mosco!" #istor$. 5vai%a&%e: http=??+++.classical.net?music?comp.lst?+or%s?tchai%ovs%y?181&.php 1& @ampson, A (1999). 1812 Overture in E fat major 0p. 49 (1880. 5vaila"le= http=??+e".%u.edu?Brusscult?culture?handouts?chai%ovs%ii.html 1* ;5>(/2, R= Music: An appreciation (0 th /dition) The >c4ra+- -ill 8ompanies (nc, 2e+ <or% (&008) page **5 Page 2 of 16 Stage 2 Music in Context annotated response for use in 2011 Ref:A98705 !cto"er 201#$ % SAC& 'oard of Sout( Austra)ia 2011 Knowledge and Communication KC1 *(is is de/onstrating 2no,)edge and infor/ed understanding of t(e topic0 Analysis A1 *o /a2e t(is state/ent re)e-ant to t(e ana)3sis. t(ere needs to "e c)earer description of t(e tune and exp)anation t(at it is a Russian ort(odox tune0 Practical Application PA3 Considered presentation disp)a3ing appropriate use of /usica) exa/p)es0 one movement +or% oten in sonata orm. 1) 8omposers rom the romantic period oten modi7ed traditional orms to portray sel e!pression and individuality o style. 15 Tchai%ovs%y modi7ed sonata orm in the overture +hich can "e seen in ta"le 1. Tchai%ovs%y.s e!position ("ar 1-89) ollo+s traditional rules, or instance the use o t+o contrasting themes. This can "e seen in his 7rst theme ("ar 1-*5). The piece opens +ith the som"re tones o a Russian church chant, :4od 'reserve thy 'eople., recalling that the declaration o +ar +as announced at church services in Russia. 10 This announcement and pu"lic reaction +as captured in @eo Tolstoy.s novel, .ar an+ /eace. 13
Tchai%ovs%y.s 7rst theme, presented "y the lo+er strings, is Euite slo+ rhythmically and repetitive melodically. (t is in the %ey o /" ma#or +ith homophonic te!ture. (Digure &). Traditionally, the "ridge acts as a transition rom the 7rst theme to the second theme, +ith modulations leading to the ne+ %ey. 18 -o+ever, this 1) i"id 15 i"id 10 @ampson, A (1999). 1812 Overture in E fat major 0p. 49 (1880. 5vaila"le= http=??+e".%u.edu?Brusscult?culture?handouts?chai%ovs%ii.html 13 i"id 18 ;5>(/2, R= Music: An appreciation (0 th /dition) The >c4ra+- -ill 8ompanies (nc, 2e+ <or% (&008) page **5 Page 4 of 16 Stage 2 Music in Context annotated response for use in 2011 Ref:A98705 !cto"er 201#$ % SAC& 'oard of Sout( Austra)ia 2011 Figure 2 Tchaikovsky's frst theme Knowledge and Communication KC1 *(is de/onstrates detai)ed 2no,)edge of t(e topic0 Analysis A1 *(e point is re)e-ant to t(e ana)3sis and it is i/portant in p)acing t(e piece in its (istorica) and cu)tura) context. Knowledge and Communication KC1 5ood use of /usica) ter/ino)og30 is not the case in the 1812 Overture, as the second theme is in the tonic, /" >a#or. Drom "ar *3 to 3* Tchai%ovs%y e!tensively uses chromatic runs +hich could "e seen as depicting the distressed Russians hurrying to church to pray. 19 -is second theme ("ar 3) to 83) is short and detached and could depict the "attle scene +ith the use o the snare drum &0 . (Digure *) 19 @ampson, A (1999). 1812 Overture in E fat major 0p. 49 (1880. 5vaila"le= http=??+e".%u.edu?Brusscult?culture?handouts?chai%ovs%ii.html &0 i"id Page # of 16 Stage 2 Music in Context annotated response for use in 2011 Ref:A98705 !cto"er 201#$ % SAC& 'oard of Sout( Austra)ia 2011 Analysis A2 *(is is ,e))6considered ana)3sis of t(e st3)istic features0 *C7A18!9S8:;S M!<1=1&< S!>A*A =!RM C?ASS1CA? S!>A*A =!RM &@P!S1*1!> *c(ai2o-s23;s 2 nd t(e/e sta3s in t(e tonic 2e3 &" =)at MaAor$0 7o,e-er t(is is a nota")e contrast "et,een t(e 1 st t(e/e and t(e 2 nd t(e/e0 1 st t(e/e is in t(e tonic 2e3 'ridge passage )eading to t(e 2 nd t(e/e B often in t(e <o/inant 2e3 or re)ati-e /aAor 1 S* *7&M& *c(ai2o-s23;s treat/ent to,ards t(e exposition opening to "ar 89$ fo))o,s traditiona) ru)es. as (is first t(e/e is in t(e tonic 2e3 1n tonic 2e3. or (o/e 2e30 'R1<5& *(e "ridge is Cuite )engt(3 co/pared to t(e c)assica) sonata for/+ (o,e-er t(is gi-es *c(ai2o-s23 to exp)ore ,it( ne, c(ords ,(ic( e/p(asiDe ric(. co)ourfu) and co/p)ex (ar/onies0 ?eads to t(e ne, 2e3. eit(er t(e do/inant or re)ati-e /inor0 2>< *7&M& second t(e/e is s(ort and detac(ed and cou)d depict t(e "att)e scene ,it( t(e use of t(e snare dru/0 1nstead of /odu)ating to t(e do/inant (e sta3s in t(e tonic &" /aAor0 7# to 87$ !ften contrasts in /ood ,it( t(e first t(e/e0 *(ere is a)so a repeat sign at t(e end of t(e exposition in c)assica). ,(ic( indicates t(at it s(ou)d "e p)a3ed again0 <&9&?!PM&>* *c(ai2o-s23;s de-e)op/ent is -er3 )ong and it fo))o,s tradition ru)es. for instance /o-es rest)ess)3 t(roug( se-era) different 2e3s. for instance &" Minor6 t(e re)ati-e /inor of t(e tonic 2e3 and = s(arp MaAor. an unre)ated 2e30 7o,e-er. *c(ai2o-s23 doesn;t de-e)op an3 of t(e t(e/es found in t(e first /o-e/ent0 (e instead "rings ne, /ateria) and de-e)ops it0 *(e /usic /o-es rest)ess)3 t(roug( se-era) different 2e3s00 *(e/es fro/ t(e exposition are de-e)oped. or treated in ne, ,a3s0 *(e3 are "ro2en into frag/ents. or /oti-es ,(ic( are s(ort /usica) ideas de-e)oped0 R&CAP1*E?A*1!> *(e first t(e/e is "roug(t "ac2 in t(e tonic 2e3. (o,e-er c(anges t(e orc(estration "3 (a-ing a "rass "and as ,e)) as t(e "rass section p)a3ing00 *c(ai2o-s23 a)ters ,it( t(e texture and does t(is "3 (a-ing t(e "rass "and and t(e "rass section p)a3ing t(e t(e/e. preceded i//ediate)3 "3 ascending c(ro/atic runs p)a3ed "3 t(e strings and ,ood,ind section0 *c(ai2o-s23 "rings "ac2 t(e 2 nd t(e/e and instead of Aust (a-ing t(e ,ood,inds p)a3ing. *(ere is (o,e-er an a"sence of t(e "ridge0 *c(ai2o-s23 a)so does a -er3 inno-ati-e t(ing "3 "ringing in a co/p)ete)3 ne, /oti-e0 5od sa-e t(e tsar ,(ic( depicts Russia;s; defeat 1n t(e recapitu)ation. t(e first t(e/e. "ridge. second t(e/e and conc)uding section *(e recapitu)ation is announced "3 a dou")e return: to t(e /ain t(e/e and to t(e tonic 1n t(e recapitu)ation. t(e second su"Aect can start in an3 2e3 "ut it (as to go to t(e tonic Page 5 of 16 Stage 2 Music in Context annotated response for use in 2011 Ref:A98705 !cto"er 201#$ % SAC& 'oard of Sout( Austra)ia 2011 Knowledge and Communication KC2: Considered and genera))3 c)ear co//unication of in-estigation findings0 Practical Application PA3 Considered presentation disp)a3ing appropriate use of /usica) exa/p)es "ar nu/"ers fro/ t(e score$0 7o,e-er /ost of t(e infor/ation contained in t(e ta")e is a)so in t(e "od3 of t(e in-estigation0 The development section is +here themes and materials rom the e!position are treated in ne+ +ays. Tchai%ovs%y.s development ollo+s traditional rules, or instance the rapid modulations. -o+ever, Tchai%ovs%y does not develop either the 1 st or & nd themes. (nstead, he introduces ne+ material, the Drench national anthem, and develops that "y changing the orchestration and ragmenting the rhythm. This depicts the Drench victories in the +ar, as +ell as the capture o >osco+ in 9eptem"er 181&. &1
Tchai%ovs%y.s melodies are very romantic in style as the phrases are uneven ma%ing them un"alanced and not symmetrical. -is melodies are very long and e!pressive and he included e!isting ol% tunes +hich &1 @ampson, A (1999). 1812 Overture in E fat major 0p. 49 (1880. 5vaila"le= http=??+e".%u.edu?Brusscult?culture?handouts?chai%ovs%ii.html Page 6 of 16 Stage 2 Music in Context annotated response for use in 2011 Ref:A98705 !cto"er 201#$ % SAC& 'oard of Sout( Austra)ia 2011 Figure Tchaikovsky's second theme Knowledge and Communication KC2 Co//unication of e)e/ents of an in-estigation0 Knowledge and Communication KC1 *(is de/onstrates an infor/ed understanding of t(e topic0 Analysis A2 Considered ana)3sis of st3)istic features0 portray and re$ect real events that occurred in the 6attle o 6orodino in 181&. Dor instance, the use o an e!isting Russian orthodo! tune at the "eginning o the overture +hich portrays distressed Russians +hen :declaration o +ar +as announced at church services in Russia && (Digure 1). The use o 0a Marsei%%aise- the national anthem o Drance re$ects the early Drench victories in the +ar, including the capture o >osco+ in 9eptem"er 181&, &* +hich is introduced in the development section "y the horns at "ar 1&3. (Digure )) F4od save the TsarGH the national anthem o the late Russian empire- is 7rst introduced "y the lo+er strings and "rass, as +ell as the lo+er sections o the "rass "and in the recapitulation. The horns play, as +ell as the cannons going oI, +hile the marching li%e second theme is "eing played "y the upper +ood+inds and strings. The Russian anthem is then in counterpoint to the second theme. &) (Digure 5) Tchai%ovs%y e!plores rich colour and comple! harmonies in the "ridge, re$ecting romantic style. &5 There are a num"er o passages +hich are highly chromatic, adding colour to portray the con$ict as the desperate Russians prepare or "attle. Tchai%ovs%y, reEuently changes %ey in the && @ampson, A (1999). 1812 Overture in E fat major 0p. 49 (1880. 5vaila"le= http=??+e".%u.edu?Brusscult?culture?handouts?chai%ovs%ii.html &* i"id &) i"id &5 ;5>(/2, R= Music: An appreciation (0 th /dition) The >c4ra+- -ill 8ompanies (nc, 2e+ <or% (&008) Page 7 of 16 Stage 2 Music in Context annotated response for use in 2011 Ref:A98705 !cto"er 201#$ % SAC& 'oard of Sout( Austra)ia 2011 Figure ! The introduction o" the French #rmy, introduced by the $orns Analysis A2 *(is ana)3sis of t(e st3)istic features of t(is section is ,e))6 considered0 Analysis A2 Considered ana)3sis of st3)istic features0 overture and it is oten to unrelated %eys, or instance 4 ma#or, D sharp ma#or, /" minor. Tchai%ovs%y also employs the use o seventh chords. Page 8 of 16 Stage 2 Music in Context annotated response for use in 2011 Ref:A98705 !cto"er 201#$ % SAC& 'oard of Sout( Austra)ia 2011 Figure % The Russian national anthem introduced by the lo&er strings, the lo&er brass and the lo&er &ood&inds Throughout the overture, Tchai%ovs%y e!plores te!tural contrasts, as he e!periments +ith ull orchestral orces and cham"er li%e sections as +ell as homophony and polyphony. The use o ull orchestral orces, depicting the Drench loss to Russia is re$ected in the diJJying spirals o a diminuendo &0 leading to the recapitulation (see Digure 0). 'olyphony occurs Euite reEuently throughout this +or%, or instance at "ar *88 +hen the Russian anthem is "eing played at the same time as the second theme. (Digure 5) Throughout the overture, Tchai%ovs%y uses compositional techniEues such as seEuences, rhythmic alteration, ragmentation and syncopation. The use o syncopation in the development depicts the con$ict "et+een the Russian and Drench armies, this is played "y the lo+er +ood+inds and the "rass section. (Digure 3) &0 @ampson, A (1999). 1812 Overture in E fat major 0p. 49 (1880. 5vaila"le= http=??+e".%u.edu?Brusscult?culture?handouts?chai%ovs%ii.html Page 9 of 16 Stage 2 Music in Context annotated response for use in 2011 Ref:A98705 !cto"er 201#$ % SAC& 'oard of Sout( Austra)ia 2011 Figure ' (i))ing spirals o" dimineundos Knowledge and Communication KC1 *(e use of /usica) ter/ino)og3 is accurate "ut t(e state/ent is genera)0 Figure * +se o" syncopation Tchai%ovs%y also rhythmically alters motives, or instance the development o the Drench anthem in the development. Tchai%ovs%y 7rst introduces the theme in the horns (Digure 8). Figure , The French anthem motive introduced by the horns Then he has it in the trom"ones, preceded "y a rhythmic alteration. (nstead o having our crotchets in the second "ar, he adds a minim and a Euaver rest proceeded "y the t+o semi Euavers and t+o crotchets. (Digure 9) Figure - rhythmic alteration o" the .ational French #rmy 5t the "eginning o the overture, the time signature is simple triple or the 7rst part o the e!positionK ho+ever at 7gure *, the second theme is Page 10 of 16 Stage 2 Music in Context annotated response for use in 2011 Ref:A98705 !cto"er 201#$ % SAC& 'oard of Sout( Austra)ia 2011 Analysis A2 Fe)) considered ana)3sis of st3)istic features0 *(is is a good co/parison ,it( "ot( exa/p)es used to i))ustrate t(e point0 in cut common time. The development stays in common time and changes to simple triple leading up to the recapitulation. Tchai%ovs%y.s 1812 Overture is one o his "est %no+n +or%s. (t re$ects romantic style through a num"er o elements including a "rass "and as +ell as the use o cannonsK the chromatic harmony and orchestral colours e!ploredK the e!treme dynamics and the modi7cation o sonata orm to suit personal e!pression depicting the real lie events o +hat too% place at the 6attle o 6orodino in 181&. Page 11 of 16 Stage 2 Music in Context annotated response for use in 2011 Ref:A98705 !cto"er 201#$ % SAC& 'oard of Sout( Austra)ia 2011 Additional Comments Practical Application PA1 Appropriate de/onstration of independent ,or2. p)anning. and in-estigation processes t(roug(out t(is piece of ,or20 Knowledge and Communication KC2 *(e co//unication is genera))3 c)ear0 Bibliography books -ARE1234, A: A composer in 'c(ai)ovs)$5s s(a+o!, 6ocuments, %etters, memoirs, +iscussion o* !or)s. 2ue+er%- 6uch und musi%alienhandlung, 6erlin (&00*) - 6R(449, 5A'= 'c(ai)ovs)$ an+ /us()in, men o* Russian %etters 1pera >agaJine @ondon (1998) - - /,/29, /= 'c(ai)ovs)$: (is %i*e an+ !or)s, !it( e,tracts *rom (is !ritin-s an+ t(e +air$ o* (is tour a&ora+ in 1888 Cilliam 'u"lishers, @ondon (1998) - ;5>(/2, R= Music: An appreciation (0 th /dition) The >c4ra+- -ill 8ompanies (nc, 2e+ <or% (&008) - @5249T12, 6 and '1L2529;<, 5= '(e 'c(ai)ovs)$ (an+&oo): a -ui+e to t(e man an+ (is music. (ndiana Mniversity 'ress. - - 9TRMTT/, C= 'c(ai)ovs)$, (is %i*e an+ times. The >c4ra+- -ill 8ompanies (nc, @ondon /ebsites - 8orner, C. 1812 Overture. 5vaila"le= http=??+e".%u.edu?Brusscult?culture?handouts?chai%ovs%ii.html. - Aaugherty, 6 (&010) Mosco!" #istor$. 5vai%a&%e: http=??+++.classical.net?music?comp.lst?+or%s?tchai%ovs%y?181&.php - @ampson, A (1999). 1812 Overture in E fat major 0p. 49 (1880. 5vaila"le= http=??+e".%u.edu?Brusscult?culture?handouts?chai%ovs%ii.html - ;no!, 9. (&00)) :1812 Overture 5vaila"le= http??+++."hso.org.a%?repert-13*- Tchai%ovs%y-181&-overture-1p-)9.htm. 0core - Tchai%ovs%y, 'eter (llych, 1812 Overture Op 79. 8arrenreiter 9rte,t #udio - Tchai%ovs%y.s 181& 1verture. 'erormed "y the @ondon 'hilharmonic 1rchestra, Mnited 5udio /ntertainment @td 1993 - Tchai%ovs%y.s 181& Destival 1verture. 'erormed "y the 9ydney 9ymphony 1rchestra, 5ustralian 6roadcasting 8ompany &005 Page 12 of 16 Stage 2 Music in Context annotated response for use in 2011 Ref:A98705 !cto"er 201#$ % SAC& 'oard of Sout( Austra)ia 2011 Practical Application PA2 Considered use of resources0 Performance Standards Stage 2: Music in Context Practical Application Knowledge and Communication Analysis A 7ig()3 effecti-e de/onstration of independent ,or2. and p)anning and in-estigation processes0 &xtensi-e and (ig()3 effecti-e /anage/ent of t(e in-estigation. ,it( insig(tfu) use of a range of resources and re)e-ant docu/entation0 Confident and co/pre(ensi-e presentation. disp)a3ing (ig()3 effecti-e use of /usica) exa/p)es. tec(no)ogies. and processes0 Co/pre(ensi-e 2no,)edge and understanding of t(e topic. ,it( exce))ent use of /usica) ter/ino)og3. and (ig()3 creati-e exp)oration and insig(tfu) discussion of aspects of /usic0 1ncisi-e and c)ear co//unication of in-estigation findings0 7ig()3 de-e)oped aura) recognition s2i))s0 Percepti-e ana)3sis and understanding of /usic in its (istorica) and cu)tura) context0 Percepti-e ana)3sis of st3)istic features0 <iscerning s2i))s in aura) ana)3sis of /usic0 B &ffecti-e de/onstration of independent ,or2. and p)anning and in-estigation processes0 9er3 capa")e /anage/ent of t(e in-estigation. ,it( ,e))6considered use of resources and re)e-ant docu/entation0 9er3 capa")e presentation disp)a3ing effecti-e use of /usica) exa/p)es. tec(no)ogies. and processes0 <etai)ed 2no,)edge and infor/ed understanding of t(e topic. ,it( c)ear and consistent use of /usica) ter/ino)og3. and creati-e exp)oration and ,e))6considered discussion of aspects of /usic0 Fe))6considered and /ost)3 c)ear co//unication of in-estigation findings0 9er3 good aura) recognition s2i))s0 Fe))6considered ana)3sis and understanding of /usic in its (istorica) and cu)tura) context0 Fe))6considered ana)3sis of st3)istic features0 9er3 capa")e s2i))s in aura) ana)3sis of /usic0 C Appropriate de/onstration of independent ,or2. p)anning. and in-estigation processes0 !rganised /anage/ent of t(e in-estigation. ,it( considered use of resources. and /ost)3 re)e-ant docu/entation0 Considered presentation disp)a3ing appropriate use of /usica) exa/p)es. tec(no)ogies. and processes0 8no,)edge and infor/ed understanding of t(e topic. ,it( /ost)3 accurate use of /usica) ter/ino)og3. and so/e creati-it3 in exp)oration. and considered discussion. of aspects of /usic0 Considered and genera))3 c)ear co//unication of in-estigation findings0 5enera))3 co/petent aura) recognition s2i))s0 Considered ana)3sis and understanding of /usic in its (istorica) and cu)tura) context0 Considered ana)3sis of st3)istic features0 5enera))3 co/petent s2i))s in aura) ana)3sis of /usic0
<e/onstration of so/e independent
,or2. p)anning. and "asic in-estigation processes0 Atte/pted in-estigation. ,it( inconsistent use of resources and docu/entation0 Presentation t(at disp)a3s inconsistent use of /usica) exa/p)es. tec(no)ogies. or processes0 So/e 2no,)edge and understanding of aspects of t(e topic. ,it( atte/pted use of appropriate /usica) ter/ino)og3. and so/e "asic exp)oration and description of aspects of /usic0 Co//unication of e)e/ents of an in-estigation0 &/erging aura) recognition s2i))s0 <escription of so/e aspects of /usic in its (istorica) and cu)tura) context0 <escription of so/e st3)istic features0 So/e s2i)) in aura) ana)3sis of /usic0 ! ?i/ited de/onstration of independent ,or2. effecti-e p)anning. or in-estigation processes0 ?i/ited in-estigation atte/pted ,it( use of one or /ore resources. ,(ic( /a3 (a-e )i/ited re)e-ance. and -er3 )itt)e docu/entation0 ?i/ited presentation ,it( so/e identification of a /usica) exa/p)e. tec(no)og3. or process0 So/e a,areness of t(e topic. ,it( )i/ited use of /usica) ter/ino)og3. and atte/pted exp)oration and description of aspects of /usic0 Atte/pted co//unication of )i/ited e)e/ents of an in-estigation0 ?i/ited aura) recognition s2i))s0 1dentification of one or /ore aspects of /usic in its (istorica) or cu)tura) context0 1dentification of one or /ore st3)istic features0 ?i/ited s2i)) in aura) ana)3sis of /usic0 Page 14 of 16 Stage 2 Music in Context annotated response for use in 2011 Ref:A98705 !cto"er 201#$ % SAC& 'oard of Sout( Austra)ia 2011 -Para ouvir o hino russo "Deus salve o Czar" cliquei aqui. (Hino do imprio Russo de 1830 Para ouvir o hino francs cliquei aqui (vers!o lon"a ou aqui (#ers!o cur$a Page 1# of 16 Stage 2 Music in Context annotated response for use in 2011 Ref:A98705 !cto"er 201#$ % SAC& 'oard of Sout( Austra)ia 2011 A Abertura Solene Para o Ano de 1812 uma obra orquestral dePyotr Ilyich Tchaikovsky comemorando o fracasso da invaso francesa Rssia em 1812 e a subsequente devastao da !rande "rmada de #a$oleo% " obra & mais conhecida $ela sua sequ'ncia de tiros de canho que &( em al)uns concertos ao ar livre( e*ecutada com canh+es verdadeiros% ,ist-ria " "bertura 1812 foi com$osta $ara a abertura da .*$osio /niversal das "rtes( em 0oscou( encomendada a Tchaikovsky $elo diretor dos 1oncertos da 2ociedade Im$erial Russa( #icolas Rubinstein% Tchaikovsky no )ostava desse ti$o de encomenda( mas aceitou a $ro$osta e comeou a trabalhar em uma obra que celebrasse simultaneamente os 34 anos da vit-ria russa sobre #a$oleo 5ona$arte e o anivers6rio da coroao do 17ar% #a$oleo era um )eneral temido e o e*&rcito franc's era considerado imbat8vel% .m 1812( a 9rana venceu a $rimeira batalha( a 5atalha de 5orodin% 0as os franceses foram derrotados $elo frio ri)oroso do inverno russo( que( associado a uma e$idemia de tifo( fe7 com que #a$oleo ordenasse uma retirada desordenada e catastr-fica% : e*&rcito de ;44%444 homens foi redu7ido a <4%444% :s russos consideraram =interveno divina> a favor da Rssia% 1aracter8sticas .ntre outras $eas do autor( como a 0archa .slava( esta & uma obra de car6ter fortemente nacionalista( com$osta no ano de1884( $ara a comemorao da vit-ria russa sobre as tro$as#a$ole?nicas% " com$osio se baseia num anta)onismo entre a inicial vit-ria francesa e a $osterior revanche russa% " 9rana & musicalmente re$resentada $elo tema de @a 0arseillaise( hino da Revoluo 9rancesa% " $osterior vit-ria russa no m's se)uinte( & re$resentada $or um diminueto do hino c7arista Aeus 2alve o 17ar e & se)uido $elo sonoro e cl6ssico troar de canh+es% "ssim( encerraBse a contra$osio entre as duas vit-rias B de in8cio( a francesa( re$resentada $ela @a 0arseillaise( e no final( $elo triunfo russo( retratado $elo hino c7arista% " obra contra$+e o hino da Rssia e o hino da 9rana( com fra)mentos do folclore russos temas reli)iosos% " "bertura 1812 comea com um coro ins$irado no hino =Aeus aCude vosso $ovoD( da i)reCa ortodo*a russa% "$-s a Revoluo do sovietes e a consequente e*tino do hino c7arista( a obra sofreu modifica+es( sendo o tema ori)inal substitu8do $elo coro final da -$era Ivan 2usanin( de 0ikhail !linka( cuCo nome ori)inal & E" Fida $elo T7arE( modificao tamb&m reali7ada $or ordem do re)ime sovi&tico% .m sua forma com$leta( a $ea & e*ecutada $or coro( orquestra sinf?nica e banda militar com o au*8lio de $eas de artilharia e carrilho% .m e*ecu+es em salas fechadas( costumaB se substituir os canh+es $or t8m$anos GtamboresH( a fim de se obter um efeito semelhante ao do dis$aro das $eas% " "bertura 1812 & fonte de ins$irao $ara releituras( como no caso de I)or 5uketoff( que na se)unda met6de da d&cada de ;4 G1I;JB34H( fe7 diversas modifica+es( tanto no coro inicial( quanto outras altera+es instrumentais% .la & tributada na cano E2112 da RssiaE% Page 15 of 16 Stage 2 Music in Context annotated response for use in 2011 Ref:A98705 !cto"er 201#$ % SAC& 'oard of Sout( Austra)ia 2011 Also sprach Zarathustra" #p$ 3% e/ a)e/Go: Assim falou Zaratustra$ H u/ poe/a sinfInico co/posto e/ 1896 por Ric(ard Strauss. inspirado no tratado fi)osJfico de /es/o no/e escrito por =riedric( >ietDsc(e0 ! prJprio co/positor conduDiu a pri/eira perfor/ance na cidade de =ran2furt0 E/a execuKGo tLpica dura cerca de /eia (ora0 Sua introduKGo tornou6se /undia)/ente con(ecida por ter sido usada co/o te/a /usica) no fi)/e 2001: A Space Odyssey. criaKGo de Art(ur C0 C)ar2e e Stan)e3 8u"ric2. de19680 & co/o introduKGo dos espetMcu)os de &)-is Pres)e3 a partir dos anos 700 Marc6Antoine C(arpentier co/posed (is grand po)3p(onic /otet Te Deum 70 1#6$ in < /aAor pro"a")3 "et,een 1688 and 1698. during (is sta3 at t(e Nesuit C(urc( of Saint6?ouis in Paris. ,(ere (e (e)d t(e position of /usica) director0 O1P *(e ,or2 is ,ritten for t(e group of so)oists. c(oir. and instru/enta) acco/pani/ent0 C(arpentier aut(ored six Te Deum settings. a)t(oug( on)3 four of t(e/ (a-e sur-i-ed0 O1P 1t is t(oug(t t(at t(e co/position (a-e "een perfor/ed to /ar2 t(e -ictor3 ce)e"rations and t(e 'att)e of Stein2ir2 in August. 16920 Page 16 of 16 Stage 2 Music in Context annotated response for use in 2011 Ref:A98705 !cto"er 201#$ % SAC& 'oard of Sout( Austra)ia 2011