Mira Loma High School April

24, 2011

IB Music: OCC: Notes

Ken Ruiz

Prescribed Work:
1. One point - the questions will NOT direct the student to one movement or
section of the work, but will leave it more open for the student to choose. I
wrote to Gill Chudley at the IBO a few weeks ago and had this reply (see the
bit I've marked in bold):

Dear Adie

Thank you for your email regarding the music paper one examination in r the
"new" course being examined for the first time this May. I understand that
you have said this response will be posted to the OCC forum, and so I have
copied Jim Yarnell into my reply in order that he is aware of our
correspondence.

New course material is published via the subject page of the OCC. For this
course we have had access to the guide, to the teacher support material and
to the specimen paper along with accompanying tracks for some time now.
The specimen paper acts as a template for the breakdown of questions
(Section A - 1 of 2 questions plus question 3; Section B 4 questions at HL, 3 of
4 at SL; and at HL Section C) and an outline of their format for the life of the
course. Two "prescribed works" are covered (specimen works and not works
that will be prescribed through the life of the course) along with four listening
extracts. There are no tracks of passages from the prescribed works attached
to the specimen paper.

In conclusion the music paper one examination - the listening paper - will
consist of questions relating to the two prescribed works that are not
restricted by being focused on limited extracts (students select one of
the two to respond to) and a compare and contrast type question that will
cover both prescribed works. They will have four listening extracts (SL
students are required to chose answering one of two, which will be clearly
stated in the examination paper), and at HL a further question that will
require them to consider two of the four extracts in their answer.

I hope this information is useful.

With best wishes,

Gill
 -------------------------
Adrienne Blaquière
Head of Performing Arts
Frankfurt International School
Germany

In her post Georgette mentions the Classroom Music resource for Copland by
Alan Charlton (a wonderful resource!). I thought I'd just copy and paste these
questions here as well:

IB PRACTICE QUESTIONS - Alan Charlton

As this exam has not been set before, the IBO has not yet provided any
practice questions. Here are some suggestions, based on the sample
questions provided by the IBO for previous set works:
1. Demonstrate and discuss how successful Copland was in reconciling
20th-century harmonic developments with tonal conventions of the past in El
Salón México.
2. Identify three rhythmic techniques that originate in the 20th century.
Demonstrate and discuss how these techniques contribute to the overall style
and the musical argument of El Salón México.
3. El Salón México represents a change of style for Copland away from a
more modernist idiom towards a more accessible, traditional musical
language. Demonstrate and discuss how effectively he reconciled the
conflicting ideals of modernity and tradition in El Salón México.
4. Identify two features of the music that have roots in Mexican folk music
and two that originate from other cultures. Demonstrate and discuss how
these musical elements contribute to the work’s overall style.
5. Demonstrate and discuss how the orchestration of El Salón México
contributes to clarifying the structure of the work and establishing its
character.
6. Comparison question – Symphony No. 41, K.551, ‘Jupiter’ (Mozart) and El
Salón México (Copland): Investigate significant musical links between these
two pieces by analysing and comparing and contrasting one of their:
a. Tone colour/timbre and melody b. Handling of harmony and tonality c.
Handling of rhythm and phrasing d. Handling of structure.

2. Compare and contrast significant musical links between El Salon Mexico by

Aaron Copland and Symphony No. 41 in c major by WA Mozart by
analyzing structure and the source of inspiration for melodic material.
Support your arguments with clear reference to the scores of both works.

3. I'm thinking this for Mozart: Talk about Mozart’s use of form in the 4th
movement and then talk about his use of polyphony, from bar 371-401, and
its use of the movements presented themes.
4. These are mine, I am not very experienced in teaching DP yet so I don't know
if they are any good - please let me know what you think:

Jupiter: Mozart was a typically Classicist composer. He used stylistic

elements and forms we now consider to be exemplary of Classical era
music. Demonstrate and discuss how Mozart uses balance and form to his
advantage in the first movement of his last symphony. (maybe too simple?)

ESM: Aaron Copland wanted to create music for the masses, simple and
accessible. In this particular piece, he used Mexican folk melodies alongside
typical 20th Century Western Art music features. Identify two (or more)
musical elements that have roots in 20th Century Western Art music and two
(or more) elements that originate from Mexican folk music. Demonstrate and
discuss how these musical elements contribute to create the work’s overall
style.

Cheryl
-------------------------
Cheryl Oosterman
Director of Music
The International School of the Hague

5. Possible exercise for Jupiter 1st movement. What do you think?

Mozart uses a fully elaborated sonata form in this movement. Describe how
he uses keys, instrumentation, texture, harmony, motifs to clearly articulate
the divisions.

6. I think there are a couple of points here. Yes, the use of trumpet is significant,
as are some of the 'latin' percussion instruments..But I feel that one of the
most important things is that Copland was trying to capture the spirit of El
Salon in Mexico City by absorbing and manipulating some Mexican folk songs.
Some of the folk songs themselves well-suited Copland's penchant for rhythm
with their hemiola changing rhythms from 3-4 to 6-8. Copland plays a lot with
the 3 eighth notes played off against two eighth notes, which is one of the
main sources of rhythmic drive in this work. When Copland composed, he had
very clear images in his head, in some of the more rubato sections in ESM,
you can almost imagine some drunkards tottering around the dance hall.
Hope this is helpful,
Ruth
7. You don't have to make a case for ESM being non-western because you're
right it's not. The source material is from Mexican folk music which is "non-
western." I use quotations because most of Latin music was influenced by
European western music (as well as Africa). You are right there are definite
links to the mariachi style, especially in the rhythms and the use of the
instruments... one example is the trumpet in the beginning (vibrato and
timbre is different), but there are plenty of other examples. The orchestration
is uniquely Copland! This is what creates his sound, so seeing how the music
 changes from the traditional to the orchestral is worth comparing. Look at
the use of texture and harmony (especially Copland's use of brass/winds and
his use of doublings, and in many places the harmony is definitely 20th
century harmony). He was striving for an American sound so it makes sense
for him to draw from over the border. Hope that helps.
8. Symphony No. 41 – Molto Allegro by Mozart

Mozart uses advanced compositional techniques ranging from innovative

chromatisism to complex polyphony. Demonstrate and discuss how texture
and harmony helps to build tension in the development of the 4th movement
of the Jupiter Symphony.

9. Here are some Copland questions that I came up with together with my IB
students, hope that they are helpful!

1. How does the writing in ESM reflect the era in which Copland lived? In your
answer,

refer to melody, harmony, rhythm, texture and instrumentation.

2. Copland is famous for creating an 'American sound'. Discuss, with

reference to ESM.

3. Copland's ESM was inspired by 3 or 4 Mexican folk tunes. Discuss how he

manipulated

and integrated these in ESM.

4. ESM is an example of Neo-Classical composition. Discuss.

5. Which musical features of ESM are typical of Copland's style?

6. Which musical features of ESM place it firmly in the 20th century?

7. ESM is said to be the beginning of a series of populist works by Copland.

Discuss.