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In the Essay recieved
first all 3 questions have been stressed into one contionous essay so when they think points are being made, they really arn’t. There is too little detail and no thesis in the illustration of the wagner question, as it wouldn’t get an A and dosn’t explain the question of how dramatic devices are achieved with examples from the music. The essay then grabs from the other questions which i wanted sepreate and thats a reason the questions should of been sepreate. not really many points made either revelant in text to the ongoing questions,the dido and aenas question rambles completly of the question and would be not relevant to the question asked. even though points were made like “handel introduced seamless continum of choral tonalities” this example is a weak point and with the other points wouldnt achieve the grade as not using the correct language. The essays should answer them completely sepreatly as the introduction used was a waste of words, as i only want them actually questions answered.
Essay ( important )
Topic: Music GCE A2: QUESTION 1: Music for the Stage(Wagner-Die Walküre),QUESTION 2:Music and Belief(Byrd),QUESTION 3:Music for the stage(Purcell-Dido and Aeneas)
Instructions:
Question 1
GCE OCR A2 Music.
Music for the stage(Wagner-Die Walküre) max mark (25)
illustrate the expressive and dramatic musical features, including tonality, in Wagner’s Die Walküre.Support your answers with references to at least TWO extended passages in this work.
most candidates should be able to
• explain the continuous nature of the work
• show an understanding of the use of leitmotif
• refer to expressive use of chromaticism and tonal ambiguity
• compare the dramatic effectiveness of the vocal writing with arias for vocal display
• explain the role of the orchestra
more informed answers will demonstrate deeper understanding by
•giving detailed examples of the use of leitmotif for dramatic unity and characterisation, and its use of the orchestral score to suggest thoughts and emotions
•describing the ‘seamless’ development of the music and drama through an extended passage
•referring in detail to the orchestration and the dramatic role of the orchestra in the selected musical examples.
•commenting in detail on the use of harmony and tonality for dramatic and expressive purpose.
other key words
‘gesamtkunstwerk’,'durchkomponiert’,
Releated repertoire:
Contemporary Italian Opera
Question 2
GCE OCR A2 Music.
Music and Belief(Byrd) max mark (25)
Explain how the attitude of the church influenced religious music in the time of Byrd. Give detailed references to the music of at least TWO composers in your answer.
Most candidates should be able to:
• Show Knowledge of the constraints placed on the composers of liturgical music by the Catholic and Protestant churches at this time.
• Give examples, perhaps in only general terms, of the interpretation of the text in both latin and English.
• Describe the influence of the emerging tonality in shaping the interpretation of text.
More informed answers will demonstrate deeper understanding by:
• describing the position of Byrd and others in a Catholic Minority, and the change to the English protestant tradition.
• Explaining the distinction between Byrd’s English service-music. with the emphasis on syllabic settings, and the imitative polyphony of the masses written for a Catholic household.
• Illustrating these distinct styles as found in the two composers chosen, with detailed references to the music of both composers.
Related Repertoire:
English Motets and anthems from the late 16th century and early 17th century.
Question 3
GCE OCR A2 Music.
Music for the stage(Purcell-Dido and Aeneas) max mark (25)
Compare the dramatic features of the music in Dido and Aeneas with those found in an Opera or other theatre music by another composer of that period. Refer to at least two scenes from each work.
Most candidates should be able to:
• give an account of Purcell’s fluid use of recitative, songs, and choruses for dramatic continuity
• refer, perhaps in only general terms, to the melodic and rhythmic features of the setting of the English text.
• compare these features with the music of another composer.
More informed answers will demonstrate deeper understanding by:
• describing in detail Purcell’s use of rhythm and metre in the setting of English and in the use of dance, comparing this with the music of the other chosen composer.
• giving detailed illustrations of the structures and other devices used for dramatic effect in the music of the two composers.
• explaining how melodic and harmonic embellishment(e.g. Word painting and the use of dissonance contribute to expressive effect in the examples chosen.
releated repertoire:
court masque and theatre music in england.
Question 1
• IN SEARCH OF WAGNER by Theodor W. Adorno and Rodney (Livingstone Verso Books; 2nd Revised edition edition (2005)
• Die Walkure (Music Scores) by Richard Wagner
• Aspects of Wagner by Bryan Magee(Oxford paperworks 1998)
Question 2
• Music and the European Mind by Wilfred Dunwell.(Jenkins; 1st Edition edition)
• The oxford History of english music by john Caldwell(OUP 1998)
• The new grove high renaissance Masters:Josquin,Palestrina,Lassus,Byrd,Couperin,Rameau by Jeremy Noble and Reese(New Grove composer biography 1984)
Question 3
•Music and the European Mind by Wilfred Dunwell(Jenkins; 1st Edition edition)
•Dido and Aenas in Full Score by Henry Purcell
•Henry Purcell’s Dido and Aeneas by Ellen T. Harris(OUP 1987)
•The Oxford Illustrated History of Opera by Roger Parker(OUP 1994)
•Baroque music in focus by Hugh benham.(Rhinegold publishing 2007)