{"id":1630,"date":"2023-09-29T11:30:56","date_gmt":"2023-09-29T11:30:56","guid":{"rendered":"http:\/\/localhost\/ecole9ja\/?p=1630"},"modified":"2023-09-29T11:34:09","modified_gmt":"2023-09-29T11:34:09","slug":"week-5-jss-3-second-term-cultural-and-creative-arts-notes","status":"publish","type":"post","link":"https:\/\/ecolebooks.com\/nigeria\/posts\/week-5-jss-3-second-term-cultural-and-creative-arts-notes\/","title":{"rendered":"Week 5 – Jss 3 Second Term Cultural and Creative Arts Notes"},"content":{"rendered":"

\u00a0CLASS; J S S 3 WEEK 5 TOPIC; SINGING IN PARTS AND
\n<\/strong>CADENCE IDENTIFICATION
\n<\/strong>Singing “in parts” means that each voice (such as soprano, tenor, alto, and bass) has its own independent line to follow. The contents of that line will be written out, and will depend on the composer or arranger and the harmonic structure of the piece. These parts may form consonances or dissonances with one another, and they may move in parallel motion (going in the same direction), contrary motion (going in opposite directions) or oblique motion (one stays on a note while the other is moving).
\nSinging “in unison” means that all the voices are singing the “same” line. I put “same” in quotes because, as you note in your last paragraph, they may be in different octaves. With voices, this almost always means the men are singing the line one octave below the women.<\/p>\n

Choir
\n\t\t\t\t\t<\/em><\/h2>\n

\"\"
\n\t\tA\u00a0choir<\/strong>\u00a0 (also known as a\u00a0chorale<\/strong>\u00a0or\u00a0chorus<\/strong>) is a\u00a0musical ensemble\u00a0of singers.\u00a0Choral music<\/strong>, in turn, is the music written specifically for such an ensemble to perform. Choirs may perform music from the classical music\u00a0repertoire, which spans from the Medieval era to the present, and\/or\u00a0popular music\u00a0repertoire. Most choirs are led by a conductor, who leads the performances with arm and face gestures.
\nA body of singers who perform together as a group is called a choir or chorus. The former term is very often applied to groups affiliated with a church (whether or not they actually occupy the\u00a0choir) and the second to groups that perform in theatres or concert halls, but this distinction is far from rigid. Choirs may sing without instrumental accompaniment, with the accompaniment of a\u00a0piano\u00a0or\u00a0pipe organ, with a small ensemble (e.g.,\u00a0harpsichord,\u00a0cello\u00a0and\u00a0double bass\u00a0for a Baroque era\u00a0piece), or with a full\u00a0orchestra\u00a0of 70 to 100 musicians.
\nThe term “Choir” has the secondary definition of a subset of an ensemble; thus one speaks of the “woodwind choir” of an orchestra, or different “choirs” of voices and\/or instruments in a\u00a0polychoral\u00a0composition. In typical 18th- to 21st-century\u00a0oratorios\u00a0and\u00a0masses, chorus or choir is usually understood to imply more than one singer per part, in contrast to the quartet of soloists also featured in these works.<\/p>\n

Classical and Romantic music
\n<\/h3>\n

Composers of the late 18th century became fascinated with the new possibilities of the symphony and other instrumental music, and generally neglected choral music.\u00a0Mozart’s choral works, though not as numerous as his works for other media, stand out as some of his greatest (such as the “Great” Mass in C minor and\u00a0Requiem\u00a0in D minor, the latter of which is often considered
\n\t\t\t<\/sup>\u00a0the greatest Requiem Mass of all time).\u00a0Haydn\u00a0became more interested in choral music near the end of his life following his visits to England in the 1790s, when he heard various Handel oratorios performed by large forces; he wrote a series of masses beginning in 1797 and his two great oratorios\u00a0The Creation<\/em>\u00a0and\u00a0The Seasons<\/em>.\u00a0Beethoven\u00a0wrote only two masses, both intended for liturgical use, although his\u00a0Missa solemnis<\/em>\u00a0is probably suitable only for the grandest ceremonies due to its length, difficulty and large-scale scoring. He also pioneered the use of chorus as part of symphonic texture with his\u00a0Ninth Symphony\u00a0and\u00a0Choral Fantasia.
\nIn the 19th century, sacred music escaped from the church and leaped onto the concert stage, with large sacred works unsuitable for church use, such as\u00a0Berlioz’s\u00a0Te Deum<\/em>\u00a0and\u00a0Requiem, and\u00a0Brahms’s\u00a0Ein deutsches Requiem<\/em>.Rossini’s\u00a0Stabat mater<\/em>,\u00a0Schubert’s masses, and\u00a0Verdi’s\u00a0Requiem\u00a0also exploited the grandeur offered by instrumental accompaniment.
\nOratorios also continued to be written, clearly influenced by Handel’s models. Berlioz’s\u00a0L’enfance du Christ<\/em>\u00a0andMendelssohn’s\u00a0Elijah<\/em>\u00a0and\u00a0St Paul<\/em>\u00a0are in the category. Schubert, Mendelssohn, and Brahms also wrote secular cantatas, the best known of which are Brahms’s\u00a0Schicksalslied<\/em>\u00a0and\u00a0N\u00e4nie<\/em>.
\nA few composers developed a cappella music, especially\u00a0Bruckner, whose masses and motets startlingly juxtapose Renaissance counterpoint with chromatic harmony. Mendelssohn and Brahms also wrote significant a cappella motets.
\nThe amateur chorus (beginning chiefly as a social outlet) began to receive serious consideration as a compositional venue for the part-songs of Schubert,\u00a0Schumann, Mendelssohn, Brahms, and others. These ‘singing clubs’ were often for women or men separately, and the music was typically in four-part (hence the name “part-song”) and either a cappella or with simple instrumentation. At the same time, the\u00a0Cecilian movement\u00a0attempted a restoration of the pure Renaissance style in Catholic churches.
\nThe early modernist composers, such as\u00a0Richard Strauss,\u00a0Sergei Rachmaninoff\u00a0and\u00a0Max Reger\u00a0contributed to the genre.\u00a0Ralph Vaughan Williams’s\u00a0Mass in G minor\u00a0harks back to the Renaissance style while exhibiting the vibrancy of new harmonic languages. Vaughan Williams also arranged English and Scottish folk songs.\u00a0Arnold Schoenberg’sFriede auf Erden<\/em>\u00a0is a tonal kaleidoscope, whose tonal centers are constantly shifting (his harmonically innovative\u00a0Verkl\u00e4rte Nacht<\/em>\u00a0for strings dates from the same period).\u00a0Ukrainian composer\u00a0Mykola Leontovych\u00a0also explored new ways of harmonizing and arranging\u00a0Ukrainian folk songs, producing masterpieces such as\u00a0Dudaryk<\/em>\u00a0and\u00a0Shchedryk<\/em>, the latter of which featured a four-note\u00a0ostinato\u00a0theme and became a popular\u00a0Christmas carol\u00a0known as\u00a0Carol of the Bells\u00a0after it was translated by\u00a0Peter J. Wilhousky.
\nThe advent of atonality and other non-traditional harmonic systems and techniques in the 20th century also affected choral music. Serial music is represented by choral works by\u00a0Arnold Schoenberg, including the anthem\u00a0Dreimal Tausend Jahre<\/em>, while the composer’s signature use of sprechstimme is evident in his setting of\u00a0Psalm 130\u00a0De Profundis<\/em>.\u00a0Paul Hindemith’s distinctive modal language is represented by both his a cappella Mass and his\u00a0Six Chansons<\/em>\u00a0(to texts by Rilke), while a more contrapuntally dissonant style comes through in his secular requiem,When Lilacs Last in the Dooryard Bloom’d<\/em>.\u00a0Olivier Messiaen\u00a0also demonstrates dissonant counterpoint in his\u00a0Cinq Rechants<\/em>, which tell the Tristan and Isolde story.\u00a0Charles Ives’ psalm settings exemplify the composer’s incomparably radical harmonic language. Tone clusters and aleatory elements play a prominent role in the choral music of\u00a0Krzysztof Penderecki, who wrote the St. Luke Passio, and\u00a0Gy\u00f6rgy Ligeti, who wrote both a Requiem and a separate\u00a0Lux Aeterna<\/em>.\u00a0Milton Babbitt\u00a0incorporated integral serialism into works for children’s chorus, while\u00a0Daniel Pinkham\u00a0wrote for choir and electronic tape.\u00a0Meredith Monk’s\u00a0Panda Chant<\/em>\u00a0and\u00a0Astronaut Anthem<\/em>\u00a0explore overtones in an unconventional text setting. Though difficult and rarely performed by amateurs, pieces that demonstrate such unfamiliar idioms have found their way into the repertories of the finest semi-professional and professional choirs around the world.
\nMore accessible styles of choral music include that by\u00a0Benjamin Britten, including his\u00a0War Requiem<\/em>,\u00a0Five Flower Songs<\/em>, and\u00a0Rejoice in the Lamb<\/em>.\u00a0Francis Poulenc’s\u00a0Motets pour le temps de no\u00ebl<\/em>,\u00a0Gloria<\/em>, and\u00a0Mass in G<\/em>\u00a0are often performed. A primitivist approach is exemplified by\u00a0Carl Orff’s widely performed\u00a0Carmina Burana<\/em>. In the United States,\u00a0Aaron Copland,\u00a0Samuel Barber, and\u00a0Randall Thompson\u00a0wrote signature American pieces. In Eastern Europe,\u00a0B\u00e9la Bart\u00f3k\u00a0and\u00a0Zolt\u00e1n Kod\u00e1ly\u00a0wrote a small amount of music for choirs.\u00a0Frank Martin’s Mass for double choir combines modality and allusion to Medieval and Renaissance forms with a distinctly modern harmonic language and has become the composer’s most performed work.
\nCADENCE<\/em>
\n\t\t\t<\/strong>a\u00a0cadence<\/em>\u00a0(Latin\u00a0cadentia<\/em>, “a falling”) is “a melodic or\u00a0harmonic\u00a0configuration that creates a sense of\u00a0resolution\u00a0[finality or pause].”\u00a0A\u00a0harmonic cadence<\/strong>\u00a0is a\u00a0progression\u00a0of (at least) two\u00a0chords\u00a0that\u00a0concludes\u00a0a\u00a0phrase,\u00a0section, or\u00a0piece\u00a0of\u00a0music.\u00a0A\u00a0rhythmic cadence<\/strong>\u00a0is a characteristic\u00a0rhythmic\u00a0pattern that indicates the end of a phrase.
\n\u00a0A cadence is labeled more or less “weak” or “strong” depending on its sense of finality. While cadences are usually classified by specific chord or\u00a0melodic\u00a0progressions, the use of such progressions does not necessarily constitute a cadence\u2014there must be a sense of closure, as at the end of a phrase.\u00a0Harmonic rhythm\u00a0plays an important part in determining where a cadence occurs.<\/p>\n

Classification of cadences in common practice
\n<\/h2>\n

Cadences are strong indicators of the\u00a0tonic\u00a0or central pitch of a passage or piece.[1]<\/sup>\u00a0Edward Lowinsky\u00a0proposed that the cadence was the “cradle of\u00a0tonality.”[4]<\/sup>
\n\t\tIn music of the\u00a0common practice period, cadences are divided into four types according to their harmonic progression:\u00a0authentic,<\/em>\u00a0plagal,<\/em>\u00a0half,<\/em>\u00a0and\u00a0deceptive<\/em>. Typically, phrases end on authentic or half cadences, and the terms\u00a0plagal<\/em>\u00a0and\u00a0deceptive<\/em>\u00a0refer to motion that avoids or follows a phrase-ending cadence. Each cadence can be described using the\u00a0Roman numeral system\u00a0of naming\u00a0chords:<\/p>\n

Authentic cadence
\n<\/h3>\n

Authentic<\/strong>\u00a0(also\u00a0closed<\/strong>,\u00a0standard<\/strong>\u00a0or\u00a0perfect<\/strong>)\u00a0cadence<\/strong>:\u00a0V\u00a0to\u00a0I\u00a0(or\u00a0V\u2013I). A seventh above the root is often added to create\u00a0V. The\u00a0The Harvard Concise Dictionary of Music and Musicians<\/em>\u00a0says, “This cadence is a microcosm of the tonal system, and is the most direct means of establishing a pitch as tonic. It is virtually obligatory as the final structural cadence of a tonal work.”
\n\t\t\t<\/sup>The phrase\u00a0perfect cadence<\/em>\u00a0is sometimes used as a synonym for\u00a0authentic cadence<\/em>, but can also have a more precise meaning depending on the chord\u00a0voicing:
\nPerfect authentic cadence<\/strong>: The chords are in\u00a0root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.
\n\t\t\t<\/sup>This strong cadence achieves complete harmonic and melodic closure.”\u00a0It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet – even though it is described as being in Lydian mode on F – are two powerful examples.<\/p>\n

\t\t\u00a0<\/p>\n","protected":false},"excerpt":{"rendered":"

\u00a0CLASS; J S S 3 WEEK 5 TOPIC; SINGING IN PARTS AND CADENCE IDENTIFICATION Singing…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1,150],"tags":[],"class_list":["post-1630","post","type-post","status-publish","format-standard","hentry","category-posts","category-second-term-jss3-fine-art"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/posts\/1630","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/comments?post=1630"}],"version-history":[{"count":1,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/posts\/1630\/revisions"}],"predecessor-version":[{"id":1631,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/posts\/1630\/revisions\/1631"}],"wp:attachment":[{"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/media?parent=1630"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/categories?post=1630"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/tags?post=1630"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}