II - ECasals
You’ll find digital resources and this book in digital format atecasals.net/en/musicIIesoESOA. B. CañizaresJ. ColoméM. A. MaestroMCISUII
table of contentsUnit 1page 4Unit 2page 22Unit 3page 40Unit 4page 58In concert:Alleluja, Magnificat,anonymousMesse de Notre Dame, byGuillaume de MachautChanterai pour mon corage, byGuiot de DijonIn context:Time of monasteries andminstrelsIn film:Perceval le GalloisVisionIn concert:Kyrie, from the Mass for FourVoices, by William ByrdO Mirtillo, Mirtillo anima mia,by Claudio MonteverdiRecercada segunda sobre elcanto llano “La Spagna”, byDiego OrtizIn context:The glory of polyphonyIn film:ElizabethThe TudorsIn concert:“Arrival of the Queen ofSheba”, from Solomon, by G.F.HändelCanon in D major, by J. Pachelbel“Badinerie”, from OrchestralSuite No. 2, by J.S. BachIn context:The exuberant ornamentationof the BaroqueIn film:Marie-AntoinetteTous les matins du mondeIn concert:2nd mov., Piano ConcertoNo. 23, by W.A. Mozart“Che farò senza Euridice?”,from Orfeo ed Euridice, byC.W. GluckString Quartet No. 4, op. 18,by L.v. BeethovenIn context:The formal balance of ClassicismIn film:AmadeusGoya en Burdeos1. Sacred chants2. A troubadour in medievalSpain1. The vocal music of theRenaissance2. Music and song in palaces3. The instrumental music ofthe Renaissance1. Music for singing2. Instrumental music1. Vocal music in Classicism2. The prominence of instrumental music1. The characteristics of sound(I): pitch2. The characteristics of sound(II): loudness1. The characteristics of sound(III): timbre1. Tonality1. Intervals2. ChordsAt number 11956: Hound Dog,by Elvis Presley1962: I Can’t Stop Loving You,by Ray Charles1968: Hey Jude,by The Beatles1978: Night fever,by Bee GeesVideoWhile My Guitar GentlyWeeps, by George HarrisonBlue Monk, by Thelonius MonkOn Reflection, by Gentle Giant“Fandango”, from QuintetNo. 4, G. 341, G341, byLuigi BoccheriniO Virgo splendens,anonymous, and While MyGuitar Gently Weeps,de George HarrisonNeapolitan Galliard, by Antonio Valente and Blue Monk, byThelonious MonkFugue No. 16, by J.S. Bach andOn Reflection, by Gentle Giant“Andante”, from SymphonyNo. 94, and “Fandango”,from Quintet No. 4, G. 341,by Luigi BoccheriniExperimenting with a type ofmusic similar to that of theMiddle Ages using Audacityand MuseScore.Identifying some of thecharacteristics of improvisationin audio clips of Renaissancemusic with Audacity.Recording instruments withAudacity and observing thewaveforms. Modifying thetessitura and writing a fugueusing MuseScore.Listening to the differencesbetween cadences.1. Rhythm2. Melody: SchiarazulaMarazula; Stella Splendens3. Playing together: Imagine,John LennonDictation1. Rhythm2. Melody: Greensleeves,traditional3. Playing together: I’m Yours,Jason Mraz1. RhythmDictation2. Melody: 2nd mov., ConcertoNo. 4, Op. 8, “Winter”, byAntonio Vivaldi3. Playing together: Money,Money, Money, MammaMia and Waterloo, by ABBA1. Rhythm2. Melody: “Andante”, fromSymphony No. 94, “TheSurprise”, by F. J. Haydn;“Adagio”, from ClarinetConcerto, W. A. Mozart3. Playing together: We Arethe Champions, Queen“Prologue” of the Canticles ofHoly Mary, Alfonso X the WiseMagnificat, by Cristóbal deMoralesFugue No. 6, in D minor, BWV851, by Johann Sebastian BachAh! Vous dirai-je, mamanK265, by Wolfgang AmadeusMozartIntroduction:In concertIn contextIn filmIn the studioIn theoryComparingIn digitalPlaying liveIn images
Unit 5page 74Unit 6page 92Unit 7page 108Unit 8page 124In concert:Symphony No. 4“Italian”,by Felix MendelssohnLa campanella, by Franz Liszt3rd mov., Symphony No. 3, byJohannes BrahmsIn context:The sentimental exaltation ofRomanticismIn film:Copying BeethovenThe Fifth ElementIn concert:Slavonic Dance No. 1, by Antonín Dvoákˇ“Hoe-Down”, from Rodeo, byAaron CoplandGymnopédies No. 1, by ErikSatieIn context:Musical nationalism and ImpressionismIn film:Anna KareninaOcean’s ElevenIn concert:Adagio for Strings, by SamuelBarberViolin Concerto, by Alban BergPiano Concerto No. 2, by D.ShostakovichIn context:Musical avant-gardes of the20th centuryIn film:2001The ShiningIn concert:Good Vibrations, by TheBeach BoysWhat’s Going On, by MarvinGayeSmells Like Teen Spirit, byNirvanaIn context:Urban musicIn film:Back to the FutureWayne’s World1. Music as a means of expression / 2. The voice at theservice of the text /3. The passion of instrumentalmusic1. The rise of nationalist music2. The visual evocation ofmusical Impressionism1. Musical innovations up to19502. Musical avant-gardes after19501. Marking the pulse ofsociety2. Roots music in Spain1. The period1. Improvisation1. Chord factors2. Non-chord tones or embellishing tones1. Making your owninstrument2. The new musical language3. Noise pollutionAt number 11983: Every Breath You Take,by The Police1987: Bad, by Michael Jackson1988: Red Red Wine, by UB402009: Empire State of Mind,Jay-ZVideoSoundtrack of Star Wars,by John WilliamsSoundtrack of An American inParis, by George GershwinSoundtrack of The Planet ofthe Apes, by Jerry Goldsmith“Ode to Joy”, from L. v.Beethoven and Himno a laAlegría, by M. RíosSymphony No. 6, “Pastoral”,by L. v. Beethoven and StarWars, by J. WilliamsSpanish Suite, Op. 47, by I.Albéniz and Concerto in F, byG. GershwinWorks by K. Stockhausen, J.Cage, S. Reich and J. Goldsmith“Ode to Joy”, from L. v.Beethoven and Himno a laAlegría, by M. RíosCreating a work with differentaudio tracks inspired by imagesfrom a film.Writing chords with MuseScoreand composing a melodyin different keys over certainchords.Composing a piece of musicwith excerpts from works in different styles and from differentcomposers with Audacity.Listening to different musicalstyles and arranging themchronologically usingAudacity.1. RhythmDictation2. Melody: Of Foreign Landsand Peoples, by RobertSchumann3. Playing together: Skyfall, byAdele1. RhythmDictation2. Melody: Oriental Dance, byEnrique Granados3. Playing together: All MyLoving, by The Beatles1. RhythmDictation2. Melody: “Adagio”, from theConcierto de Aranjuez, byJoaquín Rodrigo3. Playing together: EveryBreath You Take, by ThePolice1. Rhythm2. Melody: “Summertime”,from Porgy and Bess, byGeorge Gershwin3. Playing together: AnotherBrick in The Wall, by PinkFloyd“March to the Scaffold”, fromSymphonie fantastique, byHector BerliozIn the Steppes of Central Asia,by Alexander BorodinSequenza III, by Luciano BerioInnuendo, by QueenIntroduction:In concertIn contextIn filmIn the studioIn theoryComparingIn digitalPlaying liveIn imagesAppendixpage 1411. Final proposal: Wimoweh2. Music in Spanish popular festivalsCOMPETENCES3. Spanish traditional dances4. FlamencoACTIVITIESCultural and artisticEntrepreneurial initiativeLearning to learnScience and technologyDigitalSocial and civicAdvancedChallenge
1A troubadour plays for a noble couple. Illustrationfrom the Cantigas de Santa María (13th century).ORCHESTRATE YOURCOMPETENCES.IN CONCERTAlleluja, Magnificatanonymous (monks from the Abbeyof Notre-Dame de Fontgombault)Messe de Nostre DameGuillaume de Machaut (Ensemble Gilles Binchois)Chanterai pour mon corageGuiot de Dijon (Ensemble Micrologus)SOCIAL AND CIVIC:knowledge of the historical andcultural context of the Middle Ages.CULTURAL AND ARTISTIC:development of secular and religiousmusic from the 5th to the15th centuries.SOCIAL AND CIVIC:playing a song in a group.
1in the studioCanticle Rosa das rosas, from the Cantigas de Santa María, by Alfonso X the WiseA cantiga, or canticle, is a sung poem. The Cantigas de Santa María were compiled during the second half of the13th century by Alfonso X the Wise. Amongst the 423 melodies that make up the collection, there are troubadoursongs, dances, romances and songs with Arab and Jewish influences. Some refer to scenes of pilgrims on the roadto Santiago de Compostela. Most are written in Galician and contain a chorus.Rosa das rosas is a love canticle, a lyric poem that worships the Virgin. It is strongly linked to the love canticle. Readthe text of the canticle as you listen and notice how the troubadour s beloved object of love is the Virgin.Rosa das rosas e Fror das frores,Dona das donas, Sennor das sennores.Rose of all roses and Flower of all flowers,Woman of all women, Lady of all ladies.Rosa de beldad’ e de pareçere Fror d’alegria e de prazer.Dona en mui pïadosa seer,Sennor en toller coitas e doores.Rosa das rosas e Fror das frores Rose of beauty and fairnessand Flower of joy and pleasure.Woman who is pious,Lady who removes troubles and pains.Rose of all roses and Flower of all flowers Atal Sennor dev’ ome muit’ amar,que de todo mal o pode guardar;e pode-ll’ os pecados perdõar,que faz no mundo per maos sabores.Rosa das rosas e Fror das frores One must love this lady,who can protect us from all eviland who can forgive all sins,done in the world for the wrong reasons.Rose of all roses and Flower of all flowers Devemo-la muit’ amar e servir,ca punna de nos guardar de falir;des i dos erros nos faz repentir,que nos fazemos come pecadores.Rosa das rosas e Fror das frores We must love her and serve her,as she strives to protect us from erring;she makes us repent from our errorsthat we commit as sinners.Rose of all roses and Flower of all flowers Esta dona que tenno por Sennore de que quero seer trobador,se eu per ren poss’ aver seu amor,dou ao demo os outros amores.Rosa das rosas e Fror das frores This woman that I hold as my Ladyand whose troubadour I want to be,if I could have her love,to the devil with all other loves.Rose of all roses and Flower of all flowers activities7. Read the following statements about the canticle and say whether they are true or false.abcdefgh# 10It is a cappella vocal music sung by a female choir.It is a chant in which syllabic singing predominates over melismatic.It starts with a chorus or refrain that is repeated after each verse.The melody is identical in each verse and a rhyme is repeated every three verses.The refrain is repeated after each verse, encouraging people to participate.It is a polyphonic chant because it has a single melody.The rhythm is more pronounced than in the Gregorian melodies.Among the instruments heard there are a portative organ, a vihuela and a tambourine.
1in theory1. The characteristics of sound (I):pitchThe characteristics of sound are: pitch, loudness, duration and timbre.Remember that the production of sound requires an emitter or source thatproduces waves and a medium that transmits them. In general, if these waves follow a regular pattern they are considered to be a sound, and whenthey follow an irregular pattern they are considered to be noise.Look at the shape of the wave on the left, wich corresponds to half asecond of a note played on a guitar, and at the wave on the right, whichcorresponds to half a second of a cymbal crash.The characteristics of the waves determine the characteristics of the sound.1.1 PitchPitch is the quality of sound that allows us to distinguish a high sound froma low one. The pitch of a sound depends on the frequency, or the number of vibrations per second (cycles) of a wave. Frequency is measured inhertz (Hz), and one hertz is the equivalent to one vibration per second. Themore vibrations per second, the higher the sound. Look at the followingexample.Wave frequency: 440 HzWave frequency: 880 HzNote that in the wave on the right (A5), the wave cycles are narrower;there are more vibrations per second than in the wave on the left (A4). Thefrequency is higher and, therefore, the sound is higher. In the wave on theleft, the frequency is lower and therefore the sound is lower.The normal range of human hearing isbetween 20 Hz and 25 000 Hz. Manyanimals have a much wider range ofhearing than us. Cats, for example,perceive frequencies between 55 Hzand 79 000 Hz!# 11
1in theory1.2 Indicating the octave1.2.1 Pitch notationIn music, the reference pitch for tuning is A440, or A4, which vibratesat 440 Hz. Watch the video of anorchestra being tuned: the oboegives the A440, which is picked upby the violins and then the rest ofthe instruments.Look at the waves on the previous page: the two notes are called A, butthe number of cycles in A5 (880 Hz) is double that of A4 (440 Hz). Whenthe relationship between two sounds is two to one (double or half), we saythat the interval between them is an octave. Therefore, for each octave wego up, there are twice as many vibrations, and each octave we go down,there are half as many vibrations.Since the twelve notes are repeated several times, when a note is not ona stave we have to specify to which octave it belongs. A number is therefore added that specifies the octave. All notes corresponding to the sameoctave, from C to B, are given the same number. The lower octave is onenumber lower, and the upper octave is one higher.G3A3B3C4D4E4F4G4A4B4C5D5E5F5G5A5B5C6In Spain, the Franco-Belgian system is used, in which middle C of the pianois called do3, but there other methods. The most common are the scientific pitch notation, the most used in the world, in which middle C on thepiano is known as C4, and the Helmholtz pitch notation, used in Germany,in which middle C is named c’. Musical notes in this book are given usingscientific pitch notation.1.2.2 High octave and low octaveYou already know about the additional lines which are added to the staveto notate higher or lower notes. There is another resource used to notatenotes that do not fit on the stave without additional lines:s LA ottava alta (high octave) means that these notes should be played oneoctave higher than they are written. If the symbol 8va were not used, wewould need many additional lines.sounds likes LA ottava bassa (low octave) tells the musician to play this fragment oneoctave lower than it is written.sounds like# 12
1in theory1.3 Notation: the C-clefYou already know that in music we indicate the pitch of sounds with theposition of the musical notes on the stave. You are also familiar the G-clef,for high notes, and the F-clef, for low notes. Another clef is used for soundsin the middle register: the C-clef.Although the C-clef can have five positions, only two are used nowadays:one of them is the alto clef, in which C4 is placed on the third line of thestave.Viola scores are written in the alto clef, such as these bars from Mozart sSinfonia Concertante.The other position is that of the tenor clef, in which C4 is placed on thefourth line of the stave.Some registers of the bassoon, the trombone and the cello are written in thetenor clef, such as these bars of cello from Beethoven s Trio No. 4 Op. 11.2. The characteristics of sound (II):loudnessLoudness, or volume, is the characteristic of a sound that allows us to differentiate a soft sound from a loud sound. Loudness is determined by theamplitude of the vibrations. The greater the amplitude of the wave, thelouder the sound.Other factors influencing loudness are:s THE DISTANCE BETWEEN THE EMITTER AND THE LISTENER 4HE FURTHER AWAY THElistener, the lower the loudness perceived.s THE DENSITY OF THE MEDIUM THAT TRANSMITS THE SOUND 4HE HIGHER THE DENsity, the louder the sound is perceived.The unit used to measure loudness is the decibel (dB). A conversation at anormal volume has a level of 60 dB. In music, the volume is reflected in theuse of dynamics. There are two types:s BY DEGREES DEGREES OF LOUDNESS OR SOFTNESS FROM THE SOFTEST SOUND pianissisimo or ppp) to the loudest (forte or fff).s GRADUAL CHANGES THE VOLUME GRADUALLY BECOMES LOUDER OR SOFTER 4HIS ISindicated using hairpins (crescendo, decrescendo, etc.).These two waves have the same cycles, but thesecond has greater amplitude, so is louder.# 13
1in theoryactivities1. Complete this table of frequencies in your notebook.A4440 HzA3A5880 HzA72. Look at the waves and say which one corresponds to the note A3 and which one to the note A7.ab3. In your notebook, write the note and the pitch of the deepest sound made by the soprano recorder.4. In your notebook, write the names of the notes and their pitch.ab5. In your notebook, write the name and pitch of the notes. Look at the clefs.abc6. Listen to the excerpt of Vltava (The Moldau) from Má Vlast (My Hoˇmeland) by BedrichSmetana, and complete the diagram with the following dynamic indications: p, mf, f, ff, dim. (Diminuendo: graduallybecoming softer).0’00’’ e river Moldava as it passes through Prague.7. Indicate whether the following statements are true or false.abcd# 14Vibrations are measured in Hz.The unit of intensity is dB.To write the lower notes, we use the bass clef.The decibel measures the amount of vibrations from the emitter of the sound.
1at number 1Hound Dog, by Elvis PresleyRock & rollRock & roll came about as a result of Afro-American musical influences,such as rhythm & blues, Western swing and country, which were popular among white people. In the 1950s it became a symbol of teenagerebellion. The quick beat and fast tempo of many songs were perfect todance to and various dance styles emerged. The main instruments are theelectric guitar, the bass or electric bass and the drums, but many artistsplayed the piano or the saxophone.Nº.1 in 1956Other groups and singersThe PlattersLittle RichardBill Haley & The CometsFats DominoChuck BerryFilmsThe Ten CommandmentsThe SearchersAround the World in 80 DaysThe King and IElvis PresleyElvis Presley (1935-1977), was first and foremost asinger but also a composer and an actor. Many ofhis songs made it to number 1 and his appearancesin film and television were followed by millions ofviewers. Other famous songs are Heartbreak Hotel,Jailhouse Rock, Love Me Tender, Blue Suede Shoesand Hound Dog.activities1. The structure is simple: a section of twelve barsthat are repeated. How many times? Which areslower?2. The song only has chords of three degrees: I, IVand V. Where do these degrees come from?3. What instruments can you hear? Which one playsthe solo? In which chorus?newsLucy Autherine, thefirst Afro-American student to be in enrolled atan American university,in Alabama, is receivedby protesters, ending inher expulsion.The first EurovisionSong Contest is held.This is the music eventwith the largest audience in the world. Itwas mainly followedon the radio, becausevery few Europeansowned a television.# 15
7 1 1. Read the following statements about the Gregorian chant in the Pater Noster and say whether they are true or false. a It features voices unaccompanied by instruments, or in other words, it is an a cappella chant. b It is a chant with a single melody sung in unison: it is monodic. c It has a regular rhythm with very insistent be
3 ESO LENGUA CASTELLANA Y LITERATURA incluye cD Nuestro objetivo: Afrontar con éxito las pruebas de Evaluación diagnóstica y las de Conocimientos y destrezas indispensables. Incorporar los procesos de comprensión lectora de PISA: recuperación de información, interp
1.1 El proyecto de Lengua castellana y literatura El proyecto de Lengua castellana y literatura de la editorial Casals se enmarca en el Real Decreto 1105/2014, de 26 de diciembre, por el que se establece el currículo básico
El proyecto de Lengua castellana y literatura de la editorial Casals se enmarca en el Real Decreto 1105/2014, de 26 de diciembre, por el que se establece el currículo básico de la Educación Secundaria Obligatoria y el Bachillerato. Este proyecto nace con la voluntad de atender las nec
a los pobres de la ciudad, sobre todo a las niñas, el conven-to se conocía también por el nombre «La Casa del Ángel de la Guarda». Durante la Segunda Guerra Mundial, los nazis alemanes . invadieron Hungría el 19 de marzo de 1944, y empezaron a capturar y
dat. Amb l’ajuda de l’Esperit, Nord retornava la vida als seus homes. Mentre l’Esperit tocava el cap de cada estàtua, Nord repetia el mateix encanteri: –De carn a pedra i a l’inrevés. Per servir amb ho-nor, el teu amic de debò. I un per un, els homes van emergir de les s
–D’acord –li vaig dir, i vaig llançar el botó tan lluny com vaig poder–. Si el vols, ves-lo a buscar. Ni tan sols va mirar en la direcció cap a on l’havia llançat. Es va quedar allí, palplantat, amb el pal a la mà, panteixant, tremola
También hay algunos poemas de . 10 la tradición popular, esos que las abuelas recitan o cantan a sus nietos y se han transmitido de genera-ción en generación, como el que da título a este libro: Rurrú camarón, nana, rata, rata, ratón; rurrú camarón, nana, rata, rata, ratón.
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