Music - MYP 4 and 5 - Samuel Wright - Hodder 2020

We will reflect on this learner profile
●■
attribute…
chapter works on the premise of including all
This
of learners. You will find it useful to know:
levels
how to play and work with scales, modes, chords,
•
lines, riffs or ostinatos
bass
how to play and identify rhythms and structures
•
from notation and in performance
aurally,
how to work collaboratively to express musical ideas
•
instruments and new forms of technology
with
what working within an ensemble means for
•
and intonation, but also communication
balance
expression
and
ways of analysing music using pitch, duration,
•
structure, tone-colour, dynamics and
texture,
techniques to document the fingerprints
expressive
a style or artist / composer
of
how to approach experimenting and presenting
•
links and referenced materials will guide
Examples,
further.
you
exploration: Graphic
Music
techniques
scoring
are many ways to stretch the boundaries of
There
music-making. Artists and composers can
conventional
improvisation; electronics; evolving rhythmical
employ
melodic material; or reuse all of these techniques
or
a visual interface. One of the simplest ways to
within
being innovative with graphic scoring is to collect
start
experiment with other works. Visit
and
and
http://floorjournal.com/2013/07/31/graphic-scores
to ‘Graphic Score #29’ by Steve Adams for alto sax
listen
electronics.
and
the associated connections to colour and a
with
structure. Can you follow along with the
circular
Are the motifs communicated well? What do
audio?
think is the purpose of the circular structure?
you
In your portfolio, draw your own shapes and notated
2
to create a graphic score similar to #29. Then,
ideas
an investigation of your own. If you have
begin
you can material and use social
Instagram,
to inform your creativity. Search with hashtags
media
as #graphicscores or #graphicscore.
such
Finally, review a collection of graphic scores
3
the interconnected nature of music from
exploring
●■
We thoughtfully consider the world
Reflective:
our own ideas and experience. We work to
and
our strengths and weaknesses in order to
understand
our learning and personal development.
support
Prior knowledge
musical ideas from research.
Figure 9.2 ‘Graphic Score #29’
■
KEY WORDS
arch form motivic
modes
texture development
scales
You will notice the small notated written
motifs
1
electronic music soundscape
intervals
orchestration tritone
patterns
score motif arpeggio
graphic
tone cluster ekphrasis
structure
▼■ Links to: History; Visual Arts; Language
curate
talking about boundaries that are sustainable,
When
parallels to History, Art and literature movements
many
be made. Within History, the rise of certain
can
advances sustained entire kingdoms; this
technological
be tied into the blending of cultures or advances
can
language / writing to bring about new ideas. Visual
in
and
the School of Noise:
www.schoolofnoise.com
and Languages can use aspects of this chapter to
Art
with ekphrastic or modern art using elements
connect
University of Michigan’s Digital Music Ensemble:
www.simonaa.media/graphic-notation
such as line, shape and colour (actual or onomatopoeic).
9 Does music have boundaries? 237