Aims and objectives
This paper is designed to allow students to develop to a higher level of sophistication the skills, practical knowledge, and insight into repertoire already acquired in Part IB Applied Tonal Skills.
Description of the course
The course comprises two sections:
A two-hour examination in which candidates are required to complete one of the following exercises:
- Exercise in canon on a given opening, to a specified length. The canonic variations in Bach’s Goldberg Variations provide the model.
- Song-accompaniment exercise in a later nineteenth-century or twentieth-century tonal style.
A Style Composition coursework submission for which candidates offer one of the following elements:
- Mass in four or five voices in sixteenth-century contrapuntal style;
- Cantata in Baroque style with at least four independent instrumental parts alongside the vocal part(s);
- Concerto in Baroque style;
- Complete piano trio, piano quartet, string trio, string quartet or string quintet in Classical style;
- Complete work in Romantic style for melody instrument and piano, or for string trio string quartet, string quintet, piano trio, piano quartet, piano quintet, or clarinet quintet;
- Extended song cycle in Romantic style;
- Complete work for a chamber group of up to five players in any twentieth-century tonal idiom (using sonata-form principles in at least one movement);
- Suite in any historically determined twentieth-century style.
In their Style Composition submission candidates should demonstrate a detailed understanding of their chosen idiom. Lasting at least sixteen minutes, this submission should be accompanied by an explanatory note of between 150 and 750 words indicating the candidate’s intentions. While the composer emulated might be named specifically (e.g. 'in the style of Schumann’) candidates might also choose a more general approach, within the confines of the rubric.
Co-ordinator: Kim Ashton
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