The following Dodgers have been smited by the JDK for their crimes against Jam:
All the girls! for picking on the JDK and damaging his already delicate self esteem!
The Basserd Who Nicked Copper's Stuff For the offense of nicking Copper's stuff. You are a tw*t, whoever you are and we all hope you get run over by a tram in Nottingham. Or Liverpool. Or whereever else they have trams!
Copper For the crime of playing with her Wii instead of her Jammie pals!
Ok - so we're billy no mates' over here and no-one wants to go for a drink with us so we're staying in as the cider is free at home (and JDK has some serious playstation activity on the go!).
So anyway not coming to the pub types, I'm going to have some cider & a cup of tea. I might even make a sausage sarnie (except I don't have any bread - sausages then).
I might even be forced to do some violin practice! Anyone know a good music theory teacher in Bristol? I'm gonna do LMusTCL in music theory, but I might need a couple of lessons first to get back in the swing of the analysis bit (so it needs to be a teacher way above grade 8 standard - any ideas?). Looks like this:
LMusTCL
Aim
LMusTCL is a written diploma in which the standard is equivalent to the written-work component on completion of a full-time undergraduate course at a conservatoire or other Higher Education establishment.The examination tests understanding of musical styles and analysis based on music from the entire Western musical tradition.
Candidates will be expected to show evidence of detailed awareness to musical characteristics of various musical epochs in Western music by analysis of selected extracts, and, based on a study of a set work, historical development of a particular genre.
Prerequisite qualification
Candidates are required to have passed Grade 8 in theory or an equivalent qualification in written music before entering for LMusTCL.
Learning outcomes
Candidates will:
•
Engage effectively with a wide range of musical briefs (ensembles, style etc)
•
Execute work effectively with a high degree of professionalism, presenting work in accessible form
•
Integrate complex material into their work in a manner which demonstrates contextual awareness and sensitivity to the requirements, selecting appropriate methodologies.
•
Demonstrate a high level of creativity in analysing and developing music with a critical awareness of the smaller margin of error acceptable at LTCL standard
•
Reflect critically upon their own practice and that of others with the ability to work independently, showing self-motivation and critical self-awareness
•
Demonstrate outstanding command of subject knowledge and commensurate confidence in analysing and developing work including competence in the practices, processes, techniques and methodologies required in the study of music theory
The following knowledge and understanding underpins the outcomes listed above:
Candidates will have a broad-based body of knowledge in music theory and familiarity with relevant concepts and issues; know how to analyse, manipulate, interrogate or create musical materials and to present results or findings in a coherent and communicable form; an understanding of the relationship between theory and practice in music, and relevant methods used to explain and demonstrate that interrelationship; knowledge of how to recognise (analyse) musical organisation by studying a written score and be a able to assimilate information and to synthesise/organise relevant outputs.
Content
Candidates will demonstrate a wide understanding of analytical concepts and procedures (e.g. Schenker, Reti), drawing on extensive knowledge of all periods of musical history in the Western Classical tradition from the Middle Ages to the present day.
They will convey this through fluent and persuasive essay-writing and short notes.They will select and apply appropriate analytical methods to previously unseen contexts as well as to set works.
Unit 1
—Written paper (this is a single unit qualification)
The examination comprises one written paper of three hours’ duration, marked out of 100.The pass mark is 50.To achieve a distinction, candidates must achieve a mark of 75 or above.
The content of the examination is based on a detailed understanding of musical style and literature, including set works which should be studied from the score in preparation for section B of the examination. Typically, this will test the candidate’s ability to observe, understand, interpret and manipulate oral, written and visual signs denoting music; to call upon a wide knowledge and experience of the repertoire studied; ability to understand theoretical and aesthetic systems and relate theory and practice to each other; the ability to assess concepts and hypotheses critically in the light of evidence, and to apply insights and discoveries in one area of study to another.
Both sections of the examination are compulsory.
Section A—Analysis
(50 marks)
i.Detailed analytical questions will be set on a work not previously studied by the candidate.They will cover motif, melody, rhythm, harmony, texture and instrumentation, and other common analytical matters.
ii. Candidates will be invited to comment on five examples from a wide choice of short extracts of works not previously studied, with particular reference to historical development, instrumentation and facets of style.
Written examinations in Music: Diplomas 2004–2005
Section B—Stylistic Development
(50 marks)
Question will be asked about a) analytical and b) historical and contextual matters relating to various genres and associated set works. Candidates should select one genre from the lists given below:
For 2004:
Song
Beethoven:
An die ferne Geliebte op. 98 (from Complete Songs Peters EP 180) and Brahms: Vier ernste Gesänge op. 121 (Peters EP 3907a (high voice); EP 3907b (medium-low voice))
Chamber music
Debussy: String quartet (miniature score:
Peters EP 9125a)
Orchestral music
Both the May and the November papers for 2004 will contain questions on Orchestral Music (Stravinsky and Tchaikovsky as set for 2002–2003) for candidates who were studying these works before the latest syllabus was published.
Stravinsky:
Petrushka (study score: Boosey M 060 10709 2) and Tchaikovsky: Fantasy Overture: Romeo and Juliet (miniature score: Eulenburg)
For 2005:
Chamber music
Debussy: String quartet (miniature score:
Peters EP 9125a)
Opera
Purcell:
Dido and Aeneas (vocal score: ed. Laurie and Dart (Novello NOV 070318; full score: Norton Critical Scores ISBN 0 393 95528 1.
Detailed questions on orchestration will not be asked, and thus a vocal score will be adequate.
)
LMusTCL
1. Methods and approaches
(30%)
This mark takes into account the following aspects:
•
Knowledge and understanding of the structural considerations related to the set piece of music including thematic and harmonic factors
•
Knowledge and understanding of different compositional methodologies associated with various periods of musical history
Distinction: Confident recognition of the salient structural features, with knowledge of related compositional methodologies
Pass: Structural features recognised and adequately described
Below pass: Insufficient awareness of the main structural features and methodologies
2. Communication
(30%)
This mark takes into account the following aspects:
•
Suitability of response to analytical brief
•
Ability to communicate ideas with clear intent
Distinction: Outstanding and consistently relevant response to the given briefs, succinctly described
Pass: Appropriate response to the given briefs
Below Pass: Vagueness in response
Written examinations in Music: Diplomas 2004–2005
3.Analysis
(30%)
This mark takes into account the following aspects:
•
Critical evaluation of information, reviewing possible alternatives and justification of choices made
•
Awareness of stylistic and technical concepts underpinning the brief
Distinction: Convincingly argued judgements on the different editorial editions used, with detailed knowledge of the historical and stylistic background of the music being discussed (unerring confidence in identifying the likely composer of the musical extract)
Pass: Awareness of the stylistic and historical background of the various editions used, with judgements supported by good rationale (awareness of the likely composer of the musical extract).
Below pass: Insufficient awareness of the historical/stylistic background of the music discussed and conclusions made without a supporting rationale
4. Integration
(10%)
This mark is used to record a holistic impression of the candidate’s ability to integrate skills, knowledge and awareness covered in each component and the degree to which the work shows cohesion and personal investment.
