IB MUSIC PERCEPTION AND ANALYSIS MR. CHRIS ROHRBAUGH 2004-2005
September October November December January February March April May
PERIOD- ELEMENTS OF MUSIC THE MIDDLE AGES BAROQUE ROMANTIC ROMANTIC CONT. TWENTIETH CENTURY JAZZ NONWESTERN MUSIC CUMMALITIVE STUDY OF
RENAISSANCE CLASSICAL ROCK STYLES PERPARING FOR IB
CONTENT AMERICAN MUSICAL EXAM
TERMS PITCH, DYNAMICS, TONE COLOR, CHANT, CHURCH MODES, SECULAR, CONCERTO GROSSO, RITORNELLO, ROMANTICISM, NATIONALISM, CONT. IMPRESSIONISM, SYMBOLISM, RAGTIME, BLUES, IDIOPHONES CUMALITIVE STUDY OF
RHYTHM, MELODY, HARMONY, KEY, MONOPHONIC, POLYPHONY, FUGUE, OPERA, GROUND BASS, EXOTICISM, PROGRAM MUSIC, ART NEOCLASSICISM, EXPRESSIONISM, SWING, BEBOP, MEMBRANO.. TERMS PREPARING FOR IB
FORM, TEXTURE, NOTAION, STYLE ORGANUM, SACRED, MASS, SONATA, SUITE, ORATORIO, SONG, SONG CYCLE, NOCTORNE, TWELVE TONE, ATONALITY, CHANCE THEATER, ROCK AEROPHONES EXAM
MADRIGAL, FA-LA, MOTET, SONATA FORM, SYMPHONY, MUSIC, MINIMALISM, ELECTRONIC, CHORDAPHONE
POLYCHORAL MOTET QOUARTET, CONCERTO, CHAMBER MIXED MEDIA, QHOTATION RAGA, TALA
MUSIC KOTO
GAMELAN
COMPOSERS VARIOUS EXAMPLES FROM ALL HILDEGARD BINGEN BACH FRANZ SCHUBERT RUSSIAN FIVE DEBUSSY, RAVEL, STRAVINSKY, JOPLIN, ELLINGTON, CUMMALITIVE STUDY OF
PERIODS THAT DEMONSTRATE KEY LANDINI MONTIVERDI ROBERT SCHUMANN MAURICE RAVEL SCHOENBERG, BERG, WEBERN, ARMSTRONG, DAVIS, COMPOSERS PREPARING
TERMS AND IDEAS MAUCHAUT PURCELL CLARA SCHUMANN TCHAIKOVSKY] BARTOK, SHOSTAKOVICH, IVES, COLTRANE, FOR IB EXAM
JOSQUIN DESPREZ CORELLI FREDERIC CHOPIN BEDRICH SMETANA GERSHWIN, STILL, COPLAND, CAGE, BERNSTEIN, WEBER
THOMAS MORLEY VIVALDI FANZ LISZT ANTONIN DVORAK ADAMS, GLASS
PRAETORIUS HANDEL FELIX MENDELSSOHN JOHANNES BRAHMS
GIOVANNI GABRIELLI HECTOR BERLIOZ VERDI, PUCINNI, WAGNER, MAHLER
THEORY INTERVALS INSTRUMENTATION BACH CHORALES CONSONANCE TONE CLUSTERS TWELVE TONE 12 BAR BLUES POLTONALITY CUMMALITIVE STUDY OF
KEY TRANSPOSITION SATB DISSONANCE PENTATONIC CHANCE MUSIC CHORUS POLYRHYTHMS THEORY PREPARING FOR IB
SCALES FUGAL COMPONENTS CHORD QUALITIES AVOIDANCE OF TONALITY “LIBERATION OF SOUND” IMPROVISATION INDIGENIOUS THEORY MUSIC EXAM
MODES COMPOSITION SECONDARY DOMINANT MODES
CHORD QUALITIES CADENCE CADENTIAL EXPANSION