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  • 8566 - GCSE AQA Area of Study Guide: Western Classical Tradition since 1910

Weblinks and videos for use with 8566 – GCSE AQA Area of Study Guide: Western Classical Tradition since 1910

Musical Styles in the Western Classical Tradition since 1910

  • Violin Phase - Steve Reich
  • ‘Intermezzo’ from the Háry János Suite by Kodály
  • Spiritus Sanctus Vivificans by Hildegard von Bingen
  • Song for Athene by John Tavener

Musical Elements in Western Classical Music since 1910

  • Nagoya Marimbas by Steve Reich
  • Prologue to Peter Grimes (1945), an opera by the British composer Benjamin Britten
  • The famous solo at the end of Peter Grimes
  • Activity 1
  • Bartók’s ballet The Miraculous Mandarin
  • Song for Athene by John Tavener
  • Activity 2, question 2
  • Activity 2, question 3
  • The Turn of the Screw by Benjamin Britten
  • Activity 4: Modes
  • Piano Phase by Steve Reich
  • In C by Terry Riley

    • (7:18-8:55)


  • Electric Counterpoint by Steve Reich
  • Activity 6: Instrumental techniques, question 2a
  • Activity 6: Instrumental techniques, question 2b
  • Sun Rings by Terry Riley
  • Light Over Water: Part One by John Adams
  • Prayer to the Holy Trinity by John Tavener
  • Symphony No. 9 by Malcolm Arnold
  • New York Counterpoint by Steve Reich
  • Activity 7
  • Love Bade Me Welcome by John Tavener
  • Appalachian Spring Suite by Aaron Copland
  • Bartók’s Music for Strings, Percussion and Celesta
  • ‘The Entrance of the Emperor and His Court’ from the Háry János Suite
  • 'We no longer need Confucius' by John Adams
  • Malcolm Arnold’s Symphony No. 9
  • The third movement of Music for Strings, Percussion and Celesta by Bartók
  • Appalachian Spring Suite by Aaron Copland
  • Billy the Kid Suite by Aaron Copland
  • Activity 8
  • Eight Songs for a Mad King by Maxwell-Davies
  • Activity 9

    • Revision Notes

  • Ostinato and Motif: Reich, Nagoya Marimbas
  • Syllabic Text Setting: Britten, Prologue to Peter Grimes
  • Melismas: Britten, Peter Grimes’ solo from ‘Grimes, Grimes’
  • Dissonance and Chromaticism: Bartók, opening of The Miraculous Mandarin
  • Pedal Notes: Tavener, Song for Athene
  • Pentatonic scale: Britten, The Turn of the Screw, ghosts’ motif
  • Modality: Bartók, Music for Strings, Percussion and Celesta: Movement 4
  • Tonal ambiguity: Reich Piano Phase
  • Emphasis on percussion instruments, wide range of percussion instruments used: Bartók, Music for Strings, Percussion and Celesta
  • Wide range of instrumental techniques used: Bartók, The Miraculous Mandarin
  • Wide range of instrumental techniques used and very specific directions given by composer: Maxwell-Davies, Eight Songs for a Mad King
  • Multi-track recording: Reich, Electric Counterpoint
  • Sampling: Riley, Sun Rings
  • Electronic music, synthesiser: Adams, Light over Water
  • Drone: Tavener, Prayer to the Holy Trinity
  • Imitation and bi-Rhythm: Arnold, Symphony No. 9: Movement 1
  • Layered/layering : Reich, New York Counterpoint: Movement 3
  • Free metre: Tavener, Love Bade me Welcome
  • Irregular metre: Copland, Appalachian Spring Suite: Moderato
  • Syncopation and Hemiola: Copland, Appalachian Spring Suite: Coda
  • Augmentation and diminution: Bartók, Music for Strings, Percussion and Celesta: opening of Movement 3, xylophone part
  • Anacrusis and off-beat: Kodály, ‘The Entrance of the Emperor and His Court', from the Háry János Suite
  • Cross-rhythm: Adams, ‘We no longer need Confucius’ from Nixon in China
  • Polyrhythm: Bartók, Music for Strings, Percussion and Celesta: opening of Movement 3
  • Rubato: Copland, opening of Billy the Kid Suite, oboe part

    • Practice Exam Questions

  • Question 1, excerpt 1a
  • Question 1, excerpt 1b
  • Question 2, excerpt 2a
  • Question 2, excerpt 2b
  • Question 3

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