MUS 2260 Elementary Conducting - Variations on a Korean Folk Song

Question 1

Know the title of the work and the titles of each movement or variation (if applicable)

Answer 1

1) VARIATIONS ON A KOREAN FOLK SONG measures 1-16 (Con Moto)
2) Variations on a Korean Folk Song (Arirang) measures 214-end (modified) (Con Islancio)

Question 2

Know the composer. When did he live and in what musical period?

Answer 2

John Barnes Chance 1932-1972

Question 3

When was this work composed? How does it relate to the composer’s total
compositional output?

Answer 3

1965, his most well-known piece

Question 4

Be able to state the complete instrumentation of the original work

Answer 4

Soprano (C)
Soprano (Bb)
Alto (Bb)
Alto (Eb)
Alto (F)
Tenor (Bb)
Tenor (C)
Bass (Eb)
Bass (C)

Question 5

Know the key signature(s)/tonal content for both movements.

Answer 5

1) Eb signature (w/Ab accidentals)/Ab pentatonic
2) C signature (w/Bb accidentals)/Bb pentatonic

Question 6

Know every single musical term and its English translation.

Answer 6

Con moto/quarter=96 (with motion), semplice e cantible (simple and singing), Con Islancio/quarter=144 (with impetuousness), sostenuto (sustained; hold a note for full value)

Question 7

Know the phrase structure of each movement’s excerpt.

Question 8

Know tempo markings.

Answer 8

Con Moto 96, Con Islancia 144

Question 9

Know how the melody interacts with harmonic support, rhythmic support,
counterpoint, etc.

Question 10

Know the compositional treatment of the theme throughout the excerpt.

Answer 10

AABA sentence structure of the theme; B is used as a four measure phrase which is repeated in the top three voices in an shifted/overlapping polyphonic texture; Then the A sentence returns in augmented form

Question 11

Know the dynamic contour of each movement’s excerpt. Know where each and every
dynamic indication occurs and in which instrument.

Answer 11

1) MP A, A; MF B, A
2) Each entrance is F, dropping to MP; all but soprano voice rises to F, then sub P and immediately crescendo-ing to F ending

Question 12

Know every articulation marking, where it occurs, and the desired sound created by the
marking. If an articulation is specified, the composer took the time to specify it for a
reason.

Question 13

Know who is playing at any given moment and what each instrument’s function is in
the passage. For instance, do they serve in a melodic, counter-melodic, rhythmic, or
supportive capacity? If an instrument does not play at the beginning of a movement,
when do they enter?

Question 14

Be able to discuss the texture of a passage. When discussing texture it is not enough to
describe the general feel of an excerpt. Describe what is happening in the passage and
be as specific as possible regarding the role, function, instrumentation, etc. Be accurate
when using terms such as unison, homophonic, polyphonic, counterpoint, etc. to
describe the music.