College of The Bahamas Week 3 Ruth Gipps Symphony No 4 Discussion Music assignment: 1. Ruth Gipps (1921 – 1999) was an English composer who wrote exceptio

College of The Bahamas Week 3 Ruth Gipps Symphony No 4 Discussion Music assignment:

1. Ruth Gipps (1921 – 1999) was an English composer who wrote exceptional music. Listen to the first movement of her Symphony no. 4, completed in 1972:

Create a listening guide—like the ones in the reading—that captures the movement’s main ideas, narrative arc, and sectional boundaries. Format are in the document ( Please follow the sample format)

2. Read ‘week 3 roadmap’ document carefully. ALL requirements, youtube video links & details are in the document.

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Week 3
Next up: the symphony. A symphony is a type of composition for orchestra. This week’s sole reading is
the uploaded PDF. It goes along with a healthy dose of listening. It is imperative that you do this
reading attentively, carefully following the listening guides and associated recordings.
Connecting the written descriptions to the actual musical events (i.e., the sounded music) takes practice.
It’s a skill that, once activated, will broaden your listening horizons—so the time invested will be worth
it!
Before delving into the reading, watch these videos to see how the orchestra is made up of four distinct
instrumental groups, each with its characteristic timbres—strings, woodwinds, brass, and percussion:
www.youtube.com/watch?v=MP2_6OLummA&list=PLLIE84w8WlZ-KKM-jtpEY13aQyY4tshMT
www.youtube.com/watch?v=KEt1Mm8sSkA&list=PLLIE84w8WlZ-KKM-jtpEY13aQyY4tshMT&index=2
www.youtube.com/watch?v=yE0aSxziNdY&list=PLLIE84w8WlZ-KKM-jtpEY13aQyY4tshMT&index=3
www.youtube.com/watch?v=JVmxrhrN9ds
We’ll get to know these symphonies:
Mozart: Symphony no. 40 (1st movement)
Haydn: “Surprise” Symphony (2nd movement)
Beethoven: Symphony no. 5 (1st movement)
These symphonies have four movements. A movement is a section, like an act in a play. We’re only
looking at one movement from each symphony.
(Note: some of the instruments in the above videos—like the contrabassoon and the tuba—are common
in modern-day orchestras but were not in use before the 19th century.)
There’s a conductor, too. Conductors do much more than wave their arms and make expressive faces.
To someone who doesn’t know sports, coaches are just people who run along the sidelines looking
stressed and shouting at the ref. Conductors control the pace of the performance, shape the sound, and
inspire the players—all to give the audience a moving experience. (They usually do fundraising, too.)
The PDF’s timings for Mozart’s symphony match this recording:

For Haydn’s timings:

And for Beethoven’s:

As mentioned above, it’s crucial that you follow the reading’s listening guides thoroughly and attentively.
This will require frequent pausing, rewinding, and re-listening.
Sometimes the guides use music notation. Don’t worry if you don’t read music. All you need to know is
that each dot represents a note. The higher the dot, the higher the pitch. Symbols like Œ and ‰ are
rests—meaning “don’t play.” Do you recognize this song? (Hint: it has woof-woofs and moo-moos.)
§ § §
Just one assignment this week, due June 1. This assignment will require about 4 hours to complete, so
you may want to work on it over several days.
Ruth Gipps (1921 – 1999) was an English composer who wrote exceptional music. Listen to the first
movement of her Symphony no. 4, completed in 1972:

Create a listening guide—like the ones in the reading—that captures the movement’s main ideas,
narrative arc, and sectional boundaries. Use this format:
time
description
emotion/narrative
0:00 – 0:28
main theme presented,
woodwinds in slow tempo, quiet
peaceful, a little mysterious, gradually blooming
0:28 – 0:53
main theme in low strings,
melody ascends & then descends,
orchestra getting louder
growing in intensity, becoming more nostalgic,
as if recalling a bittersweet experience
etc.
…
…
In the description column, give an objective picture of what the orchestra is doing. Mention tempo,
instrumentation, dynamics, and/or whether previous material (like a theme or section) is being reused.
In the emotion/narrative column, provide subjective observations about the music’s emotional content.
For fun, you may want to come up with a story that the music is “telling.” As the music unfolds and
changes its character, your story’s characters and situations evolve accordingly.
Your guide should have roughly 18 sections in total. The above example has a boundary at 0:28. How
do you decide where to put a section boundary? Listen for significant changes in instrumentation,
tempo, musical ideas, and/or expressive content. Do not use sonata form or theme & variations!
Whenever the main theme comes back (which isn’t very often), say so and identify who’s playing it. If
you can’t name the instrument, say whether it’s a woodwind, brass, or string instrument. Also indicate
whenever other material comes back: if a section has the same music—perhaps re-orchestrated—as an
earlier one, say so.
In addition, be sure one of your sections addresses the movement’s climax, and another section identifies
the secondary theme (i.e., an important theme aside from the main theme that opens the movement).
Happy listening!
time
description
emotion/narrative
0:00 – 0:28
main theme presented,
woodwinds in slow tempo, quiet
peaceful, a little mysterious, gradually blooming
0:28 – 0:53
main theme in low strings,
melody ascends & then descends,
orchestra getting louder
growing in intensity, becoming more nostalgic,
as if recalling a bittersweet experience
etc.

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