Professional Documents
Culture Documents
老师要求的格式
老师要求的格式
INTRODUCTIONS,
ARGUMENTS,
CONCLUSIONS
• ‘Main Body’
• Arguments
• Evidence
• How organised…?
• Organised around sub-topics…?
• A sense of proportion…?
• Conclusion
PART 1:
INTRODUCTIONS
INTRODUCTIONS: GETTING STARTED…
Do:
• Tiny (!) bit of context (but only relevant points)
• Thesis statement
• Briefly outline the topic (1 performance issue, 2 time periods, 3-4 subtopics…and relevant
repertoire)
• Indicate the overall plan of the essay (introduce and explain your sub-topics…?)
• Note: Keep it short (8-10% of total, ca.225 words)
Do not:
• Include a mini biography of composers or other general background information that is
not directly relevant
***Suggestion: write the introduction after you have written the main part of the essay…
EXAMPLE 1: IS THIS CLEAR…?
The Romantic period was much more free and emotional than the Baroque period, and so
performers had a lot more freedom to respond to the music in their own unique way since
they were no longer governed by the rules of the church or court. This enabled a wider
variety of performance interpretations in many areas, especially tempo. It is commonly
believed that Romantic performers played everything with lots of rubato and composers
approved of this approach. It also meant they could ignore some of the dynamic or
articulation markings as long as they were capturing the character of the work like in
character pieces by Schumann. The invention of the metronome also made it easier for
performers to know how fast to play, something that Baroque performers didn’t have yet, so
they often had to rely on their teacher to tell them how fast or slow to play or look at the
dance steps of the music. This essay is going to show how these two periods are different.
The Romantic period was much more free and emotional than the Baroque period, and so
performers had a lot more freedom to respond to the music in their own unique way since
they were no longer governed by the rules of the church or court. This enabled a wider
variety of performance interpretations in many areas, especially tempo. It is commonly
believed that Romantic performers played everything with lots of rubato and composers
approved of this approach. It also meant they could ignore some of the dynamic or
articulation markings as long as they were capturing the character of the work like in
character pieces by Schumann. The invention of the metronome also made it easier for
performers to know how fast to play, something that Baroque performers didn’t have yet, so
they often had to rely on their teacher to tell them how fast or slow to play or look at the
dance steps of the music. This essay is going to show how these two periods are different.
• Periods?
• Context?
• Thesis statement?
• Subtopics and outline?
• Repertoire under consideration?
• Overall structure and clarity of the introduction?
EXAMPLE 2: IS THIS CLEAR…?
The Baroque and Romantic periods represent two contrasting eras in which music and its functions
reflected the changing status of music and its place within European society. In many ways, the nature of
the courts and churches in which much Baroque repertoire was performed, provided an arguably more
controlled setting for musical expression (Smith, 2000: p. 10). By contrast, the often overtly virtuosic
repertoire of the 19th century and the increasingly accessible public venues in which it appeared (Jones,
1999: p. 2), gave rise to a multitude of new means by which performers could express themselves and
their musical ideas. Specifically, a comparison of changing approaches to the performance traditions
associated with tempo in the Baroque and Romantic periods reveals several fundamental changes in the
way performers approached the making of tempo decisions (specifically within solo keyboard works).
Obviously, 17th- and 18th-century notational practice in many ways was not radically different from that
of the 19th century (see Brown, 1984: pp. 43-65); but, several subtle distinctions are identified and
discussed in the essay below. First, one must consider the extent to which Baroque composers may have
used tempo indications differently than later composers (or in some cases, omitted these terms
entirely), and this raises important questions about other evidence that must be assessed to help guide
a performer’s interpretation. Thus, the second area explored in this essay focuses by extension on what
clues are potentially given within the music itself (e.g., time signatures, note values, or dance rhythms).
Lastly, I will examine the extent to which performers in these two stylistically very distinct periods
would have approached un-notated tempo fluctuations or rubato very differently.
The Baroque and Romantic periods represent two contrasting eras in which music and its functions reflected
the changing status of music and its place within European society. In many ways, the nature of the courts and
churches in which much Baroque repertoire was performed, provided an arguably more controlled setting for
musical expression. By contrast, the often overtly virtuosic repertoire of the 19th century and the increasingly
accessible public venues in which it appeared, gave rise to a multitude of new means by which performers
could express themselves and their musical ideas. Specifically, a comparison of changing approaches to the
performance traditions associated with tempo in the Baroque and Romantic periods reveals several
fundamental changes in the way performers approached the making of tempo decisions (specifically within
solo keyboard works). Obviously, 17th- and 18th-century notational practice in many ways was not radically
different from that of the 19th century; but, several subtle distinctions are identified and discussed in the essay
below. First, one must consider the extent to which Baroque composers may have used tempo indications
differently than later composers (or in some cases, omitted these terms entirely), and this raises important
questions about other evidence that must be assessed to help guide a performer’s interpretation. Thus, the
second area explored in this essay focuses by extension on what clues are potentially given within the music
itself (e.g., time signatures, note values, or dance rhythms). Lastly, I will examine the extent to which
performers in these two stylistically very distinct periods would have approached un-notated tempo
fluctuations or rubato very differently.
• Periods?
• Context?
• Thesis statement?
• Subtopics and outline?
• Repertoire under consideration?
• Overall structure and clarity of the introduction?
The Baroque and Romantic periods represent two contrasting eras in which music and its functions reflected
the changing status of music and its place within European society. In many ways, the nature of the courts and
churches in which much Baroque repertoire was performed, provided an arguably more controlled setting for
musical expression. By contrast, the often overtly virtuosic repertoire of the 19th century and the increasingly
accessible public venues in which it appeared, gave rise to a multitude of new means by which performers
could express themselves and their musical ideas. Specifically, a comparison of changing approaches to the
performance traditions associated with tempo in the Baroque and Romantic periods reveals several
fundamental changes in the way performers approached the making of tempo decisions (specifically within
solo keyboard works). Obviously, 17th- and 18th-century notational practice in many ways was not radically
different from that of the 19th century; but, several subtle distinctions are identified and discussed in the essay
below. First, one must consider the extent to which Baroque composers may have used tempo indications
differently than later composers (or in some cases, omitted these terms entirely), and this raises important
questions about other evidence that must be assessed to help guide a performer’s interpretation. Thus, the
second area explored in this essay focuses by extension on what clues are potentially given within the music
itself (e.g., time signatures, note values, or dance rhythms). Lastly, I will examine the extent to which
performers in these two stylistically very distinct periods would have approached un-notated tempo
fluctuations or rubato very differently.
• Periods?
• Context?
• Thesis statement?
• Subtopics and outline?
• Repertoire under consideration?
• Overall structure and clarity of the introduction?
The Baroque and Romantic periods represent two contrasting eras in which music and its functions reflected
the changing status of music and its place within European society. In many ways, the nature of the courts and
churches in which much Baroque repertoire was performed, provided an arguably more controlled setting for
musical expression. By contrast, the often overtly virtuosic repertoire of the 19th century and the increasingly
accessible public venues in which it appeared, gave rise to a multitude of new means by which performers
could express themselves and their musical ideas. Specifically, a comparison of changing approaches to the
performance traditions associated with tempo in the Baroque and Romantic periods reveals several
fundamental changes in the way performers approached the making of tempo decisions (specifically within
solo keyboard works). Obviously, 17th- and 18th-century notational practice in many ways was not radically
different from that of the 19th century; but, several subtle distinctions are identified and discussed in the essay
below. First, one must consider the extent to which Baroque composers may have used tempo indications
differently than later composers (or in some cases, omitted these terms entirely), and this raises important
questions about other evidence that must be assessed to help guide a performer’s interpretation. Thus, the
second area explored in this essay focuses by extension on what clues are potentially given within the music
itself (e.g., time signatures, note values, or dance rhythms). Lastly, I will examine the extent to which
performers in these two stylistically very distinct periods would have approached un-notated tempo
fluctuations or rubato very differently.
• Periods?
• Context?
• Thesis statement?
• Subtopics and outline?
• Repertoire under consideration?
• Overall structure and clarity of the introduction?
The Baroque and Romantic periods represent two contrasting eras in which music and its functions reflected
the changing status of music and its place within European society. In many ways, the nature of the courts and
churches in which much Baroque repertoire was performed, provided an arguably more controlled setting for
musical expression. By contrast, the often overtly virtuosic repertoire of the 19th century and the increasingly
accessible public venues in which it appeared, gave rise to a multitude of new means by which performers
could express themselves and their musical ideas. Specifically, a comparison of changing approaches to the
performance traditions associated with tempo in the Baroque and Romantic periods reveals several
fundamental changes in the way performers approached the making of tempo decisions (specifically within
solo keyboard works). Obviously, 17th- and 18th-century notational practice in many ways was not radically
different from that of the 19th century; but, several subtle distinctions are identified and discussed in the essay
below. First, one must consider the extent to which Baroque composers may have used tempo indications
differently than later composers (or in some cases, omitted these terms entirely), and this raises important
questions about other evidence that must be assessed to help guide a performer’s interpretation. Thus, the
second area explored in this essay focuses by extension on what clues are potentially given within the music
itself (e.g., time signatures, note values, or dance rhythms). Lastly, I will examine the extent to which
performers in these two stylistically very distinct periods would have approached un-notated tempo
fluctuations or rubato very differently.
• Periods?
• Context?
• Thesis statement?
• Subtopics and outline?
• Repertoire under consideration?
• Overall structure and clarity of the introduction?
The Baroque and Romantic periods represent two contrasting eras in which music and its functions reflected
the changing status of music and its place within European society. In many ways, the nature of the courts and
churches in which much Baroque repertoire was performed, provided an arguably more controlled setting for
musical expression. By contrast, the often overtly virtuosic repertoire of the 19th century and the increasingly
accessible public venues in which it appeared, gave rise to a multitude of new means by which performers
could express themselves and their musical ideas. Specifically, a comparison of changing approaches to the
performance traditions associated with tempo in the Baroque and Romantic periods reveals several
fundamental changes in the way performers approached the making of tempo decisions (specifically within
solo keyboard works). Obviously, 17th- and 18th-century notational practice in many ways was not radically
different from that of the 19th century; but, several subtle distinctions are identified and discussed in the essay
below. First, one must consider the extent to which Baroque composers may have used tempo indications
differently than later composers (or in some cases, omitted these terms entirely), and this raises important
questions about other evidence that must be assessed to help guide a performer’s interpretation. Thus, the
second area explored in this essay focuses by extension on what clues are potentially given within the music
itself (e.g., time signatures, note values, or dance rhythms). Lastly, I will examine the extent to which
performers in these two stylistically very distinct periods would have approached un-notated tempo
fluctuations or rubato very differently.
• Periods?
• Context?
• Thesis statement?
• Subtopics and outline?
• Repertoire under consideration?
• Overall structure and clarity of the introduction?
The Baroque and Romantic periods represent two contrasting eras in which music and its functions reflected
the changing status of music and its place within European society. In many ways, the nature of the courts and
churches in which much Baroque repertoire was performed, provided an arguably more controlled setting for
musical expression. By contrast, the often overtly virtuosic repertoire of the 19th century and the increasingly
accessible public venues in which it appeared, gave rise to a multitude of new means by which performers
could express themselves and their musical ideas. Specifically, a comparison of changing approaches to the
performance traditions associated with tempo in the Baroque and Romantic periods reveals several
fundamental changes in the way performers approached the making of tempo decisions (specifically within
solo keyboard works). Obviously, 17th- and 18th-century notational practice in many ways was not radically
different from that of the 19th century; but, several subtle distinctions are identified and discussed in the essay
below. First, one must consider the extent to which Baroque composers may have used tempo indications
differently than later composers (or in some cases, omitted these terms entirely), and this raises important
questions about other evidence that must be assessed to help guide a performer’s interpretation. Thus, the
second area explored in this essay focuses by extension on what clues are potentially given within the music
itself (e.g., time signatures, note values, or dance rhythms). Lastly, I will examine the extent to which
performers in these two stylistically very distinct periods would have approached un-notated tempo
fluctuations or rubato very differently.
• Periods?
• Context?
• Thesis statement?
• Subtopics and outline?
• Repertoire under consideration?
• Overall structure and clarity of the introduction?
PART 2:
ARGUMENTS
CONSTRUCTING ARGUMENTS…
• Narrative…Guide your reader…
• 1. Expectations / Conventions
• Begin by making any relevant contextual point(s) (identify the conventions and expectations!
References…?)
• 2. Argument / Hypothesis
• What point are you trying prove? (for each single subtopic!)
• 4. Summary / Conclusion
• Scores / notation
Defining the tradition for this period Defining the tradition for this period How performance tradition is
different or has evolved?
Supporting evidence Supporting evidence
Examples Examples
Drawing attention to relevant
Quotes Quotes
similarities and differences between
Periods 1 and 2!
STRUCTURE, STRUCTURE, STRUCTURE!!!
2. Define what is known about 2. Define what is known about 2. Define what is known about
period 1 (with evidence, period 1 (with evidence, period 1 (with evidence,
quotes, examples) quotes, examples) quotes, examples)
3. Define what is known about 3. Define what is known about 3. Define what is known about
period 2 (with evidence, period 2 (with evidence, period 2 (with evidence,
quotes, examples) quotes, examples) quotes, examples)
4. Clarify how these are 4. Clarify how these are 4. Clarify how these are
different (and consider any different (and consider any different (and consider any
reason WHY the tradition has reason WHY the tradition has reason WHY the tradition has
changed) changed) changed)
Farwald uses the trombones to good effect in his symphonies. In the first
movement of the 6th symphony they play an important part of the main
theme, building up to a big climax with the full orchestra in a way nobody
had done before. He also uses the trombone in his fourth symphony to
make a darker sound and play in keys the horns and trumpets couldn’t.
EXAMPLE 2 (BAD!)
Do not:
• Include completely new ideas or focus on minor points
• Be vague or sound apologetic
EXAMPLE 1 (TERRIBLE!)
• Can you take the following pieces of information (below) and arrange them in a logical order so
that you would end up with a strong, clear, and well-argued subtopic….?
• Bear in mind, of course, that the ‘pieces’ presented here are just that – one small part of the
available evidence (and often there is much more that can be said about each one)!
• But, there is enough detail here to put together a basic plan for the subtopic of an essay (and
remember, an argument will need to use your contextual information, score examples, quotes,
and other references IN COMBINATION, not separately in isolation as presented here)
• So, can you spot logical ways you could link up the pieces of contextual information with the
conclusions? Or link up the quotes with the score examples so that they work in combination
rather than separately….?
AND NOW…CONSTRUCTING A
CONCLUSION IN RESPONSE TO THE
SAMPLE INTRODUCTION AND ARGUMENT
EXERCISE…?
For next time: write a sample introduction for your own essay
topic (and as discussed above, define the thesis, introduce your 3
sub-topics, provide a little relevant context, and outline the structure
that your essay will likely take)
• Questions…?
• Concerns…?
• Planning…?