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Teaching passport to Pimlico-have a look at this!

Discussion in 'Music' started by yarrow, Jul 2, 2011.

  1. That's brilliant.
    I wish I had that much creativity/wackiness!
     
  2. [
    I'm sorry Florian but I really don't understand your comment. It's a fun clip that can be used alongside the film. Students can link it to the score very easily and it may be a good icebreaker for those who lack confidence studying so many set works.
    I would welcome any suggestions you would have for teaching any of the A2 set works this year-they are quite a challenge.
     
  3. florian gassmann

    florian gassmann Star commenter

    I simply meant that the many 18-year-olds that I've taught over the years would find being served up with something like that embarrassingly patronising. By that age, most students are mature enough to want to be treated like adults. I think the clip is fine for primary-age kids, although I didn't find it particularly amusing, despite the technical prowess.
    As to how to teach a work like this. Well, I normally begin with performance but that it is not practical with the Auric excerpt. I'd start with the influence of Dada on French music - particularly Satie's hilarious Parade of 1917, with its typewriter solo, rifle shots, ginormous foghorn, milk bottles, ragtime and pastiche Cabaret music. There should be something in that to appeal to the most eclectic of tastes.
    Milhaud's Ox on the Roof: the Nothing-Doing Bar of 1920 will also set the scene of what Les Six were attempting, and is particularly relevant as it was originally conceived as a sound-track to an early silent Charlie Chaplin film. The scenario again stretches the musical imagination - dances for a bookmaker, a dwarf, a boxer, a transvestite and a
    policeman who is beheaded by the blades of an overhead fan and who then dances with his decapitated head - all set to the latest and jolliest Latin-American dance rhythms (in 12-note tonal and bitonal, but never atonal, styles - goodness, how those Frenchies knew how to poke fun at modern music).
    That's the background to Auric's score.
    I'd then be tempted to play the original film (without sound) and get the students to compose their own soundtrack to at least part of it. Their objective is to reflect the lightning changes of mood, with music that sounds both comic and integrated, before listening to how Auric solved the problem. I grant that the film soundtrack on the Edexcel anthology has suffered badly from the ravages of time, but there are better recordings, such as the one from Chandos that can be downloaded for 59p.

     
  4. Thank you to those who have commented positively. In putting together this clip, it wasn't my intention to amuse or patronise. It was simply intended to put the score, with its commentary, into context with the moving image as an introduction to this set work. If you or your students have found it useful in any way (without feeling embarrassingly patronised) then I am more than happy to leave my links open to all. I teach in a school where students achieve over 90% A & B grades at A2 and my own students didn't feel patronised.
     
  5. Oops, not my video! Ignore the above!
     
  6. Have you done something similar muscat??
     
  7. It's just the relevant clip in the movie with the cues in the score overlaid

    http://www.youtube.com/watch?v=rqoqfJYEDP4

    There's also a Morse youtube clip that I put together which has a little musical info overlaid (I somehow left some placeholder text on at the end, but I can't be bothered to re-do that right now, esp as I am currently on dial-up!)

    http://www.youtube.com/watch?v=R1L3DsdWM3A

    Hope it is of some use
     
  8. Changing the subject a little - does anyone else thing they could have done so much better than the examples of film music we have in the anthology. The "passport" is ok as it has music that actually relates to the moving image - even if it is a kind of pastiche of circus music or vauderville and indescribably twee. The Morse, however, is useless! To find ways it relates to the images, plot, atmosphere or anything else in the actual drama you have to start going a psuedo - and I hate that. The composer clearly just wanted to make some sounds - its utter rubbish.
    Where is the music from Errol Flynns Robin Hood?
     
  9. yes, thank you. The Morse isn't straightforward. I've emailed my class already, thanks again. Yarrow.
     
  10. florian gassmann

    florian gassmann Star commenter

    I've always presumed that the choices were totally clobbered by copyright. I can't think why else they would have chosen to take half of the film extracts from concert arrangements that are quite different to the original film sound tracks.
     
  11. florian gassmann

    florian gassmann Star commenter

    Is that the actual episode that the anthology extract was designed to accompany? It looks very plausible - do you know the episode's name?
    I ask because I recall that more than a decade ago, when the anthology first appeared, I asked at INSET which episode it was, and was told that the composer could not remember (*) and neither the editor nor the examining team had any idea of the visual images it was designed to accompany. So, if you've identified it, you have managed a remarkable achievement, IMO !
    (*) I was very tempted to reply that Barrington Pheloung couldn't recall even his own music because he's seldom managed to write anything memorable in his life ... but discretion got the better of me.
     

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