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BEETHOVEN & MENDELSSOHN
SCULTHORPE
DJILILE
AUSTRALIAN CHAMBER ORCHESTRA
One of the world’s most lauded
chamber ensembles, the
Australian Chamber Orchestra is
renowned for its inspired
programming and unrivalled
virtuosity, energy and
individuality.
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ACO IN
ACTION
Its unique programming extends
across six centuries, spanning
popular masterworks,
adventurous cross-artform
projects and pieces specially
commissioned for the ensemble.
Outstanding Australian
violinist Richard Tognetti has
been at the helm of the ACO
since 1989.
ABOUT SCULTHORPE
• Peter Sculthorpe (b. 1929, d. 2014) is one of
Australia’s most treasured composers.
•
He was born in Tasmania but spent a significant
time living and working in Sydney.
• His works vary in musical genre (orchestral,
chamber, piano, vocal, etc.) but his passion for an
Australian sound pervades all his compositional
output.
•
It is this unique and valuable sound that has
cemented Sculthorpe as a treasured composer
and immediately identifiable as Australian.
• He was appointed an OBE in 1977 and an AO in
1990 amongst other prestigious honours in his
long career.
DJILILE
Djilile (composed 1986) has had
many different incarnations since its
original instrumentation for solo
piano.
Instrumentations have included solo
piano, guitar, percussion duet, string
quartet, chamber orchestra.
The motivic material used to develop
the melody comes from an aboriginal
melody originally recorded and
collected by AP Elkin and Trevor Jones
in the late 1950’s.
The use of indigenous melodic ideas
illustrates Sculthorpe’s passion for
fostering an Australian sound and
voice in modern art music in this
country.
The title “Djilile” means ‘whistling
duck on a billabong’. Sculthorpe’s
affection for this melody is evidenced
by his repeated use of it in several
other works including Port Essington
(1977), Kakadu (1988), Threnody
(1991) and Dream Tracks (1992).
Watch Sydney Youth
Orchestra play Djilie
here
TEXTURE
Texture is one of the Concept
of Music.
It is an essential ingredient
that enables composers to
create unity or contrast by
the way in which they
combine layers of sound.
When examining the use of
texture in a piece we must
consider the following
points:
1. How many layers of sound can be
heard?
2. What is happening in each of the
layers? What is each layer’s role?
3. What effect does this have on the
overall piece (unity, contrast,
development, etc)?
TEXTURE
The 2001 arrangement of Djilile
completed by Sculthorpe for the
ACO has a brief description of its
structure given by the composer
himself:
The original Djilile melody is stated at the
opening by the solo violin:
“The present arrangement is a
straightforward one, consisting of
four statements of the chant
separated by interludes and
followed by a brief coda. I dedicate
it to the Australian Chamber
Orchestra, for whom it was
written.”
It then reoccurs THREE more times
throughout the work at the following points
(always played by the 1st violin):
Fig 2 – Bar 16; Fig 4 – Bar 31; Fig 6 – Bar 51.
This structural outline allows us to
view the score for the piece in an
organised manner, to best examine
Sculthorpe’s use of texture to
shape the work.
Each time the Djilile melody returns the
texture is altered. Sometimes greatly and
other times in a more subtle manner.
SCORE ANNOTATION PREPARATION
ACTIVITY:
• Now that we have an understanding of what texture is and an outline of
the arrangement of Sculthorpe’s work, we can examine the score to
analyse how texture has been used throughout the work.
• Using the full score or the work, annotate the following parts in
preparation for the texture analysis:
 Highlight all of the first statement of the Djilile melody (b1-10).
 Highlight the other restatements of the Djilile melody occurring
throughout the work (b16-25; 31-40; 51-60).
 Label each statement of the Djilile melody in numeric order using roman
numerals (I, II, III, IV)
 Label the CODA (Fig 7 – b63)
 Label the start of each interlude “Interlude I, Interlude II, …etc” (Fig 1,
Fig 3, Fig 5)
SCORE READING/
LISTENING TEXTURE
ANALYSIS ACTIVITY:
You can now use your prepared
score to help in completing the
texture analysis table below.
Some of the sections have already
been completed for you as a
guide. Consider the following
questions when completing the
Texture Details section:
1.
2.
3.
4.
Is this section monophonic,
homophonic, polyphonic or
heterophonic? Does it
change?
What is the role of each
layer?
Are there any other
concepts of music
contributing to the texture
in this section?
Any other notable details to
add?
SCORE READING/ LISTENING TEXTURE
ANALYSIS ACTIVITY:
Complete the table for the Opening, Fig 2, 4 & 6 first.
Complete the table for each of the Interludes (Fig 1, 3, 5) second.
Section
Bars
Label
Texture Details
Opening
1-10
Solo, Djilile
melody
Monophonic texture – violin solo.
Iontroduced the Djilile melody.
Use of slurs, ties and accents help to give a haunting feel to the phrasing.
Interlude I
Homophonic texture – violin 1 & 2.
Mostly in rhythmic unison throughout with 2 small interjections from the
viola in b12-13 & 15.
Rhythmic unison and identical articulation markings create unity while
the viola interjections create some interest.
The musical idea in this interlude sounds like a balancing musical idea to
compliment or “answer” the original Djilie melody.
Fig 1
Fig 2
Fig 3
Fig 4
Fig 5
Interlude III
Fig 6
Fig 7
63-66
WORDS THAT MAY HELP YOU WITH TERMINOLOGY FOR AURAL
OR ANALYSIS TASKS :
LAYERS OF SOUND
interjections
development
difference
HETEROPHONIC
sound sources
POLYPHONIC articulation
SUPPORT
EFFECT lead
instruments
UNITY
BASS
monophonic
juxtaposed
contrast
ACCOMPANIMENT
HOMOPHONIC
harmony
MELODY
roles sustained
detached
unison
AURAL EXAMINDATION QUESTIONS:
Now that you have completed the guided activity
above, let’s formulate the information into an
examination answer. There are THREE main steps to
successfully answering an aural examination question:
1. Read and UNDERSTAND
the question.
• Ask yourself what
the question is
requiring.
• Rephrase the
question to ensure
you KNOW what is
being asked
2. State what you can hear
using ACCURATE MUSICAL
TERMINOLOGY.
• KNOW your vocabulary and
musical terminology (above
list).
• It’s always good to have a
glossary of terms for each
concept that can build over
time.
• Look at the other school
notes for the ACO season to
build your glossary terms list
or search online for sites
with existing glossary lists to
refer to.
3. Give EVIDENCE for your
observation/analysis from
the example (audio OR
score).
• ALWAYS support your
point by stating
WHERE the feature or
occurrence is in the
excerpt.
• You can use bar
references, section
references or even
lyric references to give
your examples.
QUESTIONS - (Three examples based on past HSC papers)
An excerpt from Djilile by Peter Sculthorpe will be played SIX times for
you to answer the following question.
1. Discuss how TEXTURE is used in this excerpt.
2. How is INTEREST created in this excerpt? Refer to at least one
musical concept in your answer.
3.With specific reference to TEXTURE, explain how CONTRAST and
UNITY are achieved in this excerpt.
As you answer each of the questions above, go through the 3 steps and
gradually build up your answer. Over time this process will become
quicker and quicker for you until it becomes second nature.
TEACHER’S NOTES
Teacher's Notes for reference to the Draft
Australian Curriculum: The Arts and NSW Stage 6
Music 1 & Music 2 Syllabus.
General LIT – Reading the score, writing about the Concepts of Music (CoM).
Capabilities NUM – Identifying and discussing use of texture.
ICT – Utilising internet resources.
CCT – Critically discussing the set work/s.
PSC – Sharing personal responses to set work/s.
EU – Working collaboratively with peers in group discussions and
analysis.
ICU – Discussing cultural issues surrounding the set work/s.
Cross-Curriculum Links & Priorities English, Humanities and Social Sciences, Mathematics, History,
Viewpoints 1 – Discussing the links between indigenous cultures and the
music of Peter Sculthorpe. His use of indigenous musical
content in art music.
TEACHER’S NOTES
NSW Stage 6 Syllabus Links –
MUSIC 1 Music of the 20th & 21st
Topic Links Centuries
Music for Small
Ensembles
MUSIC 1 P – 4,5,6,7,8,10,11
Outcome H – 4,5,6,7,8,10,11
Links
MUSIC 2 Music 1945 – 25 years ago
Topic Links (original work written in
1986)
MUSIC 2 H – 4,5,6,7,8,10,11
Outcome
Links
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