Exploring as a Creator - Implications
Criterion B2: Implications
This page is focused on a portion of a student sample that represents the implications of research on the creating exercise. The examples will all stem from the same work, presenting varying levels of detail. The first example outlines, the second describes, and the third explains the implications of the research. The aim of this page is to clarify these terms to facilitate the development of improved portfolios.
"Implications of Flooding" Photo by NOAA on Unsplash
For purposes of illustrating implications for the creating exercise, a singular student idea will be adapted to demonstrate outlines, describes and explains. This page will feature written work that attempts to demonstrate understanding of the implications of research with an example of the creating exercise. A complementary page will feature an example of the performed adaptation. Through these samples, it is hoped that an understanding will be gained with regard to expectations.
In this particular creating exercise, the student selected Dmitri Shostakovich's Symphony No. 5 in D minor, Op. 47, IV: Allegro non troppo, which has been designated, for that particular student, as Area of Inquiry 1: Music for Sociocultural and Political Expression.
One musical feature that has been selected is the transition material prior to the Coda. Here is a portion of the score and a recording with Michael Tilson Thomas at the podium, which was recorded as part of the conductor's 70th birthday celebrations.
An Orchestral Reduction of the Transitional Material (bb.317-324) into the Final Coda of the Fourth Movement of Shostakovich's Symphony No. 5
(all parts are written in concert pitch for relative ease)
London Symphony Orchestra's Rendition of the Transitional Material into the Final Coda of the Fourth Movement of Shostakovich's Symphony No. 5Conducted by Michael Tilson Thomas. Taken from Michael Tilson Thomas' 70th birthday gala concert in 2015.
https://www.youtube.com/watch?v=re2gQXy9C-M&ab_channel=LondonSymphonyOrchestra
Harmonic Assumptions
There are a number of ways of harmonically interpreting the material here, but one such approach is the analysis that appears above. Initially, the trumpets collectively sound a D♭ chord and when the horns add a B natural to the mix, a D♭7 chord is formed (technically the B♮ should be 're-spelt' as C♭; this chord is highlighted in BLUE). The upper woodwinds, strings and piano repeat quaver/eighth notes in the form of an inverted pedal.
In bar 320, the note G is added in the trombones, which has been interpreted here as a non-chordal note against the D♭7. Two bars before the emphatic shift to D (b.324), an A is added in the bass, which combined with the C# inverted pedal and the newly added sustained G, gives the feeling of the formation of an A7 chord (A and G highlighted in RED).
Thus, it would appear by the end of this transition that there are two chords formed here: D♭7 and A7 with a common pitch connecting the two (D♭/C#). This is the reason that in the analysis the inverted pedal has shifted to PURPLE, as the note is representative of enharmonic equivalence in both chords: D♭-F-A♭-C♭ and A-C#-E-G, but of course has a differing function in each context. The effect, therefore, is a 'colourful' version of the standard
V7-I cadence.
The analysis of the selected material above really only forms the initial steps of this component. For the implications of the research on the creating exercise, it is solely the mark for Criterion B2: Implications.
Here is a 'manufactured' example of a student OUTLINING the same information for their creating exercise. This is purely for the purpose of understanding this level descriptor.
A Portion of a Statement on the Creating Exercise
Sample Student Work Based on the Fourth Movement of Shostakovich's Symphony No.5 Compared with the Original Reductive Form of the Score (bb.317-324)
(all parts are written in concert pitch for relative ease)
Here is a recording of a portion of my work:
Sample Student Work "Creating Exercise" Based on the Transitional Section Prior to the Coda from Fourth Movement of Shostakovich's Symphony No. 5Prior to the Coda (beginning at bar 324), I decided to have a perfect cadence (V-I) just as Shostakovich has done. This makes the shift into the final section rather emphatic, as I wanted to highlight the original shift from the parallel minor (Dm, b.317) to the major (D, b.324). However, with my material, I used the extended chord of A (I included the 7th and ♭9th in my dominant). I have adopted the repeated notes in the woodwinds, piano and strings as well, but now, again more emphatically, with A. The composer sustains the chords prior to the Coda and this contrasts with the rhythmic quaver/eighth note pulse.
Click on the eyes that appear below for feedback on this example.
Ineffective
"... I decided to have a perfect cadence (V-I) just as Shostakovich has done".
The identification of the perfect cadence is a standard cadential trait in countless works and does not particularly assist in an understanding of Shostakovich's style, nor does it help in eventually realising the creative conventions.
Inaccurate
"...as I wanted to highlight the original shift from the parallel minor (Dm, b.317) to the major (D, b.324)"
This is just factually wrong. Although there is a key signature of one flat (B♭) and there is the inclusion of repeated C#s in Shostakovich's version, there is nothing else to suggest that this material moves from D minor.
Rudimentary
"This makes the shift into the final section rather emphatic".
Whilst this is accurate, this is only a basic observation and much of the other activity in this section is ignored. One could perhaps make an argument that any authentic perfect cadence could be deemed emphatic.
Limited
"I have adopted the repeated notes in the woodwinds, piano and strings as well, but now, again more emphatically, with A".
This observation limits the scope in which the creating exercise can illustrate understanding. It is best to have broader observations, for instance about keys within the movement, the types of modulations that are taking place, and harmonic interplay. It is certainly beneficial to make these observations by incorporating properly researched extra-musical features (which this student has not done) and therefore further justification of the area of inquiry could be included.
Superficial
"The composer sustains the chords prior to the Coda and this contrasts with the rhythmic quaver/eighth note pulse".
Again, whilst this is true it is a rather superficial observation and does not lend itself to an understanding of Russian politically infused symphonic literature in the late 1930s. It merely identifies that there are notes of differing lengths.
Here is another 'manufactured' example of a student (now) DESCRIBING the implications of the SAME information for their creating exercise. Again, this is purely for the purpose of understanding this level descriptor.
An Orchestral Reduction of the Transitional Material (bb.317-324) into the Final Coda of the Fourth Movement of Shostakovich's Symphony No. 5
(all parts are written in concert pitch for relative ease)
In the measures prior to the Coda (b.317-323), there are two chords formed: one that is obvious from the start (D♭ and then 'coloured' from b.318 as D♭7), and the other slowly formed, eventually emerging as A7 in bar 322 and then A7♭9 a measure later. For the latter, the initial presentation of G (b.320) clashes against the D♭7, but this pitch is later re-contextualised with the inclusion of A in the bass (from b.322), and together with the presence of C#s in the upper voices, eventually crystalises. The C#s, therefore, function as a connective pitch between the two chords: the note acts as the third of the chord in the case of the A7 and as the 'enharmonic' tonic in the case of the D♭7.
In my creating exercise (see below), I have similarly used a dominant chord for the shift to the final section. I decided to use repeated As in the bass to make the typical dominant-tonic cadence rather emphatic and link it to the original intent of the ominous march. I based this on some of the film scores that I have been investigating recently, most notably, the John Williams' Theme from E.T. I similarly placed the chord in the first inversion, at least initially (see below for my version).
I also wanted different instrumental colours to enter one after the other, so I followed the same style of unfolding as Shostakovich did: trumpets, horns, and trombones. My creative exercise also extends the cadence with a lengthy dominant chord (7 bars) and a final example of an extended chord (now including the flattened ninth of B♭) before resolving to its complementary tonic (D in bar '324').
The Opening Portion of a Piano Reduction of the Theme from E.T. (The Extra-Terrestrial), bb.1-4
This has been extracted from the site:
https://pdfcoffee.com/qdownload/et-theme-piano-pdf-pdf-free.html
Sample Student Work Based on the Fourth Movement of Shostakovich's Symphony No.5 (bb.317-324)
(all parts are written in concert pitch for relative ease)
Here is a recording of a portion of my work:
Sample Student Work "Creating Exercise" Based on the Transitional Section Prior to the Coda from Fourth Movement of Shostakovich's Symphony No. 5Click on the eyes that appear below for feedback on this example.
Inconsistent
"In the measures prior to the Coda (b.317-323), there are two chords formed...I based this on some of the film scores that I have been investigating recently"
Although the explanation of Shostakovich's 'superimposition' of chords is reasonable and the identification of the common pitch (C#/D♭) between the dominant (A) and the flattened leading tone chord (D♭) is similarly accurate, this information is not extended into the exercise itself. Further, using additional non-related material to justify the decision-making is inappropriate and does not demonstrate an understanding of the selected style.
Formulaic
"I have similarly used a dominant chord for the shift to the final section. I decided to use repeated As in the bass to make the typical dominant-tonic cadence rather emphatic".
This student has reduced their observations considerably in their creative work. There was a good explanation of the harmonic unfolding of the musical material, but this has not materialised in any meaningful way in the exercise to demonstrate an understanding of the implications. Having the singular dominant chord extended for 7 bars does show that this was essentially the intent of the composer, but the colour and clashes of the two chords identified in the original material do not appear in this student's work.
Sufficient
"I also wanted to have different instrumental colours enter one after the other".
This student has not done much to change the original materials, but the explanation offered here is sufficient in demonstrating what the composer is undertaking texturally. Greater depth could have been added if the student included a statement (and displayed this in the creative exercise) on the fact that the sequential unfolding of the chords, for example, mitigated dissonance, compared to a simultaneous presentation of the harmonies.
Suitable
"I decided to use repeated As in the bass to make the typical dominant-tonic cadence rather emphatic and link it to the original intent of the ominous march".
It is always good for students to keep the original intent (extra-musical features) in mind, as this helps to "explain" some of the decision-making. This is a suitable statement, but again the student could have taken this further by mentioning that it is likely a combination of features that leads to this 'ominous' tone and not just a series of repeated notes. Other areas that could have been mentioned, for example, include the spacing of the chords, harmonic clashes, stabbing brass entries and the use of extended chords.
Reasonable
"My creative exercise also extends the cadence with a lengthy dominant chord (7 bars) and a final example of an extended chord (now including the flattened ninth of B♭)".
The student has understood (and illustrated this in the exercise) that Shostakovich has the harmonic intensity of this passage built in stages. Again, the student has only described this and not included the other identified features in the creative exercise, such as the use of two chords to strengthen the cadence point.
For the final 'manufactured' example, the student is (now) EXPLAINING the implication of the same information for their creating exercise. Again, this is purely for the purpose of understanding this level descriptor.
For the purposes of this final example, the student is using some of the same analysis as earlier. It appears here again for relative ease:
In the measures prior to the Coda (b.317-323), there are two chords formed: one that is obvious from the start (D♭ and then 'coloured' from b.318 as D♭7), and the other slowly formed, eventually emerging as A7 in bar 322 and then A7♭9 a measure later. For the latter, the initial presentation of G (b.320) clashes against the D♭7, but this pitch is later re-contextualised with the inclusion of A in the bass (from b.322), and together with the presence of C#s in the upper voices, eventually crystalises. The C#s, therefore, function as a connective tone between the two chords: the note acts as the third of the chord in the case of the A7 and as the 'enharmonic' tonic in the case of the D♭7.
One other aspect that I noticed, which I thought was rather subtle, is the voicing of the trumpet parts. In this particular example (boxed in RED), Trumpet II has been placed at the top (concert pitch, high A♭), but the collective combination of the triad is identical to the previous bars (then Trumpet III was positioned at the top). The configuration is again changed in the following two bars (boxed in ORANGE), where Trumpet I is now on top, but the chord still maintains the same pure root position for the duration of these six bars. This is presumably put in place to prevent a single trumpet player from maintaining that sustained pitch for that length of time. It also presents a slightly different timbral difference to the mix, each time the chords are sounded (naturally every player's sound is unique).
Another aspect that is worthy of mention is the falling chromatic line (see the horns at concert pitch as B-B♭ below, eventually to A), which, together with the common tone of C#/D♭ presented in both of the chords in use (D♭7 and
A7) assists in providing some consistency to the clashing chords inherent in this transitional material.
Re-voicing of the Trumpet Parts to Sustain a (Concert Pitch) D♭ Triad in the Transitional Portion Prior to the Coda in the Fourth Movement of Shostakovich's Symphony No. 5
This extract has been taken from the score available on Scribd:
https://www.scribd.com/doc/281222643/Shostakovich-Symphony-No-5
In my particular creating exercise, I decided to integrate these observations: the chromatic falling line and the re-voicing of the trumpet parts (notably the spacing), which I have deemed a creating decision. This approach that emphasizes the chromatic descent, similar to Shostakovich's technique, grounds the material in a more tangible line that provides directional coherence amidst the surrounding dissonance. In my exercise, I extended the chromatic line from D♭ to A (see below). The high trumpet part initiates this process, and I subsequently decided to diminish the prominence of the sustained chord in the trumpets by lowering the pitch and compressing the spacing. This adjustment allows the chromatic line in the horns to feature, completing the series of pitches (C-C♭-B♭-A; see the accompanying arrows in RED).
A Sample Student Exercise Using the Transitional Materials Prior to the Coda in the Fourth Movement of Shostakovich's Symphony No. 5 (all parts have been written in concert pitch for relative ease)
Student Sample Exercise Using the Transitional Materials Prior to the Coda in the Fourth Movement of Shostakovich's Symphony No. 5My selection of chords in the transition to the Coda - various configurations of A and B♭m - have been selected in a similar manner to how Shostakovich connected his chords, each containing a common pitch (C#/D♭). However, unlike Shostakovich, my exercise uses the third of the chord in each case. However, functionally the shift to D is very similar to what Shostakovich does. He uses the D♭ chord (simultaneously with an A7, not present in the example) as a chromatic shift to D (each of the notes is a semitone lower):
One of the chords Shostakovich uses (D♭) prior to the shift to D at the start of the Coda.
In my creating exercise, I have used a B♭m/D♭ (again simultaneously with an A7, but not present in the example), which provides a similar semitonal shift to the chord of D - the top note falls (B♭ A), whereas the other notes rise (D♭ D♮ and F F#).
A functionally similar chord (B♭m/D♭) to Shostakovich's use in my creative exercise.
The two chords that I have selected share characteristics at the extension level as well. In bar '323' (see my reductive score above), the chord of A7♭9 (A-C#-E-G-B♭) contains two identical enharmonic pitch 'ingredients' to B♭m (B♭-D♭-F). By presenting these chords simultaneously, the tension chord (the 'colourful' dominant) helps make the cadential point harmonically richer and yet, with common pitch elements, still connected.
This grand and glorious shift to the D major at the start of the Coda may sound initially triumphant, but other interpretations view the Coda as suppressive in nature (this is a topic that has received much debate, see Morgan-Ellis, 2023). The controversy may stem from the misprinted tempo in the first printed edition (the initial indication was 
= 188) but this was subsequently rectified to a speed more than twice as slow: 
= 184 (Morgan-Ellis, 2023).
With this much slower tempo and the high and repetitive nature of the material, the final portion of the symphony appears more agonising (it is certainly demanding on the players), which could perhaps be interpreted as a protest of the oppressive regime than anything uplifting (Morgan-Ellis, 2023). Whatever the intent, this transition material is important structurally and Shostakovich certainly demarcates the start of the Coda by resolving the tensions created by the simultaneous presentations of two chords (A7♭9 and D♭), which has a semitonal clash inherent in the first chord (A-B♭) and another semitonal clash between them (G-A♭).
Thus, the use of chromatic elements in this transitional passage prior to the Coda operates on both a vertical as well as horizontal level. This is an observation that I have identified from my analysis of Shostakovich's work, where chromatic elements are contained within the chord as well as more broadly in the form of a descending chromatic line. In my exercise, I wanted to make this chromaticism still apparent on both the micro and macro levels.
Bibliography
Morgan-Ellis, E. M. (2023, July 16). 10.7: Dmitri Shostakovich - Symphony No. 5. Humanities LibreTexts. https://human.libretexts.org/Bookshelves/Music/Ethnomusicology/Resonances_-_Engaging_Music_in_its_Cultural_Context_(Morgan-Ellis_Ed.)/04%3A_Music_for_Political_Expression/10%3A_Support_and_Protest/10.07%3A_Dmitri_Shostakovich_-_Symphony_No._5
NOTE:
This material has been inspired by a real student sample, which was submitted for the May 2024 period and received full marks (24/24). To see this work in its complete form, you may visit HERE.
Click on the eyes that appear below for feedback on this example.
Accurate
"...I wanted to make the chromaticism still apparent on both the micro and macro levels".
This student has discussed the chromatic features of the original in detail and utilised those observations to create an exercise that maintains an affiliation with the original material. The student has accurately identified the use of chromaticism in broader terms (as a descending line) as well as how it appears (and its implications) in an extension chord. These observations appear in the student's work in more obvious terms, but the creating exercise certainly demonstrates an understanding of the implications of their research.
Proficient
"...I decided to integrate these observations: the chromatic falling line and the re-voicing of the trumpet parts (notably the spacing)".
The student is skilful in combining some of the observations, in this case reconfiguring the voicing such that the highest pitch is also the start of a descending line. The subsequent spacing is not as broad so the chromatic line gains prominence. This is an accomplished strategy in order to illustrate understanding and achieve the objective of illustrating the observations of the original materials in similar ways.
Purposeful
"By presenting these chords simultaneously, the tension chord (the 'colourful' dominant) helps make the cadential point harmonically richer and yet, with common pitch elements, still connected".
The selection of the chords has not been without forethought as there are similar common pitches between the two - A7♭9 (A-C#-E-G-B♭) and B♭m (B♭-D♭-F). Thus, when presented simultaneously, the unifying aspects come into stark focus and therefore function more than merely a colourful 'dominant' chord, but operate as an amalgamation of seemingly contrasting harmonic entities. The aim here is a heightened display of tension to structurally demarcate the final section, revealing a characteristic of Shostakovich's harmonic language: a manipulation of the traditional cadential format.
Other examples of this, also from Symphony No. 5, appear in Marino's (2015, p.16) dissertation.
Bibliography
Marino, S. (2015). Dissertation on Dmitry Shostakovich’s Harmonic Language (1–). https://oaks.kent.edu/node/5146
Relevant
"This grand and glorious shift to the D major at the start of the Coda may sound initially triumphant, but other interpretations view the Coda as suppressive in nature".
It is important not to neglect extra-musical features when attempting to illustrate an understanding of the implications of the research. The student has adopted the revised tempo marking in the exercise and provided context to the significance of the clashing chords prior to the start of the Coda. Thus, the student has provided a link between the musical and the extra-musical features.
Competent
"... functionally the shift to D is very similar to what Shostakovich does. He uses the D♭ chord as a chromatic shift to D...In my creating exercise, I have used a B♭m/D♭, which provides a similar semitonal shift to the chord of D".
This is an apt equivalent to what Shostakovich is doing where the selected chords are similarly adopting a shift to chromatic adjacency. The student has demonstrated a version that functions in a similar manner and in the process illustrated an understanding of the techniques that Shostakovich has employed.
Teacher only boxNote that the length of each of these student examples becomes progressively longer when moving from "outlines" to "explains". Although it is important to be succinct, one needs to recognise that more words are likely required when properly explaining the implications of the research on the exercises.
This is one other reason why it is important to perhaps limit your students to just THREE pieces in their entire Exploring Music in Context portfolio so that they can address any of their selected musical and extra-musical aspects in depth. See HERE for more on the reasoning behind this decision.
For examples of outlines, describes and explains for Exploring as a Performer, please see the complementary page.