Classical music

Extract from PROSPECTUS 2016 -2017 

Revised edition

© Copyrighted NEA 2017 

(This information may only be copied or reproduced in any way what so ever for the purpose of participating in the activities of the National Eisteddfod of South Africa.)

 

Classical music describes music that is considered serious or intellectual and is usually written in a traditional or formal style, as opposed to such genres as pop, rock and folk music. Classical music includes music by composers from Albonini to Bach, Chopin, DeBussy, Elgar, Franck, Gerswin, Handel, Ibert, Janaceck, Kuhlau, Liszt, Mendelssohn, Offenbach, Palestrina, Rimsky-Korsakov, Stravinsky, Teleman, Verdi and Wagner.

CLASSICAL MUSIC

 RULES AND GUIDELINES FOR CLASSICAL MUSIC 

 DEFINITION 

  1. Classical music describes music that is considered serious or intellectual and is usually written in a traditional or formal style, as opposed to such genres as pop, rock and folk music. Classical music includes music by composers from Albonini to Bach, Chopin, DeBussy, Elgar, Franck, Gerswin, Handel, Ibert, Janaceck, Kuhlau, Liszt, Mendelssohn, Offenbach, Palestrina, Rimsky-Korsakov, Stravinsky, Teleman, Verdi and Wagner.

 

  1. Classical music also more specifically describes the style of music composed in Europe in the 18th and 19th centuries. This style is one of the categories within the broader definition of Classical Music as outlined in (1).

 

  1. The following serves as a guideline for classifying classical music in the various style periods:
    • Baroque & earlier: Music from c. 1450 – 1700. Composers: Palestrina, Bach, Handel, Vivaldi, etc.
    • Classical: Music from c. 1700 – 1800. Composers: Haydn, Mozart, Beethoven
    • Romantic: Music from c. 1800- 1900. Composers: Liszt, Chopin, Tsjaikocvsky and others
    • Impressionism: Music from c. 1900 – 1920 Composers: Debussy, De Falla, Ravel
    • 20th Century: Music since c. 1920 – 2000 and later: Schonberg, Stockhausen, Bartok and others

 

GRADING

For the sake of clarity it needs to be emphasized that entries are categorized according to school grades.  Grading in this context has no link with the grading of external examining bodies as performance level indicator. (Also refer to the “General guidelines” in this regard.)  Subsequently, with the exception of novices (that refer to participants with less than 18 month’s experience in music), participation is not subject to any level of achievement at any stage.

 

NOVICE

A Novice is a student who have been study­ing for less than 18 months. Please refer to the separate Novice Section.

  

ELEMENTARY LEVEL

The refers to students that, having passed the novice stage of 18 months, are still performing pieces on an elementary level. Please refer to the separate Novice / Elementary level section

 

WORKS WITH MULTIPLE MOVEMENTS

  • Only one movement of a sonata / concerto / suite may be performed in any given item.
  • The Baroque flute / recorder sonata (comprising of various very short movements) and the Prelude and Fugue will be considered as ONE piece. (The Prelude and Fugue may also be presented separately, but time limits should be observed! 
  • Participants may perform a particular piece of music in one category only. No pieces performed in other categories may be performed in the Recital category or vice versa.
  • Set-up time should be arranged well in advance of performance time.

 

ACCOMPANIMENT

Please note that the proficiency of the accompanist is important, since it could impact on the overall artistic impression of the performance. 

When accompaniment is required, an acoustical instrument should accompany participants in this section. A piano (or sometimes a digital piano) will be provided and no other electronic devices will be available. An electronic instrument that does not require additional sound equipment may also be used.

Important: Items that require accompaniment (usually a teacher or adult) are considered as solo items for the sake of entry fees.  Only when more than one student is involved the item should be entered as duo, trio, etc. 

 

 

ARRANGEMENTS FOR SOLO

 More advanced participants are encouraged to perform works as they were originally composed, rather than simplified arrangements.

 

 

SOLO PERFORMANCES ON SYMPHONIC INSTRUMENTS

Symphonic instruments (flute, violin, trumpet, etc.) may perform with piano accompaniment or unaccompanied.  For Eisteddfod purposes all “solo” performances on strings, woodwind, brass, etc.  should be entered in categories for “solo” performances (even though it might be accompanied by a piano) and will be adjudicated as “solo performances”. When the accompanist is also a student, the item might also be entered as a duet.

 

 

ENSEMBLE WORK

In the case of an ensemble the score must be written in 2 parts (duet); in 3 parts for a trio; in 4 parts for a quartet, etc.  No continuous singing/playing in unison is allowed in this section.

 

 

REPEATED SECTIONS / MULTI-VERSE SONGS

 General requirements (except if very short):

  • No repeats, except Da Capo – repeats should be performed.
  • For vocal solos participants should prepare a maximum of 2 verses of multi-verse songs.

 

 

USING RECORDED ACCOMPANIMENT

For any accompaniment in the Classical section an acoustical instrument and an accompanist is usually required. The reality is that this is not always possible. Although not ideal, participants will be allowed to perform (sing/play) with a recorded version of the acoustical accompaniment in the event of an accompanists not being able to attend the session.  These items should then be entered into the Crossover section so that it can be scheduled at venues where the necessary sound equipment will be available.

 

 

COPIES OF MUSIC

  • A copy of all music must be submitted to the adjudicator’s assistant prior to the performance.

 

 

PHOTOCOPIES

The Copyright Act 98 of 1978, as amended, prohibits the use of photocopies without the written consent of the publishers. Consequently participants must play from an original copy and will be DISQUALIFIED IF THEY PLAY FROM PHOTOCOPIES ONLY (the use of some copies to assist in turning pages is allowed).  Copies of the piece to be performed must be presented to the adjudicator.  These copies will be destroyed afterwards. 

 

 

TIME LIMITS

  • Any performance should stay within the prescribed timeframe.
  • Exceeding the time limit could result in the termination of the performance.

 

 

CORRECT ENTRY NUMBER

  • It is the responsibility of the participant/teacher to select and provide the correct entry number online or on a hardcopy entry form.
  • The National Eisteddfod Academy accepts no responsibility if the candidate was entered incorrectly.
  • If the entries have been submitted timeously, printout copies of the processed entries will be provided to schools / studios to assist in this regard.
  • Once the entries have been scheduled, any changes to incorrect entries will be subjected to the payment of a penalty fee of R70 per incorrect entry.

 

FURTHER INFORMATION

  • Any questions regarding the music category could be e-mailed to info@eisteddfod.co.za.
  • A specialist in this field will respond to your enquiry as soon as possible.