This document contains excerpts from a musical composition called "ArktisArktis!" by Karin Rehnqvist. It describes the different movements and perspectives within the piece, from panoramic views of the tundra to close details. It also notes the use of techniques like repetition, glissando, acciaccatura, clusters, mutes, tremolos and harmonics to create the musical imagery. The rest of the document consists of sample survey questions for pupils who attended a workshop and concert by the Scottish Chamber Orchestra, asking them to evaluate their experiences learning about and listening to classical music.

1. ArktisArktis!
KarinRehnqv

2. SUMMARY I
The first movement describes the panoramic
viewsNot always beautiful. Not always white.
When it disintegrated great drama was created.
In the second movement the perspective is
focused on the details of the tundra…
Then for a short while we enter the darkness.
… upward-going cascades in the brass and
woodwind which lead to a song, a jubilant song
from within

3. ROLLS
Page 1, bar 1
What else to do you notice in this musical line?
A very fast repetition of a note on a percussion instrume
2.00

4. GLISSANDO (PAGE 1, BAR 1>)
2.00

5. ADDING COLOUR
Page 1, bars 4 and 5
Work out the first note that this
instrument plays. Why is this an
interesting choice?
2.33

6. ACCIACCATURA (PAGE 2, BAR 1)
A very
short,
‘crushed’
note which
is played
as quickly
as possible
before the
next note.
2.40

7. CLUSTER (PAGE 2, BAR 4)
A group of
notes
which clash
(dissonanc
e) when
played
together.
2.40

8. TIME CHANGES (PAGE 2, BARS 3-5)
2.40

9. ACCENTED (PAGE 2, BAR 5)
2.40

10. MUTED(PAGE2,BAR2
AND4)
CONSORDINO(PAGE2,
BAR2AND4)
2.40

11. TREMOLANDO (PAGE 4, BAR 1) SEE ALSO
TRACK 10
3.10

12. HARMONICS
Harmonics produce soft, ethereal flutelike sounds
when the string is lightly touched at specific points.
Can be achieved on any string instrument.

13. 5.27 (Tr. 12)

14. SCO WORKSHOP
1. What did you enjoy most about the workshop?
2. List three ‘eureka’ moments that you experienced during the
workshop?
3. How will this workshop affect how you listen to the concert? What
will you listen out for in particular?
4. How would you improve the workshop? This can be fed back to
the SCO.
5. Evaluate your performance. What was the desired outcome of this
creative part of the workshop? List some strengths and some
points for development. You must have both aspects.
2.50 (Tr. 12)

15. SCO PRESENTATION & CONCERT
1. What did you enjoy most about the concert?
2. What one thing that you learned will you
remember most about the concert?
3. If one thing could be changed what would it
be?
4. How will this/has this experience (workshop
and concert) affect your:
a) understanding of music?
b) composition of music?

16. PUPIL SURVEY
“… Many thanks for attending Masterworks yesterday and I hope you
and the pupils thoroughly enjoyed the experience. We were
impressed by how attentive and engaged the pupils
were throughout both the presentation and performance.
It is important for future planning of projects such as this that we
receive feedback both from your perspective and from the pupils… It
is really important that we get this feedback in quite quickly as it can
help to improve and keep the project relevant and exciting…”