SCHEME OF WORK College Aims. Curriculum Aims and Objectives. Assessment Objectives

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1 SCHEME OF WORK 2017 Faculty Subject Level ARTS 9703 Music AS Level College Aims Senior College was established in 1995 to provide a high quality learning experience for senior secondary students. Its stated task is educating young women and men who will make a difference. It is organised to assist every student to gain success in an enjoyable and stimulating environment. Students are treated as responsible young adults and they are encouraged and supported to take responsibility for their own learning. Central to its philosophy are the following: A clear and challenging sense of purpose. A focus on learning with a commitment to on- going and life- long learning. A collective and individual commitment to excellence based on high expectations. Tall poppies are encouraged and cultivated. Effective use of ICT as a tool for learning. A focus on the individual and personalised systems. High quality teaching in a collaborative atmosphere. Effective use of time. Curriculum Aims and Objectives To foster a discriminating aural appreciation of, and an informed critical response to, music of the Western tradition from at least two representative genres and periods To encourage the development of creative and interpretative skills through the disciplines of composing and performing in Western and/or non- Western traditions To deepen understanding of music in its wider cultural context To communicate understanding, supporting judgments by argument based on evidence. Assessment Objectives Candidates will be required to demonstrate: (a) an ability to listen attentively and responsively (b) understanding of the processes at work in music (c) an ability to communicate clearly knowledge, understanding and musical insight (d) technical and interpretative competence in performing (e) musical invention in composing (f) an ability to work independently.

2 Course Outline and Assessment Schedule The AS level Music course consists of two components: COMPONENT 1: Listening (Music of the Western Tradition) COMPONENT 2: Practical Musicianship Coursework The details of each component is as follows: COMPONENT 1: Listening (Music of the Western Tradition) 2 hours (100 marks); November 2017 Candidates will be required to answer 3 questions, one from each section. Sections A and B will each offer a choice of three questions on a Prescribed Topic. Section C will require wider knowledge of the historical, social and cultural background to both topics and understanding of other relevant contextual and interpretative issues: a choice of four questions will be set. No scores may be brought into the examination. Candidates may bring their own, unedited/complete recordings of the Prescribed Works for Sections A and B into the examination room and may consult one or more of them freely through headphones. No recordings may be used in answering questions in Section C. Section A (35 marks) The First Viennese School Prescribed Works: Mozart: Symphony no. 39 in E! major, K.543 Haydn: Concerto in E! major for Trumpet and Orchestra, Hob. Vlle : 1 Beethoven: Symphony no. 5 in C minor, Op. 67 Beethoven: Trio for clarinet, piano and cello. Op. 11 (third movement only) No particular recordings or editions of scores are specified. It is recommended that candidates hear more than one recording/interpretation of at least one of the Prescribed Works and familiarise themselves with the principal differences between them. Detailed questions will be asked about the ways in which the prescribed works are typical of their period. Some questions may deal with all or part of a single movement from any of the four prescribed works; others may range more widely across two or more of the works, or require specific types of comparison to be made (for example about instrumentation, treatment of themes). Candidates will be expected to be thoroughly familiar with the events in the music and the compositional techniques used. A sufficient understanding of the forms of the movements, and the terms most commonly used in describing these, will be needed to enable candidates to place, and identify to examiners, specific examples referred to in their answers. Section B (35 marks) Picturing Music (Night) Core Works: Berlioz: Symphonie Fantastique, movements II, III and IV Smetana: Vltava (from Ma Vlast) Debussy: Clair de lune (from Suite bergamasque) Own choice of pieces vocal and instrumental selected from different periods, each suggestive of some aspect(s) of Night. Candidates will be expected to be sufficiently familiar with the Core Works to be able to answer detailed questions about techniques of expression. They may find it helpful in expanding their answers if they have heard other descriptive works. Direct questions about individual movements other than those listed as Core Works will not be asked. Wider repertoire: Candidates should, in addition, have both heard and explored a range of other music (from any period or tradition), which expresses the theme of Picturing Music.

3 Section C (30 marks) Candidates will be expected to demonstrate that their listening in preparation for Sections A and B has been informed by a wider understanding of contextual and cultural issues appropriate to the topics. Questions will be asked about the background to the composition, performance and reception of the Prescribed and Core Works in Sections A and B, and about musical or aesthetic issues relevant to Sections A and B. Candidates should be prepared to express and support judgments by argument and reference to specific instances in the music they have studied, including, in addition to the repertoire specified in this syllabus, examples from their wider, personal listening experience. COMPONENT 2: Practical Musicianship Coursework (Performance and Composition) In order to complete this part of the course, it is mandatory that all AS level Music candidates be enrolled in private instrumental lessons. Element 1: Performance of a representative selection of music in a programme of 6 to 10 minutes performed on a single occasion and introduced by the candidate. Performance may be on any instrument (or voice) and the music from any tradition appropriate to the instrument. The programme should present 3 or 4 short pieces, which together demonstrate typical aspects of the chosen repertoire. Performances should normally be solo (or with a single accompanist), unless the nature of the instrument is such that it is traditionally only played in ensemble. Element 4: Two contrasting compositions together lasting not more than 5 minutes for two or more instruments or voices need to be presented. Recordings of both pieces, acoustic or electronic, made or directed by the candidate must be submitted on tape or CD, together with either detailed notes on the genesis of the compositions or full notation. Assessment: The course is assessed in three parts: COMPONENT 1: Listening (Music of the Western Tradition) External Examination in November 2017; 2 hours (100 marks) Candidates will be required to answer 3 questions, one from each section. Sections A and B will each offer a choice of three questions on a Prescribed Topic. Section C will require wider knowledge of the historical, social and cultural background to both topics and understanding of other relevant contextual and interpretative issues: a choice of four questions will be set. No scores may be brought into the examination. Candidates may bring their own, unedited/complete recordings of the Prescribed Works for Sections A and B into the examination room and may consult one or more of them freely through headphones. No recordings may be used in answering questions in Section C. COMPONENT 2: Practical Musicianship Coursework Teacher Assessed Element 1: Performance Recital (50 Marks) October 2017 Element 2: Composition Tasks (50 Marks) Compositions will be composed and developed throughout the course. Final two compositions will be due in October A recording and score for each piece must be submitted.

4 Assessment Schedule 2017 Subject: Music Course: AS Level Topic Assessment Term Week First Viennese School Essay Practical Musicianship Performance First Viennese School (FVS) Internal Written Examination Practical Musicianship (PM) Recital (Internal Exam) Composition 1 Internal Exam FVS 2 5 Picturing Music Essay FVS & Picturing Music Internal Listening Examination PM (Internal Exam) Composition PM (Internal Exam) Recital CIE External Exam FVS & Picturing Music 4-1 CIE RECITAL Performance 4 2 CIE COMPOSITIONS DUE Composition 4 2 Final grades for Prize- giving Your final ranking for prize- giving purposes will be determined by the ranking of a mark weighted 40% Exam 1 and 60% exam 2. For Reports the term mark will be determined by the assessments to that date.

5 ICT in the Classroom ICT helps pupils learn in music by supporting the development of musical skills, knowledge and understanding. ICT acts as a tool and a distinctive medium of musical expression. For example, pupils can use ICT for recording or listening to music and for creating electronic sounds. ICT acts as a means of research and analysis and can play an important role in the creative process. Using ICT can help pupils to: access, select and interpret information recognise patterns and relationships model, predict and hypothesise test reliability and accuracy review and modify their work to improve the quality communicate with others and present information evaluate their work improve efficiency be creative and take risks gain confidence and independence ICT provides the means to access a wide variety of sources of information and provides the opportunity for interaction between people involved in different stages of music production. For example, ICT can help pupils: make and explore sounds Record for different purposes Structure music Interact with different information sources Perform and compose music Understand musical processes These soft- and hardware applications and systems can help pupils' learning in music at AS Level: digital effects units with decent quality microphones and amplification computers with high quality soundcards music software specifically designed for exploring structures and styles sequencing software MIDI keyboards sampling and processing software 8- or 16- channel mixer linked to one computer and digital effects unit classroom- based PA system (linked to the mixer). Also, these soft- and hardware applications and systems can develop pupils' composition work: music notation software innovative sound manipulation and control tools additional keyboards/synthesizers with extended features advanced software- based sampler and editor digital projector with internet links in the music classroom. These resources have become an integral part of music education, and of production, performance and appreciation in the world of professional music. The Music Department at ACG Senior College hopes to develop so that students may be able to complete the requirements of the curriculum with full access to current available technology.

6 Study Skills The CIE AS Level Music course comprises of two components. Component One is entitled Listening (Music of the Western Tradition) and is assessed in a two hour examination in which students write three essays in response to questions relating to prescribed works studied during the course. Component Two is known as Practical Musicianship. Students are required to create original compositions and perform prepared pieces for assessment against the criteria published by CIE. While these two components do compliment each other, the range of study skills that should be employed to develop successful understanding, fluency and ability in each strand will differ significantly and will also depend upon the previous musical experiences of each individual student. Study Skills for Component One: Listening Access and listen to different recordings of the prescribed works. Watch different performances of the works on NPR website or Youtube. Complete tabular analysis of form/structure of the prescribed works and other related works. Read biographies and /or collections of letters on the composers of the set works. Listen regularly to the prescribed works while following with scores. Become familiar with compositional devices used in composition and identify instances in set works when our composers utilise these devices. Identify how the composers create effect and how this creates an experience for the performer and audience. Read music texts in order to become familiar with writing style. Play through extracts from the set works in an ensemble or on your own. Prepare essay plans. Write complete essays under a time restriction and submit for marking. Create tabular analyses of the set works using the elements of music as headings. These can be in the form of comparative tables. Listen to the Concert Programme and classical music internet radio stations. You will frequently hear documentaries and comment on composers and their works. Study Skills for Component Two: Practical Musicianship Go to concerts and pay attention to the ways in which musicians execute their performances. Research instruments and their capabilities. Read magazines such as Wired, which focus on contemporary approaches to Music making. Listen to and research the music of styles, cultures and instruments that are outside your comfort zone. Attend lectures and performances at Auckland University. Familiarise yourself with Sibelius, Logic, Garageband, and how to set up and use appropriate microphone technique. Consult with your instrumental teacher with regard to appropriate repertoire for assessments. Discover new material, techniques and inspirations by researching specific composers. Apply the form, techniques and devices used our studied composers to your own work. Rehearse and perform

7 Curriculum Programme ACG SENIOR COLLEGE AS LEVEL MUSIC 2017 Course Programme for Teachers All students will complete the Compulsory Component One Of the options offered in Component Two students will complete Element One: Performance and Element Four: Composition All Students are required to be enrolled in private instrumental lessons. These lessons are essential in developing the student s Musical skill level for assessment in Element One of Component Two. The subject teacher and student must liaise with the instrumental teacher to ensure that they are aware of course requirements and assessment dates. Resources: There are no set texts for the AS level Music programme. A range of texts, musical recordings and scores will be sourced and used where appropriate. Books and serials will be put on desk copy in the school library and checked off when students have used them. The teaching of composition, aural, analysis, and theory will be taught alongside, and in conjunction with the teaching of the Musical Knowledge content of the course. Differentiation in AS Music Every Music classroom will comprise of students with different sets of musical backgrounds and levels of experience. One student may be an accomplished instrumentalist yet may struggle with composing, while another may be an excellent essay writer while not being able to read music. Consequently there are a diverse range of tasks and situations in which teachers will be required to provide for advanced students and those who are struggling. The following gives a few examples of differentiation opportunities across the four components of the course. Differentiation will occur on a day- to- day basis and teachers must cater for each student s needs depending on the type of activity being completed. Component One: Listening Less advanced students will complete aural assignments to identify sections of the orchestra and will describe the timbral qualities and roles of the instruments in each section. Advanced students will complete a research assignment on the socio- political climate of Vienna and Europe during the late 17 th Century. Less advanced students will perform excerpts of the prescribed works. Advanced students will analyse harmonic patterns in the prescribed works and related works. Advanced students will complete self- directed analysis of other concertos and symphonies by the same composer and by different composers during the same period. Less advanced students will research the working life of composers during the period in question. Advanced students will be set composition tasks that utilise the forms studied in the prescribed works. Less able students will submit essay plans for marking and critiquing. Less able students will carry out extra reading to become familiar academic writing relating to music. Advanced students will study the relationship between impressionist composers and painters. Less able students complete assignment on the use of programme music in films. Component Two Performing: Advanced students: Focus upon displaying mastery of advanced skills. Complete extra assignment work on the techniques used by the composers in the pieces they performed. Research and listen to the works being performed by a range of performers. Less able performers will focus their preparation upon accuracy of pitch, rhythm and tempo and confidence in their interpretation of the pieces.

8 Components Two: Composing Advanced students will be set assignments which require them to compose for larger ensembles, utilising more complex chord colours, including modulation and a number of advanced compositional devices. Less advanced students will be set assignments in which simplicity is encouraged. Utilise repeating patterns in rhythm, ostinato, riffs and chord structures. Emphasis can be placed on studied forms (Ternary, Rondo, Theme and Variation). Advanced students can explore non- conventional sounds and instruments. Less advanced students can focus on their own performance instrument and more common small ensembles. Advanced students will compose in advanced styles (counterpoint, chorales, jazz chords). Advanced students will be extended by having to include elements of the contents of component one into their compositions. Opportunities for Critical Thinking The First Viennese School ( ) Prescribed Works: Mozart: Symphony no. 39 in E! major, K.543 Haydn: Concerto in E! major for Trumpet and Orchestra, Hob. Vlle : 1 Beethoven: Symphony no. 5 in C minor, Op. 67 Beethoven: Trio for clarinet, piano and cello. Op. 11 (third movement only) How did the social/political climate affect the life and works of composers during this period? What was a composer s/musician s working life during this period? How do conductors interpretations of a musical work differ? Why are the forms used in these works effective? How have the composers manipulated thematic material and the elements of music to maintain interest? How is contrast and unity applied in each work? Picturing Music Core Works: Berlioz: Symphonie Fantastique, movements II, III and IV Smetana: Vltava (from Ma Vlast) Debussy: Clair de lune (from Suite bergamasque) How do composers support the meaning and context of a sub- text through the use of the elements of music? How do these different musical traditions deal with programme music? How is it that Music connects with different emotional experiences in humans?

9 Curriculum Programme ACG SENIOR COLLEGE AS LEVEL MUSIC 2017 Term Week Topic of Study Composition & Performance 1 1 The First Viennese School Sonata Form - Symphonies Performance preparation and study listening to style Course overview 1 2 Haydn Trumpet Concerto Composition generating and recording ideas, Recording software and equipment 1 3 Haydn Trumpet Concerto Composition developing ideas and conveying expression, unity and contrast, compositional devices 1 4 Finish Haydn; Intro to Chamber Music and the Beethoven Trio Composition arranging ideas, texture, instrumentation and style 1 5 Beethoven Trio Composition directing and performing ideas, dynamics 1 6 Mozart Symphony Composition Quartet composition 1 7 Mozart Symphony Composition Recording and transcribing 1 8 INTERNAL EXAMINATIONS Composition Complete comp 1 score Essay Mozart Symphony Composition rehearsing composition Beethoven Symphony Composition Rehearse and record Comp Beethoven Symphony Performance Beethoven Symphony Term Week Topic of Study Composition & Performance 2 1 Romanticism and Programme Music Completion of first composition 2 2 Berlioz Symphonie Fantastique Completion of first composition 2 3 INTERNAL EXAMINATIONS EXAMINATIONS 2 4 Berlioz Symphonie Fantastique Recital 1, Composition Smetana Vltava Composition Writing for larger ensembles (band/orchestra) 2 6 Smetana Vltava Composition Arranging and orchestration. 2 7 Debussy Clair de lune Composition Modern composing 2 8 Debussy Clair de lune Composition Modern compositional devices

10 Term Week Topic of Study Composition & Performance 3 1 Symphony Revision Composition Perform & recording 3 2 Concerto Revision Composition 3 3 Chamber Music Revision Composition generate ideas and explore execution 3 4 Revision all topics Essay Love and Loss Performance 11 Composition editing 3 5 Revision all topics Recital 2, Composition Examinations Examinations 3 7 Examinations Examinations 3 8 Reviewing of exam technique Review and marking of coursework 3 9 Focus on Section C questions Performance Focus on Section C questions Completion of coursework Term Week Composition & Performance 4 1 Completion of coursework. Examination Revision. 4 2 CIE Compositions due & final recital 19 October 4 3 Revision Classes 4 4 CIE Listening Examination

11 Plagiarism Each piece of work which is assessed for course requirements, must be demonstrably the student s own work. The following shall be grounds for considering that a student may have breached this requirement: 1. Plagiarism: including the direct copying of textual material (including electronic material) and the use of other people s data without acknowledgment (and/or permission, where appropriate) and the use of ideas from others without adequate attribution. 2. Use of personal material produced for the same or a similar assessment by another student (past or present), even if acknowledged. 3. Fabrication and falsification of data. 4. Identical or closely similar pieces of work submitted by two or more students (except where group work is to be submitted in such a form). 5. Access to any unauthorised material or equipment during an examination or an assessment done under examination conditions. 6. Communication in any way with another student or unauthorised person during an examination or an assessment under such conditions. Plagiarism is viewed seriously and could result in a student forfeiting all marks.

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