BBC Bitesize GCSE Music Video Brief

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1 BBC Bitesize GCSE Music Video Brief BBC Learning

2 Contents About BBC Bitesize... 2 Who is the BBC Bitesize audience?... 2 Style, tone and the Bitesize brand... 2 The commission... 2 Look and feel... 3 GCSE Music... 5 Requirements... 6 Outline of work... 6 General points... 6 Storyboards and scripts... 7 Musical works for videos... 7 Educational consultant... 7 Deliverables... 7 Sustainable productions... 8 Working together... 9 Who s responsible for what?... 9 The BBC Learning team... 9 Schedule/project management... 9 The process Proposal Proposal deliverable list Selection Pitch Key dates APPENDIX... I 1

3 About BBC Bitesize Who is the BBC Bitesize audience? Bitesize is the BBC s study support service for students, helping 5-16 year olds and post-16s with their coursework, homework and preparation for tests and exams. Bitesize covers core subjects at primary, Scottish 1 st and 2 nd levels, and a much wider range of subjects at secondary, including KS3, GCSE, Welsh TGAU, Scottish National 4 and 5 and Higher It also covers Functional Skills Maths and English in England and equivalent Core Skills qualifications in Scotland, Wales and Northern Ireland. Bitesize is used by approximately three-quarters of secondary school students in the UK, and traffic has peaked last year at just over 3.3m unique UK users per week. Style, tone and the Bitesize brand BBC Bitesize is a highly trusted brand that students know they can turn to for reliable and trustworthy information that is produced in a high quality and entertaining way. Bitesize values: Quality learning resources with high production values, tailored to the needs of our audience Clear, concise delivery of the key educational points - bite-sized chunks Inclusive Factually correct, high-quality and curriculum-relevant Simple, straightforward language Funny, quirky or irreverent tone where appropriate Accessible to every level of academic ability The video links below - whilst not necessarily being representative of the style we re looking for from this specific commission - give an indication of the variety of Bitesize videos currently available: Exam and revision techniques: Planning your revision GCSE English Literature: Great Expectations plot GCSE French: Sport GCSE Maths: Solving algebraic problems Given that videos are being produced for the GCSE Bitesize audience we tend to steer clear of talking animals and inanimate objects in animations (which can age-down content). The commission This commission is for live action, animation or live action/animation mix content. 2

4 We are open to ideas for live video, animation or a mixture depending on best fit for each of the videos. There may be options for using on-screen text or graphics creatively or other effects to underline learning points. The BBC reserves the right to award this contract in the way that provides the best service and value for money. The budget for this project is 75,000. For a commission of 75,000 we expect 30 minutes of video (15 x 2 minute films). Delivery of all content is required by the 23 rd November The video content needs to appeal to KS4 students but should not alienate or patronise a wider audience. Videos should be concise, lively, imaginative and accurate. Subject specialism is not a prerequisite (although clearly it would be useful) what we re looking for are creative and engaging solutions. Likewise, learning experience is not a prerequisite. However, a thorough understanding of the needs of the Bitesize audience and a clear approach to addressing those needs is expected. Companies should have experience delivering engaging content for young audiences, ideally including short form content. Deadline for submissions is 5pm on Wednesday 4 th April Look and feel We propose the below structure to these films, and will work with the chosen production company to finesse as appropriate. Each film should provide a brief introduction to the set work (see appendix), with a particular focus on its musical context (c. 25 seconds). Broad musical features of the set work should then be introduced in line with the curriculum. The films should not seek to undertake a bar by bar analytical approach as this will be summarised through our written materials. This section of the film should highlight the key things that students should look or listen out for in the set work itself (c seconds). It should use appropriate musical and technical language. (This is where most of the marks are awarded in terms of the GCSE listening examination and therefore should be prioritised in the film). Additionally, if time allows at the end of the video (c. 25seconds), the contemporary impact of the set work in the work of other musicians should be mentioned. In particular, key lessons could be drawn for students own performance and composition work elsewhere in their GCSE study. (The explicit linking together of students listening and musical analytical skills to their broader development as performers and composers is at the heart of every GCSE specification as well as being in line with the broader principles of teaching and learning in Music). 3

5 Film presenters should be dynamic and engaging. Ideally, they should be able to demonstrate musical skills that help achieve the above goals whilst also being an inspiration to the viewer themselves. The films should inspire the viewer to want to listen to the set work again and to study it with renewed energy and determination through the written guide. Each video should provide an engaging and succinct explanation of the content and be appropriate for year olds. We are looking for engaging presenters, useful visuals, exciting animation and real world application we want to avoid dry voiceovers over slideshow presentations or experts talking straight to camera. We are focussing on areas where students need extra help to understand aspects of the course and for topics to come alive through a visual stimulus. The videos should aim to simplify complex concepts. Humour may work for these films but we must ensure it is aimed at KS4-aged students, and doesn t detract from the learning objectives. 4

6 GCSE Music The Department for Education has made changes to the GCSE Music curriculum in England (for first teaching in September 2016). Therefore, BBC Bitesize is enriching the GCSE Music Bitesize content. On the Bitesize website, GCSE Music will exist as a series of Study Guides, including: webpages with text summaries and images (Revision chapters) 10-question multiple choice quizzes (Test chapters) On the Bitesize Revision App, GCSE Music will exist as a series of flashcards, including text summaries, glossary terms, audio and video content, infographics and quizzes. This App flashcard content is a condensed version of the website content. To both the website and the App content, we would like to add: 15 short-form videos to provide students with further explanations of GCSE Music content This commission is for video content only. The maximum budget for the commission is 75,000. The video content should appeal to GCSE Music students in the age range working towards and revising for their GCSE exam. Videos need to cover some basics but also include more advanced elements and ideas for higher-ability students. Special thought should be given to how the videos can be made as accessible as possible to students of differing academic abilities. Videos should be concise, lively and imaginative, and should present the information in a way that is interesting to everyone. Specifically, teacher consultation has highlighted a number of areas where GCSE Music students studying the course from September 2016 are likely to struggle in: Listening and appraising: According to our research, the largest areas of difficultly are likely to be the increase in the appraising (sometimes referred to as listening) part of the course. Comments made during our research which support this: o Theory it s boring and there s a lot to learn. o Theory so much to remember and it s hard to recall all the info. o Identifying periods in Classical music is difficult. o It s hard learning and remembering foreign terms (eg Italian) After listening and appraising, students found composing difficult, with the most enjoyable area being performing. 5

7 Requirements Outline of work 15 short-form videos (2 minutes in length each), 30 minutes in total, covering various aspects of the GCSE Music set and suggested pieces. Within this total, there may be some flexibility to make some videos shorter and others longer as the learning requires. Rights for using these musical pieces will be obtained by the BBC. Some pieces, for example Santana s Smooth (30 seconds), have restrictions on the length of excerpt which can be used. Each video should stand alone in its own right as an engaging piece of content but also should feel part of a connected suite although this should have no connecting story arc. Videos will be published on bbc.com, the Bitesize App and other channels as appropriate. Videos should include voiceover, music and sound effects where appropriate. All video content should use the learning outcomes provided by Bitesize as the basis for their scripts. Bitesize is open to discussion about the number and breadth of learning outcomes. A second teaser of each of 6 films, specific films to be agreed with BBC Bitesize. General points The videos should encourage multiple viewings and sharing with friends. Video content typically remains live on Bitesize for at least 4-5 years, so topical references should be avoided to ensure that the content does not date too quickly. Video content should be engaging and informative. The video content should present the key points using a practical approach. We are open to all fresh, creative ideas. We are not necessarily looking for responses featuring established star names for the voice overs or people on screen in fact up and coming talent would be preferred. Films should be linear - interactivity is out of scope for this commission. Bitesize will require final sign-off on voices and on-screen talent, as well as initial concepts, scripts, sfx, music, rough drafts/animatics and final versions. Where used, music should be production/mood music rather than commercial. The overall tone should be informal, chatty and appealing to the audience. It is vital that the content feels part of the students world the subject area can seem daunting so using easily-accessible examples should pique their interest. Content should feel confident and assured, but not teacher-like. It should feel friendly and informal, but not like it is trying too hard. The delivery should be quite pacey and natural, but not so quick that it loses learners. Clarity is very important. It is essential that, where applicable, the characters featured represent the diversity of the Bitesize audience in terms of gender, race, ethnicity, disability, socio-economic status and regionality. For example, approximately 25% of school children today identify themselves as not being White British. BBC Bitesize celebrates diversity in all its forms: BBC Bitesize has produced a Diversity and Inclusion Commissioning Guidelines document to support the attainment of the BBC and BBC Bitesize s diversity targets. 6

8 Please note that although Bitesize currently incorporates video clips for use in class by teachers, this commission is part of our student-facing content and will sit within our Study Guides. Storyboards and scripts The company awarded the contract will produce initial concepts, storyboards and scripts for each of the videos above. Bitesize requires full consultation during the scripting process, including the reviewing of drafts to ensure the scripts hit the learning points, and full sign-off on completed scripts. Musical works for videos Artist Track Title 1 Purcell Music for a while 2 Queen Killer Queen 3 Stephen Schwartz Defying Gravity (Wicked) 4 John Williams Title/rebel blockade runner from Starr Wars Episode IV, A New Hope 5 Afro Celt Sound System Release 6 Esperanza Spalding (Baden Powell) Samba Em Preludio 7 Haydn Symphony 101 in D major The Clock, movt. 2 8 Santana Smooth 9 Santana Migra 10 Santana Love of my life 11 Aaron Copland Saturday night waltz 12 Mozart Eine Kleine Nachtmusik, 3rd movement, minuet & trio 13 Rainbow Since You've Been Gone 14 Beethoven 1st Movement from Piano Sonata No. 8 in C minor, Pathetique 15 Bach 3rd Movement from Brandenburg Concerto No. 5 in D major Educational consultant You will need to contract and work with an educational specialist/consultant who will be involved throughout the process to ensure all learning objectives are covered and content is accurate and relevant to our audience. All content (ie video concepts, initial scripts, final scripts, animatics/rough cuts, fine cuts/final versions, etc.) will need to be reviewed by the consultant before they are sent to us. Deliverables Final videos in electronic format 15 x HD (a technical specification will be provided), both compressed and uncompressed. Uncompressed audio provided in multiple editable audio layers. 7

9 A second teaser for 6 selected films, to be agreed with BBC Bitesize. XML transcripts for subtitles. Post-production paperwork (template will be provided). All content should be cleared for all rights in perpetuity. Any exceptions to this must be agreed with BBC in advance of inclusion. This commission will be based on a framework 2 contract. This link provides further information: Sustainable productions BBC Learning is working to ensure that all its projects are environmentally sustainable. As part of this, we ask that any independent supplier we work with has an environmental sustainability policy, carbon literacy aware staff (free training can be found here - and that all productions, where appropriate, complete an Albert carbon footprint calculation. A good way to demonstrate your environmental credentials is to undertake Albert certification. Please see here for more details or contact for more information. More details can be found at and 8

10 Working together Who s responsible for what? You will be responsible for: project management and production of deliverables to agreed deadline and budget chairing regular production meetings and communicating project plans and status quality assurance of content (in cooperation with the educational consultant) We will be responsible for: sharing project documentation from the wider suite of Bitesize Music content if available collaboration throughout the production and delivery sign-off on the following: storylines/initial concepts, look and feel, scripts, storyboards, essential cast members, voice-casting, music, sounds effects, rough-cuts/animatics and final delivery within an agreed timeframe We will be jointly responsible for: ensuring the learning outcomes are met ensuring that content is best-fit for the Bitesize audience The BBC Learning team Oonagh Jaquest Editor, Bitesize Claire Jones Producer, Bitesize Stuart Fyfe Assistant Producer, Bitesize Erin MacTague Production Manager Schedule/project management Although key points such as casting, concepts, script, animatic/rough draft and final delivery sign-off, etc will be identified in the Editorial Specification, all Bitesize production follows an iterative development process. We will require accommodation for feedback cycles (including, but not limited to: initial outlines; scripts versions 1 and 2; storyboard/animatic versions 1 and 2; key talent; music/sound sign off; finished film rough and fine) in the schedule. We will feed back ASAP on all editorial decisions, in line with the schedule. Final delivery for the project is 23 rd November This project is highly dependent on specific delivery dates that will be defined in the contract. As such we would like you to give particular attention to clause 9 in our standard terms which states the following: If you fail or are due to fail to deliver a Deliverable (or any part thereof) due at any stage specified in Schedule 2 for any reason not directly and solely attributable to the BBC, the BBC shall (without prejudice to any other rights or remedies available to the BBC under this Agreement or at law) be entitled to terminate this Agreement. 9

11 Should this situation arise and the BBC is forced to terminate, the BBC would only be liable to you for anything delivered prior to termination. For this reason we would ask that you give timeframes and delivery the highest priority. 10

12 The process Proposal Proposals should be provided as either MS Word documents or PDFs. They should be a maximum of 15 pages long. Please submit proposals to Rhia MacKenzie (Production Management Assistant, Bitesize) at Proposals that are larger than 7 MB may not be accepted by our system. Please let us know, prior to the deadline, if your proposal is 7+ MB and we will agree another delivery method. The delivery date for the submission of proposals is 5pm on Wednesday 4th April Please note that submissions received after this deadline WILL NOT be considered. Please use the following two videos to base your proposal on (highlighted in yellow in the appendix): Queen: Killer Queen Mozart: Eine Kleine Nachtmusik, 3rd movement, minuet & trio If there are any general questions about the project, rather than those specific to your own approach, we will distribute responses to all companies pitching. To allow you to work up your summary creative solutions in relation to this commission, we have provided further information (see appendix) on the videos. For each video, we have provided a potential title and a list of learning outcomes - what the students should know after they ve watched the videos. Proposal deliverable list Company overview What relevant experience does your company have to deliver this project? We re interested in hearing about relevant previous projects, your experience in creating content for young audiences and your understanding of the challenges of this commission. Creative approach Demonstrate what creative approach you would take for this commission in order to cover learning points described. Please include: o design ideas or concepts o an episode summary Summary creative solutions to the two videos listed above Resourcing Please define your project team within your response, including an indication of core staff members and freelance support. Please outline any talent, including writer, director, subject matter experts, etc. Logistics How do you intend to deliver the project? Please outline your technical approach, project management approach and approach to risk management. Budget The maximum budget for this commission is 75,000. Please provide a detailed budget 11

13 breakdown to show how you intend to cost the project. Payment schedule to be agreed upon award of contract. Typical payment might be: o 15% on signature o 15% on script sign off o 15% on first day of principle photography / prod o 25% on sign off of rough cuts o 15% on sign off of fine cuts o 15% on acceptance of full delivery Schedule Please include an indication of key milestones and sign-off points for the BBC, as well as any audience testing. Selection The BBC will use the following standard criteria to evaluate the proposals submitted: creative approach originality / suitability for Bitesize audience ability to meet editorial requirements, including appropriate consideration of diversity and inclusion pricing / value for money project management / production plan (schedule and budget) prior experience of company and core staff experience presentation of response Any queries on this commission should be ed to Oonagh Jaquest Pitch Shortlisted companies will be invited to a face-to-face pitch at MediaCityUK, Salford the week of 30 th April Key dates Brief published 7 th Deadline for questions 16 th Response to questions 21 st Deadline for proposal submission 5pm 4 th April 2018 Invitation to pitch notification 19 th April 2018 Face-to-face pitch w/c 30 th April 2018 Notification of Contract Award 8 th May 2018 Final delivery 23 rd November

14 APPENDIX Title Short description To cover - learning objectives Learning outcomes (what students know AFTER WATCHING film) Bach: 3rd Movement from The film will introduce students to the main musical features of Bach s 3 rd Brandenburg Concerto No. 5 movement in D from Brandenburg Concerto No. 5, including the notion of the Learn about key aspects of Bach s compositional style within this concerto form. Know about the concerto grosso form and its key features. major concerto grosso and its two main ripieno and concertino groups. Know the key groupings within the ensemble, the main elements Relate these to wider understanding of Baroque style and be able of Baroque style (including ornamentation, contrasting textures, Key aspects of Baroque ornamentation, the role of the continuo, contrasting textures and dynamics will also be discussed. The broader context of Bach s work as a professional organist and composer can provide a useful background context for this film. to identify key features using appropriate technical and musical vocabulary. sequences, pedals, etc.) Be able to use appropriate musical and technical language to describe these elements. Beethoven, 1st Movement from Piano Sonata No. 8 in C minor, Pathetique Purcell: Music for a While Queen: Killer Queen The opening movement of this sonata is a dramatic piece of solo piano music written in sonata form. It demonstrates how Beethoven was developing the Classical style with increased elements of romanticism. The film will introduce students to the main musical features of Purcell s song, including his use of the voice, word painting, the role of the continuo and the use of a ground bass. The broader context of Purcell s vocal work will provide a useful background context for this film. Links should also be made towards the end of the film to other vocal styles and traditions using similar features. Introduce the main musical features of Queen s song, including their use of the voice, harmonic and song structures and their use of key instruments such as the electric guitar. The broader context of Queen s music will provide a useful background context for this film. Links should also be made towards the end of the film to other vocal styles and traditions using similar features. Learn about the principles of writing for solo piano, the use of sonata form as a structural device, and the development of the Classical style with romantic elements. Learn about key aspects of Purcell s vocal writing as demonstrated within this song. Students will relate these to their wider understanding of Baroque style and be able to identify key features using appropriate technical and musical vocabulary. Be able to compare and contrast the approaches taken here with songs from other styles and traditions. Learn about key aspects of Queen s vocal writing as demonstrated within this song. Relate these to a wider understanding of popular musical style and identify key features using appropriate technical and musical vocabulary. Be able to compare and contrast the approaches taken here with songs from other styles and traditions. Be able to describe Beethoven s classical style of writing for the piano, in particular his use of conventional forms (e.g. sonata form) to express his ideas. Be able to identify new aspects of Beethoven s writing that preshadow the emergence of the Romantic period. Be able to identify key elements of Baroque vocal style, including word painting, the use of ground bass, harmonic features, and vocal expression as demonstrated within the song. Be able to relate these to vocal expression in other styles and traditions. Students will be able to identify key elements of Queen s (and in particular Freddie Mercury s) vocal style, and the broader musical features demonstrated within the song (such as the use of music technology and electric guitar techniques). They will also be able to relate these to vocal forms found in other styles and traditions. I

15 Schwartz: Defying Gravity (Wicked) Introduce students to the main musical features of the song, including the use of the voice in the musical theatre style, orchestration and instrumental effects, harmonies, word painting and character development. The broader context and narrative of the song within the musical itself will be considered, and the musical theatre context will provide a useful background context to the film s narrative. Students will learn about the key musical features of this song and how it links to the narrative of the musical. The key musical features will be identified using appropriate technical and musical vocabulary. They will be able to compare and contrast the approaches taken here with songs from other musicals and films within the unit of work. Students will be able to identify key musical elements of the song and relate these to the characters involved and the broader narrative within the musical. They will also be able to relate these to songs and other music from the stage and screen as studied within the unit. Williams: Title/rebel blockade runner from Starr Wars Episode IV, A New Hope Afro Celt Sound System: Release Esperanza Spalding: Samba Em Preludio Haydn: Symphony 101 in D major The Clock, movt. 2 The film will explore the key musical features within this iconic piece of film music. These will include William s orchestration, instrumentation, programmatic elements and use of motifs/themes for key characters or emotions within the film itself. The film will explore the key musical features of the song. These can be structured under key influences from African and Celtic folk music and also elements drawn from the creative use of music (production) technologies. The blending of these is central to the notion of fusion that the song represents within the unit of work. The film will explore the key musical features of the song. These can be structured under key influences from American jazz forms and Latin American rhythms, notably the bossa- nova. The blending of these, together with a range of virtuosic guitar techniques, are central to the notion of fusion that the song represents within the unit of work. The film will introduce the key musical elements of this symphony s slow movement, using appropriate musical language, and to set it in broader context of Haydn s late symphonic style. Students will learn about the key musical features of William s orchestral style as demonstrated within this piece. The key features will be identified and explored using appropriate technical and musical vocabulary. They ll be able to compare and contrast approaches taken here with film music from other repertoire that they have studied. Students will learn how to identify the key musical features of the song and how these relate to the various traditions (African, Celtic, etc) that are represented by the members of the band. They will learn how music technology has been used throughout the song to help fuse these elements and create a new, popular musical style. Students will learn how to identify the key musical features of the song and how these relate to the various traditions (jazz, Latin American dance forms, particular the bossa- nova) that are fused together within this song. They will learn how the guitar is used in an accompanying role but also in a more virtuosic way with a myriad of playing techniques at key moments within the song. Students will learn about the key elements Classical style as relating to the slow movement of the Classical symphony, the key musical elements including melody, harmony, tonality, structure, etc. and the broader musical context of the time. Students will be able to identify key musical elements of the film score and relate these to the characters involved and the broader narrative within the film. Key musical techniques such as those related to orchestration, instrumentation and the thematic motifs will also be identified and described in appropriate musical language. Students will be able to identify the key musical features within the song and how they relate to the key traditions that have been fused together, notably the African and Celtic traditions and the innovative use of music technology. They will be able to relate these key elements of a fusion style to other repertoire that they have listened to within the unit of work. Students will be able to identify the key musical features within the song and how they relate to the key traditions that have been fused together, notably jazz and Latin American traditions. They will be able to relate these key elements of a fusion style to other repertoire that they have listened to within the unit of work. Students will be able to describe Haydn s classical style of writing for the orchestra, using appropriate musical and technical language. They will understand how the slow movement of the symphony relates to the larger musical form (i.e. the 1 st, 3 rd and 4 th movements) and place this in the larger context of how the symphony developed during the Classical period. II

16 Santana - Smooth Santana - Migra Santana - Love of my Life Copland: Saturday Night Waltz The film will cover the main musical features of the song using appropriate musical and technical language. It will consider the impact of the contribution of different musicians from different cultures, including the Santana s unique and individual guitar style, and how these are combined together, within the broader multicultural context The film will cover the main musical features of the song using appropriate musical and technical language. It will consider the impact of the contribution of different musicians from different cultures, including the Santana s unique and individual guitar style, and how these are combined together, within the broader multicultural context The film will cover the main musical features of the song using appropriate musical and technical language. It will consider the impact of the contribution of different musicians from different cultures, including the Santana s unique and individual guitar style, and how these are combined together, within the broader multicultural context The film will introduce the key musical elements of this piece, using appropriate musical language, and will set it in broader context of Copland s dance music, the emergence of the American style in the 1930s and broader orchestral music in the period. Students will learn about the key musical features of the song including its approach to melody, harmony, tonality, structure, sonority, tempo, metre and rhythm. They will also consider the wider multicultural contextual factors that influence the song and its development, notably the ways in which contributions from different musicians from different cultures were brought together within this song and the others from the album. Students will learn about the key musical features of the song including its approach to melody, harmony, tonality, structure, sonority, tempo, metre and rhythm. They will also consider the wider multicultural contextual factors that influence the song and its development, notably the ways in which contributions from different musicians from different cultures were brought together within this song and the others from the album. Students will learn about the key musical features of the song including its approach to melody, harmony, tonality, structure, sonority, tempo, metre and rhythm. They will also consider the wider multicultural contextual factors that influence the song and its development, notably the ways in which contributions from different musicians from different cultures were brought together within this song and the others from the album. Students will learn about the key features of Copland s orchestral style and dance music through the identification of the key musical features from the piece. They will relate these to the broader principles of the American style that was developing at the time, in particular the influences of jazz on contemporary classical music of the period. Students will be able to describe the key musical features of the song using appropriate musical and technical vocabulary. They will be able to locate the song within the multicultural context of the Santana s wider work, locating the influences of different musicians from different cultures alongside the influence of Santana s own unique performance practice. Students will be able to describe the key musical features of the song using appropriate musical and technical vocabulary. They will be able to locate the song within the multicultural context of the Santana s wider work, locating the influences of different musicians from different cultures alongside the influence of Santana s own unique performance practice. Students will be able to describe the key musical features of the song using appropriate musical and technical vocabulary. They will be able to locate the song within the multicultural context of the Santana s wider work, locating the influences of different musicians from different cultures alongside the influence of Santana s own unique performance practice. Students will be able to describe the key musical features of the waltz using appropriate musical and technical vocabulary. They will be able to relate these key features of the waltz to the elements that influenced Copland s orchestral style, including elements of the American style and the jazz influences of the 1930s. III

17 Mozart: Eine Kleine Nachtmusik, 3rd movement, minuet & trio The film will introduce the key musical elements of this Minuet and Trio, using appropriate musical language, and to set it in broader context of Mozart s Classical style. Students will learn about how the key elements of Classical style relate to Mozart s Minuet and Trio (also related to the third movement of the standard Classical symphony form), the key musical elements including melody, harmony, tonality, structure, etc. and the broader musical context of the time. Students will be able to describe Mozart s classical style of writing for the orchestra, using appropriate musical and technical language. They will understand how the Minuet and Trio form is part of the larger form of the piece (and how this is related to the structure of the Classical symphonic form). Rainbow, Since You've Been Gone The film will cover the main musical features of the song using appropriate musical and technical language. It will set the song in the wider context of the Rainbow s work and also identify its unique contextual factors. Students will learn about the key musical features of the song including its approach to instrumental and synthesised sounds, the use of the voice, the structure, harmony and orchestration. They will be able to discuss how this relates to other formal structural devices (binary, ternary, strophic, rondo, theme and variation) that were common in the Classical period. Students will be able to describe the key musical features of the song using appropriate musical and technical vocabulary. They will be able to locate the song within the context of popular music from the 1970s 1980s. IV

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