SCHEME OF WORK Faculty ARTS Subject Music Level Year 11

Transcription

1 Faculty ARTS Subject Music Level Year 11 SCHEME OF WORK 2017 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 enable candidates to acquire and consolidate a range of basic musical skills, knowledge and understanding through the activities of listening and performing and through the study of harmony and analysis. To assist candidates to develop a perceptive, sensitive and critical response to the main historical periods and styles of Western music. To help candidates to recognise and understand the music of various non- western traditions, and thus to form an appreciation of cultural similarities and differences. To provide a foundation for the development of an informed and lasting appreciation of music. To provide a foundation for further study in music for those candidates who wish to pursue their studies at a higher level.

2 Assessment Objectives NB It is compulsory for Music students to be enrolled in formal instrumental lessons for the duration of this course. The examination will reward candidates for positive achievement in: 1 LISTENING! Aural awareness, perception and discrimination in relation to Western European music of the baroque, classical, romantic and 20th Century periods;! Identifying and commenting on a range of music from cultures in different countries;! Knowledge and understanding of one Western Prescribed Work and one prescribed focus from a non- western culture. 2 PERFORMING! Technical competence on one or more instruments;! Interpretative understanding of the music performed. 3 COMPOSING! Discrimination and imagination in free composition;! Notation, using staff notation and, if appropriate, other suitable systems. Assessment Format Candidates must offer four compulsory components: Component 1 Listening (40%) MAY 2017 Component 2 Performing (30%) Week 11, Term 1 Component 3 Composing (30%) Week 11, Term 1 Listening (1.25h) This will be based on a recording supplied by CIE Content Candidates should be taught to recognise and describe (where appropriate) the musical features on the following list. This list is not exhaustive, but is intended to provide a clear indication of the range of knowledge expected in this paper. In particular, extracts may come from any genre, but candidates will only be expected to identify the genres shown. Rudiments Standard European staff notation including dynamic, tempo and expression markings, simple ornaments and articulation signs, treble, bass and alto clefs, key signatures up to 4 sharps and 4 flats in major and minor keys, time signatures, intervals. Melody and Rhythm Major, minor, chromatic and pentatonic scales. Melodic movement by step or leap. Phrasing. Duple, triple or irregular metre, syncopation, polyrhythm. Harmony Primary chords: I, IV, and V( 7 ); secondary chords: II and VI. Perfect, imperfect, plagal, and interrupted cadences. Modulations to related keys. Ensembles and instruments/voices Orchestras, wind and jazz bands, choirs and chamber ensembles. The main instruments and voices used in the above ensembles. Piano, harpsichord, organ. Gamelan, rabab, kora, xylophone, ud, sitar, sarangi, tabla, ch in, erh- hu, shakuhachi, koto, bandoneon, quena, pan- pipes, guitar, un- tuned percussion instruments Instrumental and/or vocal effects Arco, pizzicato, glissando, tremolo, harmonics, double- stopping, strumming, pitch bending, mute, roll, melisma, blue notes. Structure Binary, ternary, rondo, theme and variations, ground bass.

3 Compositional devices Repetition, imitation, sequence, canon, inversion, ostinato, drone, Alberti bass, pedal, contrary motion. Texture Melody and accompaniment, homophonic, polyphonic, monophonic, heterophonic. Style Baroque, Classical, Romantic, Twentieth Century (including impressionism, serialism, neo- classical, jazz). Genre Opera, oratorio (including recitative, aria and chorus), musical, symphony, concerto, string quartet, sonata, march, waltz, minuet and trio. Component 1 Listening The extracts or pieces played will be from a wide range of styles and traditions. The questions will test the candidates understanding and perception of the music. Candidates will be expected to follow any complete/skeleton scores or diagrams provided. All questions will be compulsory and will require either short answers or be in a multiple- choice format. All extracts will be played four times. In all sections, candidates may be asked questions relating to rudiments, melody and rhythm, harmony (including recognition of chords, keys and cadences), ensembles, instruments and instrumental effects, structure, compositional devices, texture, style or genre, as appropriate to the music. The main focus of each section will be as follows: Section A Extracts from two works, which may be instrumental and/or vocal selected from the Baroque, Classical, Romantic and Twentieth Century styles. In addition to questions on the areas listed above, candidates may also be required to identify the period and suggest a possible composer. Section B Extracts from three pieces of contrasting music selected from Latin American, Indonesian, Chinese and African traditions. In addition to questions on the areas listed above, candidates will also be required to identify the possible continent/country of origin. Section C A single extract with skeleton score. In addition to questions on the areas listed above, candidates will be expected to undertake simple rhythmic and/or melodic dictation. They will also be required to identify the period of the music and/or to suggest the name of a likely composer. Section D: Music around the World Prescribed Focus The purpose of setting a prescribed focus in World Music is to allow candidates to study the music of a non- Western culture in greater detail than is possible in the unprepared section. Candidates are required to answer questions on one or two extracts of music representative of one prescribed musical culture from a choice of two prescribed in any year. Extracts will be played four times, with further playings of specific passages as necessary. A source book of relevant information is prescribed and candidates will be expected to draw on their knowledge and understanding of this information in answering questions about the extract(s). Candidates will be expected to identify the principal instruments of each region, but will not be expected to distinguish between similar sounding instruments the list below makes this clear. They will be expected to identify the textures and structure of the music, but will not need to identify specific scales or rhythmic cycles. The recordings used in the examination will be unprepared, but all questions will be based on the information given in the source text specifically detailed below.

4 Prescribed Focus for 2017: Indian Classical Music Candidates must be able to identify the following instruments: Sitar (equal credit will be given for Sarod and Tambura), Sarangı, Santoor, Harmonium, Tabla (but no other drums), Flute and Voice. Candidates should be aware of and able to identify the texture and structure of the music the use of melody, drone and rhythm, and sections called alap, jhor (also known as jod) and jhala. The term gat, which is widely used in Indian music, is not mentioned in the prescribed text and will not, therefore, be used in the examination. Candidates should understand and be able to use the terms raga and tala, but will not be expected to identify specific types of each. The following text is prescribed as a source for the study of this topic: Elizabeth Sharma: Music Worldwide Music Worldwide The music of India, pages (NB this excludes folk, bhangra, religious and film music.) Book ISBN Number: X; Accompanying CD ISBN Number: Available from Cambridge University Press Recordings used in the examination will not be taken from the accompanying CD. Section E: Set works Candidates are expected to have prepared one set work. For their chosen work, candidates will hear one or two extracts (played twice). A skeleton score of the extract(s) will be provided in the question paper. Candidates will be expected to answer questions on any aspect of the music in the extract (whether or not it is shown in the skeleton score); there may also be questions on the music, which comes before or after the extract itself. Study of Prescribed Works In the examination, candidates should expect to be tested on a range of knowledge and understanding of their chosen work(s). Although the precise nature of questions will depend upon the individual characteristics of the work concerned, candidates should be prepared to answer questions under the following main headings: Structure and terminology; Themes and their transformations; Key centres and modulations; Identification of chords; Instruments; Transposition; Score markings, performance directions, instrumental effects; General background information about the composer and about the genre of each work. Work for 2017 Vivaldi: Summer from Quattro stagioni Mozart: Symphony No. 41 Component 3 Performing This will consist of prepared performances of the candidate s own choice, all of which have to be recorded. Candidates must offer (i) and (ii): (i) (ii) singing or playing individually (either one piece or two short contrasting pieces, which may be on the same or on different instruments); singing or playing in an ensemble (either one piece or two short contrasting pieces, which may be on the same or on different instruments).

5 For candidates offering fully notated music in Western styles, the total playing time of the two options should not normally exceed ten minutes, but is not expected to be less than four minutes. It is understood that where candidates are playing in instrumental styles where improvisation is the norm, the upper time limit may be inappropriate. Candidates should perform music appropriate, in its technical and musical demands, to their stage of development at the time of the examination. They will be given positive credit for the following: (a) the range of technical and musical skills demonstrated; (b) accuracy of playing the notes and rhythm (in notated music) OR quality of improvisation (in music that is not notated); (c) choice and control of tempo (in an individual performance) OR ensemble co- ordination (in an ensemble performance); (d) sensitivity to phrasing and expression; (e) technical control of the instrument. An individual performance may either be unaccompanied or accompanied. The accompaniment may be live or through a backing track. An ensemble should normally consist of three or more live performers, and any other performer may not consistently double the candidate s part. Component 4 Composing Candidates must submit two compositions. These compositions should be either contrasting in character or written for different forces and must be recorded on cassette tape. At least one of them must be written in a Western, tonal style and must demonstrate familiarity with the basic principles of traditional harmonic language; this composition must be fully notated using staff notation and the score must be submitted with the recording. The other pieces may be notated in whatever form of notation is appropriate to the music, provided that the intentions of the notation are clear to the examiner/moderator. Notation may be either handwritten or computer generated, but all scores must be accurately edited. Graphic notations must be accurately designed to show the duration of the sounds represented by whatever symbols are used. However staff notation should be used whenever that is the most sensible means of communicating the candidate s intentions. Teachers will be required to certify that the compositions are the individual work of the candidate who claims authorship. Candidates will be given positive credit for the following: (a) their ideas; (b) the structure of their compositions; (c) their use of the chosen medium; (d) their compositional technique; (e) the presentation and notation of their scores.

6 Assessment Schedule 2017 COURSE OUTLINE Total duration of this course: 37 weeks Topic Contents Allocated time One 80- minute period a week Assessment Practical Musicianship Musical Perception: The Elements Musical Perception: Current Trends Around the Globe The Evolution of Art Music Music in Context: Film & Gaming Music in Context: Dance & Ceremonies Music in history and society Resources List the main resources to be used, including I.T. if applicable Theory of Music 4 Weeks Written Assessment To be provided Overview of the building blocks of Music Investigation into qualities, characteristics and context of music around the world today. Introduction to the development of Western Art Music form the Renaissance to the present day. Programme Music and the use of Music to support/create images. The creation of Music for specific functions 3 Weeks Aural Perception Test Musical Perception: The Elements 4 Weeks Investigation and Report/Presentation 4 Weeks Aural Perception and Description test Musical Perception: Current Trends Around the Globe The Evolution of Art Music 4 Weeks Composition/Production Music in Context: Film & Gaming 4 Weeks Composition/Production Music in Context: Dance & Ceremonies Baroque 2 Weeks Written Assessment To be provided Vivaldi Concerto 4 Weeks Written/Aural To be provided Assessment Music in history Classicism 2 Weeks Written Assessment To be provided and society Mozart Symphony 4 weeks Written/Aural To be provided Assessment Performing/ Compositions 1 Week Practical and electronic and printed projects FINAL EXAMINATION 1 Week

7 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.

8 Study Skills The Year 11 Music course comprises of four components: Component 1: Unprepared Listening Component 2: Prepared Listening Component 3: Performing Component 4: Composing While these 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: Unprepared Listening Listen to radio stations such as the Concert Programme on a regular basis. Identify the genre of the Music being played and its characteristics Use YouTube and the NPR website to watch live performances. While listening create tabular analyses of the pieces. Create headings based upon the elements of music Practice identifying instruments by timbre. Listen to recordings and describe the solo instrument and the role of other instruments playing Create timelines of the four periods of Western Music we study. Place composers and important developments in Western Music on the timeline Use online resources to revise compositional devices such as intervals, texture, ornaments and cadences Examine the pieces you are performing yourself to see which periods and style they are from. What compositional devices, texture, harmonies are used in these pieces. Attend live performances and observe the ways in which performers and conductors approach Music. Work through ABRSM theory work books Study Skills for Component Two: Prepared Listening Access and listen to different recordings of the prescribed Beethoven work and Indian Classical Music. 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 composer of the set works. Listen regularly to the prescribed work 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 recommended music texts in the school library. Play through extracts from the set work in an ensemble or on your own. Create tabular analyses of the set work 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. Attend concerts relating to the studied works.

9 Study Skills for Component Three: Performing Practice regularly Consult with your instrumental teacher to ensure you are prepared for performances Read about the composer and style of any pieces you play Watch/ listen to other performances of the pieces you are playing Observe other performers and make note of the good/bad things they do Ensure that you have an understanding of the requirements of the style of your pieces Pay special attention to the composers instructions for each piece you play If you are using an accompanist ensure that you have had several run- throughs before the day of the performance If performing in an ensemble make sure everyone knows when and where the rehearsals are Examine your potential repertoire. Make sure it is all Music that you will be able to perform confidently. Make sure it is not too difficult for you. Study your scores and hi- lite dynamic markings, tempo and other performance directions Study Skills for Component Four: Composing Extend your listening beyond what you would normally listen to Investigate all instruments that you could possibly use Examine the approach taken by other composers and make use of their techniques in your own way Practice using Sibelius, Logic and Garageband Make us of the pre- loaded ensembles in Sibelius and try writing for them Compose a piece based on rhythmic motivic material alone Compile a selection of motivations to base compositions for. Do not compose just because you have to. Ensure there is reason behind it Practice composing to a set structure: Rondo, Ternary, Theme and Variation etc. Attempt to appropriately incorporate compositional devices such as suspensions, modulations, ornamentations, pedal notes into your works Complete workbooks relating to melody writing, harmony and instrumentation Familiarise yourself the limitations and possibilities of the instruments you wish to use Rehearse your compositions with live musicians to ensure that they work Final grades for Prize- giving There are no awards for the completion of YEAR 11 Music course in the Senior College Prize- giving. This is due to the short lasting only 15 weeks.

10 Curriculum Programme ACG SENIOR COLLEGE YEAR 11 MUSIC 2017 Course Programme for Teachers 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 Component 3. 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 YEAR 11 Music programme. A range of texts, musical recordings and scores will be sourced and used where appropriate. 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. Students will perform the pieces they are working on every fortnight. This course commences January 2017 and concludes in the May/June examination period Differentiation in YEAR 11 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 first way we cater for advanced musicians in year 11 is by offering them a place in the AS level class. 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. Components One and Two Listening, Aural and Analysis: All students commencing the course with only basic knowledge of music theory must complete up to at least grade three of the ABRSM Music Theory Workbooks. Extension students will study advanced harmony and counterpoint Less able students will study basic chord structure such as 12 bar blues and 32 bar song form When completing assignments on World Music and set works, advanced students will be set assignments that allow them to investigate the wider setting of the music and its influences Advanced students will be required to carry out full score analysis independently. Component Three 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.

11 Components Four 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 Rudiments, melody and rhythm, harmony (including recognition of chords, keys and cadences), ensembles, instruments and instrumental effects, structure, compositional devices, texture, style or genre: How is the language of Music constructed? How can these technical components be manipulated by composers to create different effects? How have these techniques and languages developed? Baroque, Classical, Romantic and Twentieth Century styles: What is, and what isn t Music? What is it that characterises each of these periods? How does the nature of the music from each period reflect other elements of society and culture in each period? How has the purpose and economy of Music evolved from the Baroque period through to the present day? How does the music of these periods relate to modern music? What restrictions/barriers did composers and performers face during these periods? Music from Latin American, African, Chinese, Indian and Far Eastern traditions: How does Music reflect different environments and cultures? How does environment influence Music? What melodic, harmonic and rhythmic systems exist outside the Western world? Does Music serve a different purpose for people in other parts of the world? Composition: How do composers communicate specific ideas through their music? What do I want to achieve in each of my compositions? What elements do composers use to create specific effects in their music? Performance: What makes a good performance? How does my repertoire reflect a wide range of my most advanced skills on my instrument? What different types of preparation should be carried out before performing? To what degree should a performer adhere to a composer s performance markings?

12 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.