GCSE Music First teaching: 2016 First assessment: 2018

Transcription

1 GCSE Music First teaching: 2016 First assessment: 2018 Specification overview Unit 1: Performing (35% of qualification) Internally assessed, externally moderated. Minimum of 4 minutes for all performances (maximum 6 minutes). A minimum of two pieces, one of which must be an ensemble of one minute duration. The second and subsequent pieces may be either solo or ensemble or a mixture of both. One piece must demonstrate a link to an area of study. Technology options available. A programme note on the piece linked to the area of study. Assessment in year 11 only. Unit 2: Composing (35% of qualification) Internally assessed, externally moderated. A minimum of 3 minutes for both compositions (maximum 6 minutes). Two compositions, one of which must be a response to a brief set by WJEC (released each year on September 1st of year 11). The second piece is a free composition for which learners set their own brief. An evaluation of the piece composed in response to the brief set by WJEC.

2 Unit 3: Appraising (30% of qualification) Externally assessed listening and appraising examination One hour approximately Based on the four areas of study Musical Forms and Devices Music for Ensemble Film Music Popular Music Assessment Objectives AO1 (30%) Perform with technical control, expression and interpretation AO2 (30%) Compose and develop musical ideas with technical control and coherence AO3 (20%) Demonstrate and apply musical knowledge AO4 (20%) Use appraising skills to make evaluative and critical judgements about music Assessment Objectives GCSE Music Assessment Objectives AO1 AO2 AO3 AO4 Total Unit 1: Performing Unit 2: Composing Unit 3 Appraising Overall weighting 30% 5% 30% 5% 20% 10% 30% 30% 20% 20% 35% 35% 30% 100%

3 Subject Content Musical Elements Through the four areas of study, learners will gain knowledge and understanding of musical elements. The list at the back of the specification is an exhaustive list of features which learners should recognise and understand and use in relation to musical elements. All musical elements can be taught through the four areas of study. Understanding and use of musical elements will be assessed in all three units. Subject Content Musical Context Through the four areas of study, learners will gain knowledge and understanding of musical contexts including: the purpose and intention of composers, performers and those who commission music the effect of the occasion, audience and choice of venue on the way music is composed and performed how music is created, developed and performed in different social, historical and cultural contexts. Understanding of musical context will be assessed in all three units. Subject Content Musical Language Through four areas of study, learners will gain knowledge and understanding of musical language including: reading and writing treble and bass clef staff notation in simple time reading treble and bass clef staff notation in compound time roman numerals for chords I, ii, iii, IV, V and vi in a major key contemporary chord symbols for chords within a major key e.g. C, Dm, Em, F G(7) and Am reading and writing key signatures to four sharps and flats musical vocabulary related to areas of study. Musical language will be explicitly assessed in Unit 3, although it is hoped that learners will also develop their knowledge and understanding of musical language through Units 1 and 2.

4 Subject Content Areas of study The areas of study enable teachers to follow: an integrated teaching and learning approach to the three assessed skill areas by providing opportunities for learners to perform, compose and appraise music within each area of study the areas of study provide opportunities to study music from a range of genres and styles without expecting learners to develop a detailed musical chronology areas of study provide opportunities to study the music of Welsh composers and performers each area of study has a specific learning focus whilst the knowledge and understanding in each is transferrable to the others. Area of study 1: Musical Forms and Devices Learning Focus: Structure and compositional devices 100% of teachers who responded to our survey requested that we retain this area of study from the legacy specification. This area of study focuses on the music of the Western Classical tradition however, the knowledge, understanding and skills is vital for and transferrable to the other three areas of study. This area of study is the only one which does not focus on a specific genre of music and learners may study any genre of Western Classical music which focuses on binary, ternary, minuet and trio, rondo, variation and strophic forms. Through studying the specified compositional devices learners will improve their composition skills. This area of study contains one prepared extract: Abdelazer Suite II: Rondeau: Purcell (1695). Area of study 2: Music for Ensemble Learning Focus: Sonority and texture This is a new area of study which focuses on four styles of music, chamber music, musical theatre, jazz and blues and Welsh folk songs/melodies. Learners learn the basic characteristics of different kinds of ensembles including vocal ensembles, jazz trios, rhythm sections, string quartets, basso continuo, sonatas and cerdd dant. Learners need not develop a detailed chronology of each genre, but they should learn to recognise the musical combinations outlined in the specification. Through studying the specified textural devices learners will improve their composition skills.

5 Area of study 3: Film Music Learning Focus: Sonority (timbre and tone colour), texture and melody 78% of teachers surveyed requested that we retain Music for Stage and Screen from the legacy specification and this area of study incorporates part of that. As well as focusing on specific elements of music, this area of study allows learners to consider various musical contexts, specifically, how composers respond to commissions and the effect of the audience, time and place. Film music is a popular genre for learner composers. Area of study 4: Popular Music Learning Focus: Sonority, structure, harmony and tonality This is a new area of study and focuses on rock and pop and fusion. There is one prepared extract within this area of study: Handbags and Gladrags Stereophonics This area of study reflects learner interest in various genres of popular music. Learners need not develop a detailed chronology of pop music but should recognise basic features of genres including rock, soul, hip-hop, reggae, ballad and pop. Unit 1: Performing Standard is broadly equivalent to grade 3 in GME. Links to areas of study can be interpreted in a number of ways. It is important that the learner s part is not doubled in an ensemble. An ensemble should have between two and eight live performers. Technology options are included but there must still be an ensemble performance with a live performer.

6 Selecting Music for performance One of the pieces performed (solo or ensemble) must be linked to one of the four areas of study:- AOS 1 Musical Forms and Devices A stylistic link: An instrumental or vocal piece from the Baroque / Classical / Romantic era e.g. piano solo, string quartet, wind trio, vocal solo / duet. A link to form: A piece which uses either binary, ternary, rondo, variation or strophic forms e.g. folk song, solo / ensemble instrumental piece/ musical theatre piece in ternary form. A link to devices: A piece which makes a feature of a compositional device e.g. Use of ostinato, sequence, canon, alberti bass. AOS 2 Music for Ensemble A performance of an ensemble piece in either. Chamber music tradition e.g. string trio, wind quintet. Musical theatre tradition e.g. vocal duet / trio. Jazz & blues tradition e.g. swing band/ jazz trio. Welsh folk tradition e.g. vocal trio AOS 3 Film Music A performance of a piece of music used in a film or composed specifically for a film. Ensemble performance of film theme music arrangements e.g. Star Wars, Pirates of the Caribbean, Harry Potter etc.. Vocal solo of a James Bond Song e.g. Skyfall, Live and Let Die etc.. Realisation of own Film Music Composition.

7 AOS 4 Popular Music A performance of any genre of popular music. Solo performance of a pop song with backing track / live accompaniment. Participation in a rock band. A performance using DJ-ing / Rapping / Beat-boxing / Sequencing skills. Developing strong ensemble skills Ensemble performance is an integral part of music making...both inside and outside the classroom. Most topics can be introduced via a class or group performance. Understanding of musical elements, structures and compositional devices arise from discussions of their performance and music. Pupils and teachers can make their own arrangements to suit individual performing strengths...enhancing their composing skills. There is a wide variety of ensemble music available. Facilitating and monitoring performance Progress in performance should be regularly monitored. Peer assessment and teacher assessment must be built into the scheme of work : show-backs in class of solo/ensemble work lunchtime /after-school recitals, where pupils outside the class are involved evening concerts to enable outside performers (teachers/parents) to participate.

8 The programme note Learners write a programme note for one piece which is linked to an area of study. The programme note will appraise the music chosen for performance and it is not an evaluation of their performance of the music. The programme note may be completed before the performance. The programme note should include: name of composer and link to the area of study an explanation of how 3-4 selected musical elements are used in the piece an evaluation of the technical demands of the piece. Assessment of Unit 1 Performing: AO1 30% of qualification, 72 marks Each piece is marked out 36 and adjusted using the table on page 36 of the specification. If more than two pieces are performed, the total mark for all pieces must be divided by the number of pieces and multiplied by 2 to give a final mark out of 72. The pieces can be performed at any time during the final year of the course, but final recordings must always be one unedited attempt. There is no limit to the number of attempts learners may have. The teacher must be present during the recording and the candidate and teacher must sign an authentication declaration. It is good practice to mark the work live at the time of performance, but this is not compulsory and not always possible if the teacher is acting as accompanist. Assessment of Unit 1 Performing: AO1 30% of qualification, 72 marks Each column within the assessment grid focuses on a specific aspect of performance and is marked out of 12 (pages 28 and 29 of specification). Learners are assessed on accuracy of pitch and/or rhythm, tempo and response to performance directions technical control of their instrument, equipment or voice including intonation, their ability to control and manipulate timbre (tone quality) and projection (dynamics) expression and interpretation including interpretation of style, communication with the audience, ensemble skills and/or balance with pre-recorded tracks. Guidance on assessment is provided in Appendix A of the specification.

9 Assessment of Unit 1 Programme Note: AO4 5% of qualification, 12 marks Writing skills are assessed in the programme note There is a marking grid on page 30 of the specification which assesses: explanation of the use of musical elements in the music understanding of style and context evaluation of the technical demands of the music. Unit 2: Composing Both compositions are composed in response to a brief, WJEC will set one brief and the learner sets their own brief for their free composition. Set briefs will always contain information about the occasion and/or the audience. The composition briefs are designed to allow any number of different valid responses. There will always be a choice of four briefs, each one linked to a different area of study. It is recommended that each piece is long enough to demonstrate development of ideas. Developing Composing Skills Learners are required to compose and develop musical ideas with technical control and coherence. Learners should be encouraged to keep a sketch/log book of ideas that have arisen from performing/listening stimuli. Initial ideas should then be developed, extended and manipulated using recognised processes and devices. Chosen elements need to be effectively manipulated. Chosen resources need to be controlled and appropriate to the style. The outcome should show structural organisation and stylistic coherence.

10 Presenting a graphic score When a notated score is unavailable and compositions are submitted as a graphic score/lead sheet, learners must include:- Details of resources/instrumentation Some notation of main melodic/rhythmic ideas Chord progressions used Devices such as ostinato, sequences, imitation etc.. Clear outline of sections. It should NOT be in essay format! Preparing to teach composing skills Build on previous knowledge from KS3 Composing ideas may arise from class topics, individual extension of group work, or individual free choice. Teach compositional skills through the elements of music: melody writing harmonic support variety of textural and rhythmic devices using sonority for appropriate effect control of structure. The Composition Log All compositions must be submitted with a score and a recording, although the score does not need to be fully notated (a detailed lead sheet with a written description can be substituted for a full score). All learners must complete a non-assessed composition log to authenticate the work. The log will require details such as: acknowledgements the relationship between the score and the recording process evidence candidate and teacher signatures.

11 Evaluating the Composition Learners are required to evaluate the composition composed in response to the brief set by WJEC. This is in addition to completing the composing log. Learners evaluate: how successful the piece is as a response to the brief how musical elements are used in the piece the effectiveness of the final outcome. Assessment of Unit 2 AO2 30% of qualification, 72 marks Each piece is marked out of 36 using the assessment grid on pages 44 and 45 of the specification. The free piece may be composed at any time during the course, but the piece composed to a brief set by WJEC must be composed during the final year of the course as briefs will not be released until September 1 st. Each column within the assessment grid focuses on a specific aspect of composition and is marked out of 12. Learners are assessed on creativity and development of musical ideas technical control of musical elements and resources structure and stylistic coherence. Assessment of Unit 2 AO4 5% of qualification, 12 marks Writing skills are not assessed in the evaluation. There is a marking grid on page 46 of the specification which assesses evaluation of: how well the composition fulfils the set brief how musical elements were used in the piece the final outcome including the recording accurate use of subject vocabulary.

12 Component 3: Appraising The listening and appraising exam focuses on the four areas of study. Every year there will be eight questions out of 9 marks each, two on each area of study. The prepared extracts will be assessed in every exam, accounting for two of the eight questions. The other six extracts will be on unprepared musical extracts. Questions will always focus on musical elements, musical contexts and musical language. This unit encourages learners to develop their appraising skills through the exploration of a wide variety of music linked to the four areas of study. Learners should develop their knowledge and understanding of :- musical elements...such as melody/harmony/tonality/structure/dynamics/timbre/texture/ tempo/rhythm/metre. musical contexts...such as purpose and intention of composers /effect of the occasion and venue/social, historical and cultural background. musical language...such as treble and bass notation/time signatures/key signatures/chord symbols/ musical vocabulary (see list of terms in Appendix C). Preparing to teach appraising: Group/class discussions of a recording or performance. Set individual listening tasks (with possible class presentation). Pupils keep a regular listening diary of pieces linked to each AOS. Pupils build up a vocabulary log of new words each week. Construct a class exemplar of words/terms encountered.

13 Integrating PCA in schemes of work Performing Composing Appraising Purpose is to build musical knowledge, understanding and skills. Each unit includes aspects of P, C and A relating to a chosen topic. Associated stimuli and targeted outcomes. Inclusion of differentiation techniques. Interaction can only happen at the level of understanding. Musical Forms and Devices APPRAISING Rhythmic motifs Melodic motifs Chords /Cadences Baroque features PERFORMING Class arrangement Group performance COMPOSING Improvisation Q & A phrases Melodic development Contrasting sections Preparing for the Appraising Exam The sample assessment materials are not an exhaustive account of what can be asked in the exam, and questions could appear in a different order. For example, the dictation question could be in any of the four areas of study. The following things will remain constant: the longer response question will always be on an unprepared extract there will always be a dictation score based question based on an unprepared extract there will always be a question on each of the prepared extracts the paper will always have 18 marks on each area of study the areas of study will always appear in order from 1-4 musical terminology tested in the exam will be taken only from the list provided in Appendix C of the specification.

14 Assessment of Unit 3 AO3 20% 48 marks and AO4 10% 24 marks 48 marks of the exam will focus on AO3 Demonstrate and apply musical knowledge AO3 style questions will include multiple choice, picking out features from a piece of music and recall of knowledge. Typical command words will include name, state, identify, underline, give, pick, insert, define. Assessment of Unit 3 AO3 20% 48 marks and AO4 10% 24 marks 24 marks of the exam will focus on AO4. Use appraising skills to make evaluative and critical judgements about music Some AO4 questions will require a longer response, however, there may still be some multiple choice questions which require critical judgement or evaluation where learners must consider more than one musical feature at a time. Typical AO4 command words will include, describe, explain, compare, contrast, complete (missing pitch or rhythm), find the difference. Resources for Teachers Supporting teaching and learning We are planning a number of resources to support teaching and learning. These include: class arrangements of the prepared extracts plus two other pieces interactive quizzes focusing on elements of music and areas of study GCSE Music text book (Illuminate) GCSE Music practice questions and revision guide (Rhinegold) teacher s guide term plans Facebook.

15 Resources for Teachers Supporting teaching and learning wjec.co.uk/qualifications/music/ Free subject specific resources available for all to download from our website resources.eduqas.co.uk Free WJEC digital resources to support the teaching and learning of a broad range of subjects. oer.wjec.co.uk Our free Online Exam Review allows teachers to analyse item level data, critically assess sample question papers and receive examiner feedback EXAMINING FOR WJEC We value the contribution you as experienced teachers and lecturers make in assessing students work, ensuring that candidates are given a fair result which accurately reflects their ability We appoint examiners to mark externally assessed work and moderators to review the original marking of teachers for internally assessed components or units We provide face-to-face training for examiners and moderators (appointees) prior to assessment work commencing Our senior examiners and subject officers provide support and advice during the assessment period

16 APPLICATION PROCESS Complete an application using the on-line application system available on the Appointees page of the WJEC website Once you have completed the initial registration, please make sure that you validate your account so that you can complete the application process When you have completed your application, remember to click submit on the homepage, to complete the process Remember to inform your referee of your application, as sometimes delays occur due to referees not completing the reference section On rare occasions, applicants may not be accepted due to a lack of relevant teaching experience Applicants may re-apply once they have gained sufficient experience Some applicants will be approved, but may have to wait on the reserve list until a suitable vacancy arises WE LOOK FORWARD TO WORKING WITH YOU Any Questions? Contact our specialist Subject Officers and administrative support team for your subject with any queries. Catherine.webster@wjec.co.uk Sara.evans@wjec.co.uk wjec.co.uk