Cambridge TECHNICALS. OCR Level 2 CAMBRIDGE TECHNICAL CERTIFICATE/DIPLOMA IN PERFORMING ARTS J/502/4867. Level 2 Unit 16 GUIDED LEARNING HOURS: 60

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1 Cambridge TECHNICALS OCR Level 2 CAMBRIDGE TECHNICAL CERTIFICATE/DIPLOMA IN PERFORMING ARTS Exploring Musical Composition J/502/4867 Level 2 Unit 16 GUIDED LEARNING HOURS: 60 UNIT CREDIT VALUE: 10

2 Exploring Musical Composition J/502/4867 LEVEL 2 UNIT 16 Aim of unit It is important to note that this unit focuses on composition and not technical skills. Although it is likely that the two competencies go hand-in-hand, it should, nevertheless, be possible for a learner to succeed as a composer at this level without necessarily being a good technical musician. It is assumed that learners already possess a secure grasp of music basics without which they will not be able to engage adequately with the compositional process. It will be of great assistance however if learners are equipped with the fundamental rules and methods of musical notation, although at this level it is entirely possible for this process to be realised on a computer equipped with appropriate software. Learners will be introduced to the ways that musical elements combine to produce different outcomes and how certain combinations can create specific moods, atmospheres and musical narratives. It is also important for learners to be introduced to the structural elements of music and how these are applied within the context of a given style or genre. 2

3 Exploring Musical Composition Level 2 Unit 16 ASSESSMENT AND GRADING CRITERIA Learning Outcome (LO) Pass Merit Distinction The learner will: The assessment criteria are the pass requirements for this unit. The learner can: To achieve a merit the evidence must show that, in addition to the pass criteria, the learner is able to: To achieve a distinction the evidence must show that, in addition to the pass and merit criteria, the learner is able to: 1 Be able to generate original musical ideas from starting points 2 Know how to extend, develop and manipulate musical material 3 Be able to form musical material into completed compositions 4 Be able to present compositions appropriately P1 create five original musical ideas that could form a basis for a composition P2 identify the techniques used to extend, develop and manipulate three original musical ideas P3 create a fully-formed musical composition, demonstrating the ability to handle musical elements appropriately P4 present musical material in a manner appropriate to the style/genre M1 compare the techniques used in two developments of contrasting styles M2 create a composition which demonstrates stylistic and musical understanding. D1 create a composition which demonstrates stylistic and musical understanding and creative flair. 3

4 Teaching content Be able to generate original musical ideas from starting points establishing tonality using chords/chord progressions writing melody tempo style. Know how to extend, develop and manipulate musical material chords, i.e. chord patterns phrases and repetition, tonic and diatonic chords rhythm, pitch elaboration, chromatics texture harmony. Be able to form musical material into completed compositions orchestration, i.e. choice of instrument(s) including voice working within structures, i.e. structure e.g. verse, chorus, bridge, middle eight, key change, coda, binary/ternary/strophic regulation and adjustment, i.e. harmony, tempo. Be able to present compositions appropriately basic forms of notation, e.g. accents, bar lines, clef signs, key signatures, rests, staff line, time signatures various forms of composition software, e.g. Sibelius First, Noteflight, Musescore etc. 4

5 Exploring Musical Composition Level 2 Unit 16 Delivery guidance Be able to generate original musical ideas from starting points Be able to form musical material into completed compositions It is important to introduce learners to the idea that musical composition can commence using any one of a number of musical elements as a starting point. These elements should be the focus of the teaching. Learners should have the opportunity to experiment practically with the key features, which might include using chord structures and progressions as well as different melodic material. Teachers should encourage learners to construct very simple compositions with each of these elements as the starting point. Analysing well known musical examples would be a useful tool to support learners work here. Learners should compose a series of very short exercises (five) which take key elements as starting points in a range of different styles. As the unit progresses, a range of different starting points can be introduced for learners to use as a basis for compositional development. It is important that there is a thorough process of teacher-guided review and evaluation to help learners understand what works and what doesn t and why. Practical workshops which allow students to try out and hear their ideas would be a useful learning tool. Know how to extend, develop and manipulate musical material Once again this should be a practical process and learners existing skills and/or prior learning and knowledge will determine the content. Learners should be encouraged to experiment using either computer software and/or live instrument(s). It may be that the teacher presents learners with a ready-made musical phrase which contains a set of the basic compositional elements and then asks learners to explore the piece by means of manipulation of these elements and the addition of newly introduced concepts such as rhythm or harmony. Whatever the source, the musical ideas should be different from the five produced for LO1. This trial and error process should be progressive and recorded and evaluated at regular intervals so that learners may review their work and have the opportunity to discard or refine their compositional ideas and process. The assessment does not require learners to reproduce the techniques, simply to identify them but clearly, the more practical application they can engage with the better. It would be helpful at this stage to encourage learners to take a break from compositional practice and go back to listening. Carefully selected repertoire may be used in listening exercises with the teacher pausing and commenting on compositional elements and the way they are being used in the recordings. It may be helpful at this stage to analyse in some detail a range of popular contrasting pieces and, wherever possible, the visual component of computer software packages should be used to good effect especially where some of the musical qualities are more complex and therefore harder to discern or follow in listening mode alone. Be able to present compositions appropriately Compositions could be presented in written format or using computer software. Ideally the composition should be playable live in the form in which it has been written and by the instruments designated by the composer. Learners should be fully conversant with any software used and able to generate a clearly defined set of instructions or a score which could be used by others with no prior knowledge of the compositional process. It is important therefore that teaching time is allocated to getting the learner fully accustomed to the equipment and wholly conversant with whichever form of notation is to be adopted and used for presentation and performance. 5

6 Suggested assessment scenarios and guidance on assessment Assessment and Grading Criteria P1 Using musical notation or designated computer software produce five separate musical ideas/phrases that can be reproduced on a specified instrument. Audio recordings of all five ideas should be generated by each learner and retained by the centre for moderation. Assessment and Grading Criteria P2, M1 Using three different musical ideas/phrases from P1, add a commentary or marginal notations using appropriate technical vocabulary to show how these may be extended, developed or manipulated. For M1 learners will discuss details of two contrasting developed ideas and compare the techniques. This should be evidenced in the log books kept by the learners. This should be submitted for moderation and supported by a witness statement by the teacher indicating the criteria achieved by the learner. Assessment and Grading Criteria P3, M2, D1 Using a nominated instrument(s) and/or computer software for P3, learners will create a fully formed musical composition in response to a given non-musical stimulus (e.g. an animal, emotion or colour). The composition may be in any style or genre and must be recorded/scored manually or electronically using correct musical notation and terminology throughout. Learners should document the creative process from intention through development and final realisation. It is recommended that learners experience this process several times before assessment takes place using a variety of stimuli in workshop sessions. Audio samples should be recorded to each individual learner s audio file for future reference. The final composition should be between two and three minutes in length. M2 should be awarded where the learner is moving towards an accomplished composition and D1 if the learner has fully embraced the style and is displaying real skill and flair in their composition. Assessment and Grading Criteria P4 Learners must present notated scores or computer printouts which demonstrate how one idea could be played, in three different styles or genres. This should include musical notation indicating playing guidance such as the intended time signature/tempo, expression markings etc. 6

7 Exploring Musical Composition Level 2 Unit 16 Resources Learners should be given access to keyboards and ideally the following: computer-based studio recording facilities music notation software a range of live instruments as required. Some of the many available websites: Links to NOS Suite Ref National Occupational Standard Music Performers and Composers CCSMPR8 Compose music in music styles CCSMPR9 CCSMPR10 Compose music Compose music collaboratively 7

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