Music - Twyford C of E High School
Transcription
Music - Twyford C of E High School
“I have come that you might have life & have it to the full” John 10 v10 Twyford Church of England High School EDEXCEL MUSIC ‘AS’ LEVEL HANDBOOK 2014-15 UNIT 1 Performing Music UNIT 2 Composing UNIT 3 Developing Musical Understanding “Music is the universal language of mankind” – Henry Wadsworth Longfellow General Introduction What is A level Music? The A level Music course is a balance of coursework and examinations. Coursework is worth 60% of the course: Performing (30%) and Composing (30%). Students are expected to supplement class lessons with individual instrument tuition, instrument practice, and independent study time on composition tasks. The remaining 40% of the course is assessed in a 2-hour examination at the end of each year of study. Regular homework tasks are set to support learning in this unit. Entry requirements Entry to KS5 courses assumes that students have at least six GCSEs at grade C and above. To study music you must have a grade A or B at GCSE. In addition we expect all AS level music students to have passes grade 5 theory and to be learning a musical instrument/voice at grade 5 or above standard. How the course is taught? There is no setting in class. However all lessons are differentiated to ensure that the needs of all students are catered for. We aim for all students to achieve the highest grade they possibly can and we hope that you will find the course challenging and interesting. We offer additional support for students who are weaker at any area of the course eg. theory lessons. What Can I do with A level Music? The A level Music course provides an excellent basis for lifelong learning and for Higher Education courses in Music, and many students who take A level Music continue their studies at university. The three units of the course can lead to studies in performance, composition, musicology, ethnomusicology, sound engineering, conducting, popular music and jazz, and music education Section 1: Course overview Syllabus: Edexcel Advanced Subsidiary GCE in Music (8MU01) For more information visit: www.edexcel.org.uk/gce2008 AS Units: These are all examined in May/June 2014 Unit Unit 1: Performing Requirement 5-6 minute performance of a piece (or collection of pieces). Notated or improvised performances may be submitted Music must be at grade 5 standard or above Unit 2: Composing Section A: One composition based on a brief set by EDEXCEL Section B To write sleeve notes describing how the composition has been researched and constructed. Unit 3: Further Musical Understanding Section A and B : Listening and Analysis Questions based on Instrumental Music and Vocal Music (See AS guide and specification for details of set works) Section C: Understanding Chords and lines Unseen questions on keys, chords, cadences, modulations and four part harmony Mark 30% of the total As marks (15% of the total GCE marks) Assessment: The exam takes place in April 2015 . It is assessed by the school and moderated by Edexcel 30% of the total A2 marks (15% of the total GCE marks) Assessment: The composition is completed in 14 hours of controlled time during the end of the Spring term and beginning of the Summer term The sleeve note is written in one hour of controlled time during the beginning of the summer term 40% of the total AS marks (20% of the total GCE marks) Assessment: 2 hour examination paper set in June 2015 and marked by Edexcel Section 2: Details of each unit: Unit 1 – Performing (30% of AS Marks) Unit description You are required to perform as a soloist and/or part of an ensemble. You can choose any style. Any instrument(s) and/or voice are acceptable as part of a 5-6 minute assessed performance. Notated or improvised performances may be submitted. Solo performance Performance from a score. You should learn to play accurately both pitch and rhythm. Observe directions of phrasing, articulation, dynamics and tempo. The performance must be fluent. The overall outcome should be effective in terms of communication, interpretation and style. You must perform with an accompaniment. This should usually be a piano or in the case of a jazz saxophonist this could be a double bass. You can use a backing track. Improvised performance. You should learn to play a chosen stimulus accurately and to exploit and develop its potential. You should pay attention to balance of unity and to structure generally. You should work on instrumental tone and technique and demonstrate the ability to handle a range of timbre and textures. You should recognise the importance of fluency and ensure that the overall outcome is effective in terms of communication, interpretation and style. You must provide a chord scheme or other stimulus together with any other details of your working methods. Ensemble Performance In addition to accuracy and other essentials of effective performance you should pay attention to balance and the demands of other parts. Maximum of 5 players including you. You must have a clearly defined role and play a part that is not duplicated How will it be assessed? 1. The performances must add up to 5-6 minutes worth and be one piece or a combination of pieces (solos and ensemble). However the pieces must be performed continuously for the required length of time. 2. The performance may be re-recorded at any time during the course to improve the outcome. 3. Study the assessment criteria with your instrumental teacher to understand how your work will be marked. Unit 2: – Composing (30% of Marks) Unit description During the course you will develop composition skills that lead to the creation of a final 3-minute piece in response to a chosen brief. You will also write a CD sleeve note to describe aspects of your final composition and explain how other pieces of music have influenced it. What do you need to learn? How to write for instruments and voices: efficient, sensitive and idiomatic handling of appropriate timbres and textures for chosen forces (including ICT) How to develop musical ideas within chosen forms and structures: understanding the principles of rhythmic, melodic and harmonic construction and the working of form and structure appropriate to the composition undertaken. You will need to study pieces in the style you are composing using the Edexcel Anthology of Music and other sources The final submission In September of each year Edexcel will publish on its website (www.edexcel.org.uk) a document entitled Unit 2: Composing. Section A will contain four composition briefs from which you will select one as a basis for a threeminute composition. Section B: You will answer three questions to provide information that could be used for a CD sleeve note to accompany your composition. Both sections of the examination must be completed under exam conditions (April/May 2015) The composition briefs These will be based on the following topics: Topic 1: Composing expressively You should investigate the creation of different moods and emotions in music (eg. by the manipulation of range, dynamics, tempo and key) and effective transition of mood to another either gradually or abruptly. You may write in any style for any instrumental forces, acoustic and/or synthesised, subject to the brief. Topic 2: Variation structures – composing idiomatically for instruments You should investigate variation type structures, and how these may demonstrate idiomatic instrumental writing. You should learn about practical ranges of the instruments you want to write for and commonly-used instruments techniques and timbres. Subject to the brief you may write in any style and for any combination of acoustic instrumental forces involving any two, three or four instruments, or for solo piano. Topic 3: Words and music: structure in vocal music You should investigate the relationship between the structure of vocal pieces and the structure of their texts by studying a variety of simple forms appropriate to the types of music you wish to compose (eg strophic, verse-plus-chorus structures). You may write in any style, for any vocal forces (with or without instrumental/synthesised accompaniment) subject to the brief. Topic 4: text, context and texture You should investigate how different types of text are characteristic of different performance situations and how textures and styles of singing may be varied in vocal music (eg through antiphony or variations in the number of parts). You may write in any style for any vocal forces (with or without instrumental/synthesised accompaniment), subject to the brief. Assessment: You will have a maximum of 15 hours to complete your composition. No help will be given during this time. You will have a maximum of one hour to complete the CD sleeve note. More information will be provided about this later. Unit 3 – Developing Musical Understanding(40% of Marks) Unit description You will study the following set works from the AS areas of study Instrumental Music J. S. Bach — Brandenburg Concerto No. 4 in G: movement I Mozart — Piano Sonata in B flat, K. 333: movement I Shostakovich — String Quartet No. 8, Op. 110: movement I Poulenc — Sonata for Horn, Trumpet and Trombone: movement I Vocal Music Monteverdi — Ohimè, se tanto amate Fauré — Après un rêve Tavener — The Lamb The Kinks — Waterloo Sunset Van Morrison — Tupelo Honey Familia Valera Miranda (Cuba) — Se quema la chumbambá What do you need to learn? Set works You will need to familiarise yourself with each work through listening and studying the scores. You will learn about the important features of the pieces and learn how to compare and contrast them by placing the music in context. You will learn to use the scores to identify harmonic, tonal and other musical features. Understanding chords and lines You will learn about chord progressions and cadences. You will learn about key relationships and modulations. You will learn how to harmonise a piece for SATB by learning how to create textures, voice leading, part doubling and spacing of chords. Harmonic and tonal vocabulary You will learn how to identify major and minor keys, modulations to closely related keys, chords and non-harmonic notes. You should know chords 1, V and V7 in root position and all inversions, 11 and IV in root and first inversion, V1 in root position, 117 in first inversion and diminished chords in first inversion and diminished 7th chords. Section 3: Overview of Schemes of Work for each unit Unit 1: Performing Music Unit 6MU01 Term Guidance and Preparation Autumn Half-Term (1) Induction task: performance one solo piece Autumn Half-Term (2) Spring Half-Term (1) Spring Half-Term (2) Summer Half-Term (1) Ensure each student is receiving individual tuition either privately or at Twyford. Instrumental/vocal tutors provided with information outlining requirements, standards and details about assessment Students create a practice timetable and log book to be signed by their instrumental tutor Students learn how to plan a well-balanced 5-6 minute programme. Prepare for November assessment Practice log book monitored Set targets based on November assessment Prepare for February/March mock examination Performances monitored Rehearsals with accompanist organised No. of lessons 3 Expectations and Outcomes Induction piece performed at year 12 music evening - October AS/A2 music evening By the end of the half-term have drafted the final 5-6 minute programme programme. 3 3 Perform one solo piece as part of the November Assessment Final solo programme organised Perform full 5-6 minute programme as part of February mock examination Set targets based on February mock examination Additional support is set up where needed Accompanists and rehearsals organised 3 Performances in assembly and in Classical Music Competition Any additional support given outside lessons Rehearsals with accompanist organised 2 AS Performance Exam (see calendar for date) Unit 2 (6MU02): Composing Term Guidance and Preparation Autumn Half-Term (1) Induction task: To have completed Grade V theory Preparation and Research/Basic skills for composition : No. of lessons 2 lessons 7 lessons Expectations and Outcomes -To be able to use a range of techniques linked to motifs, harmony, texture and orchestration within a given structure. What makes a good composition? The composition briefs will be announced by Edexcel during week 4 In the first three weeks, consideration is given to the planning process and exercises are carried out based on how to use structure, melody, harmony, texture etc. Students use suggested pieces to analyse and research other pieces of music based on their chosen brief. Identify within extracts: Structures and key schemes Types of chords and their use Types of texture Instrumentation Melodic development The research work is logged in their sleeve notes preparation document By the By the end of this half term All students should have chosen their brief, researched and analysed music , completed technical exercises and started to draft their composition and sleeve note Students draft ideas for their composition This work is linked to the lessons on chords and lines (unit 3 6Mu03) Autumn Half-Term (2) Preparation and research Time Work continues on finding ideas/ selecting text/ working out chords sequences/planning structures and drafting the composition. Following the results of the November assessment Individual support tutorials are given to each student in lessons, lunchtime or during period 6 Sleeve note log book is kept up-dated 9 lessons November assessment (see assessment schedule for details) By the By the end of this half term All students have drafted their composition, composed a complete section and updated the sleeve note Spring Half-Term (1) Students given feedback on Autumn term work using exam mark scheme and set targets for developing their piece. 9 lessons Students are given more time to develop their ideas based on the feedback. Further individual support tutorials are given to students. Sleeve note log is up dated. By the By the end of this half term All students have completed the preparation of their composition ready for controlled time. The sleeve note is submitted for marking. Composition is drafted, marked and ready for controlled times after half term Spring Half-Term (2) Assessment of composition draft – a 9 complete version lessons Further lessons are set aside for refining and ensuring the sleeve note is able to achieve full marks Assessment: the draft composition mark is used as part of the assessment process and fed into predicted grades By the By the end of this half term All students have nearly completed their composition and sleeve note. Summer Half-Term (1) 14 hours of blocked controlled time will be given for scoring and recording the composition. One hour of controlled time will be used for writing the final sleeve note 6 lessons If a Sibelius recording is not to be submitted students will need to organise time to record their composition either during or outside lessons as part of controlled conditions. Scores, audio files and sleeve notes completed and sent to exam board. Study leave By the By the end of this half term All student work has been submitted to Edexcel Unit 3: Developing Musical Understanding 6MU03 Term Guidance and Preparation Autumn HalfTerm (1) Development of music from Late Renaissance to Baroque No. of lessons 15 lessons Expectations and Outcomes 6 lessons Understanding chords and lines Induction task: Research the importance of the Italian madrigal in the 1500s. Research the structure of the development of the Concerto Grosso in the Baroque era with reference to Corelli, Bach and Handel Area of Study: Vocal Music Monteverdi — Ohimè, se tanto amate Area of Study: Instrumental music J. S. Bach — Brandenburg Concerto No. 4 in G: movement I Induction task: written document marked Analysis and listening By the end of the half term: Be able to write a context question - Bach Be able to describe how structure, tonality, melody, harmony, rhythm, texture instrumental/vocal forces are used in the set works and identify examples in the scores. Be able to answer listening questions based on the Monteverdi and Bach Context: identifying the main features in these works that identify the era in which they were composed Understanding chords and lines Identifying keys and modulation to related keys (major and minor) Hierarchy of chords Functional chords (I, IV V7) and their inversions plus the use of VI and II7: Identification in the set works, exam style questions. Learning how to organise triads into four part-harmony Non-chord notes: passing notes, auxiliary notes, anticipation, appoggiatura, suspensions. Identifying functional chord progressions: Cadences and circle of 5ths By the end of the half –term: Be able to identify keys, modulations, chords and their inversions in exam style questions and the set works Be able to identify nonchord notes Be able to arrange chords I, IV and V into four parts Autumn HalfTerm (2) November Assessment 15 lessons Development of music within the Classical Period Research project: to have researched and prepared a written document on the Classical period and be able to identify the main composers, stylistic features and conventions linked to piano music November assessment (see assessment schedule) By the end of the half term: Analysis and listening Be able to write a context question - Mozart Be able the compare the use of musical elements between the Bach and Mozart Be able to support your comments with examples located in the scores. Be able to answer listening questions based on the main elements for the Mozart and Faure pieces Area of Study: Instrumental Music Mozart — Piano Sonata in B flat, K. 333: movement I Development of music within the Romantic Period Area of Study: Vocal Music Fauré — Après un rêve Context: identifying the main features in these works that identify the era in which they were composed Understanding chords and lines How to choose the ‘right’ chord to harmonise a progression Four part harmony: Perfect cadences using conventional chord progressions (V7-I and IC-V7-I) Pre-cadential chords (II7b) Adding non-chord notes to create the stylistic features of a cadence found in a Bach Chorales Learning how to recognise chord progressions within different textures 6 lessons November assessment (see assessment schedule) By the end of the Autumn term: Be able to harmonise a perfect cadence in four parts and to add harmonic decorations. Be able to identify chord progressions and nonchord notes in the set works Be able to answer exam style questions based on identification of keys, modulations, chords and harmonic decorations Spring HalfTerm (1) Research Project: Music of the 20th Century: Shostakovich : to have researched and prepared a written document about Shostakovich and Chamber Music 15 lessons By the end of the half term: Analysis and listening Be able to write a context question- Shostakovich Be able the compare the use of the musical elements – Bach, Mozart, Shostakovich and Poulenc Be able to support your comments with examples located in the scores. Be able to answer listening questions based on the main elements featured in these set works 6 lessons By the end of the Spring half term be able to : develop the harmonisation of a perfect cadence in four parts in the style of a Bach Chorale harmonise an imperfect cadence answer exam style questions based on identification of keys, modulations, chords and harmonic decorations Area of Study: Instrumental Music Shostakovich — String Quartet No. 8, Op. 110: movement I Further development of music in the 20th Century Research project: to have researched and prepared a Neo-Classicism with reference to Stravinsky and Poulenc Area of Study: Instrumental Music Poulenc — Sonata for Horn, Trumpet and Trombone: movement I Context: identifying the main features in these works that identify the era in which they were composed Comparison: Comparison of how the musical elements (harmony, tonality etc.) are used between these works and those previously studied of the Baroque and Classical and 20th Century periods Understanding chords and lines Further development of the perfect cadence linked to melodic patterns eg. 3-2-1 or 3-2-2-1 (major and minor keys) Typical chord progressions for imperfect cadences Identification of diminished 7th chords Circle of 5ths Harmonic sequences Spring HalfTerm (2) February Assessment 15 lessons February Assessment By the end of the half term: Analysis and listening Be able to answer listening questions based on the main elements featured in these set works Further practice of comparison questions of the Instrumental pieces for homework Music of the Holy Minimalist style Area of Study: Instrumental Music Tavener — The Lamb Development of Popular song writing Area of Study: Vocal Music The Kinks — Waterloo Sunset Van Morrison — Tupelo Honey World Music Familia Valera Miranda (Cuba) — Se quema la chumbambá Context: learning how these two songs are typical of where and when they were composed Summer Term Understanding chords and lines 6 lessons Further identification of keys, chords, cadences, non-chord notes in exam style questions Further practice and development of four-part exercise By the end of the Spring half term: Be able to achieve high marks in all exam style questions linked to Unit 3 Revision and Exams Exams 10 lessons Section 4: Formal Assessment and Coursework Schedule Unit 1: Performing induction: assessment of one solo piece November Assessment 2014: one solo piece at least 3 mins long February Mock Exam 2015: 5-6 mins of performance April 2014: Final Performance examination/5-6 mins of music (see calendar) Unit 2: Composing November assessment: Completion of a technical exercises linked to melody, chords and textures February Mock examination Composition 1 researched and drafted. It will be marked and feedback given and ready for controlled conditions. Controlled time: Summer Term (Half-Term 1) 14 hours of blocked controlled time within and outside lessons Compositions completed by May 1st 2015 Sleeve note exam (one hour) by May 1st 2015 Unit 3: Developing Musical Understanding November assessment: Listening: Identification of stylistic features of : Monteverdi — Ohimè, se tanto amate J. S. Bach — Brandenburg Concerto No. 4 in G: movement I Instrumental Music: Context and Analysis question based on J. S. Bach — Brandenburg Concerto No. 4 in G: movement I February Mock examination Listening: Instrumental: Listening and Context question based on the recognition of stylistic features of one of the following: J. S. Bach — Brandenburg Concerto No. 4 in G: movement I Mozart — Piano Sonata in B flat, K. 333: movement I Shostakovich — String Quartet No. 8, Op. 110: movement I Poulenc — Sonata for Horn, Trumpet and Trombone: movement I Vocal: Listening Question based on the recognition of stylistic features of one of the following: Monteverdi — Ohimè, se tanto amate Fauré — Après un rêve One Comparison question (compare the use of one or two musical elements) based on The above instrumental pieces Final Exam: May 2014 Unit 3: Edexcel 2 hour exam in May 2015 (date will be set by the Edexcel) Tracking of Progress and Understanding Students’ progress will be regularly assessed through: Regular homework assignments in the form of practice exam questions and essays. In class students will be given practice questions and essays in timed conditions. All marks from class tests, homework and assessments will be tracked and when students are seen to be underperforming the following intervention strategies will be put in place: Students asked to re-sit a test/assessment Letter/email home to parents HOY informed Attending after school ‘catch-up’ sessions Study periods allocated for focussed work in school Intervention interview Mark schemes and Grade Boundaries: Unit 1: Performing Grade Total Max mark 40 A 33 B 29 C 25 D 22 E 19 A 44 B 39 C 35 D 31 E 27 C 47 D 41 E 35 Unit 2: Composition Grade Total Max mark 60 Unit 3: Developing Musical Understanding Grade Total Max mark 80 A 61 B 54 Section 5: General Expectations The Teacher will: Provide a wide range of performance opportunities in school for students to participate in towards their recital but will expect instrumental tutors to advise on repertoire and technical skills Give pupils detailed lessons on harmony and composing Teach lessons that analyse the main set works in the two Areas of study. Provide background information and resources from which students can extend their knowledge through independent study. (Notes which can be just learned off by heart will not be provided. The best learners are those that work on their own and read around the subject). Set homework that will test student’s knowledge and will be marked to give feedback on how to improve using mark schemes Provide practice questions so as to build up the skills required to answer the exam questions. Carryout formal assessments in November and February that cover all aspects of the course. The results will feed into predicted grades. Host individual tutorials to check progress and give support for each student’s chosen options. The Student will Be punctual for all lessons Attend all lessons and make up any work missed due to authorised absence Bring all the necessary equipment to lessons Commit a substantial amount of study time to either work on their compositions Research their composition topics, find examples of works in their chosen styles, analyse these and use them to help with their composing Prepare their Performance Exam with their instrumental/vocal teacher so that it is of the required standard and length. Together with their instrumental/vocal tutor ensure performances are accurate, musical and of the appropriate standard using the Edexcel mark scheme Commit a substantial amount of time to practice regularly and aim for the highest possible standard Participate in the music events provided by the department. Complete all homework on time related to composing, harmonyand analysis and hand it in on time. Make sure that any feedback given is adhered to by making corrections or carryout further independent research. Keep a tidy and up to date folder of all work carried out in class. Develop and build on information given in class by using books, the internet or working with other students. Adopt an independent attitude and create a bank of detailed notes for revision. ASK FOR HELP ON ANYTHING WHICH IS UNCLEAR ASAP AND DO NOT LEAVE THIS TO ONE WEEK BEFORE THE EXAMS!!! Essential Basic Equipment Students must bring this basic equipment plus their text books to every lesson Ring Binder with dividers to store given resources, scores and assignments Black pen, pencils, rulers, hi-lighters and erasers Manuscript book (provided by department) A notebook for compiling a glossary Presentation of Work Students will be expected to keep a neat and orderly folder. All resources provided should be filed under headings so that they are easily accessible and manageable. Marks will be awarded for presentation of written work in line with the QWC expectations of Edexcel. Sanctions for missing homework, lessons and assessments Emails to HOY, Director of Music College (DMC) and Parents Making up missed work in study periods or after school Department report monitored by HOD and DMC For continuous poor attitude, a student will be asked to leave the lesson. Approach to lateness If a student is more than 10 minutes late to a lesson without a good reason they may be asked to leave the lesson The above sanctions will be applied for consistent lateness Presentation of Work Students will be expected to keep a neat and orderly folder. All resources provided should be filed under headings so that they are easily accessible and manageable. Marks will be awarded for presentation of written work in line with the QWC expectations of Edexcel. Sanctions for missing homework, lessons and assessments Emails to HOY, Director of Music College (DMC) and Parents Making up missed work in study periods or after school Department report monitored by HOD and DMC For continuous poor attitude, a student will be asked to leave the lesson. Approach to lateness If a student is more than 10 minutes late to a lesson without a good reason they may be asked to leave the lesson The above sanctions will be applied for consistent lateness Section 6: Preparing for lessons and Homework assignments Preparation Tasks What are these in music? These are short informal tasks that should take 15 minutes to prepare in advance of every lesson. Examples: o Researching a musical era, composer or musical examples and preparing brief notes o Annotating a score o Reading articles, sections from a text book, that will be used as a foundation of the lesson o Filling in a definition of key terms sheet to be used for analysis o Listening to musical examples How will they be monitored: o Class discussion o Quick spot checks o Class activities that rely on pre lesson preparation. o Students giving feedback to each other Failure to come prepared for the lesson will result in a student being asked to leave. Homework Assignments What is the difference between homework and preparation tasks? These are substantial pieces of work that test your understanding and give you practice at exam style questions. They should take at least one hour to complete and are set weekly Examples: o Listening Question question based on the Vocal extracts of music o Questions that compare the Instrumental set works o Harmony exercises o Analysis of a set work score o Short answer questions based on extracts studies How often will it be set? Harmony homework will be set once a week Set works homework will be set once a week Independent Study In addition to the work that we set, you will be expected to: o Practice your instrument/voice for at least one hour a day o Use one study period a day for composition o re-read notes provided and supplement these with further research and study o reading ahead about the research projects for the next set works Sample lesson preparation tasks Unit 3: Developing Musical Understanding /Analysis of a set work (4 lessons) Example: J. S. Bach — Brandenburg Concerto No. 4 in G: movement I (2014-2015) Lesson Content Lesson Instrumental Music 1 J. S. Bach — Brandenburg Concerto No. 4 in G: movement I Lesson Instrumental Music 2 of the Baroque: Concerto Grosso Structure, Tonality, and Texture Lesson Instrumental Music 3 J. S. Bach — Brandenburg Concerto No. 4 in G: movement I Melodic structure: motifs and their development Lesson Instrumental Music 4 J. S. Bach — Brandenburg Concerto No. 4 in G: movement I Lesson Prep task Level 3: Research the development of the Baroque Concerto Grosso and a brief history Level 3 Listen to the work. Outline the Ritornello form structure and how the tonality defines this. Level 3 Using resources, annotate the score outlining structure and main motifs Locate precise examples (bar numbers etc) that can be used in future essays Learn key features of this piece that demonstrates that it was composed in the Baroque period Activity Research Assessment/Review/Tracking All students have an A4 presentation about the key features of the Baroque Concerto Grosso that will introduce the set work. Analysing Class discussion: spot check. Information used as a starting point for the analysis of the work Analysing Learning and remembe ring Feed back to the rest of the class Score fully annotated and locations of examples recorded in coursework book. Information to be used as a structured question task. Timed question in class Summary of key features linked to the musical elements Example of Homework Essay: Compare the use of Structure and tonality in J. S. Bach — Brandenburg Concerto No. 4 in G: movement I and Mozart — Piano Sonata in B flat, K. 333: movement I Independent Study In addition every student is expected to read through notes provided in class each evening and make additional notes of their own. It is a good idea to summarise the key points raised in each lesson for future revision Section 7: Resources Text books: You will be provided with the following Edexcel AS Music Study Guide (pub.Rhinegold) AS Harmony Workbook (pub.Rhinegold) AS Listening Tests (pub.Rhinegold) Recommended extra resources to purchase: The AB Guide to Music Theory by Eric Taylor (part 1 and 2) £8.25 each New Anthology of Music (pub. Peters Edition) (£30.00) J.S. Bach's 371 Harmonized Chorales And 69 Chorale Melodies With Figured Bass, as revised, corrected and edited by Albert Riemenschneider. (£8.95) Harmony in Practice [Paperback] by Anna Butterworth (£16.15) Wider Reading: History of Western Music (Grout) Grove Dictionary of Music Classical Music Magazine (pub Rhinegold once a fortnight) Useful Websites www.choraleguide.com www.wikipedia.org http://www.ltscotland.org.uk/learnlisteningonline/index.asp http://library.thinkquest.org/15413/theory/theory.htm http://www.youtube.com Theory www.takenote.co.uk%2Fcats Practica Musica/theory www.ars-nova.com Listening: Radio 3 Classic FM Concerts broadcast on BBC 4 Class and Revision materials Additional materials will be provided by the department as the course progresses. Copies of these can be found in: Student T Drive/Music/AS music/Instrumental or Vocal music 2014-15 Section 8: The Level 4 Music Programme Year 12 What is a level 4 music student? Someone who Loves this subject Wants to become an expert in a particular field of music–orchestral performer, solo performer, music teacher (school or peripatetic), composer for film or TV, song writer, music therapist, work in musical theatre etc Monitors their own progress and adapts accordingly –reflects on feedback from performances, written assignments, composing tutorials and will be determined to do even better by setting themselves more challenging targets, seeking out further support, creating additional resources and taking up further performance opportunities. Enrichment: attends a wide range of musical activities at Twyford eg. Chamber Choir, Gospel Choir, Symphonic Orchestra, chamber groups Out of School interests: In addition to school musical enrichment, may also be involved in a number of musical activities out of school eg. Junior music school at a conservatoire, Ealing Junior Music School, Ealing Youth Orchestra, additional private tuition Instrumental/vocal practice: does at least one - two hours each day –(see lesson preparation and homework) Contributes to the wider musical life of the school (see community service) Wants to go to a conservatoire or top university to study music Conservatoires: Royal College of Music Royal Northern College of Music Royal Academy of Music Guildhall School of Music and Drama Trinity College of Music Birmingham Conservatoire See prospectus for each conservatoire for entry requirements Universities (and usual entry requirements): Oxford and Cambridge (A*AA plus conditional place based on interview) Durham University (AAB) York University (ABB) Bristol University (AAB/BBB plus grade 5 theory and basic piano skills) Leeds University (ABB) Birmingham University (AAB) Nottingham University (ABB) Manchester University (AAA/AAB) Southampton University (ABB) Kings College London (AAB) Goldsmiths (London University) (ABB) Sheffield University (ABB) Most of these universities will also take into account your results of grade instrumental/vocal examinations. Most would expect you to be grade 7/8 and some ask for basic keyboard skills (see UCAS for more details) The criteria to be a level 4 student in music are: Target of a grade A in this subject or projected a grade A based on internal assessments Working at grade 7/8 on a musical instrument or voice Working at grade 6/7 theory What do you need to do to get an A* in music See grade boundaries for each unit. In addition: Performing: Be able to perform music at Grade 7/8 level with tremendous flair and musicianship. This involves being 100% accurate in all aspects of notation and performance directions and also being able interpret the music in a musical and convincing way. Your performance must be secure and confident and you should be able to connect with your audience. Composing/Composition techniques: It is essential that you have a very thorough understanding of music theory especially harmony. You can gain extra knowledge and practice by taking grade 6 or 7 theory. In composition an A* student will have adopted an individual style and may be very creative in the way they use any of the musical elements. It is essential to research the works of other composers especially those of the 20 th century to draw inspiration from as well as learn new techniques. Listening/musical understanding: Have an in depth knowledge of the development of musical history and how music has changed over time. It is essential to listen to and if possible perform music from a wide range of musical styles so as to really understand the key characteristics of particular eras and composers. What sorts of things would a level 4 student be expected to take part in Musical enrichment Community Service Additional learning Opportunities including work experience All of these are detailed below Section 9: Musical Enrichment at Twyford Compulsory attendance and participation in the following ensembles is considered part of the course: The Chamber Choir as this develops good aural skills and gives students the opportunity to learn more about a range of different choral styles necessary for the listening paper Symphonic Orchestra/Jazz Orchestra/Concert Band/Popular Ensemble In addition students will be expected to attend or organise: Booster classes eg. theory or additional harmony lessons Small chamber ensembles eg. Popular bands, String Quartet, Jazz ensemble, Section 10: Stretching the Most Able Conservatoires We organise workshops and master classes with our neighbouring Conservatoire, the London College of Music/West London University and other institutions. In the past these have included: Composition workshops and individual tutorials Piano master class followed by concert Preparing for Oxbridge interviews Extension activities in class: Level 4 students will be expected to research and analyse additional works by composers being studied. Visits We will be organising visits to concerts to embrace wide range of repertoire Section 11: Community Service Leadership of whole school music activities: Examples: 1. Membership of the Music Council 2. Organisation of the Inter-House Music Competition 3. Organising Music for assemblies 4. Organisation of end of term concerts and events such as the Popular Music Competition and lunchtime concerts Start date: Beginning of Autumn Term Coaching and Leading music groups: Involvement in leading, coaching or teaching a group enables students to further develop their own musical skills as well as administrative skills. Examples: 1. Junior wind, string or brass ensemble 2. Bands (Rock or Jazz) 3. Junior Choir: coaching sectionals, taking registers, chasing up absentees Start date: Beginning of Autumn Term Learning Support in KS3 and KS4 music lessons Examples: 1. Working in KS3 music lessons and assisting the teacher with aspects of music technology, composition and theory 2. Working with students on individual composition assignments 3. Helping GCSE student to prepare their performances Start date: Beginning of Autumn Term How will this work be monitored? Registers Impact of help on student’s progress Quality of performances in public events Section 11: Additional learning opportunities and Work experience In addition to lessons A level Music students should take advantage of the following to develop their appreciation and understanding of music: Examples: Trips to concerts Workshops in and out of school led by professional musicians Subject based day trips to leading institutions eg. London College of Music, Institute of Education Carryout relevant work experience opportunities Examples: Basic instrumental tuition Music shop London Concert Hall eg. South Bank, Wigmore Hall Orchestra eg. English Chamber Orchestra based in Ealing Section 12: Extended Project (EPQ) If you are a student on the Twyford Accelerated Programme (TAP) you will be completing an extended project as part of this programme. This is an opportunity to explore an area of interest related to a subject you studying. An Extended Project: Provides extra UCAS points (equivalent to an AS level) including the opportunity to get an A* at AS (not usually available at AS-Level qualifications) Demonstrates an enthusiasm for Music beyond A-Level For those who are considering a Music degree, it is useful in confirming to universities that this is the path they wish to follow Previous Music EPQs include: “How have Maths and Logic influenced development in Harmony Techniques?” “Why have some composers felt compelled to use nationalistic characteristics in their music” with special reference to Shostakovich Student comments have included: “I really enjoyed it and I’m glad that I did it, however it was a lot of work, but worth the experience, qualification and advantage it has given me over other pupils applying to university.” Section 12: Celebrating Success and Student voice The Music Notice board : “Music is the universal language of mankind” – Henry Wadsworth Longfellow The following information will be displayed: Music Awards How to achieve an award in music eg. Edward Burrell Trophy, Subject prizes for Prize giving, David Clegg award for outstanding music leadership How to showcase work to other students In assemblies, concerts Lower school lessons How to find out about past students experience Biographies of past students with their contact details Invitation for past students to come into school and give talks, performances and careers advice How to get involved in Community Service (see section 10) How to give feedback on music at Twyford How to be a member of the music council Information on Concerts, Open Days and Competitions Section 13: Induction into Year 12 In preparation for the AS Music Course, you must carry out the following Induction tasks: Performing Prepare a solo performance which will eventually be performed in the A level showcase in early October Harmony If you have not passed Grade 5, complete a theory paper to be marked Musical Understanding Research the Italian madrigal Monteverdi — Ohimè, se tanto amate Research the structure of the Concerto Grosso with reference to J. S. Bach — Brandenburg Concerto No. 4 in G: movement I You should present this as a word processed document (not power point). References should be made to specific pieces. How will the induction tasks be assessed? Performance of solo piece recorded and marked Marked theory paper and feed back Marked research project which will be used as preparation for the unit 3 understanding lessons Who to contact about the course The course will be delivered by Ms Bryant (Head of Academic Music) You should talk to your teacher in the first instance if you have any questions or concerns about your progress or organisation of the course. You can also email Ms Bryant: [email protected] Information about the music council, community service, performing opportunities can be obtained from Mr Francis (Director of the Music College) [email protected] Information about instrumental/vocal tuition is available from the Music College Office or from Karen Houlihan [email protected] “Music expresses that which cannot be said and on which it is impossible to be silent” Victor Hugo