Scheme of Work Music

Scheme of WorkMusic

REVISED GCSE

This is an exemplar scheme of work which supports the teaching and learning of the Music specification

GCSE Music Contents Page Core Area of Study: Repeated Patterns in Music 5 Optional Area of Study 1: Musical Traditions in Ireland 11 Optional Area of Study 2: Incidental Music 19 Optional Area of Study 3: Vocal Music 25 Resources 33 Appendix 1 38

CCEA Exemplar Scheme of Work: GCSE Music

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Introduction CCEA has developed new GCSE specifications for first teaching from September 2009. This scheme of work has been designed to support you in introducing the new specification. The scheme of work provides suggestions for organising and supporting students’ learning activities. It is intended to assist you in developing your own scheme of work and should not be considered as being prescriptive or exhaustive. Please remember that assessment is based on the specification which details the knowledge, understanding and skills that students need to acquire during the course. The scheme of work should therefore be used in conjunction with the specification. Published resources and web references included in the scheme of work have been checked and were correct at the time of writing. You should check with publishers and websites for the latest versions and updates. CCEA accepts no responsibility for the content of third party publications or websites referred to within this scheme of work. A Microsoft Word version of this scheme of work is available on the subject microsite on the CCEA website (www.ccea.org.uk/microsites). You will be able to use it as a foundation for developing your own scheme of work which will be matched to your teaching and learning environment and the needs of your students. I hope you find this support useful in your teaching. Best wishes

Roger Trigg Subject Officer Music E-mail [email protected] Telephone 028 9026 1200 (ext: 2296)


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Core Area of Study: Repeated Patterns in Music


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GCSE Music: Scheme of Work Core Area of Study: Repeated Patterns in Music Set works for this Unit: Pachelbel: Canon in D major Beethoven: Symphony No. 7 – ‘Allegretto’ (2nd movement) Holst: The Planets - ‘Mars’ Jenkins: Requiem – ‘Dies Irae’

Specification Content Learning Outcomes Teaching and Learning Activities

Resources

Students should develop knowledge and understanding of repeated music patterns through a study of the following pieces: Pachelbel: Canon in D major Beethoven: Symphony No. 7 – ‘Allegretto’ (2nd movement)

Students should develop knowledge and understanding of: Repetitive rhythmic

and melodic figures including ground bass, drone, ostinato and pedal;

Students should be familiar with the musical definitions of ground bass (basso ostinato), drone, ostinato, passacaglia, motif and pedal. Investigate the use of melodic and rhythmic ground bass as the foundation for many vocal, choral, instrumental and orchestral compositions in the Baroque era. Recommended listening: Passacaglia in C Minor (Bach), Dido’s Lament from Dido and Aeneas (Purcell), Crucifixus from B Minor Mass (Bach)

Bennett (1996) Fortissimo Chapters 6 and 10 Bennett (1989) Musical Forms Book 3 (pp 5–6)


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Specification Content

Learning Outcomes Teaching and Learning Activities Resources

Students should develop knowledge and understanding of repeated music patterns through a study of the following pieces: (cont.) Holst: The Planets – ‘Mars’ Jenkins: Requiem – ‘Dies Irae’

Students should develop knowledge and understanding of: modern compositional

uses of rhythmic, melodic and harmonic ostinati, such as 12 bar blues, riff and loop;

Investigation could be undertaken into individual instruments used to create drones, for example, bagpipes. Students could explore the use of ethnic instruments also used to create drones in indigenous folk music of Africa, India and Australia. Students should understand the harmonic framework which underpins 12 bar blues compositions, the rhythmic and motivic development of riffs used in modern songs and the electronic uses of loops and computer generated ostinati. Recommended listening: Tubular Bells I and II (Mike Oldfield) Thriller (Michael Jackson) Violin Concerto (Philip Glass)

Tutt (1993) First Assignment (pp 72–73) Allen (2002) Composing Matters (pp 48–49) www.chandrakantha.com/articles/indian_music/ Binns (1996) Composing: A Student’s Guide (pp 88–91) Allen (2002) Composing Matters (pp 46–47, 50–51) Bennett (1996) Fortissimo (pp 58–60) www.bbc.co.uk/1xtra www.trugroovez.com


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Students should develop knowledge and understanding of repeated music patterns through a study of the following pieces: (cont.) (See Set Works listed on pp 6)

Students should develop knowledge and understanding of: the context and

historical perspective of each of the set pieces in the Area of Study;

the expressive

potential of repeated patterns to create atmosphere, provide rhythmic drive and intensity and create harmonic movement;

Students should be familiar with the ‘fingerprints’ of the Renaissance, Baroque, Classical, Romantic and 20th Century styles including the most important genres, stylistic features, dates, and the changing role of the composers in each of eras. Students should explore the dramatic potential of repeated musical patterns; those used to increase rhythmic drive, build up excitement and increase textural density. This may be through discussion, analysis and aural perception of adventure film soundtracks and programmatic compositions from the Romantic era to present day. Recommended listening: Star Wars, Superman, Raider’s of Lost Ark (John Williams) Gladiator, Pirates of the Caribbean (Hans Zimmer) Adiemus (Karl Jenkins) With the Wild Geese (Hamilton Harty) The Sorcerer’s Apprentice (Paul Dukas) An American in Paris (George Gershwin)

Bennett (1995) Investigating Musical Styles Chapters 3–6 Bennett (1996) History of Music Chapters 4–7 (pp 36, 47, 59) Lloyd and Terry (1992) Music in Sequence (pp 43–49) Bennett (1995) Enjoying Music Book 2 (pp 3–5) www.filmtracks.com www.karljenkins.com/adiemus_story.php Bennett (1995) Enjoying Music Book 3 (pp 4–6) Jenkins (1983) Portraits in Music Book 1 (pp 54–56)


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Students should develop knowledge and understanding of repeated music patterns through a study of the following pieces: (cont.) (See Set Works listed on pp 6)

Students should develop knowledge and understanding of:

the use of devices (such as ostinato) as compositional tools to extend and develop compositions; and

how digital use of

repeated patterns impacts on music in the 21st century.

Investigate the use of ostinati as the foundation of Theme and Variations in the Baroque Era, their development and extension in solo instrumental works of the Classical period and emergence of motific development in Variations from the Romantic era. Recommended listening: Serenade No. 12 in C minor K.388 and Ah, Vous Dirai-Je, Maman (Variations on Twinkle, Twinkle, Little Star K.265) (Mozart), Octet in F major D.803 (Schubert) Orchestral Suite No. 3 in G major Op.55 (Tchaikovsky) Variations on a Theme by Haydn Op.56a (Brahms), The Young Person’s Guide to the Orchestra (Britten) Investigation should be undertaken in the use and effectiveness of computer generated music, for example, in loops and samples. Recommended listening: Oxygene, Equinoxe (Jean Michel Jarre) Music of the Spheres: Harbinger (M.Oldfield) Experiment with samples and loops patterns in programmes like Ejay, Garageband and Audacity.

Bennett (1996) Fortissimo (pp 146–147) Bennett (1989) Musical Forms Book 2 (pp 52–53) Bennett (1996) Fortissimo Chapter 24 Bennett (1995) Enjoying Music Book 3 (pp 58–63) www.jeanmicheljarre.com www.mikeoldfield.com Lloyd (1996) Music in Sequence (pp 22–29) www.trugroovez.com


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Optional Area of Study 1: Musical Traditions in Ireland


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GCSE Music: Scheme of Work Optional Area of Study 1: Musical Traditions in Ireland Set works for this Unit: The Chieftains: Carrickfergus; Drowsey Maggie De Danann: The Cuckoo’s Nest medley; The Teetotlar/St Anne’s Millar’s Hill Accordian Band: Steadfast and True Ballygowan Flute Band: Le Reve Passe Ravara Pipe Band: Heights of Dargai/Battle of the Somme Bill Whelan: Riverdance - ‘Reel around the Sun’ (Corona/The Chronos Reel/Reel around the Sun); ‘Riverdance’



Students should develop knowledge and understanding of the musical traditions in Ireland through a study of the following pieces: The Chieftains: Carrickfergus; Drowsey Maggie

Students should develop knowledge and understanding of: traditional Irish dance

music;

Students should briefly investigate the historical background to Irish dance music dating back to the 17th and 18th centuries, when visiting teachers taught dance steps to local communities, up until the ceili band – accompanied dance of the present day.

www.ceolas.org/ceolas.html www.itma.ie


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Students should develop knowledge and understanding of the musical traditions in Ireland through a study of the following pieces: (cont.) De Danann: The Cuckoo’s Nest medley; The Teetotlar/St Anne’s Millar’s Hill Accordian Band: Steadfast and True Ballygowan Flute Band: Le Reve Passe Ravara Pipe Band: Heights of Dargai/Battle of the Somme Bill Whelan: Riverdance - ‘Reel around the Sun’ (Corona/The Chronos Reel/Reel around the Sun); ‘Riverdance’

Students should analyse the features of the principle dances in traditional Irish music, for example, the single, double and slip jig, reel, hornpipe, slide and polka. Students should have a clear understanding of strong and weak beats and study note groupings in compound time (6/8 and 9/8 in particular), and their significance in identifying different dance forms. Study should follow on the structure of traditional Irish dance music, the popularity of AABB form and the regular phrasing of strains. A brief outline of the modal character of the music should be given, concentrating on the most frequently used ionian, dorian and mixoolydian modes and highlighting the effects of the flattened 3rd, 6th and 7th notes. Discussion should take place around the almost exclusive use of sharp keys (G and D) for dance tunes.

www.irelandseye.com/dance.html Burgess (1987) Irish Music in GCSE (pp 22–24) Burgess (1987) Irish Music in GCSE (pp 33–39) www.standingtones.com/modeharm.html


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Students should develop knowledge and understanding of the musical traditions in Ireland through a study of the following pieces: (cont.) (See Set Works listed on pp 12)

The importance of ornamentation in traditional Irish music should be stressed, focusing on the cut, tip, roll, jig and reel rolls and the slide. How ornamentation is used to identify the style of the player in traditional music. Recommended listening: A wide range of melodies can be accessed via www.irishtune.info/top-tunes, www.ceolas.org/tunes/#pdf

O’Sullivan (1960) Irish Folk Music, Song and Dance Burgess (1987) Irish Music in GCSE (pp 40–42) www.artscouncil-ni.org/artforms/trad.htm


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Students should develop knowledge and understanding of: the instrumental

combinations associated with different styles and traditions (including fusion of other instruments), for example, synthesizers, ethnic percussion;

Study of the main instruments used including uilleann pipes, harp, (tin) whistle, flute, fiddle, box (accordion, concertina, melodeon) banjo and the bodhran. Discussion of the importance of informal and impromptu music-making and the significance of the aural tradition as a means of preservation of melodies. Students should appreciate the wide variety of ensembles and their unique sound and style, for example, The Chieftains, The Dubliners, de Danann. The emergence of folk rock, with artists like U2, Paul Brady, Christy Moore, Van Morrison, The Pogues, The Cranberries, Bothy Band and Horslips should be evaluated and the effect on music and musicians from other countries understood. Recommended listening: Various excerpts from the soundtrack to the BBC programme Bringing It All Back Home (1991) (BBC Enterprises) Blas Ceoil (BBC 2 TV Series)

www.ceolas.org/instruments CCEA Exploring Trad DVD – Instruments CCEA Exploring Trad DVD – Introduction – History www.thechieftains.com www.geocities.com/toeye/dubliners Burgess (1987) Irish Music in GCSE (pp 52–56) www.u2.com www.vanmorrison.com www.pogues.com www.cranberries.com www.horslips.ie


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Students should develop knowledge and understanding of: the variety of

instrumental formats and instruments incorporated in the Ulster-Scots tradition;

Students should heighten their awareness of the instrumental groups popular in the Ulster-Scots tradition and the music written for them focusing especially on fiddle, drums, pipes, fife, Lambeg drum, flute and song. Recommended listening: A wide range of melodies can be accessed via www.ulsterscotsagency.com/audioculture.asp Students should analyse the features of the principle dances in the Ulster-Scots tradition, for example, the strathspey, highland, barn and set dances, and those shared with other traditions in Ireland.

www.ulsterscotsagency.com/music.asp www.ravara.org CCEA Exploring Trad DVD – Instruments CCEA Exploring Trad DVD – The Music – Dance www.fmmpb.com CCEA Exploring Trad DVD – Dance


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Students should develop knowledge and understanding of: how musical traditions

in Ireland have affected and been affected by other world music and the export potential of both musical traditions; and

Investigate the role of traditional Irish and Ulster-Scots influences on World Music including the significance of works by composers such as Hamilton Harty, Shaun Davey, Bill Whelan and Brian Irvine. Students should be aware of the use of traditional dance rhythms and instrumental textures in music other than that created by home-grown talent. This should include understanding of Irish pop, rock and celtic inspired compositions from groups like Clannad, Anuna, Afro Celt Sound System, Belfast Harp Orchestra and solo artists like Sinead O’Connor and Rory Gallagher.

www.riverdance.com www.shaundavey.com www.billwhelan.com www.brianirvine.co.uk www.clannad.ie www.anuna.ie www.elevationgrp.com/anuna www.sinead-oconnor.com CCEA Exploring Trad DVD – Glossary


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Students should develop knowledge and understanding of: the commercial

implications associated with the performance and recording of music from these traditions.

Students should be made aware of the global market which exists for the culture and musical traditions in Ireland and multi-million pound business which thrives on its export. Students should understand the success of the global phenomenon which is Riverdance following its rise through the Eurovision Song Contest 1994.

Walsh’s (2007) Louis Walsh’s Fast Track to Fame www.culture.gov.uk/what_we_do/creative_industries/3270.aspx www.nimusic.com www.artscouncil-ni.org www.cultureireland.gov.ie www.musicbizacademy.com www.riverdance.com www.billwhelan.com


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Optional Area of Study 2: Incidental Music


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GCSE Music: Scheme of Work Optional Area of Study 2: Incidental Music Set works for this Unit: Mendelssohn: A Midsummer Night’s Dream – ‘Overture’ Grieg: Peer Gynt Suite – ‘Morning Mood’; ‘In the hall of the Mountain King’ Hans Zimmer: Pirates of the Caribbean (Dead Man’s Chest) – ‘Davy Jones Theme’ Ron Grainer: Dr Who theme – revised title theme (2005 series)

Specification Content Learning Outcomes Teaching and Learning Activities

Resources

Students should develop knowledge and understanding of incidental music and its use for stage, screen and television through a study of the following pieces: Mendelssohn: A Midsummer Night’s Dream – ‘Overture’

Students should develop knowledge and understanding of: music specifically

composed for film, television and plays and how the music is linked to the dramatic content of the work;

Students should investigate the history of music used for plays from the nineteenth century in the works of composers such as Beethoven, Schubert, Tchaikovsky, Grieg, Mendelssohn and Bizet and appreciate the close liaison of visual and dramatic arts with musical interpretation.

Bennett (1995) Enjoying Music Book 1 (pp 50–53) www.felixmendelssohn.com www.franzschubert.org.uk/works/theatre.html


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Students should develop knowledge and understanding of incidental music and its use for stage, screen and television through a study of the following pieces: (cont.) Grieg: Peer Gynt Suite – ‘Morning Mood’; ‘In the hall of the Mountain King’ Hans Zimmer: Pirates of the Caribbean (Dead Man’s Chest) – ‘Davy Jones Theme’ Ron Grainer: Dr Who theme – revised title theme (2005 series)

Recommended listening: Egmont Overture (Beethoven) Rosamunde (Schubert) L’Arlesienne (Bizet) Students should understand the musical terminology associated with incidental music, for example, entr’acte music, overture, interlude and intermezzo. Students should also appreciate the development of art forms such as ballet and the wealth of music commissioned for their production. Appreciation of the role of TV theme music in depicting character, setting scene and heightening drama and tension.

Binns (1996) Composing: A Student’s Guide (pp 122–125) Winters (1988) Listen, Compose, Perform (pp 174–177) Bennett (1990) Adventures in Music: Ballet www.brb.org.uk/in-the-business.html Murray (2002) ICT Activities for Music (pp 17–24)


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Students should develop knowledge and understanding of incidental music and its use for stage, screen and television through a study of the following pieces: (cont.) (See Set Works listed on pp 20)

Students should develop knowledge and understanding of: the development of

music for film, stage and television and the commercial effect this has had on the music industry;

Students should appreciate the commercial implications involved in the development of commissioned music for stage, film and television from the era of the silent movies, through the era of the Hollywood Musical, leading to music for blockbuster films. The significance of music commissioned by companies like the Royal Shakespeare Company and national orchestras, including the Ulster orchestra, should be outlined.

www.musiconfilm.net www.americancomposers.org/hollywood_chihara_article.htm www.ukscreen.com Block (2004) Enchanted Evenings: The Broadway Musical from Show Boat to Sondheim Swain (2002) The Broadway Musical: A Critical and Musical Survey www.ulster-orchestra.org.uk/about-us/orchestra/associate-composer.php www.rsc.org.uk/home


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Students should develop knowledge and understanding of: the power of music to

illustrate actual people, places or events and the historical context of each of the set works; and

Students should research the use of motifs to depict characters, time, place or emotion in music for stage, (including ballet and opera) film and television. Recommended listening; Final scene from Rheingold (Wagner) (use of leitmotif) Theme music from Psycho (Hermann) (use of rhythmic and melodic motifs) Students should investigate the story-telling which is the foundation of Grieg’s incidental music to Peer Gynt. Also the context of Mendelssohn’s portrayal of the characters in the Shakespeare play, A Midsummer Night’s Dream. Students should study how modern film composers use thematic motifs to identify characters or set the tone of a scene.

www.hans-zimmer.com www.musicfromthemovies.com Bennett (1989) Musical Forms Book 3 (pp 16–19) www.bernardherrmann.org Bennett (1995) Enjoying Music Book 1 (pp 54–57) www.filmtracks.com/titles/pirates_caribbean2.html Allen (2002) Composing Matters Chapter 25


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Students should develop knowledge and understanding of: the impact of the use

of electronically produced or manipulated sounds on the creation of themes.

Students should explore the ground breaking work of the BBC Radiophonic workshop in pioneering the digital manipulation for sound for TV theme music.

www.discogs.com/artist/BBC+Radiophonic+Workshop?noav=1 www.rongrainer.co.uk http://120years.net www.createdigitalmusic.com/2005/03/25/doctor-who-theme-behind-the-scenes-hear-the-themes


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Optional Area of Study 3: Vocal Music


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GCSE Music: Scheme of Work Optional Area of Study 3: Vocal Music Set works for this Unit: Handel: Messiah – Recitative: ‘There were shepherds’, ‘And the angel’ and ‘And suddenly’ Chorus: ‘Glory to God’ Aria: ‘Why do the nations?’ Schubert: Der Erlkönig (The Erl King) Stephen Schwartz: Wicked – Chorus: ‘One Short Day’ Duet: ‘What is this feeling?’ Snow Patrol: Run



Students should develop knowledge and understanding of vocal music through a study of the following pieces:

Students should develop knowledge and understanding of: vocal music used in

oratorio;

Students should be able to identify the most common vocal and instrumental components present in oratorio, for example, recitative, aria, duet, chorus, overture and orchestral interlude.

Bennett (1990) General Musicianship (pp 72–73) Bennett (1996) History of Music (pp 30–31)


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Students should develop knowledge and understanding of vocal music through a study of the following pieces: (cont.) Handel: Messiah – Recitative: ‘There were shepherds’, ‘And the angel’ and ‘And suddenly’ Chorus: ‘Glory to God’ Aria: ‘Why do the nations?’

Students should have an awareness of other vocal genres of the Baroque era, including opera, cantata and the Passion. Recommended listening: St. Matthew Passion (Bach) Dido and Aeneas (Purcell) Act 3 Cantata No 140 ‘Wachet auf’ (Bach) A sound understanding of the vocal ranges of individual voices should be encouraged and an understanding of the vocal textures possible including, for example, unison, homophony, polyphony. Students should focus on the background to the composition of Messiah, Handel’s use of Jennens’ libretto and the use of word-painting.

www.baroqueopera.com Bennett (1989) Musical Forms Book 3 (pp 47–49) (pp 5–6) (pp 36–38) www.bach-cantatas.com Binns (1996) Composing: A Student’s Guide (pp 191–192) Bennett (1996) Fortissimo Chapter 26 (pp 204–209) www.soundjunction.org www.gfhandel.org/ Bennett (1989) Musical Forms Book 3 (pp 43–46)


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Students should develop knowledge and understanding of vocal music through a study of the following pieces: (cont.) Schubert: Der Erlkönig (The Erl King)

Students should develop knowledge and understanding of: the German Lied and

its evolution in the hands of composers such as Schubert;

Students should study the origins of Romantic art song and song-cycles and focus on the various forms within the genre including strophic form and through-composed (durchkomponiert). Recommended Schubert listening: Im Frühling (In Springtime) – modified strophic form An die Musik (To Music) – strophic form Students should investigate the importance of accompaniments used in Schubert’s Lieder to conjure up pictorial detail. Recommended listening: Die Forelle (The Trout) Gretchen am Spinnrade (Gretchen at the spinning wheel) – a through-composed song.

www.artsongupdate.org Bennett (1989) Musical Forms Book 3 (pp 55–57) www.franzschubert.org.uk Bennett (1989) Listening Scores (pp 46–47)


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Students should develop knowledge and understanding of vocal music through a study of the following pieces: (cont.) Stephen Schwartz: Wicked – Chorus: ‘One Short Day’ Duet: ‘What is this feeling?’ Snow Patrol: Final Straw – ‘Run’

Students should develop knowledge and understanding of: vocal music in the

theatre and the artistic and commercial significance of Broadway and West End Theatre;

Various types of vocal character required in any one song with particular reference to Der Erlkönig and the dramatic roles of the Erlking, the Father and the boy. A brief overview of the development of The Lied in the hands of Schumann, Brahms and Wolf could be undertaken. Recommended listening: Wiegenlied (Lullaby) – Brahms Heiden Röslein (Heath rose) – Brahms Mondnacht (Moonlight) – Schumann Students should be aware of the wealth of music written for the stage in the 20th century from early Gilbert and Sullivan Operetta, the American influence of Gershwin, Cole Porter, Irving Berlin and Rodgers and Hammerstein, and the current popularity of works by Lloyd-Webber, Kander and Ebb, Boublil and Schönberg and Stephen Schwartz. Recommended listening: The Pirates of Penzance (Gilbert and Sullivan) Anything Goes or Kiss Me Kate (Cole Porter) Annie Get Your Gun (Irving Berlin)

Bennett (1989) Listening Scores (pp 46–47) Bennett (1989) Musical Forms Book 3 (pp 56–62) www.musicaltimes.co.uk/archive/obits/189705brahms.html www.culturekiosque.com/opera/reviews/rhecd13.htm Ganzl (2001) Musicals, The Complelte Illustrated Story Chapters 3, 5, 10 and 11 Bennett (1990) Adventure in Music Book 4 (pp 20–27) www.coleporter.org/bio.html www.pbs.org/wnet/broadway/stars/berlin_i.html


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Students should develop knowledge and understanding of vocal music through a study of the following pieces: (cont.) (see Set Works listed on pp 26)

South Pacific, The Sound of Music, or any Rodgers and Hammerstein musical collaboration. Joseph and the Amazing Technicolour Dreamcoat, Evita, Whistle Down the Wind or any Andrew Lloyd-Webber musical. Les Misérables or Miss Saigon (Boublil and Schönberg). Chicago (Kander and Ebb). Students should gain knowledge of the musicals of American composer Stephen Schwartz, from the earliest commercial success of Godspell, culminating in the most recent global popularity of Wicked. Students should appreciate the roles of West End and Broadway Theatres in the lives of composers and performers especially in the 20th and 21st centuries.

www.rnh.com/index.asp www.reallyuseful.com/rug/html/index.htm www.lesmis.com www.miss-saigon.com/educational/index.htm www.chicagothemusical.com Maguire (2004) Wicked: The Life and Times of the Wicked Witch of the West (The original novel) www.musicalschwartz.com/schwartz.htm www.wickedthemusical.com www.officiallondontheatre.co.uk/stats-and-facts/stats-and-facts-history www.nyctourist.com/broadway-theater-history.htm


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Students should develop knowledge and understanding of vocal music through a study of the following pieces: (cont.) (see Set Works listed on pp 26)

Students should develop knowledge and understanding of: modern vocal music

styles and the emergence of urban rap; and

Students should develop aural awareness of urban music styles including hip hop, garage, drum ‘n’ bass, R&B, funk, soul, rave and rap. Focus should be given to the key ingredients of each style. Focus should also be given to the key musical elements of hip hop: MC-ing (rapping) and DJ-ing (mixing, cutting and scratching) Students should become familiar with the development of the strophic song format from the early 1960s to the present day and appreciate the varying importance of the verse, chorus, intro, outro (coda), middle 8 and instrumental break throughout the decades.

www.bbc.co.uk/1xtra/events/rnbsensations/history/post90s/ http://tags.lyricsfreak.com/Funk/ www.localdial.com/users/jsyedu133/Soulreview/Understandingpages/musical.htm http://rapmusic.com/rapmusic/ www.bbc.co.uk/blast/music/ www.bbc.co.uk/radio1/onemusic/djing/ www.bbc.co.uk/radio1/onemusicdata/fameacademy/tips/noflash/dj.shtml Allen (2002) Composing Matters Project 23 Bennett (1996) Fortissimo Chapters 17 and 21 Binns (1996) Composing: A Student’s Guide Chapter 10 ABRSM, Sound Junction Create


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Students should develop knowledge and understanding of vocal music through a study of the following pieces: (cont.) Snow Patrol: Run (see Set Works listed on pp 26)

Students should develop knowledge and understanding of: the commercial

implications associated with music for live performance.

Familiarity with the rise of the band Snow Patrol, their distinctive sound, their approach to lyrics and the textural and timbral diversity of their songs is to be encouraged. Students should be aware of the commercial, organisational and promotional issues surrounding studio music performance (recording/radio/TV) and live shows. Students should also gain a basic insight into musical copyright as it affects musicians, composers, lyricists, record producers, promoters and agents.

www.soundjunction.org www.snowpatrol.com www.bbc.co.uk/radio1/onemusicdata/fameacademy/tips/noflash/work.shtml Walsh, Louis Walsh Fast Track to Fame www.bbc.co.uk/radio1/onemusic/industry/ www.mustard-mg.com/musbiz/overview.htm www.mustard-mg.com/musbiz/liveevent.htm www.mustard-mg.com/musbiz/ copyrightgeneral.htm


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Resources Textbooks ABRSM (2005) Sound Junction, Associated Board of Royal Schools of Music (CD-ROM) Allen, P (2002) Composing Matters, Heinemann Bennett, R (1990) Adventures in Music: Ballet, Longman Group UK Ltd Bennett, R (1990) Adventures in Music; Opera, Longman Group UK Ltd Bennett, R (1990) Adventure in Music Book 4, Longman Group UK Ltd Bennett, R (1995) Enjoying Music Book 1, 2 and 3, Cambridge University Press Bennett, R (1996) Fortissimo, Cambridge Univeristy Press Bennett, R (1990) General Musicianship, 6th edition, Cambridge Univeristy Press Bennett, R (1996) History of Music, 10th edition, Cambridge University Press Bennett, R (1995) Investigating Musical Styles, Cambridge University Press Bennett, R (1989) Listening Scores, Longman Group UK Ltd Bennett, R (1989) Musical Forms Book 2, Longman Group UK Ltd Bennett, R (1989) Musical Forms Book 3, Longman Group UK Ltd Binns, C (1996) Composing: A Student’s Guide, Thomas Nelson and Sons Ltd Block, G (2004) Enchanted Evenings: The Broadway Musical from Show Boat to Sondheim, 2nd edition, Oxford University Press Burgess, B (1987) Irish Music in GCSE – A Handbook for Pupils, Ronan Press CCEA, Exploring Trad DVD-ROM, Arts Council of Northern Ireland Everett, W and Laird, P (2002) The Cambridge Companion to the Musical, Cambridge University Press Ganzl, K (2001) Musicals, The Complete Illustrated Story, Carlton Books Hiscock, C and Metcalfe, M (1998) New Music Matters 11–14 Book 1, Heinemann Jenkins, D and Visocchi, M (1983) Portraits in Music Book 1, Oxford University Press Lloyd, W and Terry, P (1992) Music in Sequence, 1st Edition, Musonix Publishing Lloyd, W and Terry, P (1996) Music in Sequence, 2nd Edition, Musonix Publishing


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Maguire, G (2004) Wicked: The Life and Times of the Wicked Witch of the West, Harper Collins Middleton, R (1990) Studying Popular Music, Open University Press Murray, Smith and Crow (2002) ICT Activities for Music, Heinemann O’Canainn, T (1997) Traditional Music in Ireland, Music Sales Corporation O’Sullivan, D (1960 – reprint 1981) Irish Folk Music, Song and Dance, Mercier Press Swain, J, P (2002) The Broadway Musical: A Critical and Musical Survey, 2nd edition, Scarecrow Press Tutt, D (1993) First Assignments, Cambridge University Press Walsh, L (2007) Louis Walsh’s Fast Track to Fame, Random House Group Winters, G (1988) Listen, Compose, Perform 4th edition, Longman Group UK Ltd Websites http://120years.netwww.createdigitalmusic.com/2005/03/25/doctor-who-theme-behind-the-scenes-hear-the-themes http://rapmusic.com/rapmusic/ http://tags.lyricsfreak.com/Funk/ www.americancomposers.org/hollywood_chihara_article.htm www.artscouncil-ni.org www.artscouncil-ni.org/artforms/trad.htm www.artsongupdate.org www.anuna.ie www.bach-cantatas.com www.baroqueopera.com www.bbc.co.uk/blast/music/ www.bbc.co.uk/1xtra www.bbc.co.uk/1xtra/events/rnbsensations/history/post90s/ www.bbc.co.uk/radio1/onemusicdata/fameacademy/tips/noflash/dj.shtml www.bbc.co.uk/radio1/onemusicdata/fameacademy/tips/noflash/work.shtml


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www.bbc.co.uk/radio1/onemusic/djing/ www.bbc.co.uk/radio1/onemusic/industry/ www.bernardherrmann.org www.brb.org.uk/in-the-business.html www.billwhelan.com www.brianirvine.co.uk www.ceolas.org/ceolas.html www.ceolas.org/instruments www.ceolas.org/tunes/#pdf www.chandrakantha.com/articles/indian_music/ www.chicagothemusical.com www.clannad.ie www.coleporter.org/bio.html www.cranberries.com www.cultureireland.gov.ie www.culturekiosque.com/opera/reviews/rhecd13.htm www.culture.gov.uk/what_we_do/creative_industries/3270.aspx www.discogs.com/artist/BBC+Radiophonic+Workshop?noav=1 www.elevationgrp.com/anuna www.filmtracks.com www.filmtracks.com/titles/pirates_caribbean2.html www.felixmendelssohn.com www.fmmpb.com www.franzschubert.org.uk/works/theatre.html www.geocities.com/toeye/dubliners www.gfhandel.org/


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www.hans-zimmer.com www.horslips.ie www.irelandseye.com/dance.html www.irishtune.info/top-tunes www.itma.ie www.jeanmicheljarre.com www.karljenkins.com/adiemus_story.php www.lesmis.com www.localdial.com/users/jsyedu133/Soulreview/Understandingpages/musical.htm www.mikeoldfield.com www.miss-saigon.com/educational/index.htm www.musicalschwartz.com/schwartz.htm www.musicaltimes.co.uk/archive/obits/189705brahms.html www.musiconfilm.net www.musicbizacademy.com www.mustard-mg.com/musbiz/overview.htm www.mustard-mg.com/musbiz/liveevent.htm www.mustard-mg.com/musbiz/copyrightgeneral.htm www.nimusic.com www.nyctourist.com/broadway-theater-history.htm www.officiallondontheatre.co.uk/stats-and-facts/stats-and-facts-history www.pbs.org/wnet/broadway/stars/berlin_i.html www.pogues.com www.ravara.org www.reallyuseful.com/rug/html/index.htm


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www.riverdance.com www.rnh.com/index.asp www.rongrainer.co.uk www.rsc.org.uk/home www.shaundavey.com www.sinead-oconnor.com www.snowpatrol.com www.soundjunction.org www.standingtones.com/modeharm.html www.thechieftains.com www.trugroovez.com www.u2.com www.ukscreen.com www.ulster-orchestra.org.uk/about-us/orchestra/associate-composer.php www.ulsterscotsagency.com/audioculture.asp www.ulsterscotsagency.com/music.asp www.vanmorrison.com www.wickedthemusical.com


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Appendix 1 Musical Vocabulary This specification encourages the knowledge, understanding and use of musical vocabulary across all Assessment Objectives The following list is provided as an aid to teaching aural perception skills. It is not a requirement of the specification that students should know the definitions of these terms, however they should be encouraged to be able to identify them in the test of aural perception.

PITCH Pitch Melody Harmony/Tonality Notation

Pitch names Sharp, flat Natural Octave Intervals Range Register Unison Inversion Tonic note Sub-dominant note Dominant note Tones Semitones Tessitura Blues scale Blues notes Pentatonic

Movement by step Movement by leap Scalic movement Interval movement Chromatic Glissando Ornamentation Repetition

Consonance Dissonance Diatonic harmony Major Minor Modal Atonal Perfect cadence Imperfect cadence Tonic chord Dominant chord Sub-dominant chord Chords I, IV, V Transpose Pedal Drone Rock/Blues–Chord

Progressions Pattern Arpeggio Broken Chord Triads Modulation

Stave Score Treble/Bass clef notation Bar Double bar Key signature of set

works Time signature of set

works Phrase Articulation marks Dynamic signs Trill Grace note/acciaccatura

DURATION AND TEMPO Duration Metre Tempo Instructions

Note values Pulse/beat Triplet Dotted rhythm Phrase length Phrase structure

Simple duple Simple triple Simple quadruple Compound duple Irregular/Regular Syncopation Off beat Swing rhythm Polyrhythm Augmentation/Diminution

Adagio Largo Andante Moderato Allegro Vivace Presto Accelerando Ritardando Rallentando Allargando Rubato


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TIMBRE

Vocal sounds/Vocal combinations and electronic

effects

Instrumental Families Instrumental combinations/Ensembles

Treble Soprano Alto Tenor Bass Falsetto A cappella Choir Chorus Backing vocals Word painting Reverb Guitar pedal effects (e.g. distortion, flanger, wah-wah) Attack Decay Pitch bend

Brass Percussion Strings Woodwind Electric/Acoustic Guitars Keyboard Piano Harpsichord Electric piano Organ Electronic

Sampler Synthesizer Drum machine Sequencer

Digital effects/manipulation

String orchestra Orchestra Chamber orchestra String quartet Tutti Wind band Military band Pipe band Accordion band Dance band/Big band Traditional folk group Horn section DJ-ing (mixing, scratching) MC-ing Rock band

DYNAMICS AND ARTICULATION Fortissimo Forte Mezzo forte Mezzo piano Piano Pianissimo

Crescendo Diminuendo Subito Accent Sforzando Silence

Legato Staccato Tremolo Pizzicato Arco

TEXTURE Monophonic Homophonic Polyphonic Melody and accompaniment

Solo Unison Doubling 2 or 3 or 4 part Tutti

Counter melody Descant Contrapuntal


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STRUCTURE

Ground bass Rondo Theme Variations Ternary form Binary form Minuet and trio Motifs Concerto Symphony Overture Ostinato Suite Ballet Waltz Hornpipe Recitative Aria Chorus Polka Jig Reel March Air

Repetition Recapitulation Decoration Sequence Imitation Canon Riffs Motivic development Episode Answering phrase Symmetrical 8 bar phrases

Introduction Coda Strophic Ritornello Da capo Verse Chorus Middle eight Break down Intro Outro Strophic

Through-composed Call and response Verse and chorus Interlude Hook Break Tape loop Sample Dance music Mix in, mix out Main breakdown Reprise Groove Hip hop Trance Jungle/drum ‘n’ bass Garage

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