Transcript One - Eduqas

Eduqas GCE Music
First teaching: 2016
First assessment
AS - 2017
A level - 2018
Specification Highlights
•
Learners have the option to specialise in performing or composing at
A level for 10% of the qualification
•
One optional area of study at A level focuses on the music of living
composers, with four British composers on the list
•
The specifications have a good balance of set works and wider
listening topics
•
AS and A level classes can be taught together and/or learners can
complete an AS in year 1 and an A level in year 2
•
The specifications prepare learners for a wide range of music
degrees including popular and classical courses
Overview
AS Music
A level Music
Component 1: Performing (30%)
Non-exam assessment
Externally assessed by a visiting examiner
A minimum of two pieces as either a soloist
and/or as part of an ensemble
6-8 minutes
Component 1: Performing (35% or 25%)
Non-exam assessment
Externally assessed by a visiting examiner
A minimum of three (or two) pieces as a
soloist and/or as part of an ensemble
10-12 minutes (6-8 minutes)
Component 2: Composing (30%)
Non-exam assessment
Externally assessed
Two compositions (one WCT)
4 ½ -7 minutes
Component 2: Composing (25% or 35%)
Non-exam assessment
Externally assessed
Two (or three) compositions (one WCT)
4-6 minutes (8-10 minutes)
Component 3: Appraising (40%)
Listening and appraising exam
1 hour 30 minutes
The symphony plus one other area of study
Component 3: Appraising (40%)
Listening and appraising exam
2 hours 15 minutes
The symphony plus two other areas of study
Subject Content
Musical elements, contexts and
language
Musical Elements
•
Through the areas of study, learners will gain knowledge and understanding of
musical elements and build on knowledge and understanding gained at GCSE
•
Musical elements are listed under each area of study with examples and there is an
additional vocabulary list at the back of the specification
•
All musical elements can be taught through the three chosen areas of study
•
Understanding and use of musical elements will be assessed in all three components
Musical Context
• Through the areas of study, learners will gain knowledge and
understanding of various musical contexts including:

the effect of purpose and intention (e.g. of the composer, performer,
commissioner) on how music is created, developed and performed in different
historical, social and cultural contexts

the effect of audience, time and place (e.g. venue, occasion) on how music is
created, developed and performed in different historical, social and cultural
contexts

how music from different historical, social and cultural contexts has changed
over time
• Understanding of musical context will be assessed in all three
components
Musical Language
• Learners will gain knowledge and understanding of musical language
through area of study A (The Development of the Symphony)
including:




•
reading and writing treble and bass clef staff notation in simple
and compound time
roman numerals and contemporary chord symbols including
extended chords
reading and writing key signatures to five sharps and flats (at
AS) and all key signatures at A level
musical vocabulary related to areas of study
Musical language will be explicitly assessed in Component 3,
although it is hoped that learners will also develop their
knowledge and understanding of musical language through
Components 1 and 2 and areas of study B-F.
Comparison of Areas of study at AS and A
level
AS Areas of Study
A level Areas of Study
The development of the symphony (17501830)
The development of the symphony (17501900)
2 movements of 1 symphony
4 movements of the same symphony plus
general knowledge and understanding of
second symphony
One from:
• Rock and Pop (1960-1990)
• Musical Theatre (5 composers)
• Jazz (1920-1950)
One from:
• Rock and Pop (1960-2000)
• Musical Theatre (6 composers)
• Jazz (1920-1960)
One from
• Into the Twentieth century
• Into the Twenty-First century
Set works at AS and A level
AS Set Works
A level Set Works
Either:

Symphony Number 104 in D major,

‘London’, movements 1 and 2, Haydn

‘London', Haydn

Or:
Symphony Number 104 in D major,
Symphony Number 4 in A major, ‘Italian’,
Symphony Number 4 in A major, ‘Italian’,
Mendelssohn
movements 1 and 2, Mendelssohn
Either:
 Trio for Oboe, Bassoon and Piano,
Movement 2, Poulenc
 Three nocturnes, Number 1, Nuages,
Debussy
Or:
 Asyla, Movement 3, Ecstasio, Thomas Ades
 String Quartet number 2, Opus California,
Movements 1 and 4, Sally Beamish
Areas of study highlights
• The areas of study enable teachers to follow an integrated
teaching and learning approach to the three assessed skill areas
by providing opportunities for learners to perform, compose and
appraise music within each area of study
• Learners develop a chronology of music through studying the
development of the symphony and one style of popular music
• At A level learners have the opportunity to engage with the music of
living composers from the UK and Europe
• Areas of study have been carefully designed to be comparable
across options and complementary between options. For example,
the symphony provides a foundation for the whole course and leads
in to a study of twentieth or twenty-first century music and the
popular music options provide contrast while developing the same
musical skills
Area of study A: The Development of the
Symphony (compulsory)
Learning Focus: the development of the orchestra, use of
form and structure and musical elements/
language
Types of question:
•set work analysis
•completing a skeleton score
•comparison of two symphonies (AS)
•aural perception with score (AS)
•essay on the development of the symphony
(A level)
Area of study A...suggested lesson approach
Analysis of set work
Start with stylistic background/score reading/transposing instruments/
sonata form/structural overview
Teach analysis in lesson and set annotation of score for homework
Analyse by section...discuss how elements are used
Set regular written tasks/tests
Regular focused listening to other symphonies (both in and out of class)
...set tasks/keep diary/show chronological development
Comparison Question
Respond to short listening extracts in class to learn how to recognise
particular features
Set longer written comparisons for homework
Area of study A...suggested lesson approach
Developing aural skills
Practice to build aural skills should be “little and often!”
Integrate opportunities for aural development with other work
Set homework tasks to “free up” valuable lesson time
Essay Writing
Research tasks should be set
Essay writing practice should be encouraged by setting regular tasks
(e.g. every half term)
Use of Musical Elements :structure/tonality/texture/melodic
development/harmonic language/
sonority/tempo/metre/dynamics
Development of orchestra
Decline of basso continuo
Influence of Mannheim orchestra
Increased importance of woodwind
Larger forces/new sonorities
Symphony
Composers
Historical Context
Haydn/Mozart/Beethoven/
Mendelssohn/Schubert/Brahms/
Berlioz/Bruckner/Dvorak/Mahler
Effect of commissions
Decline of patronage
Rise of public concerts
Growth of programme symphony
Areas of study B-D: Popular Music
•
Three areas of study are offered to allow centres to choose an option which
suits their learners
•
Teachers have freedom to select artists, pieces, albums and musicals that
interest their learners
•
Some parameters are given:

Rock and Pop (pop, rock, soul, funk and folk)

Musical Theatre (Rodgers, Bernstein, Sondheim, Schonberg, Lloyd-
Webber and Schwartz)

•
Jazz (ragtime, dixieland, early jazz, big band, be-bop and cool jazz)
The specification provides detailed information about what learners need to
know about musical elements, context and language and the level of
demand is comparable
60’s
70’s
The Beatles
Abba
The Shadows
Bee Gees
The Kinks
Queen
The Who
Beach Boys
80’s
POP
90’s
Culture Club
Take That
Police
Oasis
Spandau Ballet
Blur
Duran Duran
Stereophonics
60’s
70’s
Sam Cooke
James Brown
Otis Redding
Stevie Wonder
Aretha Franklin
The Temptations
Four Tops
Marvin Gaye
80’s
SOUL
90’s
Luther Vandross
Mary J.Blige
Prince
Whitney Houston
Michael Jackson
Bobby Brown
Shalamar
R.Kelly
Use of Musical Elements in Pop Music
Strophic
12 bar blues
32 bar song
verse/chorus
Tonality
Blue notes
Power chords
Offbeat
6ths/7ths
Sonority
Shuffle
Effects
Groove
Falsetto
Irregular
Scat
Funk
Strong rhythmic groove of
bass & drums prominent
Heavy downbeat emphasis
on alternate bars
Rhythmic/danceable music
Electric guitar, Electric bass,
Hammond organ & drums
Use of “horn” section to
play rhythmic stabs
Little emphasis on melody
Funky bass line most
prominent
Syncopated guitar riffs
Often based on static single
chord vamp
Much use of extended
chords...7ths,11ths,altered
9ths
Mixed modes with blues scale
James Brown
Sly & the Family Stone
Chaka Khan
Red Hot Chilli Peppers
AOS (C)
Richard
Rodgers
Andrew
Lloyd
Webber
Leonard
Bernstein
Musical
Theatre
Stephen
Schwartz
Stephen
Sondheim
ClaudeMichel
Schonberg
Rodgers
• Oklahoma, Carousel, South Pacific, The King and I,
Flower Drum Song, The Sound of Music, Cinderella
1902-79
Bernstein
• On the Town, Wonderful Town,
West Side Story, Candide
1918-90
Sondheim
b. 1930
• Company, Follies, A Little Night Music, Sweeney
Todd, Merrily We Roll Along, Into the Woods
Schonberg
• Les Miserables, Miss Saigon, Martin Guerre,
The Pirate Queen
b.1944
Lloyd
Webber
• Jesus Christ Superstar, Evita, Cats, Starlight Express,
The Phantom of the opera, Sunset Boulevard,
Whistle down the Wind, Love never Dies
b.1948
Schwartz
b.1948
• Godspell, Pippin, The Baker’s Wife,
Children of Eden, Wicked
Integration of
dance, song,
and drama
Mature themes
and thought
provoking plots
More emphasis
on orchestral
colour
Richard
Rodgers
Formula cast:-
Increased use of
underscore to
extend scenes
S & B leads
A & T support
Melodic and
rhythmic
characterisation
Master of
words and
melody...wrote
own lyrics
Use of complex
vocal
polyphony
Brought a dark,
dramatic edge
to the musical
Stephen
Sondheim
Versatile
style...from
operatic to
popular
Frequent
dissonance and
angular
harmonies
Intricate and
highly
chromatic
melodies
AOS (D)
Ragtime
Cool jazz
Dixieland
JAZZ
Early jazz
Be-bop
Big band
Ragtime
•
•
•
•
Mostly for piano (roots for “stride piano”) in 2 or 4 time
Syncopated (ragged) RH melody
LH bass on strong beats and chords on weak beats
Usually structured with several 16 bar themes...often in I and IV
Dixieland
•
•
•
•
Originated in New Orleans from brass marches, quadrilles, ragtime and blues
Front line usually consists of trumpet, trombone and clarinet
Rhythm section originally used banjo, tuba, piano and drums
Features polyphonic improvisation around main melody
Early jazz
•
•
•
•
Fusion of American brass band / African elements...led to Lindy Hop dance craze
Chicago style (Louis Armstrong) introduced swing rhythms and scat singing
Guitar replaced banjo and string bass replaced tuba in rhythm sections
Focus on solo performance...not collective / polyphonic improvisation
Big band
•
•
•
•
Larger ensemble (standard=17) required pre-arranged, written music
Arrangements usually follow strophic form, with some improvised solos
Each chorus is usually structured as a 12 bar blues or AABA song form.
“Swing” gives a more supple rhythmic feel and often uses a walking bass
Be-bop
•
•
•
•
Shift from dance orientated to listening music...”musician’s music!”
Challenging, faster-moving material to display instrumental virtuosity
Chord based improvisation on advanced harmonic structure
Intricate melodies with complex syncopation and asymmetrical phrasing
Cool jazz
•
•
•
•
Calmer, more relaxed tempo...with a much lighter tone
Characterised by long, flowing linear melodic lines
Improvisations emphasize melodic development
Maintains elements of “classical” music
Areas of study E-F: New Directions
•
Two areas of study are offered to allow centres to choose an option which
suits their learners
•
Area of study E, Into the Twentieth Century, focuses on Impressionism,
Expressionism (including Serialism) and Neo-classicism
•
Area of study F, Into the Twenty-first Century, focuses on the music of
living composers
•
Detailed information is provided in the specification outlining what learners
need to know and understand
•
The specification provides detailed information about what learners need to
know about musical elements, context and language and the level of
demand is comparable
•
Two set works are provided in each option to provide a focus for study
These areas are intended for second year study and will be covered in
more detail in future.
Resources will be available from April 2016.
Area of Study E: Into the Twentieth Century
The two set works for study in depth are:Trio for Oboe, Bassoon and Piano (Movement II) ... Poulenc
Three Nocturnes (Number 1) Nuages...Debussy
In order to gain a breadth of understanding of how music developed during the
period 1895 – 1935, composers suggested for study are:-
Debussy, Ravel, Schonberg, Berg, Webern, Stravinsky, Poulenc and
Prokofiev
Area of Study F: Into the Twenty-first Century
The two set works for study in depth are:Asyla, Movement 3, Ecstasio... Thomas Ades
String Quartet No.2 (Opus California) Movements 1 (Boardwalk)
and 4 (Natural Bridges)...Sally Beamish
In order to gain a breadth of understanding of how music developed
during the period 1980 - present, composers suggested for study are:Hans Werner-Henze, Witold Lutoslawski, Kaija Saairiaho, Sofia
Gubaidulina, Sally Beamish, Judith Weir,
Mark-Anthony Turnage and Thomas Ades
Areas of Study E and F
Learners must demonstrate knowledge and understanding of:Use of musical
elements in
composition
Use of multi-media/
music technology
(AOS F only)
Related musical
vocabulary and
terminology
Effect of audience,
time and place
Purpose and
intention of
composer/performer
Co-teaching areas of study at AS and A level
Model 1
AS Areas of Study (Year 1)
A level Areas of Study (Year 2)
The development of the symphony (17501830)
The development of the symphony (18301900)
Movements 1 and 2 of one symphony
Movements 3 and 4 of the same symphony
plus general knowledge of second symphony
One from:
• Rock and Pop (1960-1990)
• Musical Theatre (5 composers)
• Jazz (1920-1950)
One from:
• Rock and Pop (1990-2000)
• Musical Theatre (1 composer)
• Jazz (1950-1960)
One from
• Into the Twentieth century
• Into the Twenty-First century
Comparison of Component 3 exams at AS and A level
AS Exam 88 marks
A level Exam 100 marks
Section 1: Areas of study B-D (40 marks)
• Two aural perception questions on
unprepared extracts (15 marks each)
• Question on wider context without extract
(10 marks)
Section 1: Areas of study B-D (30 marks)
• One aural perception question on an
unprepared extract (10 marks)
• Comparison question on two different
extracts (20 marks)
Section 2: Areas of study E-F (30 marks)
• Analysis question on one of the two set
works (15 marks)
• Aural perception question on an
unprepared extract including links with the
wider context (15 marks)
Section 2: Area of study A (48 marks)
• Skeleton score question (pitch or rhythm
dictation) (10 marks)
• Set work analysis question (15 marks)
• Comparison question on two unprepared
symphonic extracts (10 marks)
• Aural perception unprepared extract with
score (13 marks)
Section 3: Area of study A (40 marks)
• Skeleton score question (pitch and rhythm
dictation (10 marks)
• Set work analysis question (15 marks)
• Essay on the development of the
symphony (15 marks)
AO3 Demonstrate and apply musical knowledge
• Oral appraisal
• Questioning
• Recognise elements
• Musical terms
• Exam terms ... state,
define, identify etc..
• Written notes
• Verbal presentation
Class
discussion of
recording or
performance
Set individual
listening task
for HW
Build up a
vocabulary
log
Pupils keep a
regular
listening diary
(via youtube)
• Identify styles
• Recognise features
AO4
Use analytical and appraising skills to make evaluative
and critical judgements about music
• Write up verbal class
discussion
• Analyse next section
• Individual research
• Set topics
• Regular monitoring
• Describe contrast
• Practise comparison
questions
Set short
analysis HW
tasks on set
work
Compare
versions of
similar
material
Extended
comments
and essay
writing
Describe
music in
context
• Development of
genres and styles
• Stylistic features
Assessment of Component 3
Things to remember about the exam:
 the dictation question will require learners to write pitch and rhythm at A level
and pitch or rhythm at AS
 the dictation question will require learners to write either treble clef or bass
clef, not both at the same time
 the dictation question may be in simple time or compound time
 learners may be asked to write chord symbols in either contemporary symbols
or roman numerals
 Learners may be asked locate errors in pitch and/or rhythm at A level
Component 2: Composing AS (30%), A level (25% or 35%)
AS Composing
(30%) 72 marks
A level Composing
Option A (25%) 72 marks
A level Composing
Option B (35%) 108 marks
Two compositions
Two compositions
Three compositions
Minimum of 4 ½ minutes
Minimum of 4 minutes
Minimum of 8 minutes
One composition to a brief
set by WJEC using the
techniques and conventions
of the Western Classical
Tradition
One composition to a brief
set by WJEC using the
techniques and conventions
of the Western Classical
Tradition
One composition to a brief
set by WJEC using the
techniques and conventions
of the Western Classical
Tradition
One free composition for
which the learner sets their
own brief
One free composition for
which the learner sets their
own brief
One free composition for
which the learner sets their
own brief
One composition linked to a
second different area of
study for which the learners
sets their own brief
Preparing to teach composing
It is essential to teach compositional skills at the start of the course (see
suggested term plan)
WCT harmony (including chords, cadences, tonality and modulation)
gives a firm structural basis for set briefs and ‘free’ composition
Regular monitoring of the composing process is essential
Learners should keep a composing log book for ideas... even when
studying a set work
Establish what the ‘free’ composition will be... through set tasks and/or
individual research
Learners must be encouraged to create and develop musical ideas and
show control of musical elements
Western Classical Tradition Composition Term Plan
Stage
WCT Composition
H
1
Focus
Melody
Topic/Activities


A

2
3
R
M
O
4
N
5
Y
Structure



Tonality and
modulation




Content
Listening to examples of different
melodies
Identify melodic and rhythmic
features
Composing a 16 bar melody

Construction of 16 bar
melody/balanced phrases/
repetition /contrast and variation/
conjunct and disjunct movement/
triadic melodies
Listening to examples of various
musical forms
Identify phrases / sections
Compose a short piece in a simple
form
Listening to sonata form
Exploration of thematic contrast
Compose a contrasting theme to
stage 1 melody
Develop a given opening idea

Extension of original melody into
binary/ternary/rondo/ form
Use of contrast


Texture


Listening to contrasting textures

Present one theme in three different
ways
Sonority

Study of idiomatic writings for
different groupings
Contrasting writing for different
groupings


Understanding of Sonata form ...
S1 & S2 / transition /developing
material/ key relationships etc
Homophonic/polyphonic/unison/
countermelody / imitation etc..
Solo /antiphonal /tutti /etc
Co-teaching AS and A level
Component 2: Both AS and A level require learners to compose using the musical idioms
from the Western Classical tradition.
AS
A level
Simple forms such as
binary/ternary/rondo
Ensemble forces
Complex forms such
as sonata form
Larger instrumental
forces
Western classical
composition
Composing to a Brief
•
Set briefs will always contain information about
the occasion and/or the audience
•
The composition briefs are designed to allow
any number of different valid responses but
always in a Western Classical style
•
There will always be a choice of four briefs,
covering a variety of instrumental groupings
and possible genres
•
It is recommended that each piece is long
enough to demonstrate development of ideas
Assessment of Component 2
•
Each piece is marked out of 36 using the assessment grid in Appendix B of the specification
•
The pieces may be composed at any time during the course apart from the piece composed to a brief set
by WJEC which must be composed during the final year of the course as briefs will not be released until
September 1st
•
All compositions must be submitted with a detailed score and a clear recording
•
All learners must complete a non- assessed composition log to authenticate the work. The log will
require details such as:




acknowledgements
the relationship between the score and the recording
process evidence
candidate and teacher signatures
Component 1: Performing
AS (30%), A level (35% or 25%)
AS Performing
(30%) 72 marks
A level Performing
Option A (35%) 108 marks
A level Performing
Option B (25%) 72 marks
Standard equivalent to grade 5
Standard equivalent to grade 6
Standard equivalent to grade 6
Minimum of 6 minutes
Minimum of 10 minutes
Minimum of 6 minutes
Minimum of two pieces
Minimum of three pieces
Minimum of two pieces
One piece must link to an area
of study
One piece must link to an area
of study
One piece must link to a
second different area of study
One piece must link to an area
of study
Pieces can be solo and/or
ensemble
One piece must be a solo and
all other pieces can be either
solo and/or ensemble
Pieces can be solo and/or
ensemble
Assessment of Component 1
Externally assessed (and recorded) by a visiting examiner
Each piece is marked out of 36 and adjusted according to the level of
difficulty (see Appendix A)
Each of the 3 columns in the assessment grid (accuracy/technical
control / expression & interpretation) is marked out of 12
Learners may choose to perform one of their own compositions, but
should ensure that it demonstrates their highest performing skills
Appropriate music copies for all pieces must be provided for the
examiner
Accompaniments may be live or a backing track
No performances should be conducted
Learners are not restricted to one instrument/voice
An audience is permitted in the assessment
The examiner will not be able to discuss marks with the teacher
It is essential to meet the minimum time requirement .
Performances that fall below this will be awarded 0 marks
Comments from a visiting examiner
A well organised exam session makes the whole experience far more
enjoyable for both the examiner and the learners :•Ensure that all the necessary paperwork is completed and ready.
•Set up all the equipment needed in advance and provide a suitably
placed table and chair for the examiner.
•Provide the correct copies of music for the examiner, with any repeats
and alterations to the written music clearly marked.
•Indicate the appropriate grade of each piece, if known.
•Take care when organising timings...especially near break/lunch times.
•Make sure that any ensemble members who are not taking the exam
are available at their given time.
•Arrange for all learners taking the exam to meet the examiner at the
start of the session...this helps dispel any nerves and familiarises them
with the process.
Preparing to teach Performing
1.Best practice is to provide regular opportunities to perform
in front of others, both in class and on other occasions:•Group/class performance of a piece related to an AOS
•Use solo performances for appraisal purposes e.g. discuss
structure, melodic/harmonic content, style etc....
•Lunchtime/evening recitals, assemblies, other classes etc..
2.Organise a ‘mock’ about a month before the exam date, to
ensure that all students are on track...don’t take their word
for it!
3.Individual practice should be done as homework...not
during valuable lesson time.
Resources for Teachers
Supporting teaching and learning
•
We are planning a number of resources to support teaching and learning which have
been tailor made for the specifications. These include:
 Practice questions
 Notes on set works
 Composition resource which links to the set works in Area of study F: Into the
Twenty-first Century
 Teacher’s guide including approaches to teaching the popular music genres
 Term plans
EXAMINING FOR WJEC-EDUQAS
• We value the contribution you as experienced teachers and lecturers make in
assessing students’ work, ensuring that candidates are given a fair result
which accurately reflects their ability
• We appoint examiners to mark externally assessed work and moderators to
review the original marking of teachers for internally assessed components or
units
• We provide face-to-face training for examiners and moderators (appointees)
prior to assessment work commencing
• Our senior examiners and subject officers provide support and advice during
the assessment period
APPLICATION PROCESS
• Complete an application using the on-line application system available on the
Appointees page of the WJEC website
• Once you have completed the initial registration, please make sure that you
validate your email account so that you can complete the application process
• When you have completed your application, remember to click ‘submit’ on
the homepage, to complete the process
• Remember to inform your referee of your application, as sometimes delays
occur due to referees not completing the reference section
• On rare occasions, applicants may not be accepted due to a lack of relevant
teaching experience
• Applicants may re-apply once they have gained sufficient experience
• Some applicants will be approved, but may have to wait on the reserve list
until a suitable vacancy arises
Any Questions?
Contact our specialist Subject Officers and administrative team for your
subject with any queries.
[email protected] (Subject Officer)
[email protected] (Subject Support Officer)
[email protected] (Subject Support Officer)
@eduqas
eduqas.co.uk