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Bach Fingerprints and Film Music

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Bach Fingerprints and Film Music The KING’S Medium Term Plan - MUSIC Y12 LC1 Module Bach fingerprints and film music Learning Component 1 Performing (30%) 60 marks As part of the introduction to the course exemplar performances are studied and the assessment criteria is made familiar to the students. Whilst studying the exemplar materials students should note the way the musical elements, techniques and resources are used to interpret and communicate musical ideas with technical control and expression. They should be able to evaluate whether the performance demonstrates control, making expressive use of phrasing and dynamics appropriate to the style and mood of the piece. Students are made aware of the requirements to fulfill the specification: – A public performance (to at least 2 people) of one or more pieces, performed as a recital. – Performance can be playing or singing solo, in an ensemble, improvising, or realising music using music technology. – Performances are assessed as a whole, NOT piece by piece. – Approximately grade 7 is considered “standard” at A level. – The total performance time across all pieces must be a minimum of 8 minutes. – Performances must be recorded after 1 March in the year of certification and all materials for assessment submitted to arrive by 15 May in the year of certification. – Pieces identified as level 7 are identified as ‘standard’ (please see the Pearson difficulty levels booklet) https://qualifications.pearson.com/content/dam/pdf/A%20Level/Music/2016/Specification%20 and%20sample%20assessments/GCSE-AS-and-A-level-Music-Difficulty-Levels-Booklet.pdf Component 2 Composing (30%) 60 marks As part of the introduction to the course, exemplar compositions are studied and the assessment criteria become familiar to the students. Whilst looking at these exemplar compositions, students will be encouraged to notice the technical and creative skills used, and the way the music has a purpose and intention. Students are made aware of the requirements to fulfill the specification: - Total of two compositions, one to a brief set by Pearson and one either free composition or also to a brief. - One composition must be from either a list of briefs related to the areas of study, or a free composition, carrying 40 marks for this component. This composition must be at least 4 minutes in duration. - One composition must be from a list of briefs assessing compositional technique, carrying 20 marks for this component. This composition must be at least 1 minute in duration, unless the brief specifies a longer minimum duration. - Total time across both submissions must be a minimum of 6 minutes. - Compositions in response to these briefs must be completed under controlled conditions, with a guided maximum allowed time of 6 hours. http://qualifications.pearson.com/content/dam/pdf/A%20Level/Music/2016/teaching-and-learning- materials/AS_and_A_level_Music_Composition_Grids_explained.pdf http://qualifications.pearson.com/content/dam/pdf/A%20Level/Music/2016/teaching-and-learning-materials/a- level-music-Briefs-assessing-technique-guidance.pdf Component 3 Appraising (40%) 100 marks. 2 hour examination. This introduction should include activities to help build the basic knowledge of musical elements, musical contexts and musical language needed to embark on the course. - Knowledge and understanding of musical elements, contexts and language. - Application of knowledge through the context of six areas of study, each with three set works. Vocal Music, Instrumental Music, Music for Film, Popular Music and Jazz, Fusions, New Directions. - Application of knowledge to unfamiliar works (matching the same set music genres) - Questions may be multiple choice, short or extended responses. - Question 4 will be an 8 mark dictation question on melody and rhythm. In the examination - One audio CD with the extracts to accompany questions on the paper will be provided per student. A blank anthology is NOT required. - This paper comprises two sections: A and B. Section A: Areas of study and dictation (50 marks) - Three questions related to the set works (audio and skeleton score provided). - One short melody/rhythm completion exercise. Section B: Extended response - Two essay questions – essay one (20 marks) and essay two (30 marks) - Essay one asks students to draw links from their study of the set works to the music heard as an unfamiliar extract. - Essay two gives a choice of three questions that ask students to evaluate the musical elements, context and language of one set work. Each option will be from a different area of study. http://qualifications.pearson.com/content/dam/pdf/A%20Level/Music/2016/teaching-and-learning- materials/A-level-Music-model-student-answers.pdf https://secure.qualifications.pearson.com/content/dam/secure/silver/all-uk-and-international/a- level/music/2016/teaching-and-learning-materials/A-level-model-student-answers.pdf http://qualifications.pearson.com/content/dam/pdf/A%20Level/Music/2016/Specification%20and%20sampl e%20assessments/GCE-SAMs-Music-Collation-A-Level-2015.pdf Overarching Challenge What are cadential points and how do we approach them? question How can we assess how successful film music is? Lines of Enquiry Week 1: What is a cadence point? How successful is Portman in conveying a sense of hope? Week 2: What is the 2-2-1 fingerprint? How does Portman begin to convey a sense of false hope and loss in her work? Week 3: What is the 8-7-8 fingerprint? How is coherence achieved between smaller works that are part of a larger whole? Week 4: What are the 6-7-8 and 3-3-2 fingerprints? How can we summarise a set work effectively for revision? Week 5: What is the 4-3-2 and 1-2-1 fingerprint? How do we structure essays for the purpose of a music exam? Week 6: Assessment Week 7: GAP week Exam board AO1 Interpret musical ideas through performing, with technical and expressive control and an assessment understanding of style and context (30%) [performance] objectives: AO2 Create and develop musical ideas with technical and expressive control and coherence (30%) [composition] AO3 Demonstrate and apply musical knowledge (20%) [examination] AO4 Use analytical and appraising skills to make evaluative and critical judgements about musicmusic (30%) [examination] Skills Cognitive skills ● Non-routine problem solving – expert thinking, metacognition, creativity. ● Systems thinking – decision making and reasoning. ● Critical thinking – definitions of critical thinking are broad and usually involve general cognitive skills such as analysing, synthesising and reasoning skills. ICT literacy – access, manage, integrate, evaluate, construct and communicate. Interpersonal skills ● Communication – active listening, oral communication, written communication, assertive communication and non-verbal communication. ● Relationship-building skills – teamwork, trust, intercultural sensitivity, service orientation, self-presentation, social influence, conflict resolution and negotiation. ● Collaborative problem solving – establishing and maintaining shared understanding, taking appropriate action, establishing and maintaining team organisation. Intrapersonal skills ● Adaptability – ability and willingness to cope with the uncertain, handling work stress, adapting to different personalities, communication styles and cultures, and physical adaptability to various indoor and outdoor work environments. ● Self-management and self-development – ability to work remotely in virtual teams, work autonomously, be self-motivating and self- monitoring, willing and able to acquire new information and skills related to work. Week 1 Week 1 hypothesis: An ending requires knowledge of voice leading Line of enquiry: What is a cadence point? How successful is Portman in conveying a sense of hope? Objectives: To understand the concept of chorales To begin to develop a knowledge and understanding of cadence points (3-2-1) To begin developing analysis skills and musical vocabulary To communicate critical opinions Learning activities: Unit 2 composition: Students will be introduced to the concept of chorales. They will begin studying stylistic cadence points using Pankhurst worksheets (worksheet 5, fingerprint 1: 3-2-1 http://www.choraleguide.com/bachcadences1.php file:///C:/Users/1ecook1a/Downloads/cgworksheet05.pdf ). To ensure all learners are able to participate, revision of the circle of fifths (key signatures/modulation) should be recapped. The Roman Numeral system should be recapped with basic short tasks numbering cadence points. Notes of anticipation should be revised. The concept of voice leading should be addressed in each lesson from now on (i.e. soprano part is given, bass should follow with inner parts being the last two). Unit 3 appraising: Students will be introduced to film music using the set work Rachel Portman: The Duchess exceprts. Students will be encouraged to watch the film and consider how the music supports the dramatic context. They will engage in discussions about how successful the music is in its role. Students will be lead through the score in order to annotate musical elements, mood and atmospheric devices whilst also considering its coherence. Success criteria Composition: Learners will master the harmonization of a 3-2-1 cadence point Appraising: learners will show the ability to analyse some aspects of the set work independently and offer opinions as to success, mood and atmosphere. Home Learning: Learners will be required to complete theory questions (testing knowledge of roman numerals and general musicianship). Learners are expected
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