MUSIC Curriculum Map

Total Page:16

File Type:pdf, Size:1020Kb

MUSIC Curriculum Map MUSIC Curriculum Map Year Half Term 1 Half Term 2 Half Term 3 Half Term 4 Half Term 5 Half Term 6 Rhythms of the World Rhythms of the World Notation & Keyboard Notation & Keyboard Pictures at an Pictures at an Skills Skills Exhibition Exhibition/Singing Fundamentals of Students work towards a (Sonority/Timbre) Listening/appraisal rhythm/time signatures. final performance, Fundamentals of Composition assessment activities based around Looking at note values in incorporating rhythms and reading/writing notation. using Introduction to Instruments Holst's 'Planets'. more detail and how to ostinatos inspired by the Understanding notes on Musescore/Noteflight. in an Orchestra. Students incorporate the 7 create ostinatos. genres looked at the keyboard and the Paired work - students Homework project: Create elements of music to Introduction to different previously. basics of chords. prepare a short an original instrument to create short rhythms of the world, Layering, call and Be able to read/play composition including showcase to class. performances reflecting focussing on African response, unison etc. will simple pieces on chords and melody. Introduce elements of the mood of an image. drumming, Bhangra & stretch and challenge keyboard. music (Pitch, Dynamics, Students will finish by Samba. students. Tempo, Timbre). training their voices and How music can be applied working with harmony. to an image. Blues Blues Hooks & Riffs Hooks & Riffs Reggae & Syncopation Reggae & Syncopation (Decades of Music) (Decades of Music) Introduction to Blues Introduction to the walking Introduction to Reggae Write lyrics in a Reggae music and its historical bassline and how it Developing understanding Students will create their and early style on the subject of significance. applies to the 12-bar of repeated patterns and own hook/riff with Jamaican/Carribean 'School'. Listening activities based structure. ostinatos. Students will accompaniment. This influences. Combine the elements of 8 on instruments used. Students rehearse for final listen/appraise music could either be harmonic Learn about strong and syncopated chords and Major chords and 12-bar performance in pairs, through the decades, or rhythmic. weak beats using chords - bassline using 'Three Little blues structure. combining the major learning to play different Students will prepare a apply to an existing song Birds' as an example. Students learn the lyrical chords and the walking hooks/riffs and how short performance, and of a different genre. Work towards an original structure of Blues and the bassline. repetition fits into popular should evaluate their Learn and play a typical group performance. content. Focus on keyboard skills music. contributions. Reggae bassline. and tempo/rhythm. Film Music Rap & Hip-Hop Dance Music Song Arrangement Video Game Music (Digital Audio Writing/Composition? Ensemble based project. Introduction to Musical Introduction to hip-hop and Workstations) (Link to Unit 4 BTEC) What makes a good Introduction to the Devices often used in film. its cultural influence. Introduction to music used Introduction to popular performance? evolution of game Analytical and descriptive Genre listening taks. primarily for dance. Brief song writing (Lyrical Students will be given soundtracks and effects. tasks relating to scenes of Students learn to apply focus on Waltz & March. content and sturctures) select popular songs in The unit explores different genres and mood rhyming schemes and Main focus on Disco (7th and composition groups with lyrics and character themes and setting. incorporate 1/2 rhymes. chords, '4-on-the-floor') (instrumental music). different styles of notation their development for 9 Final group performance Introduction and practice and Club Dance music Develop understanding of (varying instruments). different atmospheres, the based on a cue sheet of a hip-hop bassline. (Drum loops, synth riff, sonority/timbre, and The students should creation of sound effects format, following a chosen Final group performances bass riff & vocal riff). create original music create a performance and a final composition horror scene. of original rap songs Students will then be based on a given brief. either the way it was piece using a focussing on a particular introduced to As freelance composers, recorded, or challenge title/character theme and theme. BandLab/Ableton, and they can choose to write a themselves and arrange it any accompanying effects. compose their own piece song for an upcoming differently (structure, style, of Dance music. artist, or create the score instrumentation). for a nature documentary. Unit 1 / Unit 4: Unit 5 / Unit 2: Unit 1: The Music Unit 4:Introducing Music Unit 5: Introducing Unit 2: Promoting a 10 Introducing Music Promoting a Musical Industry Composition Music Performance Musical Product Composition Product .
Recommended publications
  • EDM (Dance Music): Disco, Techno, House, Raves… ANTHRO 106 2018
    EDM (Dance Music): Disco, Techno, House, Raves… ANTHRO 106 2018 Rebellion, genre, drugs, freedom, unity, sex, technology, place, community …………………. Disco • Disco marked the dawn of dance-based popular music. • Growing out of the increasingly groove-oriented sound of early '70s and funk, disco emphasized the beat above anything else, even the singer and the song. • Disco was named after discotheques, clubs that played nothing but music for dancing. • Most of the discotheques were gay clubs in New York • The seventies witnessed the flowering of gay clubbing, especially in New York. For the gay community in this decade, clubbing became 'a religion, a release, a way of life'. The camp, glam impulses behind the upsurge in gay clubbing influenced the image of disco in the mid-Seventies so much that it was often perceived as the preserve of three constituencies - blacks, gays and working-class women - all of whom were even less well represented in the upper echelons of rock criticism than they were in society at large. • Before the word disco existed, the phrase discotheque records was used to denote music played in New York private rent or after hours parties like the Loft and Better Days. The records played there were a mixture of funk, soul and European imports. These "proto disco" records are the same kind of records that were played by Kool Herc on the early hip hop scene. - STARS and CLUBS • Larry Levan was the first DJ-star and stands at the crossroads of disco, house and garage. He was the legendary DJ who for more than 10 years held court at the New York night club Paradise Garage.
    [Show full text]
  • Traditional Funk: an Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio
    University of Dayton eCommons Honors Theses University Honors Program 4-26-2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Caleb G. Vanden Eynden University of Dayton Follow this and additional works at: https://ecommons.udayton.edu/uhp_theses eCommons Citation Vanden Eynden, Caleb G., "Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio" (2020). Honors Theses. 289. https://ecommons.udayton.edu/uhp_theses/289 This Honors Thesis is brought to you for free and open access by the University Honors Program at eCommons. It has been accepted for inclusion in Honors Theses by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Abstract Recognized nationally as the funk capital of the world, Dayton, Ohio takes credit for birthing important funk groups (i.e. Ohio Players, Zapp, Heatwave, and Lakeside) during the 1970s and 80s. Through a combination of ethnographic and archival research, this paper offers a pedagogical approach to Dayton funk, rooted in the styles and works of the city’s funk legacy. Drawing from fieldwork with Dayton funk musicians completed over the summer of 2019 and pedagogical theories of including black music in the school curriculum, this paper presents a pedagogical model for funk instruction that introduces the ingredients of funk (instrumentation, form, groove, and vocals) in order to enable secondary school music programs to create their own funk rooted in local history.
    [Show full text]
  • Garage House Music Whats up with That
    Garage House Music whats up with that Future funk is a sample-based advancement of Nu-disco which formed out of the Vaporwave scene and genre in the early 2010s. It tends to be more energetic than vaporwave, including elements of French Home, Synth Funk, and making use of Vaporwave modifying techniques. A style coming from the mid- 2010s, often explained as a blend of UK garage and deep home with other elements and strategies from EDM, popularized in late 2014 into 2015, typically mixes deep/metallic/sax hooks with heavy drops somewhat like the ones discovered in future garage. One of the very first house categories with origins embeded in New York and New Jersey. It was named after the Paradise Garage bar in New york city that operated from 1977 to 1987 under the prominent resident DJ Larry Levan. Garage house established along with Chicago home and the outcome was home music sharing its resemblances, affecting each other. One contrast from Chicago house was that the vocals in garage house drew stronger impacts from gospel. Noteworthy examples consist of Adeva and Tony Humphries. Kristine W is an example of a musician involved with garage house outside the genre's origin of birth. Also understood as G-house, it includes very little 808 and 909 drum machine-driven tracks and often sexually explicit lyrics. See likewise: ghettotech, juke house, footwork. It integrates components of Chicago's ghetto house with electro, Detroit techno, Miami bass and UK garage. It includes four-on-the-floor rhythms and is normally faster than a lot of other dance music categories, at approximately 145 to 160 BPM.
    [Show full text]
  • Download Press
    LA PINCE RECORDS RELEASES ARTISTS PUBLIC RELATIONS CONTACT # PRESS KIT PRESS L A PINCE RECORDS THE GENESIS HOUSE OF THE CREW TECHNO reated in 2016 by the collective dj’s03 DUB CREATORS (DJD2B, Steve Ko & Lucho Misterhands), La Pince Records stand out by Creleasing its records in vinyl & digital. Rocked since the 90’s by the sounds of Detroit & Berlin, has bring to the collective on subtle blend to them music. Definitely dedicated to the dance floor, all tracks can be classified in the Techno / House categories. EP RELEASE VINYLS P LA PINCE RECORDS / PRESS KIT / 03 RELEASES LPR001 DJ D2B - MONGOLISTIC EP irst EP, DJ D2B deliver to you 3 unique & exclusive directed pieces House/Techno influenced by the minimal trends. FAlong with deep beats05 & shaman inspiration vocals, hypnotic melodies with sensual tones, “Which promise you a nice trip into the clouds”. A1 - MONGOLISTIC (Original Mix) A2 - SENSUAL EMOTION (Original Mix) B1 - FLOAT IN THE CLOUD (Original Mix) Released on: June 2016. AVAILABLE ON CLICK HERE TO LISTEN Syncrophone Records shop, Techno Import, House Monkey Records. decks.de, deejay.de, juno.co.uk, hhv.de, technique.co.jp, redeyerecords. co.uk. Beatport, JunoDownload, TrackSource, Apple Music, Spotifiy, Youtube P RELEASES / PRESS KIT / 05 LPR002 DUB CREATORS - KANPEKINA EP or the LPR002 DUB CREATORS release on their own imprint La Pince Records. This trio deliver to us their KANPEKINA EP. 06FMade up with 4 strong-deep bassline tracks the original mix & 3 dance-floor remix witch goes from House to Tech-House. A1 - KANPEKINA (Original Mix) A2 - KANPEKINA (Lucho Misterhands Remix) B1 - KANPEKINA (DJ D2B Remix) B2 - KANPEKINA (Steve Ko Remix) Supported by DJ Handmade (Tresor Berlin) .
    [Show full text]
  • Discourse on Disco
    Chapter 1: Introduction to the cultural context of electronic dance music The rhythmic structures of dance music arise primarily from the genre’s focus on moving dancers, but they reveal other influences as well. The poumtchak pattern has strong associations with both disco music and various genres of electronic dance music, and these associations affect the pattern’s presence in popular music in general. Its status and musical role there has varied according to the reputation of these genres. In the following introduction I will not present a complete history of related contributors, places, or events but rather examine those developments that shaped prevailing opinions and fields of tension within electronic dance music culture in particular. This culture in turn affects the choices that must be made in dance music production, for example involving the poumtchak pattern. My historical overview extends from the 1970s to the 1990s and covers predominantly the disco era, the Chicago house scene, the acid house/rave era, and the post-rave club-oriented house scene in England.5 The disco era of the 1970s DISCOURSE ON DISCO The image of John Travolta in his disco suit from the 1977 motion picture Saturday Night Fever has become an icon of the disco era and its popularity. Like Blackboard Jungle and Rock Around the Clock two decades earlier, this movie was an important vehicle for the distribution of a new dance music culture to America and the entire Western world, and the impact of its construction of disco was gigantic.6 It became a model for local disco cultures around the world and comprised the core of a common understanding of disco in mainstream popular music culture.
    [Show full text]
  • Hands up Classics Pulsedriver Hands up Magazine Anniversary Edition
    HUMAG 12 Hands up Magazine anniversary Edition hANDS Up cLASSICS Pulsedriver Page 1 Welcome, The time has finally come, the 12th edition of the magazine has appeared, it took a long time and a lot has happened, but it is done. There are again specials, including an article about pulsedriver, three pages on which you can read everything that has changed at HUMAG over time and how the de- sign has changed, one page about one of the biggest hands up fans, namely Gabriel Chai from Singapo- re, who also works as a DJ, an exclusive interview with Nick Unique and at the locations an article about Der Gelber Elefant discotheque in Mühlheim an der Ruhr. For the first time, this magazine is also available for download in English from our website for our friends from Poland and Singapore and from many other countries. We keep our fingers crossed Richard Gollnik that the events will continue in 2021 and hopefully [email protected] the Easter Rave and the TechnoBase birthday will take place. Since I was really getting started again professionally and was also ill, there were unfortu- nately long delays in the publication of the magazi- ne. I apologize for this. I wish you happy reading, Have a nice Christmas and a happy new year. Your Richard Gollnik Something Christmas by Marious The new Song Christmas Time by Mariousis now available on all download portals Page 2 content Crossword puzzle What is hands up? A crossword puzzle about the An explanation from Hands hands up scene with the chan- Up.
    [Show full text]
  • Performance in EDM - a Study and Analysis of Djing and Live Performance Artists
    California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses Capstone Projects and Master's Theses 12-2018 Performance in EDM - A Study and Analysis of DJing and Live Performance Artists Jose Alejandro Magana California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes_all Part of the Music Performance Commons Recommended Citation Magana, Jose Alejandro, "Performance in EDM - A Study and Analysis of DJing and Live Performance Artists" (2018). Capstone Projects and Master's Theses. 364. https://digitalcommons.csumb.edu/caps_thes_all/364 This Capstone Project (Open Access) is brought to you for free and open access by the Capstone Projects and Master's Theses at Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. For more information, please contact [email protected]. Magaña 1 Jose Alejandro Magaña Senior Capstone Professor Sammons Performance in EDM - A Study and Analysis of DJing and Live Performance Artists 1. Introduction Electronic Dance Music (EDM) culture today is often times associated with top mainstream DJs and producers such as Deadmau5, Daft Punk, Calvin Harris, and David Guetta. These are artists who have established their career around DJing and/or producing electronic music albums or remixes and have gone on to headline world-renowned music festivals such as Ultra Music Festival, Electric Daisy Carnival, and Coachella. The problem is that the term “DJ” can be mistakenly used interchangeably between someone who mixes between pre-recorded pieces of music at a venue with a set of turntables and a mixer and an artist who manipulates or creates music or audio live using a combination of computers, hardware, and/or controllers.
    [Show full text]
  • S New Albums Reviewed
    A Different Kind Of Racket: June/July’s New Albums Reviewed Music | Bittles’ Magazine: The music column from the end of the world I was watching Wimbledon the other day when I came to the startling realisation that tennis is boring. Hoping that all it might need was a good soundtrack, I reduced the volume on the telly, replacing it with the morose musings of Darklands by The Jesus And Mary Chain. Much Better! Experiencing yet another epiphany I turned the TV off altogether, allowing the Reid brothers the attention they fully deserve. By JOHN BITTLES The following albums may not reach the hallowed heights of The JAMC, but they will entertain you a lot more than a couple of posh boys hitting a ball really hard ever could. So, get yourself some Pimms, a bowl of strawberries and cream, and let us begin. To prove my point we’ll start with the rich, woozy pop experiments of Helsinki-based singer/producer Jaakko Eino Kalevi and his rather wonderful self-titled debut LP. Taking the fuggy haze of modern psychedelia and injecting it with a generous helping of pop hooks and a sensuous sense of groove helps create one of the outstanding albums of the summer. Laid-back, dreamy and always charming, the record’s ten tracks touch on funk, electronica, chill-wave, indie, rock and more. Deeper Shadows contains a loose bassline to die for, Jek is a slow, languid jam, while Don’t Ask Me Why should be in the dictionary under the definition of cool. With Jaakko’s treated falsetto quite low in the mix, the record hits the listener like an aural wave, seducing them quietly but surely until all resistance is swept away.
    [Show full text]
  • Beatport Launches New Melodic House & Techno Genre Category
    BEATPORT LAUNCHES NEW MELODIC HOUSE & TECHNO GENRE CATEGORY BERLIN, DE - MARCH 20, 2018 - Reflecting one of the dominant sounds on global dancefloors, BEATPORT, a division of LiveStyle, today announced the addition of its new Melodic House & ​ ​ ​ ​ Techno genre. ​ In 2018, Beatport's House and Techno charts are swelling with a style frequently heard in the sets of scene-leading DJs like Dixon, Tale Of Us and Solomun. It's a heady, melodic, ​ ​ ​ ​ ​ arpeggiator-heavy sound that's both brooding and built for clubs. With artists including Stephan ​ Bodzin, Patrice Bäumel, Oliver Koletzki, Mind Against, Matador, Finnebassen and ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ Bedouin leading the charge, this strain of house and techno is thriving on labels like Afterlife, ​ ​ Diynamic, Innervisions and Stil Vor Talent. ​ ​ ​ Previously, this content has been dispersed amongst Beatport's Techno, Deep House, Tech ​ ​ ​ ​ ​ House and Electronica genres, making it increasingly difficult to know where to find the most ​ up-to-date releases in this style. Our dedicated team will now curate the best Melodic House & Techno tracks each week in one place, with regularly rotating content from the labels and artists at the forefront of the melodic takeover. "While Beatport's main House and Techno categories represent the biggest floor-filling tracks across the genres, Melodic House & Techno brings together a thriving sound that has not been easy to categorise as the lines blur between sounds and styles,” commented Beatport Label & ​ Artist Relations Director, Jack Bridges. ​ "Combining genres in this way under a new specialised category follows the successful launch of Leftfield House & Techno on the store in 2017, which caters for the underground DJ while ​ recognising that blurring of genre lines.
    [Show full text]
  • Fatima Al Qadiri
    FATIMA AL QADIRI: CHINAS OF THE MIND Elena Harvey Collins, independent curator | September 25, 2015 — January 10, 2016 Fatima Al Qadiri’s music articulates the disconnect upon historical sites and museums in Iraq and Syria. The between what is experienced and what is imagined, how fact that many works of art, such as the Assyrian statuary places are distorted and romanticized in our collective recently attacked in Mosul, Iraq, are in fact plaster replicas memory, and how they can endure as a feeling or a mood. of originals held in European museums adds to the layers Pulling from multiple cultural references, Al Qadiri builds of confusion and to the sense of things not being where sonic architectures that spatialize both past and future. A they belong, or where we left them. However, there is a particular hook pulls me into her music: the icy, skittering plastic quality to the melodies of Al Qadiri’s album, a sounds of Grime, a genre of music originating in London distancing that comes from the way that the artist’s raw during the early 2000s. Grime was a very specific sound memories are overlaid with removed experience, including that could only have sprung from London’s hybridized, sounds sampled from the video game Desert Strike: Return bustling, DIY music scene, coming by way of jungle, UK to the Gulf, based on the US military’s response to Iraq’s Garage, 2-Step, dancehall, and rap. It was music made 1991 invasion of Kuwait. Al Qadiri evokes the strangeness by teenage musicians on computers in housing estate and alienation of re-experiencing a war as entertainment, bedrooms, music for dancefloors, characterized by a conveying a sense of cultural slippage—how sounds, moody scene and raves that got shut down early by the places, and events are mediated by distance, politics, and police.
    [Show full text]
  • Synthpop: Into the Digital Age Morrow, C (1999) Stir It Up: Reggae Album Cover Art
    118 POPULAR MUSIC GENRES: AN INTRODUCTION Hebdige, D. (1987) Cut 'n' mix: Identity and Caribbean MUSIc. Comedia. CHAPTER 7 S. (1988) Black Culture, White Youth: The Reggae Tradition/romJA to UK. London: Macmillan. Synthpop: into the digital age Morrow, C (1999) StIr It Up: Reggae Album Cover Art. San Francisco: Chronicle Books. Potash, C (1997) Reggae, Rastafarians, Revolution: Jamaican Musicfrom Ska to Dub. London: Music Sales Limited. Stolzoff, N. C (2000) Wake the Town and Tell the People: Dancehall Culture in Jamaica. Durham, NC, and London: Duke University Press. Recommended listening Antecedents An overview of the genre Various (1989) The Liquidators: Join The Ska Train. In this chapter, we are adopting the term synthpop to deal with an era Various (1998) Trojan Rocksteady Box Set. Trojan. (around 1979-84) and style of music known by several other names. A more widely employed term in pop historiography has been 'New Generic texts Romantic', but this is too narrowly focused on clothing and fashion, Big Youth ( BurI).ing Spear ( and was, as is ever the case, disowned by almost all those supposedly part Alton (1993) Cry Tough. Heartbeat. of the musical 'movement'. The term New Romantic is more usefully King Skitt (1996) Reggae FIre Beat. Jamaican Gold. employed to describe the club scene, subculture and fashion associated K wesi Johnson, Linton (1998) Linton Kwesi Johnson Independam Intavenshan: with certain elements ofearly 1980s' music in Britain. Other terms used to The Island Anthology. Island. describe this genre included 'futurist' and 'peacock punk' (see Rimmer Bob Marley and The Wailers (1972) Catch A Fire.
    [Show full text]
  • From Disco to Electronic Music: Following the Evolution of Dance Culture Through Music Genres, Venues, Laws, and Drugs
    Claremont Colleges Scholarship @ Claremont CMC Senior Theses CMC Student Scholarship 2010 From Disco to Electronic Music: Following the Evolution of Dance Culture Through Music Genres, Venues, Laws, and Drugs. Ambrose Colombo Claremont McKenna College Recommended Citation Colombo, Ambrose, "From Disco to Electronic Music: Following the Evolution of Dance Culture Through Music Genres, Venues, Laws, and Drugs." (2010). CMC Senior Theses. Paper 83. http://scholarship.claremont.edu/cmc_theses/83 This Open Access Senior Thesis is brought to you by Scholarship@Claremont. It has been accepted for inclusion in this collection by an authorized administrator. For more information, please contact [email protected]. Table of Contents I. Introduction 1 II. Disco: New York, Philadelphia, Chicago, and Detroit in the 1970s 3 III. Sound and Technology 13 IV. Chicago House 17 V. Drugs and the UK Acid House Scene 24 VI. Acid house parties: the precursor to raves 32 VII. New genres and exportation to the US 44 VIII. Middle America and Large Festivals 52 IX. Conclusion 57 I. Introduction There are many beginnings to the history of Electronic Dance Music (EDM). It would be a mistake to exclude the impact that disco had upon house, techno, acid house, and dance music in general. While disco evolved mostly in the dance capital of America (New York), it proposed the idea that danceable songs could be mixed smoothly together, allowing for long term dancing to previously recorded music. Prior to the disco era, nightlife dancing was restricted to bands or jukeboxes, which limited variety and options of songs and genres. The selections of the DJs mattered more than their technical excellence at mixing.
    [Show full text]