The KING’S Medium Term Plan - Music Y11 LC3 Programme Legacy GCSE Module Area of Study 2 and 4 Analysing three additional set works. Learners will be required to focus their skills on new styles of notated music and adapt to following much larger scores. Learners will learn about the characteristics of modern/20th century music, specialising in musical theatre, minimalism and expressionism. Learners will also be introduced to world music. AoS2 set works Schoenberg: Peripetie AoS4 set works Koko: Yiri Capercaille: Skye Waulking Song Rag Desh Building on Learners have now learnt how to follow reduced music scores, larger orchestral and vocal scores. They will prior learning continue to follow similar musical scores. Their understanding of the Western Classical Traditions will be reaffirmed and extended to modern practices. Learners will be introduced to a broad historical understanding of the historical Western periods will be learnt. This module specifically looks at 20th century “isms” and music from outside of the WCM culture. Key Folk rock Alap Balaphon Celtic fusion Jhor Djembe vocabulary Gaelic Jhala Talking Drum Fiddle Tan Accicaatura Accordian Drone Unison Uillean pipes Gat Call and Response Bouzouki Sitar Imitation Waulking song Tabla Syncopation Compound quadruple metre Tanpura Cross rhythm Tremolo Sarangi Chorus Vocables Pakhawaj Hexatonic Pentatonic Melisma Ostinato Diatonic Tihai Heterophonic Refrain Bansuri Monophonic Cluster chord Esraj Membraphones Plagal cadence Shruti box Aerophones Cross rhythm Swarmandel Chordaphones Dialogue Meend Idiophones Heterophonic Rasa Polyrhythmc Counter melody Bhajan Oral tradition Raga Dayan Tal Bayan Sam Tintal Overarching Challenge ‘What is world music? question Lines of Week 1: What is Expressionism? enquiry Week 2: What are the Expressionist features of Peripetie? Week 3: What is a hexachord? Week 4: How can we analyse non-WCM music? Week 5: What is a balaphon? Week 6: Assessment week Week 7: GAP week Exam board LC2: AOS3 links: In this unit students develop their listening and appraising skills through the study of music across a variety of styles and genres. In their responses to the questions in both sections, students will need to demonstrate an Topic understanding of the following in relation to the set works within the Areas of Study: Progress the musical elements (pitch, duration, dynamics, tempo, timbre, texture, structure) Statement identifying how resources are used in different combinations (identifying instruments and groups of instruments) identifying key musical features identifying musical and melodic devices (ornamentation, ostinati, riffs, use of imitation, pedal point and sequence) identifying rhythmic devices (syncopation, swung rhythms, dotted rhythms and triplets) identifying and discriminating between major, minor, modal, pentatonic, chromatic and atonal tonalities relating music to the context in which it was created identifying conventions used in different times and places using appropriate musical vocabulary expressing and justifying opinions and preferences. A Examination Candidates explore the expressive potential of musical resources and conventions used in selected genres, and traditions. board grade They sing and/or play music with a sense of style, command of the resources used and making appropriate gradations of descriptors tempo, dynamics and balance. They compose music which shows a coherent and imaginative development of musical ideas and consistency of style and fulfils a brief. They make critical judgements about their own and others’ music using an accurate and extensive musical vocabulary. C Candidates sing and/or play music with control, making expressive use of phrase and dynamics appropriate to the style and mood of the music. They compose music which shows ability to develop musical ideas, use conventions, explore the potential of musical structures and resources and fulfils a brief. They make critical judgements about their own and others’ music using a musical vocabulary. F Candidates sing and/or play music with some fluency and control of the resources used. They compose music which shows some ability to organise musical ideas and use appropriate resources in response to a brief. They describe musical features using a simple musical vocabulary, make improvements to their own work and offer some justification of opinions expressed. Progress AO1: Performing skills: performing/realising with technical control, expression and interpretation. 30% objectives AO2: Composing skills: creating and developing musical ideas with technical control and coherence. 30% AO3: Listening and appraising skills: analysing and evaluating music using musical terminology. 40% Knowledge and Skills LO1 - To learn compositional/arranging techniques and learn to apply these independently to complete Unit 5MU02 LO2 - To understand music theory and apply it showing knowledge and understanding for use in Unit 5MU02/03 LO3 - To perform in front of an audience with an increasing level of technical ability and perfection in regards to pitch and rhythm for Unit 5MU01 LO4 - To analyse performances using an increasing level of performance interpretation (technical and expressive control) 5MU01/03 LO5 - To understand structural devices within appraised music 5MU03 LO6 - To analyse music aurally/visually (using a score) and to demonstrate with increasing independence knowledge and understanding of: musical elements; structural devices; expressive features; contextual issues; resources and technology. 5MU03 LO7 - Understand features/characteristics belonging to different periods/genres of music. 5MU01/2/3 Hypothesis: Schoenberg described Peripetie as "a vivid, uninterrupted succession of colours and moods". He was wrong. Week 1 Line of enquiry: What is Expressionism? Hour 1 & 2 Introduction to Schoenberg and Expressionism. Links to art e.g. The Scream Hour 3 Starting to analyse Peripetie Home Learning th Schoenberg HW 1, 2 and 3 (Leningrad Symphony, Shostakovich; Quator pour le fin, Messiaen; 20 century composer sheet) Success criteria KGP4: Learners will use musical vocabulary when describing this piece, but will need guidance in applying words correctly. KGP5: In addition to GP 4, learners will make attempt to identify mood. KGP6: In addition to GP3, 4 & 5, learners will notice the absence of firm tonality without guidance. KGP7: In addition to GP4, 5 & 6, learners will make observations to how the orchestral sections are employed in the work and identify changes of timbre. KGP8: In addition to GP4, 5, 6 & 7, learners will clearly identify motifs Week 2 Week 2: Tone rows are easy compositional tools Line of Enquiry: What are the expressionist features in Peripetie? Hour 1 & 2 Serialism and expressionism worksheet Introduction to a tone row Composing a tone row Further analysis of the work Hour 3 Completing composition Home Learning Serialism missing words and crossword Success criteria KGP4: Learners will understand the hexachord principal and be able to write out a tone row with checking. KGP5: In addition to GP4, learners will be able to write out a tone row without help. KGP6: In addition to GP4 & 5, learners will be able to identify the hexachord pitches in the three motifs. KGP7: In addition to GP4, 5 & 6, learners will make links to serialism. KGP8: In addition to GP4, 5, 6 & 7, learners will confidently and correctly apply all expressionist terms. Week 3 Hypothesis: The title “Peripetie” (Sudden changes) makes sense. Line of enquiry: What are hexachords? Hour 1 & 2 Completing the analysis of the set work – focus on the timbral effects chosen by the composer How to write an extended answer for this set work Marking example essays (top, middle, low examples) – becoming familiar with the mark scheme. Answering aural questions on the set work Home Learning Exam style Schoenberg question Success criteria KGP4: learners will associate particular motifs to different sounds, but may not apply timbre terms correctly. KGP5: In addition to GP4, learners will apply timbre terms as and when they can hear them being played. KGP6: In addition to GP4 & 5, learners will correctly apply timbre terms to motifs. KGP7: In addition to GP4, 5 & 6, learners will offer opinions to the effect of timbre choices for each motif. KGP8: In addition to GP 4, 5, 6 & 7, learners will offer opinions as to what the effect might have been if the composer had chosen different timbres. Week 4 Hypothesis: It is important that we translate lyrics Line of Enquiry: How can we analyse non-WCM music? Hour 1 & 2 Analyse Yiri Hour 3 Completing composition Home Learning Yiri worksheet Success criteria KGP4: Learners will understand the call and response technique. KGP5: In addition to GP4, learners will identify structure. KGP6: In addition to GP4 & 5, learners will be able to identify heterophonic examples. KGP7: In addition to GP4, 5 & 6, learners will identify one ostinato. KGP8: In addition to GP4, 5, 6 & 7, learners will identify both ostinatos. Week 5 Hypothesis: African music requires more enthusiasm than musicality Line of enquiry: What is a balaphon? Hour 1 Complete analysis of Yiri Complete essay style answer Homelearning Yiri listening questions KGP4: Learners will understand the call and response technique. KGP5: In addition to GP4, learners will identify structure. KGP6: In addition to GP4 & 5, learners will be able to identify heterophonic examples. KGP7: In addition to GP4, 5 & 6, learners will identify one ostinato. KGP8: In addition to GP4, 5, 6 & 7, learners will