The KING’S Medium Term Plan - Music Y11 LC1 Programme – out-going GCSE Module Area of Study 2 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 use this knowledge and apply their knowledge of Western Classical Music to composition. AoS1 set works Bernstein: Something’s Coming Reich: Electric Counterpoint Schoenberg: Peripetie 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”. Key Second Viennese School Imitation Metre Atonal Counterpoint Cross rhythm vocabulary Expressionism Inversion Harmonics Hauptstimme Augmented chord Blue note Nebenstimme Whole tone scale Neapolitan Divisi Octave displacement Postmodernism Pizzicato Canon Minimalism Arco Retrograde Register Bell up Inversion Ostinato Sextuplet Prime Hexatonic Tutti Tritone Note Addition Tremolo Ad lib Metrical displacement Hexachord Marcato Resultant Melody Interval Subito Cells Semitone Sempre Phasing Motif Tenor Note subtraction Dissonance Syllabic Loop Rondo Syncopation Modal Diminution Riff Tonal ambiguity Contrary Motion Bridge Glissando Tonal Overarching Challenge ‘What is “modern/20th century” music? question Lines of Week 1: Revision of Something’s Coming Enquiry Week 2: What are “isms”? What is Expressionism? Week 3: What are the Expressionist features of Peripetie? Week 4: What is a hexachord? Week 5: Can motifs have different orchestral colours and moods? Week 6: Assessment Week 7: GAP week LC2 Questions Week 1: What evolved in music to create the different “isms” in the 20th century? Week 2: What is Minimalism? Week 3: How can you identify Minimalist techniques in analysis? Week 4: What is a resultant melody? Week 5: Exam board AOS2 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 understanding of the following in relation to the set works within the Areas of Study: the musical elements (pitch, duration, dynamics, tempo, timbre, texture, structure) Topic identifying how resources are used in different combinations (identifying instruments and groups of Progress instruments) Statement identifying key musical features identifying musical and melodic devices (ornamentation, ostinati, riffs, use of imitation, pedal point and sequence) identifying rhythmic devices (syncopation, note addition, ) identifying and discriminating between major, minor, modal, atonal, dissonant, concordant, hexatonic, atonality tonalities and modulating relationships relating music to the development of 20th century music identifying conventions used in different times and places using appropriate musical vocabulary expressing and justifying opinions and preferences. LO1 - To learn compositional/arranging techniques and learn to apply these independently to complete Unit 5MU02 Knowledge LO2 - To understand music theory and apply it showing knowledge and understanding for use in Unit and Skills 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 Week 1 Lesson 1 Enquiry: Revision of Something’s Coming (AoS 2) Lesson 1: Revising the first piece of AoS2. Outlining the timeline of Year 11 to the students: March 2017 final solo and ensemble performance day. April 1st 2017 Composition Coursework deadline. Lesson 2: Revisiting old composition tasks. Deciding upon material to keep or change. Logging one piece as a submission. Home Learning: Revise all AoS1, 3 and Something’s Coming for an informal test in week 2. To be marked on July 2017 grade boundaries. Hypothesis: There can be no lose ends! Success Criteria: KGPs according to Edexcel grade boundaries scores available in the Edexcel GCSE Anthology of Music ed. Julia Winterson (Pearson Education, 2009) Audio available on the Edexcel Anthology of Music CD (2009) — CD2 Analysis of the set work and a selection of listening questions available in the Edexcel GCSE Music: Student Book by John Arkell and Jonny Martin (Pearson Education, 2009) Composition tasks available in Edexcel GCSE Music: Teacher Resource Pack by John Arkell and Jonny Martin (Edexcel, 2009) and Edexcel GCSE Music: Student Book Week 2 Week 2 (AoS 2) Schoenberg Line of enquiry: What are “isms”? What is Expressionism? Lesson 1 Introduction to impressionism, expressionism, serialism, minimalism, atonalism, nationalism, aleatoric scores etc. Using the art to relate music to visually. Lesson 2 & 3 Composition coursework. All learners will be at different stages in their work and receiving advice that is personal to each of them. Home learning Research Schoenberg and produce an A4 sheet of your work. You should also include a paragraph on expressionism in art. Hypothesis Expressionism is pain Success criteria KGP4: Learners can aurally identify the differences between genres but may not be able to identify the “ism” they can hear. KGP5: In addition to GP4, learners are able to identify impressionism by making links to romanticism. They will be able to identify expressionism and serialism by “dischordant” sounds, but may not be able to distinguish between the two. KGP6: In addition to GP 4 & 5, learners will be able to identify nationalistic music. KGP7: In addition to GP4, 5 & 6, learners will be able to justify how different movements “gave birth” to one another. KGP8: In addition to GP4, 5, 6 & 7, learners will be able to distinguish between all “isms”. Week 3 Week 3 (AoS 2) Schoenberg: Peripetie Line of enquiry: What are the Expressionist features of Peripetie? Lesson 1 Who Schoenberg was The second Viennese School The expressionist movement Schoenberg’s five orchestral pieces Beginning to analyse Peripetie Lesson 2 Composition coursework Home Learning Research Schoenberg’s Five Orchestral Pieces Hypothesis Schoenberg described Expressionism as "a vivid, uninterrupted succession of colours and moods". He was wrong. 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 4 Week 4 (AoS 2) Schoenberg: Peripetie Line of enquiry: What is a hexachord? Lesson 1&2 Introduction to a tone row Composing a tone row Further analysis of the work identifying the use of hexachords in the motifs Lesson 3 Composition coursework Home Learning Draw out motif A, B and C and annotate the analysis points. Prepare for your performance assessment. 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. Hypothesis Tone rows are easy composition tools Week 5 Week 5 (AoS 2) Schoenberg: Peripetie Line of enquiry: Can motifs have different orchestral colours and moods? Lesson 1 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 Lesson 2 Composition coursework/performance assessment Home Learning Revision Hypothesis Colour is a choice, not something that happens by chance. 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