Music

The department aims to equip students with a skill set that will allow them to enjoy life-long musical performing, composing and appreciation. We want students to be able to understand all types of music. We passionately believe in extending the curriculum beyond the classroom, providing opportunities for the exploration of music at a deeper or more varied level than that possible in weekly classroom lessons. 

Updated VCM details will be available from 18/01/24

Year 7 - Piano Level 1

Term 1 

What?

What are we learning? What’s interleaved? What’s challenging?

Students will learn the basics of playing the piano and reading music; both practically and theoretically. They will learn to read music and apply this to a range of pieces that get progressively more difficult. Music theory is interleaved throughout the year and revisited throughout the key stage. 

Students who already play the piano and are familiar with reading music will be challenged with sight-reading each lesson and given time to practice any music they are preparing for their grade assessments.

Why?

Why do we need to deliver this (vision statement)? Why now? 

This topic contains three main skills: (1) performing; (2) composing; and (3) appraising.  These three main skills have often been treated as distinct disciplines; however, they are strongly interrelated.

For example, a student who learns to compose a piece of piano music will by default be more informed when learning to play one. Likewise, a student who can articulately appraise a composer’s piece of piano music will be able to play it better, as well as compose their own piano music better.

 

How?  

How will they achieve this? How will all access this (inclusion for all/ SEND)?

Core knowledge:  

  • Identifying the features of the piano and performance technique 
  • Recognitions of the stave, Treble and Bass clefs 
  • Notation (which letters represent which notes and where they are on the keyboard) 
  • Crotchets, minims, semibreves and dotted notes 

Learning Activities & Styles 

PowerPoint presentations, Video demonstrations, 1-to-1 demonstrations, Starter quizzes, Starter worksheets, Homework recall tasks, In-class practice sessions, Performances to co-students, Appraisal of each other, End of unit tests, Formative feedback of performances, Gradual increase in demand of repertoire.

How well?

What should they be able to know? What should they be able to do? How do they know they have done this well?

How to recognise notes F-C on the left hand (bass clef) and C-G on the right hand (treble clef) in the form of crotchets, minims and semibreves. 

What should they be able to do?  

Play notes as they can see them written in a piece of music 

How do they know they have done this well?  Because they can…  

Appraise their own music and the music of others 

Learning checkpoints and assessment:  

Weekly online quizzes for homework checking for understanding of theory, in-class practical assessments at week 6 and 10

Where next?

Where do we go from here?

Once students have a level of understanding for music theory that can be applied on the piano, they have access to reading music in different forms; for example in the vocals topic that follows, student can begin recognising patterns when reading for singing.  In Year 8 students will progress onto “Piano Music Level 2”, where learning from this unit shall be revisited and then additional features of notation learnt. 

Year 7 - Vocal Level 1

Term 1 

What?

What are we learning? What’s interleaved? What’s challenging?

In Vocal Music Level 1, students will learn about the theory of singing; how our voices work when we sing and how to be intentional with our singing.  The repertoire of songs that is taught spans genres and vocal style, from worship songs, pop and jazz to rap and rnb. The reading of music is interleaved from the piano topic with the technical challenge coming in the form of sight-singing as well as the challenge of performing solo in front of their peers. 

Why?

Why do we need to deliver this (vision statement)? Why now? 

Singing creates a sense of community, it encourages confidence and teamwork within a class as well as beginning a relationship with the performing arts that students may want to pursue ie whole school music, choirs, bands, singing lessons etc. 

By learning the theory behind singing, students can begin to understand how to progress in singing and what makes a good vocal performance. 

 

How?  

How will they achieve this? How will all access this (inclusion for all/ SEND)?

Core knowledge:  

  • Correct posture and vowel sounds,  
  • Diction and articulation, 
  • Resonance, range and register

Lesson Activities

By being able to understand, describe, explain and apply the above, students work on improving their vocal performance. This topic is accessible and inclusive due to its practical nature and need for no prior knowledge or experience; all songs are taught aurally by the teacher and enthusiasm is the primary requirement. Students may be given some leadership roles where appropriate.  Lyrics can be provided in advance of lessons.  Video and real-life practical demonstrations are provided. 

How well?

What should they be able to know? What should they be able to do? How do they know they have done this well?

What should they be able to know?  

How to effectively perform a song vocally, and the theory behind a good vocal performance. 

What should they be able to do?  

Describe and explain the skills of a good vocal performance and apply them. 

How do they know they have done this well?  Because they can…  

perform a familiar or taught song accurately with confidence and/or enjoyment.

Learning checkpoints and assessment:  

Students are set weekly knowledge retrieval quizzes for homework. Aural assessments each lesson via solos or by the teacher circulating and listening to the group singing for those growing their confidence to perform alone. The end of the topic features a written and practical assessment, checking knowledge and application.

Where next?

Where do we go from here?

Following an introduction to vocals, students will explore the topic of World Music, including the tradition and importance of call and response, and choral singing. In Year 8, students will progress to “Vocal Music Level 2”, where they shall revisit topics learnt in this unit and then learn new material on singing technique and new repertoire.

Year 8 - Piano Level 2

Term 1 

What?

What are we learning? What’s interleaved? What’s challenging?

This unit builds on the introduction to musical elements, notation & keyboard skills related to timing and pitch studied in year 7.  It is equivalent to the content of the early parts of the ABRSM Grade 1-2 theory and aural syllabi.  Topics from year 7 are recapped.  Symbols for more complex values of musical time are then covered, as well as the pitch concept of flattening, sharpening and naturalizing a note.  Tonality is also covered.  Students play the keyboard on their own, in duet with the teacher and sometimes in unison as a class group. 

Students who already play the piano and are familiar with reading music will be challenged with sight-reading each lesson and given time to practice any music they are preparing for their grade assessments.

Why?

Why do we need to deliver this (vision statement)? Why now? 

This topic contains three main skills: (1) performing; (2) composing; and (3) appraising.  These three main skills have often been treated as distinct disciplines; however, they are strongly interrelated. For example, a student who learns to compose a piece of piano music will by default be more informed when learning to play one.  Likewise, a student who can articulately appraise a composer’s piece of piano music will be able to play it better, as well as compose their own piano music better.  Piano playing skills are a very useful skill across several learning situations in music, particularly composing. This skill can be transferred to working at the computer to create music in sequencing units. It can also be used in the context of playing in a band. Teaching some basic reading of notation is a way of preparing students for the academic rigor of GCSE music. 

How?  

How will they achieve this? How will all access this (inclusion for all/ SEND)?

Core knowledge:  

  • Identifying the features of the piano and performance technique 
  • Recognition of notation – pitch; rhythm; expression & articulation. 
  • Recognition of texture – chords; layers. 

Learning Activities & Styles 

PowerPoint presentations, Video demonstrations, 1-to-1 demonstrations, Starter quizzes, Starter worksheets, Homework recall tasks, In-class practice sessions, Performances to co-students, Appraisal of each other, End of unit tests, Formative feedback of performances, Gradual increase in demand of repertoire.

How well?

What should they be able to know? What should they be able to do? How do they know they have done this well?

What should they be able to know?  

The symbols for musical notation; the features of posture for playing the piano; the assessment criteria for a performance on the piano. 

What should they be able to do?  

Describing; identifying (visual & aural); explaining; analysing; notating; playing the musical keyboard; performing to an audience; reviewing. 

How do they know they have done this well?  Because they can…  

Appraise their own musical performance and the music of others; explain the meaning of musical notation. 

Learning checkpoints and assessment:  

Weekly online quizzes for homework checking for understanding of theory, in-class practical assessments at week 6 and 10.

Where next?

Where do we go from here?

Once students have a level of understanding for music theory that can be applied on the piano, they have access to reading music in different forms; for example in the vocals topic that follows, student can begin recognising patterns when sight reading for singing or internalising pitch direction when learning by ear.  In Year 9 students will progress onto “Piano Music Level 3”, where learning from this unit shall be revisited and then additional features of notation learnt. 

Year 8 - Vocal Level 2

Term 1 

What?

What are we learning? What’s interleaved? What’s challenging?

This unit builds on the introduction to correct vocal technique studied in year 7. It is equivalent to the content of the “Dark Blue/Red” levels of the RSCM Voice for Life. Students refresh prior learning and learn more intricate detail about the 4 key areas of singing technique: posture; tone; diction; and breath control.  The role of the conductor, ways to combat nerves, the importance of teamwork, and musical character markings is also covered. Students sing in unison as a class group, in 2-part harmony and (where appropriate) on their own. 

Why?

Why do we need to deliver this (vision statement)? Why now? 

This topic contains three main skills: (1) performing; (2) composing; and (3) appraising.  These three main skills have often been treated as distinct disciplines; however, they are strongly interrelated.  For example, a student who learns to compose a piece of vocal music will by default be more informed when learning to sing one.  Likewise, a student who can articulately appraise a composer’s piece of vocal music will be able to sing it better, as well as compose their own vocal music better.  Singing skills are a very useful skill across several learning situations in music, particularly performing.  This skill can be transferred to composing ideas.  It can also be used in the context of singing in a band.  Teaching some basic vocal technique is a way of preparing students for the performance level required in GCSE music. 

How?  

How will they achieve this? How will all access this (inclusion for all/ SEND)?

Core knowledge:  

  • Identifying the features of the voice and performance technique 
  • Recognition of notation musical expression.

Learning Activities & Styles 

PowerPoint presentations, Video demonstrations, 1-to-1 demonstrations, Starter quizzes, Starter worksheets, Homework recall tasks, In-class practice sessions, Performances to co-students, Appraisal of each other, End of unit tests, Formative feedback of performances, Gradual increase in demand of repertoire.

How well?

What should they be able to know? What should they be able to do? How do they know they have done this well?

What should they be able to know?  

Sing with the correct technique, sing with expression, explain the correct features of singing technique and expression. 

What should they be able to do?  

Describing; identifying (visual & aural); explaining; analysing; singing; performing to an audience; working as a team; reviewing. 

How do they know they have done this well?  Because they can…  

Appraise their own singing performance and the music of others; explain the meaning of singing technique and expression. 

Learning checkpoints and assessment:  

Weekly online quizzes for homework checking for understanding of theory, in-class practical assessments at week 6 and 10.

Where next?

Where do we go from here?

Once students have a level of understanding for technique that can be applied to the voice, they have access to singing in a variety of styles and traditions; for example, in the vocals topic that follows, student can begin recognising patterns when sight reading for singing or internalising pitch direction when learning by ear.  In Year 9 students will progress onto “Vocal Music Level 3”, where learning from this unit shall be revisited and then additional features of singing technique learnt. 

Year 9 - Computer Music Level 3

Term 1 

What?

What are we learning? What’s interleaved? What’s challenging?

This unit covers the core terminology for the concepts of musical composition: texture; structure; melody & harmony. For texture, this includes the areas of: monody; homophony; polyphony; imitation.  Broken chords, unison layers, ostinato/riff and pedal devices are introduced.  For structure, this includes how music has: repetition and contrast; sections; specific forms (binary, ternary,  & variation).  For melody & harmony, this includes: motifs; sequences; conjunct and disjunct shapes; symmetrical phrases; bass lines; inner harmony lines; tonal harmony & harmonic chords; consonance & dissonance.  Students create their own music track using specialist software to illustrate the features learnt. 

Why?

Why do we need to deliver this (vision statement)? Why now? 

This topic contains three main skills: (1) performing; (2) composing; and (3) appraising.  These three main skills have often been treated as distinct disciplines; however, they are strongly interrelated.  For example, a student who learns to compose a piece of computer music will by default be more informed when learning to appraise one. Computer skills are a very useful skill across several learning situations in music, particularly composing.  This skill can be transferred to other ICT scenarios as well.  It can also be used in the context of performing in an accompaniment to a play or show.  Teaching some basic computer technique is a way of preparing students for the composing level required in GCSE music. 

 

How?  

How will they achieve this? How will all access this (inclusion for all/ SEND)?

Core knowledge:  

  • Identifying the features computer music and composing technique. 
  • Recognition and use of hardware and software. 

Learning Activities & Styles 

PowerPoint presentations, Video demonstrations, 1-to-1 demonstrations, Starter quizzes, Starter worksheets, Homework recall tasks, In-class computer sessions, Performances to co-students, Appraisal of each other, End of unit tests, Formative feedback of performances, Gradual increase in demand of tasks. 

How well?

What should they be able to know? What should they be able to do? How do they know they have done this well?

What should they be able to know?  

Compose music at the computer, use software and hardware correctly, identify features of music and computer hardware/software. 

What should they be able to do?  

Describing; identifying (visual & aural); explaining; analysing; composing; performing to an audience; working as a team; reviewing. 

How do they know they have done this well?  Because they can…  

Appraise their own composing and the music of others; explain the meaning of composing technique and how software/hardware works. 

Learning checkpoints and assessment:  

Weekly online quizzes for homework checking for understanding of theory, in-class practical assessments at week 6 and 10.

Where next?

Where do we go from here?

In Year 10 students will progress will be able to apply the skills an knowledge learnt in either the AQA GCSE music course or the NCFE Certificate in Music Technology. 

Year 9 - Vocal Level 3

Term 1 

What?

What are we learning? What’s interleaved? What’s challenging?

This unit builds on the teaching of correct vocal technique taught in years 7 and 8. It is equivalent to the content of the “Red/Yellow” levels of the RSCM Voice for Life. Students refresh prior learning and learn more intricate detail about the 4 key areas of singing technique: posture; tone; diction; and breath control.  Students sing in unison as a class group, in 2-part harmony and (where appropriate) on their own.  There is more investigation into the anatomy of the voice and larynx, as well as continuing to promote singing in a safe manner.

Why?

Why do we need to deliver this (vision statement)? Why now? 

This topic contains three main skills: (1) performing; (2) composing; and (3) appraising.  These three main skills have often been treated as distinct disciplines; however, they are strongly interrelated.  For example, a student who learns to compose a piece of vocal music will by default be more informed when learning to sing one.  Likewise, a student who can articulately appraise a composer’s piece of vocal music will be able to sing it better, as well as compose their own vocal music better.  Singing skills are a very useful skill across several learning situations in music, particularly performing.  This skill can be transferred to composing ideas.  It can also be used in the context of singing in a band.  Teaching some basic vocal technique is a way of preparing students for the performance level required in GCSE music, especially those who cannot play an instrument, but are interested in pursuing the subject at GCSE level.

How?  

How will they achieve this? How will all access this (inclusion for all/ SEND)?

Core knowledge:  

  • Identifying the features of the voice, performance technique, expression markings. 

Learning Activities & Styles 

PowerPoint presentations, Video demonstrations, 1-to-1 demonstrations, Starter quizzes, Starter worksheets, Homework recall tasks, In-class practice sessions, Performances to co-students, Appraisal of each other, End of unit tests, Formative feedback of performances, Gradual increase in demand of repertoire.

How well?

What should they be able to know? What should they be able to do? How do they know they have done this well?

What should they be able to know?  

Sing with the correct technique, sing with expression, explain the correct features of singing technique and expression. 

What should they be able to do?  

Describing; identifying (visual & aural); explaining; analysing; singing; performing to an audience; working as a team; reviewing. 

How do they know they have done this well?  Because they can…  

Appraise their own singing performance and the music of others; explain the meaning of singing technique and expression.

Learning checkpoints and assessment:  

Weekly online quizzes for homework checking for understanding of theory, in-class practical assessments at week 6 and 10.

Where next?

Where do we go from here?

Once students have a level of understanding for technique that can be applied to the voice, they have access to singing in a variety of styles and traditions; for example, in the vocals topic that follows, student can begin recognising patterns when sight reading for singing or internalising pitch direction when learning by ear.  In Year 10 students who progress onto music at GCSE level will be able to utilise singing skills in both practical scenarios, where learning from this unit shall be revisited and then additional features of singing technique learnt. 

Year 10 Understanding Music Level 1 (GCSE)

Term 1 

What?

What are we learning? What’s interleaved? What’s challenging?

Understanding Music Level 1

This unit covers the elements of music through the practise of theoretical written exercises.  Based on the early grades of the ABRSM theory course and other terminology from the GCSE specification, students will gain an understanding of the elements of: rhythm & metre; pitch; texture; timbre; structure; tonality; harmony; and melody.

Why?

Why do we need to deliver this (vision statement)? Why now? 

This topic contains a large amount of musical concepts that are then required for the core skills of the GCSE course: appraising; composing; and performing.  It is not possible for students to realistically identify features of music without first knowing and understanding the terminology to do this.  An exam question, for example, may require a student to identify a “tonic pedal note” being played in a musical excerpt.  This is impossible for a student to do, without first studying what these three words mean (both in isolation and when combined).  This knowledge and understanding is also of key importance for students when composing.  It can also be helpful to them when composing, as they will have a greater understanding of the music and the effect the composing is trying to convey which they in turn can attempt to include in their expressive content.

 

How?  

How will they achieve this? How will all access this (inclusion for all/ SEND)?

Core knowledge:  

Features of the elements of music: rhythm & metre; pitch; texture; timbre; structure; tonality; harmony; and melody  

Learning Activities & Styles 

Written theory exercises, PowerPoint presentations, Video demonstrations, 1-to-1 demonstrations, Starter quizzes, Starter worksheets, Homework recall tasks, In-class computer sessions, Performances to co-students, Appraisal of each other, End of unit tests, Formative feedback of performances, Gradual increase in demand of tasks. 

How well?

What should they be able to know? What should they be able to do? How do they know they have done this well?

What should they be able to know?  

The principal features of the elements of music. 

What should they be able to do?  

Describing; identifying (visual & aural); explaining; analysing; solving; creating; working as a team; reviewing. 

How do they know they have done this well?  Because they can…  

Demonstration of knowledge and understanding through written exercises and verbal explanation. 

Learning checkpoints and assessment:  

Weekly online quizzes for homework checking for understanding of theory, in-class structured worksheets, in-class assessments at week 6 and 10.

Where next?

Where do we go from here?

Students shall be equipped with the ability to analyse set areas of study through having a sound knowledge and understanding of the rudiments of music theory and analysis.  This will enable then to successfully answer exam questions, as well as create their own music using technique and perform with a greater understanding of the music they are playing/singing.

Year 10 Understanding Music Level 2 (GCSE)

 

What?

What are we learning? What’s interleaved? What’s challenging?

Understanding Music Level 2

This unit covers more advanced aspects of the elements of music covered in “Understanding Music Level 1”.  Work is learnt through the practise of theoretical written exercises.  Based on the early grades of the ABRSM theory course and other terminology from the GCSE specification, students will continue to gain an understanding of the elements of: rhythm & metre; pitch; texture; timbre; structure; tonality; harmony; and melody.  Material learnt in level 1 will be relied upon in order to access level 2 material (it is not possible to begin level 2 without having studied level 1 first). 

Why?

Why do we need to deliver this (vision statement)? Why now? 

As with level 1, this topic contains a large amount of musical concepts that are then required for the core skills of the GCSE course: appraising; composing; and performing.  It is not possible for students to realistically identify features of music without first knowing and understanding the terminology to do this.  An exam question, for example, may require a student to identify a “conjunct melody” being played in a musical excerpt.  This is impossible for a student to do, without first studying what these three words mean (both in isolation and when combined).  This knowledge and understanding is also of key importance for students when composing.  It can also be helpful to them when composing, as they will have a greater understanding of the music and the effect the composing is trying to convey which they in turn can attempt to include in their expressive content. 

 

How?  

How will they achieve this? How will all access this (inclusion for all/ SEND)?

Core knowledge:  

Features of the elements of music: rhythm & metre; pitch; texture; timbre; structure; tonality; harmony; and melody 

Learning Activities & Styles 

Written theory exercises, PowerPoint presentations, Video demonstrations, 1-to-1 demonstrations, Starter quizzes, Starter worksheets, Homework recall tasks, In-class computer sessions, Performances to co-students, Appraisal of each other, End of unit tests, Formative feedback of performances, Gradual increase in demand of tasks. 

How well?

What should they be able to know? What should they be able to do? How do they know they have done this well?

What should they be able to know?  

The principal features of the elements of music. 

What should they be able to do?  

Describing; identifying (visual & aural); explaining; analysing; solving; creating; working as a team; reviewing. 

How do they know they have done this well?  Because they can…  

Demonstration of knowledge and understanding through written exercises and verbal explanation. 

Learning checkpoints and assessment:  

Weekly online quizzes for homework checking for understanding of theory, in-class structured worksheets, in-class assessments at week 6 and 10, 

Where next?

Where do we go from here?

Students shall be equipped with the ability to analyse set areas of study through having a sound knowledge and understanding of the rudiments of music theory and analysis.  This will enable then to successfully answer exam questions, as well as create their own music using technique and perform with a greater understanding of the music they are playing/singing. 

Year 11 Area of Study 2 Popular Music (GCSE)

 

What?

What are we learning? What’s interleaved? What’s challenging?

Area of Study 2 Popular Music

Students will study features of popular music.  AQA (exam board) define popular music as “mainstream music including a number of musical styles and genres including rock, pop, musical theatre, film and computer gaming music from 1950 to the present.” 

Students must be able to listen attentively to unfamiliar music from the following styles/genres to identify and accurately describe musical elements, musical contexts and musical language: 

  • music of Broadway 1950s to 1990s 

  • rock music of 1960s and 1970s 

  • film and computer gaming music 1990s to present 

  • pop music 1990s to present. 

Students will study Little Shop of Horrors 1982 off-Broadway version – the following three tracks: (first teaching 2020, first assessment 2022, last assessment N/A) 

  • Prologue/Little Shop of Horrors (overture) 

  • Mushnik and Son 

  • Feed Me (Sudden Changes material is not part of the stated set work) 

Why?

Why do we need to deliver this (vision statement)? Why now? 

Students are required to complete short answers in an exam setting related to a short excerpt of music in the pop style.  There shall be multiple questions in section A of the exam that require this.  It is therefore necessary for students to know the terminology to use and what features are likely to appear within the context and style.  For section B of the examination, students are required to write a longer answer about 2 (from a possible 4) study pieces.  Studying the pop style is also highly useful for informing student on how to write their own compositions – one in a style of their choosing, which could be pop.  A number of students will also perform music for the performing component that is in a popular style, so studying other pop artists is informative for their own performance practice.

How?  

How will they achieve this? How will all access this (inclusion for all/ SEND)?

Core knowledge:  

Features of the elements of music found within popular music. 

Learning Activities & Styles 

Written theory exercises, PowerPoint presentations, Video demonstrations, 1-to-1 demonstrations, Starter quizzes, Starter worksheets, Homework recall tasks, In-class computer sessions, Performances to co-students, Appraisal of each other, End of unit tests, Formative feedback of performances, Gradual increase in demand of tasks, practical tasks (group and individual). 

How well?

What should they be able to know? What should they be able to do? How do they know they have done this well?

What should they be able to know?  

The principal features of popular music. 

What should they be able to do?  

Describing; identifying (visual & aural); explaining; analysing; solving; creating; working as a team; reviewing. 

How do they know they have done this well?  Because they can…  

Demonstration of knowledge and understanding through written exercises and verbal explanation. 

Learning checkpoints and assessment:  

Weekly online quizzes for homework checking for understanding of theory, in-class structured worksheets, in-class assessments at week 6 and 10.

Where next?

Where do we go from here?

Students shall be equipped with the ability to analyse popular music.  This will enable then to successfully answer exam questions, as well as create their own music using technique and perform with a greater understanding of the music they are playing/singing.

Year 11 Area of Study 3 Traditional Music (GCSE)

 

What?

What are we learning? What’s interleaved? What’s challenging?

Students will study features of popular music.  AQA (exam board) define popular music as “music that takes influences from traditional sources including folk music and reinterprets them in a contemporary style, and traditional music from traditional sources and cultures that is performed as intended by the composer.” 

Students must be able to listen attentively to unfamiliar music from the following styles/genres to identify and accurately describe musical elements, musical contexts and musical language: 

  • Blues music from 1920–1950 

  • Fusion music incorporating African and/or Caribbean music 

  • Contemporary Latin music 

  • Contemporary Folk music of the British Isles. 

 

Students will study Paul Simon: Graceland album – the following tracks: (first teaching 2020, first assessment 2022, last assessment N/A) 

  • Graceland 

  • Diamonds on the Soles of Her Shoes 

  • You Can Call Me Al 

Why?

Why do we need to deliver this (vision statement)? Why now? 

Students are required to complete short answers in an exam setting related to a short excerpt of music in the traditional music style.  There shall be multiple questions in section A of the exam that require this.  It is therefore necessary for students to know the terminology to use and what features are likely to appear within the context and style.  For section B of the examination, students are required to write a longer answer about 2 (from a possible 4) study pieces.  Studying the style of traditional music is also highly useful for informing students on how to write their own compositions – one in a style of their choosing, which could be traditional music.  A number of students will also perform music for the performing component that is in a traditional style, so studying other pop artists is informative for their own performance practice. 

How?  

How will they achieve this? How will all access this (inclusion for all/ SEND)?

Core knowledge:  

Features of the elements of music found within traditional music. 

Learning Activities & Styles 

Written theory exercises, PowerPoint presentations, Video demonstrations, 1-to-1 demonstrations, Starter quizzes, Starter worksheets, Homework recall tasks, In-class computer sessions, Performances to co-students, Appraisal of each other, End of unit tests, Formative feedback of performances, Gradual increase in demand of tasks, practical tasks (group and individual). 

How well?

What should they be able to know? What should they be able to do? How do they know they have done this well?

What should they be able to know?  

The principal features of traditional music. 

What should they be able to do?  

Describing; identifying (visual & aural); explaining; analysing; solving; creating; working as a team; reviewing. 

How do they know they have done this well?  Because they can…  

Demonstration of knowledge and understanding through written exercises and verbal explanation. 

Learning checkpoints and assessment:  

Weekly online quizzes for homework checking for understanding of theory, in-class structured worksheets, in-class assessments at week 6 and 10, 

Where next?

Where do we go from here?

Students shall be equipped with the ability to analyse traditional music.  This will enable then to successfully answer exam questions, as well as create their own music using technique and perform with a greater understanding of the music they are playing/singing. 

A Level J.S Bach

Bach Ein Feste Burg

What?

What are we learning? What’s interleaved? What’s challenging?

Students will learn to identify, explain and discuss features of movements 1, 2 and 8 from the Cantata “Ein Feste Burg” by J. S. Bach.  They will also study wider listening of other artists, including Handel, Messiah: “Surely he hath borne”, “And with his stripes”, “Hallelujah”, “Worthy is the Lamb and Amen”.  They will learn how to compare the approaches of different composers. 

Why?

Why do we need to deliver this (vision statement)? Why now? 

Students will use the knowledge and skills learnt for the following three activities: 

(1) Section A of the summer listening examination – the question paper may contain an excerpt taken from one of the movements from “Ein Feste Burg” that has been studied.  Students shall be required to identify and explain features within the excerpt.  Answers will be either single word, short sentence, selecting from a multiple choice of options, filling information into a box or table. 

(2) Section B of the summer listening examination – the question paper may include an essay that asks students to discuss Bach’s approach to writing the movements of the cantata that have been studied and how this compares to other composers the students have studied (Handel).  There are two assessment objectives (AO3 and AO4) assessed in this essay.  AO3 is worth 10 of the 30 marks available.  This is achieved through listing and describing features of the music in relation to the elements asked for in the question.  The question will typically ask students to discuss three musical elements, for example: harmony; melody; texture.  AO4 is worth 20 of the 30 marks available.  This is achieved through explaining how and why the elements have been used, including the expressive effect they create.  It also includes the process of comparing Bach’s approach to writing vocal music to that of other composers. 

(3) Studying Bach’s composing feeds into students’ own composing.  They are required to write one composition where they are free to choose the style.  This may be a piece for choir and orchestra, but even if it is not, there will be aspects of Bach’s creative process that they can be informed by, especially tonal harmonic language. 

(4) Studying the performance of the Bach score feeds into students’ own performing.  They must record a recital in Y13.  Even if the style of the music within their recital is significantly different to Bach’s, they can still gain a lot from considering how he instructs the players to be expressive or the players themselves choose to express the notation. 

How?  

How will they achieve this? How will all access this (inclusion for all/ SEND)?

Core knowledge:  

As well as having an understanding of the historical and social context in which the music was written and how this influenced the works themselves, students must also be fully able to discuss the following musical elements: rhythm, metre & tempo; instrumentation, timbre, and performing forces; texture;  

Learning Activities & Styles 

Each lesson shall focus on one of the musical elements.  Activities shall involve written and listening activities.  These may involve: defining vocabulary; identifying features in sound; writing short answers to questions; writing longer answers/essay style answers; writing short musical examples; aural melodic dictation; completing tables of information; researching answers to questions using online resources.  Examples of worksheets that correspond to a lesson are available on SharePoint.  Students shall be expected to complete all activities on the worksheet within a week.  This is set on MS Teams, so can be completed digitally. 

How well?

What should they be able to know? What should they be able to do? How do they know they have done this well?

What should they be able to do?  

Students should be able to describe and discuss the musical elements of the set study pieces.  They must be able to make links to context and other pieces of music, being able make comparisons. 

How do they know they have done this well?  Because they can…  

Demonstrate the ability to answer exam style questions for both sections A and B of the examination related to the music of Bach. 

Demonstrate the ability to perform with a greater awareness and ability of expression. 

Demonstrate the ability to compose using some of the compositional technique used by Bach. 

Learning checkpoints and assessment:  

Weekly worksheets (see above), end of unit assessments, questions within PPEs. 

Where next?

Where do we go from here?

Learning the content for the set study pieces by J. S. Bach strengthens general musical knowledge that can be employed for the next set study piece and previous ones learnt.  Students can use this study piece as an example to compare other works to in an examination response. 

A Level Danny Elfman

Danny Elfman Batman

What?

What are we learning? What’s interleaved? What’s challenging?

Students will learn to identify, explain and discuss features of the set cues from the score for Batman Returns by Danny Elfman.  These are: “Birth of a Penguin Part 1”; “Birth of a Penguin Part 2”; "The Rise & Fall from Grace”, and “Batman vs. The Circus”.  They will also study wider listening of other artists, including Hans Zimmer & Lisa Gerrard’s score for “Gladiator”.  They will learn how to compare the approaches of different composers.  

Why?

Why do we need to deliver this (vision statement)? Why now? 

Students will use the knowledge and skills learnt for the following three activities: 

(1) Section A of the summer listening examination – the question paper may contain an excerpt taken from one of the cues from Batman Returns that has been studied.  Students shall be required to identify and explain features within the excerpt.  Answers will be either single word, short sentence, selecting from a multiple choice of options, filling information into a box or table. 

(2) Section B of the summer listening examination – the question paper may include an essay that asks students to discuss Kate Bush’ approach to writing the songs that have been studies and how this compares to other composers/singer-songwriters the students have studied.  There are two assessment objectives (AO3 and AO4) assessed in this essay.  AO3 is worth 10 of the 30 marks available.  This is achieved through listing and describing features of the music in relation to the elements asked for in the question.  The question will typically ask students to discuss three musical elements, for example: harmony; melody; texture.  AO4 is worth 20 of the 30 marks available.  This is achieved through explaining how and why the elements of been used, including the expressive effect they create.  It also includes the process of comparing Elfman’s approach to writing film music to that of other film composers. 

(3) Studying Elfman’s film composing feeds into students’ own composing.  They are required to write one composition where they are free to choose the style.  This may be a piece for film, but even if it is not, there will be aspects of Elfman’s creative process that they can be informed by. 

(4) Studying orchestral performance of the Elfman score feeds into students’ own performing.  They must record a recital in Y13.  Even if the style of the music within their recital is significantly different to Elfman’s, they can still gain a lot from considering how he instructs the players to be expressive. 

How?  

How will they achieve this? How will all access this (inclusion for all/ SEND)?

Core knowledge:  

As well as having an understanding of the historical and social context in which the music was written and how this influenced the works themselves, students must also be fully able to discuss the following musical elements: rhythm, metre & tempo; instrumentation, timbre, and performing forces; texture;  

Learning Activities & Styles 

Each lesson shall focus on one of the musical elements.  Activities shall involve written and listening activities.  These may involve: defining vocabulary; identifying features in sound; writing short answers to questions; writing longer answers/essay style answers; writing short musical examples; aural melodic dictation; completing tables of information; researching answers to questions using online resources.  Examples of worksheets that correspond to a lesson are available on SharePoint.  Students shall be expected to complete all activities on the worksheet within a week. 

How well?

What should they be able to know? What should they be able to do? How do they know they have done this well?

What should they be able to do?  

Students should be able to describe and discuss the musical elements of the set study pieces.  They must be able to make links to context and other pieces of music, being able make comparisons. 

How do they know they have done this well?  Because they can…  

Demonstrate the ability to answer exam style questions for both sections A and B of the examination related to the music of Elfman. 

Demonstrate the ability to perform with a greater awareness and ability of expression. 

Demonstrate the ability to compose using some of the compositional technique used by Elfman. 

Learning checkpoints and assessment:  

Weekly worksheets (see above), end of unit assessments, questions within PPEs. 

 

Where next?

Where do we go from here?

Learning the content for the set study pieces for Danny Elfman strengthens general musical knowledge that can be employed for the next set study piece and previous ones learnt. 

A Level Kate Bush Hounds of Love

Kate Bush 

What?

What are we learning? What’s interleaved? What’s challenging?

Students will learn to identify, explain and discuss features of three songs written and performed by Kate Bush.  These are: “Cloudbusting”; “And Dream of Sheep”; and “Under Ice”.  They will also study wider listening of other artists, including “Tapestry” by Carole King.  They will learn how to compare the approaches of different composers. 

Why?

Why do we need to deliver this (vision statement)? Why now? 

Students will use the knowledge and skills learnt for the following three activities: 

(1) Section A of the summer listening examination – the question paper may contain an excerpt taken from one of the Kate Bush songs studied.  Students shall be required to identify and explain features within the excerpt.  Answers will be either single word, short sentence, selecting from a multiple choice of options, filling information into a box or table. 

(2) Section B of the summer listening examination – the question paper may include an essay that asks students to discuss Kate Bush’ approach to writing the songs that have been studies and how this compares to other composers/singer-songwriters the students have studied.  There are two assessment objectives (AO3 and AO4) assessed in this essay.  AO3 is worth 10 of the 30 marks available.  This is achieved through listing and describing features of the music in relation to the elements asked for in the question.  The question will typically ask students to discuss three musical elements, for example: harmony; melody; texture.  AO4 is worth 20 of the 30 marks available.  This is achieved through explaining how and why the elements of been used, including the expressive effect they create.  It also includes the process of comparing Bush’s song writing approach to that of other composers. 

(3) Studying Bush’s song writing feeds into students’ own composing.  They are required to write one composition where they are free to choose the style.  This may be a song, but even if it is not, there will be aspects of Kate Bush’s creative process that they can be informed by. 

(4) Studying Bush’s performances feeds into students’ own performing.  They must record a recital in Y13.  Even if the style of the music within their recital is significantly different to Bush, they can still gain a lot from considering how she makes her performances and stage presence expressive. 

How?  

How will they achieve this? How will all access this (inclusion for all/ SEND)?

Core knowledge:  

As well as having an understanding of the historical and social context in which the music was written and how this influenced the works themselves, students must also be fully able to discuss the following musical elements: rhythm, metre & tempo; instrumentation, timbre, and performing forces; texture;  

Learning Activities & Styles 

Each lesson shall focus on one of the musical elements.  Activities shall involve written and listening activities.  These may involve: defining vocabulary; identifying features in sound; writing short answers to questions; writing longer answers/essay style answers; writing short musical examples; aural melodic dictation; completing tables of information; researching answers to questions using online resources.  Examples of worksheets that correspond to a lesson are available on SharePoint.  Students shall be expected to complete all activities on the worksheet within a week. 

How well?

What should they be able to know? What should they be able to do? How do they know they have done this well?

What should they be able to do?  

Students should be able to describe and discuss the musical elements of the set study pieces.  They must be able to make links to context and other pieces of music, being able make comparisons. 

How do they know they have done this well?  Because they can…  

Demonstrate the ability to answer exam style questions for both sections A and B of the examination. 

Demonstrate the ability to perform with a greater awareness and ability of expression. 

Demonstrate the ability to compose using some of the compositional technique used by Kate Bush. 

Learning checkpoints and assessment:  

Weekly worksheets (see above), end of unit assessments, questions within PPEs. 

 

Where next?

Where do we go from here?

Learning the content for the set study pieces for Kate Bush strengthens general musical knowledge that can be employed for the next set study piece. 

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