OCR GCSE Music (Linear 2012)1 of 29

Contents

Contents

Introduction

Sample Scheme of Work: GCSE Music J535

Sample Lesson Plan: GCSE Music J535

OCR GCSE Music (Linear 2012)1 of 29

Introduction

Background

Following a review of 14–19 education and the Secondary Curriculum Review, the Qualifications and Curriculum Authority (QCA) has revised the subject criteria for GCSEs, for first teaching in September 2009. This applies to all awarding bodies.

The new GCSEs have more up-to-date content and encourage the development of personal, learning and thinking skills in your students.

We’ve taken this opportunity to redevelop all our GCSEs, to ensure they meet your requirements. These changes will give you greater control of assessment activities and make the assessment process more manageable for you and your students. Controlled assessment will be introduced for most subjects.

From September 2012 assessment tasks may be undertaken and internally assessed at any point during the course.

OCR has produced a summary brochure, which summarises the changes to Music. This can be found at , along with the new specification.

In order to help you plan effectively for the implementation of the new specification we have produced these Schemes of Work and Sample Lesson Plans for Music. These Support Materials are designed for guidance only and play a secondary role to the Specification.

Our Ethos

OCR involves teachers in the development of new support materials to capture current teaching practices tailored to our new specifications. These support materials are designed to inspire teachers and facilitate different ideas and teaching practices.

Each Scheme of Work and set of sample Lesson Plans is provided in Word format – so that you can use it as a foundation to build upon and amend the content to suit your teaching style and students’ needs.

The Scheme of Work and sample Lesson plans provide examples of how to teach this unit and the teaching hours are suggestions only. Some or all of it may be applicable to your teaching.

The Specification is the document on which assessment is based and specifies what content and skills need to be covered in delivering the course. At all times, therefore, this Support Materialbooklet should be read in conjunction with the Specification. If clarification on a particular point is sought then that clarification should be found in the Specification itself.

A Guided Tour through the Scheme of Work

OCR GCSE Music (Linear 2012)1 of 29

Sample GCSE Scheme of Work

GCSE Music J535
AUTUMN TERM / SPRING TERM / SUMMER TERM / AUTUMN TERM / SPRING TERM / SUMMER TERM
AoS 1
Independent research into instrument – demonstration of instrument and different techniques to class / AoS 1
Select and practise piece and perform to class. Write programme note. Class undertake appraisal.
Write up first two sections of commentary and develop composition brief (1½ hrs)
Short composition exercises using instrument (Creative Task) / AoS 1
Prepare and record performance of piece. Write up appraisal of performance. (½ hour)
Controlled task (Composition 1) (10 hrs) / AoS 3 (iii)
Dance Music
Review Waltz, Tango and Salsa.
Characteristic features of Bhangra, Disco and Club Dance. Composition exercises
AoS 2 (iii)
Principles of performing in a group (prep for performance 2)
Chamber music, Indian classical music and gamelan
Composition/improvisation activities.
Selection and preparation of second performance piece / Selection of composition task for unit B351
Controlled composition task, log and evaluation (12 hours)
Prepare and record group performances.
Begin review of AoS 2 3 and 4 / Complete review of AoS 2 3 and 4
Revision of vocabulary
Practice Paper
AoS 4(i)
Descriptive Music
Film music and creation of group and individual pieces to accompany action. Practical exploration of effects and creation of pieces where there is a change of mood. (Link with Creative Task)
AoS 3 (i)
Dance Music
Principles of Dance music – common features using a range of styles
Characteristic features of Waltz and composition exercises. / AoS 2(i)
Shared Music
Techniques of composing; tune and accompaniment and link with AoS2: Voice and accompaniment and Solo instrument and Orchestra
Composition exercises and group performances
(including Creative task stimuli).
AoS 3 (ii)
Dance Music
Characteristic features of Tango and Salsa and composition exercises / AoS 2(ii)
Shared Music
Vocal Music
Listening to choral music.
Visit to/engagement in live choral event.
AoS 4 (ii)
Descriptive Music
Programme music
Listening and composition exercises
Unit B354 Listening Test
Submission of Unit B351 / Unit B353 Creative Task / Submission of Unit B352

Notes:

This scheme would best suit groups who are already able performers and illustrates a way of spreading the assessment throughout the course. .

Composing and performing activities should take place throughout the course, and are integrated into the learning within the areas of study

Composition exercises are undertaken both to develop understanding of styles and to provide practice for the controlled composition tasks and for the creative task.

The areas of study are not taught as complete blocks but are spread throughout the course, enabling regular recapitulation of the principles underpinning them.

GCSE Music J535
AUTUMN TERM / SPRING TERM / SUMMER TERM / AUTUMN TERM / SPRING TERM / SUMMER TERM
AoS 1
Developing instrumental skills through guided performance pieces.
Performances and demonstrations of technical aspects of the instrument to the group and others as appropriate. / AoS 1
Selection of performance piece for unit 1
GCSE group concert including performances from all members of the group. (Pieces recorded at or immediately before/after the event)
Write up commentary as part of controlled assessment (2 hours)
Controlled task (Composition 1) (10 hrs)
Listening activities based around Areas of Study 2 3 and 4 / Selection of composition task for unit 2
Controlled composition task, log and evaluation (12 hours)
Prepare and record group performances.
Selection of best option for creative task and practice timed exercises. / Revision of AoS 2 3 and 4. Recapitulation of vocabulary and practice questions.
Composing development
Introduction to compositional software and exercises in using the functions / Short individual compositional tasks manipulating (arranging) musical strands and textures,(could include introductory Creative task exercises) / Introduction to devices. Exploration of compositional techniques for own instrument (Computer or acoustic) Composing short pieces based on stimuli.
AoS 4
Descriptive Music
Film music and orchestral programme music
Exploration through group composing and performing, of how music can convey meaning. / AoS 3
Dance Music
Principles of Dance music
Characteristic features of Waltz Tango Salsa Line Dance Bhangra Disco and Club Dance.
Arrangements of simple tunes to take on character of different dance styles. Class, group and individual activities exploring rhythmic and melodic change and textures. / AoS 2
Shared Music
How musicians work together - examples of different roles illustrated by song and accompaniment, solo instrument and group, ensembles and vocal music.
Class performance and improvisation activities with emphasis on different roles in group.
Record class performance pieces as possible materials for Performance 2.
Unit B353 Creative Task
Unit B354 Listening Test
Submission of Units B351 and B352

Notes:

This scheme would best suit groups who need curriculum time to develop their performance skills and for whom it would be best to take all of the assessment at the end.

The scheme allows the development of performing and composing skills as a focus in the first year as a separate strand but still linked with work on areas of study.

Composition work focuses more on some areas than others, giving less choice for Composition 2 but by spending more time on a smaller range, candidates will be better equipped to complete the controlled assessment task

Composition exercises are undertaken both to develop understanding of styles and to provide practice for the controlled composition tasks and for the creative task.

Class performance pieces are recorded as possible materials for Performance 2 if needed, in the summer term of the first year of the course

The areas of study are taught here as complete blocks.

OCR GCSE Music (Linear 2012)1 of 29

Sample GCSE Lesson Plan

GCSE Music J535

Introduction to Area of Study 2 – Shared Music

OCR recognises that the teaching for this qualification above will vary greatly from school to school and from teacher to teacher. With that in mind, this set of lesson plans is offered as a possible approach but will be subject to modification by the individual teacher.
Lesson length is assumed to be one hour.

Students will have developed some understanding of melody, rhythm and harmony through listening and group performing exercises, from their work in Key Stage 3.

General Learning Objectives for the Lesson

Objective 1 / To learn about the various combinations of instruments that are found in Area of Study 2.
Objective 2 / To learn about the elements of melody, bass, accompaniment and rhythm.
Objective 3 / To learn a piece of classroom music.
Objective 4 / To learn to compose a simple piece for a group.
Objective 5 / To learn about the Classical Concerto.
Objective 6 / To learn about Gamelan.

Lesson 1

Objective 1 / To learn about the various combinations of instruments found in Area of Study 2.
Objective 2 / To learn a piece of music for classroom performance.
Objective 3 / To begin a group composition for 2 or 3 people.

Content

Time / Content
15 minutes / Introduction and starter activity: Listen to a variety of music using at least two players from the genres in Area of Study 2 – use a worksheet to outline the type of instrumental/vocal combinations:
Schubert song – voice and piano
Jazz trio
Indian Classical piece
Choral movement from Handel’s Messiah
Pop ballad
5 minutes / Introduce a simple classroom piece that can be played by the whole group.
The nature of the piece will vary according to the ability and the number of students in the class – the piece should ideally have a melody, a bass part and some rhythm. Use of inner parts for a chordal accompaniment could be beneficial. The piece could be for a group of keyboards, a group of instrumentalists, a group of percussive instruments or a combination of all of these.
15 minutes / Allow time for individual practice and group rehearsal.
5 minutes / Perform the piece and record.
5 minutes / Listen to the recording and evaluate the performance. Discuss the nature of the parts and how they fit together – ie the role of the bass, the melody, the accompaniment/inner parts, and the rhythm and how they work together to create a complete piece.
10 minutes / Using this information divide the group into twos or threes and introduce the idea of them writing a duet or trio composition. Each group should talk together to decide on, and write down, some ideas for their composition. The pieces at this stage should be simple and short – but each group will work at its own level.
The piece could include:
  • a melody, bass and percussion
  • three equal parts which might include some imitation
  • a melody, chords and bass line
Groups could write for their own instruments, for classroom percussion (melodic and rhythmic) and/or keyboards.
A far more defined brief could be given at this stage for those groups to whom it would benefit.
Teachers could at this point explain the requirements of the composition for the practical portfolio and that work done in this unit could help them prepare to do that.

Consolidation

5 minutes / Share and review the compositional ideas.

Lesson 2

Objective 1 / To continue and complete a duet or trio composition.
Objective 2 / To perform the composition.
Objective 3 / To develop an understanding of how parts work together.

Content

Time / Content
10 minutes / Introduction and starter activity: Play the piece that the class recorded last lesson and remind them of the possibilities of writing for 2 or 3 parts. Play an example of a duet and a trio to help reinforce this.
5 minutes / In their groups the students should review their compositional ideas.
15 minutes / Begin the composition.
5 minutes / Bring the class together to listen to some of the compositions as far as they have got. Give feedback on the work completed so far and suggestions for further progress and completion of the task. Aspects of the pieces that might be discussed:
  • Do you have a good sense of pulse?
  • Is melody interesting?
  • Is there any imitation?
  • Do you have any development in your piece?
  • How do you develop your ideas?

15 minutes / Give each group further time to complete and develop their pieces.

Consolidation

10 minutes / Each group performs their final piece. Feedback should be given as to the success of the pieces. An evaluation sheet could be used at this point.

Lesson 3

Objective 1 / To learn about the Classical Concerto - the role of the soloist and the role of the orchestra.
Objective 2 / To learn some of the musical features found in a Classical Concerto and the names of some composers.
Objective 3 / To learn about the instruments general features found in the Classical Period.
Objective 4 / To learn about a cadenza.

Content

Time / Content
5 minutes / Introduction and starter activity: Classical instruments quiz
20 minutes / Watch a DVD of part of a Classical Concerto – about 5 minutes. Discuss various features that might include the following:
  • the instruments,
  • the way the soloist stands out from the orchestra,
  • the layout of the orchestra,
  • the use of a conductor,
  • the length of time that the orchestra plays before the soloist comes in.

10 minutes / Give out some reference books or use the internet and ask the students to make a list of as many Classical composers as they can.
10 minutes / Listen to a number of other concertos for different instruments. Refer back start of the lesson for the orchestral instruments found in the Classical period, particularly the introduction of the clarinet and the emergence of the piano as a solo instrument. Look at the Classical music general features found in concertos of this period.
5 minutes / Listen to 2 cadenzas for different instruments and explain the nature and purpose of this part of the concerto.

Consolidation

10 minutes / Review the work covered so far: a crossword or a word search may be used here to highlight names of instruments and Classical features.

Lesson 4

Objective 1 / To learn about Gamelan, where it comes from, what instruments are used and how the music is structured.
Objective 2 / To learn how to perform a Gamelan-style piece (whole class).
Objective 3 / To learn how to compose a Gamelan-style piece for 5 or more players.

Content

Time / Content
5 minutes / Introduction and starter activity: Discussion about the fact that Gamelan comes from Indonesia (Bali and Java), and uses instruments such as Gongs (many shapes and sizes), Metallophones and Double-Headed Drums etc. (use of PowerPoint is very helpful while introducing this topic)
5 minutes / Pupils listen to two extracts of Gamelan music and compare the sounds created. Is it organised and structured? Describe the melodic shape, layers of sound, different rhythms played together etc.
20 minutes / Class performance work (xylophones and glockenspiels are ideal, but any suitable instruments can be used, preferably with a percussive effect):
  • Have ready a sheet with short melodic ideas that will be used to form layers (see attached sheet as an example)
  • Explain that the melodic ideas are based on the Pentatonic scale, and that each line is a more developed or decorated version of the previous one.
  • Explain how the overall structure will work, with the layers introduced one by one and repeated until all lines are heard together (decide as a class how the piece will end)
  • Rehearse together each line of music
  • Each pupil then chooses the line they wish to perform (try to encourage larger instruments for Part 1 and Part 2, and smaller instruments for Parts 3,4 and 5)
  • The class performs the piece together, with the layers introduced one by one
  • Record the performance
  • Listen to the recording and discuss the overall sound, with reference to the clashes that sometimes occur, and the ‘heterophonic’ effect created

20 minutes / Pupils create similar patterns of their own for group performances, developing the style as appropriate and using their imagination regarding instrumentation.
This can be achieved by:
  • using computers, adding layers one by one and listening to the overall effect as it builds up
  • by creating short patterns that are performed live in small groups

Consolidation

10 minutes / Groups/individuals to share the ideas created so far. Compare with the original Gamelan heard at the beginning of the lesson. How do we develop our ideas in further lessons?

Gamelan

Layers:

Part 1:

Part 2:

Part 3:

Part 4: