a level music student handbook · 4 grade boundaries and using ums marks question: why is my ums...
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EDEXCEL
A Level Music
Student Handbook
Name:
Form: Teacher(s): Mrs Clarke
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Welcome to A Level Music
Overall aims
Students will develop performance skills (solo and/or ensemble), compose music
and learn about harmony. They will build up their aural and analytical skills by
studying selections from the New Anthology of Music and wider listening. The
full GCE course is excellent preparation for higher education courses in music,
but is equally valuable for non-specialists as a second or third area of study.
Head of Department: Kathryn Clarke [email protected]
You should also work very closely with your instrumental teacher to make sure you are fully
prepared for your performances
Specification:
http://qualifications.pearson.com/en/qualifications/edexcel-a-levels/music-2008.html
YOU GET AS MUCH OUT OF THIS COURSE AS YOU PUT IN!
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HANDING IN WORK AND DEADLINES
You will be set homework regularly by your subject teacher. It is your own responsibility to check this even if you
are absent from the lesson. If the teacher is absent from the lesson, work will still be set for you to complete. It is
your responsibility to organise your time, make sure you are able to access your work and get it handed in on
time. To alleviate stress and to ensure enough time is given for completing and marking work, the procedures you
MUST follow are outlined below:
•It is your responsibility to check that you understand the homework that has been set by the subject teacher. You must make sure you know how long the homework should take and the standard to which it should be completed.
•Your homework must be recorded in your planner.
•ALL work handed in must be given directly to the teacher responsible. Do not slip work under an office door or give to another teacher or student to pass on.
•Work must be named on each piece of paper handed in.
•A copy of the work handed in MUST be kept by the student on their user area or in their file and on their computer at home. This is for your protection if work is misplaced.
•Students need to pay careful attention to advice/feedback given whether verbally or written and must respond to all feedback in red pen to show they have understood the feedback
•In the case of absences from school on the day of a deadline, work must be sent by e-mail to your teacher. If the student is aware of the absence prior to the date, work needs to be handed in BEFORE the deadline or sent to the member of staff by e-mail.
•Work must be handed in at the start of the lesson on the day of the deadline.
•Notes from parents may not be given in place of coursework .
•Work submitted must be the student’s own work. Plagiarism or paraphrasing is illegal and could cost you your A level. Any quotations must be referenced.
•Research work does not mean JUST downloading from the internet.
•Computer and printer problems are NOT an acceptable reason for late work.
You must:
1. Complete your homework to the at least TARGET STANDARD. 2. Meet the homework deadline. Repeated failure to meet deadlines will result in referral to
homework support. 3. Send your work in to your subject teacher if you are absent on the deadline day. 4. Meet the coursework deadline or you will be referred. It is also not guaranteed that your
coursework will be marked or submitted for assessment if the deadline is not met. 5. Practise at least 30 minutes a day (minimum 5 times a week) to ensure you are making
progress on your instrument
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GRADE BOUNDARIES AND USING UMS MARKS
Question: Why is my UMS mark important? Answer: The UMS mark is the mark that matters when calculating your final grade. Why do I need to know my UMS mark? You need to be able to set yourself targets, using the UMS information, to meet your target grades so you can secure a place on the university course OR the job of your choice. The tables below will help you calculate what UMS mark and grade you need. COMPONENT 1 Performing 30%
Max Mark A B C D E U
Raw Mark 60 51 46 41 36 32 0
UMS 90 72 63 54 45 36 0
COMPONENT 2 Composing 30%
Max Mark A B C D E U
Raw Mark 60 51 46 41 36 32 0
UMS 90 72 63 54 45 36 0
COMPONENT 3: APPRAISING 40%
Max Mark A B C D E U
Raw Mark 100 85 77 70 62 55 0
UMS 120 96 84 72 60 48 0
Total UMS 9MU0
MAX A* A B C D E U
300 240 210 180 150 120 0
NB: These grade boundaries are based on the old Specification and are subject to change
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BREAKDOWN OF THE COURSE
COMPONENT CONTENT ASSESSMENT
COMPONENT 1: Performing 9MU0/01
Public performance of one or more pieces ,
performed as a recital Solo or ensemble
Minimum of 8 minutes (aim for 9 minutes)
Must be recorded after March 1st and submitted to the examiner by May
15th
Externally assessed – Non Examined
30% 60 Marks
COMPONENT 2: Composing 9MUO/02
Total of two compositions Composition One to a
brief or a free composition lasting at
least 4 minutes/aim for 5 minutes (40 marks) Composition Two:
Composition Technique (20 marks) at least 1
minute TOTAL TIME 6 MINUTES
Externally assessed – Non Examined
30% 60 Marks
COMPONENT 3: APPRAISING
9MUO/03
One written paper of 100 marks
Section A: Listening and dictation (50 marks)
Section B: essay questions (50 marks)
Written Examination: 2 hours 40%
100 Marks
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COMPONENT 3: Set Works and Wider Listening
Below is a guide to the set pieces you will be studying, as well as some suggested pieces to help you gain a better understanding. If you really want to get ahead, listen to
as much of the suggested music as possible, throughout your two years.
Area of Study Set Piece Suggested Wider Listening
Area of Study 1: Vocal Music
JS Bach: Cantata ‘Ein Feste Burg ist unser Gott’ BWV 80 Mvt 1 Chorus Mvt 2 Aria and Chorale Mvt 8: Chorale
Handel’s Messiah (‘And with his stripes’; Hallelujah’; ‘Worth is the Lamb’)
Ethel Smyth’s Mass in D (1891)
JS Bach: Cantata No 48 Ich elender Mensch
Britten St Nicholas (Cantata) Stravinsky: Symphony of
Psalms, Mvt III Mozart: Die Zauberflote (The magic flute) No. 4 Recit and Aria No 5 Quintet
Purcell: Dido’s Lament (thy Hand Belinda’ and ‘When I am Laid in Earth’
Verdi: Rigoletto Act 3 No 11 and 12
Wagner: Die Walkure, Siegmunde and Sieglinde, Act 1
Beethoven: Fidelio (example of singspiel)
Weber: Der Freischutz (example of singspiel)
Vaughn Williams: On Wenlock edge No 1 On Wenlock edge No 3 Is my team Ploughing? No 5 Bredon Hill
John Dowland: Flow my Tears
Schubert: Erlkonig, An die Musik, Die Forelle
Schubert: Der Doppelganger
Area of Study 2: Instrumental Music
Vivaldi Concerto in D Minor, Op 3 No 11 Allegro – Adagio e spiccato – Allegro Largo e spiccato Allegro
J S Bach: Brandenburg Concerto No 4 in G
Corelli: Trio Sonata in D No 2, Mvt IV
Tippett: Concerto for Double string orchestra
C Schumann: Piano Trio In G Minor Movement 1
Beethoven: String quartet in C movement III and IV
Brahms: Piano Quintet in F minor Op 34 Movement III
Dvorak: Dumky Trio
Shostakovich: Piano Trio No 2
Mozart: Piano Soanta in B flat Movement 1
Berlioz: Symphonie Fantastique
Berlioz: Harold in Italy
Liszt: Les Preludes
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Movement 1 Haydn: Symphony No 26 in D Minor ‘Lamentatione’ mvt 1
Area of Study 3: Music for Film
Portman: The Duchess The Duchess (opening) Mistake of your life Six Years Later Never see your Children Again The Duchess (End Titles)
Debbie Wiseman: Wilde (1997)
Hans Zimmer: Gladiator (2000)
Takemitsu: Black Rain (1989)
John Williams: Schlinder’s List (1993)
Pheloung: Morse on the Case
Elfman: Batman Returns Birth of a penguin part 1 Birth of a penguin Part 2 Batman vs the Circus The Rise and Fall from Grace
Ennio Morricone: Once upon a time in the West (1968)
Takemitsu: Black Rain (1989)
Debbie Wiseman: Wilde (1997)
Hans Zimmer: Gladiator (2000)
Takemitsu: Black Rain (1989)
John Williams: Schlinder’s List (1993, ET Flying theme
Hermann: Psycho Prelude The City Marion The Murder The Toys The Cellar Discovery Finale
Max Steiner: King Kong (1933)
Takemitsu: Black Rain (1989)
Auric: the Siege of Burgundy
Goldsmith: Planet of the Apes
Area of Study 4 Popular music and Jazz
Courtney Pine: Back in the Day Lady Day and (John Coltrane) Inner state (of mind) Love and Affection
Louis Armstrong and his Hot Five: west End Blues
Duke Ellington ad his Orchestra: Black and Tan Fantasy
Miles Davis Quintet (Four)
Jeff Buckley: Grace
Carl Perkins: Honey Don’t
Kate Bush: Hounds of Love Cloud busting And Dream of Sheep Under Ice
The Kinks: Waterloo Sunset
The Beatles: A Day in the Life
Desmond Dekker and The Aces: You can get it if you really want
Van Morrison: Tupelo Honey
Oasis: Don’t look back in Anger
Moby: Why does my Heart feel so bad?
The Beatles: Revolver Eleanor Rigby Here, there and Everywhere I want to tell you Tomorrow Never Knows
Michael Jackson: Thriller (1982)
Carole King: Tapestry (1971)
Stockhausen: Gesang der Junglinge
Area of Study 5 Fusions Debussy: Estampes No 1 Pagodes No 2 La Soiress dans
Baris Melampahan: Gong Kebyar de Sebatu
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Grenade
Familia Valera Miranda: Cana Quema Se Quema la Chumbamba All ava candela
Anoushka Shankar : Breathing Under Water Burn Breathing Under Water Easy
Area of study 6 New Directions
Cage: Three Dances for Two prepared Pianos Dance No 1
Schoenberg: Peripetie’ from five orchestral pieces
Stockhausen: Gesang der Junglinge
Peter Maxwell Davies: Eight songs for a Mad King
Saariaho: Petals for Cello Solo and optional electronics
Berio: Sequenza III for female voice
Rautavaara: Cantus Arcticus
Sibelius: Tapiola
Stockhausen: Gesang der Junglinge
Stravinsky: Le sacre du printemps Introduction Les Augures printemps Jeu du rapt
Messsiaen: Des canyons aux etoiles
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TIMELINE FOR A LEVEL MUSIC – Year 12
If you miss a lesson either through a known absence or illness, it is your responsibility to catch up the work.
It is essential that you attend weekly instrumental lessons and practise for at least 30 minutes a day.
Week No
Component 1 Performing
Component 2 Composing/Bach Chorale
Component 3 Appraising
1-4 Base line performance from prepared
Summer work – mark using criteria
Key signatures and harmony tasks using old spec harmony questions
Work through higher theory book (lower if needed). Book to be completed by half term
Mini composition task to be completed over half term – link to devices used in set works
Introduction to periods of Music
Bach Set work and wider listening
5-7 Continue exploring possible
performances/working towards a grade using
feedback
Mozart set work and wider listening Mock exam to consolidate learning at the end of half term. Listening question, essay, unfamiliar and dictation
HALF TERM
8-10 Mrs D harmony book
Work through in lessons and for homework at own pace – to be completed by Feb half term
Mini composition task to be completed over Christmas – link to instrumental set works
Vivaldi and wider listening
11-13 Schumann set works and wider listening
14 Mock performance of one piece – mark using
grading criteria
Mock exam to consolidate learning at the end of half term. Listening question, essay, unfamiliar and dictation
CHRISTMAS HOLIDAY
15-17 Respond to feedback Start working on
performances for mock – at least 5 minutes
Mrs D harmony book
Work through in lessons and for homework at own pace – to be completed by Feb half term
Mini composition task to be completed over Half term – link to Portman and C Pine
Portman: Duchess and wider listening
18-19 Courtney Pine and wider listening
20 Revision and Practise mock
Mock exam to consolidate learning at the end of half term. Listening question, essay, unfamiliar and dictation
HALF TERM
21-23 Continue with performances
Record for Easter ready for final feedback
before mock
Look at old AS Bach papers – chord progressions and cadences
Mini composition task to be completed over Easter – link to devices used in Bush and Elfman
Elfman: Batman and wider listening
24-25 Kate Bush and wider listening
26 Revision and exam practise
EASTER HOLIDAY
27 Continue to rehearse by responding to
feedback – arrange
Composition arrangement or piece linked to instrumental
Practise Mock
28-30 Debussy and wider listening
31-32 Familia and revision
10
time with accompanist day
Create composition portfolio for mock
HALF TERM – revision booklet
33-34 YEAR 12 MOCKS Listening exam
composition portfolio of year 12 mini compositions Performance (minimum 5 minutes)
35-40 Plan 8 minute recital – aim for 9 minutes
Plan ideas for final composition create a possible brief
Beatles and wider listening
Independent work on wider listening and Year 13 set works
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TIMELINE FOR A LEVEL MUSIC – YEAR 13
If you miss a lesson either through a known absence or illness, it is your responsibility to catch up the work.
It is essential that you attend weekly instrumental lessons and practise for at least 30 minutes a day.
Week No
Component 1 Performing
Component 2 Composing/Bach
Chorale (KC)
Component 2 and 3 Composing/Dictation (RD)
Component 3 Appraising
1-2 Plan 8 minute (9 mins) recital – look at grading
criteria Arrange at least 2 practises with
accompanist and record for week
7
Recap rule of Bach chorales
Complete all AS exam papers with response to feedback
Arrange 1 tutorial with KC in a free period to discuss composition plan
Look at AS dictation exercises from Rhinegold book
Practise intervals and rhythm
Look at briefs set by the board – choose or create own brief
Start to plan composition thoroughly and research ideas for inspiration
Think about devices already studied in set works that could be explored
Create an ideas board: Chords ideas/melodic ideas etc
Start to compose – first draft by mock – weeks 16 - 18
Beatles set works and wider listening
3 - 4
Petals – set work and wider listening
5 -6 Cage – set work and wider listening
7 Mock exam focussing on all setworks from Year 12 up to now
Listening, dictation, unfamiliar listening and essay
HALF TERM
8-10
Respond to performance
feedback Arrange at least 2 practises with
accompanist and record for week
14
You must make sure you have
nearly 9 minutes rather than 8
Arrange for some tutorials with KC in free periods for composition
Must finish the whole of Mrs D’s book by Christmas with all response to feedback
Regular feedback against assessment criteria
Arrange for some tutorials with KC in free periods
Hand in at Christmas – first draft
V Williams - set work and wider listening
11-13
Berlioz - set work and wider listening
14 Mock exam to consolidate learning at the end of half term. Listening question, essay, unfamiliar and dictation
CHRISTMAS HOLIDAY
15 Look at perf feedback-
rehearse with accompanist and
rerecord this week!
Explore modulations in more detail
Start to work through exam papers
RD tutorial in lesson time – where does the composition sit in the grading criteria? Why? What improvements are needed?
Start to work through improvements - resubmit start of week 18
Revision of all set works
16 - 18
Year 13 MOCKS Listening exam
Bach chorale paper – not in exam time but within weeks 16 - 18 Performance submitted week 15
Composition submitted week 14 with improvements
19 - Continue to Continue to Continue to refine composition Psycho (start in week 18 if
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20 refine performance
practise exam papers
possible)
HALF TERM May use a day for composing
21-23
FINAL PERFORMNACE
CAN BE RECORDED
FROM WEEK 23 (march 1st)
Recital in front of 2 people
Continue to practise exam papers
Make final improvements to composition
Shankar - set work and wider listening
24-26
Stravinsky - set work and wider listening
EASTER HOLIDAY Revision day for composing - tbc
27 - 32
BACH CHORALE TO BE COMPLETED IN EXAM CONDITIONS 4 – 6 HOURS
Composition to be submitted by the end of week 28
Dictation and set work revision
Set works revision and listening practise
STUDY LEAVE Lessons will still be available in normal lesson time or in KC’s frees – please arrange
COMPONENT 3: APPRAISING EXAM June 18th 2018 AM
2 hours