music department policy document

Woodridge College

Music Departme

nt Policy Documen

t

2013

This policy document is compiled in with the aim to provide music teachers at Woodridge College a comprehensive guide to their academic, administrative and professional duties and to set a context for music tuition at this school. The information contained in this document is subject to review annually or on an on-going basis as it becomes necessary.

Woodridge College Music Department Policy Document 2013

1. The Vision and Goals of the Music Department

“The most important characteristic of an effective music department is that its effectiveness should be apparent” (Gary Spruce).

Fostering an appreciation for music in education and in the daily lives of pupils. Co-ordinating and organizing musical activities involving as many children as possible with

the aim of enrich both the life of the school and the musical education of those involved in the activities.

Creating a vibrant, relevant and effective extracurricular musical life that celebrate and extend the achievements of the classroom as well as features the choirs, bands, and music groups that developed outside of the formal curriculum.

To dispel the notion that music is an elitist subject area reserved for a select group of pupils.

Address the needs and aspirations of all children. Encouraging teachers who have a vision for the unique role that music can play in the

education of the children in their care. Creating and fostering an appreciation for music in the wider society in which the

Woodridge Music Department functions. Ensuring the children’s progress and involvement in music is the ultimate goal of the

creative pursuits in the department. Providing learning opportunities for children with different abilities, backgrounds,

progression and creating learning and performance opportunities that are appropriate for their needs.

Ensuring that the teaching of music is effective.

2. General Information

2.1 Classroom managementThe particularly challenging demands placed on music teachers due to the unique nature of the subject, must continuously be considered by each teacher. Regardless of the restrictions and demands of current syllabi being followed, extra-mural music activities, or whatever support there may or may not be, the interchange of teacher and pupil in a classroom that determines the success or failure of teaching.

Points to ponder…

a) In group situations, the individual pupil cannot be helped if the teacher cannot successfully manage the group as a whole.

b) “Controlling” is part of the teachers’ taskc) Good classroom management emerges from a well-planned lesson.d) The best planning will be useless if pupils are insufficiently motivated. In most cases, the

attitude towards music displayed by pupils is based on the extent upon which the pupil feels that the subject offers him/her something that is worthwhile.

e) Good teacher-pupil relationships are crucial for effective learning and teaching.

1


f) The successful teacher aims to achieve the following:a. The successful teacher cares and knows that some of his/her hopes might never

be attained, but he/she is not daunted. Pupils sense that such a teacher cares and will never give up.

b. The successful teacher teaches well. c. The successful teacher manages well.

These points are interrelated and impact upon each other. Effective classroom management arises from the teachers’ viewpoint about the purpose and nature of music and music education and whether this is effectively communication to the pupils via good teaching and a suitable curriculum.

2.2 Missed Music Lessons

Music teachers are accountable for the number of music lessons taught throughout a year and needs to monitor the lesson attendance of all individual music pupils carefully. Teachers are held responsible for not following the disciplinary action stipulated below, since missed music lessons have financial implications for both the school and parents alike.

The following action must be taken when music pupils miss lessons:

Number of Lessons Missed

Disciplinary Action Taken

1 Warning by Teacher Note the absence on the pupils’ attendance card

2 DT 1 Note the absence on the pupils’ attendance card

3 DT 2

4 DT 3

Teachers are responsible for:

filling in the appropriate detention slip for DT 1 and DT 2, informing the child of the detention, acquiring the signature of the pupil on the detention slip, distributing the detention slip to grade head of the appropriate grade, emailing and/or phoning the parents (when necessary), and informing the Director of Music from a DT 2 level and upwards about the developing

problem.

2.3 Communication and record-keeping

Good record-keeping in the form of transparent mark books (when required) and attendance cards, is essential both to the success of an individual teacher’s work and to the relationship with other teachers and parents. Keeping a comprehensive record of the achievements and progress of an individual pupil, is the best source of information for further analysis of a

2


pupil’s growth in skills and understanding of the work taught throughout the teachers’ contact time with that pupil.

In the music department, it is often necessary to communicate with parents. Communication should ideally happen at the following times:

At the start of the year to introduce the teacher to parents. When pupils achieve well. When disciplinary issues arises. When queries are lodged by parents or other role-players. For reporting purposes.

The Director of Music should be informed of any non-routine query via email.

3. SECTION A: Music in the FET and GET phases

3.1 The Purpose of Assessment in Music

Assessment in music is done with the following goals in mind:

To gain information on the development, progress and achievement of pupils. This sort of information is required for parents who will want to know:

o Where his/her child is in relation to the attainment of his peers and what might be

expected for his age group;o How much effort the child has been putting into his/her work;

o How much progress the child has made since the last feedback;

o What the child needs to do in order to make progress.

Evaluate the teaching and learning which has taken place, in order to see how effective a project has been and whether it should be adjusted in the future;

Increase motivation and individual responsibility for learning.

3.2 Programme of Music Assessment 2013

3.2.1 Grade 12

(Guideline Document: Music SAG Document: National Senior Certificate handbook: Implementation date: Grade 12, 2010)

Assessment of Music for Grade 12 consists of two components:

1. A written portfolio of assessment which makes up 25% (100 marks) of the total mark – externally set and moderated, internally marked.

2. Also part of the portfolio are practical school-based assessment tasks (50 marks) – internally set and assessed.

3


3. External assessment which makes up 75% (300 marks) of the total mark – externally set, marked and moderated.

a. Paper 1: A written examination (150 marks) b. Paper 2: A performance examination (100 marks)

An Overview of the Programme of Assessment: Grade 12Assessment Tasks (25%) External Assessment (75%)

100 Marks 300 marksPortfolio

1. 2 tests2. 1 exam (trial)

Written paper Performance exam

3. 3 integrated performance tasks which include theory and practical

Written examination

Performance examination

Practical Assessment Tasks (PAT)

Term 1 Assessments: Practical Test (100) Written Test (150) Process work of portfolio tasks:

o Research Task (30)

o Composition Task (30)

o Improvisation (15)

o Melody writing (10)

o Harmonisation (20)

o Programme Notes Task (10)

o Solo Performance (20)

o Group Performance (15)

Term 2 Assessments: Practical Examination (100) Written Examination(150) Term 1 Test (Carried over) (10) Term 2 Test (10) Test 3: Contractual issues task (10) Process work of portfolio tasks:


o Composition Task (30)







4


Term 3 Assessments:

Teachers responsible

Assessment Tasks Total Marks

Date of completion

ExaminationsIndividual teachers

(CR)

Examination 1 (Final Practical) – externally examined(Taught by individual practical teachers

Sight reading (10) Aural development (10) [CR] Scales and technical exercises (10) Three solo pieces (70)

100 September 2013

(CR & LH) Examination 2 (Final Written) – externally examinedWritten examination

Analyse notated and /or recorded music visually and aurally (60)

Transcribe music from one notation system to another (10)

Critically evaluate representative examples of music & compare different styles of music (80)

150 September 2013

TOTALS 250

Written Portfolio of Assessment

Common Assessment Task

(CR)Portfolio Task 1: (LH)Topic of teacher’s choice: Concert organization and planning

10 March 2013

(LDP)Portfolio Task 2: (LDP)Compose a musical work using available technology to compose, arrange and present the composition.

30 October 2013

(CR)Portfolio Task 3: (LH)

Harmony (20) Melody writing (10)

30 October 2013

(LH)Portfolio Task 4: (CR)Research assignment in which the pupil will critically evaluate representative examples of music and compare different styles of music.

30 July 2013

Continuous Assessments

(CR)Two tests

Term 1 Test or Test 3 (contractual issues) (10) Term 2 Test (10)

20 July 2013

(CR)Mid-year examination

Written paper Practical performance exam

30 July 2013

SUB-TOTAL 150

5


CONVERTED TOTAL 100

Practical assessments(CR) Task 1:

Improvisation15

September 2013

(Individual teachers)

Task 2:Performance of 2 solo pieces publically

20October 2013

(CR)Task 3:Performance of one piece in group context

15October 2013

TOTAL 50

3.2.2 Grade 11

(Guideline Document: Music SAG Document: National Senior Certificate handbook: Implementation date: Grade 12, 2014)


4. A written portfolio of assessment which makes up 25% (100 marks) of the total mark – externally set and moderated, internally marked.

5. Also part of the portfolio are practical school-based assessment tasks (50 marks) – internally set and assessed.

6. External assessment which makes up 75% (300 marks) of the total mark – externally set, marked and moderated.

a. Two written examinations (150 marks)i. Paper 1 (3 hours) [100]ii. Paper 2 (1 ½ hours) [50]

b. Paper 3: A performance examination (100 marks) c.



o Composition Task: Contractual issues (10)







Term 2 Assessments:

6


Practical Examination (100) Written Examination(150) Term 1 Test (Carried over) (10) Term 2 Test (10) Test 3 Sound production task Process work of portfolio tasks:


o Composition Task: Arrangement (15)







Term 3 Assessments:


Assessment Tasks – internally set Total Marks

Date of completion


Examination 1 (Final Practical)(Taught by individual practical teachers


100 November 2013

(CR & LH) Examination 2 (Final Written Papers)Written examination (Papers 1 & 2)




150 November 2013

TOTALS 250



(CR)Portfolio Task 1: (LH)Topic of teacher’s choice: Programme design and Programme notes for Practical pieces

10 March 2013

(LDP)Portfolio Task 2: (LDP)Arrange a musical work using available technology to compose, arrange and present the composition.

30 November 2013

Portfolio Task 3: (LH) 30

7


(CR) Harmony (20) Melody writing (10)

October 2013


30July 2013


(CR)Two tests

Term 1 Test Term 2 Test

20July 2013

(CR)Mid-year examination

Written papers (10 + 10) Practical performance exam (10)

30July 2013

SUB-TOTAL 150CONVERTED TOTAL 100

Practical assessments(CR) Task 1:

Improvisation15

October 2013



20October 2013

(CR)Task 3:Performance of one piece in group context

15October 2013

TOTAL 50

3.2.3 Grade 10


1. A written portfolio which makes up 25% (100 marks) of the total mark – internally set and moderated, marked.

2. A practical school-based assessment (50 marks) – internally set and assessed.3. Internally assessment which makes up 75% (300 marks) of the total mark – internally set,

marked and moderated.a. A written examination consisting of two papers (150 marks)

i. Paper 1 – 3 hours (100 marks)ii. Paper 2 – 1.5 hours (50 marks)

b. A performance examination (100 marks)


8



o Composition Task: Sound Production (10)







Term 2 Assessments: Practical Examination (100) Written Examination(150) Term 1 Test (Carried over) (10) Term 2 Test (10) Test 3 Sound production task Process work of portfolio tasks:


o Composition Task: Music Careers (10)








Assessment Tasks – internally set Total Marks

Date of completion


Examination 1 (Final Practical)(Taught by individual practical teachers


100 November 2013

(LDP, LH & KW)

Examination 2 (Written Papers)Written examination (Papers 1 & 2)




150 November 2013

9


TOTALS 250



(LH)Portfolio Task 1: (LH)Topic of teacher’s choice: Concert organization and planning, programme notes & concert program

10 March 2013

(LDP)Portfolio Task 2: (LDP)Arrangement

30 November 2013

(KW)Portfolio Task 3: (LH)

Harmony (20) Melody writing (10)

30 October 2013


30 July 2013


(LDP)Two tests

Term 1 Test Term 2 Test

20 July 2013

(LH & LDP)Mid-year examination

Written papers (10 + 10) Practical performance exam (10)

30 July 2013

SUB-TOTAL 150CONVERTED TOTAL 100

Practical assessments(KW) Task 1:

Improvisation15

September 2013



20October 2013

(LDP)Task 3:Performance of one piece in group context

15October 2013

TOTAL 50

3.2.4 Grade 8 & 9 Music (Creative Arts - GET)

The music courses for both Grade 8 & 9 serves as preparation for pupils who considers taking music as a subject in the FET phase. To facilitate more meaningful learning and teaching, the courses are divided into two separate courses:

General Course for pupils who do not study a musical instrument. The focus of this course is on developing general musical observation and recognition skills.

10


Specialisation Course for pupils who play individual instruments. The focus of this course in on developing specific theoretical, aural and musical skills pertaining to the development of musicians.

1. Formal Assessments – school-based assessment throughout the year (40%)a. Assessment of practical work (30%)b. Assignment/written test (10%)

2. Final Examination at the end of the year (60%)a. Performance/presentation (60/100)b. Written examination paper (40/100)

Term 1 AssessmentsWeighting General Course Specialisation Course

40 Practical instrumental test20 Aural Skills Test30 Music Theory Music Theory20 Research Assignment10 Test Test40 General Knowledge of music


40 Practical instrumental Exam10 Aural Skills Test30 Music Practical skills Music Theory Exam20 Group performance task10 Term 1 mark Term 1 mark40 Written Exam


40 Practical instrumental Exam10 Aural Skills Test30 Music Practical skills Music Theory Exam20 Group performance task10 Term 1 mark Term 1 mark40 Written Exam

3.3 Effective Setting of Exam Papers

3.3.1 Mark allocation for papers

Marks for the music examination papers are distributed between 4 different skills sets. The difficulty level of questions should be distributed as a 60% (lower order questions) versus a 40% (higher order questions).

11


Theory of Music: Analyze notated and/or recorded music visually and aurally(Scales, keys, rhythm, time, intervals chords, transposition, note names, grouping, etc.)

[60 marks]36 LOW24 HIGH

Transcription between notation systems [10 marks]10 LOW

Music History: Critically evaluate representative examples of music. Compare different styles of music critically

Music Technology:



Total 150 marks

Teachers are urged to work with two separate documents that set out the different requirements for the paper:

1. Subject knowledge components examinable for each grade according to the table below.2. Higher/lower order level questions set out to calculate a 90 (Low) and 60 (High) split

between all components of the paper.

Levels 1 – 4 on the Bloom’s Taxonomy table below is categorized as LOWER ORDER QUESTIONS and Levels 5 – 7 as HIGHER ORDER QUESTIONS.

12


BLOOM’S TAXONOMY

DESCRIPTION LEVEL EXPLANATION SKILLS DEMONSTRATED ACTION VERBS

EVALUATION 7 Making judgments based on certain criteria. Compare and discriminate between ideas; assess value of theories, presentations; make choices based on reasoned arguments; verify value of evidence; recognize subjectivity.

Assess, decide, rank, grade, test, measure, recommend, convince, select, judge, explain, discriminate, support, conclude, compare, summarize, critique, interpret, justify.

SYNTHESIS 6 The ability to put elements together to form a new whole.

Use old ideas to create new ones, generalize from given facts, relate knowledge from several areas, predict, draw conclusions.

Combine, integrate, modify, rearrange, substitute, plan, crate, design, invent, what if?, compose, formulate, prepare, generalize, rewrite, categorize, combine, compile, reconstruct.

ANALYSIS 5 The ability to break down a whole into its component parts. Elements embedded in a whole are identified and the relations among the elements are recognized.

Seeing patterns, organization of parts, recognition of hidden meanings, identification of components.

Analyze, separate, order, explain, connect, classify, arrange, divide, compare, select, infer, break down, contrast, distinguish, diagram, illustrate.

APPLICATION 4 The ability to use (or apply) information in new situations.

Use information, use methods, concepts, theories in new situations, solve problems using required skills or knowledge.

Apply, demonstrate, calculate, complete, illustrate, show, solve, examine, modify, relate, change, classify, experiment, discover, construct, manipulate, prepare, produce.

COMPREHENSION

3 First level of understanding, recall and understand information, describe meaning.

Understanding information, grasp meaning, translate knowledge into new context, interpret facts, compare, contrast, order, group, infer causes, predict consequences.

Summarize, describe, interpret, contrast, predict, associate, distinguish, estimate, differentiate, discuss, extend, comprehend, convert, defend, explain, generalize, give example, rewrite.

KNOWLEDGE 2 Act of remembering facts. Only recall. Observation and recall of information. List, define, tell, describe, identify, show, know, label, collect, select, reproduce, match, recognize, examine, tabulate, quote, name.

FRAGMENTED KNOWLEDGE

1 Recalls knowledge with errors. Unable to recall accurately or coherently; partial recall.

13


An example of an paper analysis document follows below. Each examination paper should be accompanied by such an analysis sheet and a detailed memorandum that clearly indicates the LEVEL rating of each question and sub-question, as well as a complete listening list of aural examples.

3.3.2 Example of Examination Paper Analysis Sheets

A: Examination analysis (higher/lower order questions)

Woodridge College Music Department

EXAMINATION PAPER ANALYSIS

(Bloom’s Taxonomy)

Grade 12 Music Examination May 2010

Examiner: C. Rademan Time: 3 hours

TOTAL: 150

HIGHER ORDER QUESTIONS [LEVELS 4 – 6] 60 Marks

Question Marks allocated Level1.3 4 41.5 2 42.1 4 42.2 6 53 10 54.2 6 47.1 10 67.2 4 68.2 2 49.1 1 49.4 1 49.5 1 410.1 4 410.5 3 4

LOWER ORDER QUESTIONS [LEVELS 1 – 3] 90 Marks

Question Level Marks allocated1.1 3 1

14


1.2 1 11.4 2 12.3 1 12.4 5 32.5 2 14.1 2 34.3 2 35.1 2 15.2 1 15.3 10 35.4 2 26 20 37.3 5 27.4 4 37.5 2 27.6 3 37.7 1 27.8 3 38.1 8 29.2 1 39.3 1 310.2 2 210.3 2 210.4 2 210.6 2 310.7 4 3

LISTENING LIST

1. Recitative and Aria (Dido & Aeneas) H. Purcell2. Anvil chorus (Verdi)3. Pick up off the floor (Mika)4. Minuet & trio from Symphony in D major (J. Haydn)5. Apple core (Gerry Mulligan)6. Ride of the Valkyries (Wagner)7. Symphony no. 6 in b minor (Tchaikovsky)8. Rhapsody in Blue (Gershwin)9. Riverdance10. Jazz song (Natalie Cole)11. Electronic music (Varese)12. Ride in a fast machine (John Adams)13. Mowbray Kaap (Freshlyground)14. Ain’t misbehaving (Louis Armstrong)15. Rondo alla turk (Bebop)

B: Tracking document of examinable components

15


This document can be used to track the use of all components in the syllabus that was taught and that will be examined in the current examination.

Section 1: Theory (60)

Topic 1

Topic 2

Topic 3

Topic 4

Topic 5

Topic 6

Section 2: History & Comparison of styles (60)

Topic 1

Topic 2

Topic 3

Topic 4

Topic 5

Topic 6

Technology (20)

Topic 1

Topic 2

Topic 3

Section 3: Transcription/Transposition (10)

Topic 1

3.3.3 Suggested steps in setting music exam papers

An music examination paper file has been compiled over the last number of years and is available in the Music Library for your perusal.

1. Find suitable scores and recordings of works that are representative of the genres and styles of music being examined.

2. Consider the suitability of scores and recordings for a variety of questions that might include both theoretical, application and comparison questions, for instance.

16


3. Instead of printing all score examples in the question paper itself, create a resource booklet that contains all scores. It is easier for pupils to work with a separate booklet than continuously paging back.

4. Type papers in 1.5 spacing and allow enough space for pupils to write their answers on. If there are a “discussion” question worth 5 marks, it would be assumed that five facts are required. Therefore, type 5 lines on which these answers could be written.

5. All question papers should contain one 250 word essay question. Six marks are allocated for factual evidence and four for critical evaluation, comment, application, insight and well-structured arguments. The topic will be fairly broad and could include discussion on genre, style, prescribed works, or other aspects of the curriculum. Topics may include a statement that requires the candidate’s opinion or insight. The following rubric can also be used for assessing such questions.

6. Always include extra manuscript paper for rough work at the end of the paper.7. Number the pages.8. Include an “instruction” section on the front page of the paper.9. Compile a comprehensive memorandum that includes a list of aural examples as well.

3.3 Year Planning

Effective classroom management and teaching is reliant on effective planning. The document below serves as example of how planning for each term could be done.

Grade 12 Music – Year Planning

17


DATES CYCLE DAYS & LESSONS

SUBJECT CONTENT

17/01 – 28/01

1 2 Technology

3 CTA explained3 CTA Task 1 & 2 explained and planned

31/01 – 11/02

2 2 Technology

3 Concert group discussion CTA Task 13 Music Theory Revision Worksheet 16 Cadences and 4-part writing rules6 Cadences and revision questions on rules8 Symphony8 Symphony9 Cadences – writing exercises10 Symphony

14/01 – 24/02

3 2 Symphony

3 Aural3 Improvisation6 Cadences6 Dominant 7th

8 Symphony8 Symphony: Beethoven: No. 5, Finale9 Passing 6/4

HALFTERM2/03 – 11/03 4 2 20th Century compositional techniques

3 Aural3 Improvisation6 4-part writing exercise6 Chromatic scales & Whole note scales8 Opera8 Opera

18


9 Blues scale10 Opera

14/03 – 25/03

5 2 Opera

3 Aural3 Improvisation6 Modes6 Modes8 Opera8 Musicals9 All scales & key signatures10 Musicals

28/03 – 7/04 6 2 Musicals3 Aural3 Improvisation6 Intervals (simple)6 Intervals (compound)8 Musicals8 Musicals: West side story excerpts9 Intervals

HOLIDAYS4/05 – 13/05 7 3 Concert CAT Task handed in & Aural

3 Improvisation6 Transposition between instruments6 Transposition between instruments8 Art songs8 Art songs9 Irregular time signatures10 Art songs: Schubert Erlkonig

16/05 – 27/05

8 2 SA traditional music

3 Aural3 Improvisation6 Time signatures (simple & compound)6 Time signatures (irregular)

19


8 Jazz8 Jazz9 Cadential 6/4 progressions10 Jazz

30/05 – 10/06

9 2 Jazz

3 Aural3 Jazz6 Solfa notation6 Melody writing8 Jazz8 Jazz: Abdullah Ibrahim: Mannenberg9 Setting words to music10 Song Types

EXAMS & HALF TERM6/07 – 8/07 10 8 Exam paper

8 Rock9 Solfa notation10 Rock

11/07 – 22/07

11 2 Rock

3 Rock3 Improvisation6 4-part writing6 Non-chordal notes8 Rock: Queen, Bohemian Rhapsody8 Ethnomusicology & Japanese music9 Melody writing10 Japanese music

25/07 – 4/08 12 2 Indian music3 Aural3 Indian music6 Note names in all clefs6 Compositional techniques8 SA black urban music

20


8 SA black urban music9 Scales10 SA black urban music: Solomon Linda: Mbube

HOLIDAYS6/09 – 16/09 13 TRIAL EXAMS19/09 – 30/09

14

3/10 – 7/10 15 2 CAT Research Task handed in (draft 1) & Exam paper3 Melody CAT Task3 Melody CAT Task

HALF TERM13/10 – 14/10

16 9 CAT Research Task handed in (Final product) & Harmony CAT Task

10 Harmony CAT Task17/10 – 28/10

17 2 Improvisation ASSESSMENT TASK (Preparation)

3 Melody CAT Task3 Melody CAT Task6 Improvisation ASSESSMENT TASK6 Revision & Listening exercise8 Revision & Listening exercise8 Revision & Listening exercise9 Revision & Listening exercise

21


3.4 Policy on Late Submission of Assignments

Procedure followed for a single piece of homework

First offence 1. Minus 10% off final mark2. Warning given3. New deadline set

Second offence 1. Minus 50% of final mark2. DT 1 given3. New deadline set

Third offence 1. Minus 80% of final mark2. DT2 given3. Contact parents4. Final deadline set

Fourth offence 1. 0% awarded2. DT3 given3. Contact parents

3.5 Music Assessment Guidelines: Progression through the FET phase

This document is compiled by combining the following two IEB documents: (1) The National Senior Certificate Handbook: Implementation date: Grade 12, 2012 (for the current grade 11 and 12 pupils) , and (2) The National

Senior Certificate Handbook: Implementation date: Grade 12, 2014 (for the current grade 10 pupils)

22


Music Literacies, analysis, theory, composition and aural developmentGrade 10 Grade 11 Grade 12

Concepts and skills of music literacy1. Read and write music with regard to

rhythm, scales, intervals and key signatures

2. Letter names in Treble and Bass clefs3. Note values and rests4. Major, harmonic and melodic minor and

pentatonic scales5. Simple interval structures within the

octave (major, minor, perfect)6. Time signatures, rhythm, grouping in

simple time signatures7. Transposition (On the same pitch,

Octave higher or lower, Between different clefs)

8. Aural understanding of these concepts

AnalysisAnalyse existing works for harmonic, rhythmic and melodic concepts that have been learned.

Analysis and concepts and skills of music literacyApply the knowledge of scales, intervals and chords to write and transpose music.

1. Majors and minors of grade 102. Pentatonic and Blues scales3. Chromatic, whole tone, modes.4. Complex intervals (augmented,

diminished and compound)5. Compound time signatures, rhythm

patterns, grouping in compound duple, triple and quadruple time

6. Transposition linked to instruments7. Aural understanding of these concepts

Analysis and concepts and skills of music literacyAnalyse existing scores according to:

1. Scales, keys, rhythm, intervallic structure, transposition, time signatures

2. 20th century compositional techniques

3. Changing time signatures4. Non-metric rhythms5. Shifting accents6. Asymmetric metres7. Scores and recordings may be

seen(from prescribed works) or unseen.

8. Scales & Keys (Revision) Major and minor scales, Pentatonic

and blues scales, Chromatic, Whole tone, Blues scales, Modes

Time signatures : Irregular time signatures & Revision of simple and compound time signatures

9. Transposition linked to instruments10. Intervals (Revision)

Compositional techniques1. Identify and demonstrate the following

compositional techniques2. Melodic and rhythmic sequences

TranscriptionTranscribe music from staff notation to one of the following at the candidate’s choice: tablature, sol-fa, guitar chords or figured bass.

Introduction to harmony1. Learn root position triads in major and

minor keys2. Primary – I, IV, V

Chords/harmony Provide chordal basis for melodies First and second inversions Primary chords

Chords/harmony Dominant seventh tetrad Harmonise melodies Passing 6/4 progressions

23


3. Secondary – II, III, VI4. Learn basic cadences (perfect,

imperfect)5. Non-harmonic notes: passing notes,

auxiliary notes6. Use basic chord progressions to

harmonise simple melodies7. Apply learned harmony to harmonise

simple folk melodies8. Aurally identify chords used.

Secondary triads, including vii. Triads in major, minor, pentatonic and

blues scale. More complex cadences (preceding

chords) Simple chord progressions in 4-parts

Cadential 6/4 progressionsAll primary and secondary chords in majors and minors

Setting of words to music1. Explore given text to apply rhythmic

patterns2. Choose voice range3. Choose key/scale/mode4. Construct phrases containing motifs

Setting of words to music 4 & 8 bar melodies with words

Setting of words to music 12 bar melodies with words

Melody writing1. Write short melodies on developed

rhythm patterns in pentatonic, major and minor scales

2. Develop into 4 and 8 bar melodies based on given rhythmic patterns in learnt time signatures

3. Analyse existing works for melodic characteristics (folk music, simple melodies)

4. Use of different forms

Melody writing Develop own 8 & 12 bar melodies in

studied scales.

Melody writing 16 bar melodies in all scales

Compositional techniques Write Ostinato, Sequence, Variation,

Inversion, Augmentation, Diminution Non-chordal notes

Compositional techniques Write 20th century compositional

techniques Non-chordal notes

Arrangement Arranging an existing work using an

instrument or technology (12 – 16 bars)

ArrangementArrange own composition.

24


Arranging given 4-part choir work for an instrumental quartet or ensemble

Aural Development1. Identify chords studied.2. Identify chord progressions studied.3. Sing or play back a four-bar melody4. Clap back a four-bar rhythm5. Sight singing of tone row6. Identify cadences7. Identify metrical pulse8. Sight-singing using tonic sol-fa notation

Aural Development1. Identify chords studied.2. Identify chord progressions studied.3. Sing or play back a four-bar melody4. Clap back a four-bar rhythm5. Sight singing of tone row6. Identify cadences7. Identify metrical pulse8. Sight-singing using tonic sol-fa

notation

Aural Development1. Identify chords studied.2. Identify chord progressions studied.3. Sing or play back a four-bar melody4. Clap back a four-bar rhythm5. Sight singing of tone row6. Identify cadences7. Identify metrical pulse8. Sight-singing using tonic sol-fa

notation

General Knowledge of Music & Music HistoryGrade 10 Grade 11 Grade 12

Introduction to music1. Elements of music

Timbre (tone colour, music instruments)Duration (tempo, metre, rhythm)Pitch (melody, harmony, tonality)Volume (intensity of sound)StructureTexture (monophonic, homophonic, polyphonic, density)Mood and atmosphere

Musical style:2. Develop listening skills by listening to a

variety of styles of music to understand how elements are used to create the style – including rhythm, melody, form, texture, and instruments used

Form:Basic forms:

General Knowledge of MusicIdentify and describe notated and recorded/performed music according to genre, form/structure, instrumentation, compositionaltechniques. Scores may be seen or unseen.

1. Analyse compositional techniques such as ostinato, sequence, variation, inversion, augmentation and diminution.

2. Describe characteristics within social, historical and cultural context.

Form:1. Minuet and trio,2. sonata, sonata-rondo,3. verse and chorus,4. theme and variation

General Knowledge of MusicCritically evaluate representative examples of notated, recorded and performed music. Scores and recordings may be seen (fromprescribed works) or unseen. The focus is on genre, form/structure, instrumentation and compositional techniques. The candidate should have an understanding of the elements of music and how they are combined to create musical styles. Listening skills should bedeveloped.

Form:1. 20th century formal structures such

as jazz structures and pop structures (12-bar blues, AABA, verse-and-chorus), in addition to those forms studied in grades 10 and 11.

25


1. binary,2. ternary,3. minuet and trio,4. rondo5. Pop and jazz structures (12-bar blues,

AABA, verse-and-chorus)Genres

1. Popular MusicFocus on representative artists, hit songs/albums, contribution to the style, and use of music elements to create thestyle.

2. Choose at least five of the following styles, must include at least one South African style.

R ‘n B & Motown Hip Hop Folk/protest music Punk Reggae Art/progressive Rock Rock ‘n Roll Brit Pop (Beatles) Hard Rock Country Disco Funk

3. South African styles Cross-over Kwaito South African Protest Music

(Masekela/Gwangwa/Makeba) Afrikaans Protest music (Anti-

Genres:5. Romantic music6. Modern Music7. piano music,8. swing,9. jazz,10. popular music styles:

• Rock 'n Roll• Brit Pop (Beatles)• Hard Rock

Instrumental combinations:11. orchestra,12. jazz band,13. military band,14. string quartet, etc.

Genres:2. Musical theatre (opera and

musicals). The focus is on the elements of opera and musicals, types of opera and a comparison between opera and musicals.

3. Symphonic music from the Mannheim school to Stravinksy. The focus is on the overall development of the symphony (in conjunction with the development of the orchestra). Composers should be seen in the context of their contribution to the development of the genre, not in a detailed account of each composer's style.

4. Songs (including Lieder, popular styles, jazz standards)

5. South African music, both traditional (see World Music LO4 AS2) and the following urban styles:

• Ingoma buska-mbube-isicathamiya• Marabi• Kwela• African jazz, vocal jive jazz• Mbaqanga• Cross-over• Kwaito

6. JazzBackground influences including African and European influences,

Ragtime Dixieland (New Orleans) Chicago Swing

26


establishment) – 1980s and 1990s Luisterlied – 1980s and 1990s South African Rock – 2000s to today

4. Introduction to Baroque music Characteristics of the Baroque style

period, including instrumentation Basic knowledge of the genres

associated with the Baroque style Representative composers and their

works

5. Introduction to Classical characteristics

Characteristics of the Classical style period, including instrumentation

Basic knowledge of the genres associated with the Classical style

Representative composers and their works

6. Comparison of characteristics of Baroque and classical style

Instruments:1. Classify musical instruments according

to sound production: chordophones aerophones membranophones idiophones electrophones

2. Instruments of the orchestra strings woodwinds

Bebop Cool jazz

7. Popular Music R 'n B – Motown Hip Hop Folk/protest music Punk Reggae Art/progressive Rock

27


brass percussion

3. Human voiceWorld Music

1. Explain how specific compositional characteristics contribute towards the placement of a work within a social, historical and cultural context.

2. Describe characteristics of music within a social, historical and cultural context.

Two styles to be chosen and compared: European Folk music North African Celtic South American

World Music1. Analysis and evaluation of existing

scores and recordings in historical, socio-economic and political contexts.

2. Comparison of music from different cultures with regard to harmony, melody, form, timbre and texture.

3. Include a study of South African music, both traditional and urban

4. Emphasis on comparing South African music and other styles and listening skills.

5. Elements of world music: timbre, instruments, melody, harmony, metre and rhythm, form, function

6. Comparison between world music and art music and other genres according to harmony, melody, form, timbre and texture, instruments, metre/rhythm, function

Two styles to be chosen and compared: Middle Eastern Japanese Indian Sub-Saharan Africa

Music Technology and the Music IndustryGrade 10 Grade 11 Grade 12

Music TechnologyUse available technology, such as notational

Music Technology1. Use music technology to enhance a

Music Technology1. Making a backing track

28


software

South African Music IndustryThe economic cycle of the music industry from the origin of a musical idea to the publishing and performing of the work. Possible topics could include:

1. Origin of the musical idea with the composer or performer

2. Notation and arranging of the musical idea

3. Performing, recording and producing the music

4. Production of music video5. Recording companies in South Africa6. Design of CD cover, cutting and

publishing of CD7. Marketing and selling of CDs and radio

broadcast8. Music copyright and performing rights.9. How to register a new composition10. The reason for registering a

composition11. Purpose of SAMRO12. Royalties13. The terms “piracy” and “counterfeit” and

the implications thereof14. Basic contractual issues related to the

presentation of a live concertResponsibilities of the performer/concert organiser

music composition or arrangement.2. Play and record arrangement of 4-

part quartet work.3. Research music industry according

to: Basic contractual practices related to

live concerts Basic knowledge of copyright Necessity of copyright Royalties Who needs to be paid and who pays? Responsibilities of the

performer/concert organiser4. Understand the terms “piracy” and

“counterfeit” and what are the implications of these terms.

2. Audio and/or audio-visual recording of the presentation of a composition, arranged and/or improvised musical work

3. Investigate process of registering a composition or recording with SARRAL and/or SAMRO.

Reasons for registering a composition.

Purpose of SAMRO and SARRAL

ImprovisationGrade 10 Grade 11 Grade 12

29


Improvisation1. Improvise with rhythmic and melodic

patterns2. Explore the characteristics of scales

studied (e.g. major, minor, pentatonic and blues scales)

3. Melodic motifs on simple chord progressions where one scale takes one across all the chord changes, such as pentatonic and blues

4. Rhythmic improvisation: play, read, write and vary given rhythms

Stylistically employ melodic variation of motifs based on scales studied

Improvisation1. Rhythmic and melodic sequences

and variations. Complete a musical phrase from a

given introduction. Explore different styles, such as

blues, reggae, South African jazz and pop with regards to melodic and rhythmic differences.

2. Phrase structure ( 2 + 2 + 4 )3. Melodic motifs on simple chord

progressions, e.g. I – IV – V – I4. Employ melodic variation of motifs

based on the scales studied.

Improvisation1. Development of harmonic awareness2. Melodic and/or harmonic

improvisation on candidate’s choice of four different scales or modes.

3. Rhythm, melody or chord progression can be given.

4. Include singing and identification of various scales (Phrase structure 2 + 2 + 4)

5. Theoretical analysis and practical application, including improvisations which require the changing use of scales implied by chord changes, e.g. II – V – I or other progression.

ImprovisationGrade 10 Grade 11 Grade 12

Perform a variety of pieces in group contextPerform a variety of pieces in group context on one or more chosen instruments demonstrating:

1. the ability to play at the same tempo as the group;

2. the ability to start and end at the right time;

3. the ability to cope technically with the requirements of the work performed;

the ability to participate in a group.

Group PerformancesPerform a variety of pieces in group context. Display:

The ability to take a supportive or leading role within the context of the music performed.

The ability to adapt tone balance and production.

The ability to cope technically with the requirements of the work performed.

The ability to contribute positively towards a group performance.

One piece per year.

Group PerformancesPerform a variety of pieces in group context. Display:

A programme selection representative of different stylistic uses of the chosen instrument/voice within the group context

The ability to determine whether a supportive or leading role is required within the context of the of the music performed.

The ability to suggest appropriate methods to achieve balance within the group;

The ability to cope technically with the requirements of the work performed;

The ability to interact positively within

30


a group. One piece per year

Sight Reading on chosen instrument Recommended minimum level: grade

2

Sight Reading on chosen instrument Recommended minimum level:

grade 4

Sight Reading on chosen instrument Recommended minimum level:

grade 5

Scales, Technical exercises Recommended minimum level: grade 2

Scales, Technical exercises Recommended minimum level:

grade 4

Scales, Technical exercises Recommended minimum level:

grade 5Perform a variety of solo pieces

1. 2 pieces at minimum grade 2 level1. An external examination (Unisa,

Trinity/Guildhall, Associated Board or other recognised examining bodies) may be included

Solo Pieces on chosen instrument Recommended minimum level:

grade 4 Total: 4 pieces Perform 2 pieces publically

Solo Pieces on chosen instrument Recommended minimum level:

2 pieces on grade 5 level,1 piece on grade 6 level

Perform 2 pieces publically Total: 3 pieces

31


3.6 Using the MP3 players for Music Exams Guidelines

Charge all MP3 players by plugging them into computers via USB. Place all the music that you will use for your exam/ test paper in a folder (named e.g.

Grade 12 June 2012) Very important: rename all files and make sure that the artist is listed as “Unknown

artist” or just shows an empty space. An easy way is to burn all your files to a CD and then to rip it again. This way the titles

will be removed, but not necessarily all the artist names. When ripping your CDs, it is safest to rip it as MP3s and to use a quality of 256 kbps. Go

to “Rip Settings” in Windows Media Player and change file format to “MP3” and change the sound quality to “265 kbps”.

To remove any unwanted information, right click on the file (In Windows Explorer), click on “Properties” and go to “Details”. When changed, remember to click “OK” or “Done”.

To copy the music from your computer to the MP3 player, open the folder the music is in. “CTRL A” will select all the files.

Plug in the MP3 player via USB. Wait for the computer to recognise it and open as a folder (which will then look like a

window) Drag them (by holding in the left button on your mouse) to the MP3 player’s window. Make sure that they are copying and wait for it to finish. Remember to eject the MP3 player (like you would any USB device). Check that the tracks work and that they do not display any unwanted information on the

MP3 player. If ok, repeat the above.

How to operate the MP3 player:

Hold in power button until you see the screen light up. If you see the word “Music”, press the play button (middle silver button). Do NOT select

“Radio” or “Recordings” by scrolling down. Use the up and down arrows to select “All songs”. Press play button. Press play on Track 1. Make sure that the pupils do NOT use the shuffle function! To select next track, use side arrows. (you might have to press it twice) Volume: up and down arrows.

4. SECTION B: Extracurricular Music Lessons

32


4.1 Music Lesson Totals

Practical level Number of lessons per

cycle

Number of lessons per

term

Minimum number of

lessons per year

Matric pupils (minimum number of

lessons per year)

Beginner to Grade 3

2 11 33 24

Grade 4 – 5 3 13 40 26

Grade 6 – 8 4 14 42 28

Grade 6 – 8 (non-subject pupils)

3 13 40 26

4.2 Information to share with College music pupils during first lesson

Below are some guidelines to help you through your first lessons with new pupils. The information below is also important for “old” pupils.

Attendance Card

Pupils and teachers are required to complete and sign the attendance card at the end of every lesson.

This document serves as an official document of lessons and should be completed with sufficient detail.

The number of lessons per cycle you will receive: Beginners to Grade 3 level: 2 x 40 minute lessons Grade 4 – 5 and subject pupils: 3 x 40 lessons Grade 6 – 8 level: 4 x 40 lessons Grade 6 – 8 level (non-subject) 3 x 40 lessons

33


Normal lesson procedure: Be prompt. Don’t miss lessons! If you cannot attend a lesson, you have to make alternative

arrangements with your teacher well in advance – 24 hours in advance – otherwise you will be charged for that lesson.

If you are ill or not at school for a particular day, also make alternative arrangements with your teacher and ask your parents to leave a message for your teacher.

Exchange cell phone numbers with pupils for emergencies. Missed lessons will be dealt with as follows:

o Miss 1 lesson: Warning

o Miss 2nd lesson: DT 1

o Miss 3rd lesson: DT 2, contact parents

o Miss 4th lesson: DT 3, contact parents, placed on probation for one month.

Check class timetables regularly to ensure you know when your lessons are scheduled for.

You need the following books or files for my lessons……….

Concerts/competitions to look forward to:All music pupils will be required to participate in a band, group or ensemble of some sort. You will get 3 service hours per term to count towards your promotions for belonging to a band or choir. Please get involved. There are quite a number of concerts scheduled for this year:

Carol Service Winter Concert “Knock on Wood” Arts Fest Steelband festival “Earth Hour” concert Day 10 concerts for the school SASMT music competition

External exams Trinity exams will happen during May or October for all instruments and grades

depending on the session entered at the start of the year. Unisa music theory exams up to grade 5 level are entered for certain pupils.

Music as an Additional Subject

Pupils who do not take music as a subject in the FET phase, has the opportunity to do music as an additional subject.

Admission to this field of study is reliant on the practical and theoretical progress such a pupil has shown by the end of the Grade 11 year.

34


External theoretical and practical examinations for such pupils will be scheduled in the first session of the matric year.

Currently the Unisa examination requirements are followed by Woodridge College.

Practice times The music leaders will draw up a practice schedule for BOARDERS to practice daily

(Monday to Thursday) in the music rooms. No pupils will be allowed to practice after 9pm on any evening of the week. Keys to all the music rooms are available at the security office for pupils who needs to

practice over weekends. The security company will monitor behaviour in the music rooms at times when teachers

are not there and has the authority to bar pupils from entering the premises. Practice times in the steelband room will be co-ordinated by the steelband leader.

Music Teachers

Teacher Instruments and/or responsibilitiesMrs C Rademan Piano, Voice, Choir, subject music, grade 9 musicMrs L Hughes Piano, Flute, Flute choir, subject music, grade 8 musicMiss L du Preez Violin, Voice, Technology, subject music, grade 9 music,

ensembleMiss K Witbooi Voice, Brass, choir, subject music, grade 8 musicMiss S Fouche Piano, SteelbandMr T Uys Clarinet & SaxophoneMr H Kleinhans Guitar & Rock BandMrs E Fouche PianoMr L Martin Drumkit

35

music department policy document

Documents

music teachers

teaching of music

music education

nature of music

effective music department

music groups

extramural music activities

successful teacher cares