Vocal Music - King's Leadership Academy Warrington

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The KING’S Medium Term Plan - MUSICY10 LC1ModuleVocal musicBuilding onprior learningComponent 1 Performing As part of the introduction to the course exemplar performances are studied and the assessmentcriteria is made familiar to the students. Whilst studying the exemplar materials students should note the way the musical elements,techniques and resources are used to interpret and communicate musical ideas with technical controland expression. They should be able to evaluate whether the performance demonstrates control,making expressive use of phrasing and dynamics appropriate to the style and mood of the piece. Students are made aware of the requirements to fulfil the specification:– a solo performance lasting at least one minute and may comprise of one or more pieces– an ensemble performance lasting at least one minute and may comprise of one or more pieces– the total performance length of both pieces combined to be at least four minutes– a score and recording of each performance to be submitted for assessment.Component 2 Composing As part of the introduction to the course, exemplar compositions are studied and the assessmentcriteria become familiar to the students. Whilst looking at these exemplar compositions, students willbe encouraged to notice the technical and creative skills used, and the way the music has a purposeand intention. Students are made aware of the requirements to fulfil the specification:

– a free composition lasting at least one minute– a composition to a set brief lasting at least one minute– the total length of both pieces combined to be at least three minutes– a score and recording of each composition to be submitted for assessment.Component 3 AppraisingThis introduction should include activities to help build the basic knowledge of musical elements, musicalcontexts and musical language needed to embark on the course.OverarchingChallengequestionLines ofEnquiryWhat has developed in vocal music between the Baroque period and the present day?Week 1: Making a successful ensemble performance.Week 2: What was the Baroque period: an introduction to Purcell.Week 3: Music for a while, Purcell.Week 4: Music for a while, Purcell and an introduction to Queen.Week 5: Killer Queen, Queen.Week 6: Assessment week.Week 7: GAP week

Exam boardlinks:TopicProgressStatementProgress objectives: by the end of this module, learners will be able to identify musical techniques used in taikoand other musical cultures. Learners will focus on ensemble performance skills throughout.AO1 Perform with technical control, expression and interpretation (30%)AO2 Compose and develop musical ideas with technical control and coherence (30%)AO3 Demonstrate and apply musical knowledge (20%)AO4 Use appraising skills to make evaluative and critical judgements about music (20%)This component gives students the opportunity to reflect on, analyse and evaluate music in auraland/or written form. To achieve these objectives students need to use their knowledge andunderstanding of musical elements, musical contexts and musical language to make criticaljudgements about the repertoire and context of music within the areas of study. These criticaljudgements will require the use of attentive listening, aural perception and specific musicvocabulary associated with a particular style or genre. These areas of study also provideopportunities for students to demonstrate their contextual understanding of music whenperforming and composing.Students need to learn about the following in order to critically appraise pieces of musicthrough the contexts of areas of study: form and structure of the music appropriate musical vocabulary for each work stylistic features of the music, for example the Baroque features to be found in the music conventions used in different times and places how music relates to the context in which it was created how to express and justify their opinions and preferences.

Learners must be able to identify:perfect and imperfect cadences, and basic melodic devices tonality, including major, minor and basic modulations within the music, for example tonic,dominant structure; organisation of musical material, including simple structure, for example verseand chorus, call and response, binary and theme and variations sonority, including recognition of a range of instrumental and vocal timbres and articulation, forexample legato and staccato texture, how musical lines (parts) fit together, including simple textural combinations, forexample unison, chordal and solo tempo, metre and rhythm, including pulse, simple time, compound time, and basic rhythmicdevices, for example dotted rhythms dynamics; basic dynamic devices, for example crescendo and diminuendo.These musical elements can be applied to many different types of music but may not beapplicable to every single area of study or set work to the same degree or extent.The use of the musical elements above should be used to understand how, as appropriate toeach area of study and set work: to identify how instrumentation is used in different combinations (identifying instrumentsand groups of instruments) the instrumentation is used to good effect, including playing techniques etc associated with aparticular instrument or group to identify musical and melodic devices (ornamentation, ostinati, riffs, use of imitation, pedalpoint and sequence) to identify rhythmic devices and features (syncopation, swung rhythms, dotted rhythms andtriplets) to identify and discriminate between major, minor, modal, pentatonic, and chromatic tonalities texture is used, including how the music exploits textural contrasts with reference tomonophony, homophony, polyphony, heterophony etc.

musical devices are used, such as ostinato/riff, sequence, repetition, pedals and drones harmony and chord patterns are used in the music the effects of music (e.g wah wah, flanger etc.)SkillsCognitive skills Non-routine problem solving – expert thinking, metacognition, creativity. Systems thinking – decision making and reasoning. Critical thinking – definitions of critical thinking are broad and usually involve general cognitive skills such as analysing,synthesising and reasoning skills.ICT literacy – access, manage, integrate, evaluate, construct and communicate.Interpersonal skills Communication – active listening, oral communication, written communication, assertive communication and non-verbalcommunication. Relationship-building skills – teamwork, trust, intercultural sensitivity, service orientation, self-presentation, social influence,conflict resolution and negotiation. Collaborative problem solving – establishing and maintaining shared understanding, taking appropriate action, establishing andmaintaining team organisation.Intrapersonal skills Adaptability – ability and willingness to cope with the uncertain, handling work stress, adapting to different personalities,communication styles and cultures, and physical adaptability to various indoor and outdoor work environments. Self-management and self-development – ability to work remotely in virtual teams, work autonomously, be self-motivating and selfmonitoring, willing and able to acquire new information and skills related to work.

Week 1Week 1 hypothesis: Killer Queen: “guaranteed to blow your mind”.Line of enquiry: What is a pop song?Objectives:To understand the pop genreTo compare vocal music across the agesHour 1 & 2: learning activitiesStudy should include a general introduction to the structure of pop songs and the wider music and influence ofQueen.Compositions using a verse and chorus structure could be explored, noting how well the changing words forverses are accommodated by their single melodic line.The overall setting of the text should be explored.An introduction to Queen.Hour 3:Analysing Killer Queen.KGP success criteriaKGP3 – Analyse how pitch and dynamics are used.KGP 4 – Analyse how pitch, dynamics and tonality is used.KGP 5 – Analyse how pitch dynamics, tonality, structure and sonority is used.KGP 6 – Analyse how pitch, dynamics, tonality, structure, sonority, tempo and metre are used.KGP 7 – In addition to KGP 6, analysing the use of instruments.KGP 8 – In addition to KGP 6 & 7, placing the music in its musical, historical, social and culturalcontext.

REACH – Express an opinion on the piece (this may be on the effectiveness of purpose,commission, position in history, position in the composer’s output).Home LearningWatch Inside the Rhapsody – Queen (full documentary) https://www.youtube.com/watch?v m4qYBqIieEk45mins. Make notes about Queen’s music. Consider what they did that was new and innovative.Week 2Week 2 There is more Broadway than Rock in Killer Queen.Line of enquiry: What elements reflect Mercury’s love of theatre?Objectives:Analyse the music and word setting of Killer Queen.Hour 1 & 2: learning activitiesComplete the research prep task in the book.Complete the instrumentation and sonority questions in the book.Analyse the music and word setting of Killer Queen.Wider listening on pop music and features of the pop genre.Building appraising skills on a comparison question using wider listening. G F Handel: ‘The Trumpet Shall Sound’ (bass), ‘Rejoice Greatly’ (soprano) and ‘Every Valley’ (tenor) fromMessiah J S Bach: ‘Weichet nur, betrubte Schatten’ and ‘Sehet in Zufriedenheit’ from wedding Cantata Beach Boys: ‘God only Knows’ from Pet Sounds ABBA: ‘Super Trouper’ from Super Trouper

KGP success criteriaKGP3 – Analyse how pitch and dynamics are used.KGP 4 – Analyse how pitch, dynamics and tonality is used.KGP 5 – Analyse how pitch dynamics, tonality, structure and sonority is used.KGP 6 – Analyse how pitch, dynamics, tonality, structure, sonority, tempo and metre are used.KGP 7 – In addition to KGP 6, analysing the use of instruments.KGP 8 – In addition to KGP 6 & 7, placing the music in its musical, historical, social and culturalcontext.REACH – Express an opinion on the piece (this may be on the effectiveness of purpose,commission, position in history, position in the composer’s output).Home LearningQueen homework task 7: CGP pages 108-113. Write an essay in your books with the title “Pop Music: What is itand where did it come from?”Week 3Week 3: It would not matter if music technology had never been inventedLine of enquiry: What technologies did Queen use and how can we aurally identify them?Objectives:Continue the analysis of Killer QueenBegin and examination style questionHour 1 & 2 learning activities:Complete rhythm, melody, texture and tonality questions in the exercise books

Hour 3Chord sequences analysis and questionsHome learningPage 118 in CGP and complete the given tasks.KGP success criteriaKGP3 – Analyse how pitch and dynamics are used.KGP 4 – Analyse how pitch, dynamics and tonality is used.KGP 5 – Analyse how pitch dynamics, tonality, structure and sonority is used.KGP 6 – Analyse how pitch, dynamics, tonality, structure, sonority, tempo and metre are used.KGP 7 – In addition to KGP 6, analysing the use of instruments.KGP 8 – In addition to KGP 6 & 7, placing the music in its musical, historical, social and culturalcontext.REACH – Analyse and express an opinion on the music technology used in Bohemian Rhapsody.Try to identify the technologies that you can hear and justify the identification that you make.Week 4Week 4: Queen were important to the music industryLine of enquiry: What fingerprints did Queen create?Objectives:To understand how Queen changed the sound of pop musicTo be able to construct an essay about KQLearning activities. Hour 1 & 2:Read the summary essay and test themselves on knowledge gaps on the following side of the exercise book.Complete the key word table at the front of the book.

Home learningCGP p119 Q23-38. Complete in your books.KGP success criteriaKGP3 – Analyse how pitch and dynamics are used.KGP 4 – Analyse how pitch, dynamics and tonality is used.KGP 5 – Analyse how pitch dynamics, tonality, structure and sonority is used.KGP 6 – Analyse how pitch, dynamics, tonality, structure, sonority, tempo and metre are used.KGP 7 – In addition to KGP 6, analysing the use of instruments.KGP 8 – In addition to KGP 6 & 7, placing the music in its musical, historical, social and culturalcontext.REACH – Research the impact of Queen on British pop music. Make critical judgements aboutindividual and influential songs and/or albums.Week 5Week 5: Queen can be performed liveLine of enquiry: Which elements of performance are we able to recreate?Progress Objectives:To engage in a performance of Killer Queen in order to understand the impact of live versus technologicallyassisted performance.Learning Activities Hour 1 & 2:Ensemble work putting together a performance of KQ.Hour 3Activities 1, 2, 3 and 4 in the book.Home Learning

Queen homework task 10: Colour coding notes/scoreKGP success criteriaKGP3 – Analyse how pitch and dynamics are used.KGP 4 – Analyse how pitch, dynamics and tonality is used.KGP 5 – Analyse how pitch dynamics, tonality, structure and sonority is used.KGP 6 – Analyse how pitch, dynamics, tonality, structure, sonority, tempo and metre are used.KGP 7 – In addition to KGP 6, analysing the use of instruments.KGP 8 – In addition to KGP 6 & 7, placing the music in its musical, historical, social and culturalcontext.REACH – Independently listen to KQ and follow using the score. The second time you listen useonly your notes and point at the key word as you hear it being played in order to improve youraural skills.Week 6Week 6: Assessment weekAppraising and essay writing assessmentWeek 7Week 7 GAP WEEKQueen activity 5Wider listening tasks 4, 5, 6 and 7 to develop AO3 and 4.

Extended LearningStudents can further practice their musical abilities through extra-curricular opportunities.Band and choir are available to all students.Each student receives a 1-2-1 instrumental/vocal lesson each week.Intervention will run bi-weekly for under-achieving an

Week 2 There is more Broadway than Rock in Killer Queen. Line of enquiry: What elements reflect Mercury’s love of theatre? Objectives: Analyse the music and word setting of Killer Queen. Hour 1 & 2: learning activities theresearch prep task in book. Complete the instrumentation and sonority questions in the book. Analyse the music and word setting of Killer Queen. Wider listening on pop .