curriculum descriptors
MUSIC (ACCESS 1)
INTRODUCTION
Students who are working with Access 1, for whom a complete Access 1 unit is not
appropriate, will focus on Learning Targets and their related Success Criteria at an
Experiential, Awareness or Participation stage. Examples of targets are outlined in the
descriptors that follow. These descriptors have been organised under the appropriate
Access 1 title and then grouped using the Performance Criteria as the Learning Targets.
Each unit at Access 1 is linked to a particular Access 2 unit.
GENERAL INFORMATION
Music at Access 1 comprises 2 units:
•
•
Creating
Performing
Each unit is based on one outcome from the subsidiary element of the respective Access 2
unit. As the development of aural awareness skills will be central to both Creating and
Performing units at Access I level, it has not been felt necessary to offer Listening as a
separate unit.
The Performance Criteria form the basis for a number of Learning Targets and Success
criteria.
RATIONALE
Music at Access 1 intends to offer opportunities for students to experience music within a
well-supported environment. The units developed at Access 1 provide an excellent
medium for personal and social development, the promotion of personal and interpersonal
skills, and communication. A wide variety of musical experiences and activities, by
means of shared musical interaction with the teacher/provider, will enhance the quality of
life by developing students’ enjoyment of music and will contribute to the development
of self-confidence and self-esteem. In addition, these experiences will encourage the
development of certain core skills appropriate to the individual and for some, will offer
the opportunity to develop basic musical skills.
Although the musical elements of Creating and Performing have been assigned to two
individual Access units allowing a different focus for each, an integrated approach
towards musical activities and experiences within each unit is recommended.
MUSICAL CONCEPTS
Teachers/lecturers are referred to Appendices 1, 2 and 3. The musical features listed in
the Table of Concepts (Appendix 1), provide parameters and contexts within which
candidates will be encouraged to develop aural discriminatory skills and thereby acquire
understanding of the music they perform. Appendices 2 and 3: Explanation of Concepts
and a Glossary of Concepts, offer additional detail on musical features. At Access 1 level,
it is suggested that the term ‘concept’ be replaced by ‘feature’ to imply a more holistic
and personal use of the components of music. It will be helpful to consider each feature as
a musical experience perceived by the student in his or her own way rather than a
statement or definition provided by the teacher/provider and about which the student has
to learn. Thus each student can grow through the experience of the feature, which is the
experience of the music itself.
Within Appendix 2, attention is drawn to section 4 headed Assessment. At Access 1
level, candidates will be expected to experience musical features in a variety of contexts
and appropriate to the repertoire performed. They will not, however, be required to
satisfy for assessment purposes “an awareness of 50%”. That particular assessment
requirement was related to the Listening Unit at Access 2 and although listening remains
an integral part of creating and performing at Access 1, it does not require to be assessed
discretely in this unit and at this level in terms of a percentage.
Teachers/lecturers, however, will wish to record information on how musical features
have been fundamental to on-going work within their session notes.
CONTENT
Access 1 unit: Creating
Outcome: Demonstrate an ability to create original music
This unit offers the student opportunities to create original music through practical music
making experiences and activities and consequently, to develop aural awareness skills.
Access 1 unit: Performing
Outcome: Perform music in a solo, accompanied and/or group manner
This unit offers the student opportunities to perform music of an improvised or precomposed nature and consequently, to develop aural awareness skills.
.
CORE SKILLS
Although neither of the two units allows automatic certification of core skills,
teachers/lecturers will wish to be aware that the nature of experiences within both units
may contribute to the overall development of students in the areas of Communication,
Numeracy, Problem-solving, Using Technology and Working with Others. It is
emphasised that core skills are considered here in their widest sense.
Further advice on the wider role of core skills may be found in the Guidance On Learning
And Teaching Approaches For This Unit section within the Access 1 Unit Specifications
for Creating and Performing.
UNIT: CREATING
Outcome: Demonstrate an ability to create original music
PC: Learning target: incorporates musical features and expresses new ideas/styles in a
structured product
Success Criteria
P:
A:
E:
participates in selecting musical features and expressing original ideas
demonstrates awareness through gesture of musical features/original ideas
guided by the teacher/lecturer.
experiences musical features/original ideas guided by the teacher/lecturer.
Range Statement
It will be important that students have opportunities to respond to ideas guided by the
teacher/lecturer and to create their own music in ways appropriate to their understanding
and their instrumental/vocal ability. There should be no limitation of styles.
Experiences and activities
Contexts, which will involve the teacher/lecturer in shared interaction, will embrace solo
and group music making experiences appropriate to individual students/student group.
Starting points in creating should be established which allow students to explore sound in
a variety of ways by themselves and with others. A range of instrumental resources
should be available to offer students varied stimuli.
Evidence
As appropriate to the musical experience, activity or event:
Evidence which demonstrates the student’s ability to create original music. Through
musical improvisation by means of shared musical interaction with the
teacher/lecturer/fellow student(s), a profile or ‘self-portrait” of the student could be
acquired. It is strongly recommended that each occasion/session be audio recorded.
Where it is possible, the use of video recording will be found to be particularly helpful.
Recordings not only provide evidence of response but allow the teacher/lecturer to
observe while not engaged and to use these observations as indicators for future work.
This may be supported by additional observational reports/session notes as appropriate, to
allow further insight of candidate attainment.
UNIT: PERFORMING
Outcome: Perform music in a solo, accompanied and/or group manner.
PC (a): Learning target: demonstrates some technical skill appropriate to the chosen
instrument(s)/voice.
Success Criteria
P:
.
A:
E:
participates in performing to/with others on chosen instrument(s)/voice.
demonstrates awareness through gesture of some technical skill on chosen
instrument(s)/voice.
experiences the opportunity to perform to/with others on chosen
instrument(s)/voice.
PC (b): Learning target: demonstrates an ability to express music through performing
to/with others.
Success Criteria
P:
A:
E:
participates in expressing music through performing to/with others.
demonstrates awareness of the expressive potential of music through
performing with others.
experiences the opportunity to express music through performing to/with others.
Range Statement
It will be important that students have opportunities to perform their own music and/ or
that which is pre-composed in ways appropriate to their understanding and
instrumental/vocal ability. There should be no limitation of styles.
Experiences and activities
Contexts, which will involve the teacher/lecturer in shared interaction, will embrace solo
and group music making experiences appropriate to individual students/student group.
Starting points in performing should be established which allow students to explore
sound in a variety of ways by themselves and with others. It is likely that students will
wish to perform their own original music and are likely to do so through musical
interaction with their teacher/lecturer. It should also be acknowledged that for some, the
re-creating of pre-composed music might be equally or more appropriate. The choice
should be that of the student in tandem with the teacher/lecturer.
Evidence
As appropriate to the musical experience, activity or event:
Performance evidence of a solo, accompanied and/or group performance. The
performance may include the delivery of an improvisation or pre-composed piece of
music. Evidence may be recorded in audio or video formats.
Recordings not only provide evidence of response but allow the teacher/lecturer to
observe while not engaged and to use these observations as indicators for future work. In
addition, they assist the experiential process and it is recommended that they be supported
by observational reports/session notes to allow further insight of candidate attainment..
Further information on appropriate activities and methodology may be found
within the Access 1 Music Rationale ,Unit Specifications and the Access 1 section of
the CD-ROM Effective Music Teaching, a Higher Still Development support
material distributed to centres in 1999.
APPENDICES
Appendix 1: Table of Concepts
Appendix 2: Explanation of Concepts
Appendix 3 : Glossary of Concepts
Appendix 1
Music (Access 2)
TABLE OF CONCEPTS
COMPOSITIONAL TECHNIQUES
HARMONIC
RHYTHMIC
MELODIC
Ascending
Descending
Stepwise
Leaping
CONTEXTS
STRUCTURAL
TIMBRE
Chord
Repetition
Single line
Sound/silence
Consonance
Dissonance
Faster/slower
Unison
Louder/softer
Longer/shorter
Ostinato
Smooth/rough
Beat/pulse
Accompanied
Unaccompanied
Striking, blowing, bowing,
drumming, plucking
STYLES/FORMS
Open
Notes together
Repetition
Pattern
Instrumental families
Voice
Music: Appendix 1 (Acc 2)
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Appendix 2
Music (Access 2)
EXPLANATION OF CONCEPTS
The concepts list has been structured to provide a framework for candidates’ experiences in Listening,
Creating and Performing. The list identifies the minimum requirements for teaching and assessment
and articulates with concepts at Music (Acc 3).
1
The list of concepts provides:
•
•
•
the detailed parameters and contexts within which candidates’ aural discriminatory skills will
be assessed
the list of compositional techniques which candidates will use in creating original music
a focus for understanding performing repertoire and developing relevant practical skills
The concept list does not restrict centres regarding the range of compositional techniques
delivered, the depth to which they are explored, or the context in which they are taught. Aural
awareness of compositional techniques can be developed further in additional contexts reflecting
the candidates’ individual needs and interests. The list does not limit or restrict the creative
freedom of candidates. While they will learn compositional techniques, the choice of techniques
and the way(s) in which they will be used and assessed is left to the discretion of the centre.
2
Candidates’ understanding of concepts will be acquired through:
•
•
•
•
3
exploring sound
group and solo performing activities
analytical listening and reflecting
deploying concepts in creative tasks
Operating principles
Concepts have been organised into two broad categories: compositional techniques and contexts.
Both broad categories are divided into strands ie melodic, harmonic, rhythmic, structural, timbre
and style/form.
Compositional techniques are generic tools and devices of particular relevance in planning
teaching programmes in creating. They are mostly style/form free. Although concepts listed
have been assigned to specific strands, many apply to more than one and should be considered
across strands.
Contexts are the places where the compositional techniques are found and can be experienced and
used.
4
Assessment
Candidates’ will experience all concepts in a variety of contexts. For assessment purposes, an
awareness of 50% of these is required.
Candidates’ awareness of concepts will be assessed through:
•
•
•
listening assessments
creative use of concepts in practical music-making
information contained within a unit log for the main element in each unit ie Listening,
Creating of Performing
Music: Appendix 2 Acc 2
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Appendix 2 (cont)
For some candidates, for example those with special needs, the pace of delivery and the particular
tasks being undertaken must equate with their understanding and abilities. A flexible approach will
allow candidates to advance from their own starting point at a pace relevant to their ongoing
development.
Concepts will be explored by means of musical demonstration and interaction (initiated by the
teacher/lecturer) and also by exposure to their deployment in pre-composed pieces of music. In
Listening, for example, this allows a deeper investigation to be made as each individual concept does
not necessarily have to be studied within the context of a range of concepts. For purposes of clarity,
concepts should ideally be explored in pairs, ie, each concept with its opposite – ascending and
descending, for example.
Music: Appendix 2 Acc 2
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Appendix 3
Music (Access 2)
GLOSSARY OF CONCEPTS
The following glossary offers suggestions on how concepts might be translated for candidates in
language terms, although it is emphasised that conceptual understanding will be most effectively
developed through practical music making experiences in a variety of contexts embracing listening,
creating and performing.
MELODIC
Ascending:
Descending:
Stepwise:
Leaping:
Repetition:
notes which rise in pitch (sounds which become higher);
notes which fall in pitch (sounds which become lower);
moving up or down between notes which are next to each other (moving
sounds up or down by one note);
moving between notes which are not next to each other (moving up or down
by jumping over ‘next-door’ notes);
a musical idea heard more than once.
HARMONIC
Chord:
Consonance:
Dissonance:
Notes together:
two or more sounds played together;
notes which sound well together (sounds which are easy on the ear and
therefore easy to listen to);
notes which seem to clash when heard together (sounds which can jar on the
ear and which sometime sound as if they need to move on to other notes or
chords. Although they may jar, this does not mean that they are unpleasant;
sometimes they are all the more stimulating as they attract our attention);
a chord – two or more notes played together.
RHYTHMIC
Faster/slower:
Longer/shorter:
Beat/pulse
Pattern:
the speed increases or decreases;
note values are greater or less in length;
the rhythmic beat or pulse which ‘drives’ music and to which we may tap our feet,
clap our hands, or sometimes count out loud. The beat/pulse may be in groups of
2, 3 (eg a Waltz) or 4 (eg a March) with a stress on the first in each group;
a grouping of notes which makes a rhythmic shape.
STRUCTURAL
Single line:
Unison:
Ostinato:
Accompanied:
Unaccompanied:
Music: Appendix 3 Acc 2
a melody with no accompaniment (when music has only one part);
two or more parts of voices sounding at the same pitch (when several partsvoices/instruments-perform the same melody;
a short, musical pattern which is repeated many times;
other instrument(s) or voice(s) support the main melody, for example, when a
voice is accompanied by a piano or a guitar;
no other instrument(s) or voice(s) sound, for example, a part is heard on its
own eg voice only; piano only, guitar only.
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Appendix 3 (cont)
TIMBRE
Sound/silence:
Louder/softer:
Smooth/rough:
a sound can be heard when we sing or play an instrument
silence occurs when we stop singing or playing;
when music rises or falls in volume;
the different quality of a sound which is usually due to the type of instrument
and the way it is played and/or the type of voice and the way it is used, for
example, when a guiro is played (by scraping it with a beater), the sound is
more rough than when a glockenspiel is struck with a beater.
Striking, blowing, bowing, drumming, plucking: ways in which instruments are played, eg:
•
•
•
•
•
woodblocks are struck (or tapped) together
a whistle is blown
a violin is bowed
drumming occurs on a side or bass drum or timpani when they are struck with sticks and/or
beaters
a guitar is plucked
Instrumental families: categories of instruments, eg:
•
•
•
•
the string family: violin, viola, cello, double bass, guitar
the woodwind family: flute, piccolo, clarinet, oboe, bassoon
the brass family: trumpet, French horn, trombone, tuba
the percussion family: timpani, side and bass drum, glockenspiel, xylophone, tubular bells
Voice: female voices: soprano and contralto – with contralto sounding lower than soprano
male voices: tenor and bass – with bass sounding lower than tenor.
STYLES/FORMS
Open: styles and forms may include, for example: Scottish, Folk, Jazz, Blues; vocal and instrumental
music.
There is no restriction on the styles and forms which candidates may experience; rather, there should
be opportunities to experience a wide variety of music which meets candidates’ interests and tastes as
well as opening up their musical horizons.
Music: Appendix 3 Acc 2
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