REVISED GCSE
Scheme of Work
Music
This is an exemplar scheme of work which
supports the teaching and learning of the
Music specification
GCSE Music
Contents
Page
Core Area of Study: Repeated Patterns in Music
5
Optional Area of Study 1: Musical Traditions in Ireland
11
Optional Area of Study 2: Incidental Music
19
Optional Area of Study 3: Vocal Music
25
Resources
33
Appendix 1
38
CCEA Exemplar Scheme of Work: GCSE Music
Introduction
CCEA has developed new GCSE specifications for first teaching from September 2009. This scheme
of work has been designed to support you in introducing the new specification.
The scheme of work provides suggestions for organising and supporting students’ learning activities. It
is intended to assist you in developing your own scheme of work and should not be considered as
being prescriptive or exhaustive.
Please remember that assessment is based on the specification which details the knowledge,
understanding and skills that students need to acquire during the course. The scheme of work should
therefore be used in conjunction with the specification.
Published resources and web references included in the scheme of work have been checked and were
correct at the time of writing. You should check with publishers and websites for the latest versions
and updates. CCEA accepts no responsibility for the content of third party publications or websites
referred to within this scheme of work.
A Microsoft Word version of this scheme of work is available on the subject microsite on the CCEA
website (www.ccea.org.uk/microsites). You will be able to use it as a foundation for developing your
own scheme of work which will be matched to your teaching and learning environment and the needs
of your students.
I hope you find this support useful in your teaching.
Best wishes
Roger Trigg
Subject Officer
Music
E-mail
Telephone
rtrigg@ccea.org.uk
028 9026 1200 (ext: 2296)
1
CCEA Exemplar Scheme of Work: GCSE Music
2
CCEA Exemplar Scheme of Work: GCSE Music
CCEA Exemplar Scheme of Work:
GCSE Music
3
CCEA Exemplar Scheme of Work: GCSE Music
4
CCEA Exemplar Scheme of Work: GCSE Music
Core Area of Study:
Repeated Patterns in Music
5
CCEA Exemplar Scheme of Work: GCSE Music
GCSE Music: Scheme of Work
Core Area of Study: Repeated Patterns in Music
Set works for this Unit:
Pachelbel:
Beethoven:
Holst:
Jenkins:
Canon in D major
Symphony No. 7 – ‘Allegretto’ (2nd movement)
The Planets - ‘Mars’
Requiem – ‘Dies Irae’
Specification Content
Learning Outcomes
Students should develop
knowledge and
understanding of
repeated music patterns
through a study of the
following pieces:
Students should develop
knowledge and
understanding of:
Pachelbel:
Canon in D major
Beethoven:
Symphony No. 7 –
‘Allegretto’ (2nd movement)
Repetitive rhythmic
and melodic figures
including ground bass,
drone, ostinato and
pedal;
Teaching and Learning Activities
Students should be familiar with the musical
definitions of ground bass (basso ostinato), drone,
ostinato, passacaglia, motif and pedal.
Resources
Bennett (1996) Fortissimo
Chapters 6 and 10
Investigate the use of melodic and rhythmic ground Bennett (1989) Musical Forms Book 3
bass as the foundation for many vocal, choral,
(pp 5–6)
instrumental and orchestral compositions in the
Baroque era.
Recommended listening:
Passacaglia in C Minor (Bach), Dido’s Lament from
Dido and Aeneas (Purcell), Crucifixus from B Minor
Mass (Bach)
6
CCEA Exemplar Scheme of Work: GCSE Music
Specification Content
Learning Outcomes
Students should develop
knowledge and
understanding of
repeated music patterns
through a study of the
following pieces: (cont.)
Students should develop
knowledge and
understanding of:
Holst:
The Planets – ‘Mars’
Jenkins:
Requiem –
‘Dies Irae’
modern compositional
uses of rhythmic,
melodic and harmonic
ostinati, such as 12 bar
blues, riff and loop;
Teaching and Learning Activities
Resources
Investigation could be undertaken into individual
instruments used to create drones, for example,
bagpipes.
Tutt (1993) First Assignment (pp 72–73)
Students could explore the use of ethnic
instruments also used to create drones in
indigenous folk music of Africa, India and
Australia.
Allen (2002) Composing Matters (pp 48–49)
Students should understand the harmonic
framework which underpins 12 bar blues
compositions, the rhythmic and motivic
development of riffs used in modern songs and the
electronic uses of loops and computer generated
ostinati.
Recommended listening:
Tubular Bells I and II (Mike Oldfield)
Thriller (Michael Jackson)
Violin Concerto (Philip Glass)
7
www.chandrakantha.com/articles/indian_m
usic/
Binns (1996) Composing: A Student’s Guide
(pp 88–91)
Allen (2002) Composing Matters
(pp 46–47, 50–51)
Bennett (1996) Fortissimo (pp 58–60)
www.bbc.co.uk/1xtra
www.trugroovez.com
CCEA Exemplar Scheme of Work: GCSE Music
Specification Content
Learning Outcomes
Students should develop
knowledge and
understanding of
repeated music patterns
through a study of the
following pieces: (cont.)
Students should develop
knowledge and
understanding of:
(See Set Works listed on
pp 6)
Teaching and Learning Activities
Resources
the context and
historical perspective
of each of the set
pieces in the Area of
Study;
Students should be familiar with the ‘fingerprints’
of the Renaissance, Baroque, Classical, Romantic
and 20th Century styles including the most
important genres, stylistic features, dates, and the
changing role of the composers in each of eras.
Bennett (1995) Investigating Musical Styles
Chapters 3–6
the expressive
potential of repeated
patterns to create
atmosphere, provide
rhythmic drive and
intensity and create
harmonic movement;
Students should explore the dramatic potential of
repeated musical patterns; those used to increase
rhythmic drive, build up excitement and increase
textural density.
This may be through discussion, analysis and aural
perception of adventure film soundtracks and
programmatic compositions from the Romantic era
to present day.
Lloyd and Terry (1992) Music in Sequence
(pp 43–49)
Recommended listening:
Star Wars, Superman, Raider’s of Lost Ark (John
Williams)
Gladiator, Pirates of the Caribbean (Hans Zimmer)
Adiemus (Karl Jenkins)
With the Wild Geese (Hamilton Harty)
The Sorcerer’s Apprentice (Paul Dukas)
An American in Paris (George Gershwin)
Bennett (1995) Enjoying Music Book 3
(pp 4–6)
Jenkins (1983) Portraits in Music Book 1
(pp 54–56)
8
Bennett (1996) History of Music
Chapters 4–7 (pp 36, 47, 59)
Bennett (1995) Enjoying Music Book 2
(pp 3–5)
www.filmtracks.com
www.karljenkins.com/adiemus_story.php
CCEA Exemplar Scheme of Work: GCSE Music
Specification Content
Students should develop
knowledge and
understanding of
repeated music patterns
through a study of the
following pieces: (cont.)
(See Set Works listed on
pp 6)
Learning Outcomes
Teaching and Learning Activities
Resources
Students should develop
knowledge and
understanding of:
the use of devices
(such as ostinato) as
compositional tools to
extend and develop
compositions; and
how digital use of
repeated patterns
impacts on music in
the 21st century.
Investigate the use of ostinati as the foundation of
Theme and Variations in the Baroque Era, their
development and extension in solo instrumental
works of the Classical period and emergence of
motific development in Variations from the
Romantic era.
Bennett (1996) Fortissimo (pp 146–147)
Bennett (1989) Musical Forms Book 2
(pp 52–53)
Bennett (1996) Fortissimo Chapter 24
Recommended listening:
Bennett (1995) Enjoying Music Book 3
Serenade No. 12 in C minor K.388 and Ah, Vous Dirai- (pp 58–63)
Je, Maman (Variations on Twinkle, Twinkle, Little Star
K.265) (Mozart), Octet in F major D.803 (Schubert)
Orchestral Suite No. 3 in G major Op.55
(Tchaikovsky) Variations on a Theme by Haydn Op.56a
(Brahms), The Young Person’s Guide to the Orchestra
(Britten)
www.jeanmicheljarre.com
Investigation should be undertaken in the use and
www.mikeoldfield.com
effectiveness of computer generated music, for
example, in loops and samples.
Recommended listening:
Oxygene, Equinoxe (Jean Michel Jarre)
Music of the Spheres: Harbinger (M.Oldfield)
Experiment with samples and loops patterns in
programmes like Ejay, Garageband and Audacity.
9
Lloyd (1996) Music in Sequence (pp 22–29)
www.trugroovez.com
CCEA Exemplar Scheme of Work: GCSE Music
10
CCEA Exemplar Scheme of Work: GCSE Music
Optional Area of Study 1:
Musical Traditions in Ireland
11
CCEA Exemplar Scheme of Work: GCSE Music
GCSE Music: Scheme of Work
Optional Area of Study 1: Musical Traditions in Ireland
Set works for this Unit:
The Chieftains:
De Danann:
Millar’s Hill Accordian Band:
Ballygowan Flute Band:
Ravara Pipe Band:
Bill Whelan:
Specification Content
Carrickfergus; Drowsey Maggie
The Cuckoo’s Nest medley; The Teetotlar/St Anne’s
Steadfast and True
Le Reve Passe
Heights of Dargai/Battle of the Somme
Riverdance - ‘Reel around the Sun’ (Corona/The Chronos Reel/Reel around the Sun); ‘Riverdance’
Learning Outcomes
Students should develop
Students should develop
knowledge and
knowledge and
understanding of the
understanding of:
musical traditions in
Ireland through a study of
traditional Irish dance
the following pieces:
music;
The Chieftains:
Carrickfergus; Drowsey Maggie
Teaching and Learning Activities
Students should briefly investigate the historical
background to Irish dance music dating back to the
17th and 18th centuries, when visiting teachers
taught dance steps to local communities, up until
the ceili band – accompanied dance of the present
day.
12
Resources
www.ceolas.org/ceolas.html
www.itma.ie
CCEA Exemplar Scheme of Work: GCSE Music
Specification Content
Students should develop
knowledge and
understanding of the
musical traditions in
Ireland through a study of
the following pieces:
(cont.)
De Danann:
The Cuckoo’s Nest medley;
The Teetotlar/St Anne’s
Millar’s Hill Accordian
Band:
Steadfast and True
Ballygowan Flute Band:
Le Reve Passe
Ravara Pipe Band: Heights of
Dargai/Battle of the Somme
Bill Whelan: Riverdance ‘Reel around the Sun’
(Corona/The Chronos
Reel/Reel around the Sun);
‘Riverdance’
Learning Outcomes
Teaching and Learning Activities
Students should analyse the features of the
principle dances in traditional Irish music, for
example, the single, double and slip jig, reel,
hornpipe, slide and polka.
Students should have a clear understanding of
strong and weak beats and study note groupings in
compound time (6/8 and 9/8 in particular), and
their significance in identifying different dance
forms.
Resources
www.irelandseye.com/dance.html
Burgess (1987) Irish Music in GCSE
(pp 22–24)
Study should follow on the structure of traditional
Irish dance music, the popularity of AABB form
and the regular phrasing of strains.
Burgess (1987) Irish Music in GCSE
(pp 33–39)
A brief outline of the modal character of the music
should be given, concentrating on the most
frequently used ionian, dorian and mixoolydian
modes and highlighting the effects of the flattened
3rd, 6th and 7th notes. Discussion should take place
around the almost exclusive use of sharp keys
(G and D) for dance tunes.
www.standingtones.com/modeharm.html
13
CCEA Exemplar Scheme of Work: GCSE Music
Specification Content
Students should develop
knowledge and
understanding of the
musical traditions in
Ireland through a study of
the following pieces:
(cont.)
(See Set Works listed on
pp 12)
Learning Outcomes
Teaching and Learning Activities
Resources
The importance of ornamentation in traditional
Irish music should be stressed, focusing on the cut,
tip, roll, jig and reel rolls and the slide.
How ornamentation is used to identify the style of
the player in traditional music.
O’Sullivan (1960) Irish Folk Music, Song and
Dance
Recommended listening:
A wide range of melodies can be accessed via
www.irishtune.info/top-tunes,
www.ceolas.org/tunes/#pdf
www.artscouncil-ni.org/artforms/trad.htm
14
Burgess (1987) Irish Music in GCSE
(pp 40–42)
CCEA Exemplar Scheme of Work: GCSE Music
Specification Content
Learning Outcomes
Students should develop
Students should develop
knowledge and
knowledge and
understanding of the
understanding of:
musical traditions in
Ireland through a study of
the instrumental
the following pieces:
combinations
(cont.)
associated with
different styles and
(See Set Works listed on
traditions (including
pp 12)
fusion of other
instruments), for
example, synthesizers,
ethnic percussion;
Teaching and Learning Activities
Study of the main instruments used including
uilleann pipes, harp, (tin) whistle, flute, fiddle, box
(accordion, concertina, melodeon) banjo and the
bodhran.
Discussion of the importance of informal and
impromptu music-making and the significance of
the aural tradition as a means of preservation of
melodies.
Students should appreciate the wide variety of
ensembles and their unique sound and style, for
example, The Chieftains, The Dubliners, de
Danann.
The emergence of folk rock, with artists like U2,
Paul Brady, Christy Moore, Van Morrison, The
Pogues, The Cranberries, Bothy Band and Horslips
should be evaluated and the effect on music and
musicians from other countries understood.
Recommended listening:
Various excerpts from the soundtrack to the BBC
programme Bringing It All Back Home (1991) (BBC
Enterprises)
Blas Ceoil (BBC 2 TV Series)
15
Resources
www.ceolas.org/instruments
CCEA Exploring Trad DVD – Instruments
CCEA Exploring Trad DVD – Introduction
– History
www.thechieftains.com
www.geocities.com/toeye/dubliners
Burgess (1987) Irish Music in GCSE
(pp 52–56)
www.u2.com
www.vanmorrison.com
www.pogues.com
www.cranberries.com
www.horslips.ie
CCEA Exemplar Scheme of Work: GCSE Music
Specification Content
Learning Outcomes
Students should develop
Students should develop
knowledge and
knowledge and
understanding of the
understanding of:
musical traditions in
Ireland through a study of
the variety of
the following pieces:
instrumental formats
(cont.)
and instruments
incorporated in the
(See Set Works listed on
Ulster-Scots tradition;
pp 12)
Teaching and Learning Activities
Resources
Students should heighten their awareness of the
instrumental groups popular in the Ulster-Scots
tradition and the music written for them focusing
especially on fiddle, drums, pipes, fife, Lambeg
drum, flute and song.
www.ulsterscotsagency.com/music.asp
Recommended listening:
A wide range of melodies can be accessed via
www.ulsterscotsagency.com/audioculture.asp
CCEA Exploring Trad DVD – The Music
– Dance
www.fmmpb.com
Students should analyse the features of the
principle dances in the Ulster-Scots tradition, for
example, the strathspey, highland, barn and set
dances, and those shared with other traditions in
Ireland.
CCEA Exploring Trad DVD – Dance
16
www.ravara.org
CCEA Exploring Trad DVD – Instruments
CCEA Exemplar Scheme of Work: GCSE Music
Specification Content
Learning Outcomes
Students should develop
Students should develop
knowledge and
knowledge and
understanding of the
understanding of:
musical traditions in
Ireland through a study of
how musical traditions
the following pieces:
in Ireland have
(cont.)
affected and been
affected by other
(See Set Works listed on
world music and the
pp 12)
export potential of
both musical
traditions; and
Teaching and Learning Activities
Resources
Investigate the role of traditional Irish and UlsterScots influences on World Music including the
significance of works by composers such as
Hamilton Harty, Shaun Davey, Bill Whelan and
Brian Irvine.
www.riverdance.com
www.shaundavey.com
www.billwhelan.com
www.brianirvine.co.uk
Students should be aware of the use of traditional
dance rhythms and instrumental textures in music
other than that created by home-grown talent. This
should include understanding of Irish pop, rock
and celtic inspired compositions from groups like
Clannad, Anuna, Afro Celt Sound System, Belfast
Harp Orchestra and solo artists like Sinead
O’Connor and Rory Gallagher.
www.clannad.ie
www.anuna.ie
www.elevationgrp.com/anuna
www.sinead-oconnor.com
17
CCEA Exploring Trad DVD – Glossary
CCEA Exemplar Scheme of Work: GCSE Music
Specification Content
Learning Outcomes
Students should develop
Students should develop
knowledge and
knowledge and
understanding of the
understanding of:
musical traditions in
Ireland through a study of
the commercial
the following pieces:
implications associated
(cont.)
with the performance
and recording of
(See Set Works listed on
music from these
pp 12)
traditions.
Teaching and Learning Activities
Students should be made aware of the global
market which exists for the culture and musical
traditions in Ireland and multi-million pound
business which thrives on its export.
Resources
Walsh’s (2007) Louis Walsh’s Fast Track to
Fame
www.culture.gov.uk/what_we_do/creative_i
ndustries/3270.aspx
www.nimusic.com
www.artscouncil-ni.org
www.cultureireland.gov.ie
www.musicbizacademy.com
www.riverdance.com
Students should understand the success of the
global phenomenon which is Riverdance following its www.billwhelan.com
rise through the Eurovision Song Contest 1994.
18
CCEA Exemplar Scheme of Work: GCSE Music
Optional Area of Study 2:
Incidental Music
19
CCEA Exemplar Scheme of Work: GCSE Music
GCSE Music: Scheme of Work
Optional Area of Study 2: Incidental Music
Set works for this Unit:
Mendelssohn: A Midsummer Night’s Dream – ‘Overture’
Grieg:
Peer Gynt Suite – ‘Morning Mood’; ‘In the hall of the Mountain King’
Hans Zimmer: Pirates of the Caribbean (Dead Man’s Chest) – ‘Davy Jones Theme’
Ron Grainer: Dr Who theme – revised title theme (2005 series)
Specification Content
Students should develop
knowledge and
understanding of
incidental music and its
use for stage, screen and
television through a
study of the following
pieces:
Mendelssohn:
A Midsummer Night’s Dream
– ‘Overture’
Learning Outcomes
Teaching and Learning Activities
Resources
Students should develop
knowledge and
understanding of:
music specifically
composed for film,
television and plays
and how the music is
linked to the dramatic
content of the work;
Students should investigate the history of music
used for plays from the nineteenth century in the
works of composers such as Beethoven, Schubert,
Tchaikovsky, Grieg, Mendelssohn and Bizet and
appreciate the close liaison of visual and dramatic
arts with musical interpretation.
20
Bennett (1995) Enjoying Music Book 1
(pp 50–53)
www.felixmendelssohn.com
www.franzschubert.org.uk/works/theatre.ht
ml
CCEA Exemplar Scheme of Work: GCSE Music
Specification Content
Learning Outcomes
Teaching and Learning Activities
Resources
Students should develop
knowledge and
understanding of
incidental music and its
use for stage, screen and
television through a
study of the following
pieces:
(cont.)
Recommended listening:
Egmont Overture (Beethoven)
Rosamunde (Schubert)
L’Arlesienne (Bizet)
Students should understand the musical
terminology associated with incidental music, for
example, entr’acte music, overture, interlude and
intermezzo.
Binns (1996) Composing: A Student’s Guide
(pp 122–125)
Grieg:
Peer Gynt Suite – ‘Morning
Mood’; ‘In the hall of the
Mountain King’
Students should also appreciate the development of
art forms such as ballet and the wealth of music
commissioned for their production.
Bennett (1990) Adventures in Music: Ballet
www.brb.org.uk/in-the-business.html
Appreciation of the role of TV theme music in
depicting character, setting scene and heightening
drama and tension.
Murray (2002) ICT Activities for Music
(pp 17–24)
Hans Zimmer:
Pirates of the Caribbean
(Dead Man’s Chest) –
‘Davy Jones Theme’
Ron Grainer:
Dr Who theme –
revised title theme
(2005 series)
21
Winters (1988) Listen, Compose, Perform
(pp 174–177)
CCEA Exemplar Scheme of Work: GCSE Music
Specification Content
Students should develop
knowledge and
understanding of
incidental music and its
use for stage, screen and
television through a
study of the following
pieces:
(cont.)
(See Set Works listed on
pp 20)
Learning Outcomes
Teaching and Learning Activities
Resources
Students should develop
knowledge and
understanding of:
the development of
music for film, stage
and television and the
commercial effect this
has had on the music
industry;
Students should appreciate the commercial
implications involved in the development of
commissioned music for stage, film and television
from the era of the silent movies, through the era
of the Hollywood Musical, leading to music for
blockbuster films.
The significance of music commissioned by
companies like the Royal Shakespeare Company
and national orchestras, including the Ulster
orchestra, should be outlined.
www.musiconfilm.net
www.americancomposers.org/hollywood_ch
ihara_article.htm
www.ukscreen.com
Block (2004) Enchanted Evenings: The
Broadway Musical from Show Boat to
Sondheim
Swain (2002) The Broadway Musical:
A Critical and Musical Survey
www.ulster-orchestra.org.uk/aboutus/orchestra/associate-composer.php
www.rsc.org.uk/home
22
CCEA Exemplar Scheme of Work: GCSE Music
Specification Content
Students should develop
knowledge and
understanding of
incidental music and its
use for stage, screen and
television through a
study of the following
pieces:
(cont.)
(See Set Works listed on
pp 20)
Learning Outcomes
Teaching and Learning Activities
Resources
Students should develop
knowledge and
understanding of:
the power of music to
illustrate actual people,
places or events and
the historical context
of each of the set
works; and
Students should research the use of motifs to
depict characters, time, place or emotion in music
for stage, (including ballet and opera) film and
television.
Recommended listening;
Final scene from Rheingold (Wagner)
(use of leitmotif)
Theme music from Psycho (Hermann)
(use of rhythmic and melodic motifs)
www.hans-zimmer.com
www.musicfromthemovies.com
Bennett (1989) Musical Forms Book 3
(pp 16–19)
www.bernardherrmann.org
Students should investigate the story-telling which
is the foundation of Grieg’s incidental music to Peer
Gynt.
Also the context of Mendelssohn’s portrayal of the
characters in the Shakespeare play, A Midsummer
Night’s Dream.
Bennett (1995) Enjoying Music Book 1
(pp 54–57)
Students should study how modern film composers
use thematic motifs to identify characters or set the
tone of a scene.
www.filmtracks.com/titles/pirates_caribbean
2.html
23
Allen (2002) Composing Matters
Chapter 25
CCEA Exemplar Scheme of Work: GCSE Music
Specification Content
Students should develop
knowledge and
understanding of
incidental music and its
use for stage, screen and
television through a
study of the following
pieces:
(cont.)
(See Set Works listed on
pp 20)
Learning Outcomes
Teaching and Learning Activities
Resources
Students should explore the ground breaking work
of the BBC Radiophonic workshop in pioneering
the digital manipulation for sound for TV theme
music.
www.discogs.com/artist/BBC+Radiophonic
+Workshop?noav=1
www.rongrainer.co.uk
http://120years.net
www.createdigitalmusic.com/2005/03/25/d
octor-who-theme-behind-the-scenes-hearthe-themes
Students should develop
knowledge and
understanding of:
the impact of the use
of electronically
produced or
manipulated sounds
on the creation of
themes.
24
CCEA Exemplar Scheme of Work: GCSE Music
Optional Area of Study 3:
Vocal Music
25
CCEA Exemplar Scheme of Work: GCSE Music
GCSE Music: Scheme of Work
Optional Area of Study 3: Vocal Music
Set works for this Unit:
Handel:
Messiah – Recitative: ‘There were shepherds’, ‘And the angel’ and ‘And suddenly’
Chorus: ‘Glory to God’
Aria: ‘Why do the nations?’
Schubert:
Der Erlkönig (The Erl King)
Stephen Schwartz: Wicked – Chorus: ‘One Short Day’
Duet: ‘What is this feeling?’
Snow Patrol:
Run
Specification Content
Learning Outcomes
Students should develop
knowledge and
understanding of vocal
music through a study of
the following pieces:
Students should develop
knowledge and
understanding of:
vocal music used in
oratorio;
Teaching and Learning Activities
Students should be able to identify the most
common vocal and instrumental components
present in oratorio, for example, recitative, aria,
duet, chorus, overture and orchestral interlude.
26
Resources
Bennett (1990) General Musicianship
(pp 72–73)
Bennett (1996) History of Music (pp 30–31)
CCEA Exemplar Scheme of Work: GCSE Music
Specification Content
Students should develop
knowledge and
understanding of vocal
music through a study of
the following pieces:
(cont.)
Handel: Messiah –
Recitative: ‘There were
shepherds’, ‘And the angel’
and ‘And suddenly’
Chorus: ‘Glory to God’
Aria: ‘Why do the nations?’
Learning Outcomes
Teaching and Learning Activities
Students should have an awareness of other vocal
genres of the Baroque era, including opera,
cantata and the Passion.
Recommended listening:
St. Matthew Passion (Bach)
Dido and Aeneas (Purcell) Act 3
Cantata No 140 ‘Wachet auf’ (Bach)
A sound understanding of the vocal ranges of
individual voices should be encouraged and an
understanding of the vocal textures possible
including, for example, unison, homophony,
polyphony.
Students should focus on the
background to the composition of Messiah,
Handel’s use of Jennens’ libretto and the use of
word-painting.
27
Resources
www.baroqueopera.com
Bennett (1989) Musical Forms Book 3
(pp 47–49)
(pp 5–6)
(pp 36–38)
www.bach-cantatas.com
Binns (1996) Composing: A Student’s Guide
(pp 191–192)
Bennett (1996) Fortissimo
Chapter 26 (pp 204–209)
www.soundjunction.org
www.gfhandel.org/
Bennett (1989) Musical Forms Book 3
(pp 43–46)
CCEA Exemplar Scheme of Work: GCSE Music
Specification Content
Learning Outcomes
Students should develop
knowledge and
understanding of vocal
music through a study of
the following pieces:
(cont.)
Students should develop
knowledge and
understanding of:
Schubert: Der Erlkönig
(The Erl King)
the German Lied and
its evolution in the
hands of composers
such as Schubert;
Teaching and Learning Activities
Students should study the origins of Romantic art
song and song-cycles and focus on the various
forms within the genre including strophic form and
through-composed (durchkomponiert).
Recommended Schubert listening:
Im Frühling (In Springtime) – modified strophic
form
An die Musik (To Music) – strophic form
Resources
www.artsongupdate.org
Bennett (1989) Musical Forms Book 3
(pp 55–57)
www.franzschubert.org.uk
Students should investigate the
importance of accompaniments used in Schubert’s
Lieder to conjure up pictorial detail.
Recommended listening:
Die Forelle (The Trout)
Gretchen am Spinnrade (Gretchen at the spinning
wheel) – a through-composed song.
28
Bennett (1989) Listening Scores (pp 46–47)
CCEA Exemplar Scheme of Work: GCSE Music
Specification Content
Learning Outcomes
Students should develop
knowledge and
understanding of vocal
music through a study of
the following pieces:
(cont.)
Students should develop
knowledge and
understanding of:
Stephen Schwartz:
Wicked –
Chorus: ‘One Short Day’
Duet: ‘What is this
feeling?’
Snow Patrol: Final Straw –
‘Run’
Teaching and Learning Activities
Various types of vocal character required in any
one song with particular reference to Der Erlkönig
and the dramatic roles of the Erlking, the Father
and the boy.
Bennett (1989) Listening Scores (pp 46–47)
A brief overview of the development of The Lied
in the hands of Schumann, Brahms and Wolf could
be undertaken.
Bennett (1989) Musical Forms Book 3
(pp 56–62)
Recommended listening:
Wiegenlied (Lullaby) – Brahms
Heiden Röslein (Heath rose) – Brahms
Mondnacht (Moonlight) – Schumann
vocal music in the
theatre and the artistic
and commercial
significance of
Broadway and West
End Theatre;
Resources
www.musicaltimes.co.uk/archive/obits/189
705brahms.html
www.culturekiosque.com/opera/reviews/rh
ecd13.htm
Students should be aware of the wealth of music
written for the stage in the 20th century from early
Gilbert and Sullivan Operetta, the American
influence of Gershwin, Cole Porter, Irving Berlin
Ganzl (2001) Musicals, The Complelte
and Rodgers and Hammerstein, and the current
Illustrated Story Chapters 3, 5, 10 and 11
popularity of works by Lloyd-Webber, Kander and
Ebb, Boublil and Schönberg and Stephen Schwartz. Bennett (1990) Adventure in Music Book 4
(pp 20–27)
Recommended listening:
The Pirates of Penzance (Gilbert and Sullivan)
www.coleporter.org/bio.html
Anything Goes or Kiss Me Kate (Cole Porter)
www.pbs.org/wnet/broadway/stars/berlin_i
Annie Get Your Gun (Irving Berlin)
.html
29
CCEA Exemplar Scheme of Work: GCSE Music
Specification Content
Learning Outcomes
Teaching and Learning Activities
Resources
Students should develop
knowledge and
understanding of vocal
music through a study of
the following pieces:
(cont.)
South Pacific, The Sound of Music, or any Rodgers and
Hammerstein musical collaboration.
www.rnh.com/index.asp
www.reallyuseful.com/rug/html/index.htm
www.lesmis.com
www.misssaigon.com/educational/index.htm
www.chicagothemusical.com
(see Set Works listed on
pp 26)
Les Misérables or Miss Saigon (Boublil and
Schönberg).
Joseph and the Amazing Technicolour Dreamcoat, Evita,
Whistle Down the Wind or any Andrew LloydWebber musical.
Chicago (Kander and Ebb).
Students should gain knowledge of the musicals of
American composer Stephen Schwartz, from the
earliest commercial success of Godspell, culminating
in the most recent global popularity of Wicked.
Students should appreciate the roles of West End
and Broadway Theatres in the lives of composers
and performers especially in the 20th and 21st
centuries.
30
Maguire (2004) Wicked: The Life and Times
of the Wicked Witch of the West
(The original novel)
www.musicalschwartz.com/schwartz.htm
www.wickedthemusical.com
www.officiallondontheatre.co.uk/stats-andfacts/stats-and-facts-history
www.nyctourist.com/broadway-theaterhistory.htm
CCEA Exemplar Scheme of Work: GCSE Music
Specification Content
Learning Outcomes
Students should develop
knowledge and
understanding of vocal
music through a study of
the following pieces:
(cont.)
Students should develop
knowledge and
understanding of:
(see Set Works listed on
pp 26)
modern vocal music
styles and the
emergence of urban
rap; and
Teaching and Learning Activities
Resources
Students should develop aural awareness of urban
music styles including hip hop, garage, drum ‘n’
bass, R&B, funk, soul, rave and rap. Focus should
be given to the key ingredients of each style.
www.bbc.co.uk/1xtra/events/rnbsensations
/history/post90s/
Focus should also be given to the key musical
elements of hip hop: MC-ing (rapping) and
DJ-ing (mixing, cutting and scratching)
http://tags.lyricsfreak.com/Funk/
www.localdial.com/users/jsyedu133/Soulrev
iew/Understandingpages/musical.htm
http://rapmusic.com/rapmusic/
www.bbc.co.uk/blast/music/
www.bbc.co.uk/radio1/onemusic/djing/
www.bbc.co.uk/radio1/onemusicdata/fame
academy/tips/noflash/dj.shtml
Students should become familiar with the
development of the strophic song format from the
early 1960s to the present day and appreciate the
varying importance of the verse, chorus, intro,
outro (coda), middle 8 and instrumental break
throughout the decades.
Allen (2002) Composing Matters Project 23
Bennett (1996) Fortissimo Chapters 17
and 21
Binns (1996) Composing: A Student’s Guide
Chapter 10
ABRSM, Sound Junction Create
31
CCEA Exemplar Scheme of Work: GCSE Music
Specification Content
Learning Outcomes
Students should develop
knowledge and
understanding of vocal
music through a study of
the following pieces:
(cont.)
Students should develop
knowledge and
understanding of:
Snow Patrol:
Run
(see Set Works listed on
pp 26)
Teaching and Learning Activities
Resources
Familiarity with the rise of the band Snow Patrol,
www.soundjunction.org
their distinctive sound, their approach to lyrics and
the textural and timbral diversity of their songs is to www.snowpatrol.com
be encouraged.
the commercial
implications associated
with music for live
performance.
Students should be aware of the commercial,
organisational and promotional issues surrounding
studio music performance (recording/radio/TV)
and live shows.
Students should also gain a basic insight into
musical copyright as it affects musicians,
composers, lyricists, record producers, promoters
and agents.
32
www.bbc.co.uk/radio1/onemusicdata/fame
academy/tips/noflash/work.shtml
Walsh, Louis Walsh Fast Track to Fame
www.bbc.co.uk/radio1/onemusic/industry/
www.mustardmg.com/musbiz/overview.htm
www.mustardmg.com/musbiz/liveevent.htm
www.mustard-mg.com/musbiz/
copyrightgeneral.htm
CCEA Exemplar Scheme of Work: GCSE Music
Resources
Textbooks
ABRSM (2005) Sound Junction, Associated Board of Royal Schools of Music (CD-ROM)
Allen, P (2002) Composing Matters, Heinemann
Bennett, R (1990) Adventures in Music: Ballet, Longman Group UK Ltd
Bennett, R (1990) Adventures in Music; Opera, Longman Group UK Ltd
Bennett, R (1990) Adventure in Music Book 4, Longman Group UK Ltd
Bennett, R (1995) Enjoying Music Book 1, 2 and 3, Cambridge University Press
Bennett, R (1996) Fortissimo, Cambridge Univeristy Press
Bennett, R (1990) General Musicianship, 6th edition, Cambridge Univeristy Press
Bennett, R (1996) History of Music, 10th edition, Cambridge University Press
Bennett, R (1995) Investigating Musical Styles, Cambridge University Press
Bennett, R (1989) Listening Scores, Longman Group UK Ltd
Bennett, R (1989) Musical Forms Book 2, Longman Group UK Ltd
Bennett, R (1989) Musical Forms Book 3, Longman Group UK Ltd
Binns, C (1996) Composing: A Student’s Guide, Thomas Nelson and Sons Ltd
Block, G (2004) Enchanted Evenings: The Broadway Musical from Show Boat to Sondheim, 2nd edition, Oxford
University Press
Burgess, B (1987) Irish Music in GCSE – A Handbook for Pupils, Ronan Press
CCEA, Exploring Trad DVD-ROM, Arts Council of Northern Ireland
Everett, W and Laird, P (2002) The Cambridge Companion to the Musical, Cambridge University Press
Ganzl, K (2001) Musicals, The Complete Illustrated Story, Carlton Books
Hiscock, C and Metcalfe, M (1998) New Music Matters 11–14 Book 1, Heinemann
Jenkins, D and Visocchi, M (1983) Portraits in Music Book 1, Oxford University Press
Lloyd, W and Terry, P (1992) Music in Sequence, 1st Edition, Musonix Publishing
Lloyd, W and Terry, P (1996) Music in Sequence, 2nd Edition, Musonix Publishing
33
CCEA Exemplar Scheme of Work: GCSE Music
Maguire, G (2004) Wicked: The Life and Times of the Wicked Witch of the West, Harper Collins
Middleton, R (1990) Studying Popular Music, Open University Press
Murray, Smith and Crow (2002) ICT Activities for Music, Heinemann
O’Canainn, T (1997) Traditional Music in Ireland, Music Sales Corporation
O’Sullivan, D (1960 – reprint 1981) Irish Folk Music, Song and Dance, Mercier Press
Swain, J, P (2002) The Broadway Musical: A Critical and Musical Survey, 2nd edition, Scarecrow Press
Tutt, D (1993) First Assignments, Cambridge University Press
Walsh, L (2007) Louis Walsh’s Fast Track to Fame, Random House Group
Winters, G (1988) Listen, Compose, Perform 4th edition, Longman Group UK Ltd
Websites
http://120years.netwww.createdigitalmusic.com/2005/03/25/doctor-who-theme-behind-the-sceneshear-the-themes
http://rapmusic.com/rapmusic/
http://tags.lyricsfreak.com/Funk/
www.americancomposers.org/hollywood_chihara_article.htm
www.artscouncil-ni.org
www.artscouncil-ni.org/artforms/trad.htm
www.artsongupdate.org
www.anuna.ie
www.bach-cantatas.com
www.baroqueopera.com
www.bbc.co.uk/blast/music/
www.bbc.co.uk/1xtra
www.bbc.co.uk/1xtra/events/rnbsensations/history/post90s/
www.bbc.co.uk/radio1/onemusicdata/fameacademy/tips/noflash/dj.shtml
www.bbc.co.uk/radio1/onemusicdata/fameacademy/tips/noflash/work.shtml
34
CCEA Exemplar Scheme of Work: GCSE Music
www.bbc.co.uk/radio1/onemusic/djing/
www.bbc.co.uk/radio1/onemusic/industry/
www.bernardherrmann.org
www.brb.org.uk/in-the-business.html
www.billwhelan.com
www.brianirvine.co.uk
www.ceolas.org/ceolas.html
www.ceolas.org/instruments
www.ceolas.org/tunes/#pdf
www.chandrakantha.com/articles/indian_music/
www.chicagothemusical.com
www.clannad.ie
www.coleporter.org/bio.html
www.cranberries.com
www.cultureireland.gov.ie
www.culturekiosque.com/opera/reviews/rhecd13.htm
www.culture.gov.uk/what_we_do/creative_industries/3270.aspx
www.discogs.com/artist/BBC+Radiophonic+Workshop?noav=1
www.elevationgrp.com/anuna
www.filmtracks.com
www.filmtracks.com/titles/pirates_caribbean2.html
www.felixmendelssohn.com
www.fmmpb.com
www.franzschubert.org.uk/works/theatre.html
www.geocities.com/toeye/dubliners
www.gfhandel.org/
35
CCEA Exemplar Scheme of Work: GCSE Music
www.hans-zimmer.com
www.horslips.ie
www.irelandseye.com/dance.html
www.irishtune.info/top-tunes
www.itma.ie
www.jeanmicheljarre.com
www.karljenkins.com/adiemus_story.php
www.lesmis.com
www.localdial.com/users/jsyedu133/Soulreview/Understandingpages/musical.htm
www.mikeoldfield.com
www.miss-saigon.com/educational/index.htm
www.musicalschwartz.com/schwartz.htm
www.musicaltimes.co.uk/archive/obits/189705brahms.html
www.musiconfilm.net
www.musicbizacademy.com
www.mustard-mg.com/musbiz/overview.htm
www.mustard-mg.com/musbiz/liveevent.htm
www.mustard-mg.com/musbiz/copyrightgeneral.htm
www.nimusic.com
www.nyctourist.com/broadway-theater-history.htm
www.officiallondontheatre.co.uk/stats-and-facts/stats-and-facts-history
www.pbs.org/wnet/broadway/stars/berlin_i.html
www.pogues.com
www.ravara.org
www.reallyuseful.com/rug/html/index.htm
36
CCEA Exemplar Scheme of Work: GCSE Music
www.riverdance.com
www.rnh.com/index.asp
www.rongrainer.co.uk
www.rsc.org.uk/home
www.shaundavey.com
www.sinead-oconnor.com
www.snowpatrol.com
www.soundjunction.org
www.standingtones.com/modeharm.html
www.thechieftains.com
www.trugroovez.com
www.u2.com
www.ukscreen.com
www.ulster-orchestra.org.uk/about-us/orchestra/associate-composer.php
www.ulsterscotsagency.com/audioculture.asp
www.ulsterscotsagency.com/music.asp
www.vanmorrison.com
www.wickedthemusical.com
37
CCEA Exemplar Scheme of Work: GCSE Music
Appendix 1
Musical Vocabulary
This specification encourages the knowledge, understanding and use of musical vocabulary across all
Assessment Objectives
The following list is provided as an aid to teaching aural perception skills. It is not a requirement of the
specification that students should know the definitions of these terms, however they should be
encouraged to be able to identify them in the test of aural perception.
Pitch
Pitch names
Sharp, flat
Natural
Octave
Intervals
Range
Register
Unison
Inversion
Tonic note
Sub-dominant note
Dominant note
Tones
Semitones
Tessitura
Blues scale
Blues notes
Pentatonic
Duration
Note values
Pulse/beat
Triplet
Dotted rhythm
Phrase length
Phrase structure
Melody
Movement by step
Movement by leap
Scalic movement
Interval movement
Chromatic
Glissando
Ornamentation
Repetition
PITCH
Harmony/Tonality
Consonance
Dissonance
Diatonic harmony
Major
Minor
Modal
Atonal
Perfect cadence
Imperfect cadence
Tonic chord
Dominant chord
Sub-dominant chord
Chords I, IV, V
Transpose
Pedal
Drone
Rock/Blues–Chord
Progressions
Pattern
Arpeggio
Broken Chord
Triads
Modulation
DURATION AND TEMPO
Metre
Simple duple
Simple triple
Simple quadruple
Compound duple
Irregular/Regular
Syncopation
Off beat
Swing rhythm
Polyrhythm
Augmentation/Diminution
38
Notation
Stave
Score
Treble/Bass clef notation
Bar
Double bar
Key signature of set
works
Time signature of set
works
Phrase
Articulation marks
Dynamic signs
Trill
Grace note/acciaccatura
Tempo Instructions
Adagio
Largo
Andante
Moderato
Allegro
Vivace
Presto
Accelerando
Ritardando
Rallentando
Allargando
Rubato
CCEA Exemplar Scheme of Work: GCSE Music
Vocal sounds/Vocal
combinations and electronic
effects
Treble
Soprano
Alto
Tenor
Bass
Falsetto
A cappella
Choir
Chorus
Backing vocals
Word painting
Reverb
Guitar pedal effects (e.g.
distortion, flanger, wah-wah)
Attack
Decay
Pitch bend
Fortissimo
Forte
Mezzo forte
Mezzo piano
Piano
Pianissimo
Monophonic
Homophonic
Polyphonic
Melody and accompaniment
TIMBRE
Instrumental Families
Brass
Percussion
Strings
Woodwind
Electric/Acoustic Guitars
Keyboard
Piano
Harpsichord
Electric piano
Organ
Electronic
Sampler
Synthesizer
Drum machine
Sequencer
Digital effects/manipulation
Instrumental
combinations/Ensembles
String orchestra
Orchestra
Chamber orchestra
String quartet
Tutti
Wind band
Military band
Pipe band
Accordion band
Dance band/Big band
Traditional folk group
Horn section
DJ-ing (mixing, scratching)
MC-ing
Rock band
DYNAMICS AND ARTICULATION
Crescendo
Legato
Diminuendo
Staccato
Subito
Tremolo
Accent
Pizzicato
Sforzando
Arco
Silence
TEXTURE
Solo
Unison
Doubling
2 or 3 or 4 part
Tutti
39
Counter melody
Descant
Contrapuntal
CCEA Exemplar Scheme of Work: GCSE Music
Ground bass
Rondo
Theme
Variations
Ternary form
Binary form
Minuet and trio
Motifs
Concerto
Symphony
Overture
Ostinato
Suite
Ballet
Waltz
Hornpipe
Recitative
Aria
Chorus
Polka
Jig
Reel
March
Air
STRUCTURE
Repetition
Introduction
Recapitulation
Coda
Decoration
Strophic
Sequence
Ritornello
Imitation
Da capo
Canon
Verse
Riffs
Chorus
Motivic development
Middle eight
Episode
Break down
Answering phrase
Intro
Symmetrical 8 bar phrases Outro
Strophic
40
Through-composed
Call and response
Verse and chorus
Interlude
Hook
Break
Tape loop
Sample
Dance music
Mix in, mix out
Main breakdown
Reprise
Groove
Hip hop
Trance
Jungle/drum ‘n’ bass
Garage
All website addresses are correct at the time and
date of issue. CCEA can not be held responsible
for any change in domain name and content.
CCEA accepts no responsibility or liability for
any material supplied by or contained in any of
the linked websites and does not necessarily
endorse the views expressed within them. We
cannot guarantee that these links will work all of
the time and we have no control over availability
of the linked pages