N(T) Music Syllabus Implementation Workshop

1. N(T) Music Syllabus Implementation Workshop

2. Objectives of Workshop • Interpret the GCE N(T) Music syllabus • Plan the N(T) Music course • Teach the N(T) Music course

3. Workshop Overview Day 1 • Introduction to the N(T) Syllabus • Understanding the assessment demands • Teaching pop music & music technology Day 2 • Planning the course • Panel Discussion • Software Demonstration

4. WHY The N(T) Music Syllabus • To offer opportunity for N(T) students to pursue music as an examinable subject • To provide broad-based music education • To equip students with relevant skills

5. HOW The N(T) Music Syllabus Came About Scan School Visit Focus Group SRC Industry UCLES Specimen Papers Syllabus Guide Trial

6. Considerations DOE Profile of N(T) Students Broad-based Music Ed Educational Trends and Goals Requirements of Industry Progression from GMP Progression to ITE

7. Considerations • Profile of N(T) Students • Hands-on • Shorter attentions span • Enjoy IT • Prefer popular music • No private instrumental lessons • Weaker understanding of music theory • Musically creative • Aspirations (composers, music teachers, performing artists)

8. Considerations • Requirements of Industry • Broad exposure • Basic music rudiments • Basic music literacy and notation skills • Music technology skills • Basic music making skills (performing and creating) • Listening skills • Creativity and Innovation

9. WHAT The N(T) Music Syllabus Aims To Do • Acquire range of musical skills & knowledge • Develop basic music technology skills • Develop creativity & critical thinking skills • Appreciate the function of music in society • Provide basis for further training in music

10. N(T) Music Listening Music Making Performing Creating Interpreting the Syllabus Syllabus Framework Music Technology

11. Interpreting the Syllabus Assessment Listening Performing Creating

12. Interpreting the Syllabus Assessment Listening • Paper 1 [50%] • Part 1 (40 min): 5-6 short listening extracts • Short answer questions, MCQs, fill-in-the-blanks questions • Part 2 (30 min): Type-setting task

13. Interpreting the Syllabus Assessment • Paper 2: Coursework [50%] • Create backing track (3-5 parts) • Background study • Perform the final arrangements Performing Creating

14. Interpreting the Syllabus • Music Content: • Wide Range of Music • Instructional Objectives • Vocabulary List Syllabus Content

15. N(T) Music Syllabus Content & Approach Evolution and differences in musical styles and features Change Music associated with particular groups of people Music in performing and multi-media arts Identity Function

16. N(T) Music Syllabus Content & Approach Innovation Relevance Open Mind

17. Interpreting the Syllabus Assessment Listening • Paper 1 [50%] • Part 1 (40 min): 5-6 short listening extracts [35%] • Short answer questions, MCQs, fill-in-the-blanks questions • Part 2 (30 min): Type-setting task [15%]

18. Paper 1: Part 1 • Assess aural perception skills & understanding of music rudiments • Conducted in the computer lab • Each candidate to have musical extracts recorded on CD, no limit to number of times a candidate may play the recording

19. Interpreting the Syllabus Assessment Listening • Paper 1 [50%] • Part 1 (40 min): 5-6 short listening extracts [35%] • Short answer questions, MCQs, fill-in-the-blanks questions • Part 2 (30 min): Type-setting task [15%]

20. Paper 1: Part 2 • Short break between Part 1 & Part 2 • Question: 8-16 bars of a keyboard score with chord symbols • Candidates are to use a notation software to typeset an identical copy • Assessment criteria based on accuracy

21. Interpreting the Syllabus Assessment • Paper 2: Coursework [50%] • Create backing track (3-5 parts) • Background study • Performance Performing Creating

22. Coursework • Question paper provides 3 contexts • Candidates choose 2 contexts to work on, and select appropriate music for their coursework • They should be able to perform one of the lines with the backing track they create • Final arrangements should be of contrasting styles

23. Backing Track • Each arrangement should last 1-2 minutes • Each arrangement should consist of the following: • Melody • Harmony • Bass Line • Drum Part (if appropriate) • Sound Effects (optional) • Students are given 30 hours over 5 months (March – July) to complete

24. Background Study • The background study should include: • How their pieces/arrangements relate to the context • Focus on musical features • Any other relevant information • Can be presented as prose, point-form, mind-map, etc.

25. Performance • Recording of students’ performance with their backing track • Students allowed 3 trials for the live recording

26. Teaching popular music and music technology Introduction Music Appreciation Composition with Music Technology

27. Teaching popular music and music technology Introduction Classical or “art” music Popular music • Study of music performing practices • Improvisation • Singing styles • Technologically-mediated sound effects • Study of composers’ intentions • Music devices • Structure • Instrumentation Listening and understanding music practices and technology Score-reading and analysis

28. Teaching popular music and music technology Music Appreciation Give emphasis to aural training Provide context for music making Develop intrinsic motivation through personally meaningful engagement

29. Teaching popular music and music technology Composing with Music Technology Listening Composition Process Editing Making value judgments

30. Planning the Course Introduction Curriculum time Course plan Scheme of work

31. Planning the course Introduction 2-year course plan Scheme of work

32. Listening (1.5 periods) Performing (1.5 periods) Creating (2 periods) Planning the course Curriculum time

33. Planning the course Course Plan Music rudiments and elements • Rhythm and tempo • Pitch, melody and harmony • Texture • Shape and structure • Timbre • Notation Musical Styles Music Technology Year 1 Year 2

34. THINK – PAIR- SHARE-SQUARE

35. Planning the course Scheme of Work • Students’ learning profile • Listening, performing and creating • Sequence music skills and knowledge • Use of themes (change, identity, function) • Connect music concepts and ‘real’ music • Use assessment to improve learning C O N S I D E R A T I O N S

36. Planning the course Scheme of Work Approach A Learn through creating & music technology Approach B Learn through performing Approach C Learn through listening

37. DI C o - o p e r a t i v e L e a r n i n g SEL S c a f f o l d i n g D e v e l o p i n g S o c i a l & E m o t i o n a l S k i l l s D i f f e r e n t i a t e d I n s t r u c t i o n Strategies for Teaching & Learning

38. Teacher models and talks through strategy S c a f f o l d i n g Teacher engages in the task with students helping out Students take over the task using the strategy Students use the procedure independently

39. DI D i f f e r e n t i a t e d I n s t r u c t i o n C o n t e n t P r o c e s s P r o d u c t s

40. Individual Accountability Simultaneous Interaction Positive Interdependence Equal Participation C o - o p e r a t i v e L e a r n i n g Principles of Co-operative Learning

41. SEL D e v e l o p i n g S o c i a l & E m o t i o n a l S k i l l s Self Awareness Social Awareness Self Management Relationship Management Responsible Decision Making