junior cycle music - ncca
TRANSCRIPT
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EnterTitleHere
EnterDateHere
February2017
JuniorCycleMusic
DraftCurriculumSpecification
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ContentsIntroductiontojuniorcycle 5
Rationale 6
Aim 7
Overview:Links 8
Overview:Course 12
Progressionfromprimarytoseniorcycle 16
Expectationsforstudents 18
Strand:Proceduralknowledge 19
Strand:Innovateandideate 21
Strand:Cultureandcontext 23
Assessmentandreporting 25
Classroom-BasedAssessment1:CompositionPortfolio 27
Classroom-BasedAssessment2:ProgrammeNote 29
Thefinalexamination 31
Practicalexamination 31
Writtenexamination 31
AppendixA:Glossaryofactionverbs 33
AppendixB:Glossaryofmusicterms 37
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Introductiontojuniorcycle
Juniorcycleeducationplacesstudentsatthecentreoftheeducationalexperience,enablingthemto
activelyparticipateintheircommunitiesandinsociety,andtoberesourcefulandconfidentlearners
inallaspectsandstagesoftheirlives.Juniorcycleisinclusiveofallstudentsandcontributestoequality
ofopportunity,participationandoutcomeforall.
Thejuniorcycleallowsstudentstomakeagreaterconnectionwithlearningbyfocusingonthequality
oflearningthattakesplace,andbyofferingexperiencesthatareengagingandenjoyableforthem,
andarerelevanttotheirlives.Theseexperiencesareofahighquality:theycontributedirectlytothe
physical,mentalandsocialwellbeingoflearners;andwherepossible,provideopportunitiesforthem
todeveloptheirabilitiesandtalentsintheareasofcreativity,innovationandenterprise.Thejunior
cycleprogrammebuildsonstudents'learningtodateandactivelysupportstheirprogress;itenables
themtodevelopthelearningskillsthatwillassisttheminmeetingthechallengesoflifebeyondschool.
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Rationale
Learning about and through the arts is fundamental to an education that aspires to nurture and
supportthedevelopmentofthewholeperson.Awarenessof,involvementin,andappreciationofthe
arts, enables students to encounter a richworldof creativity, imagination and innovation (Arts in
Education Charter, 2012). The UN Declaration of Human Rights (Article 27) affirms the rights of
everyoneto‘participateintheculturallifeofthecountryandtoenjoythearts’.
Throughengagingwithmusic,studentsareofferedopportunitiestodevelopnewskills,whiledrawing
ontheirpreviousexperiences.Thesepreviousexperiencesareoftencentraltoourexistenceasmusic
iseverywhere. Fromthemomentwearebornweare inamusicalworld.Music isanaturalearly
connection between infant and caregivers. International research shows that from the very early
monthsofachild’slifethereisahumanpropensitytorespondandengagewithmusic.Withmusic,
students can immerse themselves intellectually, emotionally, physically and kinaesthetically in the
learning experience. Music performance and composition are collaborative and interpersonal
activities,wheresocialskillsaredevelopedthroughthesharingofideas,skills,orinstruments.
Musiccanprovideanenvironmentforthestudentwheretheyaresafetoexplore,experimentandbe
allowed take creative risks. The subject can engage students in learning that engages, inspires,
challenges, provokes, exhilarates, and liberates. Students are encouraged to collaborate in the
formationofideasandthepresentationoftheseideasandtocriticallyreflectontheirworkandthe
workofothers.Throughlisteningtothemusicofothers,andassimilatingthisintotheirownideas,
studentslearnhowmusicalworksarecreated.Throughunderstandinghowtoevaluateandcritique
theworksofothers,studentslearntobeself-reflectiveandimproveontheirownmusicalcreations.
As a creative endeavour, music can facilitate the development of imaginative and exploratory
experiences,whereindividualityandpersonalityareprovidedwiththeopportunitytogrowandbe
givenavoice.Thestudyofmusicofferslifelongopportunitiestodeveloptheimaginationinunique
ways, through listening to familiar andunfamiliarworks, coming to knowandunderstand sounds
internally,creatingsoundpicturesorstoriesandexpressingfeelingsandemotionsinsound.
Learning music is intrinsically motivating, meaningful and a rewarding activity for young people
becauseitishands-on;fullyengagingthestudentsinactivitiesthatrelatetoandhaveaconnection
with theworld experienced by them outside the classroom.Music fosters both the specific skills
related to the subject, and a range of transferable skills that may apply to other individual and
collaborativeendeavours.Throughmovement,sound,symboland image,engagingwithmusiccan
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transformpeople’s creative ideas intoexpressiveworks that communicate feelings,meanings and
interpretationstoawideraudience.
Musicisimportantasacatalystforbuildingculturalcapitalwithintheindividualstudentandtheclass
collective.Throughencounteringandengagingwithanarrayofmusicactivities,wecanensurethat
we continue todevelop future citizens that are culturally engaged, culturally awareand culturally
connected.Beingculturallyawareheightensstudentunderstandingofbothnationalandinternational
culturalidentities.Withanincreasinglydiverseandpluralistpopulation,thisunderstandingofothers
throughaculturallenswillencouragestudentstodevelopasresponsibleandethicalcitizens.
Musicisasourceofunderstandinghistory,reflectingthesocialandculturalcontextandtheeraofits
creation.Musiccanportraytheculturalidentityofacountry,themoodofthepeopleorthethoughts
of the individualswho live there.Music education brings the young person to an awareness and
appreciationoftheirownuniqueculturalenvironmentandethos.Inengagingchildrenwiththerich
background of their native musical traditions as well as other musical genres, music education
contributestothechildren’sknowledgeandunderstandingofothers,theirtimes,theirculturesand
traditions.
Aim
This music specification aims to contribute to the development of artistic awareness and
understanding,self-expression,self-esteem,imaginationandmulticulturalsensitivity,andtherefore,
to the development of the whole person. Students will develop the knowledge, skills and
understandingnecessarytoproduceandengagewithauthenticandoriginalmusic,thatisboththeirs
andthemusicofothers.Indoingso,theywilldevelopthemusicliteracy,criticalskillsandlanguage
necessarytoengagewithcontemporarymusicculture.
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Overview:Links
The tables on the following pages show howMusic is linked to central features of learning and
teachingoutlinedintheFrameworkforJuniorCycle2015.
Table1:LinksbetweenjuniorcycleMusicandthestatementsoflearning
Thestatement Exampleofrelevantlearning
SOL3:Thestudentcreates,appreciates
andcritically interpretsawiderangeof
texts.
Students will explore the creation, appreciation and
interpretation of musical texts in various notated
formats,includingstaffnotation,graphicnotation,using
technologicalmeansandotherappropriateformats.
SOL4:Thestudentcreatesandpresents
artistic works and appreciates the
processandskillsinvolved.
Studentswillcreatearangeofcompositions;capturing
and presenting the processes and decisions made
through portfolios, manuscripts or other appropriate
media.
SOL8:Thestudentvalueslocal,national
andinternationalheritage,understands
the importance of the relationship
between the past and current events
andtheforcesthatdrivechange.
Studentsusetheirmusical ideasandoutputstoreflect
lifeandlivingintheirowncommunityandthebroader
context;theyconsidertheroleandimpactofthepastin
theirmusicalchoices.
SOL 16: The student describes,
illustrates, interprets, predicts and
explainspatternsandrelationships.
Studentsunderstandpatternsandrelationshipsinmusic
through exploring tonalities, chords, keys and time
signaturesinavarietyofmusicalexperiences.
SOL23:Thestudentbringsanideafrom
conceptiontorealisation.
Studentsworkoutacreativeconceptanddecidehowto
bringittofruition.Thisprocessinvolvesmovingthrough
brainstorming, researching, practising, presenting,
capturing,evaluatingandreflecting.
SOL24:Thestudentusestechnologyand
digital media tools to learn,
communicate, work and think
collaboratively and creatively in a
responsibleandethicalmanner.
Students can use technological and digital media to
create collaborative compositions; record and critique
group performances and explore the works of
composers, while being aware of issues related to
copyrightandplagiarism.
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Keyskills
Inaddition to their specific contentandknowledge, the subjectsandshortcoursesof junior cycle
providestudentswithopportunitiestodeveloparangeofkeyskills.Figure1belowillustratesthekey
skills of junior cycle. There are opportunities to support all key skills in this course but some are
particularlysignificant.
Figure1:Theelementsoftheeightkeyskillsofjuniorcycle
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Table2identifiessomeoftheelementsthatarerelatedtolearningactivitiesinMusic.Teacherscan
alsobuildmanyoftheotherelementsofparticularkeyskillsintotheirclassroomplanning.
Table2:ExamplesoflinksbetweenjuniorcycleMusicandkeyskills
KeySkill Example of Key Skill
element
Examples of associated student learning
activities
BeingNumerate Seeing patterns, trends
andrelationships
Students can explore the relationship
between different genres/styles and
identifysimilaritiesanddifferencesthrough
listeningandcomposingactivities.
BeingLiterate Writing for different
purposes
Students can create music in response to
different stimuli, such as images, texts,
abstract ideas/moods/emotions or other
melodicformsandfragments.
ManagingMyself Being able to reflect on
myownlearning
Students learn to identify and reflect on
personal strengths and weaknesses;
consider their choices and decisions; and
seekhelpandbeopentofeedbackinaway
thatfacilitatesrevisionandimprovement.
Managing
information and
thinking
Using digital technology
to access, manage and
sharecontent
Students can use digital devices to record
their individual or group performances, to
share this content with each other and
develop a portfolio of performance
development.
BeingCreative LearningCreatively Studentswillexploreinnovativeapproaches
to engage with classroom activities; for
example through group discussion,
movement, visual thinking, peer teaching,
creativeuseoftechnologyandtakingrisks.
Communicating Performing and
Presenting
Students will get opportunities to explore
and express emotions through a
performance or presentation. They will
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make decisions about how best to
communicatewithanaudience.
Through listening to and observing others
communicate, students develop an
understandingofhowtocommunicatetheir
ideas through different and appropriate
media.
Working with
Others
Developing good
relationships and
dealingwithconflict
Students will learn to negotiate
relationships with peers and teachers
duringrehearsalsandothergroupactivities;
they will spend time actively listening to
eachotherandsharing ideashonestlyand
sensitively; they will learn to respect and
incorporatetheviews/ideasofothers.
StayingWell BeingConfident Students develop confidence as they
contributetodecisionswithingroupmusic
makingactivitiesandcollaborativecreative
endeavours.Theydevelopresilience inthe
faceofdifficultiesandasenseofsatisfaction
intheachievementofgoals.
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Overview:Course
ThespecificationforjuniorcycleMusicfocusesongivingstudentstheopportunitytodeveloptheir
musicalknowledge,skillsandculturalawarenessthroughthepracticalandcognitiveengagementwith
music. This can be achieved through the three interconnected strands: Procedural knowledge,
InnovateandideateandCultureandcontext.Astudentwillexperiencelearningineachofthesethree
strandsastheyprogressthroughtheirjuniorcycle.
Figure2:ThestrandsofjuniorcycleMusic
Proceduralknowledge
Toexplorefullytheirmusicalimagination,creativity,andpotentialrequiresstudentstodeveloptheir
music literacy and skills in a range of ways. In this strand, students will develop this procedural
knowledge so that they can pursue and realise their possiblemusical selves and their ideaswith
confidence.
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Thedevelopmentofproceduralknowledgeinvolvesdevelopingavocabularyinmusicbylearningand
using symbols to represent sound, exploring and responding to expressive qualities inmusic and
imagining and creating shortmusicalmotifs and soundscapes. It also involves experimentingwith
elementsofmusicsuchaspulse,duration,tempo,pitch,dynamics,structure,timbre,texture,style
andtonality.
Innovateandideate
In this strand, students draw on their personal experiences and perspectives to develop, refine,
showcaseandseekfeedbackontheirmusicalideas.Theydevelopanawarenessofdifferentsounds
andthepotentialofsoundforresourcingandgeneratingideas,andforcommunicatingfeelings.
Studentswill innovateand ideate through composing/arrangingandperformingmusic for specific
purposes, experimenting withmusic to communicate ideas derived from a variety of stimuli and
collaboratingwith others to develop and extendmusical ideas. Students willmake interpretative
musical decisions by demonstrating an integrated understanding ofmusic elements and by using
technologytoinnovateandshareideas.
Cultureandcontext
Theunderstandingofmusicincontextanditsculturalpositioninghelpstoshapeourabilitytocreate,
participate and appraise the music we engage with. In this strand, students will investigate the
contextualandculturalenvironmentsthatimpactonpurposeandintentinmusic.
Thisincludesdevelopinganunderstandingandaknowledgeofmusicinpastandpresentcontexts;
considering musical works as social commentaries on cultures and peoples; investigating music
associated with particular times, places, social groups and feelings and sharing and discussing
examplesofmusicexperiencedathome,atschoolandinthewidercommunity.
Whilethelearningoutcomesaresetoutunderstrandheadings,thisshouldnotbetakentoimplythat
thestrandsaretobestudiedinisolation.Thestudents’engagementandlearningareoptimisedbya
fullyintegratedexperienceacrossthethreestrands.
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To give further emphasis to the integrated nature of learning, the outcomes for each strand are
groupedbyreferencetothreeelements.
§ Creatingandexploring
§ Participatingandmusic-making
§ Appraisingandresponding
Creatingandexploring
Acrossthestrandsthelearningoutcomesinthiselementfocusondevelopingstudents’understanding
ofhowmusiciscreated.Theywillexplorehowmelodyisconstructedandhowsoundsarelayeredto
create texture and harmony. They will listen to, read, and interpret music as they develop
understandingsofcomposers’andarrangers’intentionsandculturalprotocols.Studentswillsearch
foranddiscoverthemesandideasforcreatingmusicthroughexperimentation,improvisationandby
exploringmusicelements,conceptsandtechniques.Theywillusetheexperienceofothers,bothlocal
andinthewidercontexttoinformtheirowncreativedecisions.
Participatingandmusicmaking
Inthiselement,studentswillparticipateinactivitiesthatcommunicatetheirowncreativeideasand
theinterpretationoftheideasofothers.Studentswilldevelopfluencyandtechnicalcontrolasthey
rehearse and present individually and with others. They will use performance as a method of
demonstrating their understanding of musical elements and instrumental/vocal techniques. As
studentsrehearse,revise,andrefinemusictoperformforandwithothers,theylearnaboutmaking
informedmusicaldecisionsandjudgements.
Appraisingandresponding
Thiselement focuseson studentsdeveloping their skillsof analysis, comparisonandevaluationof
piecesofmusic.Thiselementallowsfordiscriminatoryauralskillstobedeveloped,asstudentslearn
toreproducemelodies, rhythms,accompanimentsandharmoniesanddevelopanddemonstratea
knowledge and understanding of musical elements, contexts and language. Appraisal allows the
studentstoexpresstheirfeelingsaboutmusic,andthroughthiscommunication,touseappropriate
terminologytojustifyopinionsandinformlatermusicaldecisions.Appraisingskillsarealsousedwhen
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studentsrefineandimprovetheirownperformancesandcreations,whentheyadapttheirownideas
andwhentheyrespondtoandcritiqueotherstudent’swork.
Figure3:Theintegratednatureofstrandsandelements
MusicProceduralKnowledge
InnovateandIdeate CultureandContext
Juniorcyclemusichasbeendesignedforaminimumof200hoursoftimetabledstudentengagement
acrossthethreeyearsofjuniorcycle.TheClassroom-BasedAssessmentswillbesetatacommonlevel
andtherewillbeacommonlevelexternally-assessedfinalassessment.
TheMusicspecificationhasbeendesignedtoassistteachersinplanningmeaningfulandstimulating
learningexperiencesforstudentsthatenablethemtodeveloptheirknowledge,skills,understanding
andvalues,aswellashelpingthemdeveloptheirself-awarenessas learners.Teacherscanplanto
focusonthedevelopmentofkeyskillsthroughstudent-centredactivities,recognisingthatanyone
Creatingandexploring
Participatingandmusicmaking
Appraisingandresponding
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activitydoesnotalwaysenablestudentstodevelopthefullrangeofskills.Opportunitiesformore
detailedandcomprehensiveactivitiescanbeincludedwhenstudentshavedevelopedtheconfidence
andcapacitytoapplykeyskillsinincreasinglycomplexscenarios.
This specification aims tomaintain a balancebetween thedepth andbreadthof the studyof the
subject.Thisaffordsacertainamountofflexibilityandfreedomforteacherstofacilitatelearningina
way that reflectsstudents’ownchoices, theircuriosityandtheircreativespirit.Achieving learning
outcomesshouldbeplannedinawaythatisactive,stimulatingandreflectiveofstudents’real life
experiencesandexpectations.
Themusicenvironmentisadynamicone,andassuchinvolvesthewholestudent,incorporatingtheir
personal outlook, their previousmusical experiences and presenting themwith new and exciting
challenges.Asstudentsgainexperiencethroughtheircreating,participatingandappraisingofwork
acrossthethreedistinctstrands,theywillbedevelopingtheircriticalskillsandallowingtheirmusical
selvesemerge.
Progressionfromprimarytoseniorcycle
PrimarySchoolCurriculum
WithinthePrimarySchoolCurriculum,MusicisviewedaspartofabroaderArtsEducationcurriculum
alongwithArtandDrama.Atprimarylevel,theMusiccoursecomprisesthreestrandunits:
§ Performing
§ Composing
§ Listeningandresponding
Musicalactivitiesaresuggestedwithineachstrandunitthatenablethechildtodevelopanawareness
of,andsensitivityto,theinterrelatedelementsofmusic,andtogrowinmusicalunderstanding.The
aimsoftheprimarymusiccurriculumaspireto:
§ Enablethechildtoappreciatemusiccritically
§ Developtheiropennesstoarangeofgenres
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§ Developtheircapacityandabilitytoexpressideas,feelingsandexperiencethroughmusic
§ Experiencetheexcitementofactivelyengaginginmusicalcreativity
§ Fosterhigherorderskillsthroughtheacquisitionofmusicalskills,knowledge,conceptsandvalues.
Theseambitionsandaimsareverymuchalignedwiththerationaleofthejuniorcyclemusiccourse
and addressed within the teaching and learning activities that will occur through the learning
outcomesinthisspecification.
SeniorCycle
Alloftheknowledgeandskillsthatstudentsdevelopduringtheirtimeinjuniorcyclelinkstronglywith
thesyllabusformusicatseniorcycle.Gainingacriticalunderstandingofhowmusiciscreated,howit
isexperiencedandhowitimpactsonculturesandcontextsareallimportantskillsforstudentsasthey
move into senior cycle. Through engaging with performing activities and creative endeavours,
students are learning to express themselves using musical language and non-verbal means of
communication;elementsthatarecentralcomponentsoftheLeavingCertificatesyllabus.
Juniorcyclemusicexposesstudentstoclassroomactivitiesthatencouragecollaboration,creativity,
innovation and communication, all of which feature as part of the Leaving Certificate Vocational
Programme (LCVP). In the Leaving Certificate Applied (LCA) programme, students are offered a
selectionofmodulestochoosefromthatincludetypesofmusic,worldmusic,musicinthecommunity,
musicof Ireland,music industryandmusicandthemedia. In theirassessmentsof thesemodules,
studentshaveopportunitiestoparticipateinamusicmakingactivity;makepresentationsontopics
andthemesinaformatoftheirchoosing;preparereportsandinterviewsandcompilemusicsuitable
foradvertisementsandmediausage.Ineachofthesemodulesandassessments,studentsuseskills
that they develop through junior cycle, namely appraising, developing ideas, making contextual
references,andreflectionandevaluation.
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Expectationsforstudents
Expectationsforstudentsisanumbrellatermthatlinkslearningoutcomeswithannotatedexamples
of studentwork in the subject or short course specification.When teachers, students or parents
looking at the online specification scroll through the learning outcomes, a linkwill sometimes be
availabletoexamplesofworkassociatedwithaspecificlearningoutcomeorwithagroupoflearning
outcomes.Theexamplesofstudentworkwillhavebeenselectedtoillustrateexpectationsandwill
havebeenannotatedbyteachers.Theexampleswillincludeworkthatis
§ Exceptional
§ Aboveexpectations
§ Inlinewithexpectations.
Thepurposeoftheexamplesofstudentworkistoshowtheextenttowhichthelearningoutcomes
arebeingrealisedinactualcases.
Learningoutcomes
Learningoutcomesarestatements thatdescribewhatknowledge,understanding, skillsandvalues
studentsshouldbeabletodemonstratehavingstudiedmusicinjuniorcycle.Thelearningoutcomes
set out in the following tables apply to all students.As set outhere they representoutcomes for
studentsattheendoftheirthreeyearsofstudy.Thespecificationstressesthatthelearningoutcomes
areforthreeyearsandthereforethelearningoutcomesfocusedonatapointintimewillnothave
been‘completed’butwillcontinuetosupportthestudents’learninginmusicuptotheendofjunior
cycle.
Tosupporttheexplorationofthelearningoutcomesbyteachers,parentsandstudents,aglossaryof
theaction verbsused in the specification is included inAppendixA. Theoutcomesarenumbered
withineachstrand.Thenumberingisintendedtosupportteacherplanninginthefirstinstanceand
doesnotimplyanyhierarchyofimportanceacrosstheoutcomesthemselves,nordoesitsuggestan
ordertowhichthelearningoutcomesshouldbedevelopedinclass.Juniorcyclemusicisofferedata
commonlevel.Theexamplesofstudentworklinkedtolearningoutcomeswilloffercommentaryand
insightsthatsupportdifferentiationandinclusiveclassroompractices.
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Strand:Proceduralknowledge
Element LearningOutcome
Studentsshouldbeableto
Creatingandexploring 1.1 compose andplay back shortmusical phrases and support
thesephrasesbycreatingrhythmic/melodic/harmonicostinatito
accompanythem
1.2createandpresentashortpiece,usinginstrumentsandother
soundsinresponsetoastimulus1
1.3designaharmonicor rhythmicaccompaniment, recordthis
accompanimentandimproviseoverthisrecording
1.4indicatechordsthataresuitabletoprovideharmonicsupport
toasinglemelodyline
Participating and music
making
1.5 read, interpret and play from symbolic representations of
sounds
1.6listentoandtranscriberhythmicphrasesofuptofourbars
andmelodicphrasesofuptotwobars
1.7play,singandclapatsightmelodicandrhythmicphrasesof
uptofourbars
1.8 rehearse and perform pieces of music that use common
structuraldevicesandtextures
1.9 demonstrate an understanding of a range of metres and
pulses through the use of body percussion or othermeans of
movement
Appraisingandresponding 1.10 discuss the characteristics and defining features of
contrasting styles of music represented in the local school or
community
1Stimuluscouldbeforexampleanexistingpieceofmusic,avisual,agraphic,aworkofart,anobject,atextureoraword
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1.11illustratethestructureofapieceofmusicthroughaphysical
orvisualrepresentation
1.12 indicate where chord changes occur in extracts from a
selectionofsongs
1.13comparedifferentperformancesofapieceofmusicbyan
Irishcomposer,payingattentiontomusicalelementsandother
influences
1.14comparepiecesofmusicthataresimilarinperiodandstyle
bydifferentcomposersfromdifferentcountries
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Strand:Innovateandideate
Element LearningOutcome
Studentsshouldbeableto
Creatingandexploring 2.1experimentwithmakingdifferenttypesofsoundsonasound
sourceandnotateabriefpiecethatincorporatesthesoundsby
devisingsymbolicrepresentationsforthesesounds
2.2createamusicalstatement(suchasaraporanadvertising
jingle) about a topical issue or current event and share with
othersthestatements’purposeanddevelopment
2.3 adapt excerpts/motifs/themes from an existing piece of
musicbychangingitsfeel,style,orunderlyingharmony
Participating and music
making
2.4 rehearse and present a song or brief instrumental piece;
identifyanddiscuss theperformanceskillsandtechniquesthat
werenecessarytointerpretthemusiceffectively
2.5 prepare and rehearse a musical work for an ensemble
focusing on co-operation and listening for balance and
intonation; refine the interpretation by considering elements
suchasclarity,fluency,musicaleffectandstyle
2.6designarhythmicormelodicostinatoandaddlayersofsound
over the pattern as it repeats, varying the texture to create a
moodpiecetoaccompanyafilmcliporsequenceofimages
2.7createandpresentsomemusicalideasusinginstrumentsand
foundsoundstoillustratemoodsorfeelingsexpressedinapoem,
storyornewspaperarticle
Appraisingandresponding 2.8 analyse the chordal structure of excerpts from a range of
songsandcompilealistofsongswithsimilarchordstructuresand
progressions
2.9 distinguish between the sonorities, ranges and timbres of
selectionsofinstrumentsandvoices;identifyhowthesesounds
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are produced and propose their strengths and limitations in
performance
2.10 develop a set of criteria for evaluating a live or recorded
performance;usethesecriteriatocompleteanin-depthreview
ofaperformance
2.11evaluate the impact that technology is playing inhowwe
accessmusic; proposeways that theirmusic and that of their
fellowstudentscanbesharedtoreachaglobalaudience
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Strand:Cultureandcontext
Element LearningOutcome
Studentsshouldbeableto
Creatingandexploring 3.1 collaborate with fellow students and peers to produce a
playlist and a set of recordings to accompany a local historical
eventorcommunitycelebration
3.2examineandinterpretthenatureofpersonalrelationshipsas
exploredinmusicofdifferentgenres
3.3 make a study of a particular contemporary or historical
musicalstyle;analyse itsstructuresanduseofmusicaldevices,
anddescribetheinfluenceofotherstylesonit
Participating and music
making
3.4composeandperformanoriginaljingleorbriefpieceofmusic
for use in a new advertisement for a product, and record the
composition
3.5deviseandperformexamplesofincidentalmusicthatcould
be used in online and mobile environments (e.g. computer
games;phoneringtones)
Appraisingandresponding 3.6associate/matchmusicexcerptstoavarietyoftexts(words,
film, language,) and justify the reasons as towhy this pieceof
musicwaschosentomatchthetext
3.7comparecompositionsbytwoormoreIrish-borncomposers;
use listening, background reading, and scores (where
appropriate)toexplainanddescribedifferencesandsimilarities
inthecompositions
3.8selectaparticularadvertisementandanalysetherolemusic
playsinsupportingthemessageandpromotingtheproduct
3.9investigatetheinfluenceofprocessingeffects(e.g.distortion,
reverb, compression) on the recording process; select some
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recordingsandevaluatetheuseandeffectivenessofsucheffects
withinthem
3.10discusstheprinciplesofmusicpropertyrightsandexplain
howthiscanimpactonthesharingandpublishingofthismusic
3.11explorethetimeallocatedtoIrishartistsandperformerson
a variety of local or national Irish media and present these
findingstoyourclass
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Assessmentandreporting
Assessmentineducationinvolvesgathering,interpretingandusinginformationabouttheprocesses
andoutcomesof learning.Ittakesdifferentformsandcanbeusedinavarietyofways,suchasto
record and report achievement, to determine appropriate routes for learners to take through a
differentiatedcurriculum,ortoidentifyspecificareasofdifficultyorstrengthforagivenlearner.While
differenttechniquesmaybeemployedforformative,diagnosticandsummativepurposes,thefocus
oftheassessmentandreportingisontheimprovementofstudentlearning.Todothisitmustfully
reflecttheaimofthecurriculum.
Thejuniorcycleplacesastrongemphasisonassessmentaspartofthelearningprocess.Thisrequires
amorevariedapproachtoassessment inensuringthattheassessmentmethod(s)chosen is fit for
purpose, timely and relevant to the students. Assessment in junior cycleMusic will optimise the
opportunityforstudentstobecomereflectiveandactiveparticipantsintheirlearningandforteachers
tosupportthis.Thisrestsupontheprovisionforlearnersofopportunitiestonegotiatesuccesscriteria
againstwhichthequalityoftheirworkcanbejudgedbypeer,self,andteacherassessment;andupon
thequalityofthefocusedfeedbacktheygetinsupportoftheirlearning.
Providing focused feedback to students on their learning is a critical component of high-quality
assessmentandakey factor inbuildingstudents’capacity tomanagetheirown learningandtheir
motivation to stickwith a complex task or problem. Assessment ismost effectivewhen itmoves
beyondmarksandgrades,andreportingfocusesnotjustonhowthestudenthasdoneinthepastbut
onthenextstepsforfurtherlearning.Thisapproachwillensurethatassessmenttakesplaceasclose
aspossibletothepointoflearning.Finalassessmentstillhasaroletoplay,butisonlyoneelementof
abroaderapproachtoassessment.
Essentially,thepurposeofassessmentandreportingatthisstageofeducationistosupportlearning.
Parents/guardiansshouldbegivenacomprehensivepictureofstudent learning.Linkingclassroom
assessmentandotherassessmentwithanewsystemofreportingthatculminatesintheawardingof
theJuniorCycleProfileofAchievement(JCPA)willofferparents/guardiansaclearandbroadpicture
of their child’s learning journeyover the threeyearsof juniorcycle.Tosupport this, teachersand
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schoolswillhaveaccesstoanAssessmentToolkit.AlongwiththeguidetotheSubjectLearningand
AssessmentReview(SLAR)process,thetoolkitwillincludelearning,teachingandassessmentsupport
material,including:
§ Formativeassessment
§ Planningforanddesigningassessment
§ Ongoingassessmentsforclassroomuse
§ Judgingstudentwork–lookingatexpectationsforstudentsandfeaturesofquality
§ Reportingtoparentsandstudents
§ Thinkingaboutassessment:ideas,researchandreflections
§ Anassessmentglossary.
Thecontentsofthetoolkitwillincludetherangeofassessmentsupports,adviceandguidelinesthat
will enable schools and teachers to engage with the new assessment system and reporting
arrangementsinaninformedway,withconfidenceandclarity.
AssessmentfortheJCPA
The assessment ofMusic for the purposes of the Junior Cycle Profile of Achievement (JCPA) will
comprise two Classroom-Based Assessments: Composition Portfolio and a Programme Note; a
practicalexaminationandawrittenexamination.Allassessmentswillbeatacommonlevel.TheState
ExaminationsCommission(SEC)willassessthepracticalexamination(heldtowardstheendofthird
year)andthewrittenexaminationinJune.
RationalefortheClassroom-BasedAssessmentsinMusic
The twoClassroom-BasedAssessments for juniorcycleMusicaredistinctmarkers in thestudent’s
learning journey, while still being an integral part of ongoing assessment and routine classroom
practice.Inthiswaytheyaresimilartotheformativeassessmentthatoccursintheebbandflowof
classroom interaction thatoccurseveryday inclass.However, in thecaseof theClassroom-Based
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Assessments,theteacher’sjudgementisrecordedforthepurposeofsubjectlearningandassessment
review,andforthepurposeofreportingtoparentsandstudents.
JuniorCycleMusicwillhavetwoClassroom-BasedAssessments.TheClassroom-BasedAssessments
willrelatetothestudents’workduringthesecondandthirdyearsofjuniorcycleeducation.
Overthethreeyearsofjuniorcycle,studentswillbeprovidedwiththeopportunitytostimulatetheir
creativity,exploretheexpressionandcommunicationoftheirideas,anddevelopanunderstandingof
howmusiccanteachussomuchaboutculturesandsocieties.TheClassroom-BasedAssessmentslink
totheseprioritiesforlearningandteachinginmusic.TheClassroom-BasedAssessmentswillprovide
anopportunityandvehicleforstudentsto:
§ Collaboratewithothersoncreativeendeavours
§ Researchinformationusinganappropriatevarietyofmethods
§ Expressthemselvesinanon-verbalcontext
§ Communicateeffectivelyandwithconfidence
§ Developanunderstandingoftherelationshipbetweenmusicandsocieties
§ Reflectontheirprogressandtheirmusicalchoices.
Classroom-BasedAssessment1:CompositionPortfolio
ThisClassroom-BasedAssessmentoffersstudentsanopportunitytocelebratetheirachievementsas
creatorsofmusicartefacts,bycompilingacollectionoftheirmusicalideasandcreativeexpressions
inavarietyofgenresandstylesovertime.
Throughthisprocessstudentswilldeveloptheirmusicalvoiceandtheir identity.Whencomposing
musicfortheirchosenaudience,studentswilllearnhowtobringanideafromconcepttorealisation.
Thedevelopmentofcreativeexpressioninmusicisacentralelementofthiscourse,asoutlinedinthe
rationale.Itisimportanttoinstilinstudentsacreativedispositionwheretheyarefreetoexperiment,
allowedtotakerisks,encouragedtoexplorenewandchallengingopportunitiesandreflectonthe
creativeprocess.
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In themajority of cases, thework in the student’s collectionswill arise from theebband flowof
classroom practice. The collections of student compositions promote student engagement when
students:
§ Identifyandchoosethestimulusforthecreativework
§ Choosetheformat(s)inwhichtocreatethepieceofmusic
§ Developtheirideasthroughengagementwithotheraspectsofthemusiccourse.
Two pieces from the portfolio of compositions will be selected by the student for assessment
purposes.
Thefocusofthisassessmentactivitywillbeonthecreationofasetofmusicalcompositionswhich
mightincludethefollowingoptions:
§ Respondingtoanauditoryorvisualstimulus
§ Arranginganexistingpieceofmusic
§ Answeringphrases(s)toanexistingphrase
§ Addingmusictotext
§ Respondingtoastoryortext
§ Creatinganadvertisementjingle
§ Creatingaringtone
§ DevisingapieceofElectro-acousticmusic
§ Musicforaschoolevent
§ Musicasaresponsetoapersonalexperience.
Thislistisnotintendedtobeexhaustive,butservestosuggestthatthecollectionshouldbeavaried
one.Theoptionsincludedabovecanoverlap,thereisnorestrictiononthechoicesthatstudentscan
make.
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Thecompositionscanbeinanyrecognisedmusicalstyle/genreandcanbewrittenforinstrumentor
voiceandasasoloorgroupperformance.Itcanbepresentedinwritten,digital,visualoraudioform,
oranyotherformatthatisdeemedsuitablebythestudentandappropriateforcapturingtheessence
oftheirideas.
Underlying and informing this Classroom-BasedAssessment, is a focus on the developmental and
progressivenatureofexploringcreativeideas,andonstudentsdevelopinganunderstandingofthe
creativeprocess.Thisisbestsupportedbyongoingstudentpracticeinthisartisticpursuit.Tothisend,
students are encouraged to include drafts, redrafts, and other workings in relation to the
compositions,althoughthisworkwillnotbeassignedadescriptor.
A student reflectionmust be includedwith each of the two compositions chosen for assessment
purposes.Thisisintendedtogivestudentstheopportunitytosetoutabriefstatementonthepurpose
orintentionforthecreativeidea,andasksthestudentstoindicatewhattheyhavelearntfromthe
processandwhattheymightdodifferentlyonasubsequentoccasion.
Classroom-BasedAssessment2:ProgrammeNote
For this Classroom-Based Assessment, the student will prepare a programme note to inform an
audience on the content of their upcoming performance which itself will comprise the practical
examination.
Theformativeassessmentrelatedtotheproductionofthisnotewillbereportedupontothestudent
andparent/guardianbytheschoolasforallothersecondClassroom-BasedAssessments.However,
asdetailedbelow,theperformancewhichmakesupthepracticalexaminationwillbegradedbythe
StateExaminationsCommission(SEC).
This programme note is intended to illuminate the content of the upcoming performance in an
interestingandrelevantway.Whilethisilluminationisimportantfortheaudience,italsoenrichesthe
performance by the student, as knowing about the stories of compositions impacts on the
performanceofthesepieces.
The provision of some background information on the composers or songwriters can provide
importantinsightsintotheirintentions,andanunderstandingofthewidercontextofthemusictobe
performed.Providingthelistenerwithsignpostsastowhatto listenoutforandgivingthemsome
interestinganecdoteaboutthecomposerorthepiece,enlightensandinformstheirexperience.
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Theprogrammenotecouldinclude:
§ Abriefintroductiontothecomposers/songwriters
§ Adescriptionaboutthehistoricalcontextofthepiecesandthecircumstancessurroundingthe
composition
§ Oneinterestingmusicalpointineachpiecefortheaudiencetolistenoutfor.
Thestructureoftheprogrammenotewillbeinfluencedbymanyfactors,andstudentsareofferedthe
flexibilityinallowingfordifferentdegreesofemphasisbefocusedondifferentmusicalelementsand
features.
FeaturesofqualityThefeaturesofqualitysupportstudentandteacherjudgementoftheClassroom-BasedAssessments
andarethecriteriathatwillbeusedbyteacherstoassessthestudentwork.Thefeaturesofquality
willbeavailableintheAssessmentGuidelinesforMusic.AllstudentswillcompletebothClassroom-
BasedAssessments.
CBA Completionoftheassessment SLAR2meeting
CompositionPortfolio Towardstheendofsecondyear Onereviewmeeting
ProgrammeNote Termtwoofthirdyear Onereviewmeeting
AssessingtheClassroom-BasedAssessments
MoredetailedmaterialonassessmentforreportinginjuniorcycleMusic,settingoutdetailsofthe
practicalarrangementsrelatedtoassessmentoftheClassroom-BasedAssessments,willbeavailable
inseparateassessmentguidelines.Thiswillinclude,forexample,thesuggestedcontentandformats
forstudentworkandsupportinusing'on-balance'judgementinrelationtothefeaturesofquality.
The NCCA's Assessment Toolkit will also include substantial resourcematerial for use in ongoing
classroomassessmentof junior cycleMusicaswell asprovidingadetailedaccountof theSubject
LearningandAssessmentReviewprocess.
2SubjectLearningandAssessmentReview
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Thefinalexamination
Thefinalexaminationwillconsistofapracticalexaminationandawrittenexamination.Thepractical
examinationwillbeallocated30%ofthemarksavailable.Thewrittenexaminationwillbeallocated
70%ofthemarksavailable.
Practicalexamination
The practical examination will take place in third year. Students will perform three musical
songs/pieces. Solo and group performing may be freely mixed. The songs/pieces may also be
presentedonavarietyofinstrumentsorthroughacombinationofvoiceandinstruments.Technical
control, fluency and musicality will be assessed. The standard required will reflect what can be
attainedinthreeyearsclass-basedtuition.
Studentswillalsotakeanunpreparedtest.Theywillchoosefromauralmemory(rhythmicormelodic),
sight-reading(instrumental/vocal/rhythmic)orimprovisation.Auralmemoryandsight-readingtests
willbefourbarslong.Inthecaseofimprovisation,studentswillberequiredtoimproviseforatleast
fourbars.
Thepracticalexaminationwillbeallocated30%ofthemarksavailableandwillbemarkedbytheState
ExaminationsCommission(SEC).
Writtenexamination
Therewillbeoneexaminationpaperatacommonlevel.ThispaperwillbesetandmarkedbytheSEC
andwillbeallocated70%ofthemarksforthefinalassessment.Theexaminationwillbeofonehour’s
durationandwilltakeplaceattheendofthirdyear.Duringthisassessment,studentswillberequired
toengagewith,demonstratecomprehensionof,andprovidewrittenresponsestostimulusmaterial.
In any one year, the learning outcomes to be assessed will constitute a sample of the relevant
outcomesfromthetablesoflearningoutcomes.
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Inclusiveassessmentpractices
Thisspecificationallowsforinclusiveassessmentpracticeswhetheraspartofongoingassessmentor
Classroom-BasedAssessments.Whereaschooljudgesthatastudenthasaspecificphysicalorlearning
difficulty,reasonableaccommodationsmaybeputinplacetoremove,asfaraspossible,theimpact
ofthedisabilityonthestudent'sperformanceinClassroom-BasedAssessments.Theaccommodations
e.g.,thesupportprovidedbyaspecialneedsassistantorthesupportofassistivetechnologiesshould
be in line with the arrangements the school has put in place to support the student's learning
throughouttheyear.
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AppendixA:Glossaryofactionverbs
Thisglossaryisdesignedtoclarifythelearningoutcomes.Eachactionverbisdescribedintermsof
whatthelearnershouldbeabletodooncetheyhaveachievedthelearningoutcome.Thisglossary
willbealignedwiththecommandwordsusedintheassessment.
Actionverbs Studentsshouldbeableto
Adapt makesomethingsuitablefornewcondition,useorpurpose
Analyse
studyorexaminesomethingindetail,breakdowninordertobringout
theessentialelementsorstructure;identifypartsandrelationships,and
tointerpretinformationtoreachconclusions
Applyselect and use information and/or knowledge and understanding to
explainagivensituationorrealcircumstances
Appraise evaluate,judgeorconsiderapieceofwork
Associate toconnectorbringintorelation;tofittogetherandcausetocorrespond
Brief description/
explanationgiveashortstatementofonlythemainpoints
Arguechallengeordebateanissueorideawiththepurposeofpersuadingor
committingsomeoneelsetoaparticularstanceoraction
Classify groupthingsbasedoncommoncharacteristics
Comment giveanopinionbasedonagivenstatementortheresultofacalculation
Comparegiveanaccountofthesimilaritiesordifferencesbetweentwo(ormore)
itemsorsituations,referringtoboth(all)ofthemthroughout
Compose writeorcreateaworkofart,especiallymusicorpoetry
Createtobringsomethingintoexistence;tocausesomethingtohappenasa
resultofone’sactions
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Actionverbs Studentsshouldbeableto
Critiquestate,givingreasons,thepositiveandnegativeaspectsof,forexample,
anidea,artefactorartisticprocess
Define givetheprecisemeaningofaword,phrase,concept
Demonstrateproveormakeclearbyreasoningorevidence,illustratingwithexamples
orpracticalapplication
Describetellordepictinwrittenorspokenwords;torepresentordelineatebya
pictureorotherfigure
Design doorplansomethingwithaspecificpurposeinmind
Developbring toa laterormoreadvancedstage; toelaborateorworkout in
detail
Devise plan,elaborateorinventsomethingfromexistingprinciplesorideas
Discuss
offeraconsidered,balancedreviewthatincludesarangeofarguments,
factors or hypotheses; opinions or conclusions should be presented
clearlyandsupportedbyappropriateevidence
Distinguish makethedifferencesbetweentwoormoreconceptsoritemsclear
Evaluate
(information)
collect and examine information to make judgments and appraisals;
describehowevidencesupportsordoesnotsupportaconclusioninan
inquiry or investigation; identify the limitations of information in
conclusions;makejudgmentsabouttheideas,solutionsormethods
Evaluate
(ethicaljudgement)
collect and examine evidence to make judgments and appraisals;
describe how evidence supports or does not support a judgement;
identify the limitations of evidence in conclusions; make judgments
abouttheideas,solutionsormethods
Examineconsider an argument, concept or object in a way that uncovers its
assumptions,interrelationshipsorconstruction
Experimentto try and test, in order to discover something new or to prove
something
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Actionverbs Studentsshouldbeableto
Explain giveadetailedaccountincludingreasonsorcauses
Explore systematicallylookintosomethingclosely;toscrutiniseorprobe
Find‘find’: a general term thatmay variously be interpreted as calculate,
measure,determine,etc.
Group identifyobjectsaccordingtocharacteristics
Identify
recognisepatterns,facts,ordetails;provideananswerfromanumber
of possibilities; recognise and state briefly a distinguishing fact or
feature
Illustrate usedrawingsorexamplestodescribesomething
Improvisecreateandperformmusicspontaneouslyorwithoutpriorpreparation;
toproduceormakesomethingfromwhateverisavailable
Indicate topointoutorpointto;todirectattentionto
Inferuse the results of an investigation based on a premise; read beyond
whathasbeenliterallyexpressed
Investigateanalyse,observe,study,ormakeadetailedandsystematicexamination,
inordertoestablishfactsorinformationandreachnewconclusions
Interpretuse knowledge and understanding to recognise trends and draw
conclusionsfromgiveninformation
Justify givevalidreasonsorevidencetosupportananswerorconclusion
List provideanumberofpoints,withnoelaboration
Outline givethemainpoints;restricttoessentials
Presenttobring,offerorgiveinaformalway;tobringbeforeorintroducetoa
publicforum
Propose offerorsuggestforconsideration,acceptanceoraction
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Actionverbs Studentsshouldbeableto
Provideevidenceprovide data, work and documentation that support inferences or
conclusions
Recognise
identify facts, characteristics or concepts that are critical
(relevant/appropriate) to the understanding of a situation, event,
processorphenomenon
Refine toimprovebyinsertingfinerdistinctionsormusicalelements
Rehearsepractise a play, piece of music, or other work for later public
performance
Suggest proposeasolution,hypothesisorotherpossibleanswer
Synthesise combinedifferentideasinordertocreatenewunderstanding
Transcribeputthoughts,speech,data,intowrittenorprintedform;writeoutwhat
isheardintocharactersorsentences
Use applyknowledge,skillsorrulestoputthemintopractice
Verify giveevidencetosupportthetruthofastatement
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AppendixB:Glossaryofmusicterms
Thisglossaryhasbeenaddedtoexplainthemeaningofmusictermsastheyappearinthisspecification
tohelpwithunderstandingwhenreading.
Term Interpretation
Appraise toassessthevalueorthequalityofsomething
Bodypercussion soundsmadeusingpartsofthebody(e.g.footstamping,thighslapping)
Chord twoormorenotessoundingsimultaneously
Chordprogression aseriesofchordssoundingoneafteranother
Compressionaprocessingeffectused inmixingorrecordingtocontrolandreduce
thedynamicrangeofthemusic
Culture / Cultural
protocols
the ideas, customs, practices, values and social behaviours of a
particularpeopleorsociety
Distortion
change in the form of an electrical signal or sound wave during
processing;alterthesoundofamplifiedelectricmusicinstrumentsand
mostcommonlyassociatedwiththeelectricguitar
Elementsofmusicthekeyingredientsofmusic(pulse,duration,tempo,pitch,dynamics,
timbre,texture,styleandtonality)
Foundsounds soundscreatedfromeverydayobjects(e.g.sticks,stones,furniture)
Genre abroadcategoryofmusicormusicalforms(e.g.rock,jazz,country)
Graphicnotationnotationinwhichsoundormusicisrepresentedbyshapesorlinesor
images
Ideate formanidea;conceiveorimagine
Improvisationspontaneousmusical creation,oftenbasedonanexistingmelodicor
harmonicfragment
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IncidentalMusicmusicused ina film,play, computergame, shoppingcentreorother
mediaasabackgroundortocreateorenhanceaparticularatmosphere
Jingleashortslogan,verseortunetobeeasilyremembered,especiallyforuse
inadvertising
Metre thegroupingofbeatsusuallyingroupsoftwos,threesandfours
Moodpieceapieceofmusicthatsuggestsorindicatesaparticularfeelingorstate
ofmindorspecificatmosphere
Motif adominantorrecurringideainapieceofmusic;
Ostinatoa repeated accompaniment pattern that can be rhythmic ormelodic
andthatismaintainedcontinuallythroughoutapieceofmusic
Processingeffectsa series of mechanical or technological operations on a recording
processthatmodifiestheoriginalsoundinputted
Reverb
aprocessingeffectwherethesoundproducedbyanamplifiedmusical
instrumentismadetoreverberate;anechoeffectusedtorecreatethe
naturaleffectsofroomreverberation
Sonority thequalityofsoundortimbreofaparticularsoundsource
Soundsourcethemeansbywhichasoundisproduced(e.g.onaninstrument,byusing
thevoice,anenvironmentalobject,anelectronicdevice)
Stimulus
somethingthatinspiresthestudentstocreateamusicalidea;astimulus
canforexamplecomefromapersonalexperience,anexistingpieceof
music,avisualorgraphic,aworkofart,anobjectoraword.
Structuraldevicesdevices used in composing and creating pieces of music (e.g. motif,
phrase,sequence,canon,imitation,themeandvariation)
Style
the manner in which music is organised in relation to particular
conventions; it often relates to a particular historical period, genre,
performerorcomposer
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Texture
the‘density’ofsoundinapieceofmusic;thiscanrangefromthin(single
line of melody) to thick (several layers of melodies, harmonies or
timbres)
Timbrethe specific tone or sound quality of an instrument or voice, or a
collectionofinstrumentsandvoices
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