MusicA scheme of work for key stage 3

Teacher’s guide

99_4792_BC_FC 13/4/2000 10:22 pm Page i

This exemplar scheme of work has been prepared jointly by the Qualifications and Curriculum

Authority (QCA) and the Department for Education and Employment (DfEE). We would like to thank

the many teachers, schools, local education authorities and other organisations, who have helped in the

production of this scheme of work. Special thanks are due to those who gave up valuable time to assist

us in the development of the materials by contributing their expert knowledge.

First published in 2000

© Qualifications and Curriculum Authority 2000

ISBN 1 85838 388 9

This scheme of work for music contains photocopiable materials. For in-school educational use, these

materials may be freely photocopied.

Reproduction, storage, adaptation or translation, in any form or by any means, of this publication is

prohibited without prior written permission of the publisher, unless within the terms of licences issued

by the Copyright Licensing Agency. Excerpts may be reproduced for the purpose of research, private

study, criticism or review, or by educational institutions solely for educational purposes, without

permission, provided full acknowledgement is given.

Printed in Great Britain.

The Qualifications and Curriculum Authority is an exempt charity under Schedule 2 of the Charities

Act 1993.

Qualifications and Curriculum Authority

29 Bolton Street

London

W1Y 7PD

www.qca.org.uk/

Acknowledgements

99_4792_IFC_IBC 13/4/2000 10:22 pm Page ii

Introduction 3n What is this scheme of work? 3n What does the scheme cover? 3

Section one: music at key stage 3 5n Aims and purposes of music 5n Content 5

Section two: how the scheme is constructed 6n Definitions 6n Long-, medium- and short-term planning 6n Planning for progression 7n Selecting content 7n Building on pupils’ earlier experiences 8n Expected levels of attainment 9n The units 9n Inclusion 10n Assessing progress 11n Links with other areas of the curriculum 12n Work at home and outside lessons 18n Reviewing existing schemes of work 19

Section three: using the scheme of work 20

Appendix 1: long-term plan 24Appendix 2: selecting content – areas of knowledge in the scheme 26Appendix 3: selecting content – musical repertoire 27Appendix 4: progression in music 28Appendix 5: focus and coverage of the units 30Appendix 6: principles for constructing a scheme of work in music 33Appendix 7: copyright 36

Contents

99_4792_p01_05 13/4/2000 10:22 pm Page 1

What is this scheme of work?

This scheme of work shows one way that the music programme of study can be interpreted for

the classroom. Schools should feel free to use as little or as much of the scheme as they find

helpful, adapting any ideas from it to meet their pupils’ needs and the priorities of their school

or department.

The scheme has also been published on the DfEE Standards and Effectiveness Unit’s website at

www.standards.dfee.gov.uk. The units can be accessed in different formats, and a blank

template is included for schools to use in their own planning.

While this material is optional, we hope it will provide a comprehensive and stimulating basis

for schools planning their music curriculum for 2000 and beyond. It should also help schools to

improve standards across the curriculum as there are links in all the schemes of work to

inclusion, literacy objectives and thinking skills.

What does the scheme cover?

The scheme covers all the requirements of the key stage 3 music programme of study for

implementation from 2000. It shows how music might be taught to pupils broadly attaining

levels 3–7. The scheme may therefore need to be adapted to meet pupils’ diverse needs.

The scheme shows one way in which the programme of study can be translated into teaching

units. It shows:

n how units can be sequenced across key stage 3;

n the features of progression in music that need to be considered when planning work within

a unit and across the key stage;

n key learning objectives that provide the focus for learning in each unit;

n differentiated expectations of pupils’ attainment within units;

n ways in which classroom learning can be linked to other musical experiences, including

specialist tuition and extended curriculum activities and events;

n ways in which units can support other forms of expression, especially the performing arts;

n ways in which units can build on preceding work, link with other units and prepare pupils

for key stage 4;

n links with work on literacy, mathematics, information and communication technology

(ICT), key skills, thinking skills and other areas of the curriculum.

3

Introduction

99_4792_p01_05 13/4/2000 10:22 pm Page 3

Aims and purposes of music

By engaging pupils in making and responding to music, music education offers opportunities

for them to:

n develop their understanding and appreciation of a wide range of music, extend their own

interests and increase their ability to make judgements about music quality;

n acquire the knowledge, skills and understanding needed to make music, eg in community

music making, and, where appropriate, to follow a music-related career;

n develop the skills, attitudes and attributes that can support learning in other subject areas

and are needed for employment and life, eg listening skills, concentration, creativity,

intuition, aesthetic sensitivity, perseverance, self-confidence and sensitivity towards others.

Content

Music teaching in key stage 3 should:

n develop each of the interrelated skills of performing, composing and appraising in all

activities;

n extend these skills through applying listening skills and musical knowledge and

understanding;

n enable pupils to make connections between all areas of knowledge and musical experiences.

In particular, pupils should acquire and apply knowledge and understanding of:

n how music is constructed, eg the use of musical elements and devices;

n how music is produced, eg the use of instruments, ICT, musical processes and procedures,

including relevant symbols and notations;

n how music is influenced by time and place, eg the effect of the occasion, purpose or venue.

5

Section one: music at key stage 3

99_4792_p01_05 13/4/2000 10:22 pm Page 5

Definitions

In these materials:

n a scheme of work is the overall planned provision of music in a key stage. It is made up ofunits of work and shows the order in which they may be taught across the key stage;

n units are medium-term plans, usually designed for a term or less. They set out specificlearning objectives that reflect the programme of study, as well as possible teaching activities

and learning outcomes.

Long-, medium- and short-term planning

This scheme of work provides a long- and medium-term plan and gives guidance and

suggestions for short-term planning.

The complete scheme draws parts of the programme of study together into coherent,

manageable teaching units. It shows how these teaching units are distributed across the three

years of the key stage in a sequence that promotes curriculum continuity and progression in

pupils’ learning. Appendix 1 provides a long-term plan for music. It identifies the focus of each

unit in the scheme and the expectations at the end of each unit.

The scheme also takes account of other, broader dimensions of the curriculum. These include

literacy, mathematics, ICT, personal, social and health education (PSHE) and citizenship,

together with developing pupils’ creativity and thinking skills.

The unit is the medium-term plan. It identifies learning objectives derived from the programme

of study, suggests activities to meet these and describes the outcomes of pupils’ learning.

The sequence of learning objectives and activities promotes progression within the unit.

Each unit includes an estimate of the time it will take to teach.

The activities within a unit go some way towards setting out short-term plans. They will need

supplementing with lesson plans to match individual class requirements, for example pupils’

different abilities and resources available.

Long- and medium-term planning involves all staff in a department working together to ensure

coherence and curriculum continuity. Short-term planning is the responsibility of individual

teachers who build on the medium-term plan by taking account of the needs of pupils.

6

Section two: how the scheme isconstructed

99_4792_p06_19 13/4/2000 10:23 pm Page 6

7

Planning for progression

The scheme of work draws together parts of the programme of study to create a framework

that shows how pupils might be helped to progress in music. This includes progression in:

n the depth of the knowledge, skills and understanding pupils are taught, learn and

demonstrate. In each unit, the first sentence in ‘About the unit’, ‘Language for learning’ and

‘Expectations’ summarises the depth of study. The depth of pupils’ knowledge, skills and

understanding will increase as they move through the units, from unit 1 to 15;

n the breadth of the musical activities and repertoire to be experienced. This is shown in the

range of the key learning objectives, the music used in each unit and the different activities

described in the units selected. The interrelated skills of performing, composing and

appraising are developed in every unit as are the skills and ability to apply knowledge and

understanding. These skills, knowledge and understanding will improve as pupils work

through the activities in each unit and move through the units;

n the quality of the outcome. This is shown in the confidence, independence and ownership

demonstrated by the pupil. It is shown in the musical sensitivity, creativity and

communication of their response within each unit.

The three dimensions of progression in music described above are reflected in the eight level

descriptions for the subject. Increasing depth is shown across the levels, from level 1 to 8.

Increasing breadth can be shown across and within each level, eg accumulating different

experiences and developing and demonstrating the same knowledge, skills and understanding

through different activities. Quality is shown within each level.

Selecting content

In order to achieve sufficient depth of learning and attainment the teacher has to select content.

It is the selected content that provides the context for the development of specific skills and

focus for the particular aspects of knowledge and understanding.

In the scheme of work, QCA has had to make a selection and this process identified a number

of categories within which choice had to be made. There were:

musical understanding – sounds and devices, eg riffs, hooks

of: – conventions/procedures and

processes, eg improvisingthese are shown

– influences on music making and in appendix 2

responding, eg venue, use of ICT}

musical repertoire – classical, folk, popular and jazz

taken from: traditions

– different world cultures including these are shown

Europe and the western hemispherein appendix 3

– the past and present}

99_4792_p06_19 13/4/2000 10:23 pm Page 7

8

The two broad areas of understanding and repertoire become increasingly connected so that

during key stage 3 the focus can become a selected genre through which pupils develop related

musical skills, knowledge and understanding.

While the focus for a unit could be any one of these categories, pupils should be encouraged to

develop the ability to draw connections between the different areas.

The particular selection will be based on the needs and interests of the pupils. As a general rule,

with regard to repertoire, pupils should be helped to move from the familiar to the unfamiliar.

The aim should be to widen pupils’ experience and to provide an accumulative ‘tool kit’, which

can increasingly be applied in all activities. This is shown in appendix 2.

Building on pupils’ earlier experiences

In music at key stage 2 pupils will have:

n had opportunities to develop a range of skills and competences, although they may have had

many different experiences;

n experienced much music through their own learning;

n developed the maturity to consider broader aspects of music education, eg how music can

be influenced by the context in which it is created, performed and heard.

The primary scheme of work identifies the need to develop disciplined skills, eg a sense of pulse

and pitch, and descriptive skills, eg using sounds to describe feelings and pictures. Many pupils

entering key stage 3 may have extensive experience of using sounds descriptively but less

developed disciplined skills, eg they may find it difficult to hold a steady pulse. The primary

units also identify the need for ongoing skills, eg singing and responding to music. Some

musical skills require regular practice and this needs to be considered in all key stages. Without

continuity of experience it is doubtful whether the expectations will be reached. This is

particularly true for singing, which needs to be a constant and regular feature of music teaching

at all key stages.

The primary units are organised in terms of the development of skills. These skills continue into

key stage 3 but the organising structure changes with the content, which provides the context

for the development of skills.

One of the main reasons for this different focus is that the maturity of key stage 3 pupils may

be beyond their musical ability and the focus on content allows greater opportunity for

differentiation of skills while ensuring an appropriate level of intellectual and emotional

challenge.

Transfer from primary to secondary

The scheme builds on the knowledge, skills and understanding developed through the key stage

2 programme of study. Although the expectation is that pupils starting key stage 3 are working

at level 4, the units take account of the fact that some pupils will be working at level 3.

99_4792_p06_19 13/4/2000 10:23 pm Page 8

9

Unit 1 ‘Bridging the gap’ provides a starting point that teachers can use to gain a sense of the

attainment as pupils begin year 7. This unit has also been included, with small differences, in

the key stage 2 scheme of work.

Expected levels of attainment

Although level 4 is the expected attainment of pupils at the end of key stage 2, the scheme of

work takes account of the fact that some pupils will be working at level 3 and others at level 5

when they start key stage 3. See appendix 4 for more details on the expectations at each level.

The aim in this scheme is to help all pupils achieve each level with confidence, independence

and ownership of the work. The scheme is designed to be challenging and to raise expectations.

The purpose is to give pupils and teachers challenging targets which all, or at least the great

majority, should achieve. The units reflect the need to differentiate the activities to meet the

different needs of pupils.

Music literacy

The requirement is that by the end of key stage 3, all pupils should have developed

understanding of a variety of musical processes including the use of conventional staff notation.

The QCA scheme provides many opportunities to develop the use of this and other forms of

notation through all musical activities.

The units

There are 15 units that form a complete scheme for the key stage. The units provide the

minimum range of experiences necessary for pupils to receive a balanced programme for music.

The intention is that these units will be supplemented by further units, developed by the teacher

or chosen from published resources. The long-term plan (appendix 1) describes the focus of

each unit, which could be considered when selecting alternative activities provided by published

resources or developed by the teacher.

Time allocation

Each unit is designed to be taught between five and 14 hours, depending on the emphasis given

to each activity within the unit. Units may be used as ‘major’ units (12 to 14 hours), while

others may be used as ‘minor’ units (five to seven hours).

The time allocation is based on recommendations in the 1995 review of the curriculum and

QCA’s research on the range of times allocated by schools to music. The times are indicative

only; they do not constitute a recommended time for music.

Coverage of the programme of study

The units cover the programme of study for key stage 3 music. However, the programme sets

out a minimum entitlement for music, so schools are free to supplement the units and decide

the depth of coverage. Teachers may need to adjust the units to suit pupils’ needs and the time

available. The table in appendix 5 shows how the units cover the programme of study.

99_4792_p06_19 13/4/2000 10:23 pm Page 9

10

Sequencing the units

The units are grouped broadly according to each year, for example units 1–6 for year 7, and

units 7–11 for year 8. It is also suggested that the units are taught consecutively, with the lower-

numbered units being taught before the higher ones. This is only one model. It is up to schools

to decide whether they wish to use this model in full, or to customise individual units or

combinations of units to suit their own circumstances.

Teaching and learning approaches

The units suggest a range of approaches to teaching and learning, including:

n direct teaching, through whole-class and small group sessions (demonstrated in the

‘Exploration’ section);

n opportunities for pupils to apply their learning, either on their own or with others with

varying degrees of support (demonstrated in the ‘Bringing it all together’ section);

n opportunities for pupils to reflect on their own learning.

The approaches may need to be adapted to meet pupils’ needs.

Inclusion

Teachers who use this scheme of work may find they need to adapt it to ensure it takes account

of the different experiences, strengths and interests of their pupils. In doing this, they will need

to take account of the statutory requirements and guidance on inclusion set out in the national

curriculum.

The statutory inclusion statement sets out three principles that are essential to developing a

more inclusive curriculum:

n setting suitable learning challenges;

n responding to the diverse needs of pupils;

n overcoming potential barriers to learning and assessment for individuals and groups of

pupils.

The scheme of work is designed to cater for pupils working at levels 3–7. It is also designed to

be challenging and raise expectations. The expectation is that the average attaining pupil will be

working at level 4 in year 7, level 4 or 5 in year 8 and level 5 or 6 in year 9. The pitch in

year 9 units is towards level 6. The purpose is to provide challenging targets for pupils while

recognising that not all pupils will reach this standard. For pupils whose attainments are

significantly above or below these expected levels, a much greater degree of differentiation will

be necessary. Further guidance on this will be found in Guidance on providing for gifted and

talented pupils and Guidance on providing for pupils with learning difficulties (QCA, 2000),

which will be produced by QCA later in 2000.

To provide suitable learning challenges for all pupils to achieve as high a standard as possible,

teachers may wish to modify the whole scheme of work, or parts of units.

If modifying the whole scheme, teachers may wish to consider whether:

n particular parts of the scheme should be emphasised or expanded;

99_4792_p06_19 13/4/2000 10:23 pm Page 10

11

n pupils should be given more time for particular aspects of the scheme or given opportunities

to progress more rapidly within the selected unit;

n particular pupils need opportunities to revisit knowledge and skills in different contexts;

n the attainments of pupils will provide a relevant structure for teaching music. If this is not

the case, eg for pupils who have significant learning difficulties or groups able to work at a

particularly challenging level, schools may wish to use the scheme as a resource for

developing an alternative. The alternative must offer pupils opportunities to experience a

range of work across key aspects drawn from the programme of study.

If adapting particular units, teachers may wish to consider whether:

n the expectations and learning objectives need modifying;

n there is a need to add challenge by increasing the requirements;

n there is a need to provide small steps, short, guided and more focused tasks and supporting

structures to enable pupils working below the demands of learning objectives to undertake

the activity;

n the outcomes need to be changed to take account of revisions to the specific objectives and

activities, or because pupils will operate on different levels;

n to vary contexts, resources, or teaching and learning styles to take account of the different

learning needs of boys and girls, and the needs of pupils from different social and cultural

backgrounds and with different lifestyles;

n the activities need to be adapted to provide support for pupils with difficulties in

communication, language or literacy.

The type of support provided for pupils with difficulties in communication, language and

literacy could include:

n using alternative and augmentative communication;

n reducing the amount of written work and reading;

n giving pupils the opportunity to clarify their ideas through discussion, modelling, role play

and the use of tape recorders, video and photographs, rather than relying on written

materials.

The ‘Points to note’ and ‘Possible teaching activities’ in some of the units suggest some ways in

which the unit might be tailored to meet pupils’ specific learning needs. Teachers may wish to

use these suggestions in other units.

In addition, it may be necessary to use specialist equipment to give motivating and relevant

experiences to pupils with sensory and physical disabilities. For pupils with emotional and

behavioural difficulties, there may be a need to emphasise short-term goals and provide highly

specific outcomes.

Assessing progress

Opportunities for assessing pupils’ progress are built into each unit. The learning objectives are

pitched at an appropriate level for the year group identified. The outcomes can be used to

review progress and check whether pupils are ready to move on to the next activity or need

more support or challenge. They also provide a framework for giving feedback to pupils.

99_4792_p06_19 13/4/2000 10:23 pm Page 11

12

The expectation statements for each unit are related to the level descriptions in the national

curriculum and the tasks set, and allow pupils’ overall progress to be monitored.

The learning objectives are written primarily for teachers, but can be adapted and given to

pupils as the objectives of a lesson or sequence of lessons. The outcomes and expectations can

also be used to help pupils review their own progress. Feedback to pupils, which can range

from providing informal oral comments to a whole class to closely marked individual work,

should relate to the objectives set.

The work pupils do will provide evidence of what they have been taught and their progress.

It is not necessary to make detailed records for each pupil or activity, or to keep detailed

portfolios of pupils’ work. A grade, comment or mark can be used to indicate achievement.

A judgement based on these, and in some circumstances on a summative piece of work or test,

can be used when considering how individual pupils are achieving in relation to the end-of-unit

expectations. Some pupils may need more help or extension activities.

Pupils’ responses to the demands, particularly of the year 9 units, will provide evidence for

teachers to make end-of-key-stage assessments against the level descriptions.

Links with other areas of the curriculum

One of the three aims of music in the national curriculum is to develop the skills, attitudes and

attributes that can support learning in other subjects and are needed for employment and life.

These broader aims are often integral to music education and will be developed as a

consequence of quality work in music.

The use of music can both enrich learning in other subjects and consolidate musical skills,

knowledge and understanding.

Music can enrichunderstanding of: by: for example:

time, place providing a window into other in history, geography and culture societies through exploring the words English, art and design,

used in songs and the way music RE and PSHEis used, eg for worship, home entertainment, work

mood and providing a stimulus for expressive in dance, drama, emotion work in other art forms and discussion English, art and design,

of feelings RE and PSHE

structure providing aural examples of ways in writing poetry, in which ideas can be developed, creating dancesrepeated and connected

sound exploring the ways sounds can be in sciencechanged

99_4792_p06_19 13/4/2000 10:23 pm Page 12

13

Language for learning

The ‘use of language across the curriculum’ requirement in the national curriculum for 2000

states that:

1. Pupils should be taught in all subjects to express themselves correctly and appropriately and

to read accurately and with understanding. Since standard English, spoken and written, is

the predominant language in which knowledge and skills are taught and learned, pupils

should be taught to recognise and use standard English.

Writing

2. In writing, pupils should be taught to use correct spelling and punctuation and follow

grammatical conventions. They should also be taught to organise their writing in logical and

coherent forms.

Speaking

3. In speaking, pupils should be taught to use language precisely and cogently.

Listening

4. Pupils should be taught to listen to others, and respond and build on their ideas and views

constructively.

Reading

5. In reading, pupils should be taught strategies to help them read with understanding, to

locate and use information, to follow a process or argument and summarise, and to

synthesise and adapt what they learn from their reading.

6. Pupils should be taught the technical and specialist vocabulary of subjects and how to use

and spell these words. They should also be taught to use the patterns of language vital to

understanding and expression in different subjects. These include the construction of

sentences, paragraphs and texts that are often used in a subject (for example, language to

express causality, chronology, logic, exploration, hypothesis, comparison, and how to ask

questions and develop an argument).

This requirement encourages pupils to use language, both spoken and written, to think, learn,

express their ideas and use information and evidence to support their analysis, ideas and views.

Pupils also need to be able to read texts with understanding, evaluating their usefulness and

reliability.

The underlying messages of the requirement are that:

n enhancing pupils’ language skills enhances their subject learning;

n using subject-specific vocabulary and patterns of language contributes to developing pupils’

language skills;

n all teaching contributes to pupils’ development of language since speaking, listening, reading

and writing are, to varying degrees, integral to all lessons.

Pupils are likely to be more successful if there are consistent approaches to speaking, listening,

reading and writing across the curriculum that build on the work of primary teachers who have

been implementing the National Literacy Strategy: Framework for teachers. Coordinated

whole-school policies should promote effective and coherent approaches to the teaching and

learning of language. To assist schools in this process, QCA/DfEE have developed a set of

99_4792_p06_19 13/4/2000 10:23 pm Page 13

expectations in language and learning for each of years 7, 8 and 9. These language objectives

have been built into the schemes of work for all subjects. They are highlighted in ‘Language

for learning’ in each unit, along with specialist vocabulary, and integrated into the work in

each unit.

In music, pupils can develop their language skills by:

n singing songs with attention to meaning, diction and awareness of phrase;

n using the voice creatively and descriptively in composing and performing;

n discussing musical features and describing sounds and how they are used in their own and

others’ music;

n negotiating with others in group or class music-making activities;

n making comparisons;

n collecting information from reference books, CD-ROMs, e-mail and the internet;

n asking questions to clarify tasks, discover others’ views and increase their understanding;

n responding to questions that require:

– analysis and factual recall, eg What did you do? What sounds were used?

– reasoning, eg Why did you do that?

– evaluation, eg What went well? What could have been better? What effect does it create?

– creativity, eg How will you make it better? Could that be done in a different way?

What else have you done that might help you decide what to do next?

It must be remembered, however, that music is a distinctive form of communication and every

opportunity should be used to encourage pupils to respond through demonstration, eg by

asking pupils to show how something could be improved rather than just to talk about it.

ICT

The use of ICT is an increasingly significant part of music education, both as a new form of

musical communication and as a means of reproducing and distributing music. There are many

opportunities in the units for pupils to use technological developments to create, record,

transform and store music.

Opportunities to use the internet are highlighted in ‘Resources’ and ‘Points to note’ in the units.

Teachers will need to check the content of websites used by pupils to make sure it is

appropriate. Teachers may want to bookmark sites in advance. Web addresses listed were

correct at the time of publication, although teachers need to be aware that web addresses and

site content can change.

Key skills

The scheme of work provides a foundation for the common areas of learning defined as key

skills.

Communication

Music provides opportunities for pupils to:

n present music to different audiences;

n discuss and share ideas with others;

n provide information that is relevant;

n speak clearly and respond appropriately;

14

99_4792_p06_19 13/4/2000 10:23 pm Page 14

n identify key points in written materials and discussions;

n use materials to suit their intended purpose.

Information technology

Music provides opportunities for pupils to:

n explore and develop materials for different purposes;

n find and select relevant information;

n use formats to aid development of ideas;

n enter information to meet a purpose.

Working with others

Pupils can work together to create music. This provides opportunities to:

n take different roles and recognise and support the different contributions of others;

n work together to plan to achieve common objectives;

n identify progress and ways of improving work.

Improving own learning and performance

Music provides opportunities for pupils to:

n recognise the need for perseverance;

n develop the ability to use time effectively;

n increase their independence and ownership of their work;

n set their own targets and work towards achieving given objectives;

n review their work and suggest improvements.

Problem solving

Music provides opportunities for pupils to identify different options and achieve intentions, eg

take part in composing activities and present performances to different audiences and in

different venues.

Thinking skills

By using thinking skills pupils can focus on knowing how as well as knowing what – on

learning how to learn. Many aspects of music education contribute to the development of

thinking skills. The following examples show how the different thinking skills can be developed

in every unit.

Information-processing skills

These enable pupils to locate and collect relevant information, to sort, classify, sequence,

compare and contrast, and to analyse part/whole relationships. These skills can be developed

and demonstrated in music when pupils identify patterns and changes in sound, for example

the use of specific musical devices.

Reasoning skills

These enable pupils to give reasons for opinions and actions, to draw inferences and make

deductions, to use precise language to explain what they think, and to make judgements and

decisions informed by reasons and/or evidence. These skills can be developed and demonstrated

in music when pupils describe why they have chosen particular resources and how the music

creates different effects and moods.

15

99_4792_p06_19 13/4/2000 10:23 pm Page 15

Enquiry skills

These enable pupils to ask relevant questions, to pose and define problems, to plan what to do

and ways to research, to predict outcomes and anticipate consequences, and to test conclusions

and improve ideas. These skills are developed and demonstrated in music when pupils try out

different ideas and combinations of sounds and make improvements through trial and error.

Creative thinking skills

These enable pupils to generate and extend ideas, to suggest hypotheses, to apply imagination,

and to look for alternative innovative outcomes. These skills are developed and demonstrated

in music when pupils take ownership of their own work and work independently.

Creativity and innovation require pupils not only to define, sense, adapt and change the

problem, but also to generate a range of very different solutions, exploring tangential ideas and

producing an unexpected outcome. Creativity is demonstrated when pupils work imaginatively

and purposefully and produce something that has original features and value (for the pupil, for

others in the group, and/or occasionally for others in the wider community).

Music brings together logical and lateral thought, objective and subjective response, the ability

to follow rules and challenge conventions and to work reflectively and spontaneously in high-

risk situations, eg improvising own part within a public performance. It provides opportunities

to make connections between both related and seemingly unrelated areas of experience and

understanding.

The organisation of the activities in the units into the three stages ‘Introduction’, ‘Exploration’

and ‘Bringing it all together’ is specifically designed to enable the development of creative skills.

The last stage, in which the teacher steps back and allows the pupils to make their own

decisions, is a critical part of enabling creative development. Creativity in music is not just

about thinking skills; creativity can also happen intuitively.

Evaluation skills

These enable pupils to evaluate information, to judge the value of what they read, hear and

do, to develop criteria for judging the value of their own and others’ work or ideas, and to

have confidence in their judgements. These skills are developed and demonstrated in music

when pupils express thoughts and feelings about music with confidence.

16

99_4792_p06_19 13/4/2000 10:23 pm Page 16

Personal, social and health education and spiritual, moral, social and culturaldevelopment

These are essential aspects of music teaching. Music is personal, social and cultural. Many of

the statements in the framework for personal, social and health education (PSHE) and spiritual,

moral, social and cultural (SMSC) aspects are naturally delivered through music teaching.

Music helps pupils to:

PSHE n develop confidence and responsibility and make themost of their abilities, eg sharing opinions andexploring emotions, taking a lead in performing andcomposing activities, recognising and extending theirskills through taking advantage of opportunities tolearn and play a musical instrument outside of theclassroom

n develop good relationships and respect thedifferences between people, eg by creating musictogether in groups, recognising the contribution ofothers, and by experiencing and appreciating musicfrom different times and cultures

Moral development n exercise responsibility in the choices and decisionsthey, and others, make as part of the creative process

n value their own and others’ workn recognise the effect of music, eg its use in advertising,

sound pollution

Social development n share music making, developing a sense of socialcohesion

n recognise the value of different contributions andtheir own responsibility to support and enrich thework of others

n recognise the need for different roles in groupperformance

Cultural development n recognise how music influences and reflects the waypeople think and feel, relating music to the time andplace in which it was created and performed

n analyse, evaluate and reflect on music fromcontrasting traditions and identify how and why someaspects change or stay the same

n identify how their own contribution can change theculture within which they work

Emotional development n explore their own thoughts and feelings andunderstand themselves in relation to others, theirfriends, social networks, culture and environments

17

99_4792_p06_19 13/4/2000 10:23 pm Page 17

In addition, music can help to develop:

Music develops these areas through pupils:

Financial capability n recognising costs of purchase and maintenance ofmusical instruments and sound systems

n managing own finances in the purchase of music CDs

Enterprise and n forming performance groupsentrepreneurial skills n arranging concerts including setting costs of tickets

n selling recordings of own performances

Work-related learning n relating musical processes, eg performing, composing,musical criticism, to similar activities within theprofession

n identifying how own purchases are affected by salespromotion

n working with professionals within and outside of theschools environment

n visiting live musical events

Citizenship

The national curriculum requirements for citizenship become statutory from September 2002.

Schools will need to consider how the citizenship programme of study should be taught. This

scheme does not provide a model for an approach to citizenship, but does suggest where links

between music and citizenship might be made.

Music can contribute to school events. It provides pupils with the opportunity to represent the

school in community, regional, national and international settings and to recognise their own

responsibilities and the need to work towards the common good. They can also discuss issues

raised in the lyrics used in popular music from different times and cultures.

Work at home and outside lessons

Each unit suggests suitable enrichment and extension activities which can be completed outside

teaching time, over and above normal homework activities. Activities are not intended as set

homework, but rather are wider, optional pursuits that might encourage pupils to see the

relevance of music outside the classroom.

In music, suitable tasks could include:

n identifying music that illustrates the main focus of the unit, bringing it to school, and

discussing why they chose it;

n listening to music in many different situations and identifying how and why the music is used;

n practising and developing musical skills on own selected instrument;

n collecting ideas for composition work, for example melodic patterns heard at a railway

station;

n asking parents, carers, grandparents and family friends about the music they enjoy and why

they enjoy it;

n performing in school, regional and national ensembles.

18

99_4792_p06_19 13/4/2000 10:23 pm Page 18

Reviewing existing schemes of work

The introduction of the revised national curriculum in September 2000 provides an opportunity

for departments to review their current schemes of work. The main changes in the music

curriculum are:

n increased emphasis on the need to integrate the three interrelated skills of performing,

composing and appraising, eg to recognise that appraising can happen as a silent part of a

performing activity when the pupil makes improvements between playings;

n increased clarity of the knowledge and understanding which should be applied in all

activities;

n increased recognition of the importance of singing in all key stages;

n increased opportunity to select specific aspects for exploration in depth, especially in key

stage 3;

n the addition of aims for music included in the ‘importance of music’ statement.

When reviewing and revising an existing scheme of work, departments may wish to consider

whether it:

n covers the revised programme of study;

n provides a long- and medium-term plan that is clearly linked to the revised programme of

study and level descriptions;

n provides a basis from which to plan lessons on a daily or weekly basis to meet the needs of

all pupils in the class;

n provides an appropriate balance of experiences and sufficient depth and breadth to achieve

expectations;

n links teaching activities to the key learning objective;

n identifies what pupils are expected to learn by the end of a specified period, and how pupils’

learning might be assessed;

n shows how musical skills and experiences developed outside the classroom can support and

be extended by the work in the classroom;

n shows how the work could be enriched by other musical experiences;

n ensures practical work is underpinned and extended by musical knowledge;

n highlights links between music and other subjects and broader educational aims, eg PSHE;

n is challenging for pupils of different abilities and aptitudes in each year of the key stage;

n motivates pupils, enabling them to understand and review their own learning and set targets

for improvement;

n indicates opportunities for day-to-day assessment for learning and for summative

assessment.

More guidance on reviewing or producing a scheme of work can be found in appendix 6.

19

99_4792_p06_19 13/4/2000 10:23 pm Page 19

20

Section three: using the scheme of work

Key stage 3 schemes of work

Unit 1 Bridging unit (exploring musical proce

About the unitThis unit develops pupils’ understanding of the process of composing by creating and performing music in response to musical and non-musical stimuli. It provides an opportunity for pupils new to the school to develop and demonstrate musical skills, knowledge and understanding achieved in years 5 and 6.

During the unit pupils will explore how sounds can be used descriptively, rhythmically and melodically to create a composition.

This unit is expected to take 5–14 hours.

Where the unit fits inThis unit builds on all units in the key stage 2 scheme of work. It covers the same content as the final unit in the key stage 2 scheme of work. It presents an opportunity to extend ideas further and share previous experiences. It will give an indication of the level of attainment of pupils in the class and highlight areas for future development.

ExpectationsAt the end of this unit

most pupils will: create and perform music that reflects given intentions and uses notation as a support; maintain their own part with awareness of the whole ensemble; describe, compare and evaluate music created by the class using a musical vocabulary

some pupils will not have made so much progress and will: create and

perform music that meets intentions and combines sounds with some awareness of the combined effect; recognise how musical elements are combined and used expressively

some pupils will have progressed further and will: take the lead in

creating and performing and provide suggestions for others; make connections between the different stimuli provided and use musical devices such as melody, rhythms, chords and structures

PrioIt is he• perf• used• liste

LanThrou• sou

tem• pro• con

ResResou• stim• sou• mus

com

FutuPupils• use • coll• iden

EnriLearn• disc• atte

even

Each unit is set out in the same way.

Title of the unitEach unit has a title and a number. The

units can be delivered consecutively, from

the lowest to the highest, although this is

only a suggestion.

About the unitThis sets out the main focus of the

teaching and learning and describes the

range of activities.

Where the unit fits inThis indicates how the work in this unit

relates to learning in other units in this

scheme, in the key stage 2 scheme and in

schemes for other subjects.

ExpectationsThese are broad descriptions of what most pupils will

know and be able to do at the end of the unit. They

also describe the range of responses that might be

achieved by those attaining above or below the

standard expected for the year group. They are based

on the level descriptions.

•

•

•

•

99_4792_p20_21 13/4/2000 10:23 pm Page 20

21

Music Year 7

sical processes)

erform

n as a n part le re and he ulary

de so e and

ounds e how ined

sed in

nd hers;

the and

nd

Prior learningIt is helpful if pupils have:• performed rhythmically and with control of pitch• used sounds descriptively in response to different stimuli• listened to and performed a wide range of music and used notations

Language for learningThrough the activities in this unit pupils will be able to understand, use and spell correctly words relating to:• sounds, eg pitch, getting higher/lower, phrase, note cluster, duration, longer/shorter, pulse, rhythm, metre,

tempo, timbre, texture• processes, eg use of graphic and rhythmic notation, composing, arranging, improvising, performing• context, eg intentions, purpose, venue, occasion

ResourcesResources include:• stimulus: words, images and musical material, songs• sound sources: a range of instruments (acoustic and electronic, tuned, untuned)• music: music that demonstrates the use of different stimuli, eg the environment, musical ideas, a

commission for a particular occasion

Future learningPupils could go on to:• use other starting points, eg words, poetry, pictures, for compositions• collect ideas and starting points for future compositions• identify purposes and stimuli used for different compositions

EnrichmentLearning could be enriched through:• discussing with composers their approach, either via the internet or in person• attending concerts that include written or spoken notes by the composer, giving views on the music after the

event

Prior learningThis is the knowledge and skills

that it will be useful for pupils to

have before they start the unit. It

includes a list of any units they

need to have covered already.

Language for learningThis sets out the relationship

between pupils’ developing

understanding of language and the

knowledge and skills in the unit. It

lists the vocabulary and language

concepts that pupils will need and

shows how these can be built upon

and extended.

ResourcesThis lists the resources that are

needed for the unit. It includes

reference to possible repertoire.

The intention is that pupils listen

to music in two ways. They

should listen to:

n a number of short extracts

selected to develop breadth

of experience and reinforce

learning in the unit;

n one piece several times to

develop depth of

understanding and to

encourage a greater

engagement with the music.

Any examples provided can be

changed, provided the breadth

of music from different times

and cultures is maintained.

Guidance on copyright can be

found in appendix 7.

Future learningThis section describes how the

unit could be adapted for more

able pupils. This includes

reference to how pupils’ other

musical skills and experiences

developed outside the classroom,

eg specialist instrumental tuition,

could be used within the unit. It

also includes ways in which the

learning achieved throughout

the unit could be celebrated

within and beyond the school.

EnrichmentIllustrations are given of how the

unit could be enriched and

supported through work outside

of the classroom. This could

include visits to outside events,

involvement of the community

and work with visiting arts

practitioners.

•

•

•

•

•

99_4792_p20_21 13/4/2000 10:23 pm Page 21

22

Key stage 3 schemes of work

1

Introduction: how do composers begin to compose?

• how music is composed from a variety of different stimuli

• Introduce the challenge: pupils will compose music using a range of different sounds and musical ideas in response to a problem set by a composer’s notebook.

• Play music that was inspired by different stimuli, eg the countryside, a commission, a personal experience, a musical idea. Discuss why and how the music was composed. Add information about the background, eg the society, time and venue.

• Sing songs that reflect different stimuli, eg a story, a mood.

Exploration: what different starting points can be used to stimulate composition?

• how sounds can be used descriptively

• Images as a starting point: as a class, explore the use of voice sounds to create different images, eg windswept hills, eerie space, humming machines/computers. Ask individual pupils to suggest other images and demonstrate how voices could be used.

• Try using instruments. Ask individual pupils to suggest instruments and how they could be played to describe the images suggested so far.

• Using a simple score, made up of symbols invented by the pupils and written in response to an image, ask the class to suggest instruments which could play each shape.

• Either give each pupil an instrument or divide the class into four groups. Let each pupil/group perform in turn. Discuss how the performance matched or did not match the symbols. Remember that the voice can be used as an instrument.

Possible teaching activitiesThese activities are designed to

enable pupils to develop the

knowledge and skills outlined in

the objectives. Each unit contains

three subsections:

n Introduction – the starting point

for the unit. This highlights the

focus and often sets the

challenge to the class;

n Exploration – the range of

activities that could be used to

develop knowledge, skills and

understanding defined in the

key learning objective;

n Application – the task that will

provide an opportunity for

pupils to consolidate and

demonstrate the learning

achieved through the unit.

Some sections and activities will

take longer than others, and

teachers will need to judge which

activities to emphasise for a

particular group of pupils. For

example, it may be more effective

in one unit to emphasise

exploration. Conversely, it may be

more effective to emphasise

application, encouraging pupils to

improve the quality of their work

through several stages of practice,

refinement, rehearsal and

evaluation before presenting the

final result.

Learning objectivesThese outline the small steps involved in building up the

knowledge, skills and understanding that are the focus of the

unit. They include both learning objectives related to music and

broader objectives, such as literacy objectives.

••

23

Music unit 1

• identify different starting points for composing music

• Emphasise that composers take inspiration from a wide range of different ideas, both musical and non-musical. The stimulus could be a mood or a musical idea. This is a realistic task reflecting the way many composers work.

• use their voices confidently and descriptively in response to given images

• choose instruments and control a range of sounds

• perform using notation as a support

• learn meanings and spellings of basic vocabulary

• Identify pupils who are able to provide suggestions and comment on how the sounds could be improved. Give these pupils an opportunity to make further suggestions.

• Display instruments so that pupils can point to an instrument if they have not met it before.

• Encourage the class to analyse the extent to which the performance matched the symbols. Use a variety of symbols. Note those pupils who identify the small details, eg when one sound stops as the next starts.

• Throughout this unit help the pupils to use appropriate vocabulary.

Learning outcomesThese outcomes are a way of assessing the extent to which

pupils have met the learning objectives. They provide

opportunities for checking progress while teaching the unit,

and can be used when deciding whether the pupils are ready to

move on to the next activity. They can also be used when

reviewing work with the pupils. Teachers are not expected to

keep detailed records of each pupil’s progress in relation to the

learning outcomes.

Points to noteThis section can include points on teaching the content of the

unit, class management, health and safety, homework and

extension activities. It also highlights links with other units

within the scheme, with the schemes for key stage 2, and with

other curriculum areas where similar ideas might be taught.

• •

3 Soundscapes 1 Bridging unit (exploring acoustic and 4 Musical cycles 5 Musical clichés 6 Shanty time(exploring 2 Form and structure electric sounds and (exploring cyclic (exploring the way (exploring musicalmusical processes) (exploring structures) using music technology) patterns) music is used) arrangements)

n Western classical orchestral music; folkmusic – sea shanties

n Music from early westerns; Indian filmmusic; Eastern art forms; sound effectsused on game shows; theme tunes;electronic games

n Music from Java, Africa and Indiaincluding North Indian classical

n Late twentieth-century music that usesacoustic and electronic sound sources;popular music

n Call and response songs; selection ofclassical, folk and popular vocal andinstrumental music which uses ternaryand rondo form

Repertoire*

n improvise, refine and create rhythmicand melodic material based on givenmusical ideas; maintain avocal/instrumental part in a groupperformance; recognise, describe andanalyse simple musical arrangements

n improvise, refine and create musicalmaterial and maintain their ownvocal/instrumental part in groupperformances; identify and describeparticular musical clichés

n perform rhythmically, compose andimprovise with given structures, usingmnemonic notation; analyse andcompare musical features withawareness of how different parts fittogether

n create a soundscape to a givennarrative, effectively selecting and usinga range of acoustic and electronicsounds; explain how different soundscan be created, imitated, manipulatedand replayed using music technology

n improvise and create rhythmic andmelodic material within given structuresand maintain a vocal/instrumental part;analyse and describe musical structuresusing the appropriate technical termsand vocabulary with awareness of howdifferent parts fit together

n create and perform music that reflectsgiven intentions and uses notations as asupport; maintain their own part withawareness of the whole ensemble;describe, compare and evaluate musiccreated by the class using a musicalvocabulary

Expectationsmost pupils will:

n the processes of arranging, eg usingharmonic accompaniment, bass line,melodic material, rhythmic material,descant, question and answer, timbralqualities, improvisation, introduction,interlude, coda, using notations

n context, eg how the mood and effect ofthe song can be enhanced through anarrangement

n sounds, eg musical elements, major,minor

n instrumental techniques, eg glissando,tremolo

n processes, eg the use of clichés andconventions

n context, eg how clichés may be relatedto a particular genre

n sounds, eg cyclic pattern, linearstructure, balygon, rag, polyrhythmic

n instruments, eg sitar, tabla, gamelann processes, eg composing using cyclic

patterns, using mnemonic notationn context, eg the effect of cyclic patterns

on the listener

n music technology, eg acoustic,electronic, sampler, synthesiser, delay,reverb, vocoder, analogue, digital,envelope, recording, minidisk, tape,microphone, stereo, multitrack

n processes, eg composing using acousticand electronic sounds, recordingtechniques, using a storyboard

n context, eg the effect of ICT on the waymusic is created, performed and heard

n form and structure, eg call andresponse, verse and chorus, round,ostinato, pentatonic, repetition, binary,ternary, rondo form

n processes, eg composing andimprovising using structures, structuralnotation such as ABA

n context, eg how structures are used indifferent times and places

n sounds, eg pitch, getting higher/lower,phrase, note cluster, duration,longer/shorter, pulse, rhythm, metre,tempo, timbre, texture

n processes, eg use of graphic andrhythmic notations, composing,arranging, improvising, performing

n context, eg intentions, purpose, venue,occasion

Vocabulary

n This unit develops pupils’ ability toanalyse and create their ownarrangements.

n This unit develops pupils’ ability torecognise, analyse and use a range ofmusical clichés used in different musicalgenres.

n This unit develops pupils’ ability toidentify and create music based oncyclic patterns.

n This unit develops pupils’ ability toexplore sounds and compose usingboth acoustic and electronic soundsources.

n This unit develops pupils’ ability torecognise, explore and use differentmusical structures and understand howthey can create different effects.

n This unit develops pupils’ understandingof the process of composing by creatingand performing music in response tomusical and non-musical stimuli.

Key learning objectives(About the unit)

10 Hooks and riffs7 Variations 8 Jazz improvisation 9 Music for dance (exploring riffs, hooks and 11 The overture(exploring ways to (exploring musical (exploring musical grounds and the use (exploring introductions anddevelop musical ideas) improvisation) conventions) of music technology) the development of themes)

n Classical overtures from Baroque to present day;modern musicals; Italian and French opera

n Popular music forms of groove, ballad andstandard pop song; Baroque ground bass

n Gota and other related music from African Jazz music from different times and placesn Variations across time including Western classicaland contemporary examples

Repertoire*

n recognise and create musical introductions withunderstanding of how themes can be used todescribe different characters or moods; composemusic for different occasions; evaluate howvenue, occasion and purpose affect the waymusic created and heard

n identify, perform and create hooks and riffswithin a song structure; recognise their owncontributions to group performances, taking asolo part; evaluate how purpose can affect theway music is used

n identify rhythmic patterns; play a part in aninstrumental ensemble together with othermembers of their class, with confidence andindependence; analyse and compare differentmusical examples

n improvise motifs, patterns and riffs withconfidence and with given structures; recognisedifferent roles within group improvisation;analyse and compare musical features

n identify and explore a range of musical devicesand processes; improvise melodic and rhythmicmaterials within variation form; performinstrumentally and vocally with accuracy andconfidence

Expectationsmost pupils will:

n sounds, eg melody, theme, scale, introduction,overture, transition, pivotal chord, fanfare

n processes, eg composing an overture that usesthemes to create an intended effect, composingsignature tunes

n context, eg how the overture sets the scene

n sounds, eg riff, hook, ground (eg bass), verse,chorus, sequence, sequencer, lyrics, melody,rhythm

n devices, eg intro, verse, chorus, ballad, grooveform

n processes, eg composing popular music n context, eg the effect of a repeated riff on the

listener so that it quickly becomes familiar, andthe use of this effect for commercial gain

n sounds and devices, eg ostinato, cyclic patterns,strong beat, weak beat, tempo

n processes, eg using mnemonics, rhythms,melodic material, roles of performers

n context, eg when and where African dancemusic is performed

n sounds, eg blues, blues scale, motif, riff, diatonicharmony, call and response, chord patterns

n processes, eg use of chord symbols, roles ofperformers

n context, eg the effect of improvisation andcompositions on the performer and the listener

n sounds and devices, eg chord, mode, major,minor, tempo, metre, inversion, retrograde,ornamentation, variation form

n processes, eg developing musical ideas based ongiven material

Vocabulary

n This unit develops pupils’ ability to recognise andcompose within the musical genre of overture.Pupils learn how different themes can be used,eg to provide musical contrast, to describedifferent characters, events or moods, to suggesta particular time or place.

n This unit develops pupils’ ability to identify,explore and make creative use of given musicaldevices to create an intended effect.

n This unit develops pupils’ ability to recognise,perform and create African dance music with anunderstanding of musical conventions andprocesses, eg the use of mnemonics.

n This unit develops pupils’ ability to identify,explore and make creative use of musical devicesfound in jazz.

n This unit develops pupils’ ability to recognise,explore and make creative use of devices foundin variation form.

Key learning objectives(About the unit)

Year 8

Appendix 1: long-term plan Year 7

*This is based on the information included in the resource section in each unit.

99_4792_p24_25 14/4/2000 12:07 am Page 24

12 Bhajan/qawwali 13 Music and media 14 The concerto 15 Song (exploring songs(exploring Indian (exploring how music (exploring characteristics and the use of musicmusical genres) is used) of a selected genre) technology)

n Songs from across time and culture includingpopular songs

n Concertos from Baroque to present day; relatedmusic that balances soloist with ensemble suchas jazz

n Indian classical bhajans; songs of surdasn A wide range of music used in media fromWestern classical to contemporary popular

Repertoire*

n develop musical ideas, within structures, withunderstanding of the processes and influence ofthe context in which the music will be heard;compose within fixed parameters and to adeadline; understand how some songs becomepopular and succeed in the commercial musicworld and how music technology can be used

n have some understanding of the interactionbetween different musical resources; plan astructure for a concerto and perform their ownpart within a group performance, making subtleadjustments to fit own parts into the ensemble

n create music that enhances a visual stimulus,such as film or advertising; evaluate how musicis used in different situations

n recognise and explore devices used inbhajan/qawwali and perform them with anunderstanding of the different processes andcontexts; select and make expressive use oftempo, dynamics, phrasing and timbre; makeimprovements in the light of the chosen style.

Expectationsmost pupils will:

n sounds and devices, eg form, structure,arrangement, ballad, pop standard, rhythm andlead, string pad, commercialism, sequencer,cut–copy–paste, general MIDI, backing track,acoustic, electronic.

n processes, eg composing to a brief, writing asong

n context, eg the influence of ICT on performance(the use of miming), commercialism

n sounds and devices, eg concerto grosso, tutti,virtuoso, cadenza, concertante

n processes, eg composing and performing withinan established genre

n context, eg how the concerto provides anopportunity to exploit individual instruments andhow this reflects developments in availableresources

n sounds, eg discord, resolution, major, minor,chromaticism, dynamics, timbre, texture

n processes, eg linking music to other forms ofexpression

n contextual influences, eg media, advertisement,incidental music, soundtrack

n the genre of bhajan/qawwali, eg asthayi, refrain,antara, stanza, rag, tal, mukhra

n context, eg how devotional music is part ofculture

Vocabulary

n In this unit, pupils learn to recognise andunderstand how composers structure songs andhow instrumental arrangements can play animportant part in the success of popular songs.

n This unit develops pupils’ ability to recognise anduse characteristics of the concerto withunderstanding of how different parts interact.

n This unit develops pupils’ ability to recognise andcompose with understanding that music canenhance a visual image or sell a product.

n The unit develops pupils’ ability to identify,explore and perform bhajan/qawwali withunderstanding of its conventions and context.

Key learning objectives(About the unit)

Year 9

*This is based on the information included in the resource section in each unit.

99_4792_p24_25 14/4/2000 12:07 am Page 25

Appendix 2: selecting content – areas of knowledge in the scheme

Unit Title Focus Accumulative knowledge and understanding

1 Bridging unit Process of composing music to a brief Descriptive use of sounds to create an image; selecting instruments, rhythmic ideas, pulseand metre; melodic ideas, phrase and note clusters; rhythmic and graphic notation; musicalintentions

2 Form and structure Device of structure Call and response, verse and chorus, round, ternary, rondo; contrasted sections and linksbetween sections; using a musical storyboard; recording techniques

3 Soundscapes Using technology (impact of ICT on music) Difference between acoustic and electronic sounds; sampled sounds; identifying significantfeatures and plotting changes in music; sound shapes, envelope, reverb, vocoders; creatingsoundscapes combining different sound sources

4 Musical cycles Device of cyclic patterns (process of notating music using mnemonics) Difference between cyclic and linear patterns; mnemonic notation; structural signals; tempochange; repeated patterns, improvised patterns, timbral change, open/closed sounds;analysis of structure and form

5 Musical clichés Using music to create an intended effect Music and meaning – a ‘programmed’ response; fanfare; beginnings and endings;instrumental techniques, eg glissando; use of major/minor, faster/slower; creatingunexpected response

6 Shanty time Process of arranging Chords, triads, major, minor, tonic, dominant; singing techniques; bass line; question andanswer; musical styles (from keyboard settings); texture; introduction, interludes, coda;characteristic instrumental sounds

7 Variations Devices to develop musical ideas Changing rhythmical ideas using word patterns; changing mode, tempo, timbre; sequence,inversion, retrograde, ornamentation; fitting two melodies together, use of harmony, chordsequences, writing melodies to harmony; chord symbols

8 Jazz improvisation Process of improvising 12-bar blues; motif; changing pitch, rhythms; looping; inversion; diatonic harmony, chords I–VII; rhythmic styles such as bossa nova, swing, slow rock; backing track; chordpatterns; riff; difference between improvised and reflective composed sounds; effect on audience

9 Music for dance Conventions and procedures used in African dance music Convention; different pulse occurring at the same time; interlocking rhythmical parts;open/closed sounds; mnemonic notation; names of African instruments; tempo markings,eg 100 beats a minute; roles of performers in an ensemble

10 Hooks and riffs Devices of riffs, hooks and grounds (intended effect) Devices; hook, melodic hook, rhythmic hook, verbal hook; standard pop song form; intro,verse, chorus, outro; ballad form; groove form; lyrics; riff; ground; bars; sequencer; MIDI;

11 The overture Using music to create an intended effect Introductions; setting the scene with images, words and sounds; themes; characterisation;linking themes, transitions; pivotal chord; signature tunes; theme tunes

12 Bhajan/qawwali Conventions and procedures used in Indian music Devotional music, religious music; asthayi, antara, mukra, rag, tal

13 Music and media Using music to create an intended effect Using music to enhance a visual image; using lyrics, instrumental colour, structure,repetition, discords, chromaticism, gradations of tempo, dynamics, major, minor, atonal;effect of music in different situations

14 The concerto Conventions used in the genre of concerto Main musical ideas; cadenza; interplay between instruments and large/small groups; musicaldialogue; concerto grosso, solo concerto

15 Song Process of composing to a brief Song as a universal genre; song structure; why songs become popular; contrastingmelodies; instrumental arrangements; deadlines; ethics of mimed performance

99_4792_p26 13/4/2000 10:24 pm Page 26

Trad

itio

nM

ost

units

incl

ude

exam

ples

of

Wes

tern

cla

ssic

al m

usic

and

com

pare

mus

ic a

cros

s tim

e an

dpl

ace

Wes

tern

cla

ssic

al

Oth

er w

orl

dtr

adit

ion

s

Pop

ula

r, fo

lk

and

jazz

Ap

pen

dix

3: s

elec

tin

g c

on

ten

t –

mu

sica

l rep

erto

ire

The

inte

rrel

ated

ski

lls o

f pe

rfor

min

g, c

ompo

sing

and

app

rais

ing

are

deve

lope

d w

ithin

all

units

.

Each

uni

t al

so d

evel

ops

liste

ning

ski

lls a

nd t

he a

pplic

atio

n of

mus

ical

kno

wle

dge

and

unde

rsta

ndin

g of

how

mus

ic is

:ß

cons

truc

ted,

eg

the

use

of e

lem

ents

, de

vice

s, t

onal

ities

and

str

uctu

res;

ßpr

oduc

ed,

eg t

he u

se o

f re

sour

ces,

con

vent

ions

, pr

oces

ses

and

proc

edur

es,

incl

udin

g th

e us

e of

rel

evan

t no

tatio

ns;

ßin

fluen

ced,

eg

the

effe

ct o

f in

tent

ion,

use

, ve

nue,

occ

asio

n, r

esou

rces

, in

clud

ing

ICT,

the

cul

ture

and

sig

nific

ant

indi

vidu

als.

Yea

r 6

21 B

ridgi

ng u

nit

Ong

oing

ski

llsin

all

units

Mel

odic

ski

lls,

rhyt

hmic

ski

lls,

desc

riptiv

e sk

ills

in a

ll un

its

Cla

ss p

erfo

rman

ce

Year

9

Uni

t 14

The

con

cert

o

Uni

t 13

Mus

ic a

nd m

edia

Uni

t 12

Bha

jan/

qaw

wal

i

Uni

t 15

Son

g

Year

8

Uni

t 7

Varia

tions

Uni

t 11

The

ove

rtur

e

Uni

t 9

Mus

ic f

or d

ance

Uni

t 10

Hoo

ks a

nd r

iffs

Uni

t 8

Jazz

impr

ovis

atio

n

Year

7U

nit

1 Br

idgi

ng u

nit

Uni

t 2

Form

and

str

uctu

re

Uni

t 5

Mus

ical

clic

hés

Uni

t 4

Mus

ical

cyc

les

Uni

t 3

Soun

dsca

pes

Uni

t 6

Shan

ty t

ime

99_4792_p27 13/4/2000 10:24 pm Page 27

28

Appendix 4: progression in music

Level 3 – pupilsrecognise and explorethe ways in whichsounds can becombined and usedexpressively

Level 4 – pupils identifyand explore therelationship betweensounds and how musicreflects differentintentions

For example they:

n sing in tune withexpression

n perform rhythmicallysimple parts that use alimited range of notes

n improvise repeatedpatterns

n combine several layers ofsound with awareness ofthe combined effect

n recognise how thedifferent musicalelements are combinedand used expressively

n make improvements totheir own work,commenting on theintended effect

For example they:

n perform by ear and fromsimple notations

n maintain their own partwith awareness of howthe different parts fittogether and the need toachieve an overall effect

n improvise melodic andrhythmic phrases as partof a group performance

n compose by developingideas within musicalstructures

n describe, compare andevaluate different kindsof music using anappropriate musicalvocabulary

n suggest improvements totheir own and others’work, commenting onhow intentions havebeen achieved

For example they:

n perform significant partsfrom memory and fromnotations with awarenessof their own contribution,such as leading others,taking a solo part and/orproviding rhythmicsupport

n improvise melodic andrhythmic material withingiven structures

n use a variety of notationsand compose music fordifferent occasions usingappropriate musicaldevices such as melody,rhythms, chords andstructures

n evaluate how venue,occasion and purposeaffect the way music iscreated, performed andheard

n refine and improve theirwork

For example they:

n select and makeexpressive use of tempo,dynamics, phrasing andtimbre

n make subtle adjustmentsto fit their own part withina group performance

n improvise and compose indifferent genres andstyles, using harmonic andnon-harmonic deviceswhere relevant, sustainingand developing musicalideas and achievingdifferent intended effects

n use relevant notations toplan, revisit and refinematerial

n analyse, compare andevaluate how musicreflects the contexts inwhich it is created,performed and heard

n make improvements totheir own and others’work in the light of thechosen style

Level 5 – pupils identifyand explore musicaldevices and how musicreflects time and place

Level 6 – pupils explorethe different processesand contexts ofselected musical genresand styles

Expected attainments for the end of year 9

99_4792_p28_29 13/4/2000 10:23 pm Page 28

29

7 – Rain, rain, go away: Exploringthe expressive elements – timbre,tempo, dynamics

6 – What’s the score?Exploring instruments andsymbols

5 – Taking off: Exploring pitchLevel 7 – pupilsdistinguish between,and exploit, musicalconventions andinfluences in selectedgenres, styles andtraditions

Level 8 – pupilsdiscriminate and exploitthe characteristics andexpressive potential ofselected musicalresources, genres, stylesand traditions

Exceptional – pupilsdiscriminate anddevelop differentinterpretations

For example they:

n perform in differentstyles, making significantcontributions to theensemble and usingrelevant notations

n create coherentcompositions drawing oninternalised sounds, andadapt, improvise,develop, extend anddiscard musical ideaswithin given and chosenmusical structures,genres, styles andtraditions

n evaluate, and makecritical judgementsabout, the use of musicalconventions and othercharacteristics and howdifferent contexts arereflected in their ownand others’ work

For example they:

n perform, improvise andcompose extendedcompositions with asense of direction andshape, both withinmelodic and rhythmicphrases and overall form

n explore different styles,genres and traditions,working by ear and bymaking accurate use ofappropriate notationsand both following andchallenging conventions

n discriminate betweenmusical styles, genresand traditions,commenting on therelationship between themusic and its culturalcontext, making andjustifying their ownjudgements

For example they:

n express their own ideasand feelings in adeveloping personal styleexploiting instrumentaland/or vocal possibilities

n give convincingperformances anddemonstrate empathywith other performers

n produce compositionsthat demonstrate acoherent development ofmusical ideas,consistency of style and adegree of individuality

n discriminate andcomment on how andwhy changes occurwithin selected traditions,including the particularcontribution ofsignificant performersand composers

99_4792_p28_29 13/4/2000 10:23 pm Page 29

Ap

pen

dix

5: f

ocu

s an

d c

ove

rag

e o

f th

e u

nit

s

1 Co

ntro

lling

sou

nds

2 Cr

eati

ng a

nd

3 Re

spon

ding

and

4

List

enin

g, a

nd a

pply

ing

know

ledg

e an

d de

velo

ping

re

view

ing

unde

rsta

ndin

g

a Si

ngin

gb

Play

ing

c To

geth

era

Impr

ovisi

ngb

Refle

ctiv

e a

Expr

ess

b Im

prov

ea

Aur

al

b El

emen

ts/

c Pr

oces

ses

Not

atio

nd

Con

text

Uni

tco

mpo

sing

mem

ory

devi

ces

1 B

rid

gin

g t

he

gap

°l

°°

l°

l°

°°

l

2 Fo

rm a

nd

str

uct

ure

ll

°l

l°

l°

°°

l

3 So

un

dsc

apes

°l

°°

ll

l°

°°

l

4 M

usi

cal c

ycle

s°

°l

ll

ll

°°

°

5 M

usi

cal c

lich

és°

°°

°l

°l

°°

°l

6 Sh

anty

tim

el

ll

ll

°l

°l

°°

lar

rang

ing

lus

e of

conv

entio

ns

lm

nem

onic

sl cycl

icpa

tter

ns

lus

ing

ICT

lst

ruct

ure

lco

mpo

sing

lm

ain

fo

cus

for

wo

rk°

area

s co

vere

d

Perf

orm

ing,

com

posi

ng a

nd a

ppra

isin

g sk

ills

are

deve

lope

d in

all

unit

s

Year

7

99_4792_p30_32 13/4/2000 10:21 pm Page 30

1 Co

ntro

lling

sou

nds

2 Cr

eati

ng a

nd

3 Re

spon

ding

and

4

List

enin

g, a

nd a

pply

ing

know

ledg

e an

d de

velo

ping

re

view

ing

unde

rsta

ndin

g

a Si

ngin

gb

Play

ing

c To

geth

era

Impr

ovisi

ngb

Refle

ctiv

e a

Expr

ess

b Im

prov

ea

Aur

al

b El

emen

ts/

c Pr

oces

ses

Sym

bols

d C

onte

xtU

nit

com

posin

gm

emor

yde

vice

s

7 V

aria

tio

ns

l°

°l

l°

l°

°°

°

8 Ja

zz im

pro

visa

tio

nl

l°

l°

°l

l°

l°

9 M

usi

c fo

r d

ance

°l

l°

°°

l°

°°

l°

10 H

oo

ks a

nd

rif

fsl

°°

°l

°l

°l

l°

l

11 T

he

ove

rtu

re°

l°

°l

ll

°l

°°

l

lch

ord

lva

riatio

n

Perf

orm

ing,

com

posi

ng a

nd a

ppra

isin

g sk

ills

are

deve

lope

d in

all

unit

s

Year

8

lm

ain

fo

cus

for

wo

rk°

area

s co

vere

d

99_4792_p30_32 13/4/2000 10:21 pm Page 31

1 Co

ntro

lling

sou

nds

2 Cr

eati

ng a

nd

3 Re

spon

ding

and

4

List

enin

g, a

nd a

pply

ing

know

ledg

e an

d de

velo

ping

re

view

ing

– un

ders

tand

ing

a Si

ngin

gb

Play

ing

c To

geth

era

Impr

ovisi

ngb

Refle

ctiv

e a

Expr

ess

b Im

prov

ea

Aur

al

b El

emen

ts/

c Pr

oces

ses

Not

atio

nd

Con

text

Uni

tco

mpo

sing

mem

ory

devi

ces

12 B

haj

an/q

aww

ali

l°

°l

°°

ll

l°

°

13 M

usi

c an

d m

edia

°l

°°

ll

l°

°l

°l

14 T

he

con

cert

o°

°l

ll

°l

°l

°°

°

15 S

on

gl

°l

°l

ll

°l

ll

l

Perf

orm

ing,

com

posi

ng a

nd a

ppra

isin

g sk

ills

are

deve

lope

d in

all

unit

s

Year

9

lm

ain

fo

cus

for

wo

rk°

area

s co

vere

d

99_4792_p30_32 13/4/2000 10:21 pm Page 32

Appendix 6: principles for constructinga scheme of work in music

33

The following guidance may be helpful for teachers who want to review or create their own

scheme of work.

Defining a key-stage plan

A key-stage plan for music:

n takes account of the circumstances of the school and its aims and purposes;

n is a whole-school plan agreed by all staff;

n is based on the requirements for music for the appropriate key stage;

n sets out an agreed time allocation for music per year for each year group or mixed-age class;

n identifies the specific skills that need regular ongoing development, for example singing,

listening;

n defines how time is to be used, for example in weekly sessions and/or short regular periods

supported through more extended sessions;

n makes clear school priorities, for example personal, social and health education.

Constructing a scheme of work for music

When developing a scheme of work for music, teachers will need to make decisions about

appropriate depth, breadth and balance.

Depth

Teachers may find it helpful to:

n identify the key learning objectives for each programme of units – this should include

specific skills and knowledge, such as the conventions used within the selected genre, style

or tradition;

n define the vocabulary pupils are expected to understand and use in each unit – this will be

directly related to the key learning objectives;

n define the broad outcomes expected of the majority of the class;

n differentiate outcomes by including expectations for those who may not make so much

progress, but still achieve within the unit, and the expectations for those who may make

more progress.

Depth and balance

It is important to check that there is an appro