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6026 MUSIC SYLLABUS T NORMAL (TECHNICAL) LEVEL (2013)

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MUSIC Syllabus TGCE Normal (Technical) Level

(Subject 6026)

INTRODUCTION

The Normal (Technical) Music syllabus offers an alternative pathway of musical development at thesecondary level.

The syllabus provides a broad-based music education while being relevant to the needs and requirements of

the growing music and music-related industries. It recognises that the use of music technology is centraland pertinent to contemporary musical expression and experience, and integrates music technology indeveloping basic skills and creativity. It fosters students musicianship through exposure to a range of musicwith a slant towards popular music.

The prominence of music making activities and coursework promotes an experiential learning approach thatwould engage and motivate N(T) candidates.

Through the syllabus, candidates learn to appreciate the function of music in the larger society and todevelop a lifelong love for music.

AIMSThe aims of the syllabus are to: Enable candidates to acquire a range of musical skills and knowledge Develop basic music technology skills Develop creativity and critical thinking skills through activities of listening and music making Appreciate the function of music in society Provide a basis for further training in music and music-related fields

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SYLLABUS FRAMEWORK

The syllabus is organised into two key areas: Listening and Music Making. Listening develops auralperception skills and a basic understanding of varied musical styles. Music Making develops a range of music skills through performing and creating.

Music Technology permeates the syllabus. Aural discrimination of musical effects mediated through musictechnology is incorporated in Listening . The skills of sequencing and notating are introduced in Music Making .

Figure 1 shows an outline of the proposed syllabus framework.

Figure 1

ASSESSMENT OBJECTIVES

The examination will reward candidates for positive achievement in:

Listening and Understanding

Identification and description of music elements in the context of musical styles Description of music using appropriate terminology Basic notation literacy Basic understanding of music rudiments Acquisition of basic vocabulary in relation to music technology

Music Making

Technical competence on an instrument/voice Aural discrimination and imagination in creating music Use of music technology to create music Demonstration of musicianship though performing and creating for a given context

Music Technology

Listening Music Making

Performing Creating

N T Music

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SCHEME OF ASSESSMENT

Summary of Assessment Scheme

PapersAssessment

Objectives(AO)

Paper 1: WrittenExamination

Paper 2: Coursework

Total AO

Weighting

Listening andUnderstanding

50% 50%

Music Making 50% 50%

Total 50% 50% 100%

Description of Examination Papers

Paper 1: Written Examination 50 marks [50%] 1 hour 10 minutes

There are two parts to this Paper as shown below:Part Question Marks Time

1 Short answer questions and multiple-choice questionsbased on five to six short listening extracts (not morethan one minute each)

35 40 minutes

2 Typesetting task 15 30 minutes

Part 1 assesses the candidates aural perception skills and understanding of music rudiments through shortrecorded extracts. Five to six short extracts with single-stave skeleton scores in conventional Western stavenotation will be set. The duration of each extract will not exceed one minute. Each extract carries57 marks and each question carries 13 marks. The following types of questions may be set:

Open-ended questions Multiple-choice questions Fill-in-the-blanks questions

Part 2 comprises a single typesetting task of 816 bars. A standard score layout for keyboard with chordsymbols will be provided. Candidates will be asked to typeset an identical copy of the piece of music using anotating software. They will be assessed on the accuracy of their work.

Questions in Part 1 and 2 require candidates to demonstrate knowledge and skills listed in the instructionalobjectives (IOs).

The examination will be conducted in the schools computer laboratory. The musical extracts for Part 1 will

be recorded on audio compact disk and made available to every candidate. Centres must ensure thatplayback facilities with headphones are available for each individual candidate. There will be no restrictionon the number of times a candidate may play the recording.

The notation software required in Part 2 will be available on the computers in the laboratory. A MIDIkeyboard will also be available at each computer station to provide an optional tool for candidates who maychoose to use it. The notation software should be capable of the following: Write music using a mouse to place notes and musical symbols Record sounds from a MIDI keyboard and convert the sounds into music notation Edit music through copy, cut and paste Add chord symbols and other text elements Print the complete score

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There will be a short break between Part 1 and Part 2. Access to the internet will be disabled for theduration of this examination.

Paper 2: Coursework 50 marks [50%]

The coursework is an integrated task that requires candidates to create and perform, and to do investigativework.

The question paper provides a brief description of three contexts, from which candidates select two.1

Basedon the chosen contexts, candidates are required to select two short pieces of music, which they will performon an instrument/voice. Candidates may choose to work from a lead-sheet (consisting of a single melodyline with chord symbols); alternatively, they could use another form of written music, or work from auralmemory. Candidates are then required to create a backing track consisting of three to five parts includingthe candidates part using appropriate music technology equipment (e.g. sequencing software/synthesizer)and devices (e.g. looping) for each of the pieces of music. The final arrangements should be contrasting inmusical styles.

Each arrangement should be approximately one to two minutes long and should consist of the followingelements: A melody line Some harmony A bass line A drum part if appropriate to the style Other sound effects, if necessary

One of the parts will be played live by the candidate with the other parts being played electronically at thesame time. The parts should be distinct and should not duplicate the candidates part.

Some background study involving some research and investigation of the original pieces is expected.Candidates are expected to present their findings using a template provided. They would be required to: Briefly describe their chosen pieces and arrangements in relation to the context Focus on musical features Include other relevant information

Candidates are required to perform the final arrangements on an instrument/voice2, accompanied by the

backing tracks they have created, on the synthesizer or computer.

Candidates will be assessed on the following: Aural discrimination and inventiveness as well as use of music technology in creating the backing track

(2 x 10 marks each) Demonstration of musicianship through performing on one instrument/voice

3(2 x 10 marks each)

Background Study (2 x 5 marks each)

Coursework SubmissionCandidates are required to submit the following: A recording of all pre-set auto-accompaniment rhythmic and harmonic patterns and all pre-existing

musical materials used in creating the arrangement An audio recording of the completed backing track (without the candidates performance) A DVD and audio recording of the candidates live performance with the backing track The background study A copy of the music which candidates took as their stimulus (and the source acknowledged)

The audio recordings should be made on compact disc (CD or CDR).

1Examples of contexts are: signature music for a product launch, music for a school event, theme music for a TV serial

programme. Cambridge will provide details of the contexts in a short brief to be issued in the form of a question paper.2 Candidates may choose to offer different instruments (or voice) for the two tasks.3

Basic technical competency expected is equivalent to Grade 2 standard. The assessment rubrics will also includeaccuracy of notes and rhythm, choice and control of tempo, sensitivity to phrasing and expression, and technical control.

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Other Instructions for Paper 2:The creating of the parts should not take more than 30 hours over five consecutive months, commencingfrom March during the examination year, under supervised conditions. Candidates may, however, do thebackground study and rehearse the piece outside the supervision time. The recording of the liveperformance with the backing track is to be carried out under supervised conditions. Candidates may haveup to three trials for the live recording. These must be completed within the same recording session. All the

trials should be submitted without any editing. The recording session is to be scheduled by the examiningauthority.

The coursework recordings and background study will be submitted to Cambridge for marking andmoderation.

Teachers will be required to state the nature and extent of their contribution to the candidates work and tocertify that the coursework submitted is the candidates own work.

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SYLLABUS CONTENT

The syllabus content is organised into three sections: Music Content Instructional Objectives (IOs) VocabularyThe music content introduces a wide range of music (with a slant towards popular genres) through themes Change , Identity and Function . This thematic approach is adopted to help candidates see the relevance of their music study and appreciate the value and function of music in society, while they develop basic auralperception skills and musical understanding. The IOs are the learning outcomes of this syllabus and arelisted according to Listening , Music Technology and Music Making . The syllabus content is supported by alist of vocabulary which candidates are expected to acquire.

MUSIC CONTENTA thematic approach is used to organise the music content in this syllabus. The themes aim to provide acontext to the study of music and guide the selection of music repertoire. Candidates should be exposed tomusic of different styles and traditions through the themes to enable them to develop aural perception skillsand to stimulate music making activities.

The themes are:1. Change2. Identity3. Function

Theme 1: Change

Change focuses on the evolution and differences in musical styles and features.

Examples: Arranged versions of traditional folk songs Jazz versions of classical music pieces Classical versions of pop music

Fusion Remix

Theme 2: Identity

Identity examines different types of music associated with particular groups of people or regions.

Examples: Malay Kompang /Dikir Barat Xinyao

4 or Cantopop

Indian concert music Chinese orchestra Alternative pop/rock Sing Singapore songs Hip-hop

Theme 3: Function

Function examines music in performing and multi-media arts.

Examples: Music for advertisement Dance music Music for theatre/film Ceremonial music

4 Xinyao refers to the songs composed by Singapore youths. A mandarin vocal genre originally accompanied by guitars,it began in the early 1980s among teenage students.

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INSTRUCTIONAL OBJECTIVES

Questions will be derived from the instructional objectives given below. Candidates will not be assessedbeyond the following statements and terms given in the brackets.

Listening

Music Elements

Candidates should be able to: Identify rhythm and tempo

- Follow a pulse/beat- Identify the basic unit (bar)- Identify the use of rhythmic cycle ( tla )- Identify the meter (duple, triple, quadruple)- Identify the rhythmic displacement (anacrusis, syncopation, offbeat)- Identify the tempo changes and describe tempo markings

Describe pitch and melody

- Describe the melody (step, leap, scalic, ascending, descending, slides, sharp/flat, chromatic)- Describe how pitches are heard simultaneously (harmony, intervals, chords, triads,

consonance/dissonance)

- Identify the scale/mode (major, minor, pentatonic, rga ) Identify the texture (solo, group, unison, parts, monophonic, homophonic, polyphonic, interlocking

parts, melody and accompaniment, melody and drone, melody and ostinato/ostinati)

Identify/describe shape and structure- Identify the structure (binary, ternary, 12-bar blues, verse and chorus)- Identify articulation in performances (legato, staccato, accent, slur)- Describe the dynamic changes (e.g. getting louder)- Identify the musical devices (repetition, sequence, ostinato/ostinati, loop, riff, ground bass,

drone/pedal, improvisation, break, fills)

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ListeningInstrumental Timbres/Engineered SoundCandidates should be able to:

Identify the (type of) instrument(s)- String: violin, cello, double bass, sitar/vn , guzheng , yangqin , pipa , erhu, gambus, electric

guitar, bass guitar

- Wind: flute, harmonica, trumpet, saxophone, shawm- Percussion: tabl , rebana , drum kit, maracas, guiro, xylophone, glockenspiel,

kettledrum/timpani, bass drum, snare drum, gong, cymbals, tambourines, triangle, claves- Keyboard: piano

Identify the different ways- String instruments produce different timbres (bowed, plucked, slapped, vibrato)- Percussion instruments produce different timbres (struck, shaken, scraped) Wind instruments produce different timbres (slides, vibrato)

Identify the different effects in music production through the use of music technology(distortion, amplification, increased/decreased volume, reverb, fade in/fade out)

Musical Styles and Contexts Candidates should be able to:

Identify the tradition/style from which the extract is drawn (Western classical, Malay traditional,Chinese classical, Indian classical, jazz, popular)

Identify the style of singing (traditional folk, jazz, rock, heavy metal, classical, rap, pop)

Suggest an appropriate context for the music (advertisement, dance, theatre)

Notation Candidates should be able to:

Follow a single stave skeleton score (in treble or bass clef)

Identify and describe basic elements of the score (key signature, time signature, note-values,clef, bar lines, double bar lines, accidentals, sharp/flat/natural; keys: C, F & G major; A, D andE minor, dynamic markings, articulation markings)

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Music TechnologyMusic IT Hardware and SoftwareCandidates should be able to:

Identify the difference between files in wave (.wav) and MIDI (.mid) formats Identify music technology effects Demonstrate understanding of the different key functions of sequencing and notating software Identify the setup of a multimedia computer system: loudspeakers/headphones; microphone;

screen, printer, soundcard, MIDI interface (often already on the soundcard), MIDI keyboard Set audio preferences in the software Set volume and master volume levels

Music IT Skills Sequencing and audio editing Candidates should be able to:

Create a sequence (in MIDI and wave formats)- Set up track(s)- Record sounds into sequencer - Assign a sound and channel number to track

- Record a sequence track - Work with different tracks in a file

Edit and arrange a sequence- Move, repeat, copy, paste and delete (drag and drop; zoom)- Undo move, repeat, copy, paste and delete- Split, adjoin and erase parts- Quantise track/part- Change the velocity and tempo of the track- Transpose and shift pitches- Change tempo and key- Adjust the volume and panning of the track

- Snap event to grid- Split and join events- Create echo

Save and retrieve sequence- Prepare data to be saved- Save the sequence- Verify that files have been saved correctly- Retrieve and load sequencer files- Convert .mid and .wav files into .mp3 files and vice versa (where applicable)- Export/Save files to different format

Music IT Skills Notating Candidates should be able to:

Prepare a basic score of a standard layout for keyboard with chord symbols- Input using either mouse and/or MIDI keyboard- Add in treble and bass clefs- Add in time and key signatures- Add in notes of rhythmic values (see List of Terms) and their equivalent rests- Add in more than one and up to three pitches sounded simultaneously in each stave- Add in dynamic markings, accidentals, ties, articulation markings- Add in chord symbols- Number the bars - Select appropriate instruments for the music - Add in other text elements in the score (title and composer of piece, tempo markings)

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Music MakingCoursework (Performing and Creating)

Candidates should be able to:

Exhibit technical control of an instrument or voice Perform live on an instrument or voice Create music by manipulating music elements (e.g. tempo, rhythm, pitch, timbre, texture) and

basic musical devices (e.g. sequences, riff, ostinati) using a sequencing software

LIST OF TERMS

This list of terms reflects the concepts and terminology that candidates are expected to have encounteredand used in Listening and Music Making . Candidates may wish to use other relevant terms for which theywill be given credit.

Music

Rhythm andTempo

pulse, beat, bar, time signature, duple, triple, quadruple, anacrusis, syncopation,offbeat, whole-note, half-note, quarter-note, eighth-note, sixteenth-note, dottedhalf-note, dotted quarter-note, dotted eighth-note

5, tla , a tempo , andante ,

allegro , adagio , accelerando , ritardando (rit.), = 240 (or similar tempoindications)

Pitch andMelody

key signature, major, minor, chromatic, pentatonic, intervals (2nd

, 3rd

, 4th

, 5th

, 6th

,7

th, octave, unison, tone, semitone), rga , sharp/flat/natural, melody (step, leap,

scalic, ascending, descending, slides)

Harmony C, F & G major; A, D and E minor

Chords I, II, IV, V, VI of the above keys (using roman numerals or letter names);triads

Consonance; dissonanceTexture solo, group, unison, parts, monophonic, homophonic, polyphonic, interlocking

parts, melody and accompaniment, melody and drone, melody andostinato/ostinati, chordal

Shape andStructure

Articulation and Dynamics

legato, staccato, accent, slur

loud ( f forte ); soft ( p piano ); getting louder ( ); getting softer ( );moderately loud ( mf mezzo forte ); moderately soft ( mp mezzo piano ); veryloud ( ff fortissimo ); very soft ( pp pianissimo )

Structure and Musical/Vocal Devices

Binary (or 2-part form), ternary (or 3-part form), 12-bar blues, verse and chorus,bridge (break, middle eight), fills, pre-chorus

repetition, sequence, ostinato, ground bass, drone/pedal, loop, riff, improvisation,call and response, pause

5 The American system is adopted in describing note values. The system continues from the lower secondary music

syllabus. The terms are also commonly used in sequencing software.

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Music

Timbres/Sound string (violin, viola, cello, double bass, harp, sitr, vn, guzheng, yangqin, pipa,erhu, gambus, electric guitar, bass guitar); wind (recorder, flute, oboe, clarinet,saxophone, bassoon, horn, trumpet, trombone, tuba, harmonica, shawm);percussion (drum kit, tabl, rebana, maracas, guiro, xylophone, glockenspiel,

kettledrum/timpani, bass drum, snare drum, gong, cymbals, tambourines,triangle, claves); keyboard (piano)

Instrumental techniques in creating different timbres

string (bowed, plucked, slapped, vibrato); percussion (struck, shaken, scraped);wind (slides, vibrato)

Effects in music production

distortion, amplification, increased/decreased volume, reverb, fade in/fade out

Others

Synthesised sounds

Musical Styles Western classical; Malay traditional; Chinese classical; Indian classical; Jazz;Rock; Heavy Metal; Rap; Popular; Traditional folk

Context Advertisement, Dance, Theatre

Notation Clef, bar lines, double bar lines

Music Technology

Music IT General

Musical Instrument Digital Interface (MIDI), General MIDI (GM), multimedia,storage media, wave (.wav) file, mp3

Sequencing and Audio editing

channel, program, track, patch, quantising, panning, recording, playback, mute,notating, sequencer, sequencing, looping, grid or piano roll edit; list or eventedit window; drum edit; repeat, split; transport window; arrange window; scorewindow; drag and drop; zoom; split; velocity

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ASSESSMENT CRITERIA FOR COURSEWORK

The total for this paper will be 50 marks. Each piece of coursework will be marked out of 25: 5 marks beingawarded for each of 5 criteria.

(a) Creating: Aural discrimination and imagination

Have candidates created an arrangement which contains all of the musical elements specified in thesyllabus? Have they demonstrated aural discrimination in creating bass lines and chords which fitcorrectly with the melodic material? Have they shown imagination in creating the new parts, payingattention to details such as contrast in order to create a musically convincing backing track?

(b) Creating: Use of music technology

Are candidates able to use technology to fully realise their musical intentions? Do all the different

parts in the backing track fit together correctly? Has consideration been given to issues such asbalance between parts?

(c)(i) Performing: Accuracy of playing the notes and rhythm, and sensitivity to expression andphrase markings (in notated music)

Do candidates know the music well enough to play fluently, without undue hesitancy? Even if thereare technical shortcomings, is there evidence that candidates understand how the music is meant togo? How well do candidates realise any expression markings written into the score by the composer (e.g. dynamics, ornaments)? How sensitive is their phrasing?

OR

(c)(ii) Performing: Quality of improvisation and musical sensitivity (in music that is not notated)

Are candidates able to improvise fluently on the basis of the given materials? Does the improvisationfit suitably with the musical style and/or harmonic implications of the backing track? How sensitive istheir phrasing? To what extent are they able to bring the music to life in their performances?

(d) Performing: Co-ordination with the backing track

Are candidates able to maintain a steady tempo throughout the performance, allowing the liveperformance to be fully co-ordinated with the backing track? Are there fluctuations of tempo that arenot dictated by the backing track, but which may reveal technical problems?

(e) Background Study

Have candidates shown that the music they have chosen is related to the given context? Does thebackground study focus on musical features? Is the information in the study relevant and accurate?

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A mark out of 5 must be awarded under each of the following headings:

(a) Creating: Aural discrimination and imagination

DESCRIPTOR MARK

The arrangement fully meets the syllabus requirements anddemonstrates excellent aural discrimination and imagination.

5

4

The arrangement partially meets the syllabus requirements anddemonstrates moderate aural discrimination and imagination.

3

2

The arrangement meets few of the syllabus requirements anddemonstrates poor aural discrimination and imagination.

11st Piece 2nd Piece

The arrangement does not meet the syllabus requirements anddemonstrates hardly any aural discrimination and imagination.

0

(b) Creating: Use of music technology

DESCRIPTOR MARK

Excellent use of technology which fully realises the musicalintentions and creates a fully convincing backing track.

5

4

Moderate use of technology which partially realises the musicalintentions and creates a generally convincing backing track.

3

2

Poor use of technology which does not realise the musicalintentions and creates a generally unconvincing backing track.


Hardly any use of technology. 0

(c) Performing: Accuracy of notes and rhythm, and sensitivity to expression and phrase markingsOR Quality of improvisation and musical sensitivity

DESCRIPTOR MARK

Entirely accurate and consistently maintained throughout OR a highquality of fluent improvising.Suitably phrased and fully effective in expression.

5

4

Moderately accurate, but with several passages spoilt by hesitationOR a moderate quality of fairly fluent improvising.Moderately well phrased and fairly effective in expression.

3

2

Very inaccurate and hesitant throughout the performance OR a poor quality of aimless improvising.Little account taken of phrasing and expression.


Hardly any accurate notes or rhythms OR hardly any evidence of anability to improvise.No phrasing or expression evident.

0

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(d) Performing: Co-ordination with the backing track

DESCRIPTOR MARK

Excellent co-ordination with the backing track. 5

4

Moderate co-ordination with the backing track. 3

2

Poor co-ordination with the backing track. 11st Piece 2nd Piece

Hardly any sense of co-ordination with the backing track. 0

(e) Background Study

DESCRIPTOR MARK

An excellent background study, which focuses on musical featuresand contains entirely relevant information.

5

4

A moderately good background study, which partially focuses onmusical features and contains some relevant information.

3

2

A generally poor background study, which does not focus onmusical features and contains mostly irrelevant information.


A background study which contains no relevant information. 0

Add together the marks under each heading to give the TOTAL MARK out of 25 for each individualpiece .

Add the two total marks together to give the GRAND TOTAL MARK out of 50 for MUSIC MAKING.

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SUBMISSION TEMPLATE

PAPER 2: COURSEWORK SUBMISSION

1 State the source of the music which you have taken for your arrangements:

(a)

(b)

2 Complete the following information about the equipment that you used:

(a) Computer e.g. PC Pentium 4, 2.80 GHz

(b) Software e.g. ACID Pro 4.0

(c) Keyboard e.g. Yamaha Portable Keyboard PSRK1

(d) Other equipment used:

3 Where applicable, state the source of pre-set loops if they are not obtained from the sequencingsoftware that is used for the task (e.g. URL where the loops were downloaded from).

4 In the space on the following pages, present studies of the two pieces which you have chosen.You should name the context you have chosen for each piece. You may use a mind-map, bulletpoints or prose. Details may include the following:

reasons for choosing each piece in relation to the chosen context examples of works and artists significant musical features (e.g. rhythmic/melodic patterns) musical style brief description of each final arrangement in relation to the chosen context

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