BTEC Firsts Certificate and Diploma L2 - ye… · The BTEC First Certificate and Diploma in Music...

BTEC

Edexcel Level 2 BTEC First Certificate and Edexcel Level 2 BTEC First Diploma in Music

For first teaching from September 2006

Issue 2

March 2007

Specification

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Edexcel, a Pearson company, is the UK’s largest awarding body offering academic and vocational qualifications and testing to more than 25,000 schools, colleges, employers and other places of learning here and in over 100 countries worldwide. We deliver 9.4 million exam scripts each year, with 3 million marked onscreen in 2005. Our qualifications include GCSE, AS and A Level, GNVQ, NVQ and the BTEC suite of vocational qualifications from entry level to BTEC Higher National Diplomas and Foundation Degrees. We also manage the data collection, marking and distribution of the National Curriculum Tests at Key Stages 2 and 3, and the Year 7 Progress Tests.

References to third party material made in this specification are made in good faith. Edexcel does not endorse, approve or accept responsibility for the content of materials, which may be subject to change, or any opinions expressed therein. (Material may include textbooks, journals, magazines and other publications and websites.)

Authorised by Roger Beard Prepared by Jane Anslow

Publications Code BF017269

All the material in this publication is copyright © Edexcel Limited 2007

Essential principles for delivering a BTEC This specification contains the rules and regulations along with the units and associated guidance to enable centres to deliver a programme of learning for the Edexcel Level 2 BTEC First Certificate and Edexcel Level 2 BTEC First Diploma in Music. The qualification structures set out the permitted combination of units learners need to complete the qualification. Each unit sets out the intended outcomes along with the content and also includes advice and guidance regarding appropriate delivery and assessment strategies. The following generic principles need to be adhered to in order that a BTEC qualification is delivered to the appropriate standard.

• The specification provides necessary information for the successful delivery and achievement of the units and the qualification as a whole. Consequently, the specification is of importance to the learner and tutor alike. The individual units may be delivered and studied in isolation but the learner and the deliverer should have access to the full information provided to support the programme of learning.

• Centres need to make regular use of the Edexcel website (www.edexcel .org.uk) to ensure that they have the most up to date information. In particular, the requirements relating to the external verification of the qualification receive regular updates and appropriate information for centres is posted on the website. It is the responsibility of the centre to ensure that they are familiar with the latest BTEC NQF Level 2/3 (including Short Courses at Levels 1–3) Handbook and that they implement any related policy documentation which may have been posted on the website.

• This specification contains details of the assessment and quality assurance procedures. It includes advice about Edexcel’s policy regarding access to its qualifications, the design of programmes of study and delivery modes. Centres must ensure that they conform to the policies outlined in the specification.

• Centres are required to recruit learners to BTEC qualifications with integrity. This includes ensuring that applicants have appropriate information and advice about the qualifications and that the qualification will meet their needs. Centres should take appropriate steps to assess each applicant’s potential and make a professional judgement about their ability to be able to successfully complete the programme of study and achieve the qualification.

• Centres are required to use the information in this specification to develop and deliver a programme of learning that will enable learners to achieve the grading criteria stipulated in the unit grading grids. Assessment assignments should ensure coverage of all criteria in the unit as set out in the Grading Grid for each unit. Assignments constructed by centres should be valid, reliable and fit for purpose, building on the application of the grading criteria. Centres should use a variety of assessment methods, including case studies, assignments and work-based assessments, along with projects, performance observation and time-constrained assessments. Further guidance relating to the setting of assignments is available in the Getting Started publication which is available on the Edexcel website (www.edexcel.org.uk).

• Centres are encouraged to place emphasis on the practical application of the grading criteria, providing wherever possible a realistic scenario for learners to work with, and making maximum use of, practical activities and work experience. The creation of assignments that are fit for purpose is vital to the learner’s achievement and their importance cannot be over emphasised.

http://www.edexcel/

• These qualifications have been accredited to the National Qualifications Framework (NQF) and are eligible for public funding as determined by the DfES under Sections 96 and 97 of the Learning and Skills Act 2000. Details of the qualification units can be seen on the QCA Open Qualifications database (www.qca.org.uk).

• The qualification titles feature in the funding lists published annually by the DfES and the regularly updated website www.dfes.gov.uk/. The NQF Qualification Accreditation Numbers (QANs) should be used by centres when they wish to seek public funding for their learners. The QANs for these qualifications are listed in Annexe A.

• This specification is accredited by the Qualifications and Curriculum Authority until 2008. and for certification of learners until 2010. Edexcel may update this specification during its period of accreditation and centres need to refer to the Edexcel website for the latest issue of the specification.

Centres that have not previously offered BTEC qualifications must apply for, and be granted, centre approval before they can apply for approval to offer the programme. When a centre applies for approval to offer a BTEC qualification they will be required to enter into an ‘approvals agreement’. The approvals agreement is a formal commitment by the head or principal of a centre to meet all the requirements of the specification and linked codes or regulations.

Contents

What are BTEC Firsts? 1

BTEC First Diploma 1

BTEC First Certificate 1

National Occupational Standards 1

Key features of the BTEC Firsts in Music 2

Rationale of the BTEC Firsts in Music 2

Structure of the qualification 3

Edexcel Level 2 BTEC First Certificate in Music 3

Edexcel Level 2 BTEC First Diploma in Music 4

Unit format 5

Units 7

Unit 1: Planning and Creating a Music Product 9

Unit 2: Exploring the Music Profession 19

Unit 3: Solo Musical Performance 27

Unit 4: Exploring Musical Composition 35

Unit 5: Developing as a Musical Performer 43

Unit 6: Working as a Musical Ensemble 53

Unit 7: Introducing DJ Technology 61

Unit 8: Rehearsal Techniques for Musicians 69

Unit 9: Producing a Musical Recording 77

Unit 10: Understanding Music 85

Unit 11: Exploring Computer Systems Used by Musicians 93

Unit 12: Exploring Musical Improvisation 101

Unit 13: The Musical World 107

Unit 14: Exploring an Area of Music 117

Assessment and grading 123

Quality assurance 124

Approval 124

Risk assessment 124

Internal verification 124

External verification 124

Calculation of the qualification grade 125

Awarding a qualification grade 125

School and College Achievement and Attainment Tables (SCAAT) equivalence 126

Programme design and delivery 127

Mode of delivery 127

Resources 127

Delivery approach 128

Accreditation of Prior Learning (APL) 128

Meeting local needs 128

Limitations on variations from standard specifications 128

Access and recruitment 129

Restrictions on learner entry 129

Access arrangements and special considerations 129

The Edexcel BTEC Qualification Framework for the music sector 130

Further information 132

Useful publications 132

How to obtain National Occupational Standards 132

Professional development and training 133

Annexe A 135

QCA codes 135

Annexe B 137

Grading domains 137

Annexe C 139

Key skills 139

Key skills mapping — summary of opportunities suggested in each unit 140

Annexe D 141

Wider curriculum mapping 141

Equal opportunities issues 142

What are BTEC Firsts?

BTEC qualifications are designed to provide specialist work-related qualifications in a range of sectors. They have been developed to provide the knowledge, understanding and skills necessary to prepare learners for employment and/or to provide career development opportunities for those already in work. Consequently they provide a course of study for full-time or part-time learners in schools, colleges and training centres. They link to the National Occupational Standards for the sector, where these are appropriate, and are supported by the relevant Standards Setting Body (SSB) or Sector Skills Council (SSC). On successful completion of a BTEC First qualification, learners may progress into or within employment and/or continue their study in the vocational area.

BTEC First Diploma

The Edexcel Level 2 BTEC First Diploma is a 360 guided learning hour qualification comprising core and specialist units which cover aspects of knowledge, understanding and competency necessary for employment within the sector. As such the BTEC First Diploma offers a qualification which can extend a learner’s programme of study and provide vocational emphasis within their programme of study. Equally, the BTEC First Diploma offers a focused qualification for learners who wish to follow a programme of study that is directly related to their work experience, or to an aspect of employment that they wish to move into in due course.

BTEC First Certificate

The Edexcel Level 2 BTEC First Certificate is a 180 guided learning hour qualification which offers a bite-sized opportunity for learners to experience a vocational qualification. The BTEC First Certificate offers a focused vocational qualification for learners who wish to follow a shorter programme of study related to an aspect of employment that they might wish to move into; or a taster qualification which can extend their programme of study and provide an initial experience of a vocational area. This will also enable learners to progress to a higher level qualification relevant to the sector.

National Occupational Standards

BTEC Firsts are designed to relate to the National Occupational Standards (NOS) in the sector, which in turn form the basis of the National Vocational Qualifications (NVQs). BTEC Firsts do not purport to deliver occupational competence in the sector, which should be demonstrated in a work context. However, the qualifications provide much of the underpinning knowledge for the NOS, as well as developing practical skills in preparation for work and possible achievement of NVQs in due course.

Edexcel has worked closely with Creative and Cultural Skills, the Sector Skills Council in the music sector. At the time of the development of this specification, there were no current National Occupational Standards for music at any level.

BF017269 – Specification – Edexcel Level 2 BTEC First Certificate and BTEC First Diploma in Music – Issue 2 – March 2007 © Edexcel Limited 2007

1

Key features of the BTEC Firsts in Music

The BTEC Firsts in Music have been developed to focus on:

• education and training for musicians

• providing opportunities for musicians to achieve a nationally recognised Level 2 vocationally specific qualification

• providing opportunities for learners to gain a nationally recognised vocationally specific qualification to enter employment in the performing arts sector or to progress to further education vocational qualifications such as the Edexcel Level 3 BTEC National in Music Practice or Music Technology

• providing opportunities for learners to develop a range of skills and techniques, personal qualities and attitudes essential for successful performance in working life.

Rationale of the BTEC Firsts in Music

The BTEC First Certificate and Diploma in Music have been developed to offer a wide variety of specialist training for musicians at Level 2. The three-unit BTEC First Certificate in Music is an introductory vocational qualification that focuses on aspects of employment within the music industry. Equally, the BTEC First Certificate offers a focused qualification for learners who wish to follow a shorter programme of study that is already related to an area of employment in which they wish to work in due course. As such, the BTEC First Certificate offers a qualification that can extend the study and provide vocational emphasis for learners in their main programme of study.

The six-unit BTEC First Diploma in Music offers a specialist qualification that focuses on particular aspects of employment within the sector. As such the BTEC First Diploma offers a qualification that can extend study and provide vocational emphasis for learners, particularly more mature learners, who wish to follow a programme of study that is directly related to their work experience or to an aspect of employment in which they wish to work in due course.

The music industry is about much more than being able to play an instrument. The choice of units within these qualifications reflects this with units on the music industry, developing as a musical performer and working as an ensemble being included for the first time. Learners may choose to follow a practical performing course by taking units that cater for this. Learners may choose to complete this qualification through the use of music technology or they may choose to use a mixture of both performing and music technology.

Learners wishing to study the BTEC Firsts in Music may be aged over 16 and studying in a further education centre. Learners may be pre-16 and study the BTEC Firsts in Music alongside other qualifications, such as GCSEs, as part of a programme of full-time study.

Having completed the BTEC First Certificate in Music, learners may wish to complete additional units in order to achieve the BTEC First Diploma. Alternatively, learners may wish to progress to a Level 3 course such as a BTEC National in either Music Practice or Music Technology.

Learners who have completed the First Diploma in Music will have a grounding in a range of musical skills and areas, which will act as solid background for progression to the BTEC National in either Music Practice or Music Technology.


2

Structure of the qualification

Edexcel Level 2 BTEC First Certificate in Music

The Edexcel Level 2 BTEC First Certificate in Music consists of one core units plus two specialist units that provide for a combined total of 180 guided learning hours (GLH) for the completed qualification.

Edexcel Level 2 BTEC First Certificate in Music

Unit Core units GLH Level

1 Planning and Creating a Music Product 60 2

Unit Specialist units

2 Exploring the Music Profession 60 2

3 Solo Musical Performance 60 2

4 Exploring Musical Composition 60 2

5 Developing as a Musical Performer 60 2

6 Working as a Musical Ensemble 60 2

7 Introducing DJ Technology 60 2

8 Rehearsal Techniques for Musicians 60 2

9 Producing a Musical Recording 60 2

10 Understanding Music 60 2

11 Exploring Computer Systems Used by Musicians 60 2

12 Exploring Musical Improvisation 60 2

13 The Musical World 60 2

14 Exploring an Area of Music 60 2


3

Edexcel Level 2 BTEC First Diploma in Music

The Edexcel Level 2 BTEC First Diploma in Music consists of two core units plus four specialist units that provide for a combined total of 360 guided learning hours (GLH) for the completed qualification.

Edexcel Level 2 BTEC First Diploma in Music

Unit Core units GLH Level

1 Planning and Creating a Music Product 60 2

2 Exploring the Music Profession 60 2

Unit Specialist units

3 Solo Musical Performance 60 2

4 Exploring Musical Composition 60 2

5 Developing as a Musical Performer 60 2 6 Working as a Musical Ensemble 60 2 7 Introducing DJ Technology 60 2 8 Rehearsal Techniques for Musicians 60 2 9 Producing a Musical Recording 60 2

10 Understanding Music 60 2 11 Exploring Computer Systems Used by Musicians 60 2 12 Exploring Musical Improvisation 60 2 13 The Musical World 60 2 14 Exploring an Area of Music 60 2


4

Unit format

All units in Edexcel Level 2 BTEC First qualifications have a standard format which is designed to provide clear guidance on the requirements of the qualification for learners, tutors, assessors and those responsible for monitoring national standards.

Each unit is set out in the following way.

Unit title

The unit title is accredited by QCA and this form of words will appear on the learner’s Notification of Performance (NOP). In BTEC First qualifications each unit consists of 30, 60, 90 or 120 guided learning hours

NQF level

This is the level of study of the qualification as determined by the National Qualifications Framework (NQF).

Guided learning hours

Guided learning hours is ‘a notional measure of the substance of a unit’. It includes an estimate of time that might be allocated to direct teaching, instruction and assessment, together with other structured learning time such as directed assignments or supported individual study. It excludes learner-initiated private study. Centres are advised to consider this definition when planning the programme of study associated with this specification.

Unit abstract

The unit abstract is designed to give the reader an appreciation of the value of the unit in the vocational setting of the qualification as well as highlighting the focus of the unit. It provides the reader with a snapshot of the aims of the unit and the key knowledge, skills and understanding developed while studying the unit. The unit abstract also emphasises links to the sector by describing what the unit offers the sector.

Learning outcomes

Learning outcomes state exactly what a learner should ‘know, understand or be able to do’ as a result of completing the unit.

Unit content

The unit content identifies the depth and breadth of knowledge, skills and understanding needed to design and deliver a programme of learning sufficient to achieve each of the learning outcomes. This is informed by the underpinning knowledge and understanding requirements of the related National Occupational Standards (NOS). The content provides the range of subject material for the programme of learning and specifies the skills, knowledge and understanding required for achievement of the pass grading criteria.

Each learning outcome is stated in full and then the prescribed key phrases or concepts related to that learning outcome are listed in italics followed by the subsequent range of related topics.

The unit content section will often have lists of topics that provide the range of the subject material required to be covered in order to meet the grading criteria. Subject material maybe further detailed by lists enclosed within brackets or an elongated dash which provide the defined elements of the specific topic item. Where the subject material list includes an ‘eg’, it should be noted that this provides an indicative range of material to support the specific topic item.


5

Grading grid

Each Grading grid contains statements of the criteria used to determine the evidence that each learner must produce in order to receive a pass, merit or distinction grade. It is important to note that the merit and distinction grading criteria refer to a qualitative improvement in the learner’s evidence.

Essential guidance for tutors

This section is designed to give tutors additional guidance and amplification on the unit in order to provide for a coherence of understanding and a consistency of delivery and assessment. It is divided into the following sections:

• Delivery — explains the content and its relationship with the learning outcomes and offers guidance about possible approaches to delivery. This advice is based on the more usual delivery modes but is not intended to rule out alternative approaches.

• Assessment — provides amplification about the nature and type of evidence that learners need to produce in order to pass the unit or achieve the higher grades. This section should be read in conjunction with the grading criteria.

• Links to National Occupational Standards, other BTEC units, other BTEC qualifications and other relevant units and qualifications — sets out links with other units within the qualification. These could be used to ensure that learners can relate different aspects within the qualification and offer opportunities for integration of learning, delivery and assessment. Links to the Occupational Standards will be highlighted here.

• Essential resources — identifies any specialist resources needed to allow learners to generate the evidence required for each unit. The centre will be asked to ensure that any requirements are in place when it seeks approval from Edexcel to offer the qualification.

• Indicative reading for learners — provides a short list of learner resource material that benchmark the level of study.

Key skills

This section identifies where there may be opportunities within the unit for the generation of evidence to meet the requirements of key skills units. Assessors should take care to become familiar with the key skills specifications and evidence requirements and not to rely on the contents of this section when presenting key skills evidence for moderation. Centres should refer to the QCA website (www.qca.org.uk) for the latest version of the key skills standards.


6

Units

Unit 1: Planning and Creating a Music Product 9

Unit 2: Exploring the Music Profession 19

Unit 3: Solo Musical Performance 27

Unit 4: Exploring Musical Composition 35

Unit 5: Developing as a Musical Performer 43

Unit 6: Working as a Musical Ensemble 53

Unit 7: Introducing DJ Technology 61

Unit 8: Rehearsal Techniques for Musicians 69

Unit 9: Producing a Musical Recording 77

Unit 10: Understanding Music 85

Unit 11: Exploring Computer Systems Used by Musicians 93

Unit 12: Exploring Musical Improvisation 101

Unit 13: The Musical World 107

Unit 14: Exploring an Area of Music 117


7


8

UNIT 1: PLANNING AND CREATING A MUSIC PRODUCT

Unit 1: Planning and Creating a Music Product

NQF Level 2: BTEC First

Guided learning hours: 60

Unit abstract

When working in the music profession either as a performer, a technician or any of the other varied roles, musicians are constantly working towards a final product or a showcase of their work. For a pop star, the final product might be a tour or the release of their latest album. For a studio engineer, it might be the production of an album in time for the publicised launch date. In order to gain a sense of what it would be like to work in the music profession, it is important that learners experience the planning, preparation and creation of a music product, be that a live concert or a CD recording.

This unit allows learners to apply the specialist skills, knowledge and understanding for their discipline to the planning, preparation and/or rehearsal of a showcase of their work in the form of a public event or an audio CD. The scope of the music product should reflect the skills and understanding gained through the specialist units in this qualification. Therefore, the unit is suitable for instrumentalists, singers, computer music specialists, DJs and technicians.

This unit focuses on the planning and preparation stages through to an evaluation of the music product. The planning for the creation of the product will require the same skills whether a learner wishes to produce a live performance or CD, although the approaches used will differ. Preparing for a live performance, using band rehearsals, for example, would require a different approach compared to the creative process used by a DJ, or learners’ composing using computer music technology.

Learners are required to show that they understand the purpose of the planning process. The success, or otherwise, of a created music product relies heavily on the planning and development process. For example, promoting a CD to a target audience that has no interest in the product will not be successful.

Regardless of the type of product learners work on, they should complete a Learner Assignment Proposal (LAP), detailing roles and anticipated tasks during the planning and development process. This document will guide progress and completion of tasks, ensuring learners cover all the unit grading criteria. The LAP can also inform the learner’s evaluation of the effectiveness of their roles.

The unit outcomes and grading criteria highlight the importance of the individual’s contribution throughout the stages of preparation and rehearsal. A minimum of two ‘milestone’ assessment stages should be built into the production process for interim assessment and the opportunity for tutors to give formative feedback.

Learning outcomes

On completion of this unit a learner should:

1 Know how to carry out the planning requirements for the creation of a music product

2 Be able to take part in the developmental process for a music product

3 Understand the purpose of the planning and preparation processes in relation to the creation of a music product.


9


Unit content

1 Know how to carry out the planning requirements for the creation of a music product

Music product: nature of performance/product; artistic intention; technical requirements; allocation of technical support; resources, role of performers

Planning requirements for a live concert: planning style of music for performance eg themed nights, rock night, classical spectacular, ‘battle of the bands’; venue eg size, type of venue, location, equipment available, cost to hire, availability, safety

Planning requirements for creation of a CD: eg recordings of bands, sequenced music, popular song, dance music; issues when recording live performers eg availability of performers, availability of studio, booking studio time, equipment available; eg computer software types

Planning requirements for audience: audience type eg young children, elderly people, peers, customers in a bar; audience of a specific radio station where CD is to be played

Planning requirements for marketing music product: marketing strategy eg posters for concert; press release for concert/CD promotion, launch event for CD, radio plug for concert/CD, fliers for concert, internet advertising

2 Be able to take part in the developmental processes for a music product

Developmental processes (performers): selection of material; rehearsal techniques, interpretation of material; preparation and updating of scores eg lead sheets, lyrics; review of material/process; health and safety, get in, set up and get out; sound-check; scheduling — meetings, reviews, sessions, rehearsals; safety planning, eg risk assessments of performance space

Developmental processes (music technology): equipment set-up; if working with performers, communications with performers, select material to be recorded; if working using computer music software, select material for product; appropriate sound recording equipment, supplementary equipment for style of music; meetings; time planning and organisation; health and safety, eg risk assessment for working with electronic equipment; get in, set up and get out; sound-check

Developmental processes (technicians): development of own role, instructions and meetings; communications with performers; equipment audit; maintenance; transit of equipment; health and safety; get in, set up and get out; sound-check, management of studio time; management of personnel; sourcing of equipment/software; scheduling — meetings, reviews, sessions, rehearsals, set-ups and de-rigs; safety planning; risk assessments of performance space and working with electrical equipment


10

3


Understand the purpose of the planning and preparation processes in relation to the creation of a music product

Purpose of planning and preparation processes — strengths/weaknesses of process, effectiveness of planning, eg sufficient time to prepare; management of professional relationships; use of resources; individual contribution; team contribution; how planning was affected and changed as a result of the creative process

Evaluation of music product: artistic merits; audience/customer response; suggestions for improvement/development


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Delivery

Delivery of this unit would normally be through a stand-alone project towards the end of the programme, allowing the skills and knowledge gained through the other units to underpin the criteria assessed in this unit.

This unit is delivered within the vocational context of planning for a public presentation of live or recorded music performance work. Assessment of the project will be through learners’ preparation, development and evaluation of the product. Planning for the creation of a music product and learners’ understanding of the importance of this planning is the focus of this unit. While the music product may be evaluated in terms of its success, learners should concentrate on how the success of the product was affected (either positively or negatively) by their planning process. Learners are not being assessed on their musical ability during this unit — they are being assessed on their planning, developing and evaluation of their product. The product could be a live concert or a CD of recorded or computer-generated music.

There is considerable scope for flexibility, imagination and innovation in the centre’s approach to assessment of this unit. Delivery should afford a realistic experience of the implementation of planning, preparation and public performance skills, typical of the music profession, through a well-designed and appropriately resourced project.

Throughout this unit, assignments should provide learners with a minimum of two ‘milestone’ assessment points. These will be built into the assignment brief as opportunities for formative assessment of selected criteria (for example: an initial planning meeting; the run-through/audition of prospective set material; an editing session, using sequencing software). Grades can be tracked and contribute to the final unit grade, and will allow tutors to monitor and give feedback on learner progress. ‘Milestone’ assessment also helps structure the process, for both learners and assessors, around manageable ‘stepping stones’.

In the early stages of the project, each learner should initially produce: a document that details the intended performance/product; and the tasks the learner will carry out in the planning, preparation and performance/realisation stages of the project. This planning document can be used to inform the working process, ensuring there is sufficient opportunity to cover the assessment criteria, and serve as a checklist to monitor the completion of tasks.

Learners should be encouraged to keep a planning and preparation log, comprising planning and production notes, relevant production documentation and evidence of regular evaluation of the work in progress. This will enable learners to produce an accurate and informed evaluation at the end of the unit, based on reliable evidence as opposed to their relying on their memory of what happened during the early stages of the unit. A log may consist of a range of evidence forms eg videos of meetings; minutes; band rehearsal logs; tutorials; diaries; written or verbal evaluations.

Although the artistic merits of the music product are not being assessed in this unit, learners will find it easiest to plan and develop for a real event. Therefore, the creation of a musical product is likely to occur. It is highly likely that centres will integrate this unit with one of the skills-based units such as solo musical performance, working as an ensemble or DJ technology in order that the artistic merit of the product is also assessed.


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Assessment

Learners must identify the planning requirements necessary to create a music product, whether that be a live performance, a recording of live musicians for a CD, or a CD of computer-generated music.

There are many different approaches to meeting grading criteria 1 and 2, depending on the nature of the project. Planning for band members, for example, could include:

• production of rehearsal schedules

• booking rehearsal spaces

• equipment and logistics

• necessary health and safety considerations

• target deadlines for selecting material

• review of progress

• setting objectives for subsequent rehearsals.

Planning for solo artists will need to incorporate some means of feedback and review of rehearsed material. Computer technology-based projects will involve planning various production stages, such as the sourcing of samples, studio set-up procedures, data storage, mix-down and mastering. Learners following a studio-based production route for their project will need to consider studio availability, equipment and logistics, health and safety and, if recording, scheduling musicians.

In order to meet criterion 2, learners must participate in the selection of music material for performance/production, as well as participating in its interpretation. Learners must evidence their involvement in group discussions, appropriate to an ensemble product, or their contribution in deciding on content for a solo production. Learners who are recording other musicians may need to evidence how they selected their equipment. Computer-based musicians may detail their software choices, for example why they have chosen specific sounds/samples for their tracks.

Documentation and evidence of the planning, selection and interpretation of musical material can take a number of forms. Centres should consider what is appropriate when briefing learners. This may sometimes depend on a learner’s preferred style of working, or, in some instances, recognition of industry standards with regard to technical working documents.

Evidence forms could include:

• a log/diary — written, audio or video

• minutes of meetings

• rehearsal diaries/band diaries/studio logs

• timetables and schedules

• studio plans/floor layouts

• scores/lead sheets/screenshots

• annotated equipment diagrams and specifications

• health and safety risk assessments

• set lists/programmes.


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Learners undertaking production or technical roles will complete their designated tasks during the project, for example, operating music technology studio equipment safely, or carrying out live monitor mixing. They will communicate with other team members, events personnel and/or artistes according to the operational needs of the project, using appropriate channels. They will show an understanding of their role(s) and tasks, performing these throughout the project with some commitment, as evidenced through their reliability, contribution, communication and responsibility to the product.

Forms of evidence for this outcome will include the learner’s portfolio, where communications, instructions, technical specifications, plans, diagrams and logs/diaries will form part of the evidence. In addition, tutor observation, witness statements and peer testimony can be used to support grading and authenticate evidence. Learners who are producing recorded material will have the finished product for assessment. Technicians carrying out ‘live’ technical roles should be recorded on video, with the use of tutor/witness observation to support assessment.

The learner’s evaluation of the project will recognise strengths and weaknesses in the planning and preparation stages, going on to judge the artistic merits of the eventual product. To assist the creative and/or technical process, it is advisable for learners to review their own progress and the work at regular stages, considering the effectiveness of their own contribution. This will count towards the final achievement of grading criteria 3.

Observations regarding the effectiveness of the finished project could be made from looking at video recordings of the performance or listening to audio products. Consideration could be given to the use of audience/consumer questionnaires and surveys to help inform the evaluation. Learners should be able to suggest opportunities for improvement in their working processes and in the product.

Centres should decide on the most appropriate means of evidencing this evaluation. It could be in written form — through regular log entries and a summative report — or in a verbal form such as a video diary, audio log or recorded interviews with tutors. Centres can decide on a combination of approaches.

Links to National Occupational Standards, other BTEC units, other BTEC qualifications and other relevant units and qualifications

At the time of the development of this specification, there were no National Occupational Standards for music at any level.

This unit links, potentially, with the overall programme delivery of the BTEC First Certificate and Diploma in Music. As the unit does not assess the artistic merits of the music product, it may be delivered in conjunction with one of the skills-based units so that technical ability is assessed. Therefore, this unit has strong links with Unit 3: Solo Musical Performance, Unit 7: Introducing DJ Technology and Unit 11: Exploring Computer Systems Used by Musicians.

This unit could link to other BTEC Firsts in the sector. The closest links are with the BTEC First Certificates and Diplomas in Performing Arts and Media. In terms of progression, this unit links most closely with the BTEC Nationals in Music Practice and Music Technology although links with the BTEC Nationals in Performing Arts and Media are possible.

Essential resources

This unit will require access to a suitable performance venue and/or studio production facilities.

Further resources will depend on the nature of the project undertaken. Learners should not start a project that cannot be resourced properly by their centre. Suitable technology and materials that allow learners to address the grading criteria must be available.


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Indicative reading for learners

This unit’s project showcases the skills that learners have gained from studying the specialist units. There is no indicative reading specific to this unit. Learners should consult the indicative reading lists in the specialist units that they have studied.


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Key skills

Achievement of key skills is not a requirement of this qualification but it is encouraged. Suggestions of opportunities for the generation of level 2 key skill evidence are given here. Staff should check that learners have produced all the evidence required by part B of the key skills specifications when assessing this evidence. Learners may need to develop additional evidence elsewhere to fully meet the requirements of the key skills specifications.

Application of number level 2

When learners are: They should be able to develop the following key skills evidence:

• producing technical documentation.

N2.2 Use your information to carry out calculations to do with:

a amounts and sizes

b scales and proportion

c handling statistics

d using formulae.

N2.3 Interpret the results of your calculations and present your findings.

Communication level 2


• planning, reviewing and evaluating performance material and production processes.

C2.1a Take part in a group discussion.

Improving own learning and performance level 2


• setting the rehearsal schedule for the product

• deciding which role they will play in the final product

• evaluating the planning process in light of the product.

LP2.1 Help set targets with an appropriate person and plan how these will be met.

LP2.2 Take responsibility for some decisions about your learning, using your plan to help meet targets and improve your performance.

LP2.3 Review progress with an appropriate person and provide evidence of achievements.


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Problem solving level 2


• preparing for their role in the music product

• selecting music to put in the programme.

PS2.1 Identify a problem, with help from an appropriate person, and identify different ways of tackling it.

PS2.2 Plan and try out at least one way of solving the problem.

Working with others level 2


• planning product/project and rehearsal/production processes as part of a team.

WO2.1 Plan work with others.

WO2.2 Work co-operatively with others towards achieving the identified objectives.

WO2.3 Review your contribution and agree ways to improve work with others.


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UNIT 2: EXPLORING THE MUSIC PROFESSION

Unit 2: Exploring the Music Profession



Unit abstract

For anyone wishing to work in the music profession and related industries, awareness of the key areas and roles in the music profession, as well as some understanding of finance and marketing operations, is essential. Performing musicians do not operate in a vacuum, they are the well-known faces of a far larger and varied industry.

Learners will explore the variety of roles and careers available within the industry, taking into consideration the wide range of vocations, which may include: artistic; technical; management; administrative; union; entrepreneurial; and legal roles. Learners will explore how the different professional roles and artistic areas link together to form the industry as a whole and will gain an understanding of how the roles interact.

Real-life professional music projects are dependent upon a number of factors; an important one is money and funding. All music projects are funded and learners will explore a wide range of potential sources of funding. In reality, once funding has been received, any project must set and keep to a budget, taking into account funding and expenditure. Learners will explore budget keeping and the basic administrative skills needed for a selected project.

Finally, once a music industry project has been completed, it needs to be marketed in order for it to be a success and increase revenue. Learners will explore the different methods of marketing music projects. Learners will also explore the lifecycle of a musical product, either a concert or recording, and how it is financed, budgeted and marketed.

Learning outcomes


1 Understand different areas of the music profession

2 Understand professional roles within the music profession

3 Know how to apply financial planning practices to a specific music project

4 Know how to apply marketing practices to a specific music project.


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Unit content

1 Understand different areas of the music profession

Production companies: eg recording companies (major, independent); broadcasting (radio, television); concert promoters; independent producers; commercial; non-commercial

Service companies: eg facilities hire companies (studio, rehearsal); lighting, sound and scenic hire; transport companies

Agencies: eg artists’ representation; booking agencies; personal management; financial management

Media: eg music journals; newspapers; radio; television

Professional organisations: eg Performing Rights Society (PRS); Mechanical Copyright Protection Society (MCPS); PPL; Health & Safety Executive; Musicians’ Union; Equity; British Phonographic Industry (BPI); Performing Artists & Media Rights Association (PAMRA)

Educational: eg teaching; music therapy

2 Understand professional roles within the music profession

Performance: eg performer/artist; DJ; composer/songwriter; lyricist; conductor; musical director/arranger; live sound technician; roadie

Recording: eg record company/label personnel; producer; session musician; recording studio personnel; studio engineer; CD manufacturer; distributor; retailer

Administration and marketing: eg artistic management; venue management; studio management; promotion; marketing; advertising; A&R; events security

Media: eg journalist; broadcaster (TV and radio)

Other: eg retail; equipment hire; teacher; music therapist

3 Know how to apply financial planning to a specific music project

Funding sources: eg sponsorship (business, private, donations); grants authorities/associations/trusts/charities); ticket and programme sales; merchandising; music sales; publishing rights

Budgeting: budget headings; areas of income; areas of expenditure; calculations; balance; potential risk

Expenditure: eg studio/space hire; personnel hire; session musicians; equipment hire; overheads; petty cash; transportation; publicity costs; recordable media; fees; licences

4 Know how to apply marketing practices to a specific music project

Market research: audience; marketing plan; forms of publicity; outlets for publicity

Marketing materials: eg posters; flyers; press releases; website; mail-shots; audio materials; video materials; publicity stunt


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Delivery

Delivery and assessment should incorporate a number of methods and activities, drawing on a variety of resources to introduce learners to the range of practices and jobs in the music profession.

The assessment criteria require each learner to present research and findings in relation to one main area of the profession and one professional role, but it is essential that these are contextualised within a wider overview of the music profession, acknowledging the links and connections between different areas of practice and job roles.

Teaching and assessment strategies should allow learners to gain a wide knowledge and understanding of the profession by, where possible, combining, for example, independent research, visits to appropriate organisations, guest speakers, live events, trade fairs, work experience/placements, and case studies. Learners should be encouraged to choose an area of the profession appropriate to their particular interests, skills and specialism.

Consideration should be given to sharing individual research through a group/class approach — using presentations, group seminars, hand-outs and discussions — to encourage sharing of knowledge.

Skills and knowledge of basic business practices will be delivered through tutor input, although this can be supplemented with input from guest speakers and/or visits to organisations. Learners should be given an overview of the lifecycle of a music product and all those people who are involved in its creation.

Application of basic administrative and marketing practices will be assessed in a practical context. The clearest way of approaching this task is for learners to carry out basic financial planning for a music product in which they are directly involved. This is likely to be the product from Unit 1: Planning and Creating a Music Product. However, delivery could be linked to any of the practical units in which a product is created: the performance aspect of Unit 3: Solo Musical Performance or the CD recording made as part of Unit 9: Producing a Recording.

Learners will identify sources of income and areas of expenditure, and prepare a budget based on their findings and calculations. Learners need to gain an understanding of the importance of money to music projects as this has a very real impact on professional music projects.

Assessment

To evidence understanding of the different areas of the music profession, learners will collate and present information and research into one chosen area of the music profession. This should be a combination of materials appropriate to the chosen area of investigation and may include extracts from books, journals, articles, material published on the internet and in trade publications, contracts, job descriptions, interviews or letters. Learners must be able to describe the operation of the chosen area, and state how it links and connects with other areas of the industry, for example by detailing the operation, products and services of a company specialising in concert lighting hire, and then outlining how the company links and relates to the work of artists, venues, and health and safety.


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Understanding of a professional role within the music industry can be evidenced in a similar way, for example, research in the role of an A&R person would typically describe the job, the particular skills required, routes into the profession, and how the role links with artists, managers, and the record company.

Learners’ findings may be presented as part of a portfolio of collated material and may include their own written notes and organisational diagrams. Sharing of research findings should be encouraged through presentations, which could include use of projections, hand-outs, web presentation, video, CD ROM, PowerPoint and questions and answers sessions.

Basic financial planning operations for a music project, product or performance will be evidenced through details of how revenue for a product may be raised; this could be details of funding companies and methods of how funding can be gained. A budget will need to be prepared that anticipates areas of expenditure. Financial planning and budgeting should relate to a specific project on which the learner is working. Sound and effective coverage of this outcome should direct learners to consider and compare alternative costings, as well as taking into account both positive and pessimistic scenarios in their forecasts.

Where group/class activities and discussion are used to arrive at sums and figures, tutors should use questions and answers, or learners should provide commentary or annotation, to confirm the individual learner’s understanding of the budgeting process.

Marketing of a music project will require learners to produce an account of different types and methods of marketing. Learners will then need to create a piece of marketing material for their specific product. Learners will need to outline the nature of the project/product, the target audience/customer, and appropriate marketing methods and materials. From this information, the learner should design/devise an item of publicity to market the product.

The account and outline of publicity methods may be written or part of a verbal/visual presentation of findings and ideas. The publicity item may be in any form appropriate to the product such as a poster, flyer, programme, CD sleeve, website, radio advert or video advert.

If learners do not have the artistic skills to realise their publicity item, there should be sufficient detail and thought shown in its design and planning to meet this grading criteria 6.



This unit gives a vocational context for the whole qualification and, therefore, links to all of the specialist units. It provides key underpinning knowledge to support vocational development for learners’ progressing to higher level qualifications. Unit 1: Planning and Creating a Music Product can be used to apply the knowledge and understanding of professional/industry practice explored in this unit as well as providing assessment opportunities for basic project administration, covered in the last two learning outcomes of this unit.



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Essential resources

Access to professional organisations, bodies and practitioners through visits, guest speakers and/or case studies will greatly support and enhance the delivery and assessment of this unit.

Learners will need access to research information when investigating areas of, and roles within, the music profession; this might include: trade journals; books; websites; union documentation; legal and legislative materials.


Materials that illustrate the level of learning required and that are particularly relevant.

Britten A — Working in the Music Industry: How to Find an Exciting and Varied Career in the World of Music (How To Books Limited, 2004)

Doulton A M — The Arts Funding Guide (Directory of Social Change, 2002)

Ford T — The Musician’s Handbook (Rhinegold Publishing, 1996)

Freakley V and Sutton R — Essential Guide to Business in the Performing Arts (Hodder Arnold, 1996)

Harris K and Colegrave S — Inside Music 2005: The Insider’s Guide to the Industry(Ebury Press, 2005) Updated annually

Miller R — Copyright Protection Use and Responsibilities (AN Publications, 1991)

Passman D S — All You Need to Know About the Music Business (Penguin Books Limited, 2004)


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Key skills




• preparing a budget. N2.1 Interpret information from a suitable source.

N2.3 Interpret the results of your calculations and present your findings.



• planning funding and marketing strategies

• verbally presenting results of research and investigation.


C2.1b Give a talk that lasts for at least four minutes.

Information and communication technology level 2


• researching and investigating areas of the music profession and roles

• word-processing research and presenting budget.

ICT2.1 Search for and select information to meet your needs.

Use different information sources for each task and multiple search criteria in at least one case.

ICT2.3 Present combined information such as text with image, text with number, image with number.



• planning their research. LP2.1 Help set targets with an appropriate person and plan how these will be met.


26

UNIT 3: SOLO MUSICAL PERFORMANCE

Unit 3: Solo Musical Performance



Unit abstract

When people hear that a learner is studying a course in music, one of the first questions asked is usually ‘what do you play?’ Having a career as a solo performer requires high levels of technical ability with an instrument or voice. In order to achieve high levels of technical proficiency on instruments, musicians need to be able to develop an appropriate practice discipline and perseverance. Performers need to be able to play/sing both confidently and accurately to an audience, with a level of expression and interpretation in their work.

In this unit, learners will explore the repertoire for their chosen instrument and make decisions on which pieces they intend to prepare for performance. Learners should be encouraged to experiment with their choice of music, perhaps by looking at pieces that are different to those they have played in the past and the different techniques that are employed when performing in different styles. For example, pianists may explore their ability to play in both classical and jazz styles.

Planning and practising are both vital parts of a successful performance. Early in the delivery of the unit, learners should be made aware of when their final performance is due to take place so that they are able to plan their practice time.

Learners should be encouraged to choose their own pieces for performance to an audience at the end of the unit. Learners should work with a specialist teacher of their instrument to improve their technique and should keep a practice log that details how they have improved over the duration of the unit. If appropriate, learners should organise their own accompaniment whether this be an accompanist or band. They should practise and rehearse their chosen pieces in order that they present a polished performance at the end of the unit.

Some learners may find performing to an audience daunting. Therefore, ample opportunity should be provided for them to perform to an audience throughout the unit.

Learning outcomes


1 Know the repertoire for their instrument

2 Be able to choose appropriate pieces of music for performance

3 Know how to prepare for a solo performance

4 Be able to perform music to an audience.


27


Unit content

1 Know the repertoire for their instrument

Styles of music in the repertoire: eg popular music; jazz; western classical; folk music; music from the non-western tradition

Research into repertoire for the chosen instrument: eg recordings; looking at scores; asking instrumental specialists; experimenting with different musical styles; timings for performance; balance of programme if appropriate

2 Be able to choose appropriate pieces of music for performance

Choose appropriate pieces: defining difficulty levels; amount of preparation time before concert; availability of scores/recordings; availability of accompaniment; concert venue; audience type eg primary school children, peers, parents

3 Know how to prepare for a solo performance

Technical preparations: eg ‘warm-up’ techniques; scales; arpeggios; other technical exercises to improve tone and technique relevant to the instrument or voice; formulation of effective practice routines; pieces for performance thoroughly rehearsed and learnt

Physical preparation: eg relaxation and/or breathing exercises as appropriate; concentration techniques; exercises to control nerves; ‘dry-run’ performances to practise performing at the venue and to an audience

Other preparations: instrument (where applicable) is in working order, eg new strings, correct reeds/mouth pieces, voice is warmed up, correct beaters; organising an accompanist if required; rehearsing with accompanist if one is being used

4 Be able to perform music to an audience

Attributes for a successful performance: accuracy of rhythm; accuracy of pitch; accuracy of intonation; expression; confidence; timing

Communication: communicate effectively with accompanist/band; communication with audience


28

UN

IT 3

: SO

LO M

USI

CA

L PE

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evid

ence

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nts f

or a

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t nee

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r per

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to im

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as a

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as a

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on, a

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al st

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and

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usic

al

com

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ion

with

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ence

.

Gui

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t of t

his u

nit i

s on

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Delivery

The role of the tutor is to encourage learners to plan and prepare for their solo performance as well as research which pieces are to be performed. Often, learners may not realise the wealth of music available to their instrument. They should be encouraged to explore how their instrument is used in styles of music different to the one in which they most often perform. For example, a violinist may only have played classical music so they should be encouraged to explore how they might perform in a more popular or jazz style. Singers who are accustomed to performing in a popular music style could investigate opera or folk singing techniques.

Learners should have access to a wide range of recordings and scores for their instrument in order that they are able to research the repertoire available for their instruments. Another useful resource is videos/DVDs of live concerts in which learners may see their instruments being used for a style of music with which they would not normally associate it.

An important element of this unit is teaching learners how to decide which music would be appropriate for their level of performance. Very often, learners struggle to perform a piece on their instrument or voice that is technically too demanding. Learners are then discouraged when they receive lower grades for their efforts owing to their lack of accuracy. Through this unit, learners should gain the understanding that an overall performance is judged on far more than the ability to play a technically demanding piece of music. They should be taught that it is more effective to play a manageable piece of music well, rather than struggle through a more demanding piece where they end up making mistakes. In order to achieve the higher level criteria, learners will need to demonstrate expression, style and communication with the audience in their solo performances.

In terms of instrumental technical ability, tutors should guide learners in a range of appropriate practice techniques that are specific to their individual needs. It would be beneficial if early practice sessions could be recorded. Learners may then revisit these recordings to hear how they have improved so far, and set targets for the remainder of the unit. A practice log may be a useful tool for learners to evidence their practice techniques.

Learners should have the opportunity to perform to an audience on more than one occasion so that they become comfortable in this environment.

Assessment

The evidence required for this unit will be generated through assessment of learners’ ability to choose appropriate material for performance, their performing ability on their chosen instrument or voice, together with evidence of their repertoire research.

Research into the repertoire for their instrument may be evidenced in any number of ways. A written report, an audio CD with examples or examples of scores may all be appropriate. Centres may wish to encourage learners to present their research to their peers, which will encourage a sharing of knowledge between instrumentalists and singers.

The ability to choose appropriate material for performance is likely to be assessed in the performance itself. If learners have chosen pieces that are too technically demanding, they will be unable to produce a well-rounded performance.

BF017269 Specification – Edexcel Level 2 BTEC First Certificate and BTEC First Diploma in Music – Issue 2 – March 2007 © Edexcel Limited 2007

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Assessment of practise techniques may be assessed through the keeping of a practise log in which the learners detail how they have used technical exercises in order to improve their own performance. For example, string players who may have double-stopping within their chosen piece may choose to practise scales in thirds. In a similar way, singers may practise different breathing techniques, depending on the songs they have chosen to perform.

Learners may also wish to video some of their instrumental/vocal lessons in which they are practising specific passages of a piece to demonstrate how they have approached any difficulties. Learners may find it difficult to describe what they have done in a written format but be far more confident in demonstrating their decisions by playing/singing.

Learners should be encouraged to analyse their own strengths and weaknesses in music performance, and to develop strategies to improve on their weaknesses. Activities such as master classes would be beneficial for learners, where appropriate.


At the time of the development of this specification, there were no National Occupational Standards for music at any level. This unit links with: Unit 5: Developing as a Musical Performer, Unit 6: Working as a MusicalEnsemble and Unit 8: Rehearsal Techniques for Musicians.This unit could link to other BTEC Firsts in the sector. The closest links are with the BTEC First Certificates and Diplomas in Performing Arts and Media. In terms of progression, this unit links most closely with the BTEC Nationals in Music Practice and Music Technology although links with the BTEC Nationals in Performing Arts and Media are possible.

Essential resources

Usually, learners will need to provide their own instruments. Centres should provide larger instruments, such as pianos and drum kits, where appropriate, for learners to use on the premises. Learners should also have access to specialist instrumental teachers who will be able to offer additional guidance for development. A variety of CDs and scores should be available for learners to use for their research. Recording equipment would be useful so that learners are able to evidence their practice sessions, should they wish to do so.



A number of books on performance techniques appropriate for chosen instruments and voice are available and may prove useful for individual learners. However, the focus of this unit is on practical music performance and development of technical ability, musical study books would be particularly useful.


31


Key skills




• talking with other learners about the repertoire for their instrument

• detailing how they researched the repertoire for their instrument and how they selected their programme.


C2.3 Write two different types of document, each one giving different information. One document must be at least 500 words long.



• researching the repertoire for their instrument on the internet.





• practising with their instrumental tutor

• selecting material for their performance

• meeting with their instrumental teacher throughout the rehearsal process.





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• deciding how to programme their performance

• practising their performance pieces.




33



34

UNIT 4: EXPLORING MUSICAL COMPOSITION

Unit 4: Exploring Musical Composition



Unit abstract

The essence of musical activity is creativity. Music thrives on the continuing development of new ideas and sounds, and composers are at the forefront of this development. Whether composing for the concert hall, within popular music or in studios, or for other commercial media, all composers deal with the same fundamental building blocks — generating material and working with it to form pieces, usually to deadlines and specific commissioned briefs. Composers working within the commercial world require a wide range of techniques and ideas in order to quickly and competently create the desired effect.

Exploring composition brings the creative aspect of music to the fore and will guide learners through the process of creating music. They will be introduced to the technical and creative skills required of a working composer. They will be encouraged to explore a range of compositional starting points, to investigate a range of techniques for developing and manipulating ideas, and finally to form ideas into completed pieces of music.

The focus of this unit is on experimentation. Learners will discover compositional possibilities through practical exploration of ideas and techniques. Learners are free to work within a range of instrumental resources (both acoustic and electronic) and genres, though breadth of experience is actively encouraged throughout the unit.

Presentation of music, whether in audio or printed form, is essential and learners will be required to present their music in an appropriate form.

Learners will be exposed to a range of compositional concepts and techniques both past and present. Above all, this unit is about the creation of music in the ‘here and now’. Learners will be encouraged to find their own creative routes through the compositional process and ultimately begin to develop their own creative voice.

Learning outcomes


1 Be able to generate original musical ideas from compositional starting points

2 Understand how to extend, develop and manipulate musical material

3 Be able to form musical material into completed compositions

4 Be able to present compositions appropriately.


35


Unit content

1 Be able to generate original musical ideas from compositional starting points

Generating material: pitches; rhythms; chords; harmonic systems; textures; non-musical starting points such as themes, texts and images

Musical starting points: riffs and hooks; melodic ideas; rhythmic pattern; chord progressions; sound palettes

Working to a brief: interpreting a brief; devising appropriate musical ideas

2 Understand how to extend, develop and manipulate musical material

Extending and developing an idea: repetition; decoration; variation; sequence; contrast

Manipulation techniques: transposition; transformations (inversion, retrograde, retrograde inversion); cut and paste techniques; processes (canon, phasing, addition, subtraction, augmentation, diminution, displacement)

Working with layers: instrumentation; textures; contrasts

3 Be able to form musical material into completed compositions

Form and structure: block structures (binary, ternary, rondo, arch, ground bass); introductions; codas; song structures (12-bar blues and other templates, verse-chorus constructions); effective use of repetition

Pace: maintaining momentum; contrasts; balancing repetition and change

4 Be able to present compositions appropriately

Appropriate presentation methods: conventions of particular styles/genres — recordings; MIDI and audio files; scores

Types of score: full score; lead sheet; chord chart; graphic scores; relevant computer software


36

UN

IT 4

: EX

PLO

RIN

G M

USI

CA

L C

OM

POSI

TIO

N

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ding

gri

d

In o

rder

to p

ass t

his u

nit,

the

evid

ence

that

the

lear

ner p

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nts f

or a

sses

smen

t nee

ds to

dem

onst

rate

that

they

can

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t all

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arni

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for t

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nit.

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crite

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f ach

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at

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styl

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with

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ttent

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page

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Delivery

This unit should be delivered in a practical way wherever possible. Learners should be encouraged to explore composition ideas and techniques used with instruments or with the aid of music technology. The most rewarding and inspiring musical experiences are often the least familiar and, therefore, it is essential that learners experience a wide range of music from different times, places, styles and genres.

Musical creativity often needs a ‘kick-start’ and imaginative ways of inspiring learners should be developed. Composition workshops from visiting artists, attending live performances and exploring specific themes are all valid starting points for composition projects. While learners will need guidance and direction, they should be allowed an amount of creative freedom. The creative process necessarily takes unexpected twists and turns, and learners should be encouraged to follow an organic approach to musical creativity.

The unit aims to demystify composition, and tutors should take care to lead learners through the creative process from start to finish. It should be made apparent how each step leads naturally into the next. A range of small-scale exercises building towards increasingly autonomous project work is a good strategy. Encouraging learners to work to specific briefs has the advantage of both introducing them to the ‘real world’ of composing and focusing them on a desired outcome.

Learners’ prior experience of composition activity will probably be largely through group work. The transition from composing in a group to working independently is an important focus of this unit. There is no reason why exploratory tasks cannot be undertaken in groups, and sharing ideas among peers should be a constant thread throughout the unit. Group work can be an essential tool in building learners’ confidence prior to taking up compositional activities independently.

Assessment

Evidence for this unit will be generated through the development of a portfolio. This will include recordings and scores and possibly video and other media. Producing printed scores for compositions is not essential but pieces should be presented in an appropriate manner. Learners may wish to include both recordings and scores of their work and, wherever possible, performances of ideas and pieces should be encouraged.

Written accounts of work describing the process, highlighting any problems encountered and how they were overcome could also be included. The portfolio should not rely purely on fully-formed pieces; indeed it is necessary to include work in progress as the unit aims to assess the compositional process from start to finish. Learners should record, score and annotate initial musical ideas, extensions and development of those ideas and, finally, completed pieces.

A portfolio will contain five original musical ideas. These should be short musical starting points from which creative explorations could be made. They do not have to be complex or developed but should have the potential to form the basis for a piece or section of a piece. The key is that they have distinct characteristics and elements of interest — essentially, ideas that grab listeners’ attention.


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A strong portfolio will demonstrate a broad range of starting points. These could include, although not be restricted to:

• chord progressions of about 4–8 bars that could form the basis for a verse or chorus from a song

• melodic phrases/fragments of about 4–8 bars that could provide the basis for an instrumental study

• riffs or hooklines

• collections of samples that could act as sound-palettes for electro-acoustic pieces or a film score

• rhythmic phrases or backbeats that could form the basis of a sequencer piece.

It would make most sense for the three examples of developed musical ideas to grow out of the above musical starting points, although learners should not be restricted by this if they create new material to develop. The developed musical ideas should take the form of compositional exercises or studies — not fully-formed pieces but explorations of specific extension and development techniques. These could include, but are not restricted to: chord charts for songs; short studies for solo instruments that explore manipulation techniques; a block structure moving between contrasting riffs; a sequencer exercise exploring minimalist processes.

Again, it would make most sense for the fully-formed composition to grow out of one or more of the above ideas and developments. Compositions could be, but are not restricted to: a fully-formed song, complete with lyrics and instrumental arrangement; an instrumental piece for one or more instruments; an electronic film score; an electro-acoustic piece created using a MIDI sequencer or audio editor. The focus here is on the formation of a structured piece, using original ideas and explorations.

Above all, the portfolio should provide evidence of the learner’s ability to work through the entire creative process, from the conception of an idea, through development and exploration, to fully-formed composition.



Links with Unit 10: Understanding Music, Unit 11: Exploring Computer Systems Used by Musicians and Unit 13: The Musical World.


Essential resources

Learners will require a range of instruments and/or music technology. Audio playback facilities, and access to a wide range of recordings and scores, are also essential resources.


39




Cole B — The Composer’s Handbook (Schott, 1996)

Runswick D — Rock, Jazz and Pop Arranging (Faber, 1992)

Russell B and Harris T — The GCSE Composition Course (Peters Edition, 2004)

Winterson J (editor) — The AQA GCSE Anthology of Music (Peters Edition, 2002)

Winterson J (editor) — The GCSE Anthology of Music (Peters Edition, 2002)


40


Key skills




• working in small groups, originating musical ideas.




• composing using sequencing software

• using computer music notation software.

ICT2.2 Enter and develop the information to suit the task and derive new information.




• developing their musical ideas. LP2.2 Take responsibility for some decisions about your learning, using your plan to help meet targets and improve your performance.



• working to a commissioned brief

• forming musical material.





• generating musical ideas in a group.



41



42

UNIT 5: DEVELOPING AS A MUSICAL PERFORMER

Unit 5: Developing as a Musical Performer



Unit abstract

Working as a musician in the performing arts industry involves much more than the ability to play an instrument or sing well. Image and style, along with general health and wellbeing, play a major role in the success of performers in shows and cabaret, as well as in the pop industry. This unit will enable learners to become performers who can move, or even dance, on stage if required and to know how to develop their own style and image.

The unit concentrates on the needs of the performing musician, appropriate to the styles of music they perform. For instance, learners will acquire the skills necessary to enter and exit the stage correctly, add dance routines to music performances where required, and improve their confidence on stage. In essence, learners will develop from musicians to performers.

In order to carry out dance routines and extended performances, musicians need to be able to look after themselves well. In order to produce high-quality performances, knowledge of how to prepare both physically and mentally is vital. In addition to developing a personal image or style for performing, and delivering a polished and professional performance, will be covered through this unit.

Learners will explore how professional performers develop their personal image and style by studying the ways an individual or group presents themselves for performance: their look, style, image and presence. Learners will explore ways to prepare their body for performance by researching the ways professional musicians stay fit and healthy while developing their art form. This may include the study of disciplines such as the Alexander Technique, Pilates or Yoga as well as looking at posture.

Learning outcomes


1 Understand the importance of health and wellbeing as part of preparing for a musical performance

2 Understand the importance and development of image and style for musicians

3 Be able to create a performance of style and imagination that is appropriate for their chosen material and audience.


43


Unit content

1 Understand the importance of health and wellbeing as part of preparing for a musical performance

Maintenance of fitness and health, sensible diet, exercise

Breathing and relaxation techniques: eg the Alexander Technique; Pilates; Yoga; warming up the body for exercise eg breathing and stretching, cooling down

Simple principles of movement: bend, stretch and twist; or where more ambitious styles of dance or movement are explored, sequences of exercises, movement memory, correct posture for performing

2 Understand the importance and development of image and style for musicians

Image: costume, eg uniform, ‘look’ of group; hairstyling; make-up

Style: design elements of performance eg props; use of video; photography; additional performers eg backing musicians; the publicity and marketing budget

Development of an artist’s image over time: eg career; first appearance; relation of artist’s image to their musical material; reinvention of artist’s style and image as appropriate; collaborations with other artists; consideration of audience on artist’s image

3 Be able to create a performance of style and imagination that is appropriate for their chosen material and audience

Use of performance space: appropriate entry and exit of the performance space; stage-positioning; correct use of technology eg lighting, backing tracks, microphone placement

Movement: eg appropriate dance and movement routines for the style of music, poise and confidence in delivery

Style and image: costume; make-up; hairstyling


44

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45

UN

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46



Delivery

The ways musical performers work on stage will be explored in detail in this unit. Learners will look at how integrated performances are put together: ie where other disciplines are used, for example costume and make-up, to augment the musical element of the work. Some musicians will want to learn, or improve, skills in movement to add another dimension to live and recorded work. Watching other live musical performances will be a very effective way of observing how to make performances exciting, and videos will also be a source of learning. This will provide ways of finding out how professional performers develop a style and image over time, as their careers progress.

Learners will start to develop their own ideas for style and image through experimentation towards making a performance that includes these elements, where they are appropriate to the musical material performed and the type of audience present. This performance may incorporate dance routines made by the musical performers themselves, or simply be clear and well-developed stagecraft in action.

This unit should be taught through a range of practical workshops, discussions and seminars. There needs to be time given for research into the work of practising musicians and for learners to explore their own performing potential. Classes and workshops can be tutor- or learner-led and learners should be encouraged actively to pursue their own individual and group goals as performers.

Learners should develop good habits as practising and performing artists, appreciating the need for health and safety, while exploring the possibilities of their performing potential.

Time and space will be needed for the exploration, development and carrying out of health and wellbeing techniques over the duration of the unit. Tutors do not have to be experts in movement in order to deliver this part of the unit, but the involvement of suitable outside experts to introduce it may be of benefit. For example, a teacher of the Alexander Technique, Pilates or Yoga could be helpful in introducing the basic principles of these disciplines to learners.

In order to gain an understanding of the importance of image to artists, learners will need to have access to a source of performances and interviews (music videos, live concert recordings, magazine interviews, press cuttings) by a number of artists from which they may choose one to explore in detail. internet access for research purposes is also required. Sound and video playing equipment, as well as having the opportunity to experience music live in concerts, recitals, shows, etc, where possible, is encouraged because learners should not necessarily concentrate on ‘mega-stars’. The work of musicians may be introduced through guided observations, encouraging learners to think about the style and image of performers at different stages of their career so that a real sense of how musicians develop, reflecting changes in taste, audience, material and context is developed.

Learners can report their findings in a variety of formats: written; oral; E-reports; recordings. The quality of the recordings will not be assessed, where sound or visual media are used, so long as the results are fit for purpose and allow the messages to be communicated to the chosen audience. This should provide an opportunity for learners to experience some professional working practice in action.

The work for this unit, including discussions, should stimulate experimentation with the learner’s own style and image and may begin to feed into the final part of the unit.


47


Learners will need to have time and space to develop their own, or group, ideas for a performance. These ideas may be opportunities for practice assessments and informal self and group evaluations. Performances can take place in any suitable venue but learners need to be aware of the technical constraints at their centre when preparing for performances.

Some centres may wish to allow learners to take their work out of the centre to enable different technical facilities to be used like staging, sound and lighting equipment. Others may stage the final live performances ‘in-house’.

Recording equipment may be required by some learners for their own musical performances, eg DJs, and for the recording of reports and evaluations, where appropriate. All final performances should be recorded on video or DVD.

Assessment

Evidence for assessment will be generated in practical workshops and assignments that are written or recorded, underpinned by research and rehearsed performances.

Learners should have the opportunity to experience a wide range of techniques relating to health and wellbeing and should be able to detail how they have used some, or all, of the techniques to improve their own musical performance. The health and wellbeing criteria is likely to be assessed through the learner’s record and ongoing evaluation, supported by a teacher statement.

The style and image element will be assessed through the learner’s presentation of their findings. This may be in any format appropriate to the learner.

The learner performance element will be teacher assessed, based upon the context in which the performance is placed by the learner, supported by a statement and video recording.



This unit may underpin and develop knowledge and skills that will be applied during work for the following units:

Unit 1:Planning and Creating a Music Product; Unit 2: Exploring the Music Profession, Unit 3: Solo Musical Performance, Unit 6: Working as a Musical Ensemble; Unit 7: Introducing DJ Technology; Unit 8: Rehearsal Techniques for Musicians.

This unit could link to other BTEC Firsts in the sector. The closest links are with the BTEC First Certificates and Diplomas in Performing Arts and Media. In terms of progression, this unit has closest links with the BTEC Nationals in Music Practice and Music Technology although links with the BTEC Nationals in Performing Arts and Media are possible.

Essential resources

Learners will normally be asked to provide and maintain their own instrument. Centres will provide larger instruments (if required) on the premises eg piano, drum kits, amplification equipment. Centres may wish to provide costumes, make-up and staging equipment such as set, lighting and sound systems. A video or DVD recording/viewing system for evidence recording purposes, for reviewing progress and for learner research will be necessary, along with a range of supporting research materials.


48


A practical studio space in which to work will be essential; a recording studio is optional. The size and nature of the performing space will depend on the needs of the centre and the learner group.



Each instrument will have its own set of technique development materials that can be found in libraries, music shops and periodicals.

For the health and wellbeing element of the unit, learners will find periodical journals on exercise useful along with the material listed below:

Books

de Alcantara P — Indirect Procedures: Musician’s Guide to the Alexander Technique (Oxford University Press and Clarendon Paperbacks, 1997)

Fraser T — Yoga for You: A Step by Step Guide to Yoga at Home for Everybody (Duncan Baird Publishers, 2003)

Paull B and Harrison C — The Athletic Musician: A Guide to Playing Without Pain (Scarecrow Press, 1997)

Robinson L et al — The Official Body Control Pilates Method — For Fitness and Health, Sport, and at Work (Macmillan Paperback, 2002)

The internet, TV programmes, music magazines, music videos, and libraries will be sources for research into professional musicians.


49


Key skills




• discussing with a group their findings related to the style and image of musicians

• presenting findings related to the style and image of musicians

• researching the careers of performing musicians

• reporting on the results of their individual programme for health and wellbeing

• reporting findings on research into the style and image of performing musicians.



C2.2 Read and summarise information from at least two documents about the same subject. Each document must be a minimum of 500 words long.

C2.3 Write two different types of documents each one giving different information. One document must be at least 500 words long.



• researching the careers of musicians

• creating a report on the careers of musicians

• presenting the results of their personal health and wellbeing programme

• reporting on the careers of musicians






50




• devising their personal health and wellbeing programme

• carrying out the personal health and wellbeing programme

• creating a performance

• reporting on the results of their personal health and wellbeing programme

• creating a performance.






• developing a personal programme for health and wellbeing

• creating a performance

• developing a personal programme for health and wellbeing.



PS2.3 Check if the problem has been solved and identify ways to improve problem solving skills.



• planning and creating a performance

• planning and organising a performance

• planning and organising a performance.


WO2.2 Work co-operatively with others towards achieving identified objectives.

WO2.3 Review your contributions and agree ways to improve work with others.


51



52

UNIT 6: WORKING AS A MUSICAL ENSEMBLE

Unit 6: Working as a Musical Ensemble



Unit abstract

Only the most talented musicians make it as solo performers in the music industry. However, many musicians make their living by playing in ensembles. There is a wide range of varying musical ensembles in which musicians play and these are not always the most obvious. For example, a string player may perform as part of an orchestra, a string quartet or as part of the backing group for a singer. Many musicians make their living as session players and are called upon to perform as part of a musical group with whom they do not regularly play.

Music-making is a social activity, and the ability to work with others is a crucial part of the musician’s portfolio. Most practising musicians will find themselves working regularly as part of a team. Communication skills, the ability to discuss, compromise and work towards a shared goal are all as important as technical and musical ability.

This unit allows learners to become part of a musical team, concentrating on the process of a team working together towards a performance. Involvement can be as a performer or as a director/conductor. All members of the team will share responsibility for the final performance. Through discussion and compromise, decisions will be made as a team and projects should be learner-led, as far as possible, to allow for this. Learners will be expected to decide what form the final performance will take, make decisions regarding an appropriate repertoire, develop original musical material if appropriate, draw up realistic schedules for achieving the performance and take responsibility for the presentation of the final performance.

Alongside this, learners will develop the musical communication skills needed for performing as part of an ensemble. Playing in an ensemble requires myriad skills not associated with solo performance such as the ability to listen to others, balance and blend with others, and respond musically to others. This unit explores the areas of musical interaction. How do musicians interact with each other? How do they communicate both musically and physically during a performance?

The aim of the unit is the development of the learner’s collaborative skills. Group dynamic, understanding roles, communicating ideas with others, and musical interaction are all critical outcomes.

Learning outcomes


1 Understand different musical ensembles and the roles within them

2 Know how to devise, plan and prepare for a performance as part of an ensemble

3 Be able to present an ensemble performance.


53


Unit content

1 Understand different musical ensembles and the roles within them

Types of musical ensembles: orchestra; brass bands; wind bands; chamber ensembles; rock/pop/jazz groups; folk bands; gamelan; steel pan band; vocal groups (choirs, barbershop, chamber); early music groups; bagpipes; the distinctions between different types of musical teams

Roles and responsibilities within a musical ensemble: performers (eg individual rehearsal prior to group rehearsal, attending rehearsals, musical communication, contributing to development of team, discussions); conductors (eg preparing rehearsal schedules, attending rehearsals, musical interpretation of pieces, keeping players together); directors (eg choosing material, overall vision for concert); managers

2 Know how to devise, plan and prepare for a performance as part of an ensemble

Initial considerations when devising a performance: venue; type of audience; timescales and deadlines; personnel (eg number of performers, instruments available, level of performers’ ability); repertoire suitable for ensemble

Planning and preparing: scheduling, rehearsal programmes; practical considerations; room bookings; technical requirements eg ordering music/scores for performers; delegating responsibilities; basic rehearsal techniques

3 Be able to present an ensemble performance

Presenting a performance: visuals (stage clothes, stage positions); stage presence eg entry and exit from stage; projection; communicating with an audience

Musical communication within an ensemble: working with a conductor; working as an ensemble; musical interaction; up-beats/lead-ins; maintaining a pulse; physical communication; body language; balance; blend; musical response


54

UN

IT 6

: W

OR

KIN

G A

S A

MU

SIC

AL

ENSE

MB

LE

Gra

ding

gri

d

In o

rder

to p

ass t

his u

nit,

the

evid

ence

that

the

lear

ner p

rese

nts f

or a

sses

smen

t nee

ds to

dem

onst

rate

that

they

can

mee

t all

of th

e le

arni

ng o

utco

mes

for t

he u

nit.

The

crite

ria fo

r a p

ass g

rade

des

crib

e th

e le

vel o

f ach

ieve

men

t req

uire

d to

pas

s thi

s uni

t.

Gra

ding

cri

teri

a

To

achi

eve

a pa

ss g

rade

the

evid

ence

mus

t sho

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that

the

lear

ner

is a

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to:

To

achi

eve

a m

erit

grad

e th

e ev

iden

ce m

ust s

how

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at, i

n ad

ditio

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pass

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teri

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e le

arne

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:

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achi

eve

a di

stin

ctio

n gr

ade

the

evid

ence

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t sh

ow th

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n ad

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pass

and

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iteri

a, th

e le

arne

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:

P1 i

dent

ify a

rang

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ical

ens

embl

es

P2 i

dent

ify th

e di

ffer

ent r

oles

with

in m

usic

al

ense

mbl

es

P3 b

ecom

e an

act

ive

mem

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f a m

usic

al

ense

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e, c

ontri

butin

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isio

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akin

g an

d de

mon

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ting

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mun

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ivel

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s

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volv

ed in

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devi

sing

stag

es o

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proj

ect,

iden

tifyi

ng a

pla

n fo

r the

succ

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ul

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isat

ion

of a

per

form

ance

M1

desc

ribe

a ra

nge

of m

usic

al e

nsem

bles

M2

desc

ribe

the

diff

eren

t rol

es w

ithin

mus

ical

en

sem

bles

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beco

me

an a

ctiv

e m

embe

r of a

mus

ical

en

sem

ble,

con

tribu

ting

to d

ecis

ion-

mak

ing

and

havi

ng c

onsi

dera

ble

inpu

t in

the

proj

ect,

dem

onst

ratin

g an

abi

lity

to c

omm

unic

ate

effe

ctiv

ely

and

to sh

ow in

itiat

ive

M4

beco

me

invo

lved

in th

e de

visi

ng st

ages

of a

pr

ojec

t, de

mon

stra

ting

crea

tive

inpu

t and

de

scrib

ing

a de

taile

d pl

an fo

r the

succ

essf

ul

real

isat

ion

of a

per

form

ance

D1

expl

ain

a ra

nge

of m

usic

al e

nsem

bles

D2

expl

ain

the

diff

eren

t rol

es w

ithin

a m

usic

al

ense

mbl

e

D3

beco

me

an a

ctiv

e m

embe

r of a

mus

ical

en

sem

ble,

con

tribu

ting

to d

ecis

ion-

mak

ing

and

havi

ng c

onsi

dera

ble

crea

tive

inpu

t in

the

proj

ect,

com

mun

icat

ing

with

mem

bers

of t

he

ense

mbl

e ef

fect

ivel

y, a

utho

ritat

ivel

y an

d sh

owin

g in

itiat

ive

D4

beco

me

invo

lved

in th

e de

visi

ng st

ages

of a

pr

ojec

t, de

mon

stra

ting

crea

tive

inpu

t and

ju

stify

ing

a pl

an fo

r the

succ

essf

ul re

alis

atio

n of

a

perf

orm

ance

, pay

ing

clos

e at

tent

ion

to b

oth

prac

tical

and

mus

ical

con

side

ratio

ns

BF0

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Spec

ifica

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t Dip

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ic

– Is

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55

UN

IT 6

: W

OR

KIN

G A

S A

MU

SIC

AL

ENSE

MB

LE

Gra

ding

cri

teri

a

To

achi

eve

a pa

ss g

rade

the

evid

ence

mus

t sho

w

that

the

lear

ner

is a

ble

to:

To

achi

eve

a m

erit

grad

e th

e ev

iden

ce m

ust s

how

th

at, i

n ad

ditio

n to

the

pass

cri

teri

a, th

e le

arne

r is

abl

e to

:

To

achi

eve

a di

stin

ctio

n gr

ade

the

evid

ence

mus

t sh

ow th

at, i

n ad

ditio

n to

the

pass

and

mer

it cr

iteri

a, th

e le

arne

r is

abl

e to

:

P5 p

erfo

rm a

s par

t of a

n en

sem

ble,

dem

onst

ratin

g an

aw

aren

ess o

f mus

ical

com

mun

icat

ion.

M

5 pe

rfor

m c

onfid

ently

as p

art o

f an

ense

mbl

e,

dem

onst

ratin

g an

abi

lity

to c

omm

unic

ate

mus

ical

ly w

ith o

ther

mus

icia

ns.

D5

perf

orm

con

fiden

tly a

s par

t of a

n en

sem

ble,

de

mon

stra

ting

an a

bilit

y to

com

mun

icat

e m

usic

ally

with

bot

h ot

her m

usic

ians

and

an

audi

ence

.

Gui

danc

e to

supp

ort t

he a

sses

smen

t of t

his u

nit i

s on

page

57.

BF0

1726

9 –

Spec

ifica

tion

– Ed

exce

l Lev

el 2

BTE

C F

irst C

ertif

icat

e an

d B

TEC

Firs

t Dip

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a in

Mus

ic

– Is

sue

2 –

Mar

ch 2

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Delivery

There are two main areas of focus for this unit — working as part of a team, and interacting musically within an ensemble. Ideally, the two should develop mutually.

Initial learning hours should be used to introduce learners to the range of issues and skills associated with ensemble work, taking the form of brainstorming sessions and group discussion. Examining recordings and videos of seasoned ensemble performers, from a range of musical traditions, would act as a starting point in investigating the necessary skills and concepts.

Key areas of discussion and analysis should be how musicians interact both musically and physically during a performance, and what sort of communication is required prior to a performance. Visiting ensembles, or visits to live performances, also form a valuable resource, especially if learners are able to ask the performers about their working practices.

Time should also be spent on devising a performance. Appropriate venues, occasions, audiences and formats should be investigated (and how these affect the choice of repertoire, technical and practical considerations) and timescale. While a concert performance is an obvious choice, it is not a requirement of the unit and a project leading towards a recording, a piece of music theatre, or a video shoot is equally valid.

Learners should be given appropriate learning hours to work within an ensemble in the preparation of a performance. While the practical side of this unit is essentially learner led, tutor support should be on hand to ensure that valuable time is used wisely and progression toward the final event is being maintained.

During the preparation stages, ensemble ‘masterclasses’ or peer sharing could be implemented. Such milestones within a project prove effective in focusing learners’ progression. Also, making audio or video recordings of work in progress is useful for peer evaluation and discussion.

Assessment

Building assessment evidence for this unit should be an ongoing process because the majority of evidence will be generated spontaneously through group discussion and preparation. Learners could document their progress by keeping a project journal and effective use could be made of both audio and video recordings of sessions.

Learners will need to evidence their understanding of musical ensembles and the roles of people within them. This could be done through written work, although recorded discussions are valid.

Audio or video recordings of initial meetings, discussions and practical sessions could be included as part of the evidence for the planning and devising of a performance. This would provide evidence of the learner’s ability to communicate with a team, suggest and try out ideas, and their involvement in team decision-making.


57


As further evidence, written documentation outlining the planning and preparation process from start to finish would be beneficial. This would most likely take the form of a project journal and would provide information regarding the initial project idea, issues and considerations related to the final performance, ideas for an appropriate repertoire, how decisions were reached, evaluations of rehearsals, problems encountered and how they were dealt with. Again, audio or video recordings could be used to support this evidence.

Learners will need to provide a video of the final performance. Video (rather than audio) is essential in this respect for providing evidence of physical, alongside musical, interaction within the ensemble. An annotation of the final performance may also prove valid as a way of allowing learners to provide evaluations of the event.



This unit may provide links to: Unit 1: Planning and Creating a Music Product and Unit 8: Rehearsal Techniques for Musicians.


Essential resources

Learners will need access to suitable space for ensemble rehearsal, performance venue/ recording facility, audio and video recording equipment.


Reading about rehearsing is less important than learners witnessing other players’ rehearsal processes. Learners should be encouraged to observe group performances on video/DVD where possible as this will inform their own practices.


58


Key skills




• working within a musical ensemble

• detailing the different types of musical ensemble.





• researching different types of musical ensemble

• presenting rehearsal schedules and planning documents.






• planning and preparing for a performance.





59




• rehearsing in their ensemble. PS2.1 Identify a problem, with help from an appropriate person, and identify different ways of tackling it.


PS2.3 Check if the problem has been solved and identify ways to improve problem-solving skills.



• working within a musical ensemble

• working within a musical ensemble in the preparation of a performance.





60

UNIT 7: INTRODUCING DJ TECHNOLOGY

Unit 7: Introducing DJ Technology



Unit abstract

The 1990s saw the rise of the DJ as a significant force in popular music. DJs can now enjoy the billing and status once only afforded to more traditional performers. The skills of the ‘turntablist’ are now considered by many to be on a par with those of a guitarist, drummer or singer.

There is a wide range of DJs from the club to a radio DJ. Working as a DJ is as much about creating a performance as being part of a band or orchestra. DJs need to understand how to structure their set as well as communicate with their audience to achieve a successful performance.

This unit gives learners the opportunity to develop a range of technical and artistic skills relevant to a career as a club or a production DJ. The emphasis of the unit is on the DJ as a performer and producer of dance music.

The unit will familiarise learners with the range of equipment contemporary DJs use, in a variety of roles and environments. Working with electrical equipment means that DJs need to have a thorough understanding of its safe operation. Also, as many DJs work in environments with high noise levels, learners will gain an understanding of working in a way that respects their health. They will be introduced to the safe and creative operation of DJ equipment and will learn a range of DJ performance techniques.

Learners will develop an understanding of the different roles and environments in which DJs operate in order to be able to make an informed choice about their own development and progression in the field.

Learners will explore popular dance music styles and genres. They will also demonstrate how to use a range of related music technology, including sequencing and sampling equipment to expand and enhance their performances.

Learning outcomes


1 Know the equipment necessary to operate safely as a DJ

2 Be able to perform, using a range of DJ techniques

3 Understand the roles and environment in which DJs function

4 Be able to select and programme appropriate material for performance.


61


Unit content

1 Know the equipment necessary to operate safely as a DJ

Turntables (decks): sound control options; the cross-fader; vertical fader; transform button; input select switch

Sound equipment: amplifiers; speaker systems; headphones

Health and safety: electrical risks; physical risks; safe handling and storage; noise levels and related health practices

2 Be able to perform, using a range of DJ techniques

Perform: choosing tracks for a set; structuring the set; communicating with the audience

DJ techniques: beats per minute (BPM); pitch control; phrasing; spin backs; button stopping; phasing; quick cross fading; drop-ins; cutting

3 Understand the roles and environment in which DJs function

Types of DJ: club DJ; ‘personality’ DJ; radio DJ; DJ producer

Environment: recording studio, club; broadcast studio

DJ health and safety of environment: electrical risks; physical risks; safe handling and storage; noise levels and related health practices

4 Be able to select and programme appropriate material for performance

Select appropriate material: eg House; Techno; Hip-Hop; Garage; Trance; Euro

Programming: event type; audience type and reactions; trends


62

UN

IT 7

: IN

TRO

DU

CIN

G D

J TEC

HN

OLO

GY

Gra

ding

gri

d

In o

rder

to p

ass t

his u

nit,

the

evid

ence

that

the

lear

ner p

rese

nts f

or a

sses

smen

t nee

ds to

dem

onst

rate

that

they

can

mee

t all

of th

e le

arni

ng o

utco

mes

for t

he u

nit.

The

crite

ria fo

r a p

ass g

rade

des

crib

e th

e le

vel o

f ach

ieve

men

t req

uire

d to

pas

s thi

s uni

t.

Gra

ding

cri

teri

a

To

achi

eve

a pa

ss g

rade

the

evid

ence

mus

t sho

w

that

the

lear

ner

is a

ble

to:

To

achi

eve

a m

erit

grad

e th

e ev

iden

ce m

ust s

how

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at, i

n ad

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n to

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teri

a, th

e le

arne

r is

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e to

:

To

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eve

a di

stin

ctio

n gr

ade

the

evid

ence

mus

t sh

ow th

at, i

n ad

ditio

n to

the

pass

and

mer

it cr

iteri

a, th

e le

arne

r is

abl

e to

:

P1 i

dent

ify th

e di

ffer

ent p

iece

s of e

quip

men

t ne

cess

ary

to w

ork

as a

clu

b D

J, in

clud

ing

a so

und

syst

em a

nd w

here

app

ropr

iate

, sho

w

bran

ds a

nd m

odes

of D

J equ

ipm

ent i

n co

mm

on

use

in a

clu

b en

viro

nmen

t

P2 d

emon

stra

te th

e sa

fe o

pera

tion

of a

rang

e of

sp

ecia

list D

J equ

ipm

ent,

iden

tifyi

ng p

ossi

ble

risks

P3 i

dent

ify d

iffer

ent t

ypes

of D

J and

the

envi

ronm

ents

in w

hich

they

ope

rate

P4 p

erfo

rm a

DJ s

et, d

emon

stra

ting

an a

rtist

ical

ly

acce

ptab

le se

lect

ion

and

prog

ram

min

g of

m

usic

al m

ater

ial.

M1

desc

ribe

the

diff

eren

t pie

ces o

f equ

ipm

ent

nece

ssar

y to

wor

k as

a c

lub

DJ,

incl

udin

g a

soun

d sy

stem

and

whe

re a

ppro

pria

te, p

rovi

de

deta

ils o

f spe

cific

bra

nds o

f DJ e

quip

men

t in

com

mon

use

in a

clu

b en

viro

nmen

t

M2

dem

onst

rate

the

safe

ope

ratio

n of

a ra

nge

of

spec

ialis

t DJ e

quip

men

t, de

scrib

ing

how

risk

s ar

e be

ing

avoi

ded

M3

desc

ribe

and

com

pare

the

role

s of d

iffer

ent

type

s of D

J and

the

envi

ronm

ents

in w

hich

they

op

erat

e.

M4

perf

orm

a c

onfid

ent D

J set

, sho

win

g or

igin

ality

an

d cr

eativ

ity in

the

sele

ctio

n an

d pr

ogra

mm

ing

of m

usic

al m

ater

ial.

D1

expl

ain

the

diff

eren

t pie

ces o

f equ

ipm

ent

nece

ssar

y to

wor

k as

a c

lub

DJ,

incl

udin

g a

soun

d sy

stem

and

whe

re a

ppro

pria

te, j

ustif

y sp

ecifi

c br

ands

of D

J equ

ipm

ent i

n co

mm

on u

se

in a

clu

b en

viro

nmen

t

D2

dem

onst

rate

the

safe

ope

ratio

n of

a ra

nge

of

spec

ialis

t DJ e

quip

men

t, ex

plai

ning

how

risk

s ar

e be

ing

avoi

ded

D3

expl

ain

and

com

pare

the

role

s of d

iffer

ent t

ypes

of

DJ a

nd th

e en

viro

nmen

ts in

whi

ch th

ey

oper

ate,

with

refe

renc

e to

exa

mpl

es

D4

perf

orm

a st

ylis

h D

J set

, sho

win

g or

igin

ality

an

d cr

eativ

ity in

the

sele

ctio

n an

d pr

ogra

mm

ing

of m

usic

al m

ater

ial t

hat i

s app

ropr

iate

for t

he

even

t and

aud

ienc

e.

Gui

danc

e to

supp

ort t

he a

sses

smen

t of t

his u

nit i

s on

page

64.

BF0

1726

9 –

Spec

ifica

tion

– Ed

exce

l Lev

el 2

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C F

irst C

ertif

icat

e an

d B

TEC

Firs

t Dip

lom

a in

Mus

ic

– Is

sue

2 –

Mar

ch 2

007

© E

dexc

el L

imite

d 20

07

63



Delivery

Delivery of this unit should be mainly workshop-based, concentrating on the acquisition of practical skills in the early part, leading on to the development of the creative use of the technology within performance and production.

Learners should be introduced to the different ranges of DJ equipment available in the centre and should also have the opportunity to research other equipment that would be available to DJs working in the profession. If possible, a visit to a professional venue would be helpful. When exploring the different types of DJ, learners should explore the ways in which they work and, again if possible, should have the chance to speak to a practising DJ.

Learners should be encouraged to devise a number of performances aimed at different audiences. By doing this, they will be required to explore the different styles and genres of dance music in order that they may then be aware of how these styles are mixed effectively.

Learners should be encouraged to listen to a number of sets by professional DJs to experience how a set is structured throughout the course of this unit. It is not enough for learners to simply play a number of tracks in a row. The structure of a set is very important and is often the sign of a good DJ. Phasing different tracks effectively and musically, and planning track order, is a vital skill for learners to develop in order that they are able to create smooth transitions through their set.

If possible, learners should perform a number of sets throughout the delivery of the unit, aimed at different audiences and using a number of themes. The techniques used by a range of DJs should be explored and replicated by learners in their own sets before they move on to create their own individual DJ style.

Performing to an audience is a vital aspect of this unit as learners are required to use the reaction of the audience to shape their own performance. Learners should be encouraged to plan their set to a certain extent, but also to work with the audience in order to deliver a successful performance.

Note: when working with DJ equipment, centres and learners should consider health and safety issues and embed the appropriate procedures and processes at an early stage.

Assessment

The evidence required for this unit will be in the form of practical demonstrations, performances and responses to oral and written questioning. Performing is a vital part of the assessment of this unit and learners should be encouraged to perform on a number of occasions throughout the unit. Learners may also produce a portfolio of research into the different types of DJ in order that they may demonstrate their understanding of these roles and also compare the variety of DJ professions.

Where appropriate, learners should be encouraged to perform both inside and outside of the learning environment so as to begin developing skills in identifying and adapting to audience needs. This could be to an audience made up of their peers on the course but performances to wider audiences — for example other learners at the centre or friends and family — would also provide learners with a greater depth of experience. The performances should be to a number of different briefs in order that learners are able to prepare for a variety of DJ settings.


64


Learners should be encouraged to reflect on each assignment, identifying their strengths and weaknesses. This should be incorporated into the assessment criteria, following consultation with the tutor and other learners.

Performances should be recorded on video in order that the music material used in the set is recognised as well as the audience reaction. Learners should be encouraged to evaluate their performances, detailing how they changed their set in accordance with the audience’s reaction. Detailed set lists may be provided in order that learners can demonstrate how they planned for the type of audience to whom they performed.



This unit links to Unit 1: Planning and Creating a Music Product and Unit 11: Exploring Computer Systems Used by Musicians.


Essential resources

Learners must, as a minimum, have access to a range of DJ equipment, including decks, mixers, sound amplification and monitoring.

Ideally, learners should be able to access and incorporate a range of related performance equipment, including sequencers, samplers and beat-boxes. They must also have access to music material, including a varied range of music styles on vinyl.



Broughton F and Brewster B — How to DJ Right: The Art and Science of Playing Records (Grove Press, 2003)

Dodge C and Jerse T A — Computer Music (Macmillan, 1997)

Hoggarth J and Sandler Z (Illustrator) — How to Be a DJ (Puffin Books, 2002)

Reighley K B — Looking for the Perfect Beat: The Art and Culture of the DJ (MTV Books, 2000)

Roads C — The Computer Music Tutorial (MIT Press, 1996)

Slaney C — The DJ Handbook (PC Publishing, 2005)

Terrett P — Bedroom DJ (Omnibus Press, 2003)

Webber S — Turntable Techniques: The Art of the DJ (Berklee Press Publications, 2000)


65


Magazines

DJ Magazine (Nexus)

EQ (Nexus)

Future Music (Future Publishing)

Music Mart (Trinity Publications)


66


Key skills




• discussing different DJ styles

• researching a range of DJ equipment.





• researching a range of DJ equipment.





• evaluating their DJ performance

• planning their DJ set.





• planning an appropriate DJ set for a target audience

• reacting to the response from an audience.




67



68

UNIT 8: REHEARSAL TECHNIQUES FOR MUSICIANS

Unit 8: Rehearsal Techniques for Musicians



Unit abstract

Although playing to a live audience is the goal for many performing musicians, many more hours are spent in the rehearsal room planning, preparing and developing performances. It is in the rehearsal room that discussions take place, decisions are made, ideas are conceived, technical and musical skills are developed and performances are shaped.

This unit explores ‘behind the scenes’ of the live performance. In a professional setting, musicians are required to meet high performance standards in a limited amount of time. Therefore, knowing how to use the available rehearsal time to the best effect is a vital skill required of all performing musicians.

Many learners will be familiar already with the rehearsal process. It is only natural for aspiring musicians to establish and rehearse in ensembles, groups and bands with a view to public performance. But the rehearsal process, through lack of experience and supervision can often lack discipline and structure. Being able to rehearse thoroughly and effectively as a working musician is as important as the performance itself.

This unit puts the spotlight on that all important period leading up to a performance. Through an investigation of the preparation process, learners will develop a range of strategies for ensuring rehearsal time is used effectively. Whilst the focus of the unit is learners’ working together in groups in a rehearsal situation, the development of individual learners’ technical and musical control of their instrument will also be encouraged.

The key to musical development is the ability to critically evaluate one’s progress. Time will be spent investigating ways of monitoring progress. Learners will plan rehearsal schedules, keep records of rehearsals, set themselves challenging but achievable targets and analyse their own development, pinpointing problems and devising ways to solve them. Group work, communication skills and technical development are all important, although the overall aim of the unit is development of the learner’s ‘critical ear’ and striving for the best performance possible.

Learning outcomes


1 Know how to prepare a detailed rehearsal schedule

2 Know how to set challenging and achievable targets for a rehearsal session

3 Understand how to evaluate progress critically

4 Be able to demonstrate technical and musical control of an instrument within a group.


69


Unit content

1 Know how to prepare a detailed rehearsal schedule

Creative preparations: repertoire choice and development; development of original material; technical development

Practical preparations: venue; resources; room bookings; setting up equipment; timekeeping

Drawing up a realistic schedule: time management; time allocation; balancing individual and group needs; how to use time effectively

2 Know how to set challenging and achievable targets for a rehearsal session

The role of targets: structuring a rehearsal schedule, eg timings, duration, players’ availability; ensuring steady progression eg milestones as a focus

Setting challenging and achievable targets: detailed rather then holistic targets; technical and musical considerations; individual targets; group targets eg focusing on specific sections of the pieces to be performed

3 Understand how to evaluate progress critically

Record-keeping: rehearsal logs; audio/video recording of rehearsals

Evaluating and drawing conclusions: assessing the success or otherwise of meeting targets; the ‘post-mortem’ process; pinpointing problems or potential problems; using information to inform future planning

4 Be able to demonstrate technical and musical control of an instrument within a group

Technical and musical concerns for the individual: accuracy of pitch and rhythm; balance; dynamic control; tuning; technical control of electrical equipment; breathing techniques

Technical and musical concerns within the group: balance; blend; listening skills; accuracy of ensemble; musical communication


70

UN

IT 8

: R

EHEA

RSA

L TE

CH

NIQ

UES

FO

R M

USI

CIA

NS

Gra

ding

gri

d

In o

rder

to p

ass t

his u

nit,

the

evid

ence

that

the

lear

ner p

rese

nts f

or a

sses

smen

t nee

ds to

dem

onst

rate

that

they

can

mee

t all

of th

e le

arni

ng o

utco

mes

for t

he u

nit.

The

crite

ria fo

r a p

ass g

rade

des

crib

e th

e le

vel o

f ach

ieve

men

t req

uire

d to

pas

s thi

s uni

t.

Gra

ding

cri

teri

a

To

achi

eve

a pa

ss g

rade

the

evid

ence

mus

t sho

w

that

the

lear

ner

is a

ble

to:

To

achi

eve

a m

erit

grad

e th

e ev

iden

ce m

ust s

how

th

at, i

n ad

ditio

n to

the

pass

cri

teri

a, th

e le

arne

r is

abl

e to

:

To

achi

eve

a di

stin

ctio

n gr

ade

the

evid

ence

mus

t sh

ow th

at, i

n ad

ditio

n to

the

pass

and

mer

it cr

iteri

a, th

e le

arne

r is

abl

e to

:

P1 p

rodu

ce a

rehe

arsa

l sch

edul

e, id

entif

ying

tim

e m

anag

emen

t iss

ues a

nd th

e re

hear

sal p

roce

ss

P2 i

dent

ify c

halle

ngin

g an

d ac

hiev

able

targ

ets

durin

g re

hear

sals

P3 p

rovi

de re

cord

s of r

ehea

rsal

s tha

t ide

ntify

pr

ogre

ss m

ade

agai

nst s

et ta

rget

s

M1

prod

uce

a re

hear

sal s

ched

ule,

des

crib

ing

time

man

agem

ent i

ssue

s and

the

rehe

arsa

l pro

cess

, ta

king

into

acc

ount

a ra

nge

of te

chni

cal,

mus

ical

an

d pr

actic

al c

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UN

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Delivery

Most of the learning hours for this unit should be devoted to learners rehearsing in groups towards an agreed goal. The tutor should provide support throughout the rehearsal period, providing advice and feedback on a session-by-session basis.

It should be noted that a final performance is not a requirement of this unit because it is the process leading towards a performance that is to be assessed. Therefore, this unit is most suited to being delivered alongside one of the performance based units. This unit can be delivered in conjunction with Unit 3: Solo Musical Performance or Unit 6: Working as a Musical Ensemble.

Care must be taken to ensure that learners who access this unit through solo performance carry out the same detailed rehearsal process as those working within a group.

Initially, some time should be given to investigating the range of concerns that a rehearsal process involves. Brainstorming sessions and discussion activities are most appropriate for this. Visits from practising musicians may also be beneficial because learners would be able to get an idea of how different groups rehearse under differing constraints. Examples of appropriate and inappropriate targets could stimulate discussion.

Learners may not be fully aware of the time required to rehearse properly in order to meet set deadlines. Therefore, time should be spent helping learners discover how long the process takes in order that they can plan their rehearsal schedules effectively. The need to make targets clear and challenging, but at the same time achievable, should be a focus in the early stages of the unit. Too often, learners expect things to happen very quickly. Setting targets, both individually and within groups, will encourage learners to ensure that they set targets they can meet.

The balance between individual and group needs is critical in any successful rehearsal regime, and learners should be encouraged to work on individual technical improvement between group rehearsal sessions to ensure effective management of their time. Instrumental tutors may prove useful in this respect because they will be able to guide learners in techniques to use for the development of instrumental technique.

Learners should be encouraged to focus on the evaluation elements of this unit as much as the practical rehearsal elements. It is through evaluating how rehearsal sessions went that learners will be able to set goals for the next session. Evaluation of rehearsals should be done on a regular basis and not at the end of the unit.

The use of milestones is also encouraged so that learners may see how far they have come, and how far they still have to go to get their music ready to be performed. Sharing thoughts with peers and discussion alongside learners’ own evaluation and tutor feedback will allow learners to set new targets as they progress.


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Assessment

The keeping of records is most important in generating evidence for this unit. A specially designed pro forma may help ensure that learners record and use appropriate information. Audio and video recording is also appropriate, especially in providing evidence of technical and musical development. It is likely, that as evidence for this unit, learners will submit a portfolio of written rehearsal schedules and recorded rehearsal sessions. Tutor observation statements will provide evidence, as will recorded discussions between groups of learners, describing and evaluating their own rehearsals.

A typical portfolio would include a detailed rehearsal schedule. This should provide full details of the project, what the intended end result is, how the learner intends to achieve this and a breakdown of intended rehearsal content, leading towards a performance. Learners should also produce a detailed log of their rehearsal process. This will most probably take the form of a session-by-session account of the rehearsal, outlining clear targets for each session, an evaluation of the sessions’ success and demonstrating musical and technical progression.

Audio or video recordings will provide evidence of the learner’s increasing technical and musical control of an instrument over the rehearsal period. Learners often worry about having early rehearsals recorded because they are wary of not being able to play things ‘properly’. Reassurance that making mistakes, and going on to rectify these mistakes, is an important part of the rehearsal process that needs evidencing will encourage the use of recording. It is perhaps advisable to record at least some of each rehearsal.

A selection of recorded examples from different stages of the rehearsal period should provide sufficient evidence of progression. It is possible that as part of setting milestones throughout the unit, tutors can inform learners of specific rehearsals to be recorded. In this respect, learners will feel less nervous. Ideally, the audio or visual recorder should be placed somewhere unobtrusive in the rehearsal room so that learners can ‘forget’ its presence and rehearse naturally.

For those learners working towards a group performance, these recordings will then be used to evidence the group dynamics between learners. This will be shown not only musically — ie how well-balanced is the group playing and the musical communication — but should also evidence the working relationship between group members.

Whilst learners may access this unit by working in groups, each individual learner is required to detail their own plan of the process. All learners in a group must have an input and this input should be detailed. Reliance upon one learner to complete the report is not permitted.



This unit links to Unit 1: Planning and Creating a Music Product, Unit 3: Solo Musical Performance and Unit 6: Working as a Musical Ensemble.


Essential resources

Learners will need access to suitable rehearsal spaces and audio/video recording facilities.


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Key skills




• investigating rehearsal processes.




• computer processing their rehearsal schedule.





• setting challenging and achievable targets

• evaluating critically progress throughout the rehearsal process.





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• evaluating critically progress throughout the rehearsal process

• evaluating critically progress throughout the rehearsal process and setting new targets

• evaluating critically progress throughout the rehearsal process.

PS2.1 Identify a problem with help from an appropriate person and identify different ways of tackling it.





• planning a rehearsal schedule

• rehearsing with a group

• rehearsing and sharing evaluation procedures with peers.





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UNIT 9: PRODUCING A MUSICAL RECORDING

Unit 9: Producing a Musical Recording



Unit abstract

The ability to use audio recording equipment to produce a music product is typically a central feature of anyone working with music technology in the music industry. Live sound engineers, studio engineers and producers or production programmers all work with recording technology in their roles. It is these people, using their skills in recording technology, who allow music to be accessible to wide audiences through DCs, MP3s, radio airplay and music television.

This unit is designed to introduce learners to some of the technology and techniques involved in creating music recordings. As is the case when working with any electrical equipment, an understanding of the importance of the health and safety issues associated with music recording is essential.

Learners will be expected to explore the technology typical of music recording, including: mixing consoles; microphones; patching systems; and recording devices. The unit includes a recognition that an organised approach to session planning and execution is essential. Efficiently run recording sessions will be the most productive, relative to their cost.

As part of the unit, learners will create a recorded product in a digital distributable form such as MP3 or CD. Learners will need to develop an appreciation of the technical and creative processes involved in capturing live audio sources. These sources should include drum kits, guitars and vocals. They will learn how to mix music and use audio-processing tools, such as reverb, echo and chorus, to enhance their musical creations.

Learning outcomes


1 Understand the role and safe operation of a range of audio recording equipment

2 Know how to prepare for a recording session

3 Be able to capture audio sources, using a range of appropriate recording equipment

4 Know how to use appropriate equipment to produce a finished music recording.


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Unit content

1 Understand the role and safe operation of a range of audio recording equipment

Recording equipment: microphone types; polar patterns; phantom power; mic stands; mic cables and connectors; microphone storage and handling

Audio recording and processing devices: DAWs; computer-based recording systems; recording media (mini-disk, hard-disk etc); safe operation, handling and positioning

2 Know how to prepare for a recording session

Selecting and configuring equipment: choosing the right microphone; examining compatibility issues; interconnecting equipment; testing signal paths; positioning equipment appropriately

Preparing: organising sessions; organising self and other performers; time-keeping; setting targets and monitoring progress; keeping accurate records (recording log, track-sheets etc)

3 Be able to capture audio sources, using a range of appropriate recording equipment

Range of audio source: eg drum kit; guitar; bass; piano; woodwind and brass instruments; orchestral instruments; single and multiple voices

Capture: microphone positioning; microphone selection; audio source preparation (eg re-stringing guitars); tuning issues; timing issues

4 Know how to use appropriate equipment to produce a finished music recording

Processing: eg reverb; echo; chorus; compression; gating; auto-tuning; harmonisation; vocoding

Mix: amplitude balance; tonal balance; creative mixing techniques; the ‘sound stage’

Finished product recording format: eg CD; compressed format (MP3, AAC, Ogg Vorbis etc); minidisc; DAT


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UN

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UN

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Delivery

Most, if not all, of this unit should be delivered through the use of practical workshops. Learners will need to access the technology required to conduct multitrack recordings, including microphones, sound generating equipment and musical instruments, and mixing/recording equipment. Ideally, learners should have access to a wide range of equipment and be encouraged to experiment with different recording equipment and recording techniques in order to discover which methods are most effective.

Listening to examples of a variety of professional recordings will allow learners to hear the effects different techniques and styles have on commercial recordings. Learners should be encouraged to talk about the recording process, using appropriate vocabulary.

Learners should be engaged in the process of creating a music product from an early stage in the unit, with the required theoretical and contextual elements of the unit added as necessary. The theory behind recording would be best delivered in a practical way. Learners must be encouraged to adopt a professional and time-conscious approach to the recording process from the start. Learners should understand that ‘time is money’ in the recording business and that wasted studio time would still need to be paid for in a professional context.

It is accepted that few, if any, centres will have the resources to support the kind of group sizes that will allow learners to concentrate a more than small amount of timetabled session time to individual projects. Class-time is likely, therefore, to focus on team activity, with learners required to rotate through a number of roles, including engineer, producer, assistant, performer etc as necessary. However, learners will need to have sufficient access to recording facilities outside of contact time to enable them to produce the individual evidence required to satisfy requirements of the unit.

Assessment

This unit is not only about learners’ ability to use recording technology to create musically acceptable products, but also about their understanding and management of the recording process.

The primary piece of evidence that demonstrates that a learner has successfully engaged in this unit is the ‘master’ of their multitrack recording, using an appropriate digital medium.

Learners should also be encouraged to keep an assessed activity log or diary, recording the organisation of sessions. This will allow them to evidence that they have shown a planned and structured approach to the recording sessions. Learners should detail the selection and set-up of equipment and the techniques used to conduct their close-mic recordings, explaining and justifying their choices in order to achieve the higher level grades. As it is possible that learners will work in groups, it is important that documentary evidence of the recording sessions clearly indicates the contribution individual learners made to any group or team sessions.

Learners’ understanding of the technology they are using, and their awareness of the health and safety issues involved, may be evidenced using responses to written and/or oral questioning.

Group or team recording submissions are acceptable, provided each learner’s contribution is significant and identifiable. Tutors should provide confirmation that this is the case with such submissions.


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This unit can be studied in conjunction with Unit 11: Exploring Computer Systems Used by Musicians. Sequences recorded during that unit may be used as backing or guide tracks for the recording required in this unit. Indeed, such cross-fertilisation is encouraged as a realistic example of music production activity.


Essential resources

Ideally, learners should have access to soundproof recording facilities in order to provide them with the best opportunity to achieve high quality close-mic recordings. Recording equipment should be as contemporary as possible but should, as a minimum, provide the facility to monitor and mix recorded material and apply effects and other audio processing such as compression and gating.

It would be beneficial to provide a wide range of different microphones, although the unit can be achieved with limited resources, provided those available are suitable for the recording processes undertaken.


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Key skills




• directing the performers who are being recorded.




• planning recording sessions

• recording their progress against their recording plan using a log or diary

• reviewing their log or diary with other learners and with their tutor.






• dealing with a situation where the equipment seems not to be working.

PS2.1 Identify a problem with help from an appropriate person, and identify different ways of tackling it.




83




• planning a recording session that involves other learners

• executing a planned recording session that involves other learners and recording their activity using a diary or log

• consulting with their tutor and other learners about making log entries following team recording sessions.





84

UNIT 10: UNDERSTANDING MUSIC

Unit 10: Understanding Music



Unit abstract

All musicians working in the music industry will need to have an understanding and knowledge of the elements of music. Musicians are likely to be asked to perform from notations, either staff notation, graphic notation, lead sheets or guitar tabs.

All music, regardless of style, genre or tradition, is made up of the same fundamental components: structure; tonality; harmony; and rhythm. Learners can be intimidated by music with which they are not familiar. This unit will give learners listening and understanding skills that will enable them to recognise the universal components of music and provide signposts when listening to unfamiliar styles. It will introduce them to each of the above components in turn, allowing an in-depth understanding of each component to be developed.

Learners will be introduced to the ways in which music is communicated to the performer by investigating different forms of notation. They will explore staff notation and gain an understanding of what it means as well as its function. Learners will understand that staff notation is not the only way in which music is written down. They will investigate guitar tabs, lead sheets and graphic notation. The fact that music is not always written down and is often learned ‘by ear’ should also be investigated.

Learners will gain an understanding of the components of music by listening to a variety of pieces and aurally recognising how they are constructed. Learners will investigate individual components across a variety of music styles in order to compare how similar techniques are applied in different settings. They will learn how to read simple staff notation as well as gain a basic understanding of different forms of notation, including graphic scores. Learners will investigate the textures and timbres of a wide variety of music.

Learning outcomes


1 Understand the structure of pieces from different styles/genres of music

2 Understand how melodic material is developed within pieces of music from different styles/genres of music

3 Know how to explore tonalities, harmonies and rhythms used in different styles/genres of music

4 Understand the role of notations

5 Know how to interpret notations.


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Unit content

1 Understand the structure of pieces from different styles/genres of music

Structure: binary form; ternary form; popular song; intro and outro; call and response; introduction; coda; repetition; sequence

Styles/genres of music: eg western classical music; popular songs; Indian music; African music; 12-bar blues; folk music; 12-tone music; experimental music

2 Understand how melodic material is developed within pieces of music from different styles/genres of music

Development of a musical ideal: eg use of melodic and rhythmic cells; repetition; modulation; inversion; elongating; reduction; call and response; layering

3 Know how to explore tonalities, harmonies and rhythms used in different styles/genres of music

Tonalities: major and minor keys and their key signatures; atonality; modes; pentatonic scales; Indian raga; blues scale

Harmonies: consonance and dissonance; major and minor triads; simple chord progressions; 12-bar blues; drone; textures; timbres

Rhythms: simple and compound time signatures; tempo; pulse; polyrhythms

4 Understand the role of notations

Types of notation: staff notation; guitar tabs; lead sheets; graphic scores

Role and uses of notation: instructions for performers; starting point for interpretation; broad outline of structure of piece; details of chord symbols

Use of appropriate notations: western classical music eg staff notation; experimental music eg graphic notation; popular song, eg lead sheets and guitar tabs

5 Know how to interpret notations

Interpret notations: eg perform live from different types of notation; dictation of a melody into staff/graphic notation; write a lead sheet for a pop song


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UN

IT 1

0:

UN

DER

STA

ND

ING

MU

SIC

Gra

ding

gri

d

In o

rder

to p

ass t

his u

nit,

the

evid

ence

that

the

lear

ner p

rese

nts f

or a

sses

smen

t nee

ds to

dem

onst

rate

that

they

can

mee

t all

of th

e le

arni

ng o

utco

mes

for t

he u

nit.

The

crite

ria fo

r a p

ass g

rade

des

crib

e th

e le

vel o

f ach

ieve

men

t req

uire

d to

pas

s thi

s uni

t.

Gra

ding

cri

teri

a

To

achi

eve

a pa

ss g

rade

the

evid

ence

mus

t sho

w

that

the

lear

ner

is a

ble

to:

To

achi

eve

a m

erit

grad

e th

e ev

iden

ce m

ust s

how

th

at, i

n ad

ditio

n to

the

pass

cri

teri

a, th

e le

arne

r is

abl

e to

:

To

achi

eve

a di

stin

ctio

n gr

ade

the

evid

ence

mus

t sh

ow th

at, i

n ad

ditio

n to

the

pass

and

mer

it cr

iteri

a, th

e le

arne

r is

abl

e to

:

P1 i

dent

ify a

ural

ly d

iffer

ent m

usic

al fo

rms

P2 i

dent

ify a

ural

ly d

iffer

ent t

ypes

of s

cale

s

P3 i

dent

ify w

ays i

n w

hich

mus

ical

idea

s mig

ht

deve

lop

thro

ugho

ut p

iece

s of m

usic

P4 r

ecog

nise

and

iden

tify

nota

tions

P5 i

dent

ify w

hich

not

atio

ns a

re m

ost o

ften

used

for

di

ffer

ent t

ypes

of m

usic

P6 r

ealis

e no

tatio

ns, i

dent

ifyin

g m

etho

ds o

f in

terp

reta

tion.

M1

desc

ribe

a ra

nge

of d

iffer

ent m

usic

al fo

rms

base

d on

aur

al e

xam

ples

M2

desc

ribe

a ra

nge

of d

iffer

ent t

ypes

of s

cale

s ba

sed

on a

ural

exa

mpl

es

M3

desc

ribe

a ra

nge

of w

ays i

n w

hich

mus

ical

idea

s de

velo

p th

roug

hout

pie

ces o

f mus

ic, r

efer

ring

to

exam

ples

M4

reco

gnis

e an

d de

scrib

e no

tatio

ns

M5

desc

ribe

whi

ch n

otat

ions

are

mos

t ofte

n us

ed

for d

iffer

ent t

ypes

of m

usic

M6

real

ise

nota

tions

, des

crib

ing

the

met

hods

of

inte

rpre

tatio

n.

D1

expl

ain

a ra

nge

of d

iffer

ent m

usic

al fo

rms b

ased

on

aur

al e

xam

ples

, ref

errin

g to

det

ails

in th

e m

usic

hea

rd

D2

expl

ain

a ra

nge

of d

iffer

ent t

ypes

of s

cale

s ba

sed

on a

ural

exa

mpl

es

D3

expl

ain

a w

ide

rang

e of

way

s in

whi

ch m

usic

al

idea

s dev

elop

thro

ugho

ut p

iece

s of m

usic

, pr

ovid

ing

deta

iled

and

spec

ific

exam

ples

D4

reco

gnis

e an

d ex

plai

n no

tatio

ns

D5

expl

ain

whi

ch n

otat

ions

are

use

d fo

r diff

eren

t ty

pes o

f mus

ic a

nd w

hy

D6

real

ise

nota

tions

, exp

lain

ing

the

parti

cula

r m

etho

ds o

f int

erpr

etat

ion.

Gui

danc

e to

supp

ort t

he a

sses

smen

t of t

his u

nit i

s on

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Delivery

It is not intended that this unit is delivered in ‘dry’ theoretical lessons. Learners should be encouraged to demonstrate their ability to read appropriate forms of notation in a practical way. Recognition of different components of music should also be tested practically, perhaps by short composition tasks that demonstrate that learners can hear harmonic, rhythmic and melodic development.

All of the tasks should allow learners to explore a variety of musical traditions in order that they can recognise different elements across a number of styles. Certain components may be more easily demonstrated by examples from the western classical tradition but this unit should not be delivered entirely through western classical music.

Delivery of this unit should be through a range of activities but mainly through listening and practical work. Learners should be introduced to the components of music in ways they feel comfortable but challenged. Introducing the concepts and ideas to learners through music they are familiar with would be a positive starting point.

Learners should have the opportunity to investigate and explore the wide variety of musical styles over the course of this unit. When exploring different types of score and notation, learners should be encouraged to work practically.

Discussions about graphic scores and different interpretations are likely to lead to a greater depth of understanding and work on realising a graphic score would best take place in groups.

Assessment

Evidence for this unit can be generated through audio recordings of discussions, debates and score realisations. Learners may wish to show their knowledge of how musical ideas are developed through: written examples; audio examples; by demonstrating on their instrument; or a presentation to their peers. The recognition and knowledge of scales and musical forms may be assessed through aural tests with written answers, although recorded spoken responses would be just as effective. When realising a score, learners may sing, play or whistle, if appropriate.



This unit links with all of the other units in the BTEC Firsts in Music. However, closest links are with Unit 3: Solo Musical Performance, Unit 4: Exploring Musical Composition and Unit 6: Working as a Musical Ensemble.



88


Essential resources

The centre should provide access to a wide range of different music, including western classical music, 20th century art music, popular music, jazz music and music from around the world. There should be adequate facilities for learners to be able to listen to these examples. Access to a range of scores is required, including graphic scores. There should be sufficient space for learners to be able to work in groups, as appropriate.



Bennett R — Fortissimo! (Cambridge University Press, 1996)

Bennett R — Musical Dictionary (Cambridge University Press, 1995)

Paynter J — Sound and Structure (Cambridge University Press, 1992)

Taylor E — The Associated Board Guide to Music Theory (ABRSM, 1991)


89


Key skills




• interpreting graphic scores in a group

• discussing how forms of notations are used

• investigating the notations which are used.






• investigating notations. ICT2.1 Search for and select information to meet your needs.




• investigating ways in which composers develop musical ideas.



90




• interpreting graphic and staff notation

• realising a graphic score.





• interpreting graphic scores in a group

• realising a graphic score within a group.





91



92

UNIT 11: EXPLORING COMPUTER SYSTEMS USED BY MUSICIANS

Unit 11: Exploring Computer Systems Used by Musicians



Unit abstract

The digital age has seen computers take centre stage in music production environments. The wealth of software tools and hardware systems has led to ‘virtual studio’ environments capable of producing recordings of the quality only previously available to expensive hardware-based systems, and at a fraction of the cost. MIDI and audio sequencing tools have put entire orchestras into the hands of composers and performers of music.

Learners will concentrate on exploring the components of computer hardware and software used in music production and performance. They will be introduced to the principles and techniques involved in using music creation software and will develop a familiarity with a range of relevant technology.

Learners will be expected to demonstrate an understanding of a computer-based music production system and will then work using the system to create music. Over the course of the unit, an awareness of the role of hardware and software components involved in a computer-based music production system will be developed with learners being able to describe, explain and use the equipment independently. They will need to be able to set up and configure a straightforward but functioning system, and operate a range of typical music production software tools. As part of their work, learners will sequence edited audio clips and integrate MIDI information, where appropriate.

Finally, but most importantly, they will learn techniques for using a computer-based music system to create pieces of music — both their own original material and versions of music by others.

Learners attempting this unit should be musically creative, or should at least have the potential to be able to originate musical ideas that may be realised using the kind of music technology being explored in the unit.

It is expected that learners will study this unit in conjunction with Unit 9: Producing a Musical Recording. For example, learners might be set a task to create audio/MIDI backing tracks over which they could record vocals and/or other instrumental parts.

Learning outcomes


1 Understand the role of the components in a given computer-based music creation environment

2 Be able to set up and configure computer-based music production systems in a safe manner

3 Be able to operate audio and music software tools

4 Be able to realise musical ideas, using music creation software.


93


Unit content

1 Understand the role of the components in a given computer-based music creation environment

Software components: audio editors; loop-based sequencers; MIDI and audio sequencers; audio codecs; software synthesisers; plug-ins; VST instruments; software patching systems etc

Hardware components: CPU; monitor; cables; input devices; audio monitoring; mixing equipment etc

Software environment: eg operating system issues; program location and launching; filing systems; storage conventions etc

2 Be able to set up and configure computer-based music production systems in a safe manner

Software configuration and set-up: audio set-up; audio clip/file management; software preferences etc

Hardware configuration and set-up: selecting components; interconnecting equipment; correct use of cables and positioning of equipment

Health and safety considerations: correct wiring; not overloading electrical components; no food and drink in the studio; loose wires taped to the ground

3 Be able to operate audio and music software tools

Audio tools: aligning and editing audio files; dealing with tuning, timing and tempo issues; normalization; effects and other audio processing etc

Music software tools: using MIDI tracks; selecting MIDI voices; detailed editing MIDI events, using controller messages

Program and file management: organising the production environment; an organised approach to file management; planning and documentation etc

4 Be able to realise musical ideas, using music creation software

Musical ideas: effective editing of MIDI events and manipulation of audio material; using the software tools effectively; the creative use of audio processing facilities


94

UN

IT 1

1:

EXPL

OR

ING

CO

MPU

TER

SY

STEM

S U

SED

BY

MU

SIC

IAN

S

Gra

ding

gri

d

In o

rder

to p

ass t

his u

nit,

the

evid

ence

that

the

lear

ner p

rese

nts f

or a

sses

smen

t nee

ds to

dem

onst

rate

that

they

can

mee

t all

of th

e le

arni

ng o

utco

mes

for t

he u

nit.

The

crite

ria fo

r a p

ass g

rade

des

crib

e th

e le

vel o

f ach

ieve

men

t req

uire

d to

pas

s thi

s uni

t.

Gra

ding

cri

teri

a

To

achi

eve

a pa

ss g

rade

the

evid

ence

mus

t sho

w

that

the

lear

ner

is a

ble

to:

To

achi

eve

a m

erit

grad

e th

e ev

iden

ce m

ust s

how

th

at, i

n ad

ditio

n to

the

pass

cri

teri

a, th

e le

arne

r is

abl

e to

:

To

achi

eve

a di

stin

ctio

n gr

ade

the

evid

ence

mus

t sh

ow th

at, i

n ad

ditio

n to

the

pass

and

mer

it cr

iteri

a, th

e le

arne

r is

abl

e to

:

P1 i

dent

ify th

e pr

inci

pal c

ompo

nent

s of a

co

mpu

ter-

base

d au

dio/

MID

I mus

ic c

reat

ion

syst

em a

nd th

eir f

unct

ion

P2 w

ith a

n aw

aren

ess o

f rel

evan

t hea

lth a

nd sa

fety

is

sues

, dem

onst

rate

how

to se

t up

and

conf

igur

e a

com

pute

r-ba

sed

audi

o/M

IDI m

usic

pro

duct

ion

syst

em

P3 d

emon

stra

te th

e op

erat

ion

of a

rang

e of

au

dio/

MID

I sof

twar

e to

ols

P4 d

emon

stra

ting

tech

nica

l ski

ll, p

rodu

ce tw

o pi

eces

of m

usic

, usi

ng a

udio

/MID

I mus

ic

crea

tion

softw

are

— o

ne o

f the

pie

ces m

ust b

e an

orig

inal

com

posi

tion.

M1

desc

ribe

the

prin

cipa

l com

pone

nts o

f a

com

pute

r-ba

sed

audi

o/M

IDI m

usic

cre

atio

n sy

stem

and

thei

r fun

ctio

n

M2

with

an

awar

enes

s of r

elev

ant h

ealth

and

safe

ty

issu

es, d

emon

stra

te h

ow to

set u

p an

d co

nfig

ure

a co

mpu

ter-

base

d au

dio/

MID

I mus

ic p

rodu

ctio

n sy

stem

M3

dem

onst

rate

and

des

crib

e th

e op

erat

ion

of a

ra

nge

of a

udio

/MID

I sof

twar

e to

ols

M4

dem

onst

ratin

g m

usic

ians

hip

and

tech

nica

l ski

ll,

prod

uce

two

piec

es o

f mus

ic u

sing

aud

io/M

IDI

mus

ic c

reat

ion

softw

are

— o

ne o

f the

pie

ces

mus

t be

an o

rigin

al c

ompo

sitio

n.

D1

expl

ain

the

prin

cipa

l com

pone

nts o

f a c

ompu

ter-

base

d au

dio/

MID

I mus

ic c

reat

ion

syst

em a

nd

thei

r fun

ctio

n

D2

with

an

awar

enes

s of r

elev

ant h

ealth

and

safe

ty

issu

es d

emon

stra

te h

ow to

set u

p an

d co

nfig

ure

a co

mpu

ter-

base

d au

dio/

MID

I mus

ic p

rodu

ctio

n sy

stem

, sho

win

g co

nfid

ence

and

pro

vidi

ng a

n ex

plan

atio

n of

the

proc

esse

s inv

olve

d

D3

dem

onst

rate

and

pro

vide

an

expl

anat

ion

of th

e op

erat

ion

of a

rang

e of

typi

cal a

udio

/MID

I so

ftwar

e to

ols

D4

dem

onst

ratin

g m

usic

ians

hip

and

a ra

nge

of

tech

nica

l ski

lls, p

rodu

ce tw

o pi

eces

of m

usic

us

ing

audi

o/M

IDI m

usic

cre

atio

n so

ftwar

e —

on

e of

the

piec

es m

ust b

e an

orig

inal

co

mpo

sitio

n.

Gui

danc

e to

supp

ort t

he a

sses

smen

t of t

his u

nit i

s on

page

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Delivery

The unit is aimed both at budding music producers and performers. The important role of computer-based systems in contemporary music production should be explored and learners encouraged to focus on the practical benefits of familiarity with the technology and techniques involved. This will include its role as an aid to musical composition, as the means to create backing tracks, and as the creation of demonstration/guide material for studio recording purposes.

This unit should be delivered in practical workshop sessions. Learners should have access both during and outside workshop sessions, to up-to-date audio/MIDI software that provides a range of functionality, including audio editing and timeline based audio/MIDI sequencing. As a minimum, learners should have access to a loop-based audio sequencing system that includes the ability to carry out straightforward edits of audio information, and that has some MIDI sequencing functionality.

Ideally, learners will be developing musical ideas from an early stage to encourage engagement with the technology. Learning and assessment of the theoretical/technical aspects of the unit should, therefore, be integrated into practical creative tasks wherever possible.

Group sizes should be kept to a minimum, where possible, to allow tutors to engage in regular contact with learners who may be spending significant amounts of time isolated through headphone use.

Assessment

The unit requires two main forms of evidence: one to support the learner’s understanding of the computer-based production environment, and one to provide evidence that they are able to use that environment to create music.

It is acceptable for the former to have an emphasis on tutor observation and/or records of oral and written questioning. Ideally, learners should be encouraged to evidence their understanding of the technology by talking through the process of music creation and the role of the various components involved.

The latter should be evidenced by the generation of some form of finished musical product recorded to an acceptable medium. This should be accompanied by tutor confirmation of the authenticity of the work. A finished product should, as a minimum, be a complete and musically acceptable piece of music — although the definition of ‘musically acceptable’ may require some negotiation between learner and tutor.

In order to encourage integration, an example of a finished product could include an effective and well-sequenced backing track used as the basis for additional studio-based recording. That evidence might then be used towards Unit 9: Producing a Musical Recording.


96




This unit links to Unit 4: Exploring Musical Composition.


Essential resources

Learners will require regular access to computer-based music production systems. These music systems may be based on any operating system, including Mac OS, Windows and Linux based PCs, provided they feature the software tools necessary for learners to satisfy the grading criteria. As a minimum, the systems should be equipped with: a loop-based production package that includes MIDI (eg Apple’s Garageband or Sony’s Acid Pro); some form of audio editing that allows audio clips to be trimmed, normalised and effected; and MIDI sound sources (software or hardware).

It is not necessary for learners to have full access to a high-end production package such as Logic or Cubase.



Magazines

Sound-on-Sound (SOS Publications Group)


97


Key skills

Achievement of key skills is not a requirement of this qualification but it is encouraged. Suggestions of opportunities for the generation of level 2 key skill evidence are given here. Tutors should check that learners have produced all the evidence required by part B of the key skills specifications when assessing this evidence. Learners may need to develop additional evidence elsewhere to fully meet the requirements of the key skills specifications.



• cutting and pasting sections of audio or MIDI and building a track.

N2.2 Use your information to carry out calculations to do with:

a amounts or sizes

b scales or proportion

c handling statistics

d using formulae.



• discussing the different types of hardware and software in their centre

• describing how they have used technology to create their final piece of music

• learning how to use their software programmes.


C2.1b Give a talk of at least four minutes.




• working with MIDI or audio sequencing software.



98




• deciding how to use the computer system to create a piece of music

• deciding which type of computer system to use to make their music.





• working on their compositions. PS2.1 Identify a problem, with help from an appropriate person, and identify different ways of tackling it.




• discussing the style of music required for a backing track

• working with performers to create a backing track for a performance.


WO2.2 Work co-operatively towards achieving identified objectives.


99



100

UNIT 12: EXPLORING MUSICAL IMPROVISATION

Unit 12: Exploring Musical Improvisation



Unit abstract

Many working musicians are routinely required to ‘think on their feet’ — to develop material quickly, to respond to previously unheard music, to invent and perform parts (or even solos) with little or no notice.

Those who work as accompanists to singers in the popular music genre also carry out much work using improvisation. It may be that a pianist or guitarist is given a lead sheet or bass line from which they are asked to accompany a singer. Alternatively, musicians working with graphic scores are required to improvise their parts initially, before working to consolidate their ideas over time. It is important that musicians as accompanists are able to improvise using the given base material in a way that is appropriate to the style of music they are accompanying.

Spontaneous music-making can be the most exhilarating of all creative activities. It is also an area that many trainee musicians find intimidating. This unit, therefore, aims to introduce learners to the experience of social and spontaneous music-making. Learners will investigate the range of skills and techniques crucial to the improvising musician. Through practical exploration, they will develop strategies for working within a range of improvised music, from free improvisation to the use of structured templates and working within specific improvisational genres.

The unit will focus on the development of the listening skills required when working with improvised music, primarily the ability to respond spontaneously and musically to others. The unit investigates ways of instinctively manipulating musical ideas and ways of structuring such material. Learners will be encouraged to improvise alone and in groups from a range of given stimuli and will be exposed to a range of styles and genres associated with improvisation, including music from cultures other than western.

Overall, the unit aims to develop learners’ confidence in working within improvised music, and to experience the unique creative energy of spontaneous music-making.

Learning outcomes


1 Be able to respond musically to others

2 Be able to improvise within a range of templates

3 Be able to manipulate and develop musical material spontaneously.


101


Unit content

1 Be able to respond musically to others

Responding to others: listening to others in the group; getting a balance between players; not overloading the improvisation; taking ideas from other members and developing those across the different instruments; overall structure of improvisation

Musical response: attention paid to musical elements eg pitch, rhythm, harmony, texture, timbre, dynamics and balance

Practical explorations: rhythmic improvisation; colouristic/textural improvisation; free improvisation; simple structures (eg getting from A to B, rondo ideas); restrictive exercises (one, two or three pitch improvisation); visual or textual starting points (artworks, poems, scores such as Cornelius Cardew's Treatise or The Tiger's Mind)

2 Be able improvise within a range of templates

Tonal templates: modes; pentatonic; raga; blues scales; invented scales; 12 tone

Harmonic and structural templates: 12 bar blues; chord progressions in a range of styles eg rock, jazz, baroque; Indian raga

Stylistic templates: blues notes; pitch bending; jazz inflections; substitutions; decorations; extended techniques

3 Be able to manipulate and develop musical material spontaneously

Methods of manipulation: repetition; substituting; embellishing/decorating; transposition; dynamic and colouristic manipulation; tempo; rhythmic development; processes eg adding, subtracting, augmenting, diminishing; serial manipulations (inverse, retrograde, inverse retrograde)

Working from a given starting point: melodic fragments; headers; chord progressions; rhythmic material; texts

Structures: forming an improvisation; simple structures eg binary, ternary, block, circular; pacing material; balancing repetition and change; overall shape


102

UN

IT 1

2:

EXPL

OR

ING

MU

SIC

AL

IMPR

OV

ISA

TIO

N

Gra

ding

gri

d

In o

rder

to p

ass t

his u

nit,

the

evid

ence

that

the

lear

ner p

rese

nts f

or a

sses

smen

t nee

ds to

dem

onst

rate

that

they

can

mee

t all

of th

e le

arni

ng o

utco

mes

for t

he u

nit.

The

crite

ria fo

r a p

ass g

rade

des

crib

e th

e le

vel o

f ach

ieve

men

t req

uire

d to

pas

s thi

s uni

t.

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ding

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resp

ond

mus

ical

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ify th

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dist

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ical

tem

plat

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w

hich

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ovis

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ay ta

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lace

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Delivery

This is a practical unit aimed at practising instrumentalists. Delivery will most likely be through a combination of tutor-led workshops, group work and individual learner consolidation. Practical explorations of ideas is paramount, and tutors should strive to develop a relaxed environment of mutual discovery.

Many learners will find the notion of playing without preparation intimidating and will need reassurance that mistakes are allowed to happen. In fact, improvisation is abound with 'happy accidents' and learners should be made to feel at ease with making mistakes and learning from them. At the centre of this unit is the development of the ‘musical ear’ and the ability to respond musically to events. Time should be devoted to listening and discussing as well as practical improvisation. Detail should be paid to all musical elements, and a series of exercises designed to guide learners towards responding musically to specific elements is a worthy approach. Recording learners’ improvisations, and analysing key features and strengths, should be an integral part of the process. Activities should also be made relevant to the ‘real world’ whenever appropriate. Creating real-life scenarios, and giving learners strict time limits in which to prepare, is a valid approach.

While group work is crucial in the development of spontaneous musical response (as well as being one of the most rewarding musical activities), learners should also be encouraged to improvise alone — especially when developing skills related to the manipulation and development of ideas. Pace and structure should also be carefully examined, perhaps through peer sharing of practical work. It should be stressed that improvisation is not simply a case of ‘making it up as you go along’ but should contain all the elements of contrast, pace and shape found in ‘composed’ music.

Assessment

Assessment of this unit will be through the development of an audio or video portfolio. The transient nature of improvised music means that capturing the moment of live events is paramount in the development of the portfolio. Audio recordings are suitable for this purpose, though video should also be considered because the physical side of musical interaction is also strong when working in improvised music.

It would do no harm to record workshop and activity sessions as a matter of course — the unpredictability of improvisation can provide ‘magic moments’ when they are least expected. Annotation of recorded work could also be a worthy inclusion, giving learners the opportunity to describe the processes involved and provide evaluations of their work.

A portfolio is likely to contain audio or video recordings of exploratory group improvisation work. These could originate from initial workshops and activities and provide evidence that the learner is responding musically to others.

Three audio or video recordings of group or solo work, based around specific templates and styles, are also likely to be included within the portfolio. These could include: working to an harmonic template such as the blues; an Indian raga style improvisation; working within a specific idiomatic style such as jazz.


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Video or audio recordings can provide evidence of the learner’s developing and manipulating a musical idea spontaneously. This could be a solo or group improvisation based on a specific musical starting point such as a melodic fragment, a chord progression or a rhythm.

The strongest portfolios would be those providing evidence of working in both solo and group situations across a broad range of templates, styles and musical starting points.



This unit links to Unit 1: Planning and Creating a Music Product, Unit 3: Solo Musical Performance, Unit 4: Exploring Musical Composition and Unit 6: Working as a Musical Ensemble.


Essential resources

Audio/video recording equipment is essential, as are the learner’s instruments and appropriate spaces for workshops, group work and individual study. Recordings of music that relies heavily on improvisation should be available to learners in order that they may hear examples of how it ‘could’ and ‘should’ be done.


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Key skills




• peer sharing of recorded improvisations.




• given a starting point for an improvisation.




• responding musically in a group. PS2.2 Plan and try out at least one way of solving the problem.



• working in an improvisation group.





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UNIT 13: THE MUSICAL WORLD

Unit 13: The Musical World



Unit abstract

As today’s society becomes increasingly global in its experience and outlook, musicians are given more opportunities than ever to examine music from ‘outside’ cultures. Ongoing research, the growing world music* trend in music publishing and the media, along with the internet’s capabilities, provide an enriching and well-supported area for learning.

Study of the world’s different musical traditions, or ‘musical diversity’, promotes the exploration of both music and culture. As well as developing both analytical and practical skills, such study is highly relevant for many roles within the music industry as the current musical climate boasts an ever increasing public interest in the ‘world music’ genre.

This unit involves the cultural, theoretical and practical study of world music and provides creative opportunities for learners. It will investigate a range of musical traditions by examining their compositional systems, structures, instruments and vocal styles. It explores the social roles that music plays and the impact of technology on the ‘global village’.

Learners will have the opportunity to perform music from non-familiar traditions and, by applying the studied principles and practices, are encouraged to create and perform original music. As is becoming increasingly common in world music research, they are also encouraged to turn their ‘outward’ perspective ‘inward’ and explore musical diversity on their ‘doorstep’, re-evaluating their own musical experience.

*The term ‘world music’ is controversial and its precise definition has sparked much debate. For the purposes of this unit, it refers to musical traditions outside western classical art music and ‘purely’ western rock and pop music.

Learning outcomes


1 Understand the role of music in society and make comparisons between different cultures

2 Know the musical systems, voices and instruments from a variety of world music traditions

3 Be able to perform music from the world music genre

4 Be able to compose original music, using compositional techniques from one or more world music traditions.


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Unit content

1 Understand the role of music in society and make comparisons between different cultures

The social uses of music: eg ceremonial; religious activities; recreational; dancing

Comparing cultures: examining two or more traditions and making comparisons of the social uses of music

Musical diversity on your doorstep: exploring world music in the local community

The impact of technology on world music: the effects of audio/video recording and the internet on the world’s musical traditions

2 Know the musical systems, vocal styles and instruments from a variety of world music traditions

The structural and theoretical organisation of musical traditions: eg polyrhythm; polyphony; melodic cycles; rhythmic cycles; improvisation; scales; melodies; call and response

Instrumental types and playing techniques: eg traditional instruments and ensembles and the usual methods of playing them

Vocal styles and techniques: eg traditional vocal styles and the techniques used to produce them

3 Be able to perform music from the world music genre

Practical experience of world music traditions: learning and performing music from one or more world music traditions

Awareness of the challenges of ‘bi-musicality’: the pros and cons of learning to play music from more than one world music tradition

4 Be able to compose original music, using compositional techniques from one or more world music traditions

Past influences and current trends: the influence of world music on western musical composition in the past and at present

Applying knowledge to create original composition: composing, using influence from world music traditions


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UN

IT 1

3:

THE

MU

SIC

AL

WO

RLD

Gra

ding

cri

teri

a

To

achi

eve

a pa

ss g

rade

the

evid

ence

mus

t sho

w

that

the

lear

ner

is a

ble

to:

To

achi

eve

a m

erit

grad

e th

e ev

iden

ce m

ust s

how

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at, i

n ad

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teri

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:

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Delivery

The delivery of this unit involves the theoretical and practical study of world music. Learners will put their newly acquired knowledge into practice by creating new music based on world music compositional principles. Along with traditional resources such as books, articles, CDs and videos, learners should (if possible) be encouraged to use the internet for research as it is particularly well-resourced for world music. Theoretical teaching will involve a combination of learners’ notes, recorded audio/video examples and, where appropriate, transcriptions. Practical study will be helped and supported by workshops.

Learners will examine the social uses of music across different cultures and make comparisons. These may include such areas as religious ritual (eg Turkish Sufi worship), ceremonial practice (eg African rites of passage), recreational music making (eg Irish traditional dance music, Inuit vocal games) and any associated dance styles.

In keeping with the current trend in Ethnomusicological research, learners are asked to explore world music in their locality. They should be encouraged to consider such local music as part of the global world music culture rather than the ‘us and them’ approach of the past. If possible, they should come into contact personally with local world musicians. If not, then any information on local traditions will serve perfectly well.

Learners will consider the changes brought about by technology during the last century such as the invention of recorded music, video and the internet. They will address such issues as the increased availability of music and video, the growth of a worldwide market for recordings and performances, the ease of influence of one musical culture on another, or the rise of the world music ‘superstar’.

Learners will explore the musical systems of a number of world traditions along with their instrumental and vocal styles and techniques. Examples of such systems include improvisation (eg Indian classical music, North American blues), polyrhythm (eg West African dance drumming, Brazilian Samba), polyphony (eg South African choral singing), melodic cycles (Javanese/Balinese gamelan ensembles), rhythmic cycles (Indian tala system), scales (Indian raga system), melodies (eg English folk song), and call and response (West African song, Gospel music).

The practical element of the unit should include workshops in a number of different world music styles given by the tutor or visiting specialists. Here, learners will gain experience of music-making as well as cultural information. In order for the learner to put this knowledge to creative use in composition, tutors should ensure that workshops are as ‘hands-on’ as possible. Demonstrations where the learner is simply ‘talked at’ are less successful in stimulating compositional ideas.

Practical activities should ideally involve the use of traditional instruments, but this is by no means essential (an understanding of Indian improvisation may be acquired using western instruments for example). Learners should evaluate the notion of ‘bi-musicality’ ie learning to play music from more than one culture. They should consider such issues as technical difficulties and unfamiliar musical systems. Study of the world’s musical traditions has influenced, and continues to influence, composers of many genres. Learners will be made aware of such influence in, for example, western classical music (such as Claude Debussy, Olivier Messiaen, Steve Reich) or pop (The Beatles, Paul Simon, UK bhangra).


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When this has been considered, and a body of theoretical and practical knowledge in world music has been acquired, learners will employ this knowledge to create an original composition. A wide spectrum of compositional styles is acceptable, varying from highly traditional, using traditional instruments (such as a new West African dance piece), to ‘new’ music, using any single or combination of instruments. The purpose is to illustrate an understanding of one or more world compositional processes.

Assessment

Evidence for this unit should be generated through written assignments and practical demonstration and composition. Written assignments may take the form of essays, evaluations, reviews or research projects. Tutor observations and/or video/audio recordings will provide evidence of practical activities, and compositions should be recorded in audio or video form.

Learners will demonstrate some knowledge of music’s role in society. This could be achieved by learners giving a presentation or written report on comparisons such as identifying music’s use in religious worship by some cultural groups and not by others. It would be beneficial if learners included at least one local world music type to show that they have an understanding of the music-making that is happening in their local communities.

Knowledge of how technology has affected music around the world — for example, by comparing the situation before and after the advent of recording — could be demonstrated by learners discussing in groups the changes and effects.

Evidence of knowledge of basic structure and theory of at least two contrasting world music traditions is best evidenced through practical work. Centres should record workshops where learners play world music instruments in order to demonstrate their understanding. It may be that as part of a workshop setting tutors ask learners questions about the vocal style and/or instruments they are using; this will provide another chance for learners to evidence what they know. It is vital that learners take part in practical world music-making and that they describe any challenging aspect such as a new instrumental technique.

In order to identify an example of the influence of world music on western music, such as the use of the sitar by western pop/rock bands, learners could be asked to work on a small project that in turn could lead to a presentation, poster or CD with sleeve notes explaining the fusion of musical cultures.

Learners are required to create an original composition that shows some knowledge of world music. This could be illustrated by the use of a particular instrument or vocal style, or a theoretical aspect such as polyrhythm or a specific scale. Learners will demonstrate knowledge of various instrumental types and vocal styles and will describe their playing/singing techniques.



This unit links with Unit 3: Solo Musical Performance, Unit 4: Exploring Musical Composition and Unit 12: Exploring Musical Improvisation.



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Essential resources

Learners will need access to a range of musical instruments on which to perform musical styles from around the world. Tuned and non-tuned percussion are of particular relevance. Any other specifically ‘world instruments’ (African, Indonesian, Javanese, Caribbean, Chinese etc) are useful both for demonstration and, where possible, for performance.

Other resources for the unit are:

• a collection of audio and/or video recordings that represent the world’s musical diversity

• internet access to help learners investigate the musical world

• audio and video recording facilities.

For composition, sequencing software such as Logic, Reason or Cubase may be helpful.



Anderson W and Campbell P — Multicultural Perspectives in Music Education (Music Educators National, 1996)

Bebey F — African Music: A People’s Art (Lawrence Hill & Co, 1975)

Broughton, Ellingham and Trillo (editors) — World Music: The Rough Guide Vol. 1 and 2 (Rough Guides, 2000)

Massey R and J — The Music of India (Khan & Averill, 1993)

Sadie S and Tyrrell J (editors) — The New Grove Dictionary of Music and Musicians (Oxford University Press, 2004)

Sharma E — Music Worldwide (Cambridge University Press, 2004)

Solis T (editor) — Performing Ethnomusicology (University of California Press, 2004)

Stock J — World Sound Matters (Teacher’s Manual/Transcriptions and CD set) (Schott Publishing, 1996)

Sturman P — Creating Music Around the World (Cambridge University Press, 2000)

Titan J T (editor) — Worlds of Music (Thompson/Schrimer, 2005)

Wade B and Campbell P S (editors) — Global Music Series (17 titles with CDs) (Oxford University Press, 2004)

Audio/video recordings

Earthworks Collection — (Earthworks)

JVC Smithsonian Folkways Video Collection (JVC)

Rough Guide to World Music Collection (Rough Guides)

World Music Collection — (Nimbus Records)

World Music Collection — (Real World Records)


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Key skills




• discussing the social roles of music

• researching musical cultures.





• using the internet to research musical cultures

• word-processing their rehearsal.






• working on their compositions

• performing on world music instruments.




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• working on their compositions. PS2.1 Identify a problem, with help from an appropriate person, and identify different ways of tackling it.




• rehearsing with a group. WO2.2 Work co-operatively with others towards achieving identified objectives.


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UNIT 14: EXPLORING AN AREA OF MUSIC

Unit 14: Exploring an Area of Music



Unit abstract

Learners will have different areas of musical interest. This unit will enable learners to choose an area of music to explore and present their findings in an appropriate way. Potential areas for exploration are endless but some suggested examples are: the career of a particular performer; the role of sound engineers; a style of music; a type of music technology equipment; or the history of concert venue.

This unit will enable learners to extend their musical knowledge in the area of their choice and it is expected that on completion of the exploration, the knowledge gained will be shared with other members of their group.

Having the skills to be able to explore an area of music and gaining a detailed knowledge of a chosen subject will benefit learners when looking for a career or if they move to a higher level qualification. Being able to select an appropriate area for exploration is an important skill because choosing an area about which there is insufficient information to explore will not benefit learners. The self-directed nature of this unit will also allow learners to gain a sense of independence in their learning whilst encouraging them to explore a subject of their own choice in depth.

A key part of this unit is the need to complete the exploration of the chosen area to a specified deadline. This will ensure that learners plan their exploration time accordingly.

In terms of vocational development, the ability to investigate a topic in-depth — interpreting, collating and extracting relevant information and presenting findings — enhances the work of any creative artist and serves as a grounding for learners who might wish to progress to careers in music journalism, for example, working in publicity or promotion.

Learning outcomes


1 Know how to identify an appropriate subject for research

2 Be able to plan a research project, taking deadlines into account

3 Be able to carry out research, selecting relevant information from a range of sources

4 Present the results of research in an appropriate way.


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Unit content

1 Know how to identify an appropriate subject for research

Identification: chosen subject/topic/area of interest

Appropriateness of subject: suitability of subject; practical and realistic; availability of resources; availability of research material

2 Be able to plan a research project, taking deadlines into account

Plan methodology: type of information to be used; where information will be found; collect material in a variety of formats eg written, audio, video, diagram, notation

Meeting deadlines: prioritising workload; using milestones; deciding how research will be presented; allowing time for preparation of presentation materials eg final write-up, producing slides/handouts, finding audio/visual examples

3 Be able to carry out research, selecting relevant information from a range of sources

Select relevant information: collecting material from a variety of sources; judging the appropriateness and importance of selected information; collating and prioritising in accordance with point of view, focus of topic, etc; discarding inappropriate or duplicate material

Range of sources: primary and secondary sources — books, journals, newspaper, video recordings, sound recordings, CD ROMs, internet, interviews

4 Present the results of research in an appropriate way

Appropriate form of presentation: eg written; seminar; audio; video; IT; website; demonstration; performance; or a combination of any of these

Comprehension: accuracy; understanding; comparison; conclusion; evaluation; critical discussion

Reference to research: bibliography; URL; title; author; artist; composer; manufacturer; organisation; individual


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Delivery

This unit will allow learners to gain experience and develop skills in exploring and presenting information and findings through a chosen topic area. The learner will identify an area of music that has vocational and subject relevance and investigate the topic before presenting their findings in an appropriate manner. The choice of topics for investigation will be learner-driven, although the tutor may wish to offer guidance in the selection.

While the focus of this unit is on learners’ independent research into a music-based and vocationally related subject of their choosing, the assessment tasks will be supported by tutor direction. This will involve: tutors’ outlining the requirement for a valid and meaningful choice of research topic; explaining and exploring research techniques; and suggesting the scope for methods of presentation.

Learners should be given guidance in choosing a subject area that interests them, has some potential bearing on their vocational development, and that promises suitable research opportunities and access to research materials. The choice of topic should also provide scope for an in-depth investigation that will generate understanding, reasoning, critical analysis and evaluation. Learners should, therefore, be discouraged, for example, from simply presenting a ‘fanzine’ type adulation of their favourite band.

Research skills will need to be taught to underpin the process of identifying, collecting and selecting material relevant to the chosen topic. Guided visits to learning resource centres, libraries and/or exhibitions will enhance delivery, as will handouts and talks on research and presentation skills. Access to other learners’ research projects from other cohorts (even from higher-level qualifications) might also provide suggestions for the scope and format of an area of personal study.

As part of this unit, learners should be taught the importance of planning their exploration, bearing in mind the deadline for the presentation of their findings. The use of milestones should be encouraged so that learners can manage their time effectively. For example, learners should think about how they wish to present their findings at the beginning of the project in order that they have adequate time to prepare handouts and presentations if they are being used.

Learners should be encouraged to adopt a range of presentation skills. It is not intended that the final outcome is assessed solely through a written dissertation (although this would be acceptable, if appropriate). Consideration should be given to learners presenting their topic in seminar form, and using a variety of formats — eg verbal, handouts, audio, video, CD ROM, PowerPoint presentations, demonstrations, recordings, etc. Evidence of understanding might also be provided through the use of questions and answers and group discussion.


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Assessment

Learners will produce a proposal for a suitable subject that affords opportunity for explanation, working towards a presentation that will evidence understanding of the subject/topic. They will need to plan and describe their intended approaches to the exploration, as well as justify their choice. Initial formative assessment of the proposal will allow learners to revise their choice of subject and approach if there is a danger of their not being able to meet the unit assessment criteria, or if there might be a lack of available research materials. The proposal may be written and/or verbally presented to the tutor and the rest of the group.

Learners must be able to identify relevant materials and access a variety of primary and secondary sources in order to extract, select and assimilate information. Exploration and the selection of materials will need regular monitoring and tutor guidance, with feedback and formative assessment guidance where appropriate.

To meet the grading criteria 5, learners will present the results of their exploration, showing comprehension of the chosen subject. This can be evidenced through the accuracy of the information presented and elements of judgement/analysis/comparison/evaluation and/or conclusion in the learner’s findings. Learners should reference their research, acknowledging sources, and tutor guidance will be needed to direct them to produce bibliographies, internet references and recorded sources in an appropriate form.



The skills and knowledge in research and presentation gained in this unit will provide useful links to the coverage of the research and investigation components of Unit 2: Exploring the Music Profession. Chosen subjects for study could be used to amplify skills and knowledge in other units. There is potential for links to a number of specialist units which could include Unit 5: Developing as a Musical Performer, Unit 11: Exploring Computer Systems Used by Musicians or Unit 13: The Musical World.


Essential resources

Resources for this unit will depend largely on the individual learner’s choice of subject and presentation method(s). However, all learners will require access to general library facilities, the internet, CD ROMs, journals, newspapers, books, sound recordings, and video recordings.



Bowden J — Writing a Report — How to Prepare, Write and Present Effective Reports (How To Books, 2004)

Gravet S — The Right Way to Write Reports (Elliot Right Way Books, 1998)

Smith P — How to Write an Assignment: Improving Your Research and Presentation Skills (How To Books, 1995)


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Key skills




• presenting their chosen research topic and outlining the topic proposal

• extracting, collating and assimilating relevant information.


C2.1b Give a talk lasting for at least four minutes.


C2.3 Write two different types of document, each one giving different information. One document must be at least 500 words long.



• extracting, collating and assimilating relevant information.





• outlining their proposal for chosen area of personal study

• monitoring and reviewing progress in research tasks.




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Assessment and grading

The purpose of assessment is to ensure that effective learning of the content of each unit has taken place.

Assignments should ensure coverage of all the criteria in the unit as set out in the Grading grid for each unit. It is advisable that criteria are clearly indicated on each assignment to provide a focus for learners (for transparency and to help ensure that feedback is specific to the criteria) and to assist with internal verification and standardisation processes. Tasks and activities should enable learners to produce evidence that relates directly to the specified criteria.

Assignments constructed by centres should be valid, reliable and fit for purpose, building on the application of the grading criteria. Centres should use a variety of assessment methods, including case studies, assignments and work-based assessments, along with projects, performance observation and time-constrained assessments. Centres are encouraged to place emphasis on the practical application of the grading criteria, providing a realistic scenario for learners to adopt, and making maximum use of practical activities and work experience. The creation of assignments that are fit for purpose is vital to achievement by learners and their importance cannot be over emphasised.

When reading the Grading grids and designing assessment instruments, centres should note that for learners to achieve a merit/distinction grade they will be required to provide evidence that is qualitative in its nature. Centres are encouraged to look across each assessment criterion in the Grading grid to identify common topics within units and to assess learners’ work according to the level that they have achieved as determined by the grading criteria.

The grading criteria are developed in relation to grading domains which provide for the assessment of the learning outcomes of the unit. There are four grading domains which underpin the grading criteria.

• Application of knowledge and understanding.

• Development of practical and technical skills.

• Personal development for occupational roles.

• Application of generic and key skills.

The qualitative nature of the merit and distinction grading criteria are based upon indicative characteristics required of the assessment evidence to fulfil the higher grades. Please refer to Annexe B.

A grading scale of pass, merit and distinction is applied to all units.

In the Edexcel BTEC Firsts all units are internally assessed.

All assessment for BTEC Firsts is criterion referenced, based on the achievement of specified outcomes. Each unit has specified criteria to be used for grading. A summative unit grade can be awarded at pass, merit or distinction:

• to achieve a ‘pass’ a learner must have satisfied all the pass criteria

• to achieve a ‘merit’ a learner must additionally have satisfied all the merit criteria

• to achieve a ‘distinction’ a learner must additionally have satisfied all the distinction criteria.

Learners who complete the unit but who do not meet all the pass criteria are graded ‘unclassified’.


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Quality assurance

Edexcel’s qualification specifications set out clearly the standard to be achieved by each learner in order to gain the award of the qualification. This is covered in the statement of outcomes and grading criteria in each unit. Further guidance on delivery and assessment is given in the Essential guidance for tutors section of each unit. This section is designed to provide additional guidance and amplification related to the unit to support tutors, deliverers and assessors and to provide for a coherence of understanding and a consistency of delivery and assessment.

Edexcel operates a quality assurance process which is designed to ensure that these standards are maintained by all internal verifiers and external verifiers. It achieves this through the following activities.

Approval

Centres will be allowed ‘accelerated approval’ for a new programme where the centre already has approval for a programme that is being replaced by the new programme. Centres wishing to offer a vocational area for the first time will need to apply for approval to offer the programme.

Centres that have not previously offered BTEC qualifications will first need to apply for, and be granted, centre approval before they can apply for approval to offer the programme.

When a centre applies for approval to offer a BTEC qualification they will be required to enter into an approvals agreement.

The approvals contract is a formal commitment by the head or principal of a centre to meet all the requirements of the specification and linked codes or regulations. Sanctions and tariffs may be applied if centres do not comply with the agreement. Ultimately, this could result in the suspension of certification or withdrawal of approval.

Risk assessment

Edexcel has an approval process which creates a quality profile of each qualification programme in each centre and for the centre as a whole. This profile contributes to the determination of the nature of external verification activity for each programme and will also be used to initiate other quality control measures by Edexcel.

Internal verification

Centres are required to have processes in place reviewing each assessor’s decisions to ensure that they are correctly interpreting and applying the standards set out in the specifications. The system used to do this is a matter for individual centres and Edexcel fully supports the use of the centre’s own quality assurance systems where this ensures robust internal standardisation.

Centres should refer to the BTEC NQF Level 2/3 (including Short Courses at Levels 1–3) Handbook (updated annually). This updated information may also be found on the Edexcel website/Services for centres/FE Colleges and Schools.

External verification

Edexcel will sample assessors’ decisions using sector-specialist external verifiers. For BTEC Firsts this process will follow the National Standards Sampling (NSS) protocol.

The learner work must have been internally assessed. Additionally, at least 50 per cent of submitted work must have been internally verified.

Centres should refer to the BTEC NQF Level 2/3 (including Short Courses at Levels 1–3)(updated annually). This updated information may also be found on the Edexcel website/Services for centres/FE Colleges and Schools.


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Calculation of the qualification grade

Awarding a qualification grade

The qualification grade will be calculated through the aggregation of points achieved through the successful achievement of individual units. Learners will achieve a pass, merit or distinction qualification grade based on the attainment of a stated minimum number of points for each unit grade. The number of points available will be dependent on the unit grade achieved and the size of the unit as determined by the stipulated guided learning hours.

For the calculation of a qualification grade for a BTEC First Certificate and a BTEC First Diploma a learner must:

• complete all designated units

• achieve a minimum points score of 18 points for a First Certificate and 36 points for a First Diploma

• achieve a pass grade for all designated units for a First Certificate and achieve a pass grade for units with a combined total of 300 guided learning hours for a First Diploma.

Points available

Size of unit (GLH) Pass grade Merit grade Distinction grade

10 1 2 3

30 3 6 9

60 6 12 18

90 9 18 27

120 12 24 36

Qualification grade

Qualification Pass grade Merit grade Distinction grade Distinction*

BTEC First Certificate (54 maximum) 18–29 30–41 42–53 54

BTEC First Diploma (108 maximum) 36–59 60–83 84–95 96–108


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School and College Achievement and Attainment Tables (SCAAT) equivalence

BTEC First Certificate and SCAAT points

BTEC First Certificates attract points for the DfES School and College Achievement and Attainment Tables (formerly Performance Tables). The qualification attracts the same points as two GCSEs at A* – C, and contributes 40 per cent towards the threshold. For the detailed point scores for a pass, merit, distinction, and distinction*, please see the QCA Openquals website at: www.openquals.org.uk.

BTEC grade boundaries BTEC First Certificate grade SCAAT points and GCSE grade equivalence

18–29 Pass P C C

30–41 Merit M B B

42–48 Distinction D A A

49–54 Distinction* D* A* A*

BTEC First Diploma and SCAAT points

BTEC First Diplomas attract points for the DfES School and College Achievement and Attainment Tables (formerly Performance Tables). The qualification attracts the same points as four GCSEs at A* – C, and contributes 80 per cent towards the threshold. For the detailed point scores for a pass, merit, distinction, and distinction*, please see the QCA Openquals website at: www.openquals.org.uk.

BTEC grade boundaries BTEC First Diploma grade SCAAT points and GCSE grade equivalence

36–59 Pass P C C C C

60–83 Merit M B B B B

84–95 Distinction D A A A A

96–108 Distinction* D* A* A* A* A*


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Programme design and delivery

These qualifications consist of core units (which are mandatory) and specialist units. Specialist units are designed to provide a specific focus to the qualification. Required combinations of specialist units are set out clearly in relation to each qualification in the defined qualification structures provided in this document.

In BTEC First qualifications each unit is 30, 60, 90 or 120 guided learning hours. The definition of guided learning hours is ‘a notional measure of the substance of a qualification’. It includes an estimate of time that might be allocated to direct teaching, instruction and assessment, together with other structured learning time such as directed assignments or supported individual study. It excludes learner-initiated private study. Centres are advised to consider this definition when planning the programme of study associated with this specification.

Mode of delivery

Edexcel does not define the mode of study for BTEC First qualifications. Centres are free to offer the qualifications using any mode of delivery that meets the needs of their learners. This may be through traditional classroom teaching, open learning, distance learning or a combination of these. Whatever mode of delivery is used, centres must ensure that learners have appropriate access to the resources identified in the specifications and to the subject specialists delivering the units. This is particularly important for learners studying for the qualification through open or distance learning.

Learners studying for the qualification on a part-time basis bring with them a wealth of experience that should be utilised to maximum effect by tutors and assessors. Assessment evidence based on the learners’ work environment should be encouraged. Those planning the programme should aim to enhance the vocational nature of the BTEC First qualification by:

• liaising with employers to ensure a course relevant to the specific needs of the learners

• accessing and using non-confidential data and documents from learners’ workplaces

• including sponsoring employers in the delivery of the programme and, where appropriate, in the assessment

• linking with company-based/workplace training programmes

• making full use of the variety of experience of work and life that learners bring to the programme.

Resources

BTEC First qualifications are designed to prepare learners for employment in specific sectors. Physical resources need to support the delivery of the programme and the proper assessment of the outcomes and therefore should normally be of industry standard. Staff delivering programmes and conducting the assessments should be fully familiar with current practice and standards in the sector concerned. Centres will need to meet any specialist resource requirements when they seek approval from Edexcel.

Where specific resources are required these have been indicated in individual units under the Essential resources section.


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Delivery approach

It is important that centres develop an approach to teaching and learning that supports the specialist vocational nature of BTEC First qualifications. Specifications contain a balance of practical skill development and knowledge requirements, some of which can be theoretical in nature. Tutors and assessors need to ensure that appropriate links are made between theory and practice and that the knowledge base is applied to the sector. This will require the development of relevant and up-to-date teaching materials that allow learners to apply their learning to actual events and activity within the sector. Maximum use should be made of the learner’s experience.

Accreditation of Prior Learning (APL)

Edexcel encourages centres to recognise learners’ previous achievements and experience through APL. Learners may have evidence that has been generated during previous study or in their previous or current employment or whilst undertaking voluntary work that relates to one or more of the units in the qualification. Assessors should assess this evidence against the National Occupational Standards mapped in the specification. As with all evidence, assessors should be satisfied about the authenticity and currency of the material when considering whether or not the outcomes of the unit have been met.

Full guidance on Edexcel’s policy on APL is provided on our website: www.edexcel.org.uk

Meeting local needs

Centres should note the qualifications set out in these specifications have been developed in consultation with centres and employers, particularly the NTO or the Sector Skills Council for the music sector. The units are designed to meet the skill needs of the sector and the specialist units allow coverage of the full range of employment. Centres should make maximum use of the choice available to them within the specialist units in these specifications to meet the needs of their learners, and the local skills and training needs identified by organisations such as the Regional Development Agency and the Local Learning and Skills Council.

In certain circumstances, the units contained in these specifications may not enable centres to meet a local need. In this situation centres may seek approval from Edexcel to make use of units from other standard NQF BTEC First Diploma specifications. Centres will need to justify the need for importing units from other specifications and Edexcel will ensure that the vocational focus of the qualification has not been diluted. Units that have externally set assignments cannot be imported into other qualifications.

There may be exceptional circumstances where even this flexibility does not meet a particular local need. In this case centres can seek permission from Edexcel to develop a unit with us to meet this need. The cases where this will be allowable will be very limited. Centres will need strong evidence of the local need and the reasons why the existing standard units are inappropriate. Edexcel will need to submit these units for accreditation by QCA.

Limitations on variations from standard specifications

The flexibility to import standard units from other BTEC First Diploma specifications and/or develop unique units is limited to one unit in a BTEC First Diploma qualification. This flexibility is not available within the BTEC First Certificate. The use of these units cannot be at the expense of the core units in any qualification.

More detailed guidance on delivery and assessment is given in each unit.


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Access and recruitment

Edexcel’s policy regarding access to its qualifications is that:

• the qualifications should be available to everyone who is capable of reaching the required standards

• the qualifications should be free from any barriers that restrict access and progression

• there should be equal opportunities for all wishing to access the qualifications.

Centres are required to recruit learners to BTEC qualifications with integrity. This will include ensuring that applicants have appropriate information and advice about the qualifications and that the qualification will meet their needs. Centres should take appropriate steps to assess each applicant’s potential and make a professional judgement about their ability to successfully complete the programme of study and achieve the qualification. This assessment will need to take account of the support available to the learner within the centre during their programme of study and any specific support that might be necessary to allow the learner to access the assessment for the qualification. Centres should also show regard for Edexcel’s policy on learners with particular requirements.

Centres will need to review the profile of qualifications and/or experience held by applicants, considering whether this profile shows an ability to progress to a Level 2 qualification. For learners who have recently been in education, the profile is likely to include one of the following:

• a standard of literacy and numeracy supported by a general education equivalent to four GCSEs at grades D–G

• related work experience

• other related Level 1 or 2 qualifications.

More mature learners may present a more varied profile of achievement that is likely to include experience of paid and/or unpaid employment.

Restrictions on learner entry

The Edexcel Level 2 BTEC First Certificate in Music and the Edexcel Level 2 BTEC First Diploma in Music are accredited on the National Qualifications Framework (NQF). The qualifications are listed on the DfES funding lists Section 96 and Section 97.

Additionally, the majority of BTEC First qualifications are available to learners aged 14–16 to enhance their curriculum and to help them gain experience of vocational skills which will prepare them for work.

Access arrangements and special considerations

Edexcel’s policy on access arrangements and special considerations for BTEC and Edexcel NVQ qualifications aims to enhance access to the qualifications for learners with disabilities and other difficulties (as defined by the 1995 Disability Discrimination Act and the amendments to the Act) without compromising the assessment of skills, knowledge, understanding or competence.

Further details are given in the policy ‘Access Arrangements and Special Considerations for BTEC and Edexcel NVQ Qualifications’, which is on the Edexcel website (www.edexcel.org.uk). This policy replaces the previous Edexcel policy (Assessment of Vocationally Related Qualification: Regulations and Guidance Relating to Learners with Special Requirements, 2002) concerning learners with particular requirements.


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Prof

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Cre

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tech

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Prof

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Prof

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Prof

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Prof

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Dip

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M

anag

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4 H

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r Nat

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l Cer

tific

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NQ

F L

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B

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in M

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(Mus

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Further information

For further information please call Customer Services on 0870 240 9800 (calls may be recorded for training purposes) or visit our website at www.edexcel.org.uk.

Useful publications

Further copies of this document and related publications can be obtained from:

Edexcel Publications Adamsway Mansfield Nottinghamshire NG18 4FN

Telephone: 01623 467 467 Fax: 01623 450 481 Email: [email protected]

Related information and publications include:

• Accreditation of Prior Learning available on our website: www.edexcel.org.uk

• Guidance for Centres Offering Edexcel/BTEC NQF Accredited Programmes — (Edexcel, distributed to centres annually)

• key skills publications — specifications, tutor support materials and question papers

• The Statutory Regulation of External Qualifications in England, Wales and Northern Ireland — (QCA, 2004).

• the current Edexcel publications catalogue and update catalogue.

Edexcel publications concerning the Quality Assurance System and the internal and external verification of vocationally related programmes may be found on the Edexcel website and in the Edexcel publications catalogue.

NB: Most of our publications are priced. There is also a charge for postage and packing. Please check the cost when you order.

How to obtain National Occupational Standards

Creative and Cultural Skills London Office 11 Southwark Street London SE1 1RQ

Telephone: 020 7089 5866 Fax: 020 7089 5857 Email: [email protected]


132


mailto:[email protected]

Professional development and training

Edexcel supports UK and international customers with training related to BTEC qualifications. This support is available through a choice of training options offered in our published training directory or through customised training at your centre.

The support we offer focuses on a range of issues including:

• planning for the delivery of a new programme

• planning for assessment and grading

• developing effective assignments

• building your team and teamwork skills

• developing student-centred learning and teaching approaches

• building key skills into your programme

• building in effective and efficient quality assurance systems.

The national programme of training we offer can be viewed on the Edexcel website (www.edexcel.org.uk). You can request customised training through the website or by contacting one of our advisers in the Professional Development and Training team via Customer Services on telephone 0870 240 9800 (calls may be recorded for training purposes) to discuss your training needs.

The training we provide:

• is active — ideas are developed and applied

• is designed to be supportive and thought provoking

• builds on best practice.


133


134

Annexe A

QCA codes

The QCA National Qualifications Framework (NQF) code is known as a Qualification Accreditation Number (QAN). This is the code that features in the DfES Funding Schedules — Section 96 and Section 97 and is to be used for all qualification funding purposes. Each unit within a qualification will also have a QCA NQF unit code.

The QCA qualification and unit codes will appear on the learner’s final certification documentation.

The QANs for the qualifications in this publication are:

100/5714/6 Edexcel Level 2 BTEC First Certificate in Music

100/5713/6 Edexcel Level 2 BTEC First Diploma in Music

These qualification titles will appear on the learners’ certificates.

Learners need to be made aware of this when they are recruited by the centre and registered with Edexcel. Providing this happens, centres are able to describe the programme of study leading to the award of the qualification in different ways to suit the medium and the target audience.


135


136

Ann

exe

B

Gra

ding

dom

ains

Gra

ding

dom

ain

1 In

dica

tive

char

acte

rist

ics —

mer

it In

dica

tive

char

acte

rist

ics —

dis

tinct

ion

App

licat

ion

of k

now

ledg

e an

d un

ders

tand

ing

• Sh

ow d

epth

of k

now

ledg

e an

d de

velo

pmen

t of u

nder

stan

ding

in

giv

en si

tuat

ions

(eg

expl

ain

why

, mak

e ju

dgem

ents

bas

ed

on a

naly

sis)

.

• A

pply

and

/or s

elec

t rel

evan

t con

cept

s.

• A

pply

kno

wle

dge

to d

iffer

ent c

onte

xts.

• A

pply

kno

wle

dge

to n

on-r

outin

e co

ntex

ts (i

e as

sess

or

sele

ctio

n).

• M

ake

com

paris

ons.

• Sh

ow re

latio

nshi

ps b

etw

een

crite

ria.

• Sy

nthe

sise

kno

wle

dge

and

unde

rsta

ndin

g ac

ross

p/m

crit

eria

.

• Ev

alua

te c

once

pts/

idea

s/ac

tions

.

• A

naly

se/re

sear

ch a

nd m

ake

reco

mm

enda

tions

.

• Ju

dges

impl

icat

ions

of a

pplic

atio

n of

kno

wle

dge/

un

ders

tand

ing.

• A

pplie

s kno

wle

dge

and

unde

rsta

ndin

g to

com

plex

ac

tiviti

es/c

onte

xts.

Gra

ding

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ain

2 In

dica

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char

acte

rist

ics -

mer

it In

dica

tive

char

acte

rist

ics —

dis

tinct

ion

Dev

elop

men

t of p

ract

ical

an

d te

chni

cal s

kills

•

Use

adv

ance

d te

chni

ques

/pro

cess

es/s

kills

succ

essf

ully

.

• A

ct u

nder

lim

ited

supe

rvis

ion/

dem

onst

rate

inde

pend

ence

(n

ote:

pas

s can

not r

equi

re su

ppor

t).

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pply

to n

on-r

outin

e ac

tiviti

es.

• D

emon

stra

te w

ithin

tim

e an

d/or

reso

urce

con

stra

ints

.

• Pr

oduc

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ried

solu

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ng n

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tech

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ully

from

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d ap

plic

atio

n.

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stifi

es a

pplic

atio

n of

skill

s/m

etho

ds.

• M

akes

judg

emen

ts a

bout

risk

s and

lim

itatio

ns o

f te

chni

ques

/pro

cess

es.

• In

nova

tes o

r gen

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f app

licat

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of te

chni

ques

/pro

cess

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Gra

ding

dom

ain

3 In

dica

tive

char

acte

rist

ics —

mer

it In

dica

tive

char

acte

rist

ics —

dis

tinct

ion

Pers

onal

dev

elop

men

t for

oc

cupa

tiona

l rol

es

• Ta

kes r

espo

nsib

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in p

lann

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and

unde

rtaki

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ctiv

ities

.

• R

evie

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wn

deve

lopm

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eeds

.

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nds a

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ses r

elev

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nfor

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sour

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• A

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a g

iven

wor

k-re

late

d co

ntex

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win

g un

ders

tand

ing

of re

spon

sibi

litie

s.

• Id

entif

ies r

espo

nsib

ilitie

s of e

mpl

oyer

s to

the

com

mun

ity a

nd

the

envi

ronm

ent.

• A

pplie

s qua

litie

s rel

ated

to th

e vo

catio

nal s

ecto

r.

• In

tern

alis

es sk

ills/

attri

bute

s (cr

eatin

g co

nfid

ence

).

• M

anag

es se

lf to

ach

ieve

out

com

es su

cces

sful

ly.

• Pl

ans f

or o

wn

lear

ning

and

dev

elop

men

t thr

ough

the

activ

ities

.

• A

naly

ses a

nd m

anip

ulat

es in

form

atio

n to

dra

w c

oncl

usio

ns.

• A

pplie

s ini

tiativ

e ap

prop

riate

ly.

• A

sses

ses h

ow d

iffer

ent w

ork-

rela

ted

cont

exts

or c

onst

rain

ts

wou

ld c

hang

e pe

rfor

man

ce.

• Ta

kes d

ecis

ions

rela

ted

to w

ork

cont

exts

.

• A

pplie

s div

erge

nt a

nd la

tera

l thi

nkin

g in

wor

k-re

late

d co

ntex

ts.

• U

nder

stan

ds in

terd

epen

denc

e.

Gra

ding

dom

ain

4 In

dica

tive

char

acte

rist

ics —

mer

it In

dica

tive

char

acte

rist

ics —

dis

tinct

ion

App

licat

ion

of g

ener

ic a

nd

key

skill

s •

Com

mun

icat

es u

sing

app

ropr

iate

tech

nica

l/ pr

ofes

sion

al

lang

uage

.

• M

akes

judg

emen

ts in

con

text

s with

exp

lana

tions

.

• Ex

plai

ns h

ow to

con

tribu

te w

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a te

am.

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to m

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eeds

/exp

ecta

tions

of o

ther

s (n

egot

iatio

n sk

ills)

.

• Se

lect

and

just

ify so

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ns fo

r spe

cifie

d pr

oble

ms.

• Pr

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ts se

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d co

mm

unic

ates

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to m

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typi

cal a

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kes d

ecis

ions

in c

onte

xts w

ith ju

stifi

catio

ns.

• Pr

oduc

es o

utpu

ts su

bjec

t to

time/

reso

urce

con

stra

ints

.

• R

efle

cts o

n ow

n co

ntrib

utio

n to

wor

king

with

in a

team

.

• G

ener

ate

new

or a

ltern

ativ

e so

lutio

ns to

spec

ified

pro

blem

s.

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Annexe C

Key skills

All BTEC First qualifications include mapping and/or signposting of key skills. These are transferable skills, which play an essential role in developing personal effectiveness for adult and working life and in the application of specific vocational skills.

In each unit the opportunities for the generation of evidence for key skills are signposted. These are indicative links only. Tutors will need to become familiar with key skills specifications and their evidence requirements and they are advised not to rely on the signposting in the units when presenting key skills evidence for moderation. Centres should refer to the QCA website (www.qca.org.uk) for the latest key skills standards.

Key skills provide a foundation for continual learning. They enable and empower individuals who inevitably face a series of choices in work, education and training throughout their lives. Current and future initiatives such as learndirect, lifelong learning and widening participation all require a more flexible population in the workplace and key skills play a role in setting the framework.

Learners need the chance to show current and future employers that they can:

• communicate effectively, in a variety of situations, using a wide range of techniques

• work well with others — individuals or teams — so that work can be properly planned and targets met

• manage their own development, so that they are always ready to take on the challenges of change and diversification

• use number, not just within routine tasks and functions but to help them be more effective and efficient in all they do

• use ICT in a range of applications to support all aspects of their role

• solve problems in a variety of circumstances.


139

Key skills mapping — summary of opportunities suggested in each unit

Key skills Uni

t 1

Uni

t 2

Uni

t 3

Uni

t 4

Uni

t 5

Uni

t 6

Uni

t 7

Uni

t 8

Uni

t 9

Uni

t 10

Uni

t 11

Uni

t 12

Uni

t 13

Uni

t 14

N2.1 �

N2.2 � �

N2.3 � �

C2.1a � � � � � � � � � � � � �

C2.1b � � � � � �

C2.2 � � � � � � �

C2.3 � � �

ICT2.1 � � � � � � � � �

ICT2.2 � � �

ICT2.3 � � � � �

LP2.1 � � � � � � � � � � � �

LP2.2 � � � � � � � � � �

LP2.3 � � � � � � �

PS2.1 � � � � � � � � � � �

PS2.2 � � � � � � � � � � � �

PS2.3 � � � �

WO2.1 � � � � � � � � �

WO2.2 � � � � � � � � �

WO2.3 � � � � � � �


140

Annexe D

Wider curriculum mapping

Study of the Edexcel Level 2 BTEC Firsts in Music provides opportunities for the learner to develop an understanding of spiritual, moral, ethical, social and cultural issues as well as an awareness of environmental issues, European developments, health and safety considerations and equal opportunities issues.

The Edexcel Level 2 BTEC Firsts in Music make a positive contribution to wider curricular areas as appropriate.

Spiritual, moral, ethical, social and cultural issues

The specification contributes to an understanding of:

• spiritual issues

• moral and ethical issues

• social and cultural issues.

As music is a primary source of artistic experience, to some extent, all learners will be involved in the communication of feeling, knowledge, ideas and/or mood. The very nature of music is social, both within a community of performers and in the relationship between performers and audiences. The act of engagement between musicians and an audience can be aimed at developing a greater spiritual and cultural understanding.

Many of the units in this specification are creative. Creativity is the process of aesthetic expression drawing on originality, inventiveness and imagination. The BTEC First Diploma and First Certificate in Music give learners the opportunity to develop critical and creative thinking and to increase their ability to make judgements about aesthetic quality. Music is inextricably linked with the spiritual, moral, ethical, social and cultural. Learners will address these issues throughout their programme of study. The contextual aspects of some of the units in particular will provide opportunities to discuss and explore these issues in some depth.

Throughout the specification, learners are encouraged to consider the social, historical and cultural significance of their own work and the work of others. This encourages learners to consider how culture influences how individuals think, feel and act and to develop respect and tolerance for people of different cultures. Exploring work in a variety of styles will encourage recognition and understanding of the value of other individuals and communities. As learners perform and create their own work, and respond to the work of others in a variety of styles, it is hoped that they will develop an appreciation of the richness of our cultural heritage. Unit 13: The Musical World provides a clear opportunity for learners to investigate how music is used socially and culturally across a range of cultures thereby leading to a greater depth of understanding.

Environmental issues

Learners are led to appreciate the importance of environmental issues through the experience of the performing arts sector, in music. Environmental education will be alluded to if learners wish to use this as a starting point for their own work or wish to study the work of other musicians who use it as the subject matter in their work. The work created and performed/produced for these units could be by a European artist and/or it could form part of a tour of EU countries.


141

European developments

Much of the content of the Edexcel Level 2 BTEC Firsts in Music applies throughout Europe even though the delivery is in a UK context. The European dimensions of music are specifically addressed in Unit 3: Solo Musical Performance as learners will be investigating the repertoire for their instrument which is likely to have a high European influence. The development of European and continental dance music will be an area of particular concern in Unit 7: Introducing DJ Technology.

There are opportunities within this specification to perform work with a European dimension. This could be interpreting the work of European artists or producing original work with a European context. Unit 2: Exploring the Music Profession can include professional practice right across the European Union. Opportunities for employment within different member states could provide an important focus for this unit. Within the workplace, both the immediate and global environment needs to be considered. This unit should provide the basis for examining the legislation related to health and safety.

Health and safety considerations

The Edexcel Level 2 BTEC Firsts in Music are practically based and so health and safety issues are encountered throughout the units. Learners will develop awareness of the safety of others as well as themselves in all practical activities. Learners will also explore health and safety issues across the performing arts sector, particularly in music. Health and safety issues are implicit across all units but particularly in Unit 5: Developing as a Musical Performer, which requires learners to have an understanding of maintaining their health in order to be able to perform. Health and safety issues are also particularly prevalent in Unit 7: Introducing DJ Technology and Unit 11: Exploring Computer Systems Used by Musicians as learners will be working with electrical appliances. Learners will be made aware of the requirements for handling electrical and electronic equipment. Unit 9: Producing a Musical Recording also requires learners to have a safe handling of the equipment used to produce a recording.

Equal opportunities issues

Equal opportunities issues are implicit throughout the Edexcel Level 2 BTEC First qualifications in Music.


142

Wid

er c

urri

culu

m m

appi

ng

Unit 14

� � � � �

Unit 13

� � � � � �

Unit 12

� � � � � �

Unit 11

� � � � �

Unit 10

� � � � � �

Unit 9

� � � � � � �

Unit 8

� � �

Unit 7

� � � � � �

Unit 6

� � � � � � �

Unit 5

� � � � � � �

Unit 4

� � � �

Unit 3

� � � � � �

Unit 2

� � � � �

Unit 1

� � � � �

Spiri

tual

Mor

al a

nd e

thic

al

Soci

al a

nd c

ultu

ral

Envi

ronm

enta

l iss

ues

Euro

pean

dev

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men

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Hea

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nd sa

fety

con

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BTEC Firsts Certificate and Diploma L2 - ye… · The BTEC First Certificate and Diploma in Music...

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Transcript of BTEC Firsts Certificate and Diploma L2 - ye… · The BTEC First Certificate and Diploma in Music...