Jo Young 96571224 Curriculum Specialisation II Assignment 3

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Stage 6 – Year 11

Music 1 – Preliminary Course

Topic: Music of a Culture

Focus: The Traditional Music of Ireland

Jo Young 96571224 Curriculum Specialisation II Assignment 3

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Rationale

This unit is designed for a Year 11 class beginning the Preliminary course in Music. It is designed backwards using the Understanding by Design approach (Wiggins & McTighe, 2011), from the outcomes of the Music 1 Preliminary syllabus with assessment for, as, and of learning chosen to encourage students to take responsibility for, and monitor, their own learning. There is an emphasis on student centred pedagogies, designed to scaffold the research, aural, composition and performing skills of students in preparation for their HSC course. As an exploration of the context of Music of a Culture, Irish traditional music provides an accessible place to begin for students coming into the course with varying abilities. It uses a limited range of diatonic keys and modes, allowing pitch concepts to be consolidated before moving on to more harmonically complex styles in later units. Exploring the different forms of traditional Irish dance music also provides an opportunity for students to become confident in recognising, performing and composing in simple and compound metres while the emphasis on melodic ornamentation as an expressive technique will allow them to build their technical skills on their instruments/voice.

Students will learn to identify the different way in which the six music concepts are used in the different forms of traditional Irish music through listening to, and performing, a variety of repertoire. Students will develop research skills of collecting, analysing, organising and presenting information through two musicology research projects. While score reading and the major composition task build notation reading and writing skills, there is a large emphasis on performance and listening in the unit, reflecting the oral tradition and experiential nature of learning Irish traditional music. Performing various pieces of repertoire in groups will developing their abilities to work with others in teams while solo performance will build their confidence. Evidence of learning will be gathered through a formal composition assessment task, an aural exam, two musicology research tasks and individual and group performances. Students will develop their skills in the use of technology to conduct research and to notate their compositions using Sibelius.

Students will learn to Students will learn about

Perform solo and in ensembles in various traditional Irish styles, including various dance music styles and the Sean Nos style.

Compose music in a traditional Irish style.

Identify how the musical concepts are used in traditional Irish music and differentiate between the different styles of traditional Irish music

Analyse, compare and contrast various styles of Irish traditional music

The historical, social and cultural contexts of traditional Irish music

The impact of technology on the development of Irish traditional music

How different treatment of musical concepts results in the different traditional music styles

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Unit Summary – Music 1 Preliminary

Topic – Music of a culture Topic Focus – Irish Traditional Music

Syllabus Outcomes Performance Focus Assessment P1 performs music that is characteristic of the topics studied. P2 observes, reads, interprets and discusses simple musical scores characteristic of the topics studied. P3 improvises and creates melodies, harmonies and rhythmic accompaniments for familiar sound sources reflecting the cultural and historical contexts studied. P4 recognises and identifies the concepts of music and discusses their use in a variety of musical styles. P5 - comment on and constructively discuss performances and compositions P6 observes and discusses concepts of music in works representative of the topics studied. P7 understands the capabilities of performing media, explores and uses current technologies as appropriate to the topics studied. P8 identifies, recognises, experiments with and discusses the use of technology in music P9 performs as a means of self-expression and communication. P10 demonstrates a willingness to participate in performance, composition, musicology and aural activities. P11 demonstrates a willingness to accept and use constructive criticism

Through this unit students will

Perform selected pieces of Traditional Irish Music

Perform their own compositions

Perform selected examples of traditional Irish music

Composition

Through this unit students will

Compose music in a traditional Irish music style

Experiment and improvise with traditional Irish techniques of ornamentation.

Main assessment - Compose a reel, jig or slip jig, including melodic ornamentation

Musicology

Through this unit students will

Discuss the impact of historical social, cultural and technological contexts on traditional Irish music

Research the similarities and differences between traditional Irish musical styles.

Examine the impact of Western Art Music on traditional Irish music

Research task on the difference between traditional Irish music dance styles Research task on an Irish instruments

Aural

Through this unit students will

Listen to a wide range of traditional Irish music

Identify the use of musical concepts particular to traditional Irish music

Aurally compare the way duration is treated in the different styles of traditional Irish music

Identify the different instruments and their expressive techniques that are characteristic of traditional Irish music.

Aural exam focused on identifying, describing and notating the use of music concepts in different examples of Traditional Irish Music.

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AITSL Elements NSW Quality Teaching Framework

1.1,1.2,1.4, 2.4, 2.5, 2.6, 3.1, 3.2, 3.3, 5.1, 5.2, 5.3, 5.4

Intellectual Quality (IQ) Quality Learning Environment Significance

Deep Knowledge (DK) Deep Understanding (DU) Problematic Knowledge (PK) Higher Order Thinking (HOT) Metalanguage (M) Substantive Communication (SC)

Explicit Quality Criteria (EQ) Engagement (E) High Expectations (HE) Social Support (SS) Self-regulation (SR) Student Direction (SD)

Background Knowledge (BK) Cultural Knowledge (CK) Knowledge Integration (KI) Connectedness (C) Narrative (N)

Concept Focus Repertoire Resources

Duration – duple, triple and quadruple, simple and compound time signatures, metric groupings, tempo, rhythm, methods of notating duration, rhythmic feels, regular and irregular rhythm Pitch – scales, modes, melodic pitch patterns, harmony, ornamentation Dynamics and expressive techniques – articulation, stylistic indications, Tone Colour – identifying sound sources and types of instruments, sound production methods, combinations of instruments Texture – monophony, heterophony, homophony, the roles of instruments Structure – Form, phrases, call and response, question and answer, dance, phrases, motifs

Si Beg, Si Mor - Turlough O’Carolan Banish Misfortune - traditional Foxhunter’s Jig - traditional The Silver Spear - traditional Harvest Home – traditional Roisin Dubh – traditional Mise Eire – Sean O Riada Sally Gardens – Traditional Off She Goes – Traditional Tenpenny Bit – Traditional Morrisons Jig - Traditional Kid on the Mountain – Traditional

Begged, Borrowed or Stolen (1979) O’Connor and Watkins Folk Hibernia (2006) BBC Documentary

The Parameters of Style in Irish Music by Niall Keegan (2010)

What is Irish Traditional Music? (1991) Irish Traditional Music Archive

Tips on Learning Irish Music (1991) Irish Traditional Music Archive

Various Internet and YouTube resources

Irish Music Overview Powerpoint available at https://www.tes.com/teaching-resource/irish-jigs-and-reels-6117612

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Resources Orientation to Ireland

Map of World https://www.google.com.au/search?q=irish+counties&biw=1366&bih=643&tbm=isch&tbo=u&source=univ&sa=X&sqi=2&ved=0ahUKEwiNgvSA1qvPAhUBQpQKHRw1BOIQiR4IoAE&dpr=1#tbm=isch&q=world+map&imgrc=tc43jME7x5CF6M%3A

Map of Western Europe http://www.lib.utexas.edu/maps/europe/europe_econ96.jpg

Map of Counties and Provinces of Ireland http://www.spirited-ireland.net/map/_counties/

Find your ancestors http://irelandroots.com/irish-surnames.htm

Story of St Patrick https://www.youtube.com/watch?v=xOqWT2tk9Js

History of Irish Music

Documentary – Folk Hibernia, Irish Music Documentary https://www.youtube.com/watch?v=mvRW-8lN_Do (13m35s – Michael Coleman) (30m – Sean O Riada)

Sean O’Riada on Oral transmission of Irish Music - https://www.youtube.com/watch?v=bSn07vfWwKM

History of Irish music - http://www.discoverdublin.ie/musical-pub-crawl/story-of-irish-music/

Performance pieces - Scores

From Begged, Borrowed or Stolen – collection of Traditional Irish Music available online at http://bensfiles.net/irishclub/Begged%20Borrowed%20and%20Stolen%20book.pdf

Si Beg, Si Mor (Si Beag, Si Mhor)

Jig - Banish Misfortune

Slip-Jig – Foxhunter’s Jig

Reel – The Silver Spear

Hornpipe - Harvest Home

Listening pieces

Turlough O’Carolan Si Beag Si Mhor - https://www.youtube.com/watch?v=K0mot5vBCBc Score of Si Beg Si Mor from Begged, Borrowed or Stolen available at http://bensfiles.net/irishclub/Begged%20Borrowed%20and%20Stolen%20book.pdf

Sean Nos song – Roisin Dubh You-tube clip of performance by Caitlín Maude - https://www.youtube.com/watch?v=hdskdLV4MWY&list=RDhdskdLV4MWY Performance by famous Sean Nos singer Joe Heaney - https://www.youtube.com/watch?v=oGelrimeD7c Tin Whistle, Banjo and Mandolin Score and Lyrics with translation available at http://www.irish-folk-songs.com/roisin-dubh-lyrics.html Lead sheet with chords available at http://www.traditionalmusic.co.uk/irish-folk-music/008773.HTM

Mise Eire - Sean o Riada Score (arrangement by M Armstrong), available at http://www.seoltamusic.com/cw3/assets/product_full/band.005.miseeiresample.pdf Recording of performance by RTE Orchestra https://www.youtube.com/watch?v=JGPe9qeN_VY

Sally Gardens

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Orla Fallon – unornamented https://www.youtube.com/watch?v=j_VtaD9Wchk Maura O’Connell - highly ornamented version https://www.youtube.com/watch?v=027ZJX5XVjs

Riverdance Video - Breakthrough 1994 Eurovision performance https://www.youtube.com/watch?v=w0v_pu6miJ8

Banish Misfortune The Chieftans https://www.youtube.com/watch?v=_c9AConcZx0 Gerry O’Connor https://www.youtube.com/watch?v=jU4vSuCenL0 Hermitage Green https://www.youtube.com/watch?v=tZU_e9Df9xc

Off She Goes https://www.youtube.com/watch?v=7xcvIP8zz_k Score in Begged, Borrowed or Stolen http://bensfiles.net/irishclub/Begged%20Borrowed%20and%20Stolen%20book.pdf

Tenpenny Bit https://www.youtube.com/watch?v=iWX4jj26kpw Score in Begged, Borrowed or Stolen http://bensfiles.net/irishclub/Begged%20Borrowed%20and%20Stolen%20book.pdf

Session with the Chieftans http://www.ireland.com/en-gb/blog/history-and-heritage/traditional-irish-instruments/

Research Resources

Guide to Irish Instruments (The Irish House Party, 2016) http://www.theirishhouseparty.com/a-guide-to-irish-music.257.html

Traditional Irish Instruments http://www.ireland.com/en-gb/blog/history-and-heritage/traditional-irish-instruments/

What is Irish Traditional Music? (Irish Traditional Music Archive, 1991) http://www.itma.ie/images/uploads/leaflet1.pdf?PHPSESSID=b825c64b05fe305621224991e0542bb7

Website explaining different styles of Traditional Irish Dance Tunes (BBC, 2014) http://www.bbc.co.uk/schools/gcsebitesize/music/music_dance/group_dance2.shtml

Difference between Jig and Reel explained https://www.trinity.nottingham.sch.uk/music/gcse/irishJigAndReel.aspx (Trinity Catholic School, n.d.)

Journal article for Literacy/Jigsaw reading activities The Parameters of Style in Irish Music by Niall Keegan (2010) http://www.irishworldacademy.ie/inbhear/volume-1/n-keegan/v1-i1-n-keegan-menu.html

Ornamentation - cuts, taps and rolls explanation https://www.youtube.com/watch?v=h-CU4XvUGIQ

Performance resources

How to play cuts and rolls - https://www.youtube.com/watch?v=h-CU4XvUGIQ

Morrisons Jig with rolls - https://www.youtube.com/watch?v=Sw7wZZlWyFk

Fact Sheet – Tips on Learning Irish Music http://www.itma.ie/images/uploads/leaflet3_1.pdf

Rhythmic difference between Hornpipe and Reel - https://vimeo.com/35325677

Rhythmic Accents in jigs and reels - https://www.youtube.com/watch?v=T5XG2ioI508

Jo Young 96571224 Curriculum Specialisation II Assignment 3

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Year 11 - Music 1 Preliminary Course Assessment Task No 3

Context: Music of a Culture – Irish Music Component: Composition

Due Date: Final Composition Friday Week 9 (Draft for peer review Wednesday Wk 8)

Weighting: 30%

Outcomes Assessed: P3,P5,P7,P8,P10, P11

Task Outline

Part A (20%) – Compose a reel, jig or slip jig.

Part B (10%) – Create a portfolio to document your creative process

Please submit composition as a printed score plus an MP3 exported from Sibelius file on USB drive or as an MP3 recording of a performance. Portfolio’s may be hard copies, electronic files or a combination of both.

Drafts will be reviewed informally and formally by teacher and formally by peers in class time, with constructive feedback given.

Task Guidelines

Part A

Your composition must

Be a minimum of 32 bars long (including repeats) and a maximum of 48 bars long.

have a structure that reflects a typical form of the style you have selected, eg AABB, AABBCC, AABBCCDD

Be in a typical key and mode for Irish traditional dance music

Introduce a melodic theme in the A section which is answered or developed by the B section (and C or D section if you wish)

Use chord symbols to indicate the chordal accompaniment as well as include an indication of the rhythmic pattern of your chordal accompaniment in your recording.

Include ornamentation of the melody in line with the chosen style

Part B

Your portfolio should document your creative process and provide examples of the following

Listening and class activities related to your composition

Structural plan

Melodic and rhythmic ideas (include short notations

Your treatment of the 6 concepts to create the desired style

Problems encountered, ways in which they were solved

Marking Guidelines

You will be assessed on your ability to

Compose a work representative of traditional Irish dance music

Use rhythmic and melodic ideas that are characteristic of the chosen style

Create contrast and unity in your development of your A section

Include ornamentation that reflects expressive techniques characteristic of Irish music

Harmonise your melodic line with chords characteristic of traditional Irish music

Accurately notate your composition using Sibelius

Document your creative process in a well-structured portfolio including examples that illustrate your reflections

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Irish Music Composition Assessment Task - Marking Guide

Marking Criteria Marks

Uses highly appropriate and extremely well developed structure for chosen style within guidelines. Highly effective use of repeats and second time endings. Use of anacrusis if appropriate. Uses correct time signature for style. Demonstrates use of highly effective, varied rhythmic ideas, creating a very well developed sense of unity and contrast. Uses appropriate key and mode for style. Creates a highly effective theme in A, with sophisticated development in subsequent sections. Demonstrates use of highly effective, varied melodic ideas, creating a very well developed sense of unity and contrast. Sophisticated use of ornamentation. Harmonises melody with minor/major chords to create contrast highly effectively. Highly effective accompaniment rhythm. All notation is correct with correct indicators of clef, time signature, key, chord symbols, repeats, anacrusis and ornamentation. Presents highly detailed portfolio of very high presentation standard. Many Illustrative examples

26-30

Uses highly appropriate and well developed structure for chosen style within guidelines. Effective use of repeats and second time endings. Uses correct time signature for style. Demonstrates use of effective, varied rhythmic ideas creating a sense of unity and contrast. Uses appropriate key for style. Creates an effective theme in A with effective answer in subsequent sections. Demonstrates use of effective, varied melodic ideas creating a sense of unity and contrast. Effective use of ornamentation. Harmonises melody very effectively with variety of chords. Effective accompaniment rhythm. Presents detailed portfolio of high standard. Illustrates with examples

22-25

Uses appropriate structure for chosen style within guidelines. Uses repeats correctly. Uses correct time signature for style. Demonstrates use of appropriate rhythmic figures with some variation between sections. Uses appropriate key for style. Creates a clear theme in A section. Demonstrates use of appropriate melodic figures with some variation between sections. Some use of ornamentation. Harmonises melody with appropriate chords. Indicates rhythm of accompaniment. Notation mostly correct. Indicates clef, time sig, key, chords, repeats and attempts ornamentation. Portfolio adequately outlines creative process, some examples given to illustrate

15-21

Structure is somewhat appropriate to chosen style. Limited use of repeats. Correct time signature for style, highly repetitive use of rhythmic figures or some inappropriate figures. Very limited sense of unity and contrast. Uses appropriate key for style. Limited success in establishing theme in A. Some inappropriate choice of chords. Limited melodic ideas with limited connection. Very limited sense of unity and contrast. Limited or ineffective use of ornamentation. Some harmonisation of melody, some inappropriate chords. Limited indication of rhythmic accompaniment. Frequent errors in notation. Omits clef, time sig, key, chords, repeats or ornamentation. Portfolio very brief and generalised, limited or no examples

8-14

Structure is inappropriate to chosen style. No use of repeats. Incorrect time signature for style chosen. Rhythmic figures chosen are unsuitable for style. No sense of unity or contrast. Incorrect metre for style chosen. No theme established figures chosen are unsuitable for style. No sense of unity or contrast. No ornamentation. No harmonisation of melody or inappropriate chords. No rhythmic accompaniment. Composition is not notated. Does not submit portfolio or extremely limited attempt.

0-7

Total /30

Comments:

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Irish Music Composition Task - Marking Rubric

Criteria M A 3.5-4 B 2.5- 3 C 2-2.5 D 1-2 E 0-1

Meets criteria for structure

4 Uses highly appropriate and extremely well developed structure for chosen style within guidelines. Highly effective use of repeats and second time endings. Use of anacrusis if appropriate.

Uses highly appropriate and well developed structure for chosen style within guidelines. Effective use of repeats and second time endings.

Uses appropriate structure for chosen style within guidelines. Uses repeats correctly.

Structure is somewhat appropriate to chosen style. Limited use of repeats.

Structure is inappropriate to chosen style. No use of repeats.

Composes in suitable metre and uses rhythmic ideas characteristic of chosen style to create unity and contrast

4 Uses correct time signature for style. Demonstrates use of highly effective, varied rhythmic ideas, creating a very well developed sense of unity and contrast.

Uses correct time signature for style. Demonstrates use of effective, varied rhythmic ideas creating a sense of unity and contrast

Uses correct time signature for style. Demonstrates use of appropriate rhythmic figures with some variation between sections.

Correct time signature for style, highly repetitive use of rhythmic figures or some inappropriate figures. Very limited sense of unity and contrast.

Incorrect time signature for style chosen. Rhythmic figures chosen are unsuitable for style. No sense of unity or contrast

Uses appropriate key and mode. Quality of melodic invention and development to create unity and contrast. Use of ornamentation.

4 Uses appropriate key and mode for style. Creates a highly effective theme in A, with sophisticated development in subsequent sections. Demonstrates use of highly effective, varied melodic ideas, creating a very well developed sense of unity and contrast. Sophisticated use of ornamentation.

Uses appropriate key for style. Creates an effective theme in A with effective answer in subsequent sections. Demonstrates use of effective, varied melodic ideas creating a sense of unity and contrast. Effective use of ornamentation.

Uses appropriate key for style. Creates a clear theme in A section.. Demonstrates use of appropriate melodic figures with some variation between sections. Some use of ornamentation.

Uses appropriate key for style. Limited success in establishing theme in A. Some inappropriate choice of chords. Limited melodic ideas with limited connection. Very limited sense of unity and contrast. Limited or ineffective use of ornamentation

Incorrect metre for style chosen. No theme established figures chosen are unsuitable for style. No sense of unity or contrast. No ornamentation.

Uses appropriate chords and rhythm for accompaniment

4 Harmonises melody with minor/major chords to create contrast highly effectively. Highly effective accompaniment rhythm

Harmonises melody very effectively with variety of chords. Effective accompaniment rhythm

Harmonises melody with appropriate chords. Indicates rhythm of accompaniment.

Some harmonisation of melody, some inappropriate chords. Limited indication of rhythmic accompaniment

No harmonisation of melody or inappropriate chords. No rhythmic accompaniment.

Notates composition correctly

4 All notation is correct with correct indicators of clef, time signature, key, chord symbols, repeats, anacrusis and ornamentation

Very few errors in notation of clef, time signature, key, chords, repeats and ornamentation.

Notation mostly correct. Indicates clef, time sig, key, chords, repeats and attempts ornamentation

Frequent errors in notation. Omits clef, time sig, key, chords, repeats or ornamentation.

Composition is not notated

Presents documented portfolio with illustrative examples

10 Presents highly detailed portfolio of very high presentation standard. Many Illustrative examples 9-10

Presents detailed portfolio of high standard. Illustrates with examples 7-8

Portfolio adequately outlines creative process, some examples given to illustrate 5-6

Portfolio very brief and generalised, limited or no examples 3-4

Does not submit portfolio or extremely limited attempt 0-2

Total 30

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Wk Scope and Sequence Chart 10 Weeks – 5 X 50 min lessons per week

P C M A Resources QTF AITSL

1 Introduction/Overview of topic. Discussion of prior knowledge, gathering of questions. Find your local ancestors activity. Orientation to Ireland’s location and history. Story of St Patrick Reading activity – what is Traditional Irish Music? Hand out assessment task notice.

x Maps Find your ancestors http://irelandroots.com/irish-surnames.htm Story of St Patrick https://www.youtube.com/watch?v=xOqWT2tk9Js What is traditional Irish music leaflet? Assessment task sheet

LE-e S-bk S-c S-ck S-KI QE-eq

1.2

Discussion of Post-Colonialism Pre-colonial music Guided listening activity - Irish harp music. Review of reading and writing D Major scale Students practise Si Beag Si Mhor to perform as a group

x

X

x x

Turlough O’Carolan Si Beag Si Mhor - youtube clip Score - Si Beag Si Mhor, Students’ instruments

S-ck S-KI IQ-m QE-E

2.4, 2.2 2.5

Watch video Sean O Riada on Oral transmission Focus Concept – Expressive techniques Ornamentation – listening activity Sally Gardens, students identify examples of ornamentation Watch videos on ornamentation types Students practise cuts, taps and rolls on own instruments

x

x x

Sean O’Riada on Oral transmission of Irish Music - https://www.youtube.com/watch?v=bSn07vfWwKM You-tube clips of Sally Gardens Orla Fallon – unornamented https://www.youtube.com/watch?v=j_VtaD9Wchk Maura O’Connell - highly ornamented version https://www.youtube.com/watch?v=027ZJX5XVjs Video Ornamentation - cuts, taps and rolls explanation https://www.youtube.com/watch?v=h-CU4XvUGIQ

IQ-DK IQ-DU QE-HE

1.2

Jigsaw reading activity on Ornamentation (Literacy exercise) Students practise Si Beag, Si Mhor, adding their own ornamentation. Students notate their ornamentation.

x X The Parameters of Style in Irish Music by Niall Keegan (2010) Score – Si Beg, Si Mor,Students’ instruments, Blank manuscript

IQ-pk IQ-m QE-SD

1.2, 1.5, 2.5 3.3

Students practise ornamented version of melody QE-E 4.1

2 Students perform Si Beag, Si Mhor, students explain ornamentation used and hand in notation

x x Score – Si Beg, Si Mor, Students’ instruments QE-E QE-HE

2.3 5.1 5.2

The Diaspora and Technology Video and Discussion – the impact of recordings from Irish musicians living abroad The influence of Michael Coleman Listening activity – Michael Coleman recordings

Folk Hibernia, Irish Music Documentary https://www.youtube.com/watch?v=mvRW-8lN_Do From 13m35s Michael Coleman - The Tarbolton reel / The Longford Collector / The Sailor's Bonnet https://www.youtube.com/watch?v=_V7ji57f0Is

IQ-CK

Concept focus – Pitch x x Sean Nos song – Roisin Dubh IQ-CK 3.4

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Guided Listening activity - Sean Nos singing Video: Folk Hibernia Irish Music Documentary @30m Mise Eire – influence of Sean O’Riada (harmony, syncopation, arrangements) with his band Ceolteoiri Cualann Listening and score reading – Mise Eire Comparison of Ceili band with Ceolteori Cualann Students discuss anthemic themes from their own cultures.

You-tube clip of performance by Caitlín Maude https://www.youtube.com/watch?v=hdskdLV4MWY&list=RDhdskdLV4MWY Joe Heaney https://www.youtube.com/watch?v=oGelrimeD7c Score – Roisin Dubh http://www.traditionalmusic.co.uk/irish-folk-music/008773.HTM YouTube documentary https://www.youtube.com/watch?v=mvRW-8lN_Do Listening link – Mise Eire https://www.youtube.com/watch?v=JGPe9qeN_VY Score Mise Eire http://www.seoltamusic.com/cw3/assets/product_full/band.005.miseeiresample.pdf Ceili Band https://www.youtube.com/watch?v=vLOcmPWiatM Ceolteori Cualann https://www.youtube.com/watch?v=D_nqFPvhPZo&list=PLGfoJAkB3bw65gkeS6jS16bG8DNIxsyok&index=1

3 Concept Focus - Tone Colour and Texture Students watch an Irish session, identify all performing media and their roles in the music. Students choose an instrument to do a short research project, present findings to class.

x Video – session with the Chieftans available at http://www.ireland.com/en-gb/blog/history-and-heritage/traditional-irish-instruments/ Guide to Irish Instruments (The Irish House Party, 2016) http://www.theirishhouseparty.com/a-guide-to-irish-music.257.html

IQ-DK IQ-DU IQ-SC QE-SD QE-sr

3.3 4.1 5.2

4 Focus concept – Duration Review of time signatures Quiz – Music theory net Examine scores of reel, jig and slip jig, practice clapping the rhythms as written in 4/4, 6/8 and 9/8 Introduction to Irish dance music PowerPoint

x x x Time signature review - YouTube https://www.youtube.com/watch?v=IY4Lthga7T0 http://www.musictheoryonline.co.uk/resources/abrsm/grade-5/simple-compound-time/simple-compound Score Jig - Banish Misfortune Score Slip-Jig – Foxhunter’s Jig Score Reel – The Silver Spear Powerpoint overview https://www.tes.com/teaching-resource/irish-jigs-and-reels-6117612

IQ-DK IQ-DU

3.3 3.4

Student Research activity in groups – identify major differences in treatment of duration between dance music styles of jig, slip-jig and reel. Students present findings and examples

x x Websites explaining different styles of Traditional Irish Dance Tunes http://www.bbc.co.uk/schools/gcsebitesize/music/music_dance/group_dance2.shtml https://www.trinity.nottingham.sch.uk/music/gcse/irishJigAndReel.aspx http://irishdanceutah.com/explaining-jigs-reels-hornpipes/

IQ-SC QE-SR

2.3 3.3 3.4 4.1

Students practice weekly aural skills x IQ-DK IQ-DU

1.2

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5 Jigs Examine score, Banish Misfortune Practice clapping the rhythms in time with recordings for understanding the feel. Introduction to D Mixolydian mode Listening to other jigs – eg Morrisons, Tenpenny bit

x x x Score – Banish Misfortune from BBS YouTube clips of Banish Misfortune The Chieftans https://www.youtube.com/watch?v=_c9AConcZx0 Gerry O’Connor https://www.youtube.com/watch?v=jU4vSuCenL0 Hermitage Green https://www.youtube.com/watch?v=tZU_e9Df9xc Score - Tenpenny Bit from BBS https://www.youtube.com/watch?v=iWX4jj26kpw

IQ-DK IQ-DU

1.2

Students practice Banish Misfortune Students practice weekly Aural skills

x x QE-E 1.2 4.1 5.2

Listening activity Double Jigs vs Single Jigs x Single Jig – Off she goes https://www.youtube.com/watch?v=7xcvIP8zz_k Score – Off she goes Double Jig – Banish Misfortune (see above) Tenpenny Bit – https://www.youtube.com/watch?v=iWX4jj26kpw Score - from Begged, Borrowed or Stolen

IQ-DK IQ-DU

1.2

Slip Jigs View RiverDance performance – Students listen to version of Foxhunter’s Jig with score Students learn to play Foxhunter’s Jig Listening and score analysis – Kid on the Mountain Discussion of Minor keys – relative minors Harmonisation of accompaniment

x x x YouTube Riverdance Breakthrough 1994 Eurovision performance https://www.youtube.com/watch?v=h-CU4XvUGIQ Foxhunters https://www.youtube.com/watch?v=NangvM19MmI Foxhunter’s score in BBS Kid on the Mountain score available at http://www.8notes.com/scores/8631.asp KOTM recording https://www.youtube.com/watch?v=9Zf6IMWhX98

Students practise Foxhunter’s Jig and Banish Misfortune Students perform for St Patricks Day events in school and community.

x S-KI S-C S-N QE-E

4.1 5.1 5.2

Teacher assesses unit plan and adjusts accordingly 5.4 3.6

6 Reels Students watch different examples of dancing Listening, score reading and performing the Silver Spear Students perform Silver Spear Watch video – Comparison between Reel and Hornpipe rhythmic figure Students compare in scores Student listen to Harvest Home and Silver Spear to compare rhythmic feels

x

x

x YouTube – Silver Spear Sean Nos Dancing https://www.youtube.com/watch?v=MuASSSMCblc Irish Dancing Performance https://www.youtube.com/watch?v=FJ9teM6bMxU Irish Set Dancing https://www.youtube.com/watch?v=FJ9teM6bMxU Reel – The Silver Spear https://www.youtube.com/watch?v=tXbbnan7_7c Silver Spear score available in BBS

QE- 1.2 3.4

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Students practice weekly aural skills Rhythmic difference between Hornpipe and Reel - https://vimeo.com/35325677 Harvest Home – score available in BBS

Students begin composition of reel, jig or slip jig How to use Sibelius to notate compositions

x x Computer labs IQ-pk IQ-ho QE-EQ QE-SD

1.2 2.6 3.3

Listening activity – Identifying the use and manipulation of traditional elements in contemporary Irish music.

Moving Hearts – Lake of Shadows https://www.youtube.com/watch?v=BKAK2oRirhU Dropkick Murphies - The State Of Massachusetts https://www.youtube.com/watch?v=wsCMQAMD0uo

IQ-DK IQ-DU

1.2

7 Students continue working on Compositions and practising performance repertoire. Feedback

x x IQ-pk 2.3 5.1 5.2

8 Composition peer assessment/feedback Practise repertoire performances

x x IQ-EQ 2.3 5.1 5.2

9 Composition due Practising repertoire

x x 1.2

10 Listening aural exam – summative assessment Drowsy Maggie by the Chieftans

x The Chieftans - Drowsy Maggie https://www.youtube.com/watch?v=WIHI49JQ7zY

5.1 5.2 5.3 5.4

Group performances of The Silver Spear, Foxhunters Jig and Banish Misfortune for school assembly and community (eg aged care home)

x S-C QE-E

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Aural Exam Question

Music 1

Question 1

(8 Marks)

An excerpt (1m31s) from will be played SIX times for you to answer question 1.

Time: First playing – short pause

Second playing – 30 second pause

Third playing – 1 minute pause

Fourth playing – 1 minute pause

Fifth playing – 1 minute pause

Sixth playing – 2 minute pause

Describe the structure of the piece and how the concept of duration is used to achieve unity and

contrast.

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Jo Young 96571224 Curriculum Specialisation II Assignment 3

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Music 1

Sample Band 6 response

The piece consists of 5 sections and has an overall structure of ABACA. The A section is the whole

ensemble playing (pipes, drum (Bodhran), flute, fiddle, whistle) consists of two parts, a theme in a

minor key (Em) and an answer in a major key a tone below (D major). This is the same each time it is

repeated with the only change being a change in the percussion sound source from drum (Bodhran)

to bones in the third repeat. The A section is in 4/4 but with the drum accenting the first and third

beat it feels like cut common time (two pulses of four quavers per bar). The A section has a rapid

tempo and is based upon quavers. The B section is a solo flute playing in a different time signature

9/8 and also in a different key centre (D major). The C section is a solo fiddle in Em and is also in 9/8,

in the same key as the A section. The underlying pulse remains the same which creates unity, but in

the A section it is subdivided into 2 pulses of 4 quavers, in the B and C sections it is subdivided into 3

pulses of 3 quavers, creating a sense of contrast in that it feels like the music is slowing down

because of the change in time signature.

Contrast is created by the change in time signature as well as the accompanying change in from

heterophonic to monophonic texture. Unity is achieved by the use of related keys and the returning

to the same A section (like rondo form) each time.

The rapid, rhythm of the A section has a strong pulse on beat 1 and 3 (shown by the accents) and is most likely in 4/4 or cut common time.

The skipping rhythm of the B section is in 9/8 and each pulse is now subdivided into three quavers. There is also one bar in the middle of the solo where the flautist seems to play a bar of 12/8, adding an extra pulse.

In the C section, the fiddle also plays in 9/8 but there is a different feel to the flute solo because of the use of the crotchet quaver combination rather than just all quavers.

Jo Young 96571224 Curriculum Specialisation II Assignment 3

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Aural Exam Question

Music 2

Question 1

This question is based upon Berceuse by Frederic Chopin.

The score of Berceuse is Score Attachment A.

You have ONE minute to look at the score.

The work will be played ONCE for familiarisation.

You have ONE minute to answer part A.

Question 1 (a)

Identify and name the following expressive techniques (i,ii,iii) compositional devices (iv) from the

score

(i) (ii)

(iii) (iv)

(i)_____________________________ (ii) _______________________________

(iii)___________________________ (iv) _______________________________

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Question 1 continued

Question 1 (b)

The work will be played ONCE for you to answer part B

Outline the structure of Berceuse.

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Question 1 (c)

The work will be played ONCE for you to answer part C

Explain how the concept of duration is used in the piece to create unity and contrast.

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Question 1 (d)

The work will be played ONCE for you to answer part D

Describe how Chopin has used the concept of pitch in the piece

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Music 2

Sample Band 6 Response

Question 1(a)

(i) Use of Sustain pedal

(ii) Staccato – play notes short and detached

(iii) Trill – rapidly alternate note with adjacent note

(iv) Chromaticism

Question 1 (b)

The piece has a theme and variation structure. After a two bar introduction, Chopin presents a four

bar theme in bars 3-6 and then repeats it 14 times. In each iteration of the theme he varies the

theme more and more by using melodic and rhythmic changes and different expressive techniques

but keeps the same one bar pedal happening underneath for almost the entire piece.

Question 1 (c)

The piece is in 6/8 and at a slow tempo, Andante. It begins with mainly eighth note values in both

the left and right hand apart from the first note stated in the right. This is a dotted crotchet, creating

a sense of stillness but also tension against the movement in the left hand. The rhythmic pattern of

the left hand pedal having four quavers followed by a crotchet creates a sense of rocking, with the

longer crotchet value creating a kind of pause between the pendulum type swing that is created by

the quavers. The constant rhythm of this left hand pedal creates a sense of unity throughout the

entire piece, while the rhythms of the right hand create contrast by becoming more subdivided in

each iteration. For example, in the second iteration, there are quavers, the fifth introduces

semiquavers, down to demi-semiquavers by the fifth iteration. Chopin varies the rhythmic content

of the theme every time, introducing appogiaturas, triplet semiquavers and syncopation at different

times before coming back to quavers for the ending.

Question 1 (d)

The piece is in the key of Db major for almost the whole piece with a constant tonic dominant pedal

in the left hand (Db-Ab). This, coupled with the rhythmic devices mentioned above, creates a sense

of rocking, the tension built by the dominant created then dispelled by the return to the tonic in

each bar. Meanwhile in the right hand, the main theme begins as gently undulating downward

before some larger leaps upward in the fourth bar, and then gently steps down before beginning

again. This also creates a sense of rocking and tension and release. This melodic contour is then

explored by a number of compositional devices. For example, in the second variation, there is a

consonant, descending pitch sequence played under the theme. Chopin decorates the theme by

becoming more and more ornamented each time, choosing a range of notes further and further

away from the theme while generally maintaining, then radically expanding the pitch contour and

range of the theme. He also introduces a high level of chromatic movement.

Jo Young 96571224 Curriculum Specialisation II Assignment 3

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References Anon. (2014, May 28). Traditional Irish Instruments. Retrieved from Ireland.com:

http://www.ireland.com/en-gb/blog/history-and-heritage/traditional-irish-instruments/

Australian Institute for Teaching and School Leadership Ltd. (n.d.). Australian professional standards

for teachers. Retrieved from AITSL: http://www.aitsl.edu.au/australian-professional-

standards-for-teachers/standards/list

BBC. (2014). Group Dance: Irish Dance. Retrieved from GCSE Bitesized:

http://www.bbc.co.uk/schools/gcsebitesize/music/music_dance/group_dance2.shtml

Board of Studies NSW. (2000, April). Music 1 Stage 6 Syllabus. Retrieved from BOSTES:

https://www.boardofstudies.nsw.edu.au/syllabus_hsc/pdf_doc/music-1-st6-syl-

from2010.pdf

Brummy Dubliner. (2011, July 24). Gerry O'Connor - Banish Misfortune. Retrieved from YouTube:

https://www.youtube.com/watch?v=jU4vSuCenL0

Chopin, F. (2010). Berceuse [Recorded by L. Valentina]. Hanover, Germany.

Common Slob. (2009, December 6). Seosamh O hEanai (Joe Heaney) - Roisin Dubh. Retrieved from

YouTube: https://www.youtube.com/watch?v=oGelrimeD7c

Connolly, M. (Director). (2006). Folk Hibernia [Motion Picture]. Retrieved from

https://www.youtube.com/watch?v=mvRW-8lN_Do

Gravel Walks. (2011, May 8). Sian O Riada 1970. Retrieved from YouTube:

https://www.youtube.com/watch?v=bSn07vfWwKM

Haddon, D. (2014, March 21). Irish traditional jigs : "The Chieftains" play "Banish Misfortune/Gillan's

Apples". Retrieved from YouTube: https://www.youtube.com/watch?v=_c9AConcZx0

Harmer, M. (2007, May 17). Si Beag Si Mhor O'Carolan celtic harp tune. Retrieved from YouTube:

https://www.youtube.com/watch?v=K0mot5vBCBc

Hermitage Green. (2012, February 6). Hermitage Green - Banish Misfortune (Trad). Retrieved from

YouTube: https://www.youtube.com/watch?v=tZU_e9Df9xc

Irish Traditional Music Archive. (1991). What is Irish Traditional Music? Retrieved from Irish

Traditional Music Archive:

http://www.itma.ie/images/uploads/leaflet1.pdf?PHPSESSID=b825c64b05fe305621224991e

0542bb7

Jeremiah, J. W. (2011, March 17). The Story of St Patrick. Retrieved from YouTube:

https://www.youtube.com/watch?v=xOqWT2tk9Js

Keegan, N. (2010). The parameters of style in Irish traditional music. Inbhear, 63-96. Retrieved from

http://www.irishworldacademy.ie/inbhear/volume-1/Inbhear-Volume-1-Issue-1.pdf

Mhaol, G. (2008, Jan 13). Roisin Dubh: Caitlin Maude. Retrieved from YouTube:

https://www.youtube.com/watch?v=hdskdLV4MWY&list=RDhdskdLV4MWY

O'Connor, C., & Watkins, S. (1979, May). Begged, borrowed and stolen. Retrieved from Bens Files:

http://bensfiles.net/irishclub/Begged%20Borrowed%20and%20Stolen%20book.pdf

Jo Young 96571224 Curriculum Specialisation II Assignment 3

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Rearson, P. (2015, December 31). Mise Eire - Sean O Riada. Retrieved from YouTube:

https://www.youtube.com/watch?v=JGPe9qeN_VY

Riverdance. (2014, April 29). Riverdance at the Eurovision Song Contest 30 April 1994, Dublin

#Riverdance20. Retrieved from YouTube: https://www.youtube.com/watch?v=w0v_pu6miJ8

Snooty Baronet. (2013, March 16). Down by the Sally Gardens-Maura O'Connell with Karen

Matheson. Retrieved from YouTube: https://www.youtube.com/watch?v=027ZJX5XVjs

Son of Labrador. (2010, June 18). Donegore Tradition: Single Jigs. Retrieved from YouTube:

https://www.youtube.com/watch?v=7xcvIP8zz_k

State of NSW, Department of Education and Training. (2006). Quality teaching in NSW public schools:

a classroom practice guide. Ryde: Professional Learning and Leadership Development

Directorate.

Story of Irish Music. (2015). Retrieved from Discover Dublin: http://www.discoverdublin.ie/musical-

pub-crawl/story-of-irish-music/

The Irish House Party. (2016). A Guide to Irish Music. Retrieved from The Irish House Party:

http://www.theirishhouseparty.com/a-guide-to-irish-music.257.html

Traditional (1973). Drowsy Maggie [Recorded by The Chieftans]. London, United Kingdom.

Trinity Catholic School. (n.d.). GSCE Area of Study 3 - Dance Music. Retrieved from Irish Jig and Reel:

https://www.trinity.nottingham.sch.uk/music/gcse/irishJigAndReel.aspx

Verbata 1. (2008, February 19). Orla Fallon: Down by Sally Gardens. Retrieved from YouTube:

https://www.youtube.com/watch?v=j_VtaD9Wchk

Wiggins, G., & McTighe, J. (2011). The understanding by design guide to creating quality units.

Alexandria: VA: ASCD.

Scores

Chopin, F., Berceuse. Retrieved from http://imslp.nl/imglnks/usimg/b/bd/IMSLP86585-PMLP02636-

chopin-ber.pdf

O Riada, S., (1959). Mise Eire. Arranged by Armstrong, M. Retrieved from

http://www.seoltamusic.com/cw3/assets/product_full/band.005.miseeiresample.pdf

Traditional (n.d) Banish Misfortune. Begged, Borrowed and Stolen – collection of Traditional Irish

Music. Retrieved from

http://bensfiles.net/irishclub/Begged%20Borrowed%20and%20Stolen%20book.pdf

Traditional (n.d) Foxhunters Jig. Begged, Borrowed and Stolen – collection of Traditional Irish Music.

Retrieved from

http://bensfiles.net/irishclub/Begged%20Borrowed%20and%20Stolen%20book.pdf

Traditional (n.d) Harvest Home. Begged, Borrowed and Stolen – collection of Traditional Irish Music.

Retrieved from

http://bensfiles.net/irishclub/Begged%20Borrowed%20and%20Stolen%20book.pdf

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Traditional (n.d) Off She Goes. Begged, Borrowed and Stolen – collection of Traditional Irish Music.

Retrieved from

http://bensfiles.net/irishclub/Begged%20Borrowed%20and%20Stolen%20book.pdf

Traditional (n.d) Harvest Home. Begged, Borrowed and Stolen – collection of Traditional Irish Music.

Retrieved from

http://bensfiles.net/irishclub/Begged%20Borrowed%20and%20Stolen%20book.pdf

Traditional (n.d) Si Beg, Si Mor. Begged, Borrowed and Stolen – collection of Traditional Irish Music.

Retrieved from

http://bensfiles.net/irishclub/Begged%20Borrowed%20and%20Stolen%20book.pdf

Traditional (n.d) Tenpenny Bit. Begged, Borrowed and Stolen – collection of Traditional Irish Music.

Retrieved from

http://bensfiles.net/irishclub/Begged%20Borrowed%20and%20Stolen%20book.pdf

Traditional (n.d) Roisin Dubh. Retrieved from http://www.traditionalmusic.co.uk/irish-folk-

music/008773.HTM

Sound Recordings

Chopin, F. (2010). Berceuse [Recorded by L. Valentina]. Hanover, Germany.

Traditional (1973). Drowsy Maggie [Recorded by The Chieftans]. London, United Kingdom.