COURSE DESCRIPTION
This course outline aims to provide students with a comprehensive understanding of the Old Testament, fostering intellectual engagement and spiritual growth. It provides an introductory survey of the Old Testament, exploring its historical, literary, and theological dimensions. Students will gain an understanding of the structure, content, and major themes of the Old Testament, as well as its relevance to the Christian faith. The course covers the key events, figures, and messages of the Old Testament books and their contribution to the overall biblical narrative.
COURSE OBJECTIVES
By the end of this course, students will be able to:
1. Understand the structure and content of the Old Testament.
2. Identify the major themes, key events, and significant figures in the Old Testament.
3. Analyze the historical and cultural context of the Old Testament writings.
4. Appreciate the theological messages of the Old Testament and their relevance to the Christian faith.
5. Develop skills for interpreting and applying Old Testament texts in contemporary contexts.
COURSE CONTENT
1. Introduction to the Old Testament
• Overview of the Old Testament canon
• Historical and cultural context of the Old Testament
• Major themes and theological significance
2. The Pentateuch (Torah)
• Genesis: Creation, fall, flood, and the patriarchs
• Exodus: The deliverance from Egypt and the giving of the Law
• Leviticus: Holiness and the sacrificial system
• Numbers: Wilderness wanderings
• Deuteronomy: Covenant renewal and Moses’ final speeches
3. Historical Books
• Joshua: Conquest of Canaan
• Judges: The cycle of sin and deliverance
• Ruth: Loyalty and redemption
• 1 & 2 Samuel: The establishment of the monarchy
• 1 & 2 Kings: The divided kingdom and exile
• 1 & 2 Chronicles: A theological retelling of Israel’s history
• Ezra and Nehemiah: Return from exile and rebuilding
• Esther: Providence and deliverance
4. Poetry and Wisdom Literature
• Job: Suffering and divine sovereignty
• Psalms: Worship and prayer
• Proverbs: Wisdom for living
• Ecclesiastes: The meaning of life
• Song of Solomon: Love and marriage
5. Major Prophets
• Isaiah: Judgment and hope
• Jeremiah: Prophecy and lament
• Lamentations: Mourning the fall of Jerusalem
• Ezekiel: Visions and restoration
• Daniel: Faithfulness in exile
6. Minor Prophets
• Hosea: Unfaithfulness and redemption
• Joel: The day of the Lord
• Amos: Social justice
• Obadiah: Judgment on Edom
• Jonah: God’s mercy to Nineveh
• Micah: Justice, mercy, and humility
• Nahum: Judgment on Nineveh
• Habakkuk: Faith amidst injustice
• Zephaniah: The day of the Lord
• Haggai: Rebuilding the temple
• Zechariah: Visions of restoration
• Malachi: Covenant faithfulness
7. Theological Themes in the Old Testament
• Covenant: God’s promises and human response
• Law: God’s instructions for holy living
• Prophecy: Messages of judgment and hope
• Worship: Practices and principles
COURSE DESCRIPTION
This course aims to provide an insight into the fundamentals of some musical composition techniques. The knowledge students gain will allow them to develop their compositional ideas in a structured and purposeful way.
The focus of this course is twofold: firstly, on the acquisition of knowledge about some of the fundamental principles of musical composition; secondly, on experimentation. Students will discover compositional possibilities through practical explorations of ideas and techniques. Students 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 course. Presentation of music, whether in audio or printed form, is essential and students will be required to present their music in an appropriate form. Students will be exposed to a range of compositional concepts and techniques both past and present. Above all, this course is about the creation of music in the here and now. Students will be encouraged to find their own creative routes through the compositional process and ultimately begin to develop their own creative voice.
COURSE OBJECTIVES
On completion of this course a student should:
1. Be able to generate original musical ideas from starting points
2. Know 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.
COURSE CONTENT
1. Be able to generate original musical ideas from starting points
(i) Generating material:
Pitches; rhythms; chords; harmonic systems; textures; non-musical starting points such as themes, texts and images
(ii) Musical starting points:
Riffs and hooks; melodic ideas; rhythmic pattern; chord progressions; sound palettes
(iii) Working to a brief:
Interpreting a brief; devising appropriate musical ideas
2. Know how to extend, develop and manipulate musical material
(i) Extending and developing an idea:
Repetition; decoration; variation; sequence; contrast
(ii) Manipulating techniques:
Transposition; transformations (inversion, retrograde, retrograde inversion); cut and paste techniques; processes (canon, phasing, addition, subtraction, augmentation, diminution, displacement)
(iii) Working with layers:
Instrumentation; textures; contrasts
3. Be able to form musical material into completed compositions
(i) 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 and contrast
(ii) Pace:
Maintaining momentum; contrasts; balancing repetition and change
4. Be able to present compositions appropriately
(i) Appropriate presentation methods:
Conventions of particular styles, genres (recordings, MIDI and audio files); scores
(ii) Types of score:
Full score; lead sheet; chord chart; graphic scores; relevant computer software
COURSE ASSESSMENT
Assignment 1
Topic
Five Original Ideas
Scenario
An advertising agency has asked you to prepare five ideas for music to accompany a range of TV adverts.
Assessment Method
Portfolio of evidence comprising: (a) MIDI/audio recordings (b) project log (c) printouts of computer-generated material (where appropriate) (d) handwritten musical ideas (staff, tab, graphic etc.).
Assignment 2
Topic
Developing Ideas
Scenario
The advertising agency has asked you to select three of the five ideas you submitted to them and to develop and extend the ideas.
Assessment Method
Portfolio of evidence comprising: (a) MIDI/audio recordings (b) project log (c) printouts of computer-generated material (where appropriate) (d) handwritten musical ideas (staff, tab, graphic etc.).
Assignment 3
Topic
Putting it Together
Scenario
The advertising agency has asked you to select one of the three developed ideas you submitted to them and to make a complete musical composition of between two and three minutes’ duration.
Assessment Method
Portfolio of evidence comprising: (a) MIDI/audio recordings (b) project log (c) printouts of computer-generated material (where appropriate) (d) handwritten musical ideas (staff, tab, graphic etc.).
Assignment 4
Topic
Presenting Music – What’s the Score?!
Scenario
The piece you have submitted to the advertising agency is to be passed to their music production department, where it will be recorded. You are required to present the music in a form appropriate for performance.
Assessment Method
Portfolio of evidence comprising: MIDI/audio recordings; project log; printouts of computer-generated material (where appropriate); handwritten musical ideas (staff, tab, graphic etc.).
COURSE DESCRIPTION
The aim of this course is to enable students to gain a knowledge of, and develop the skills required by, members of a musical ensemble. Students will have opportunity to demonstrate employability skills through ensemble performances.
This course allows students to become part of a musical team, concentrating on the processes involved for a team working together towards a performance. Involvement can be as a performer or as a director/conductor. Students will be expected to decide what form the final performance will take, make decisions regarding appropriate repertoire, develop original musical material if appropriate, construct realistic schedules for achieving the performance and take responsibility for the presentation of the final performance. The course explores the areas of musical interaction. How do musicians interact with each other? How do they communicate both musically and physically during a performance?
COURSE OBJECTIVES
On completion of this course a student should:
1. Know the roles and responsibilities of members of musical ensembles
2. Be able to prepare for performances as part of an ensemble
3. Be able to present effective ensemble performances
4. Be able to demonstrate employability skills through participation in musical ensemble activities.
COURSE CONTENT
1. Know the roles and responsibilities of members of musical ensembles
(i) Roles within a musical ensemble:
Performer, e.g. instrumentalist, vocalist, backing vocalist; leader, e.g. conductor, chorus master, bandmaster, section leader, leader of the orchestra; musical director
Responsibilities within a musical ensemble:
(ii) Time keeping/reliability
Performers, e.g. maintenance of personal instruments/equipment, carrying spares/supplementary equipment such as leads, plectrums, strings, reeds, valve-oil, rosin and mutes; individual rehearsal prior to group rehearsal; attending rehearsals; musical communication; contributing to development of team; discussions; leaders, e.g. preparing rehearsal schedules, attending rehearsals, musical interpretation of pieces, keeping players together; musical director, e.g. choosing material, overall vision for concert; managers
2. Be able to prepare for performances as part of an ensemble
(i) Initial considerations when devising a performance:
Venue; type of audience; timescales and deadlines; personnel, e.g. number of performers, instruments available, level of performers’ ability; repertoire suitable for ensemble
(ii) Planning, preparing and rehearsing:
Scheduling, rehearsal programmes; practical considerations; room bookings; technical requirements, e.g. ordering music/scores for performers; delegating responsibilities; employing rehearsal techniques appropriate for the type of ensemble
3. Be able to present effective ensemble performances
(i) Musical skills
For example: accuracy of pitch, rhythm, intonation, timing; balance and blend between instruments; musicality; expression
(ii) Presenting a performance
For example: visuals (stage clothes, stage positions); stage presence, e.g. entry and exit from stage; projection; communicating with an audience
(iii) Musical communication within an ensemble:
Working with a conductor and/or leader, working in an ensemble; musical interaction; up-beats/lead-ins and endings; maintaining a pulse; physical communication, body language; musical response
4. Be able to demonstrate employability skills through participation in musical ensemble activities
(i) Employability skills:
Reliability; good time keeping; positive attitude; focus; enthusiasm; motivation; making a contribution to the set tasks; respect for others’ opinions; being supportive of others; negotiation through reasoned argument; responding to feedback; taking advice/direction
COURSE ASSESSMENTS
Assignment 1
Topic
Roles and Responsibilities
Scenario
Daniel Institute is holding an open day entitled ‘Working With Music’. You have been asked to produce a brochure or give an oral presentation, providing information about roles and responsibilities of ensemble musicians.
Assessment Method
Brochure or oral presentation (which should be recorded on video and supported by tutor observation records).
Assignment 2
Topic
Planning, Preparation and Rehearsal
Scenario
You and your ensemble have been asked to take part in two musical events, showcasing local talent You have to perform an active role in the planning, preparation and rehearsal process.
Assessment Method
Project diary (for each event). Video recordings supported by tutor observation records.
Assignment 3
Topic
Ensemble Performances
Scenario
You have been asked to perform with your ensemble in two musical talent showcases for which you have prepared (outcome of learning 3).
Assessment Method
Video recordings supported by tutor observation records.
Assignment 4
Topic
Employability Skills
Scenario
A local radio station has asked you to take part in a forum, discussing the employability skills required for working as an ensemble musician.
Assessment Method
Video recordings supported by tutor observation records. Written or oral presentation of evaluation.
COURSE DESCRIPTION
The aim of this course is to enable students to become aware and develop elements of image, style, health and wellbeing as they are applied in the working life of musical performers.
This course will enable students to become performers who can move, or even dance, on stage if required and develop their own style and image. Students will acquire the skills necessary to enter and exit the stage correctly, add dance routines to music performances where appropriate and improve their confidence on stage. In essence, students will develop from musicians to performers. Students will explore ways to prepare their body for performance by researching the ways professional musicians stay fit and healthy while developing their art form.
COURSE OBJECTIVES
On completion of this course a student should:
1. Know the importance of health and wellbeing for a musical performer
2. Know 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.
COURSE CONTENT
1. Know the importance of health and wellbeing for a musical performer
(i) Maintenance of fitness and health:
e.g. sensible diet, exercise, sufficient sleep, drug and alcohol awareness
(ii) Breathing and relaxation techniques, for example:
Alexander Technique, Pilates; warming up the body for exercise, e.g. breathing and stretching, cooling down
(iii) Simple principles of movement:
Bend, stretch and twist; where more ambitious styles of dance or movement are explored, sequences of exercises, movement memory, correct posture for performing
2. Know the importance and development of image and style for musicians
(i) Image:
Costume, e.g. uniform, ‘look’ of group; hairstyling; make-up
(ii) Style:
Design elements of performance, e.g. props; use of video; photography; additional performers, e.g. backing musicians; the publicity and marketing budget
(iii) Development of an artist’s image over time:
e.g. 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
(i) Use of performance space:
Appropriate entry and exit of the performance space; stage-positioning; correct use of technology, e.g. lighting, backing tracks, microphone placement
(ii) Movement:
e.g. appropriate dance and movement routines for the style of music, poise and confidence in delivery
(iii) Style and image:
Costume; make-up; hairstyling
COURSE ASSESSMENT
Assignment 1
Title
Health and Wellbeing
Scenario
You have been asked to produce either a Fact Sheet or give an oral presentation titled The Healthy Musician.
Assessment
Fact sheet or Oral presentation (which should be recorded on video and supported by tutor observation records).
Assignment 2
Title
Style and Image, a Case Study
Scenario
For the next issue of your centre magazine, you have been invited to write an article about style and image in the music industry.
Assessment
Magazine article.
Assignment 3
Title
Image in Action
Scenario
Your local community have asked you to participate in an event called Music Through The Ages. In preparation for the event, you need to develop an individual image that will fit with the style of music being performed.
Assessment
Project notebook. Portfolio of ideas. Video recordings supported by tutor observation records.
COURSE DESCRIPTION
The aim of this course is to enable students to become aware of and develop the skills required in the application of effective rehearsal techniques.
Through an investigation of the preparation process, students will develop a range of strategies for ensuring rehearsal time is used effectively. This course explores the preparations required for live performance. The development of individual students’ technical and musical control of their instrument will also be encouraged. Students 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.
COURSE OBJECTIVES
On completion of this course a student should:
1. Know about the rehearsal process for musicians
2. Know how to find solutions to issues arising during the rehearsal process
3. Understand how to evaluate progress against targets
4. Be able to demonstrate technical and musical control of an instrument within a group.
COURSE CONTENT
1. Know about the rehearsal process for musicians
(i) Technical issues:
e.g. venue/room bookings, resources, availability of equipment, setting up equipment
(ii) Musical issues:
e.g. repertoire choice and development, development of original material, development of consistent approaches to rehearsal
(iii) Practical issues:
e.g. health and safety in musical performance, time management, time allocation, balancing individual and group needs
2. Know how to find solutions to issues arising during the rehearsal process
(i) Technical issues:
e.g. unsuitability of rehearsal space, inadequate resources, availability of equipment, setting up equipment
(ii) Musical issues:
e.g. inappropriate repertoire choice for projected venue/audience, unsuitable repertoire choices for individual and group instrumental ability
(iii) Practical issues:
e.g. poor timekeeping, inadequate allocation of rehearsal time, lack of teamwork/effective communication with others, e.g. clashes of personality
3. Understand how to evaluate progress against targets
(i) Record-keeping:
Rehearsal logs; audio/video recording of rehearsals
(ii) Evaluating and drawing conclusions:
e.g. assessing the success or otherwise of meeting targets, the ‘post-mortem’ process, pinpointing problems or potential problems, using information to inform future planning
(iii) The role of targets:
Structuring a rehearsal schedule, e.g. timings, duration, players’ availability; ensuring steady progression, e.g. milestones as a focus
(iv) Setting challenging and achievable targets:
Detailed rather than holistic targets; technical, musical and practical considerations; individual targets, e.g. learning repertoire; group targets, e.g. focusing on specific sections of the pieces to be performed
4 Be able to demonstrate technical and musical control of an instrument within a group
(i) Technical and musical concerns for the individual:
e.g. accuracy of pitch and rhythm, balance, dynamic control, tuning, technical control of electrical equipment, breathing techniques
(ii) Technical and musical concerns within the group:
e.g. balance, blend, listening skills, accuracy of ensemble, musical communication
COURSE ASSIGNMENTS
Assignment 1
Title
The Rehearsal Process
Scenario
You have been asked to produce either a Fact Sheet or give an oral presentation, giving an overview of issues that need to be considered when planning rehearsals
Assessment
Fact sheet or oral presentation (which should be recorded on video and supported by tutor observation records). Rehearsal diary. Video recordings.
Assignment 2
Title
Rehearsing in Action
Scenario
A local radio station is producing a series of documentary programmes, dealing with how different musical groups prepare for a performance.
Assessment
Video recordings supported by tutor observation records. Rehearsal diary.
COURSE DESCRIPTION
The aim of this course is to enable students to understand the concept and realisation of improvisational techniques in music. Students will do this by exploring the possibilities when responding to others.
This course, therefore, aims to introduce students to the experience of social and spontaneous music-making. Students will investigate the range of skills and techniques crucial to the improvising musician. Through practical exploration, students will develop strategies for working within a range of improvised music.
COURSE OBJECTIVES
On completion of this course a student should:
1. Be able to respond musically to others
2. Be able to improvise effectively
3. Be able to manipulate and develop musical material spontaneously
COURSE CONTENT
1. Be able to respond musically to others
(i) 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
(ii) Musical response:
Attention paid to musical elements, e.g. pitch, rhythm, harmony, texture, timbre, dynamics and balance
(iii) Practical explorations:
Rhythmic improvisation; colouristic/textural improvisation; free improvisation; simple structures, e.g. 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 to improvise effectively
(i) Templates:
Modes; pentatonic; raga; diatonic scales; blues scales; invented scales
(ii) Harmonic and structural templates:
12-bar blues; chord progressions in a range of styles, e.g. rock, jazz, baroque
(iii) Stylistic templates:
Blues notes; pitch bending; jazz inflections; substitutions; decorations; extended techniques
3 Be able to manipulate and develop musical material spontaneously
(i) Methods of manipulation:
Repetition; substituting; embellishing/decorating; transposition; dynamic and colouristic manipulation; tempo; rhythmic development; processes, e.g. adding, subtracting, augmenting, diminishing; serial manipulations (inverse, retrograde, inverse retrograde)
(ii) Working from a given starting point:
Melodic fragments; headers; chord progressions; rhythmic material; texts
(iii) Structures:
Forming an improvisation; simple structures, e.g. binary, ternary, block, circular; pacing material; balancing repetition and contrast; overall shape
COURSE ASSESSMENT
Assignment 1
Title
Responding to Others (group work on improvisation)
Scenario
Prepare for a group improvisation performance with a focus on responding musically to others in the group.
Assessment
Individual rehearsal diaries A/V evidence from rehearsal sessions and/or performances.
Assignment 2
Title
Musical Templates (whole-class sessions with examples, then break out into groups to improvise)
Scenario
Prepare for performances which adhere to specific music templates – drawing from tonal, harmonic, structural, and stylistic.
Assessment
Solo and group A/V recordings.
Assignment 3
Title
Spontaneous Development (whole class discussions on potential content followed by group work leading to performances)
Scenario
Deliver a spontaneous performance from an agreed musical idea, which develops and manipulates musical content.
Assessment
A/V recordings of solo and/ or group performances.
COURSE DESCRIPTION
The aim of this course is to enable students to become aware of some of the styles and roles of music from different cultures. Students will also gain an insight into the influences of African church music on Western church music and have an opportunity of performing work from either music genre.
This course involves the cultural, theoretical and practical study of African church music and provides creative opportunity for students. It will investigate a range of African and Western church musical traditions by examining some of their musical features. It explores the social and spiritual roles that music plays across a range of cultures. Students will have the opportunity to perform music from either African and Western traditions; this experience should provide them with a greater understanding of the differences between African church music and Western church music styles.
COURSE DESCRIPTION
On completion of this course a student should:
1. Know the role of music in African and Western cultures
2. Know the musical features of different African church music traditions
3. Be able to perform music from African music genres
4. Know about influences of Western church music on African church music.
COURSE CONTENT
1. Know the role of music in different cultures
(i) Cultural roles of music:
Functional music, e.g. ceremonial, religious, ritual, recreational dance; commercial uses, e.g. advertisements, jingles; celebratory; social, e.g., carnival
2. Know the musical features of different world music traditions
(i) The structural and theoretical organisation of musical traditions:
e.g. polyrhythm, polyphony, melodic cycles, rhythmic cycles, improvisation, scales, melodies, call and response
(ii) Instruments:
e.g. ideophones, membranophones, chordophones, aerophones, electrophones
(iii) Vocal styles and techniques:
e.g. ensembles, a cappella, chants, yodelling, overtone singing, improvisation, hocketing
3. Be able to perform music from world music genres
(i) Practical experience of world music traditions:
Instruments; techniques; style of performance; awareness of the challenges of performing world music
4 Know about influences of Western church music on African church music
(i) Influences:
e.g. styles, characteristics, forms, historical developments, geographical location, improvisation, specialised ethnic instrumentation, scales, rhythms and harmony, polyrhythm, ragas, ostinato, polyphony, melodic cycles, rhythmic cycles, call and response, technological advances, e.g. internet, file sharing
COURSE ASSESSMENT
Assignment 1
Title
African/Western Church Music Performance
Scenario
As part of the Festival of Youth Music from Various churches, you have been asked to perform a piece of music from the African Christian music tradition or Western Christian music of your own choice.
Assessment
Video recordings supported by tutor observation records.
Assignment 2
Title
How Western Church Music has Influenced African Church Music
Scenario
In order to advertise the forthcoming Festival of Youth Music from Various churches, your local radio station has asked you to participate in a radio programme in which you will discuss four examples of how Western church music has influenced African church music.
Assessment
Contribute to a discussion forum, about four examples of how Western church music has influenced African church music. Evidence should be recorded on video or audio and should include audio recordings of your chosen examples.
COURSE DESCRIPTION
The aim of this course is to enable students to develop some of the fundamental
knowledge of music theory, in order to facilitate the practical application of essential
theoretical principles. This course is designed to enable students to gain theoretical knowledge which they can apply to practical situations such as rehearsals and performances. In addition, the
course gives students the language needed for copying, transcribing, composing and
arranging music. On completion of the course, students will have acquired a musical vocabulary
and understanding of some of the fundamental skills to enable them to use theory in
the working environment.
COURSE OBJECTIVES
On completion of this course a student should:
1. Be able to notate pitch, rhythm and harmony using staff notation
2. Be able to notate music, showing dynamics, tempo and expression
3. Be able to harmonise melodies using chords
4. Be able to transpose melody and harmony to related keys
5. Know how to explore elements of timbres and textures.
COURSE CONTENT
1. Be able to notate pitch, rhythm and harmony using staff notation
(i) Pitch:
Clefs (treble and bass); note names; accidentals; intervals; scales; key signatures (up to 4#s and 4bs)
(ii) Rhythm:
Bars and measures, bar lines, double bar lines; note values (from semibreves to semiquavers), rest values (from semibreves to semiquavers); time signatures, simple time; correct note groupings\
(iii) Harmony:
Triads; primary chords; secondary chords; root position, first inversions
2. Be able to notate music, showing dynamics, tempo and expression
(i) Dynamics:
Changes in volume; crescendo; diminuendo; use of text, use of signs and symbols
(ii) Tempo:
Beats per minute (bpm); simple Italian and English terms; changes in tempo
(iii) Expression:
Staccato; legato; slurs; accents; phrase marks
3. Be able to harmonise melodies using chords
(i) Harmonise melodies using chords:
Adding chords to simple melodies; harmonising individual melody notes – range of available chords for each scale note; block chords
4. Be able to transpose melody and harmony to related keys
(i) Transpose:
To related keys, e.g. dominant, subdominant, relative major, relative minor; to appropriate keys for Bb instruments; to concert pitch from Bb instruments
5. Know how to explore elements of timbres and textures
(i) Instrumental families:
Brass, percussion, strings, woodwind, electric/electronic, e.g. synthesiser, sampler, sequencer, drum machine; acoustic piano, electric piano, keyboards
Texture:
Solo, doubling, unison; 2/3/4 parts; counter melody; accompaniment
COURSE ASSESSMENTS
Assignment 1
Title
Pitch, Rhythm and Harmony
Scenario
In preparation for future performance and composition work, you are required to improve your level of theoretical knowledge.
Assessment
A series of assignments, each of which may integrate some or all of outcomes of learning 2, 4 and 5, at the discretion of the tutor. Answers may be either written or practical, as directed by your tutor.
Assignment 2
Title
Dynamics, Tempo and Expression
Scenario
In order to use appropriate dynamic, tempo and expression marks in your own performances, arrangements or compositions, you need to gain an understanding of these elements of music.
Assessment
A series of assignments, each of which may integrate some or all of outcomes of learning 2, 4 and 5, at the discretion of the tutor. Answers may be either written or practical, as directed by your tutor.
Assignment 3
Title
Harmonising Melodies
Scenario
You need to develop the skills necessary to enable you to apply effective harmony to your compositions and arrangements.
Assessment
A series of assignments, in which you will be required to harmonise given melodies. Answers will be either written or practical, as directed by your tutor.
Assignment 4
Title
Transposing
Scenario
So that you can compose and/ or arrange music for different instruments, you need to learn how to transpose music effectively.
Assessment
A series of assignments, in which you will be required to transpose melodies into different keys. Answers will be either written or practical, as directed by your tutor.
Assignment 5
Title
Timbres and Textures
Scenario
In order to develop interesting and appropriate instrumental sound combinations in your own performances, arrangements or compositions, you need to gain an understanding of these elements of music.
Assessment
A series of assignments, each of which may integrate some or all of outcomes of learning 2, 4 and 5, at the discretion of the tutor. Answers may be either written or practical, as directed by your tutor.
