junior cycle music - ncca

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February2017

JuniorCycleMusic

DraftCurriculumSpecification

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ContentsIntroductiontojuniorcycle 5

Rationale 6

Aim 7

Overview:Links 8

Overview:Course 12

Progressionfromprimarytoseniorcycle 16

Expectationsforstudents 18

Strand:Proceduralknowledge 19

Strand:Innovateandideate 21

Strand:Cultureandcontext 23

Assessmentandreporting 25

Classroom-BasedAssessment1:CompositionPortfolio 27

Classroom-BasedAssessment2:ProgrammeNote 29

Thefinalexamination 31

Practicalexamination 31

Writtenexamination 31

AppendixA:Glossaryofactionverbs 33

AppendixB:Glossaryofmusicterms 37

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Introductiontojuniorcycle

Juniorcycleeducationplacesstudentsatthecentreoftheeducationalexperience,enablingthemto

activelyparticipateintheircommunitiesandinsociety,andtoberesourcefulandconfidentlearners

inallaspectsandstagesoftheirlives.Juniorcycleisinclusiveofallstudentsandcontributestoequality

ofopportunity,participationandoutcomeforall.

Thejuniorcycleallowsstudentstomakeagreaterconnectionwithlearningbyfocusingonthequality

oflearningthattakesplace,andbyofferingexperiencesthatareengagingandenjoyableforthem,

andarerelevanttotheirlives.Theseexperiencesareofahighquality:theycontributedirectlytothe

physical,mentalandsocialwellbeingoflearners;andwherepossible,provideopportunitiesforthem

todeveloptheirabilitiesandtalentsintheareasofcreativity,innovationandenterprise.Thejunior

cycleprogrammebuildsonstudents'learningtodateandactivelysupportstheirprogress;itenables

themtodevelopthelearningskillsthatwillassisttheminmeetingthechallengesoflifebeyondschool.

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Rationale

Learning about and through the arts is fundamental to an education that aspires to nurture and

supportthedevelopmentofthewholeperson.Awarenessof,involvementin,andappreciationofthe

arts, enables students to encounter a richworldof creativity, imagination and innovation (Arts in

Education Charter, 2012). The UN Declaration of Human Rights (Article 27) affirms the rights of

everyoneto‘participateintheculturallifeofthecountryandtoenjoythearts’.

Throughengagingwithmusic,studentsareofferedopportunitiestodevelopnewskills,whiledrawing

ontheirpreviousexperiences.Thesepreviousexperiencesareoftencentraltoourexistenceasmusic

iseverywhere. Fromthemomentwearebornweare inamusicalworld.Music isanaturalearly

connection between infant and caregivers. International research shows that from the very early

monthsofachild’slifethereisahumanpropensitytorespondandengagewithmusic.Withmusic,

students can immerse themselves intellectually, emotionally, physically and kinaesthetically in the

learning experience. Music performance and composition are collaborative and interpersonal

activities,wheresocialskillsaredevelopedthroughthesharingofideas,skills,orinstruments.

Musiccanprovideanenvironmentforthestudentwheretheyaresafetoexplore,experimentandbe

allowed take creative risks. The subject can engage students in learning that engages, inspires,

challenges, provokes, exhilarates, and liberates. Students are encouraged to collaborate in the

formationofideasandthepresentationoftheseideasandtocriticallyreflectontheirworkandthe

workofothers.Throughlisteningtothemusicofothers,andassimilatingthisintotheirownideas,

studentslearnhowmusicalworksarecreated.Throughunderstandinghowtoevaluateandcritique

theworksofothers,studentslearntobeself-reflectiveandimproveontheirownmusicalcreations.

As a creative endeavour, music can facilitate the development of imaginative and exploratory

experiences,whereindividualityandpersonalityareprovidedwiththeopportunitytogrowandbe

givenavoice.Thestudyofmusicofferslifelongopportunitiestodeveloptheimaginationinunique

ways, through listening to familiar andunfamiliarworks, coming to knowandunderstand sounds

internally,creatingsoundpicturesorstoriesandexpressingfeelingsandemotionsinsound.

Learning music is intrinsically motivating, meaningful and a rewarding activity for young people

becauseitishands-on;fullyengagingthestudentsinactivitiesthatrelatetoandhaveaconnection

with theworld experienced by them outside the classroom.Music fosters both the specific skills

related to the subject, and a range of transferable skills that may apply to other individual and

collaborativeendeavours.Throughmovement,sound,symboland image,engagingwithmusiccan

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transformpeople’s creative ideas intoexpressiveworks that communicate feelings,meanings and

interpretationstoawideraudience.

Musicisimportantasacatalystforbuildingculturalcapitalwithintheindividualstudentandtheclass

collective.Throughencounteringandengagingwithanarrayofmusicactivities,wecanensurethat

we continue todevelop future citizens that are culturally engaged, culturally awareand culturally

connected.Beingculturallyawareheightensstudentunderstandingofbothnationalandinternational

culturalidentities.Withanincreasinglydiverseandpluralistpopulation,thisunderstandingofothers

throughaculturallenswillencouragestudentstodevelopasresponsibleandethicalcitizens.

Musicisasourceofunderstandinghistory,reflectingthesocialandculturalcontextandtheeraofits

creation.Musiccanportraytheculturalidentityofacountry,themoodofthepeopleorthethoughts

of the individualswho live there.Music education brings the young person to an awareness and

appreciationoftheirownuniqueculturalenvironmentandethos.Inengagingchildrenwiththerich

background of their native musical traditions as well as other musical genres, music education

contributestothechildren’sknowledgeandunderstandingofothers,theirtimes,theirculturesand

traditions.

Aim

This music specification aims to contribute to the development of artistic awareness and

understanding,self-expression,self-esteem,imaginationandmulticulturalsensitivity,andtherefore,

to the development of the whole person. Students will develop the knowledge, skills and

understandingnecessarytoproduceandengagewithauthenticandoriginalmusic,thatisboththeirs

andthemusicofothers.Indoingso,theywilldevelopthemusicliteracy,criticalskillsandlanguage

necessarytoengagewithcontemporarymusicculture.

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Overview:Links

The tables on the following pages show howMusic is linked to central features of learning and

teachingoutlinedintheFrameworkforJuniorCycle2015.

Table1:LinksbetweenjuniorcycleMusicandthestatementsoflearning

Thestatement Exampleofrelevantlearning

SOL3:Thestudentcreates,appreciates

andcritically interpretsawiderangeof

texts.

Students will explore the creation, appreciation and

interpretation of musical texts in various notated

formats,includingstaffnotation,graphicnotation,using

technologicalmeansandotherappropriateformats.

SOL4:Thestudentcreatesandpresents

artistic works and appreciates the

processandskillsinvolved.

Studentswillcreatearangeofcompositions;capturing

and presenting the processes and decisions made

through portfolios, manuscripts or other appropriate

media.

SOL8:Thestudentvalueslocal,national

andinternationalheritage,understands

the importance of the relationship

between the past and current events

andtheforcesthatdrivechange.

Studentsusetheirmusical ideasandoutputstoreflect

lifeandlivingintheirowncommunityandthebroader

context;theyconsidertheroleandimpactofthepastin

theirmusicalchoices.

SOL 16: The student describes,

illustrates, interprets, predicts and

explainspatternsandrelationships.

Studentsunderstandpatternsandrelationshipsinmusic

through exploring tonalities, chords, keys and time

signaturesinavarietyofmusicalexperiences.

SOL23:Thestudentbringsanideafrom

conceptiontorealisation.

Studentsworkoutacreativeconceptanddecidehowto

bringittofruition.Thisprocessinvolvesmovingthrough

brainstorming, researching, practising, presenting,

capturing,evaluatingandreflecting.

SOL24:Thestudentusestechnologyand

digital media tools to learn,

communicate, work and think

collaboratively and creatively in a

responsibleandethicalmanner.

Students can use technological and digital media to

create collaborative compositions; record and critique

group performances and explore the works of

composers, while being aware of issues related to

copyrightandplagiarism.

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Keyskills

Inaddition to their specific contentandknowledge, the subjectsandshortcoursesof junior cycle

providestudentswithopportunitiestodeveloparangeofkeyskills.Figure1belowillustratesthekey

skills of junior cycle. There are opportunities to support all key skills in this course but some are

particularlysignificant.

Figure1:Theelementsoftheeightkeyskillsofjuniorcycle

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Table2identifiessomeoftheelementsthatarerelatedtolearningactivitiesinMusic.Teacherscan

alsobuildmanyoftheotherelementsofparticularkeyskillsintotheirclassroomplanning.

Table2:ExamplesoflinksbetweenjuniorcycleMusicandkeyskills

KeySkill Example of Key Skill

element

Examples of associated student learning

activities

BeingNumerate Seeing patterns, trends

andrelationships

Students can explore the relationship

between different genres/styles and

identifysimilaritiesanddifferencesthrough

listeningandcomposingactivities.

BeingLiterate Writing for different

purposes

Students can create music in response to

different stimuli, such as images, texts,

abstract ideas/moods/emotions or other

melodicformsandfragments.

ManagingMyself Being able to reflect on

myownlearning

Students learn to identify and reflect on

personal strengths and weaknesses;

consider their choices and decisions; and

seekhelpandbeopentofeedbackinaway

thatfacilitatesrevisionandimprovement.

Managing

information and

thinking

Using digital technology

to access, manage and

sharecontent

Students can use digital devices to record

their individual or group performances, to

share this content with each other and

develop a portfolio of performance

development.

BeingCreative LearningCreatively Studentswillexploreinnovativeapproaches

to engage with classroom activities; for

example through group discussion,

movement, visual thinking, peer teaching,

creativeuseoftechnologyandtakingrisks.

Communicating Performing and

Presenting

Students will get opportunities to explore

and express emotions through a

performance or presentation. They will

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make decisions about how best to

communicatewithanaudience.

Through listening to and observing others

communicate, students develop an

understandingofhowtocommunicatetheir

ideas through different and appropriate

media.

Working with

Others

Developing good

relationships and

dealingwithconflict

Students will learn to negotiate

relationships with peers and teachers

duringrehearsalsandothergroupactivities;

they will spend time actively listening to

eachotherandsharing ideashonestlyand

sensitively; they will learn to respect and

incorporatetheviews/ideasofothers.

StayingWell BeingConfident Students develop confidence as they

contributetodecisionswithingroupmusic

makingactivitiesandcollaborativecreative

endeavours.Theydevelopresilience inthe

faceofdifficultiesandasenseofsatisfaction

intheachievementofgoals.

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Overview:Course

ThespecificationforjuniorcycleMusicfocusesongivingstudentstheopportunitytodeveloptheir

musicalknowledge,skillsandculturalawarenessthroughthepracticalandcognitiveengagementwith

music. This can be achieved through the three interconnected strands: Procedural knowledge,

InnovateandideateandCultureandcontext.Astudentwillexperiencelearningineachofthesethree

strandsastheyprogressthroughtheirjuniorcycle.

Figure2:ThestrandsofjuniorcycleMusic

Proceduralknowledge

Toexplorefullytheirmusicalimagination,creativity,andpotentialrequiresstudentstodeveloptheir

music literacy and skills in a range of ways. In this strand, students will develop this procedural

knowledge so that they can pursue and realise their possiblemusical selves and their ideaswith

confidence.

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Thedevelopmentofproceduralknowledgeinvolvesdevelopingavocabularyinmusicbylearningand

using symbols to represent sound, exploring and responding to expressive qualities inmusic and

imagining and creating shortmusicalmotifs and soundscapes. It also involves experimentingwith

elementsofmusicsuchaspulse,duration,tempo,pitch,dynamics,structure,timbre,texture,style

andtonality.

Innovateandideate

In this strand, students draw on their personal experiences and perspectives to develop, refine,

showcaseandseekfeedbackontheirmusicalideas.Theydevelopanawarenessofdifferentsounds

andthepotentialofsoundforresourcingandgeneratingideas,andforcommunicatingfeelings.

Studentswill innovateand ideate through composing/arrangingandperformingmusic for specific

purposes, experimenting withmusic to communicate ideas derived from a variety of stimuli and

collaboratingwith others to develop and extendmusical ideas. Students willmake interpretative

musical decisions by demonstrating an integrated understanding ofmusic elements and by using

technologytoinnovateandshareideas.

Cultureandcontext

Theunderstandingofmusicincontextanditsculturalpositioninghelpstoshapeourabilitytocreate,

participate and appraise the music we engage with. In this strand, students will investigate the

contextualandculturalenvironmentsthatimpactonpurposeandintentinmusic.

Thisincludesdevelopinganunderstandingandaknowledgeofmusicinpastandpresentcontexts;

considering musical works as social commentaries on cultures and peoples; investigating music

associated with particular times, places, social groups and feelings and sharing and discussing

examplesofmusicexperiencedathome,atschoolandinthewidercommunity.

Whilethelearningoutcomesaresetoutunderstrandheadings,thisshouldnotbetakentoimplythat

thestrandsaretobestudiedinisolation.Thestudents’engagementandlearningareoptimisedbya

fullyintegratedexperienceacrossthethreestrands.

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To give further emphasis to the integrated nature of learning, the outcomes for each strand are

groupedbyreferencetothreeelements.

§ Creatingandexploring

§ Participatingandmusic-making

§ Appraisingandresponding

Creatingandexploring

Acrossthestrandsthelearningoutcomesinthiselementfocusondevelopingstudents’understanding

ofhowmusiciscreated.Theywillexplorehowmelodyisconstructedandhowsoundsarelayeredto

create texture and harmony. They will listen to, read, and interpret music as they develop

understandingsofcomposers’andarrangers’intentionsandculturalprotocols.Studentswillsearch

foranddiscoverthemesandideasforcreatingmusicthroughexperimentation,improvisationandby

exploringmusicelements,conceptsandtechniques.Theywillusetheexperienceofothers,bothlocal

andinthewidercontexttoinformtheirowncreativedecisions.

Participatingandmusicmaking

Inthiselement,studentswillparticipateinactivitiesthatcommunicatetheirowncreativeideasand

theinterpretationoftheideasofothers.Studentswilldevelopfluencyandtechnicalcontrolasthey

rehearse and present individually and with others. They will use performance as a method of

demonstrating their understanding of musical elements and instrumental/vocal techniques. As

studentsrehearse,revise,andrefinemusictoperformforandwithothers,theylearnaboutmaking

informedmusicaldecisionsandjudgements.

Appraisingandresponding

Thiselement focuseson studentsdeveloping their skillsof analysis, comparisonandevaluationof

piecesofmusic.Thiselementallowsfordiscriminatoryauralskillstobedeveloped,asstudentslearn

toreproducemelodies, rhythms,accompanimentsandharmoniesanddevelopanddemonstratea

knowledge and understanding of musical elements, contexts and language. Appraisal allows the

studentstoexpresstheirfeelingsaboutmusic,andthroughthiscommunication,touseappropriate

terminologytojustifyopinionsandinformlatermusicaldecisions.Appraisingskillsarealsousedwhen

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studentsrefineandimprovetheirownperformancesandcreations,whentheyadapttheirownideas

andwhentheyrespondtoandcritiqueotherstudent’swork.

Figure3:Theintegratednatureofstrandsandelements

MusicProceduralKnowledge

InnovateandIdeate CultureandContext

Juniorcyclemusichasbeendesignedforaminimumof200hoursoftimetabledstudentengagement

acrossthethreeyearsofjuniorcycle.TheClassroom-BasedAssessmentswillbesetatacommonlevel

andtherewillbeacommonlevelexternally-assessedfinalassessment.

TheMusicspecificationhasbeendesignedtoassistteachersinplanningmeaningfulandstimulating

learningexperiencesforstudentsthatenablethemtodeveloptheirknowledge,skills,understanding

andvalues,aswellashelpingthemdeveloptheirself-awarenessas learners.Teacherscanplanto

focusonthedevelopmentofkeyskillsthroughstudent-centredactivities,recognisingthatanyone

Creatingandexploring

Participatingandmusicmaking

Appraisingandresponding

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activitydoesnotalwaysenablestudentstodevelopthefullrangeofskills.Opportunitiesformore

detailedandcomprehensiveactivitiescanbeincludedwhenstudentshavedevelopedtheconfidence

andcapacitytoapplykeyskillsinincreasinglycomplexscenarios.

This specification aims tomaintain a balancebetween thedepth andbreadthof the studyof the

subject.Thisaffordsacertainamountofflexibilityandfreedomforteacherstofacilitatelearningina

way that reflectsstudents’ownchoices, theircuriosityandtheircreativespirit.Achieving learning

outcomesshouldbeplannedinawaythatisactive,stimulatingandreflectiveofstudents’real life

experiencesandexpectations.

Themusicenvironmentisadynamicone,andassuchinvolvesthewholestudent,incorporatingtheir

personal outlook, their previousmusical experiences and presenting themwith new and exciting

challenges.Asstudentsgainexperiencethroughtheircreating,participatingandappraisingofwork

acrossthethreedistinctstrands,theywillbedevelopingtheircriticalskillsandallowingtheirmusical

selvesemerge.

Progressionfromprimarytoseniorcycle

PrimarySchoolCurriculum

WithinthePrimarySchoolCurriculum,MusicisviewedaspartofabroaderArtsEducationcurriculum

alongwithArtandDrama.Atprimarylevel,theMusiccoursecomprisesthreestrandunits:

§ Performing

§ Composing

§ Listeningandresponding

Musicalactivitiesaresuggestedwithineachstrandunitthatenablethechildtodevelopanawareness

of,andsensitivityto,theinterrelatedelementsofmusic,andtogrowinmusicalunderstanding.The

aimsoftheprimarymusiccurriculumaspireto:

§ Enablethechildtoappreciatemusiccritically

§ Developtheiropennesstoarangeofgenres

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§ Developtheircapacityandabilitytoexpressideas,feelingsandexperiencethroughmusic

§ Experiencetheexcitementofactivelyengaginginmusicalcreativity

§ Fosterhigherorderskillsthroughtheacquisitionofmusicalskills,knowledge,conceptsandvalues.

Theseambitionsandaimsareverymuchalignedwiththerationaleofthejuniorcyclemusiccourse

and addressed within the teaching and learning activities that will occur through the learning

outcomesinthisspecification.

SeniorCycle

Alloftheknowledgeandskillsthatstudentsdevelopduringtheirtimeinjuniorcyclelinkstronglywith

thesyllabusformusicatseniorcycle.Gainingacriticalunderstandingofhowmusiciscreated,howit

isexperiencedandhowitimpactsonculturesandcontextsareallimportantskillsforstudentsasthey

move into senior cycle. Through engaging with performing activities and creative endeavours,

students are learning to express themselves using musical language and non-verbal means of

communication;elementsthatarecentralcomponentsoftheLeavingCertificatesyllabus.

Juniorcyclemusicexposesstudentstoclassroomactivitiesthatencouragecollaboration,creativity,

innovation and communication, all of which feature as part of the Leaving Certificate Vocational

Programme (LCVP). In the Leaving Certificate Applied (LCA) programme, students are offered a

selectionofmodulestochoosefromthatincludetypesofmusic,worldmusic,musicinthecommunity,

musicof Ireland,music industryandmusicandthemedia. In theirassessmentsof thesemodules,

studentshaveopportunitiestoparticipateinamusicmakingactivity;makepresentationsontopics

andthemesinaformatoftheirchoosing;preparereportsandinterviewsandcompilemusicsuitable

foradvertisementsandmediausage.Ineachofthesemodulesandassessments,studentsuseskills

that they develop through junior cycle, namely appraising, developing ideas, making contextual

references,andreflectionandevaluation.

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Expectationsforstudents

Expectationsforstudentsisanumbrellatermthatlinkslearningoutcomeswithannotatedexamples

of studentwork in the subject or short course specification.When teachers, students or parents

looking at the online specification scroll through the learning outcomes, a linkwill sometimes be

availabletoexamplesofworkassociatedwithaspecificlearningoutcomeorwithagroupoflearning

outcomes.Theexamplesofstudentworkwillhavebeenselectedtoillustrateexpectationsandwill

havebeenannotatedbyteachers.Theexampleswillincludeworkthatis

§ Exceptional

§ Aboveexpectations

§ Inlinewithexpectations.

Thepurposeoftheexamplesofstudentworkistoshowtheextenttowhichthelearningoutcomes

arebeingrealisedinactualcases.

Learningoutcomes

Learningoutcomesarestatements thatdescribewhatknowledge,understanding, skillsandvalues

studentsshouldbeabletodemonstratehavingstudiedmusicinjuniorcycle.Thelearningoutcomes

set out in the following tables apply to all students.As set outhere they representoutcomes for

studentsattheendoftheirthreeyearsofstudy.Thespecificationstressesthatthelearningoutcomes

areforthreeyearsandthereforethelearningoutcomesfocusedonatapointintimewillnothave

been‘completed’butwillcontinuetosupportthestudents’learninginmusicuptotheendofjunior

cycle.

Tosupporttheexplorationofthelearningoutcomesbyteachers,parentsandstudents,aglossaryof

theaction verbsused in the specification is included inAppendixA. Theoutcomesarenumbered

withineachstrand.Thenumberingisintendedtosupportteacherplanninginthefirstinstanceand

doesnotimplyanyhierarchyofimportanceacrosstheoutcomesthemselves,nordoesitsuggestan

ordertowhichthelearningoutcomesshouldbedevelopedinclass.Juniorcyclemusicisofferedata

commonlevel.Theexamplesofstudentworklinkedtolearningoutcomeswilloffercommentaryand

insightsthatsupportdifferentiationandinclusiveclassroompractices.

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Strand:Proceduralknowledge

Element LearningOutcome

Studentsshouldbeableto

Creatingandexploring 1.1 compose andplay back shortmusical phrases and support

thesephrasesbycreatingrhythmic/melodic/harmonicostinatito

accompanythem

1.2createandpresentashortpiece,usinginstrumentsandother

soundsinresponsetoastimulus1

1.3designaharmonicor rhythmicaccompaniment, recordthis

accompanimentandimproviseoverthisrecording

1.4indicatechordsthataresuitabletoprovideharmonicsupport

toasinglemelodyline

Participating and music

making

1.5 read, interpret and play from symbolic representations of

sounds

1.6listentoandtranscriberhythmicphrasesofuptofourbars

andmelodicphrasesofuptotwobars

1.7play,singandclapatsightmelodicandrhythmicphrasesof

uptofourbars

1.8 rehearse and perform pieces of music that use common

structuraldevicesandtextures

1.9 demonstrate an understanding of a range of metres and

pulses through the use of body percussion or othermeans of

movement

Appraisingandresponding 1.10 discuss the characteristics and defining features of

contrasting styles of music represented in the local school or

community

1Stimuluscouldbeforexampleanexistingpieceofmusic,avisual,agraphic,aworkofart,anobject,atextureoraword

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1.11illustratethestructureofapieceofmusicthroughaphysical

orvisualrepresentation

1.12 indicate where chord changes occur in extracts from a

selectionofsongs

1.13comparedifferentperformancesofapieceofmusicbyan

Irishcomposer,payingattentiontomusicalelementsandother

influences

1.14comparepiecesofmusicthataresimilarinperiodandstyle

bydifferentcomposersfromdifferentcountries

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Strand:Innovateandideate



Creatingandexploring 2.1experimentwithmakingdifferenttypesofsoundsonasound

sourceandnotateabriefpiecethatincorporatesthesoundsby

devisingsymbolicrepresentationsforthesesounds

2.2createamusicalstatement(suchasaraporanadvertising

jingle) about a topical issue or current event and share with

othersthestatements’purposeanddevelopment

2.3 adapt excerpts/motifs/themes from an existing piece of

musicbychangingitsfeel,style,orunderlyingharmony


making

2.4 rehearse and present a song or brief instrumental piece;

identifyanddiscuss theperformanceskillsandtechniquesthat

werenecessarytointerpretthemusiceffectively

2.5 prepare and rehearse a musical work for an ensemble

focusing on co-operation and listening for balance and

intonation; refine the interpretation by considering elements

suchasclarity,fluency,musicaleffectandstyle

2.6designarhythmicormelodicostinatoandaddlayersofsound

over the pattern as it repeats, varying the texture to create a

moodpiecetoaccompanyafilmcliporsequenceofimages

2.7createandpresentsomemusicalideasusinginstrumentsand

foundsoundstoillustratemoodsorfeelingsexpressedinapoem,

storyornewspaperarticle

Appraisingandresponding 2.8 analyse the chordal structure of excerpts from a range of

songsandcompilealistofsongswithsimilarchordstructuresand

progressions

2.9 distinguish between the sonorities, ranges and timbres of

selectionsofinstrumentsandvoices;identifyhowthesesounds

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are produced and propose their strengths and limitations in

performance

2.10 develop a set of criteria for evaluating a live or recorded

performance;usethesecriteriatocompleteanin-depthreview

ofaperformance

2.11evaluate the impact that technology is playing inhowwe

accessmusic; proposeways that theirmusic and that of their

fellowstudentscanbesharedtoreachaglobalaudience

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Strand:Cultureandcontext



Creatingandexploring 3.1 collaborate with fellow students and peers to produce a

playlist and a set of recordings to accompany a local historical

eventorcommunitycelebration

3.2examineandinterpretthenatureofpersonalrelationshipsas

exploredinmusicofdifferentgenres

3.3 make a study of a particular contemporary or historical

musicalstyle;analyse itsstructuresanduseofmusicaldevices,

anddescribetheinfluenceofotherstylesonit


making

3.4composeandperformanoriginaljingleorbriefpieceofmusic

for use in a new advertisement for a product, and record the

composition

3.5deviseandperformexamplesofincidentalmusicthatcould

be used in online and mobile environments (e.g. computer

games;phoneringtones)

Appraisingandresponding 3.6associate/matchmusicexcerptstoavarietyoftexts(words,

film, language,) and justify the reasons as towhy this pieceof

musicwaschosentomatchthetext

3.7comparecompositionsbytwoormoreIrish-borncomposers;

use listening, background reading, and scores (where

appropriate)toexplainanddescribedifferencesandsimilarities

inthecompositions

3.8selectaparticularadvertisementandanalysetherolemusic

playsinsupportingthemessageandpromotingtheproduct

3.9investigatetheinfluenceofprocessingeffects(e.g.distortion,

reverb, compression) on the recording process; select some

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recordingsandevaluatetheuseandeffectivenessofsucheffects

withinthem

3.10discusstheprinciplesofmusicpropertyrightsandexplain

howthiscanimpactonthesharingandpublishingofthismusic

3.11explorethetimeallocatedtoIrishartistsandperformerson

a variety of local or national Irish media and present these

findingstoyourclass

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Assessmentandreporting

Assessmentineducationinvolvesgathering,interpretingandusinginformationabouttheprocesses

andoutcomesof learning.Ittakesdifferentformsandcanbeusedinavarietyofways,suchasto

record and report achievement, to determine appropriate routes for learners to take through a

differentiatedcurriculum,ortoidentifyspecificareasofdifficultyorstrengthforagivenlearner.While

differenttechniquesmaybeemployedforformative,diagnosticandsummativepurposes,thefocus

oftheassessmentandreportingisontheimprovementofstudentlearning.Todothisitmustfully

reflecttheaimofthecurriculum.

Thejuniorcycleplacesastrongemphasisonassessmentaspartofthelearningprocess.Thisrequires

amorevariedapproachtoassessment inensuringthattheassessmentmethod(s)chosen is fit for

purpose, timely and relevant to the students. Assessment in junior cycleMusic will optimise the

opportunityforstudentstobecomereflectiveandactiveparticipantsintheirlearningandforteachers

tosupportthis.Thisrestsupontheprovisionforlearnersofopportunitiestonegotiatesuccesscriteria

againstwhichthequalityoftheirworkcanbejudgedbypeer,self,andteacherassessment;andupon

thequalityofthefocusedfeedbacktheygetinsupportoftheirlearning.

Providing focused feedback to students on their learning is a critical component of high-quality

assessmentandakey factor inbuildingstudents’capacity tomanagetheirown learningandtheir

motivation to stickwith a complex task or problem. Assessment ismost effectivewhen itmoves

beyondmarksandgrades,andreportingfocusesnotjustonhowthestudenthasdoneinthepastbut

onthenextstepsforfurtherlearning.Thisapproachwillensurethatassessmenttakesplaceasclose

aspossibletothepointoflearning.Finalassessmentstillhasaroletoplay,butisonlyoneelementof

abroaderapproachtoassessment.

Essentially,thepurposeofassessmentandreportingatthisstageofeducationistosupportlearning.

Parents/guardiansshouldbegivenacomprehensivepictureofstudent learning.Linkingclassroom

assessmentandotherassessmentwithanewsystemofreportingthatculminatesintheawardingof

theJuniorCycleProfileofAchievement(JCPA)willofferparents/guardiansaclearandbroadpicture

of their child’s learning journeyover the threeyearsof juniorcycle.Tosupport this, teachersand

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schoolswillhaveaccesstoanAssessmentToolkit.AlongwiththeguidetotheSubjectLearningand

AssessmentReview(SLAR)process,thetoolkitwillincludelearning,teachingandassessmentsupport

material,including:

§ Formativeassessment

§ Planningforanddesigningassessment

§ Ongoingassessmentsforclassroomuse

§ Judgingstudentwork–lookingatexpectationsforstudentsandfeaturesofquality

§ Reportingtoparentsandstudents

§ Thinkingaboutassessment:ideas,researchandreflections

§ Anassessmentglossary.

Thecontentsofthetoolkitwillincludetherangeofassessmentsupports,adviceandguidelinesthat

will enable schools and teachers to engage with the new assessment system and reporting

arrangementsinaninformedway,withconfidenceandclarity.

AssessmentfortheJCPA

The assessment ofMusic for the purposes of the Junior Cycle Profile of Achievement (JCPA) will

comprise two Classroom-Based Assessments: Composition Portfolio and a Programme Note; a

practicalexaminationandawrittenexamination.Allassessmentswillbeatacommonlevel.TheState

ExaminationsCommission(SEC)willassessthepracticalexamination(heldtowardstheendofthird

year)andthewrittenexaminationinJune.

RationalefortheClassroom-BasedAssessmentsinMusic

The twoClassroom-BasedAssessments for juniorcycleMusicaredistinctmarkers in thestudent’s

learning journey, while still being an integral part of ongoing assessment and routine classroom

practice.Inthiswaytheyaresimilartotheformativeassessmentthatoccursintheebbandflowof

classroom interaction thatoccurseveryday inclass.However, in thecaseof theClassroom-Based

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Assessments,theteacher’sjudgementisrecordedforthepurposeofsubjectlearningandassessment

review,andforthepurposeofreportingtoparentsandstudents.

JuniorCycleMusicwillhavetwoClassroom-BasedAssessments.TheClassroom-BasedAssessments

willrelatetothestudents’workduringthesecondandthirdyearsofjuniorcycleeducation.

Overthethreeyearsofjuniorcycle,studentswillbeprovidedwiththeopportunitytostimulatetheir

creativity,exploretheexpressionandcommunicationoftheirideas,anddevelopanunderstandingof

howmusiccanteachussomuchaboutculturesandsocieties.TheClassroom-BasedAssessmentslink

totheseprioritiesforlearningandteachinginmusic.TheClassroom-BasedAssessmentswillprovide

anopportunityandvehicleforstudentsto:

§ Collaboratewithothersoncreativeendeavours

§ Researchinformationusinganappropriatevarietyofmethods

§ Expressthemselvesinanon-verbalcontext

§ Communicateeffectivelyandwithconfidence

§ Developanunderstandingoftherelationshipbetweenmusicandsocieties

§ Reflectontheirprogressandtheirmusicalchoices.

Classroom-BasedAssessment1:CompositionPortfolio

ThisClassroom-BasedAssessmentoffersstudentsanopportunitytocelebratetheirachievementsas

creatorsofmusicartefacts,bycompilingacollectionoftheirmusicalideasandcreativeexpressions

inavarietyofgenresandstylesovertime.

Throughthisprocessstudentswilldeveloptheirmusicalvoiceandtheir identity.Whencomposing

musicfortheirchosenaudience,studentswilllearnhowtobringanideafromconcepttorealisation.

Thedevelopmentofcreativeexpressioninmusicisacentralelementofthiscourse,asoutlinedinthe

rationale.Itisimportanttoinstilinstudentsacreativedispositionwheretheyarefreetoexperiment,

allowedtotakerisks,encouragedtoexplorenewandchallengingopportunitiesandreflectonthe

creativeprocess.

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In themajority of cases, thework in the student’s collectionswill arise from theebband flowof

classroom practice. The collections of student compositions promote student engagement when

students:

§ Identifyandchoosethestimulusforthecreativework

§ Choosetheformat(s)inwhichtocreatethepieceofmusic

§ Developtheirideasthroughengagementwithotheraspectsofthemusiccourse.

Two pieces from the portfolio of compositions will be selected by the student for assessment

purposes.

Thefocusofthisassessmentactivitywillbeonthecreationofasetofmusicalcompositionswhich

mightincludethefollowingoptions:

§ Respondingtoanauditoryorvisualstimulus

§ Arranginganexistingpieceofmusic

§ Answeringphrases(s)toanexistingphrase

§ Addingmusictotext

§ Respondingtoastoryortext

§ Creatinganadvertisementjingle

§ Creatingaringtone

§ DevisingapieceofElectro-acousticmusic

§ Musicforaschoolevent

§ Musicasaresponsetoapersonalexperience.

Thislistisnotintendedtobeexhaustive,butservestosuggestthatthecollectionshouldbeavaried

one.Theoptionsincludedabovecanoverlap,thereisnorestrictiononthechoicesthatstudentscan

make.

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Thecompositionscanbeinanyrecognisedmusicalstyle/genreandcanbewrittenforinstrumentor

voiceandasasoloorgroupperformance.Itcanbepresentedinwritten,digital,visualoraudioform,

oranyotherformatthatisdeemedsuitablebythestudentandappropriateforcapturingtheessence

oftheirideas.

Underlying and informing this Classroom-BasedAssessment, is a focus on the developmental and

progressivenatureofexploringcreativeideas,andonstudentsdevelopinganunderstandingofthe

creativeprocess.Thisisbestsupportedbyongoingstudentpracticeinthisartisticpursuit.Tothisend,

students are encouraged to include drafts, redrafts, and other workings in relation to the

compositions,althoughthisworkwillnotbeassignedadescriptor.

A student reflectionmust be includedwith each of the two compositions chosen for assessment

purposes.Thisisintendedtogivestudentstheopportunitytosetoutabriefstatementonthepurpose

orintentionforthecreativeidea,andasksthestudentstoindicatewhattheyhavelearntfromthe

processandwhattheymightdodifferentlyonasubsequentoccasion.

Classroom-BasedAssessment2:ProgrammeNote

For this Classroom-Based Assessment, the student will prepare a programme note to inform an

audience on the content of their upcoming performance which itself will comprise the practical

examination.

Theformativeassessmentrelatedtotheproductionofthisnotewillbereportedupontothestudent

andparent/guardianbytheschoolasforallothersecondClassroom-BasedAssessments.However,

asdetailedbelow,theperformancewhichmakesupthepracticalexaminationwillbegradedbythe

StateExaminationsCommission(SEC).

This programme note is intended to illuminate the content of the upcoming performance in an

interestingandrelevantway.Whilethisilluminationisimportantfortheaudience,italsoenrichesthe

performance by the student, as knowing about the stories of compositions impacts on the

performanceofthesepieces.

The provision of some background information on the composers or songwriters can provide

importantinsightsintotheirintentions,andanunderstandingofthewidercontextofthemusictobe

performed.Providingthelistenerwithsignpostsastowhatto listenoutforandgivingthemsome

interestinganecdoteaboutthecomposerorthepiece,enlightensandinformstheirexperience.

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Theprogrammenotecouldinclude:

§ Abriefintroductiontothecomposers/songwriters

§ Adescriptionaboutthehistoricalcontextofthepiecesandthecircumstancessurroundingthe

composition

§ Oneinterestingmusicalpointineachpiecefortheaudiencetolistenoutfor.

Thestructureoftheprogrammenotewillbeinfluencedbymanyfactors,andstudentsareofferedthe

flexibilityinallowingfordifferentdegreesofemphasisbefocusedondifferentmusicalelementsand

features.

FeaturesofqualityThefeaturesofqualitysupportstudentandteacherjudgementoftheClassroom-BasedAssessments

andarethecriteriathatwillbeusedbyteacherstoassessthestudentwork.Thefeaturesofquality

willbeavailableintheAssessmentGuidelinesforMusic.AllstudentswillcompletebothClassroom-

BasedAssessments.

CBA Completionoftheassessment SLAR2meeting

CompositionPortfolio Towardstheendofsecondyear Onereviewmeeting

ProgrammeNote Termtwoofthirdyear Onereviewmeeting

AssessingtheClassroom-BasedAssessments

MoredetailedmaterialonassessmentforreportinginjuniorcycleMusic,settingoutdetailsofthe

practicalarrangementsrelatedtoassessmentoftheClassroom-BasedAssessments,willbeavailable

inseparateassessmentguidelines.Thiswillinclude,forexample,thesuggestedcontentandformats

forstudentworkandsupportinusing'on-balance'judgementinrelationtothefeaturesofquality.

The NCCA's Assessment Toolkit will also include substantial resourcematerial for use in ongoing

classroomassessmentof junior cycleMusicaswell asprovidingadetailedaccountof theSubject

LearningandAssessmentReviewprocess.

2SubjectLearningandAssessmentReview

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Thefinalexamination

Thefinalexaminationwillconsistofapracticalexaminationandawrittenexamination.Thepractical

examinationwillbeallocated30%ofthemarksavailable.Thewrittenexaminationwillbeallocated

70%ofthemarksavailable.

Practicalexamination

The practical examination will take place in third year. Students will perform three musical

songs/pieces. Solo and group performing may be freely mixed. The songs/pieces may also be

presentedonavarietyofinstrumentsorthroughacombinationofvoiceandinstruments.Technical

control, fluency and musicality will be assessed. The standard required will reflect what can be

attainedinthreeyearsclass-basedtuition.

Studentswillalsotakeanunpreparedtest.Theywillchoosefromauralmemory(rhythmicormelodic),

sight-reading(instrumental/vocal/rhythmic)orimprovisation.Auralmemoryandsight-readingtests

willbefourbarslong.Inthecaseofimprovisation,studentswillberequiredtoimproviseforatleast

fourbars.

Thepracticalexaminationwillbeallocated30%ofthemarksavailableandwillbemarkedbytheState

ExaminationsCommission(SEC).

Writtenexamination

Therewillbeoneexaminationpaperatacommonlevel.ThispaperwillbesetandmarkedbytheSEC

andwillbeallocated70%ofthemarksforthefinalassessment.Theexaminationwillbeofonehour’s

durationandwilltakeplaceattheendofthirdyear.Duringthisassessment,studentswillberequired

toengagewith,demonstratecomprehensionof,andprovidewrittenresponsestostimulusmaterial.

In any one year, the learning outcomes to be assessed will constitute a sample of the relevant

outcomesfromthetablesoflearningoutcomes.

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Inclusiveassessmentpractices

Thisspecificationallowsforinclusiveassessmentpracticeswhetheraspartofongoingassessmentor

Classroom-BasedAssessments.Whereaschooljudgesthatastudenthasaspecificphysicalorlearning

difficulty,reasonableaccommodationsmaybeputinplacetoremove,asfaraspossible,theimpact

ofthedisabilityonthestudent'sperformanceinClassroom-BasedAssessments.Theaccommodations

e.g.,thesupportprovidedbyaspecialneedsassistantorthesupportofassistivetechnologiesshould

be in line with the arrangements the school has put in place to support the student's learning

throughouttheyear.

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AppendixA:Glossaryofactionverbs

Thisglossaryisdesignedtoclarifythelearningoutcomes.Eachactionverbisdescribedintermsof

whatthelearnershouldbeabletodooncetheyhaveachievedthelearningoutcome.Thisglossary

willbealignedwiththecommandwordsusedintheassessment.

Actionverbs Studentsshouldbeableto

Adapt makesomethingsuitablefornewcondition,useorpurpose

Analyse

studyorexaminesomethingindetail,breakdowninordertobringout

theessentialelementsorstructure;identifypartsandrelationships,and

tointerpretinformationtoreachconclusions

Applyselect and use information and/or knowledge and understanding to

explainagivensituationorrealcircumstances

Appraise evaluate,judgeorconsiderapieceofwork

Associate toconnectorbringintorelation;tofittogetherandcausetocorrespond

Brief description/

explanationgiveashortstatementofonlythemainpoints

Arguechallengeordebateanissueorideawiththepurposeofpersuadingor

committingsomeoneelsetoaparticularstanceoraction

Classify groupthingsbasedoncommoncharacteristics

Comment giveanopinionbasedonagivenstatementortheresultofacalculation

Comparegiveanaccountofthesimilaritiesordifferencesbetweentwo(ormore)

itemsorsituations,referringtoboth(all)ofthemthroughout

Compose writeorcreateaworkofart,especiallymusicorpoetry

Createtobringsomethingintoexistence;tocausesomethingtohappenasa

resultofone’sactions

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Critiquestate,givingreasons,thepositiveandnegativeaspectsof,forexample,

anidea,artefactorartisticprocess

Define givetheprecisemeaningofaword,phrase,concept

Demonstrateproveormakeclearbyreasoningorevidence,illustratingwithexamples

orpracticalapplication

Describetellordepictinwrittenorspokenwords;torepresentordelineatebya

pictureorotherfigure

Design doorplansomethingwithaspecificpurposeinmind

Developbring toa laterormoreadvancedstage; toelaborateorworkout in

detail

Devise plan,elaborateorinventsomethingfromexistingprinciplesorideas

Discuss

offeraconsidered,balancedreviewthatincludesarangeofarguments,

factors or hypotheses; opinions or conclusions should be presented

clearlyandsupportedbyappropriateevidence

Distinguish makethedifferencesbetweentwoormoreconceptsoritemsclear

Evaluate

(information)

collect and examine information to make judgments and appraisals;

describehowevidencesupportsordoesnotsupportaconclusioninan

inquiry or investigation; identify the limitations of information in

conclusions;makejudgmentsabouttheideas,solutionsormethods

Evaluate

(ethicaljudgement)

collect and examine evidence to make judgments and appraisals;

describe how evidence supports or does not support a judgement;

identify the limitations of evidence in conclusions; make judgments

abouttheideas,solutionsormethods

Examineconsider an argument, concept or object in a way that uncovers its

assumptions,interrelationshipsorconstruction

Experimentto try and test, in order to discover something new or to prove

something

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Explain giveadetailedaccountincludingreasonsorcauses

Explore systematicallylookintosomethingclosely;toscrutiniseorprobe

Find‘find’: a general term thatmay variously be interpreted as calculate,

measure,determine,etc.

Group identifyobjectsaccordingtocharacteristics

Identify

recognisepatterns,facts,ordetails;provideananswerfromanumber

of possibilities; recognise and state briefly a distinguishing fact or

feature

Illustrate usedrawingsorexamplestodescribesomething

Improvisecreateandperformmusicspontaneouslyorwithoutpriorpreparation;

toproduceormakesomethingfromwhateverisavailable

Indicate topointoutorpointto;todirectattentionto

Inferuse the results of an investigation based on a premise; read beyond

whathasbeenliterallyexpressed

Investigateanalyse,observe,study,ormakeadetailedandsystematicexamination,

inordertoestablishfactsorinformationandreachnewconclusions

Interpretuse knowledge and understanding to recognise trends and draw

conclusionsfromgiveninformation

Justify givevalidreasonsorevidencetosupportananswerorconclusion

List provideanumberofpoints,withnoelaboration

Outline givethemainpoints;restricttoessentials

Presenttobring,offerorgiveinaformalway;tobringbeforeorintroducetoa

publicforum

Propose offerorsuggestforconsideration,acceptanceoraction

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Provideevidenceprovide data, work and documentation that support inferences or

conclusions

Recognise

identify facts, characteristics or concepts that are critical

(relevant/appropriate) to the understanding of a situation, event,

processorphenomenon

Refine toimprovebyinsertingfinerdistinctionsormusicalelements

Rehearsepractise a play, piece of music, or other work for later public

performance

Suggest proposeasolution,hypothesisorotherpossibleanswer

Synthesise combinedifferentideasinordertocreatenewunderstanding

Transcribeputthoughts,speech,data,intowrittenorprintedform;writeoutwhat

isheardintocharactersorsentences

Use applyknowledge,skillsorrulestoputthemintopractice

Verify giveevidencetosupportthetruthofastatement

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AppendixB:Glossaryofmusicterms

Thisglossaryhasbeenaddedtoexplainthemeaningofmusictermsastheyappearinthisspecification

tohelpwithunderstandingwhenreading.

Term Interpretation

Appraise toassessthevalueorthequalityofsomething

Bodypercussion soundsmadeusingpartsofthebody(e.g.footstamping,thighslapping)

Chord twoormorenotessoundingsimultaneously

Chordprogression aseriesofchordssoundingoneafteranother

Compressionaprocessingeffectused inmixingorrecordingtocontrolandreduce

thedynamicrangeofthemusic

Culture / Cultural

protocols

the ideas, customs, practices, values and social behaviours of a

particularpeopleorsociety

Distortion

change in the form of an electrical signal or sound wave during

processing;alterthesoundofamplifiedelectricmusicinstrumentsand

mostcommonlyassociatedwiththeelectricguitar

Elementsofmusicthekeyingredientsofmusic(pulse,duration,tempo,pitch,dynamics,

timbre,texture,styleandtonality)

Foundsounds soundscreatedfromeverydayobjects(e.g.sticks,stones,furniture)

Genre abroadcategoryofmusicormusicalforms(e.g.rock,jazz,country)

Graphicnotationnotationinwhichsoundormusicisrepresentedbyshapesorlinesor

images

Ideate formanidea;conceiveorimagine

Improvisationspontaneousmusical creation,oftenbasedonanexistingmelodicor

harmonicfragment

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IncidentalMusicmusicused ina film,play, computergame, shoppingcentreorother

mediaasabackgroundortocreateorenhanceaparticularatmosphere

Jingleashortslogan,verseortunetobeeasilyremembered,especiallyforuse

inadvertising

Metre thegroupingofbeatsusuallyingroupsoftwos,threesandfours

Moodpieceapieceofmusicthatsuggestsorindicatesaparticularfeelingorstate

ofmindorspecificatmosphere

Motif adominantorrecurringideainapieceofmusic;

Ostinatoa repeated accompaniment pattern that can be rhythmic ormelodic

andthatismaintainedcontinuallythroughoutapieceofmusic

Processingeffectsa series of mechanical or technological operations on a recording

processthatmodifiestheoriginalsoundinputted

Reverb

aprocessingeffectwherethesoundproducedbyanamplifiedmusical

instrumentismadetoreverberate;anechoeffectusedtorecreatethe

naturaleffectsofroomreverberation

Sonority thequalityofsoundortimbreofaparticularsoundsource

Soundsourcethemeansbywhichasoundisproduced(e.g.onaninstrument,byusing

thevoice,anenvironmentalobject,anelectronicdevice)

Stimulus

somethingthatinspiresthestudentstocreateamusicalidea;astimulus

canforexamplecomefromapersonalexperience,anexistingpieceof

music,avisualorgraphic,aworkofart,anobjectoraword.

Structuraldevicesdevices used in composing and creating pieces of music (e.g. motif,

phrase,sequence,canon,imitation,themeandvariation)

Style

the manner in which music is organised in relation to particular

conventions; it often relates to a particular historical period, genre,

performerorcomposer

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Texture

the‘density’ofsoundinapieceofmusic;thiscanrangefromthin(single

line of melody) to thick (several layers of melodies, harmonies or

timbres)

Timbrethe specific tone or sound quality of an instrument or voice, or a

collectionofinstrumentsandvoices

junior cycle music - ncca

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