GCSE Music

Course
Handbook

Cheltenham Ladies’ College

Introduction
Welcome to OCR GCSE Music! Please refer to this handbook during your and from any genre; for example, your performance could involve singing
studies, taking careful note of the coursework deadlines. The full in a popular or folk style, playing a work by a well-known composer from
specificaEon is available from OCR. The most important informaEon, the Western art music tradiEon, or you could perform on electric guitar,
however, has been condensed into this document, including the parEcular bass or drums to a backing track. You will find inspiraEon in the work of
opEons available to you on this course. Please use it and keep it safe. It is professional musicians and be taken on concert trips.
designed to support your learning and will help you to achieve your
It is our ambiEon:
potenEal in this subject.

The specificaEon caters for all abiliEes and musical tastes and is not • to make the academic and pracEcal aspects of the course engaging
and relevant by providing an imaginaEve and sEmulaEng curriculum
designed specifically for specialist musicians. Its three strands of
linked to the Music Department’s varied and inclusive extra-
composing, listening and performing are used to nurture an appreciaEon
curricular programme;
and enjoyment of all types of music as composer, listener and performer.
You will culEvate criEcal and creaEve thinking skills and learn to make • to equip you with lifelong skills that will enable you to enjoy your
informed judgments whilst developing pracEcal skills on an instrument or studies throughout and beyond your Eme at school;
as a singer. Our main aim is to give you the technical means to be creaEve
and alive to the musical world that surrounds you – the course promotes • to foster a passion for music and educaEon; and,
collaboraEve thinking and a spirit of enquiry through the development of
• to provide you with a variety of formal and informal performing
intellectual and creaEve imaginaEon. Through the study of four Areas of
opportuniEes.
Study, you will learn about music from the world of film, pop, Western
classical tradiEons, and music of non-Western origin, including the social It is intended that the course should:
and historical context in which it was composed and first performed. You
will find inspiraEon for your composing in these Areas of Study and be • provide opportunity for you to develop a range of musical skills and
given the freedom to develop your own ideas, tailored to your musical interests, which may include creaEve, interpretaEve, historical and
interests and strengths. For example, you might compose a pop song, a analyEcal aspects of the subject; and,
mulE-layered work for African drums or a piece inspired by Mozart. In the
• provide a context for personal growth through a serious study of
Performing Music component, you will build confidence on an instrument
music; and thereby promote academic independence and self-
and record two short performances (performing before an audience is not
discipline, broaden intellectual and emoEonal responses, sEmulate
a requirement, however). You may choose to perform music of any kind
criEcal discriminaEon and heighten social and cultural awareness.
ii
Hence it is designed to: Academic honesty and plagiarism

• form a suitable preparaEon for the study of Music at a higher level, Academic honesty is defined as producing your own work and having the
A level or IB; knowledge that you claim to have. Plagiarism is taking the ideas or words
of another person and passing them off as your own. Any use of another
• provide the basis for an informed and lasEng love of music; person’s words or thoughts must be fully acknowledged as such. The
• permit you to place greater emphasis on some aspects of music College’s policy on plagiarism will be referred to where suspicion arises.
than others; and to allow you flexibility to determine the content of
In this subject, you are expected and encouraged to inform your
certain parts of the examinaEon, in balance with those which the
understanding of composing and arranging through the study of
content is more closely prescribed.
established repertoire. Originality of style is neither expected nor
What does the course involve? required, but originality of ideas is fundamental to the examinaEon
process.
There are three units represenEng the three major acEviEes involved in
this specificaEon: Coursework deadlines

Integrated Por,olio (30%) The following deadlines are final:

• One performance (solo, ensemble or Music Technology related); Integrated Por,olio

one free composiEon
• Final performances will be recorded during UC5, with many
Prac5cal component (30%) recordings recorded for feedback and appraisal during UC4. You will
need to choose your free composiEon towards the end of UC4 and
• One ensemble performance, one set composiEon
complete this by Easter of UC5.
Music – Listening and Appraising (40%)
Prac5cal component
• A Emed examinaEon paper relaEng to the four Areas of Study
• Performance work follows the same model as above.
In the following chapters, each unit is discussed in detail with helpful • Set composiEon to be completed by the penulEmate week of the
pointers for study and revision. Spring Term in UC5.

iii
ComposiEons should be prepared using Sibelius or Logic Pro (or recorded
live), and the working files stored on the College network. There are
various opEons for accessing Sibelius outside of College - speak to Mr Keir Staffing
about this. For the cohort for academic years 2021-23, the staffing for GCSE
Music will be:
Music – Listening and Analysing
A 60-minute paper will be taken in May or June in accordance with the • Performance work: Mr E. Bailey
public examinaEon schedule
• Composing work: Mr C. Keir

• Listening and Appraising: Mr C. Keir

Areas of Study

The whole course is centred around the study of these five key areas:

Area of Study 1: My Music (all coursework) We look forward to sharing with you our passion for music in all its forms.
If at any Eme you feel worried about your progress, or any aspect of the
Area of Study 2: The Concerto Through Time
course, please come and see me, or discuss your concerns with your Tutor
Area of Study 3: Rhythms of the World at the earliest opportunity.

Area of Study 4: Film Music

Area of Study 5: ConvenEons of Pop Mr C Keir - Head of Academic Music

E-mail: [email protected]
Your composiEon and performance work will be inspired by listening to
music from across all these Areas of Study, and your listening exam will be
based on music from Areas of Study 2-5. There is more detail on the
Areas of Study in Chapter Three.

iv
Integrated Portfolio

1
A painter paints his pictures on
canvas. But musicians paint
their pictures on silence.

Leopold Stokowski
(1882-1977)
You will work with your instrumental teacher to prepare for the simply an accompanied solo, only the part played by the accompanist
performance aspect of this unit, which will be overseen by a Head of could be assessed as an ensemble performance.
Faculty. ComposiEon work for this unit will be overseen by Mr Keir.
The expected standard is relaEvely modest (keep in mind that the A Level
Performance task standard is Grade 6) and there is no advantage to performing repertoire
that exceeds the requirements of the specifica5on. Preparing for this
The specificaEon allows for a number of opEons. This performance can
unit need not limit your ambiEon to perform more challenging repertoire
be a solo, ensemble or mulE-tracked recording project. All your
on other occasions, but you are best advised not to risk offering for
performance work must add up to 4 minutes, with at least one minute
examinaEon any piece that is at the limit of your ability, technically or
as part of an ensemble. Given that the PracEcal Component (see next
musically. Your priority should be to choose repertoire that showcases
chapter) specifically requires an ensemble performance, you might
your ability to perform accurately and fluently with a sense of style and
consider opEng for a solo performance or a mulE-tracked project for the
akenEon to the demands made by the composer.
Integrated Poriolio to achieve breadth of experience; your teacher in
charge of performance will guide you to make the best decision of what to Your performances will be assessed from your recordings with reference
work on. to the part/score and according to OCR’s mark scheme. There are 6 marks
available for the difficulty of the piece. In order to determine the difficulty
A solo performance is considered to be a piece in which the candidate’s
level for a parEcular piece, OCR provides a list of musical characterisEcs
part is undoubled and plays a significant leading role. It is acceptable for
for each level by instrument or family of instruments. This must be
the accompaniment occasionally to double the solo line, but excessive
consulted in order to ensure that you have selected appropriate
doubling must be avoided. This can be a parEcular issue in vocal music
repertoire; you should discuss with your instrumental/vocal teacher and
which ojen has the melody doubled in the accompaniment. For popular
the Head of Faculty responsible for performance work the repertoire you
repertoire, a backing track can be used so long as it does not include the
intend to learn before commimng Eme and energy to pracEse. It should
solo line. A staff accompanist will be provided as required.
be noted that the marking of the recording includes the accuracy of
An ensemble performance must consist of two or more people intonaEon, which applies equally to instruments such as violin or voice
performing undoubled, simultaneously sounding, independent parts, with and those with fixed pitches (e.g. harp).
or without addiEonal accompaniment as appropriate. Pieces in which the
Throughout UC4, you will make recordings in your fortnightly
main parts alternate but do not sound at the same Eme are not
performance sessions. We will arrange for accompanists to be present at
appropriate for this specificaEon. If a piece involves two people and is
these sessions where needed, and these performances will be sent to you

6
so that you can listen and appraise your own work alongside the score. You have complete free choice over what your composiEon will be; there
Final recordings are not permiked to be made unEl UC5. is no limit at all as to what you can do except that all your composi5on
work across the Integrate Por,olio and the Prac5cal Component (see
For all performance work the moderator will require a recording and
next chapter) must be over 3 minutes in length.
photocopy of the score for each piece. Where changes have been made to
facilitate a performance, the score should be clearly annotated. For You will work with Sibelius, Logic Pro and acousEc / electronic instruments
example, you may decide to add a wider range of dynamics than required to generate your composiEon work, as well as carrying out lots of related
by the composer or perform a popular song with a more liberal approach listening through the exploraEon of the Areas of Study. You will submit a
to the notated rhythms. You cannot change wrong notes! recording (which can be computerised), together with a score and a
wriken brief.
The same high expectaEons for curriculum work apply to instrumental
study: regular, purposeful pracEce should be regarded as an ongoing prep.
requirement, and this is especially important for ensemble work.

You are encouraged and expected to parEcipate and support the events
arranged by the Music Department, to build confidence on the concert
plaiorm and to try out repertoire well in advance of the recording. You
will also be given opportunity to akend concerts, to sample first hand the
work of professional musicians.

Composing task

ComposiEon work for the Integrated Poriolio will be overseen by Mr Keir.

You will explore a number of different composiEon styles and ideas from
which to start from, and will submit the composiEon for this unit in UC5.

7
Practical
Component

2
Works of art make rules; rules
do not make works of art.

Claude Debussy (1862-1918)

You will work with your instrumental teacher to prepare for the
performance aspect of this unit, which will be overseen by a Head of
Faculty. ComposiEon work for this unit will be overseen by Mr Keir. Composition task

In September of UC5, OCR will release the set briefs for your second
Performance task
composiEon. There will be one brief for each of the Areas of Study.
This performance must be an ensemble performance. However, within
You will get to choose a brief, and must also choose one of 8 set starEng
the specificaEon this term ensemble can be interpreted in a number of
points for your work - these range from specific melodic and rhythmic
ways:
pakerns to painEngs and stories. InstrucEons for these composiEons
• performing an individual part within a live ensemble consisEng of two must be adhered to and the briefs need to be read carefully.
or more instruments
You will be assessed on your ability to create a piece which relates
• a mulE-tracked performance consisEng of two or more voices or imaginaEvely to the set brief. As with the composing work for the
instruments in which you have performed and recorded some or all of Integrated Poriolio, you can use Sibelius and/or Logic Pro to create this
the parts work, and you’ll submit a score and a recording of your work.

• a sequenced performance of a piece for two or more instruments The total length of all your composing work from the Integrated Poriolio
and the PracEcal Component must be over 3 minutes.

Whichever is chosen, it must be at least one minute in length. The Head

of Faculty responsible for performance work, alongside Mr Keir and your
instrumental teachers, will discuss with you the best opEon for this
component depending on your own personal skill set.

Work on the ensemble performance will take place in the same fortnightly
sessions discussed in the previous chapter.

9
Listening and
Appraising

3
If I were not a physicist, I
would probably be a musician.
I often think in music. I live my
daydreams in music. I see my
life in terms of music.

Albert Einstein (1879-1955)

Listening and Appraising accounts for 40% of the marks for the GCSE Some question advice...
qualificaEon. It is based on Areas of Study 2-5 and will consist of
For mulE-point quesEons that require you to describe a musical element,
unfamiliar extracts from across all the Areas of Study. There are 80 marks
answer chronologically. For example,:
available.

A CD is played aloud and you provide short answers to quesEons on Listen to the following extract which will be played three Emes.
extracts. QuesEons will range from idenEfying instruments to wriEng out (a) Describe how the dynamics change during this extract
a short melody and discerning stylisEc features of the music. There are no
essay-style quesEons in this paper, although some answers will require (3)
you to write in prose rather than bullet points.
This example provides a clear, chronological response to the quesEon:
Listening is a vital aspect of the course, as it informs both composing and
performing elements. You will spend much Eme acEvely listening and The extract starts quietly and slowly builds a crescendo.
analysing various styles of music from c.1600 to the present day. During A diminuendo follows and the extract ends quietly.
this study a specialist music vocabulary will be built up and constantly
referred to and applied appropriately to the various styles. The following simple, yet effecEve response also akracted three marks!
Through these listening lessons, you will develop a toolkit of musical Starts ‘F’ ge>ng ‘FF’ and then reducing to ‘pp’.
analysis which you can apply to any given extract you hear, enabling you
to accurately pick out features that may have otherwise been obscured.
This quesEon asks you for key features of the music specific to the extract
We will spend much Eme analysing the musical elements as our core
you are played:
language through which we will explore many musical extracts.
Name two features of the piano part

(2)

11
Read quesEons carefully and make relevant responses. Try not to confuse Access arrangements for public and mock examina5ons: extra 5me
your general musical knowledge with the requirements of a specific Students who have a dispensaEon for extra Eme have to sit the exam in a
quesEon. For example, the use of osEnaE and pedal as devices in Hans separate venue, as the music may need to be paused between
Zimmer’s film composiEons is apparent throughout much of his work, but tracks, or the length of the sitting
if you had an extract from Kung Fu Panda in the exam (also by Zimmer), extended, to add the extra Eme to the paper. Further details should be
you might you would struggle to hear the same devices in use. sought from Miss P Mason, Head of Learning Support.

Some quesEons will carry more marks and require a more detailed
response covering a number of different elements of music. The following
quesEon carries 9 marks:

Comment on how the music conveys the sense of a baklefield. You may
The following pages contain details on what each Area of Study will cover,
wish to refer to the following elements:
alongside suggested repertoire for your wider listening and research.
• Instruments

• Rhythm

• Melody

• Texture

• Tempo

• Any other features

12
Areas of Study

4
Music doesn’t lie. If there is
something to be changed in
this world, then it can only
happen through music.

Jimi Hendrix (1942 - 1970)

Area of Study 2: The Concerto Through Time
You’ll study and understand how composers of concertos use musical
You will study The Concerto and its development from 1650 to 1910 elements and composiEonal devices in their concertos including:
through:
• instruments and Embre
• the Baroque Solo Concerto
• pitch and melody
• the Baroque Concerto Grosso
• rhythm and metre
• the Classical Concerto
• tempo
• the RomanEc Concerto.
• dynamics, expression and arEculaEon

• texture
Focus for learning
• structure, phrasing and cadences
You’ll study and develop an understanding of:
• harmony and tonality
• what a concerto is and the way it has developed through Eme
• repeEEon, sequence and imitaEon
• the instruments that have been used for the solo part in the concerto
and how they have developed through Eme • ornamentaEon.

• the growth and development of the orchestra through Eme

• the role of the soloist(s) You’ll have some knowledge of:

• the relaEonship between the soloist(s) and the orchestral • the names and intenEons of composers who wrote concertos in each
accompaniment period

• how the concerto has developed through Eme in terms of length, • the historical and social context of the concerto in each period
complexity and virtuosity
• the need for a larger venue over Eme as the genre expanded and
• the characterisEcs of Baroque, Classical and RomanEc music as developed
reflected in The Concerto.
• the changing nature of commissioner and audience over Eme.

14
Area of Study 3: Rhythms of the World
You will study and understand how a range of musical elements is
combined in tradiEonal music, including:
You will study the tradiEonal rhythmic roots from four geographical
regions of the world: • instruments and Embre

• India and Punjab (tradiEonal and Bhangra) • pitch and melody

• Eastern Mediterranean and Middle East (Greek, PalesEnian and Israeli • rhythm and metre
music)
• tempo
• Africa (African drumming tradiEon)
• dynamics, expression and arEculaEon
• Central and South America (Calypso and Samba)
• texture

• structure and phrasing

Focus for learning
• harmony and tonality
You will study and develop an understanding of the following for each
geographical region including: • repeEEon, osEnato

• characterisEc rhythms and metres • ornamentaEon.

• the origins and cultural context of the tradiEonal music

• the musical characterisEcs of the folk music You’ll have some knowledge of:

• the impact of modern technology on tradiEonal music • techniques of performing tradiEonal drums

• the names of performers and groups • tradiEonal rhythm pakerns (including regular and irregular metres,
syncopaEon and cross rhythms)
• ways in which performers work together.
• how texture builds with added parts

• improvised melodic lines based on tradiEonal scales (including modal

and microtonal melodic ideas).

15
Area of Study 4: Film Music
• dynamics, expression and arEculaEon

You will study a range of music used for films including: • texture

• music that has been composed specifically for a film • structure and phrasing

• music from the Western Classical tradiEon that has been used within a • harmony and tonality
film
• repeEEon, osEnato, sequence and imitaEon
• music that has been composed as a soundtrack for a video game.
• ornamentaEon

• moEf, leitmoEf.
Focus for learning

You’ll study how composers create music to support, express,

complement and enhance: You’ll also have some knowledge of:

• a mood or emoEon being conveyed on the screen • how music can develop and/or evolve during the course of a film or
video game
• a significant character(s) or place
• the resources that are used to create and perform film and video
• specific acEons or dramaEc effects. soundtracks, including the use of technology

• the names of composers of music for film and/or video games.

You will study and understand how composers use music dramaEcally and
expressively through a variety of musical elements and composiEonal
devices, including:

• instruments and Embre

• pitch and melody

• rhythm and metre

• tempo

16
Area of Study 5: Conventions of Pop You will study and understand how composers of popular music use and
develop musical elements and composiEonal devices, including:

• instruments and Embre (acousEc and electric)

You will study a range of popular music from the 1950s to the present day,
focussing on: • pitch and melody (including bass lines and riffs)

• Rock ‘n’ Roll of the 1950s and 1960s • rhythm and metre

• Rock Anthems of the 1970s and 1980s • tempo

• Pop Ballads of the 1970s, 1980s and 1990s • dynamics, expression and arEculaEon

• Solo ArEsts from 1990 to the present day. • texture

• structure and phrasing

Focus for learning • harmony and tonality

You will study and demonstrate an understanding of: • dynamics, expression and arEculaEon

• vocal and instrumental techniques within popular music • ornamentaEon

• how voices and instruments interact within popular music • repeEEon, osEnato and sequence

• the development of instruments in popular music over Eme • technology including amplificaEon and recording techniques.

• the development and impact of technology over Eme

• the variety and development of styles within popular music over Eme You’ll also have some knowledge of:

• the origins and cultural context of the named genres of popular music • names of solo arEsts and groups who composed and/or performed in
each genre
• the typical musical characterisEcs, convenEons and features of the
specified genres. • the changing nature of song structure

• the historical and social context of the named genres of popular music

• the growth of the popular music industry.

17
Suggested
listening

5
Area of Study 2: The Concerto Through Time TradiEonal Rhythms of the Americas: The Beatlife Book: Playing &
Teaching Samba by Preston and Hardcastle; BBC GCSE Bitesize: Samba
Music hkp://www.bbc.co.uk/educaEon/clips/z99vcdm
Vivaldi: The Four Seasons

Bach: Brandenburg No 4
Area of Study 4: Film Music
Mozart: Flute Concerto in D Major
John Barry: Out of Africa, Somewhere in Time
Haydn: Trumpet Concerto in Eb Major
Hans Zimmer: Pirates of the Caribbean, Gladiator
Beethoven: Piano Concerto No 1 in C Major
Emmanuel FraEanni: Avatar
Brahms: Violin Concerto in D Major
John Williams: Jaws, Star Wars
Rachmaninov: Piano Concerto No 2 in C Minor
Tommy Tallerico & Emmanuel FraEanni: Advent Rising
Corelli: Concerto Grosso Op 6
Halo / Assassins Creed / other computer games

Area of Study 3: Rhythms of the World

Area of Study 5: Conventions of Pop
Punjabi Bhangra: Audio CD: Bhangra Beatz Naxos World label
Rock ‘n’ Roll of the 1950s and 1960s:
TradiEonal Eastern Mediterranean and Middle Eastern Folk Rhythms:
PalesEnian folk music: Audio CD: Israeli Folk Dances Vol 1 Hataklit label: • Elvis Presley: Hound Dog (1952)
E.g. Ve’Shuv Itchem
• The Beatles: Saw Her Standing There (1963)
Greek folk music: The Rough Guide to Greek Café World Music Network
label E.g. Lesvos Aiolis: Kontrabatzidhes • The Beach Boys: Surfin’ USA (1963)

TradiEonal African Drumming: BBC GCSE Bitesize: Music of Africa hkp:// Rock Anthems of the 1970s and 1980s:
www.bbc.co.uk/schools/gcsebitesize/music/world_music/
music_africa2.shtml • Queen: We Will Rock You (1977)

• Bon Jovi: Livin’ On A Prayer (1986)

19
• Guns and Roses: Sweet Child O’ Mine (1987)

Pop Ballads of the 1970s, 1980s and 1990s:

• Elton John: Candle In The Wind (1973)

• Beke Midler: Wind Beneath My Wings (1988)

• Bob Dylan: Make You Feel My Love (1997) (Also same year performed by
Billy Joel)

Solo Ar5sts from the 1990s to the Present Day:

• Michael Jackson: Black or White (1991)

• Kylie Minogue: Can’t Get You Ouka My Head (2001)

• Adele: Someone Like You (2011)

20
Key Terminology

6
On the following pages, log new words you learn throughout the course. For each key word, you need to provide a definition and an example
from a piece of music.

1.! Rhythm and Metre

AoS 2: The Concerto Through Time

22
 Rhythm and Metre

AoS 3: Rhythms of the World

23
Rhythm and Metre

AoS 4: Film Music

24
 Rhythm and Metre

AoS 5: Conventions of Pop

25
 2.! Timbre and Dynamics

AoS 2: The Concerto Through Time

26
 Timbre and Dynamics

AoS 3: Rhythms of the World

27
Timbre and Dynamics

AoS 4: Film Music

28
 Timbre and Dynamics

AoS 5: Conventions of Pop

29
 3.! Structure and Form

AoS 2: The Concerto Through Time

30
 Structure and Form

AoS 3: Rhythms of the World

31
Structure and Form

AoS 4: Film Music

32
 Structure and Form

AoS 5: Conventions of Pop

33
 4.! Harmony and Tonality

AoS 2: The Concerto Through Time

34
 Harmony and Tonality

AoS 3: Rhythms of the World

35
Harmony and Tonality

AoS 4: Film Music

36
 Harmony and Tonality

AoS 5: Conventions of Pop

37
 5.! Melody and Texture

AoS 2: The Concerto Through Time

38
 Melody and Texture

AoS 3: Rhythms of the World

39
Melody and Texture

AoS 4: Film Music

40
 Melody and Texture

AoS 5: Conventions of Pop

41