Music at key stage 3

The scheme of work draws together parts of the programme of study to create a framework that shows how pupils might be helped to progress in music. This includes progression in:

• the depth of the knowledge, skills and understanding pupils are taught, learn and demonstrate. In each unit, the first sentence in 'About the unit', 'Language for learning' and 'Expectations' summarises the depth of study. The depth of pupils' knowledge, skills and understanding will increase as they move through the units, from unit 1 to 15;
• the breadth of the musical activities and repertoire to be experienced. This is shown in the range of the key learning objectives, the music used in each unit and the different activities described in the units selected. The interrelated skills of performing, composing and appraising are developed in every unit as are the skills and ability to apply knowledge and understanding. These skills, knowledge and understanding will improve as pupils work through the activities in each unit and move through the units;
• the quality of the outcome. This is shown in the confidence, independence and ownership demonstrated by the pupil. It is shown in the musical sensitivity, creativity and communication of their response within each unit.

The three dimensions of progression in music described above are reflected in the eight level descriptions for the subject. Increasing depth is shown across the levels, from level 1 to 8. Increasing breadth can be shown across and within each level, eg accumulating different experiences and developing and demonstrating the same knowledge, skills and understanding through different activities. Quality is shown within each level.

Selecting content

In order to achieve sufficient depth of learning and attainment the teacher has to select content. It is the selected content that provides the context for the development of specific skills and focus for the particular aspects of knowledge and understanding.

In the scheme of work, QCA has had to make a selection and this process identified a number of categories within which choice had to be made. There were:

musical understanding of:

• sounds and devices, eg riffs, hooks*
• conventions/procedures and processes, eg improvising*
• influences on music making and responding, eg venue, use of ICT*
  (* these are shown in the table 'Areas of knowledge in the scheme')
  

musical repertoire taken from:

• classical, folk, popular and jazz: traditions*
• different world cultures including Europe and the western hemisphere*
• the past and present*
  (* these are shown in the table 'Musical repertoire')
  

The two broad areas of understanding and repertoire become increasingly connected so that during key stage 3 the focus can become a selected genre through which pupils develop related musical skills, knowledge and understanding.

While the focus for a unit could be any one of these categories, pupils should be encouraged to develop the ability to draw connections between the different areas.

The particular selection will be based on the needs and interests of the pupils. As a general rule, with regard to repertoire, pupils should be helped to move from the familiar to the unfamiliar.

The aim should be to widen pupils' experience and to provide an accumulative 'tool kit', which can increasingly be applied in all activities. This is shown in the table 'Areas of knowledge in the scheme'.

Areas of knowledge in the scheme

Unit	Title	Focus	Accumulative knowledge and understanding
1	Bridging unit	Process of composing music to a brief	Descriptive use of sounds to create an image; selecting instruments, rhythmic ideas, pulse and metre; melodic ideas, phrase and note clusters; rhythmic and graphic notation; musical intentions
2	Form and structure	Device of structure	Call and response, verse and chorus, round, ternary, rondo; contrasted sections and links between sections; using a musical storyboard; recording techniques
3	Soundscapes	Using technology (impact of ICT on music)	Difference between acoustic and electronic sounds; sampled sounds; identifying significant features and plotting changes in music; sound shapes, envelope, reverb, vocoders; creating soundscapes combining different sound sources
4	Musical cycles	Device of cyclic patterns (process of notating music using mnemonics)	Difference between cyclic and linear patterns; mnemonic notation; structural signals; tempo change; repeated patterns, improvised patterns, timbral change, open/closed sounds; analysis of structure and form
5	Musical cliches	Using music to create an intended effect	Music and meaning - a 'programmed' response; fanfare; beginnings and endings; instrumental techniques, eg glissando; use of major/ minor, faster/ slower; creating unexpected response
6	Shanty time	Process of arranging	Chords, triads, major, minor, tonic, dominant; singing techniques; bass line; question and answer; musical styles (from keyboard settings); texture; introduction, interludes, coda; characteristic instrumental sounds
7	Variations	Devices to develop musical ideas	Changing rhythmical ideas using word patterns; changing mode, tempo, timbre; sequence, inversion, retrograde, ornamentation; fitting two melodies together, use of harmony, chord sequences, writing melodies to harmony; chord symbols
8	Jazz improvisation	Process of improvising	12- bar blues; motif; changing pitch, rhythms; looping; inversion; diatonic harmony, chords I- VII; rhythmic styles such as bossa nova, swing, slow rock; backing track; chord patterns; riff; difference between improvised and reflective composed sounds; effect on audience
9	Music for dance	Conventions and procedures used in African dance music	Convention; different pulse occurring at the same time; interlocking rhythmical parts; open/closed sounds; mnemonic notation; names of African instruments; tempo markings, eg 100 beats a minute; roles of performers in an ensemble
10	Hooks and riffs	Devices of riffs, hooks and grounds (intended effect)	Devices; hook, melodic hook, rhythmic hook, verbal hook; standard pop song form; intro, verse, chorus, outro; ballad form; groove form; lyrics; riff; ground; bars; sequencer; MIDI
11	The overture	Using music to create an intended effect	Introductions; setting the scene with images, words and sounds; themes; characterisation; linking themes, transitions; pivotal chord; signature tunes; theme tunes
12	Bhajan/qawwali	Conventions and procedures used in Indian music	Devotional music, religious music; asthayi, antara, mukra, rag, tal
13	Music and media	Using music to create an intended effect	Using music to enhance a visual image; using lyrics, instrumental colour, structure, repetition, discords, chromaticism, gradations of tempo, dynamics, major, minor, atonal; effect of music in different situations
14	The concerto	Conventions used in the genre of concerto	Main musical ideas; cadenza; interplay between instruments and large/small groups; musical dialogue; concerto grosso, solo concerto
15	Song	Process of composing to a brief	Song as a universal genre; song structure; why songs become popular; contrasting melodies; instrumental arrangements; deadlines; ethics of mimed performance

Selecting content - musical repertoire

For an overview of musical repertoire in the units, click on the link in the left-hand menu.

Each unit also develops listening skills and the application of musical knowledge and understanding of how music is:

• constructed, eg the use of elements, devices, tonalities and structures;
• produced, eg the use of resources, conventions, processes and procedures, including the use of relevant notations;
• influenced, eg the effect of intention, use, venue, occasion, resources, including ICT, the culture and significant individuals.

• had opportunities to develop a range of skills and competences, although they may have had many different experiences;
• experienced much music through their own learning;
• developed the maturity to consider broader aspects of music education, eg how music can be influenced by the context in which it is created, performed and heard.

The primary scheme of work identifies the need to develop disciplined skills, eg a sense of pulse and pitch, and descriptive skills, eg using sounds to describe feelings and pictures. Many pupils entering key stage 3 may have extensive experience of using sounds descriptively but less developed disciplined skills, eg they may find it difficult to hold a steady pulse. The primary units also identify the need for ongoing skills, eg singing and responding to music. Some musical skills require regular practice and this needs to be considered in all key stages. Without continuity of experience it is doubtful whether the expectations will be reached. This is particularly true for singing, which needs to be a constant and regular feature of music teaching at all key stages.

The primary units are organised in terms of the development of skills. These skills continue into key stage 3 but the organising structure changes with the content, which provides the context for the development of skills.

One of the main reasons for this different focus is that the maturity of key stage 3 pupils may be beyond their musical ability and the focus on content allows greater opportunity for differentiation of skills while ensuring an appropriate level of intellectual and emotional challenge.

Transfer from primary to secondary

The scheme builds on the knowledge, skills and understanding developed through the key stage 2 programme of study. Although the expectation is that pupils starting key stage 3 are working at level 4, the units take account of the fact that some pupils will be working at level 3.

Unit 1 'Bridging unit' provides a starting point that teachers can use to gain a sense of the attainment as pupils begin year 7. This unit has also been included, with small differences, in the key stage 2 scheme of work.

Expected levels of attainment

Although level 4 is the expected attainment of pupils at the end of key stage 2, the scheme of work takes account of the fact that some pupils will be working at level 3 and others at level 5 when they start key stage 3. See appendix 4 for more details on the expectations at each level.

The aim in this scheme is to help all pupils achieve each level with confidence, independence and ownership of the work. The scheme is designed to be challenging and to raise expectations. The purpose is to give pupils and teachers challenging targets which all, or at least the great majority, should achieve. The units reflect the need to differentiate the activities to meet the different needs of pupils.

Music literacy

The requirement is that by the end of key stage 3, all pupils should have developed understanding of a variety of musical processes including the use of conventional staff notation. The QCA scheme provides many opportunities to develop the use of this and other forms of notation through all musical activities.

Inclusion

Teachers who use this scheme of work may find they need to adapt it to ensure it takes account of the different experiences, strengths and interests of their pupils. In doing this, they will need to take account of the statutory requirements and guidance on inclusion set out in the national curriculum.

The statutory inclusion statement sets out three principles that are essential to developing a more inclusive curriculum:

• setting suitable learning challenges;
• responding to the diverse needs of pupils;
• overcoming potential barriers to learning and assessment for individuals and groups of pupils.

The scheme of work is designed to cater for pupils working at levels 3-7. It is also designed to be challenging and raise expectations. The expectation is that the average attaining pupil will be working at level 4 in year 7, level 4 or 5 in year 8 and level 5 or 6 in year 9. The pitch in year 9 units is towards level 6. The purpose is to provide challenging targets for pupils while recognising that not all pupils will reach this standard. For pupils whose attainments are significantly above or below these expected levels, a much greater degree of differentiation will be necessary. Further guidance on this can be found in Guidance on providing for gifted and talented pupils and Guidance on providing for pupils with learning difficulties (QCA, 2000), published by QCA in 2000.

To provide suitable learning challenges for all pupils to achieve as high a standard as possible, teachers may wish to modify the whole scheme of work, or parts of units.

If modifying the whole scheme, teachers may wish to consider whether:

• particular parts of the scheme should be emphasised or expanded;
• pupils should be given more time for particular aspects of the scheme or given opportunities to progress more rapidly within the selected unit;
• particular pupils need opportunities to revisit knowledge and skills in different contexts;
• the attainments of pupils will provide a relevant structure for teaching music. If this is not the case, eg for pupils who have significant learning difficulties or groups able to work at a particularly challenging level, schools may wish to use the scheme as a resource for developing an alternative. The alternative must offer pupils opportunities to experience a range of work across key aspects drawn from the programme of study.

If adapting particular units, teachers may wish to consider whether:

• the expectations and learning objectives need modifying;
• there is a need to add challenge by increasing the requirements;
• there is a need to provide small steps, short, guided and more focused tasks and supporting structures to enable pupils working below the demands of learning objectives to undertake the activity;
• the outcomes need to be changed to take account of revisions to the specific objectives and activities, or because pupils will operate on different levels;
• to vary contexts, resources, or teaching and learning styles to take account of the different learning needs of boys and girls, and the needs of pupils from different social and cultural backgrounds and with different lifestyles;
• the activities need to be adapted to provide support for pupils with difficulties in communication, language or literacy.

The type of support provided for pupils with difficulties in communication, language and literacy could include:

• using alternative and augmentative communication;
• reducing the amount of written work and reading;
• giving pupils the opportunity to clarify their ideas through discussion, modelling, role play and the use of tape recorders, video and photographs, rather than relying on written materials.

The 'Points to note' and 'Possible teaching activities' in some of the units suggest some ways in which the unit might be tailored to meet pupils' specific learning needs. Teachers may wish to use these suggestions in other units.

In addition, it may be necessary to use specialist equipment to give motivating and relevant experiences to pupils with sensory and physical disabilities. For pupils with emotional and behavioural difficulties, there may be a need to emphasise short-term goals and provide highly specific outcomes.

Assessing progress

Opportunities for assessing pupils' progress are built into each unit. The learning objectives are pitched at an appropriate level for the year group identified. The outcomes can be used to review progress and check whether pupils are ready to move on to the next activity or need more support or challenge. They also provide a framework for giving feedback to pupils.

The expectation statements for each unit are related to the level descriptions in the national curriculum and the tasks set, and allow pupils' overall progress to be monitored.

The learning objectives are written primarily for teachers, but can be adapted and given to pupils as the objectives of a lesson or sequence of lessons. The outcomes and expectations can also be used to help pupils review their own progress. Feedback to pupils, which can range from providing informal oral comments to a whole class to closely marked individual work, should relate to the objectives set.

The work pupils do will provide evidence of what they have been taught and their progress. It is not necessary to make detailed records for each pupil or activity, or to keep detailed portfolios of pupils' work. A grade, comment or mark can be used to indicate achievement. A judgement based on these, and in some circumstances on a summative piece of work or test, can be used when considering how individual pupils are achieving in relation to the end-of-unit expectations. Some pupils may need more help or extension activities.

Pupils' responses to the demands, particularly of the year 9 units, will provide evidence for teachers to make end-of-key-stage assessments against the level descriptions.

Work at home and outside lessons

Each unit suggests suitable enrichment and extension activities which can be completed outside teaching time, over and above normal homework activities. Activities are not intended as set homework, but rather are wider, optional pursuits that might encourage pupils to see the relevance of music outside the classroom.

In music, suitable tasks could include:

• identifying music that illustrates the main focus of the unit, bringing it to school, and discussing why they chose it;
• listening to music in many different situations and identifying how and why the music is used;
• practising and developing musical skills on own selected instrument;
• collecting ideas for composition work, for example melodic patterns heard at a railway station;
• asking parents, carers, grandparents and family friends about the music they enjoy and why they enjoy it;
• performing in school, regional and national ensembles.