Download Minimalism

Y E A R
9
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M I N I M A L I S M
U N I T
S C H E M E
O F
W O R K
Minimalism
Key Stage
General Topic
Skill Focus Areas
Element Focus
Semester 2
3
Year
9
Exploring motifs, polyrhythms and repetition
Performing
√
Composing
√ Listening
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Rhythm
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Pitch
Melody &
Harmony
√ Texture
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Timbre & Dynamics
Structure & Form
This unit introduces students to the development and conventions of minimalist
music.
Beginning with Steve Reich’s “Clapping Music”, students analyse how minimalist
composers use small rhythmic motifs to build up a bigger piece and learn about
“phase shift”. They apply their understanding by performing their own version of
“Clapping Music” reading their own part from rhythm notation and composing
their own rhythmic minimalist piece using features of “Clapping Music” using
rhythm grid notation to record their polyrhythmic piece.
Scheme of Work
Overview
Students then move from rhythmic motifs to learn about melodic motifs and their
use by minimalist composers such as Mike Oldfield and his minimalist piece
“Tubular Bells”. Students perform different parts to “Tubular Bells” creating a
group arrangement using “phase in” and “phase out” techniques developing an
awareness of how parts dropping out and coming back in are key features of
minimalist music.
After a brief investigation into another piece of minimalist music - Terry Riley’s
“In C” - students then use their knowledge, skills and understanding of
minimalism to compose their own piece of minimalist music based on melodic
motifs and minimalist compositional techniques.
Students evaluate their work and reflect upon their own and other’s roles within
their ensemble identifying ways in which their own minimalist piece could be
improved.
To end the unit, students explore how minimalist music has influenced
contemporary club dance and electronic music and perform a class arrangement
of Jean Michel Jarre’s “Oxygene (Part IV”)
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Unit Learning
Objectives
Prior Learning
Learn about the key musical features of minimalist music and how it is
constructed
 Learn about the use of repetitive and changing rhythmic and melodic
motifs in different styles of minimalist music
 Learn how to combine and manipulate different motifs when performing
and composing a piece of minimalist music
It is helpful if students have:
 Explored cyclic ostinato patterns, polyrhythms and worked with rhythm
grid notation: Year 7 – “Rhythm and Pulse” Unit; Year 9 – “World Music”
Unit
 Explored the connection between music and art: Year 7 – “Pictures at an
Exhibition” Unit
 Understood the musical concept of motif : Year 9 – “World Music” Unit
Y E A R
9
–
M I N I M A L I S M
U N I T
S C H E M E
O F
W O R K
Expectations & Learning Outcomes
Level 4/5 (working towards)
All Students will:
 Perform and compose a basic
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Level 6 (working at)
Most Students will:
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ostinato motif and adjust to
create a new pattern
Understand basic features of
minimalist compositional
techniques such as repetition
Evaluate their own and other’s
minimalist compositions
Perform basic melodic motifs
such as the chords and bass
line as part of a group
performance of “Tubular Bells”
Aurally identify, understand and
demonstrate through
performance basic minimalist
techniques such as repetition
and looping and recognise
certain sounds as
electronic/synthesised
Compose, rehearse, perform
and record a basic melodic
minimalist piece with one or two
changes in melody
Perform bass line or a chord
part as part of class
performance of “Oxygene”
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Design more complex motifs
based on the original
Understand features of
minimalist compositional
techniques such as motif and
phase shift
Perform melody and/or ostinato
motifs as part of a group
performance of “Tubular Bells”
Aurally identify, understand and
demonstrate through
performance minimalist
techniques such as phase in
and phase out, melodic motif
changes, textural differences
and identification of timbre
Make changes to their melodic
and structural ideas as their
minimalist composition develops
recording their composition
using appropriate notation
Compose, rehearse, perform
and record a basic melodic
minimalist piece giving more
thought as to where and why the
changes in melodic motifs will
take place making some
adjustments in regard to other
performers
Make a more balanced
assessment of compositions
and performances
Perform melody line as part of
class performance of “Oxygene”
Level 7 (working beyond)
Some Students will :
 Develop a pattern showing
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sophistication and careful
thought of how to change the
pattern using phase shift
Make connections between
minimalist art and minimalist
music
Create own group arrangement
of “Tubular Bells” using different
parts in a minimalist style to a
complete performance
Aurally identify, understand and
demonstrate through
performance melodic motif or
“cell” construction, phase shift,
structure and mood
Appreciate and evaluate how
given performance directions
enhance or detract from the
score of a minimalist piece
Record melodic motifs/cells
using staff notation
Compose, rehearse, perform
and record a well thought out
melodic minimalist piece giving
thought to shape and
development of melodic motifs
using “phase in”, “phase out”
and “phase shift” techniques
along with other minimalist
devices to achieve an intended
effect, leading the ensemble and
making good suggestions on
how to improve performance a
minimalist composition
Make clear assessments of
compositions with informed
judgements
Take on solo parts as part of
class performance of “Oxygene”
Language for Learning/Glossary
Through the activities in this unit, students will be able to understand, use and spell correctly words relating to:
ABSTRACT – Abstract art – a trend in painting and sculpture in the Twentieth Century.
Abstract art seeks to break away from traditional representation of physical objects. It explores
the relationships for forms and colours, whereas more traditional art uses more recognizable
images
MOTIF– also called “CELL” - a short tune or musical figure that characterizes and unifies a
composition; usually only a few notes long; motifs can be a melodic, harmonic or rhythmic
pattern that is easily recognizable throughout the composition
PHASE IN/PHASE OUT– the gradual introduction or termination of a new rhythmic or melodic
idea introduced into the texture of Minimalist music
PHASE SHIFT– the process whereby two or more motifs begin in unison and gradually become
“out of time” with each other through displacement either forwards or backwards
POLYRHYTHMS– the use of several rhythms performed simultaneously, often overlapping
each other to create a thick texture
Future Learning
Enrichment
Students could go on to:
Learning could be enriched through:
• Listen to further examples of minimalist music by
composers such as John Adams, Philip Glass and
Arvo Part
• Research the internet to find minimalist art works
and use this as inspiration for a minimalist
composition
• Attending live performances of minimalist music
• Further exploration of Minimalist art and artists in
Art lessons and in Gallery Exhibitions.
• Watch performances of minimalist music on the
internet e.g. YouTube®