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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 Minimalism Key Stage General Topic Skill Focus Areas Element Focus Semester 2 3 Year 9 Exploring motifs, polyrhythms and repetition Performing √ Composing √ Listening √ Rhythm √ Pitch Melody & Harmony √ Texture √ √ 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”) 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 Level 6 (working at) Most Students will: 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” 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 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®