3.1
The course content can be perceived more clearly when outlined in terms of the precise examination requirements which will assess ability in the three main areas outlined below. Both Ordinary and Higher Levels are catered for. The Higher Level incorporates the Ordinary Level and, where appropriate, material specific to the Higher Level is stated separately.
It is the prerogative of the candidates and their teachers to choose either Ordinary or Higher Levels as well as the specific skills and knowledge they wish to present for examination purposes. Attention is drawn to the precise requirements governing each, where these apply.
3.2 PERFORMING SKILLS
3.2.1 Introduction
Candidates will be required to present performing skills at either Ordinary or Higher Levels.
Ordinary Level candidates will be required to present from ONE of the categories below.
Higher Level candidates will be required to present from (~E of the categories below at the appropriate level.
Alternatively, Higher Level candidates may choose to present any TWO Ordinary Level skills for assessment at the Higher Level.
In certain circumstances, and at Ordinary Level only, candidates may, with prior permission from the Department of Education, present their performing skills for assessment using an audio or audio-visual medium.
3.2.2 Category I: SONG SINGING
Candidates will b e required to sing TWO songs at Ordinary Level.
Higher Level candidates will be required to sing FOUR songs.
These may be chosen from the list provided under Appendix A. The programme, in each case, must show variety in style and technique and, where appropriate, an accompaniment must b e included. A sight-reading or aural n~ory test will also be given.
3.2.3 Categary 2: PERFORMING AS A MEMBER OF A RECOGNISED CHOIR ORCCHESTRA OR MILITARY BAND
For Ordinary Level or as 50% of the Higher Level requirement.
Performance in any of the recognised choirs, orchestras or military bands as outlined under Appendix B may be presented. A sight test or aural memory test will also be given. To obtain a Higher Level grade, candidates will be required to present a further performing skill at Ordinary Level.
3.2.4 Category 3: PERFORMING AS A MEMBER OF A VOCAL AND/ORINSTRUMENTAL ENSEMBLE [NOT CATERED FOR UNDER3.2.3 ABOVE]
For Ordinary Level or as 50% of the Higher Level requirement.
Presentations in this category may include traditional and popular groups as well as classical. Candidates must demonstrate the ability to maintain a simple part as a regular member o f a musical group and show familiarity with the notational practices appropriate to each of the musical genres presented. Two different pieces, and a level of achievement equal to that required under 3.2.3 above, will be expected. A sight test or aural memory test will also be included.
Traditional Irish, folk, recorder, madrigal and other nondesignated vocal and/or instrumental ensembles as ~ii as performances of extracts from stage musicals, operettas etc. are all possibilities allowed for under this category.
To obtain a Higher Level grade, candidates will be required to present a further performing skill at Ordinary Level.
3.2.5 Category 4: PERFORMING INDIVIDUALLY ON APPROVED CLASSICAL INSTRUMENTS
Ordinary Level candidates will be required to perform TWO instrumental pieces, one of which must be chosen from the appropriate programme given under Appendix C.
Higher Level candidates will be required to perform FOUR instrumental pieces i.e. one from each of the three lists under the appropriate programme given under Appendix C and a further piece of their own choice.
The instruments approved under this catecgory are as follows: descant recorder, treble ~ desecant (or tenor) recorders , flute, oboe, clarinet, saxophone (alto and~or tenor), bassoon, French horn, tenor horn (E flat), trumpet, cornet, flugelhora, tenor trombone, baritone, euphonium, tuba, percussion, piano, concert harp, Irish harp, organ, guitar, accordion, violin, viola, violoncello and double bass
Performance on modern instrumemts, e.g. computerised music systems, synthesisers etc. is also possible under this category. However, specific lists of works, as in Appendix C for the established instrumemts, cannot similarly be drawn up due to the diversity of their technique and potential. Candidates offering this option do so at their own discretion and full details, including the titles of pieces and the identification of composers, must be forwarded to the Department of Education, at the time of entering for the examination.
In each case, a sight-reading test will be given and where appropriate an accompaniment must be provided.
3.2.6 Categorry 5: PEFORMING ON IRISH TRADITIONAL INSTRUMENTS
Ordinary and Higher Level requirements are outlined under Appendix D.
The approved Irish traditional instruments include tin whistle, fiddle, harp, concert flute, button accordion, piano aamrdim , banjo, mandolin, concertina and uilleann pipes.
Facility to realise an unprepared extract from written or aural transmission will also be required.
3.2.7 Category 6: IMPROVISING ON A CHOSEN INSTRUMENT OR VOICE
Ordinary Level candidates will be assessed under ONE of the headings Iisted under Appendix E.
Higher Level candidates must demonstrate proficiency under THREE: of the headings Iisted under Appendix E.
A sight-reading or aural memory test will also be given.
3.2.8 Category 7: OTHER NON-SPECIFIED PERFORMING SKILLS
Ordinary or Higher Level candidates may present under this category.
Any other non-specified performing skill which can be examined, in conjunction with an aural memory or sight-reading test, may be presented under this heading. Candidates offering this option do so at their own discretion and full details, including titles and origins of the pieces to be presented, must be forwarded to the Department of Education for approval at the time o f entering for the examination.
3.3 COMPOSING SKI
3.3.1 Melody Writing
All candidates will be required to show sufficient understanding of the rudiments of music add aural imagination to be able to conceive and notate melodic phrases in the treble stave. Facility in the use of the common diatonic intervals unison to octave, the rhythmic values semibreve to quaver (including dotted minims and crotchets) and the common time signatures in major keys up to 'IWO sharps and 'IWO flats will be required.
Questions maybe set in traditional, classical or popular idioms and candidates must choose ONE o f the following ways of presenting answers.
(a) Phrases set to given rhythms and/or metres or texts; O R (b) Phrases based on given melodic fragments; OR (c) Answering phrases to a given opening.
3.3.2 Triads
B y way of a general introduction to the principles of composing harmonies, ALL candidates will be expected to understand the nature of major add minor triads and to suggest their use at specific points in a given tune with text or song.
3.3.3 Chord Progression Higher Level Only
In addition, these candidates should have sufficient experience in chord progression and layout utilizing chords I, II, IV, V, and VI to achieve a musical result in ONE of the following exercises which may be set in major or minor keys up to 'IWO sharps and 'IWO' flats.
(a) Devising simple melodic and/or bass motifs for use as cadential patterns; OR (b) Harmonising the normal cadential progressions and their approach chords for keyboard or in short vocal score; OR (c) Composing original "backing" chords to well-known music using simple chord designations or guitar tablature.
3.3.4 Free Composition Option Higher Lewel Only
As an alternative to 3.3.1, 3.3.2 and 3.3.3 above, these candidates may compose an accompanied song to a set text, or a short instrumental movement illustrating the given text, using their own choice of medium, notation and idiom. In this instance, all the marks pertaining to Composing Skills are allocated to this option.
3.4 LISTENING SKILLS
The examination will consist of written responses to aural and/or written stimuli designed to test some or all o f the areas described below.
3.4.1 ALL candidates must undertake a detailed study of SONGS as follows:
Set Songs
The aural recognition and detailed appreciation of EIGHT set songs as described in Appendix F.
Chosen songs
In addition, candidates are required to select a minimum of TWELVE further songs for special study at least ONE of which, subject to a maximum of five, must be taken from each of the following prescribed categories. In each case, relevant background information should be given, together with a general introduction to each of the song categories, their characteristics and differences. Appendix A lists recomended songs only and candidates may choose others provided that these satisfy the requirements of the relevant prescribed song categories.
(a) Accompanied and unaccompanied traditional Irish songs with Irish or English texts, including arrangements by modern Irish composers;
(b) Folksongs from other countries in translation or in the language of origin;
(c) Art songs composed by the great masters and recognised twentieth century composers;
(d) Historical and modern ballads;
(e) Popular songs including negro spirituals, jazz and blues songs;
(f) Accompanied and unaccompanied vocal church music and caroIs;
(g) Songs from operas, operettas, cantatas, oratorios and stage musicals;
(h) Songs involving simple descants, ostinati, simple twopart songs, rounds and canons
3.4.2 Instrumental/Vocal Identification
All candidates must show ability to discern aurally, categorise and name various vocal and instrumental sounds, primarily those produced through normal use of the familiar orchestral instruments.
3.4.3 General Listening Skills are recruited o f ALL candidates and particularly the following:
(a) Listening to recorded extracts and being able to give a variety of descriptive responses, using technical and/or nontechnical language, as to their main characteristics, origins, similarities and differences. -Some attention to and, if appropriate, changes in mood, tempo, tonality, time signature, general stylistic features and the varying facets of musical texture (e.g. timbre, performing forces, pitch etc. ) together with some understanding of the links between such elements and their suitability for the musical purpose for which their composers intended them.
(b) Candidates should have sufficient overall listening experience encompassing all styles and genre divides to enable them to aurally percive common trends e.g. the realisation that music can be formal or informal in its intent (i.e. for a ceremonial occasion as opposed to music for light entertainment or as background), active or passive in its effect (dance music inviting a physical response compaired with that designed to attract attention through its own perceived inner beauty), and the different qualities which all music in these categories have in common.
(c) Such regular listening should incorporate an understanding of the meaning and usage of chords commonly used in describing music e.g. programme/absolute music, contrapuntal/homophonic style, monody, tone colour, rhythmic/melodic, tempo indications and dynamics (not necessarily Italian or German terminology), texture, classical, ethnic, jazz etc. and other words helpful in describing a personal response to a particular piece of music or its performance e.g. colourful, energetic, busy/restful, inspiring, dance-like etc.
3.4.4 Chosen Gemeral Study
All candidates must undertake a very general and musically illustrated study of O N E of the following topics:
(a) Music which is commonly used and frequently heard in regular day-to-day experiences e.g. liturgical and ritual music, music designed and used for advertising and marketing, music in the workplace (worksongs), in play (skipping songs etc.), the uses of music in restaurants and supermarkets, as an accompaniment to physical exercises or as lullabies etc. leading towards an awareness of the differences between functional music and that produced for its own sake; OR (b) Less obvious music from early times i.e. medieval and Renaissance music; OR (c) Less obvious music frcm other places i.e. ethnic music other than Irish; OR (d) Art music in modern times; OR (e) Worthwhile musical genres in the popular tradition, including jazz.
3.4.5 Irish Music
ALL candidates must show familiarity with Irish traditional music, its distinguishing features and the characteristics of different types of performances. A general account of its history and some awareness of its growth in popularity today. Irish traditional instruments and their aural recognition.
3.4.6 ALL candidates must undertake PRESCIBED LISTENING as follows:
Set Works
A detailed appreciation of THREE set works as described in Appendix G.
Chosen Works
In addition, candidates must show familiarity with at least ONE work from each of the following prescribed categories. Appendix H lists recommended works only and candidates may choose others provided that these satisfy the requirements of the relevant prescribed categories.
(a) Dance movements either functional or non-functional, including ballet, movements from eighteenth century classical dance suites, symphonic dance movements, or music in a popular idiom or from a traditional, ethnic or early repertory;
(b) One movement from either a classical symphony or a symphconic suite, or any orchestral work which utilizes Irish traditional or popular elements;
(c) Theme and variations in the classical or Irish repertories, or a jazz movement;
(d) A movement involving an instrumental or vocal soloist or a group of soloists or choir interracting with an acccmpanying ensemble;
(e) Illustrative or film music;
(f) Concert overtures, or overtures, instrumental preludes or intermezzi from stage musicals, plays, operas, operettas or oratorios.
Relevant background information on the set and chosen recorded works and their composers as well as the origins and aspects of the usual orchestral forms will also be required.
3.4.7 Musical Literacy and Aural Perception
Candidates will be expected to have a practical working knowledge of the fundamentals in conventional musical notation using the treble stave in major and minor keys up to sharps and TWO flats, and to demonstrate the facility to understand and recognise the bass stave, in exercises designed to test the following areas:
(a) The ability to discriminate between major and minor keys and chords;
(b) An awareness of points of repose in music;
(c) An aural recognition and knowledge of the usual time signatures and the kinds of music associated with them, the note-values semibreve to quaver including dotted crotchets and minims and their equivalent rests, and the common diatonic intervals unison to octave;
(d) The aural perception of the difference between double and triple time signatures, the metres of the common Irish dance forms, and some parallel observations in related dances in the popular and jazz traditions; (e) The ability to perceive aurally and from the written music simple and commonly-used musical forms either as songs, dances or popular pieces;
(f) The ability to notate a short rhytmic dictation utilising the note values and time signatures described under (c) above.
3.4.8 Musical Literacy and Aural Perception Higher Level Only
In addition, these candidates will be required to show facility to understand and recognise keys up t o FOUR sharps and FOUR flats, and to demonstrate a working-knowledge of both treble and bass staves using major and minor keys up to TWO sharps and TWO flats in exercises which are designed to test their ability in the following skills:
(a) The aural recognition and naming of cadences;
(b) Melodic dictation utilising the note values, intervals and time signatures described under 3.4.7 (c) above;
(c) The aural perception of regular and irregular phraselengths and the metres of the common eighteenth century classical dance forms.