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Music is an indispensable part of the
child-centred curriculum, and it contributes to the development of artistic
awareness, self-expression, self-growth, self-esteem and multicultural
sensitivity. It is an integral part
of the curriculum, not just because it enhances other areas of learning, but
because it deepens the child’s sense of humanity, and teaches him to
appreciate more fully the world in which he lives. (Primary School Curriculum,
p. 3)
Curriculum Planning
Aims
The aims of music education are
- To enable the child to enjoy and understand music and
to appreciate it critically
- To develop the child’s openness to, awareness of and
response to a wide variety of musical genres
- To develop the child’s capacity to express ideas,
feelings and experiences through music as an individual and in collaboration
with others
- To enable the child to develop his musical potential
- To foster higher-order thinking and lifelong learning
through the acquisition of musical knowledge, skills, concepts and values
- To enhance the quality of the child’s life through
aesthetic musical experience
Broad Objectives
The music curriculum should enable the child to
- Explore the expressive qualities of a variety of sound
sources
- Listen to, enjoy and respond to a wide range of music
- Develop sensitivity to music
- Demonstrate and describe differences between sounds
showing a sense of pulse, tempo, duration, pitch, dynamics, structure,
timbre, texture and style
- Acquire the musical skills that enrich musical
understanding
- Imitate with accuracy rhythmic and melodic patterns
- Recall and perform musical phrases and pieces, using
tuned and un-tuned percussion or melodic instruments from memory or from
notation as appropriate
- Select and structure sounds to create musical ideas
- Improvise rhythmic and melodic patterns in response to
music, movement, ideas, poems, stories and art works
Overview of music curriculum
Concepts development
Musical concepts
- A sense of pulse (steady beat)
- A sense of duration (long /short, patterns, rhythm)
- A sense of tempo (fast /slow)
- A sense of pitch (high /low)
- A sense of dynamics (loud / soft)
- A sense of structure (same /different)
- A sense of timbre (tone colour)
- A sense of texture (one sound /several sounds)
- A sense of style
The above concepts are common to all classes, and will be
developed as work is completed on the various strands.
The strands, strand units and sub-units of the music
curriculum
Listening and responding
- Exploring sounds – environmental, vocal, body
percussion, instrumental
- Listening and responding to music
Performing
- Song singing – unison-singing, simple part singing
- Literacy – rhythm, pitch
- Playing instruments
Composing
- Improvising and creating
- Talking about and recording compositions
Principles and Issues relating to planning in St
Colmcille’s BNS for the music curriculum
The purpose and nature of music in the school – music
contributes to the full and harmonious development of the child
A broad and balanced curriculum
- The aims and objectives within the three strands
provide the basis for curriculum planning; specific guidance will be given
with regard to the repertoire of songs at each class level and the range of
listening excerpts
- The development of an understanding of the musical
elements at each class level (pulse, duration, tempo, pitch, dynamics,
structure, timbre, texture and style) forms an important aspect of school
planning
- The needs of the children – the aim is to give the
children a systematic music education from junior infants, so that by first
class, some children will be singing in tune reasonably well. Children with
differing needs must be enabled to develop knowledge, skills and
understanding by engaging in musical activities in a structured manner.
Therefore some flexibility in planning and preparation is essential in order
to present the same material in a variety of ways to different children. For
example, a child with poor co-ordination will need additional time to
practise a skill. A child who is
physically disabled will need suitable support for an instrument or an
instrument that is sensitive to touch. A child with a hearing defect will
need a quiet learning environment while instrumental needs may include a low
or high-pitched instrument, according to his specific needs. A child with a
visual impairment should encounter music that can be learned by rote. Where
a child is experiencing learning difficulty, encouragement is necessary to
foster self-esteem. A child with emotional or behavioural difficulties will
benefit from as wide a range of musical experiences as can be provided. All
activities should be structured with specific rules and clear instructions.
A child who is musically able, should be encouraged to proceed at his own
pace and allowed an occasion to pursue personal projects or teacher-designed
tasks. A child from a different cultural background should see the music of
his culture recognised and valued along with the music of the other children
in the class
- Sequence
of progression and continuity –previous knowledge is used
as the basis for elaboration and progression. Continuity refers to
the reinforcement of common curriculum concepts and approaches throughout
the school.
- Selection within strands – the objectives
stated in the three strands form the basis of the curriculum at each level.
The allocation of time for music education
The quality of the learning experience is of greater
importance than the quantity of time allocated to it, and it is for this reason
that planning plays a critical role in the allocation of time for musical
activity. It is more useful to consider the time allocated to music over a month
or a term and to identify opportunities for integration with other subjects well
in advance.
Approaches to teaching
Approaches to music vary, and the children can benefit
from the different strengths of different teachers. The school plan takes
account the range of approaches to the teaching of music within the school.
Planning takes account of continuity where valuable work has begun, and it seeks
to provide support when weaknesses emerge. The
pupils should encounter both staff and tonic solfa notation during their primary
school education. A core list of
appropriate singing and listening material has been prepared for each class
grouping. A minimum number of songs (6) is to be taught from the list for each
class.
Health and safety aspects
- Consideration is given to the ventilation of the class
room during a music lesson
- Equipment is stored safely in area under the IT Room
- Consideration is given to the amount of space available
for children to sit or stand when doing choral or instrumental work
Integration
Engaging children in activity that encompasses a number of
objectives from different subject areas is an effective means of teaching and is
an important principle of the curriculum. Planning for integrated learning has
sought to ensure that the music component is meaningful, that the range of notes
and words is appropriate, and the number of strands included is manageable.
Assessment
Classroom music making involves assessing as a natural
part of the teaching and learning process. Assessment can serve many functions
but predominantly it is needed to determine what adjustments are needed in
instruction and whether the child is prepared for the introduction of the next
unit or at a higher level. The purposes of assessment in music in our school are
as follows:
- To meet the needs of the pupils
- To identify shortcomings in pupil achievement in music
- To inform future teaching
- To summarise what has been achieved so far
- To observe and guide participation in and emerging
attitudes towards music and music making
- To provide a basis for reporting and communicating
pupil progress
- To guide decisions regarding the development or
effectiveness of the curriculum
Assessment Tools
- Teacher observation
- Teacher designed tasks and tests
- Work samples and portfolios
- Curriculum profiles
Recording and reporting: continuity and progression
The following system of recording and reporting is in
use:
- The progress records give details of the musical
experiences which the pupils have encountered during each month. These are
retained for one year, and made available to the teacher for the following
year
- The report forms give a grade attained by individual
pupils
- The report card provides an overall grade for each
pupil for the year.
Organisational Planning: Roles and Responsibilities
Developing a shared sense of purpose for music
education
The development of music in the school involves
consultation and collaboration among the partners in education.
A vital part of this process is creating positive attitude towards music.
All available opportunities are availed of to promote this positive attitude to
music, with the main emphasis being on the pleasure which can be derived from
involvement with music.
Board of Management
Provides support for the development and implementation of
the school plan for music within its available resources
Principal
- Oversees the development and the implementation of the
school plan
- Raises awareness of the importance of music as an
integral part of the curriculum
- Ensures that teachers are supported in their teaching
by their colleagues
- Ensures that sufficient time is allocated to music
education in all classes
- Identifies teacher(s) with particular interests and
expertise in music education to lead staff discussion and to draw up policy
document on the place, purpose and content of music education
Special Duties Teacher
- Development and co-ordination of school plan in music
- Preparation of choir for sacraments, liturgies and
carol services
- Provides input on purchase of resources for music
- Collects and communicates information about in-service
training, school visits and musical events
- Creates a positive musical environment which encourages
and values the sharing of ideas, skills and resources among teachers and
pupils alike
- Assists colleagues in the preparation of schemes of
work for music
Other Teachers
“Since music is an essential aspect of an integrated and
child-centred curriculum, the class teacher is the most suitable person to
present rounded musical experiences in listening and responding, performing and
composing in most circumstances.”
- Establish a musical environment that embraces the
approach to music in the school and links naturally with other areas of the
curriculum
- Devise programmes of work that seek to meet the needs
of the children in their classes
- Provide a range of musical experiences through a
variety of approaches
- Facilitate, motivate and respond to the children’s
work
- Evaluate the programme and assess the children’s work
- Communicate information to parents about the
children’s progress
- Participate in listening, singing, playing and
improvising activities
Resources and facilities
Hardware
- 3 electronic keyboards
- 1 piano
- 16 CD Players
- 16 cassette players
- 4 TV’s
- 4 Video Recorders
- A number of rooms (Learning Support, IT Room, R. 9. R.
18, R. 11 are cabled for communal TV)
Software
- BBC video tapes
- Let’s All Sing Tapes
- Pied Piper series
- Lively Music
- Sites on Internet
Percussion
- 2 kettle drums
- 1 bass drum
- set of cymbals
- triangle
- More to be bought within the context of review of
School Plan in Music
Books, Tapes and CDs
Detailed list available from Ms. B. White
Special Events
- Carol Service
- Liturgies for Confirmation, First Penance, First Holy
Communion
- Concerts
- Groups and bands invited to play for the pupils on
special occasions – Garda Band, local traditional musicians
Considerations with regard to each of these events
- These events complement classroom music. They do not
replace it.
- Every child is given the opportunity to participate in
these special events. They are not the preserve of an elite group of pupils.
Back to Top
Infant Classes
Musical concepts
Through completing the strand units the child should be
enabled to:
A sense of pulse
- Show a steady pulse or beat (marching, tapping,
clapping)
A sense of duration
- Listen to and imitate patterns of long and short sounds
A sense of tempo
- Understand and differentiate between fast and slow
rhythmic and melodic patterns
A sense of pitch
- Understand and differentiate between high and low
sounds
- Imitate melodies
A sense of dynamics
- Understand and differentiate between loud and soft
sounds
A sense of structure
- Understand `start’ and `stop’
A sense of timbre
- Play with and explore a variety of sound-making
materials
- Classify sound by the way they are produced
A sense of texture
- Listen to and respond to sounds from one source and
from more than one source
A sense of style
- Listen to and respond to music in different styles
Strand: Listening and Responding
Environmental Sounds
The child should be enabled to
- Listen to, identify and imitate sounds in the
environment from varying sources – rain falling, car horns blowing, dogs
barking, babies crying, silence
- Describe sounds and classify them into sound
families – machines, weather, animals, people
Vocal sounds
- Recognise the difference between the speaking voice and
the singing voice and use these voices in different ways – whispering,
talking, shouting, singing, aaaaah, oooooh
- Recognise different voices – distinguish between
child and adult voices, voices in the school environment, advertisements on
the radio and tv
- Use sound words and word phrases to describe and
imitate selected sounds – clippity clop
Body percussion
- Discover ways of making sounds using body percussion
– tapping, clapping
Instruments
- Explore ways of making sounds using manufactured and
home-made instruments – triangles, tambourines, xylophone
- Experiment with a variety of techniques using
manufactured and home-made instruments – different sounds with a drum,
using a variety of beaters
Listening and responding to music
Listen to a range of short pieces of music or excerpts
such as the following:
(All the following excerpts are from Lively Music, 4 –7)
- Smith’s Hornpipe (Welsh traditional)
- Aviary and Royal March of the Lion (Carnival of the
Animals, Saint Saens)
- Where the Penguins Walk (J. Darby)
- La Poupée and Le Bal (Jeux di Infants, Bizet)
- The Typewriter (Leroy Anderson)
- Golliwog’s Cakewalk (Children’s Corner Suite,
Debussy)
- Dance of the Sugar Plum Fairy (Nutcracker Suite,
Tchaikovsky)
- Talk about pieces of music, giving preferences – this
music is bouncy, scary, funny; it makes me happy, sad, frightened, feel like
jumping
- Show the steady beat in listening to live or recorded
music – marching, clapping
- Recognise and show the difference between fast and slow
tempos – running, walking, skipping, responding to fast or slow music –
Flight of Bumble Bee (Rimsky-Korsakov) or Morning (Peer Gynt Suite, Grieg)
- Recognise and show the difference between loud and soft
sounds- gently closing a door, adjusting the volume control on a
tape-recorder; recorded music –loud : Pomp and Circumstance March (Elgar);
Soft – Over the Sea to Skye (traditional Scottish song)
- Recognise and show the difference between high and low
sounds – vocal sounds, songs, extreme notes on keyboard
- Listen to and respond to patterns of long and short
sounds – echo clapping, tapping rhythm patterns
Strand: Performing
- Recognise and sing familiar songs and melodies –
nursery rhymes, rainn Gaeilge, action songs, playground songs, popular songs
from television and radio
- Recognise and imitate short melodies in short echoes,
developing a sense of pitch – Suas /síos (s, m); See saw Marjorie Daw (l,
s, m)
- Show the steady beat in listening to or accompanying
songs or rhythmic chants – marching, clapping, tapping the beat
- Show, while singing, whether sounds move from high to
low or low to high
- Perform songs with a sense of dynamic (loud /soft)
control as appropriate
N.B. The following are the recommended list of songs
from which a minimum of 6 is to be taught in a year. (All songs are on
tapes, available from Special Duties Teacher)
Strand: Early Literacy
- Recognise and perform simple rhythm patterns – cat,
cat, kit-tens, cat
- Clap or tap his
own name – Seán (1 clap); Ciarán (2 claps), Jon – a –than (3 claps)
Playing instruments
- Play simple percussion instruments – holding a
triangle and striking it with a stick, shaking a tambourine, beating a drum
- Use simple home-made and manufactured instruments to
accompany songs, nursery rhymes
and chants – “Five fat sausages frying in a pan one went pop, and the
other went bang” – child plays a note for “pop” and beats a drum for
“bang”.
Strand: Composing
- Select sounds from a variety of sources to create
simple sound ideas – representing a bear or a frog
- Using sound effects to accompany a
story or a poem
- Improvise new answers to given melodic patterns –
singing conversations such as “How are you ?” “Fine, thank you.”
- Improvise new verses for familiar rhymes –
“Hickory, dickory dock, the (cat) ran up the clock”.
Back to Top
First and Second Classes
Concept development
Musical concepts
Through completing the strand units the child should be
enabled to:
A sense of pulse
- Show a steady pulse or beat (marching, tapping,
clapping)
- Understand and differentiate between music with a
steady pulse or beat and music without a strong beat
A sense of duration
- Listen to and imitate and perform simple rhythms which
include silences
A sense of tempo
- Understand and differentiate between fast and slow
rhythmic and melodic patterns, getting faster and slower
A sense of pitch
- Understand and differentiate between high and low
sounds
Imitate melodies
- Perceive the shape of melodies
A sense of dynamics
- Understand and differentiate between loud and soft
sounds, getting louder and softer
A sense of structure
- Understand `start’ and `stop’
- Understand beginning, middle and end
- Identify an obviously repeated or different section
A sense of timbre
- Explore a variety of sound-making materials
- Classify instruments by the way the sound is produced
- Differentiate between obviously different sounds and
instruments – triangle, drum
A sense of texture
- Listen to and respond to sounds from one source and
from more than one source
A sense of style
- Listen to and respond to music in different styles
Strand: listening and responding
Exploring sounds
Environmental Sounds
- Listen to and identify more complex environmental
sounds – different types of mechanical sounds – lawn mower, pneumatic
drill
Vocal Sounds
- Identify pitch between “high”, “low”, “in
between sounds”
- Explore the natural speech rhythm of familiar words –
“double –decker”, “skipping-rope”, Dublin, Cork,
Swords, Tipperary, Sligo
Body Percussion
- Discover ways of making sounds using body percussion
– tapping, slapping, clicking, clapping
Instruments
- Explore ways of making sounds using manufactured
(triangle, tambourine, drum) and home-made instruments (shakers, metal or
wooden objects)
- Explore how the sounds of different instruments can
suggest sounds and sound pictures – rustling paper to represent leaves in
the wind, coconut halves to represent galloping horses
Strand: Listening and responding to music
- Listen to a range
of familiar and unfamiliar pieces or excerpts as outlined below
- Riverdance (Bill Whelan)
- Songs from Oliver (Lionel Bart)
- In the Hall of the Mountain King from Peer Gynt (Grieg)
- Vivace from Comento for Two Violins and Strings in D
minor (Bach)
- The Gnome from Pictures at an Exhibition (Mussorgsky)
- The Sorcerer’s Apprentice (Dukas)
- Minuet No. 2 from Music for the Royal Fireworks
(Handel)
- Aquarium from Carnival of the Animals (Saint-Saéns)
- Allegretto from Sinfonietto (Janacek)
- 1812 Overture (Tchaikovsky)
- March Past of the Kitchen Utensils from The Wasps
(Vaughan Williams)
- Encouraged to respond imaginatively to pieces of music
by marching, dancing or swaying
- Talk about pieces of music giving preferences
- describing it as exciting”, “sad”, “lively”
- Differentiate between steady beat and music without a
steady beat – Winter Bonfire (Prokifiev) and Harry’s Game (Clannad)
- Identify and show the tempo of the music as fast or
slow, getting faster or slower – drum beat, dance music
- Differentiate between sounds at different dynamic
levels (loud and soft, getting louder and softer)
- Perceive the difference between long and short sounds
– resonating instrument such as triangle
- Identify different instruments – bodhrán, triangle
Strand: Performing
- Recognise and sing with increasing vocal control and
confidence a range of songs and melodies
- Recognise and imitate short melodies in echoes
- Show the steady beat when performing familiar songs
- Understand the difference between beat and rhythm
- Perceive the shape of melodies as moving upwards,
downwards or staying the same
- Select the dynamics (loud, soft) most suitable to a
song
- Notice obvious differences create between sections of
songs in various forms – verse and refrain, call and response, solo,
chorus
Six songs to be taught
Strand Unit : Literacy
- The child should be enabled to identify and perform
rhythm patterns from memory and notation
Pitch
- Recognise and sing familiar tunes and singing games
within a range of two or three notes – Rain, rain go away (s,m,ss, m); Olé,
Olé (m,s,m,s)
- Become familiar with “s” and “m” from hand
signals and staff notation
Strand Unit: Playing instruments
- Be enabled to play some percussion instrument with
confidence – playing long or short notes on the triangle; tambourine or
drum
- Be enabled to perform simple two-note or three note
tunes by ear – “Hot Cross Buns” using tuned percussion instruments
(chime bars, glockenspiel)
Strand Unit: Improvising and creating
- Be enabled
to select sound effects, using a selection of home-made and percussion
instruments such as triangles, drums or tambourines to illustrate stories,
poems or pictures
Talking about and recording compositions
- Be encouraged to talk about his work and the work of
other children – how the instruments were selected, how the sounds were
produced, what he liked best
- Record the compositions on electronic media – using
tape recorder, keyboard, computer
Back to Top
Third and Fourth Classes
Concept development
Musical concepts
Through completing the strand units the child should be
enabled to:
A sense of pulse
- Show a steady pulse or beat (marching, tapping,
clapping)
- Understand and differentiate between music with a
steady pulse or beat and music without a strong beat
- Discover and recognise strong and weak beats
- Discover two-beat time (like a march) and three-beat
time (like a waltz) and six-eight time (like a jig)
A sense of duration
- Listen to and perform patterns of short and long sounds
A sense of tempo
- Understand and differentiate between fast and slow
rhythmic and melodic patterns, getting faster and slower
A sense of pitch
- Understand and differentiate between high and low
sounds, different and repeated
- Imitate melodies
- Perceive the shape of melodies
A sense of dynamics
- Understand and differentiate between loud and soft
sounds, getting louder and softer
- Select appropriate levels of loud and soft in
performing
A sense of structure
- Understand `start’ and `stop’
- Understand beginning, middle and end
- Identify an obviously repeated or different section
- Respond with a sense of phrase (observe the natural
divisions in music)
A sense of timbre
- Explore, classify and differentiate between different
sounds and instruments
- Identify some familiar instruments
A sense of texture
- Recognise differences between single sounds and
combined sounds when listening
A sense of style
- Listen to and respond to music in a wide range of
styles
Strand: Listening and
responding
Strand Unit: Exploring sounds
Environmental sounds
- Listen to and describe a widening variety of sounds
from an increasing range of sources – a ticking watch; marbles dropped
onto a hard or soft surface; a rubber band stretched across a cardboard box;
a bottle that is full of water, half-filled or empty
- Classify and describe sounds within a narrow range –
bird sounds – seagull, pigeon, jackdaw, starling; car alarms; house alarms
- Recognise and demonstrate pitch differences – high,
low and in-between sounds; higher than, lower than, same, different,
repeated; notes on a keyboard, door bells, school bells, telephone rings
Vocal sounds
- Discover the different kinds of sounds that the singing
voice and the speaking voice can make – humming, whistling; experimenting
with voice changes to create different moods and meanings; contrasting
speaking conversations and singing conversations in the natural voice
- Imitate patterns of long or short sounds vocally
Body percussion
- Discover ways of making sounds using body percussion,
in pairs and small groups – tapping, clapping, slapping, clicking
Instruments
- Explore ways of making sounds using manufactured and
home-made instruments – drums, jingle stick, triangle, chime bar,
xylophone, tin-whistle, recorder, shakers, fibres, beads, comb and paper
kazoo
- Explore the tone colours of suitable instruments can
suggest various sounds and sound pictures – tin whistle to depict birds
twittering
Strand unit:
Listening and responding to music
- Listen to and describe music in various styles and
genres, including familiar excerpts, recognising its function and historical
context where appropriate
- Irish Music – recordings by the Chieftains, Na
Casaidigh, Mary Bergin
- Sacred Music – Hallelujah Chorus – Handel
The following pieces from Lively Music, 7-9
- Radetsky March – Johann Strauss; Gallop from The
Comedians (Kabalevsky); Enigma Variation, No. 11 (Elgar); Dies Irae (Verdi);
Air on a G String (Bach); In Freezing Winter Night from A Ceremony of Carols
(Britten); Can Can from Orpheus in the Underworld (Offenbach); Dance of the
Sugar Plum Fairy (Tchaikovsky); Czardas (V. Monti)
- Describe initial reactions to, or feelings about the
excerpts – “the music reminds me of flying” etc
- The child should be encouraged to respond imaginatively
to longer pieces of music using movement, mime, by writing a story or
illustrating through visual art
- Recognise and identify some families of instruments and
distinguish between sounds of different duration (long or short) while
listening to music
Strand: Performing
Strand unit: Song singing
- Sing from memory a
widening repertoire of songs while increasing vocal control and
confidence
- Perform familiar songs with increasing understanding
and control of pitch
- Perform familiar songs with increasing awareness of
dynamics (loud and soft)
- Show greater control of pulse (steady beat) and tempo
while singing songs that are well-known to him
- Perform simple rounds – Make new friends, London’s
Burning, Freire Jacques, Three Blind Mice
Songs for Third Class
Literacy
Rhythm
Recognise and be able to sue the standard symbols below
Pitch
- Sing a limited range of notes and melodic patterns
using tonic solfa, hand signs and rhythm solfa (stick notation with solfa
names)
Sample of rhythm solfa:
| l |
l |
l |
l |
l |
l |
l |
l |
| m |
m |
r |
d |
m |
s |
l |
s |
- Have some understanding of simplified staff notation as
illustrated:
This will be developed in 5th and 6h Classes where
full use of the 5 line staff will be taught
Playing instruments
- Use percussion instruments to show the bear or rhythm
in accompanying songs
- Encouraged to discover different ways of playing
melodic and percussion instruments
- Clamping the sound on a triangle by placing a hand on
it
- Scraping or striking a drum
- Letting the stick bounce on the chime bar to create a
long vibrating sound
Strand: Composing
Strand Unit: Improvising and creating
- Select different kinds of sounds (voice, body,
percussion or simple melodic instruments) to portray a character, a sequence
of events or an atmosphere in stories in poems
- Recall, answer and invent simple melodic and rhythmic
patterns using voice, body percussion and instruments
Strand Unit: Talking about and recording compositions
- Describe and discuss his work and the work of other
children
- Devise and use graphic symbols to record simple musical
patterns and inventions - s,
s,
s,
s
- Record compositions on electronic media –
tape-recorder, keyboard, computer
Back to Top
Fifth and Sixth Classes
Concept development
Musical concepts
Through completing the strand units the child should be
enabled to:
A sense of pulse
- Show a steady pulse or beat (marching, tapping,
clapping)
- Understand and differentiate between music with a
steady pulse or beat and music without a strong beat
- Discover and recognise strong and weak beats
- Discover two-beat time (like a march) and three-beat
time (like a waltz) and six-eight time (like a jig)
A sense of duration
- Listen to and perform patterns of short and long sounds
A sense of tempo
- Understand and differentiate between fast and slow
rhythmic and melodic patterns, getting faster and slower
A sense of pitch
- Understand and differentiate between high and low
sounds, different and repeated
- Imitate melodies
- Perceive the contour (shape) of melodies (general shape
of a melody on a stave, movement by steps or by leaps)
A sense of dynamics
- Understand and differentiate between loud and soft
sounds, getting louder and softer
- Select appropriate levels of loud and soft in
performing
A sense of structure
- Identify a contrasting or repeated section
- Respond with a sense of phrase (observe the natural
divisions in music)
- Recognise simple form (ABBA where A represents the
first section and B a second, contrasting section)
A sense of timbre
- Explore, classify and differentiate between different
sounds and instruments
- Identify families of instruments
A sense of texture
- Recognise single sounds from combined sounds, visually
(from graphic or standard notation) or aurally (when listening)
A sense of style
- Listen to and respond to music in a wide range of
styles
- Differentiate between clearly contrasting styles (folk
and flamenco guitar playing)
Strand: Listening and responding
Strand unit: Exploring sounds
Environmental sounds
- Listen to sounds in the environment with an increased
understanding of how sounds are produced and organised – sound waves,
echoes, resonance, vibrating air, string, metal, noise pollution
Vocal sounds
- Explore a range of sounds that the singing voice and
the speaking voice can make – whispering, whistling, muttering and hissing
- Distinguish and describe vocal tone colours heard in a
piece of music soprano, tenor, alto, bass; raspy, throaty, pure, clear,
thin, rich; opera singer, rock singer, treble
Body percussion
- Identify a variety of ways of making sounds using body
percussion in pairs, small
groups and large groups – tapping, clapping, slapping and clicking
Instruments
- Find ways of exploring sounds using a variety of
manufactured and home-made instruments
- Explore the concept of different tone colours of
various instruments
Strand unit: Listening and responding to music
- Listen
to and describe a broad range of musical styles recognising historical
context where appropriate
Irish Music
- Brendan Voyage (Shaun Davey)
- The Children of Lir (Brian O’ Reilly)
Film
- Themes by John Williams and Ennio Morricone
Sacred Music
- The Wexford Carol (Monks of Glenstal Abbey)
- The Messiah (Handel)
Classical Music
The following pieces /excerpts are available on Lively
Music 9 –11
- Sabre Dance (Khachaturian)
- Vltava (Smetana)
- Dance of the Knights (Prokofiev)
- Pomp and Circumstance (Elgar)
- Thunder and Lightning Polka (Strauss)
- The Snow is Dancing (Debussy)
- Symphony No. ! – Last Movement (Beethoven)
- Dance of the Unhatched Chicks (Mussorsky)
- Turkish Rondo (Mozart)
- O Fortuna – Carmina Burana (Orff)
- Listen to compositions (recordings or live music) and
evaluate it in terms of personal response, choice of instruments and
expressive qualities
- Respond imaginatively to music in a variety of ways –
moving, dancing, miming
- Identify families of instruments
- Examine the effects produced by different instruments
- Distinguish the main instrument heard in a piece of
music
- Recognise and understand how tempo and dynamic choices
contribute to an expressive musical performance – slow, moderate, fast
tempo, increases and decreases, very soft, soft, moderate, loud, very
loud
- Recognise strong and weak–beat patterns, illustrating
them with gestures – clap for the first bear, tap for second and
subsequent beats
Strand: Performing
Strand unit: Song singing
- Recognise and sing from memory a more demanding
repertoire of songs
- Sing independently, with increasing awareness of pulse
and diction and increasing control of pitch and diction
- Choose the appropriate dynamic (loud, soft) level to
emphasise phrases, bars or notes
- Performs rounds and undertake simple part singing
Strand unit: Literacy
Rhythm
- Recognise longer and more complex rhythm patterns of
familiar songs and chants
- Recognise, name and use some standard symbols to notate
metre (time) and rhythm
Pitch
- Recognise and sing familiar tunes in a variety of ways
– hummed, from hand signs, sung in tonic solfa, sung from staff notation
(five line stave)
- Use standard symbols to read and sing simple melodies
from sight using tonic solfa, hand signs, rhythm (stick notation with tonic
solfa) and from staff notation (5 line stave)
- Understand the function of major key signatures as
indicating the position of doh
Playing Instruments:
- Perform a range of playing techniques on a wide
selection of percussion and melodic instruments
- Use percussion instruments with increasing confidence
and skill to accompany songs and chants
- Identify and perform familiar tunes from memory and
from notation independently – using keyboard or tin whistle or recorder
Strand: Composing
- Select from a
wide variety of sound sources (voice, body percussion, untuned and tuned
percussion and melodic instruments) for a range of musical purposes – to
accompany a song a song, story, poem, riddle, joke or game
- Invent and perform pieces that show an increasing
awareness and control of musical elements such as rhythm, melody, dynamics
and texture
- Recall, answer and invent melodic and rhythmic patterns
using voices, body percussion and instruments
Strand unit: Talking about and recording compositions
- Reflect upon and evaluate his work and the work of
other children by discussing the selection of instruments, what effects they
produced and the use of musical elements
- Devise and use graphic symbols to record musical
patterns and inventions
- Record compositions on computer or keyboard
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