Teacher's Guide Cambridge Pre-U MUSIC Available for teaching ...

Cambridge Pre-U Teacher Guide
The written project requires some of the same skills that are needed for Section A of Paper 11, but
there are important differences. In Paper 11 the question will always list some of the features of
the two performances that candidates are expected to write about, whereas in the written project,
candidates must decide for themselves which aspects of the performances they wish to address. The
careful selection of these aspects will clearly be an important part of the success of the project. In
Paper 11 the music is likely to be unfamiliar, whereas in the written project it will be a piece that is
very well known. This implies a greater level of detail in the way candidates write about the music,
and a more thorough understanding of its style.
It is essential that candidates try to focus on significant features of the recordings they compare. For
example, they should not spend a large amount of time working out the precise metronome markings
of every slightest change of tempo in the performances, even though differences in tempo may be
a significant aspect of the contrast between them. It is more important that they should attempt to
analyse and explain the ways in which differences in tempo reflect the performers’ interpretations of
the piece, how this affects their impact on the listener, and the extent to which the performances reflect
an understanding of the style of the music (and, in some cases, the composer’s known or presumed
intentions). Above all, the project should act as a focus for considered reflection on candidates’ own
interpretations of the music they play, and the process of making informed interpretative decisions.
COMPOSING
Component 3
Sections A and B: Stylistic Exercises (Examination and Coursework)
Stylistic imitation is a traditional method of study that has often been taught in a highly theoretical
way, as a series of exercises on paper that bears little relation to a genuine perception of the music as
music. It is highly desirable that candidates should experience the music as something that comes to
life when it is sung or played, and taking part in some kind of live performance ought to be seen as an
essential aspect of the teaching and learning process – even if it is done only in workshop sessions as
an adjunct to more theoretical lessons. It is especially beneficial to sing or play a middle part, or the
bass if that is feasible, because this can provide a better insight into the way the music fits together
than hours of working things out on paper.
The options available to candidates have been divided into two groups and candidates must select
one genre from each group:
•
•
Group A
Chorale Harmonisations in the style of J S Bach
String Quartets in the Classical style
Group B
String Quartets in the Classical style (only if Chorale Harmonisations are chosen in Group A)
Two-part Baroque counterpoint (only if String Quartets are chosen in Group A)
Keyboard accompaniments in early Romantic style
Music in Jazz, Popular and Show styles (1920–1950)
www.cie.org.uk/cambridgepreu 71