Teacher's Guide Cambridge Pre-U MUSIC Available for teaching ...
Teacher's Guide Cambridge Pre-U MUSIC Available for teaching ...
Teacher's Guide Cambridge Pre-U MUSIC Available for teaching ...
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<strong>Cambridge</strong> <strong>Pre</strong>-U Teacher <strong>Guide</strong><br />
As in Component 3, Section C, teachers will complete a <strong>for</strong>m to authenticate the work as that of<br />
the candidate. This authentication should be based on the certainty, following regular supervision<br />
throughout the course, that the work submitted is genuinely that of the candidate who claims<br />
authorship.<br />
Recordings submitted <strong>for</strong> this component must be on CDs, in a <strong>for</strong>mat which allows them to be<br />
played on standard domestic CD players. Recordings must not be submitted in any <strong>for</strong>mat that can<br />
be played only through a computer, nor in any <strong>for</strong>mat that requires particular software <strong>for</strong> playback<br />
(e.g. iTunes, Windows Media).<br />
<strong>MUSIC</strong> TECHNOLOGY<br />
Component 44<br />
This component provides opportunities <strong>for</strong> candidates who wish either to compose music that<br />
cannot be conventionally notated (and which is thus excluded from Component 43), or to explore the<br />
use of technology in ways which go beyond notation programs and their inbuilt playback facilities.<br />
Candidates and teachers alike should bear in mind firstly that this is just one component in the<br />
examination, not a whole music technology syllabus, and secondly that candidates’ work will be<br />
judged equally on musical outcomes (40 marks) and on the application of technology (40 marks). In<br />
terms of the musical outcomes, which are assessed under the first three of the Assessment Criteria,<br />
the issues involved overlap intentionally with those assessed <strong>for</strong> Component 43.<br />
Candidates are required to submit one composition and one arrangement. One piece must be a<br />
sequenced per<strong>for</strong>mance and the other a multi-track recording, but candidates have a free choice as to<br />
which <strong>for</strong>m of submission they will use <strong>for</strong> which piece.<br />
Although the Syllabus makes no stipulation about the style of compositions, it is anticipated that<br />
candidates who choose this component will normally compose music that does not lend itself to<br />
conventional notation. If they wish to compose in a style that can best be represented through staff<br />
notation, they need to consider whether they really ought to be offering Component 43 instead.<br />
Arrangements must always involve a creative reworking of the original stimulus. A transcription <strong>for</strong><br />
string quartet of a Bach keyboard fugue, in which the only change from the original is the use of four<br />
string players rather than a single keyboard, does not count as an arrangement <strong>for</strong> these purposes.<br />
The original stimulus must be submitted alongside the arrangement, preferably in the <strong>for</strong>m of a<br />
score, so that it is possible to judge the extent of the candidate’s own compositional input into the<br />
arrangement.<br />
Recordings submitted <strong>for</strong> this component must be on CDs, in a <strong>for</strong>mat which allows them to be<br />
played on standard domestic CD players. Recordings must not be submitted in any <strong>for</strong>mat that can<br />
be played only through a computer, nor in any <strong>for</strong>mat that requires particular software <strong>for</strong> playback<br />
(e.g. iTunes, Windows Media). However, in addition to the audio CDs, the sequenced piece must be<br />
submitted as a MIDI file: teachers are particularly asked to note the requirement <strong>for</strong> sequenced pieces<br />
to be submitted in two different <strong>for</strong>mats.<br />
www.cie.org.uk/cambridgepreu 79