Teaching A-Level Music for the First Time

ABOUT THIS COURSE

Led by Alex Aitken, this new course for 2024 is designed for those either teaching A-level Music for the first time, or coming back to it after a break, or a few years teaching other year groups. A whistle-stop tour of common patterns in all A-level Music specifications will be followed by an exploration of assessment objectives and criteria, to understand where students have to get to by the end of Year 13.   The common components of A-level Music (performing, composing, arranging, harmony work, listening, analysing and appraising) will then be looked at in turn. All examiner reports from each board will be summarised at each stage to provide a comprehensive list of immediate priorities that shape teaching philosophies and strategies over the two years. Curriculum design and flightpaths for achieving outstanding results will be discussed, along with common errors, and ways of achieving greater efficiency across the two years of teaching.   This brand new course, packed with outstanding resources, guidance, and tips and tricks for success, promises to be an inspiring day of CPD, regardless of delegates’ experience in either teaching in the classroom or teaching A-level Music. The course is designed for all exam boards, and is also designed for anyone wishing to overhaul their A-level Music curriculum.

---

BENEFITS OF ATTENDING

• A thorough day of CPD on all things A-level Music.
• Expert guidance from one of the UK’s leading educationalists, who is also an A-level examiner, former Head of Music, and the author of one of the top A-level resources in the UK: www.masteringalevelmusic.co.uk.
• Take away proven strategies, approaches and monitoring processes for A-level Music.
• Gain a range of effective methods that encourage low, mid and high ability students across the A-level.
• Raise academic standards through curriculum design and teaching approach, and be challenged with new ideas and philosophies, regardless of your experience.
• Gain more confidence in teaching A-level Music; particularly if you had a bad experience with A-level Music yourself.
• Improve understanding of assessment criteria and how to use them effectively to achieve outstanding results.
• The chance to discuss A-level Music teaching with colleagues, and with Alex.

---

PROGRAMME

Frameworks and Philosophies of A-level Music

10.00am

• Brief summary of different specifications; common requirements, differences and the new progression from GCSE.
• The aims, assessment objectives and assessment criteria of A-level Music in general: comparisons.
• Differences in approach and assessment from older specifications and models.

---

Break

11.45am

---

Teaching Approaches That Work

11.55am

• The philosophy behind Wider Listening and the use of Other Music.
• Appreciation vs. preference: broadening students’ minds, and deepening perspectives.
• Levelling up varying abilities early on: strategies and solutions, and cultivating curiosity for all.
• Achieving an integrated, holistic, outstanding and inspiring teaching approach.
• Where students need to get to by the end of Year 13 for outstanding results.

---

Performance

12.30pm

• Current requirements, assessment objectives and common pitfalls. Technical control vs. Expressive control
• I have Grade 8 with Distinction but got a D’: why A-level recitals are not performance exams.
• Summary of examiner reports across all specifications since 2016; common themes, errors and patterns.
• To be or not to be interfering: the role of students’ singing or instrumental teachers.
• Teaching students how to practice, how to think and how to reflect.
• The role of coaching through questioning and masterclasses.

---

Lunch

1.00pm

---

Composition

2.00pm

• Current requirements and differences from the older specifications.
• Common assessment models: SuperCriteria, the SuperGrid, and Examiner Terms.
• Summary of examiner reports across all specifications since 2016; common errors and patterns.
• The role of research, the issue of pastiche, and composition briefs.
• Balancing creative freedom and academic rigour – problems and solutions.
• Ingredients of outstanding compositions; minimising subjectivity and embedding a philosophy of composition.
• Designing composition briefs – issues, parameters and requirements.
• Developing students’ composition skills, monitoring their progress, and feedback processes.

---

Break

3.00pm

---

Compositional Techniques and Arrangements

3.15pm

• Chorales in the style of JS Bach: teaching for the first time, or if you’re scared of chorales.
• Summary of examiner reports across all specifications since 2016; common errors and patterns.
• Priorities, common errors and heading these off early.
• Flightpaths and curriculum design for teaching students to harmonise chorales.
• Two-part counterpoint: teaching strategies, current requirements and strategies to achieve top marks.
• Arrangements: requirements, teaching strategies, and resources.

---

 

Appraising and Listening

3.45pm

• Developing students’ listening skills and general knowledge of music.
• Holistic approaches to cultivate music appreciation; changing habits, and the importance of questioning.
• Summary of examiner reports across all specifications since 2016; common errors and patterns.
• Strategies for teaching analysis and dictation, and for helping weaker or underconfident students.
• The thinking behind set works, other music and contextual integration.
• Essays – demonstrating a genuine understanding to the examiner, regardless of specification.
• Ingredients of outstanding papers; pushing the top students even more.
• Cultivating curiosity, and a love of unfamiliar music.

---

Depart

5.00pm