GCSE

Guidance for Teachers on the Areas of Study Approach

For use with Specification for first teaching from Autumn 2001

Issued: April 2002

Music

Contents Page

Introduction

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The Area of Study Requirements 2The CCEA Specification 2Set Works Within the Areas of Study 2Works Suggested for Further Listening

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Assessment Requirements for the Areas of Study 3Written Commentaries for Compositions 4Implications of the Area of Study Approach

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Learning Outcomes

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Examples of Possible Teaching Approaches to the Areas of Study 6Example 1: Music for Celebration 6Example 2: Musical Arrangements 8Example 3: Musical Traditions in Ireland

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Composing and performing Activities within the Areas of Study 13Music for Celebration 13Some Ideas for Exploratory Exercises Based on the Set Works 13Some Ideas for Compositions and Performances Arising from the Area of Study 14Musical Arrangements 15Some Ideas for Exploratory Exercises Based on the Set Works 15Some Ideas for Arrangements and Performances Arising from the Area of Study 16Musical Traditions in Ireland 17Some Ideas for Exploratory Exercises Based on the Set Works 17Some Ideas for Compositions, Arrangements and Performances Arising from the Area of Study

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Musical Traditions in Ireland 20Irish Traditional Music 20Dance Music Vocal Music 21The Harping Tradition 22Ornamentation in Irish Traditional Music 22Instruments of Irish Traditional Music 24The Scots-Irish Tradition 25The Anglo-Irish Tradition 25Local Songs and Singing Games 26Narrative Songs 26The Band Tradition 26Flute Bands 26Pipe Bands 27Accordian Bands 28Brass Bands 28Wind/Concert Bands 28Ceili Bands 29External Musical Influences 29Classical Influences 29The Influence of World Musics 30

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Introduction These support materials have been drawn up to support CCEA’s GCSE music specification which will be examined for the first time in Summer 2003. A major factor in the development of the new specification has been the promotion of a more holistic approach to teaching and learning in music at this level. Instead of treating the three aspects of musical experience (composing, performing and listening and appraising) as individual and unrelated activities, the specification is designed to highlight the interactive and mutually supportive nature of the learning experiences required throughout the course. This is accomplished through an Area of Study approach which is essentially ‘thematic’ or ‘topic-based’. The materials also include, as appendices, the teaching materials which were drawn up by CCEA, in partnership with QCA, to support Classic FM Masterclass programmes on Music for Celebration (Appendix 1) and Musical Arrangements (Appendix 2). A script of the content for each programme is included for those teachers who do not have access to the recording of the programmes. Each set of materials provides a historical perspective and includes both a detailed project and a number of suggestions for further work in each of the areas. In addition to the key characteristics of music within the area of study, the programmes highlight a number of musical features demonstrated within each example of music. Whilst the key characteristics are common across all examples chosen for the programmes, the musical features illustrate aspects of continuity and change which reflect the particular contribution of the composer and the context in which the music was created. The content of the programmes and the associated materials will provide a very useful resource for the CCEA specification.

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The Area of Study Requirements The following area of study requirements are set out in the subject criteria developed by the regulatory authorities. These requirements must be implemented by all awarding bodies in their revised GCSE specifications. All GCSE music specifications are required to include a minimum of three and a maximum of six areas of study. Students are required to develop some sense of historical perspective within each area of study. The CCEA specification The CCEA specification has chosen the minimum number of areas of study (three) and included within these, nine short set works as a focus for teaching and learning within and across the areas of study. These are set out on pages 12-21 of the specification, and have been selected to introduce a range of music from different times, places and styles. The specification also sets out lists of suggestions for further listening as a basis for expanding students’ knowledge and understanding, and to provide an increased range of stimuli for composing and performing activities. Set works within the Areas of Study The set works which are listed in the specification have been chosen to provide some focus for teaching and learning within each area of study. They are only a few examples chosen to represent the breadth of the area of study. Students are required to undertake aural study of the works in order to develop their aural awareness. They are not expected to know the fine detail which would require study of a score. It is sufficient for students to know, understand and recognise the musical points set out under each work. Works suggested for further listening Coverage of the content of the lists is not a requirement for assessment within the examination. Individual compositions which are named in the ‘suggestions for further listening’ list will not appear as part of the listening test, although some of the more general items, for example, arrangements for brass and military bands, arrangements of pop songs, music by groups such as the Chieftains, Anúna, etc could be used in the questions on ‘unfamiliar’ music.

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Assessment Requirements for the Areas of Study Assessment requirements, related to the areas of study, which are common to all GCSE music specifications and which, therefore, form part of the requirements for the CCEA specification are set out below. Candidates must:

1. relate one composition and one performance piece (solo or ensemble) to one of the three areas of study, that is, the same area of study;

and

2. relate a second composition or performance (solo or ensemble) to a different area of study;

and

3. undertake one listening and appraising test which will last approximately one hour. The test will consist of up to eight questions and include questions on both familiar (set works) and unfamiliar music.

The requirements for composing and performing are translated as follows: All candidates must:

1. submit a folio of two compositions, at least one of which must relate to one of the areas of study;

2. provide a written commentary on each composition in line with the

requirements set out on page 8 of the specification. Candidates should be aware that their commentaries will attract 10% of the total marks for the whole examination (5% for each composition). This includes marks for written communication;

3. present two performances (one solo and one ensemble) at least one of

which must relate to the same area of study as one of the compositions; 4. ensure that the second composition or second performance relates to a

second (different) area of study;

5. present an outline of their performance programme, including their commentary on any own composition which is being performed and be prepared to talk to the visiting assessor about the music they perform and its relationship to the relevant area(s) of study. Candidates should be aware that their ability to respond to questions about their performance and its relationship with at least one area of study will be worth 5% of the total marks for the whole examination.

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Written commentaries for compositions The Council will not require candidates to complete annotation sheets. They will be able to generate their own commentaries, with the opportunity to use ICT and the possibility of generating evidence for the key skill of IT. Candidates will meet the requirements by using the headings set out below for their commentaries. The first two parts of the commentary should be completed before work on the composition has begun. The candidate may wish to make reference here to the area of study if this is relevant. The third heading is a diary of progress kept during the composing process, and the final three headings are a reflection on the work. (i) The brief: what I have chosen/been asked to do and my initial response (ii) How I intend to fulfil the brief: my plan of action (iii) How my composition took shape (iv) Analysis of my composition, including some reference to the composing

process (v) Relationship between my composition and ……….. (Area of Study, if

relevant) (vi) Evaluation of my composition Implications of the Area of Study approach The area of study approach may require a revision of teaching strategies in that it provides contexts for developing some sense of historical perspective which includes breadth of style and musical genre. There is no requirement to teach the areas of study in any particular order so teachers should begin with that which they consider to be most accessible and interesting for their students. It would be possible to devote one term to each area of study in the first year of the course and then to revisit each again in the second year. If this approach were adopted it would be feasible to expect each student to develop one complete composition, commentary and perhaps one performance (of own composition?) during the last few weeks of each term. When each area is revisited in the second year, students would have the opportunity to develop further their general understanding, to revise the set works and to revisit their compositions (to revise them in the light of increased skills) or to compose anew; also to decide finally on what will be submitted for assessment in terms of both compositions and performances. It would be very important for those students who have instrumental lessons outside of the classroom to understand the performance requirements and to convey these to their tutors. The performance requirements, and how these can be met, should be discussed with instrumental tutors who teach in the school.

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Learning outcomes The specification states that students’ musical activities should enable them to develop knowledge and understanding of the musical elements and how they are combined to create structure and effect. In particular, through the Areas of Study and set works students should develop the ability to:

• respond critically to the general mood, character and performance of music using a musical vocabulary;

• follow a simple score which may have up to four sharps or flats; • use basic staff notation on the treble stave; • identify major, minor, pentatonic and modal tonalities; • identify and use perfect and imperfect cadences; • identify, interpret and use dynamics for musical effect; • identify and use instrumental and vocal timbres for expressive purposes; • identify unison, homophonic and polyphonic textures; • identify solo voice/chorus and solo instrument/orchestra; • identify and, where appropriate, use devices such as repetition, sequence,

imitation, canon, syncopation, ground bass, ostinato/riff, pedal, drone, augmentation and diminution;

• identify and use structures such as binary, ternary, variation, verse and chorus, through-composed, rondo, 12 bar blues;

• identify and, where appropriate, compose marches, slow airs and dances such as reel, jig, hornpipe, strathspey, polka, waltz;

• recognise musical styles, including Baroque, Classical, Romantic and the broad spectrum of twentieth and twenty-first century (‘art’ music, folk music, blues, jazz and rock/pop idioms);

• recognise styles and influences related to present-day music-making in Ireland.

In addition, through the areas of study and set works, students should develop an awareness of genres such as madrigal, suite, Mass, symphony, songs (strophic, through-composed), ballads, musical, concerto, string quartet and other chamber ensembles.

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Examples of possible teaching approaches to the Areas of Study The following examples of approaches to teaching each area of study have been designed to promote a holistic approach to teaching and learning. It is suggested that one term should be devoted to each area of study in the first year of the course and that these should be revisited, one per term in the second year. Example 1: Music for Celebration The steps set out in this example are suggestions only. It would not be necessary to include all the steps or to follow them in the sequence outlined below. Some teachers may find it preferable to start with early music and move forward in chronological order. It would be important, however, and perhaps more motivating for students, to begin with music that is familiar to them.

1. Begin with music for celebration at the present time, for example by listening to the themes which are used to introduce sporting events on television and identifying those features of the music which make it celebratory ie celebrating the particular sport and engaging the viewer’s (listening) attention.

2. Students might then explore some of the features they have identified and

discussed and use these to create and perform a short piece to celebrate an event.

3. This could then lead to Handel’s La Réjouissance – with some background

explanation of the context in which the work was created (composers usually working for Royal households and the need to celebrate Royal events) the issues which would need to be considered if the music was to be related to a fireworks display and to be performed outdoors. If appropriate, students could explore how the sound of instruments would carry in the open air and how they might resolve the problems of getting the sound to carry (with/without the help of electronic amplification).

4. Students see if they can identify any features which they have found in their

previous work and then go on to develop an aural analysis of the Handel in line with the points set out in the specification and the suggestions for activities provided on page 13 of these materials.

5. The need to celebrate Royal events could be followed up with an opportunity

to listen to and discuss, in general terms, Zadok the Priest. With the introduction of a religious dimension, it would be possible, where appropriate, to look at some hymns of praise and aspects of homophonic writing (words carry more clearly if all are singing the same word at the same time). Students could listen again to Zadok or perhaps, parts of Messiah with this point in mind.

6. The focus on music with a religious/sacred text could shift to Fanshawe’s

African Sanctus. This work will provide opportunities to consider the wide range of things to listen for and activities set out both in the specification and

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on page 14 of these materials. If appropriate, students could be introduced to the idea of the Mass as a compositional genre and those composed by Haydn for special occasions, for example, the Maria-Theresa and the Nelson Masses.

7. Having been introduced to the idea of compositions for royalty, including

vocal sacred music, students could then be introduced to 16th century secular vocal music through one of the madrigals from The Triumphs of Oriana. (See example in Appendix 1 – Classic FM programme on Music for Celebration).

8. If appropriate, it would, for then be possible to introduce some of Haydn’s

music, composed for Esterhazy example, The Emperor’s Hymn from his quartet in Cmajor – also a set of variations- (idea of the national anthem) and/or Beethoven’s Ode to Joy in the last movement of Symphony No 9 (celebrating the brotherhood of man). It would be possible to write a school song where one doesn’t exist.

9. This could lead to Copland’s Fanfare for the Common Man, written in 1942 as

a tribute to the men and women of World War 2. Students could explore the idea of fanfares and suggestions set out in Appendix 1.

10. Reference to war could lead to the concept of marches and Verdi’s

Triumphant March from Aida (more fanfares) written to celebrate the opening of the Italian Theatre in Cairo in 1871. Students could find out how the different sections of the march represent the different groups of people parading. (This is also demonstrated in the Classic FM programme, Appendix 1).

11. If appropriate, students could go on to explore the idea of triumphant marches. 12. Moving from music composed to celebrate someone else to music composed

to celebrate ‘ourselves’ students could undertake study of We are the Champions, the second set work and follow the ideas for exploration set out on page 14.

13. Students could recap on what aspects of celebration they have looked at,

namely events and people and discuss other aspects of life which might be worth celebrating, for example, the Seasons and other aspects of nature (Vivaldi, Beethoven, Smetana, Weber) and/or culture as in local and national festivals.

14. Students look for performance pieces for their own instrument which could

relate to any of their work, for example, by asking tutors, looking through publications in a music shop or library or through the internet, and work with the tutor or group of peers to develop a performance.

15. Students decide on a brief for a composition related to Music for Celebration,

and begin to develop both the composition and the accompanying commentary in line with the headings set out on page 4.

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Example 2: Musical Arrangements This area of study is the most flexible and can be linked with either of the other two areas, for example, it would be possible for a student to create an arrangement or set of variations on an Irish folk-song melody and this would fulfil the requirements for covering two areas of study through one piece of ‘composition’. The steps set out in this example are suggestions only. It would not be necessary to include all the steps or to follow them in the sequence outlined below. It would be important, however, and perhaps more motivating for students, to begin with music that is familiar to them.

1. Students begin by listening to and discussing different arrangements of familiar music, including cover versions of songs by groups they know. Where originals are available, they identify the differences between them and the arrangements and decide which they prefer, with reasons.

2. Students consider all the music they are playing at the moment, or in the past

and identify if they are playing original music written for the instrument or voice, or an arrangement (many of the examination pieces for orchestral instruments may be considered to be arrangements). Also, most of the printed music for pop/rock is keyboard/vocal arrangements of songs by popular groups.

3. Give students a simple tune as a basis for exploring some ways of achieving

variation, for example, ornamenting the melodic line, creating a second part above/below and different ways of accompanying the tune.

4. Students listen to a vocal performance of The Trout by Schubert and identify

the phrase structure of the melody, also the scene-painting in the piano accompaniment. Let them get to know the tune by singing or playing it and then explore it further by attempting to perform it in different styles.

5. Listen to the trout theme as performed in the piano quintet and compare it to

the vocal version previously heard in performance.

6. Go through each of the variations in turn, focusing on the sound of each instrument and how each is used in each variation.

7. Explore some of the ideas set out on page 15.

8. Compare, for example, Copland’s Fanfare for the Common Man with the

version by Emerson, Lake and Palmer or Holst’s original theme with the version sung by Kiri Te Kanawa for the rugby world cup theme etc.

9. Listen to a vocal performance and/or sing the song Tea for Two and then

spend some time identifying the musical features of its arrangement as Tahiti Trot by Shostakovich (see Classic FM programme Musical Arrangements – Appendix 2). Focus particularly on the suggested ‘swing’ element as preparation for thinking about jazz.

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10. Introduce some of the simple riffs which are appropriate to the twelve-bar blues structure and introduce the basic chord sequence, allowing students to explore the riffs across the chords and then to explore their own possibilities through improvisation. Discuss how it feels to be improvising.

11. Listen to the introduction to Ella Fitzgerald’s Mack the Knife (before she starts

to sing) and discuss the atmosphere and expectation set up by her introduction and the instrumental introduction to the song.

12. Listen to the whole performance and discuss the style of singing, the words

and the accompaniment in line with the points set out in the specification. Identify how Ella mentions two other performers and ask students to search for versions of the song by those performers (Bobby Darin and Louis Armstrong). If these are found listen to them and compare them (and other versions by Frank Sinatra or Robbie Williams) with the Ella version.

13. If appropriate get students to perform ‘scat’ versions of the song using Ella (or

possibly Louis Armstrong) as an example.

14. Give students the first note of the vocal line (E) and let them work out, by ear, the tune for the song, as much as they can.

15. Explore the possibility of writing a piece based on the tune of Mack the Knife

by considering how some of the phrases might be expanded and/or developed, for example, by focusing on the minor 3rd or some of the other intervals in the vocal line or by ornamenting the line as in ‘filling in’ some of the intervals.

16. Look for some other old songs which have up-dated versions, for example,

Scarborough Fair as performed by Simon and Garfunkel, The Mountains of Mourne by Don McClean, and develop a modern arrangement of an own- choice folk song or nursery rhyme, or develop a set of variations on a simple tune.

17. Students develop their own arrangement, with commentary, and performance

based on their learning across the area of study, using some of the ideas covered in the lessons or set out on page 16.

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Example 3: Musical Traditions in Ireland It is very important that both teachers and pupils understand that this area of study is placing a value on all of the western musical traditions which are found in Northern Ireland. This is already a wide remit and, for that reason it is presently unrepresentative of the additional cultural value offered by the Chinese and Asian communities. The broad perspective also means that it would be unrealistic to expect all students to develop equal depth of understanding across all of the traditions. It is important, however, that all have access to the full breadth which is outlined in the background information provided in Appendix 3, and that all will be encouraged to consider and respect the value placed on the different traditions by different elements of the community. It is particularly important when dealing with this area of study that teachers approach it from within the tradition which is most familiar to their students and try to encourage an approach which focuses on intellectual examination rather than emotional response. It would be important to try to get across to students, when necessary, that some of the music may be considered to be problematic, not by virtue of the music itself, but rather by association. The steps set out in this example are suggestions only. It would be important, however, and perhaps more motivating for students, to begin with music that is familiar to them.

1. Begin by listening to the music of Northern Ireland’s singers/groups such as Watercress, Ash etc, and discuss what, if anything, in their music relates to Northern Ireland, for example, Watercress sing with local rather then American accents, as does Juliet Turner.

2. Students list all the different types and styles of music they would hear in

Northern Ireland today and ask them to rank them in terms of preference; also to identify those within which they may have direct experience, for example, through performing. This may provide a guide as to the order in which the different traditions might be addressed. It would also be important to help students recognise that the same basic elements of music (which formed the basis of Music for Celebration and Musical Arrangements) also form the basis for music-making across the different traditions and musical styles in this area of study.

3. Introduce the concept of the symphony by focusing on familiar aspects of

symphonies, for example, the first movement (eg Beethoven 5), the second movement (eg Beethoven 3), the third movement (eg Prokofiev Classical Symphony, Gavotte) and fourth movement (eg Beethoven 9). See ideas on page 23. Ask students to consider how an Irish Symphony might be defined/created.

4. Talk about Sir Hamilton Harty (born in Hillsborough, association with

Queen’s University, Belfast etc) and how he tried to fuse an Irish element into

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‘classical’ music and vice versa, for example, through the use and treatment of Irish tunes and legends as a stimulus for many of his compositions. Listen to excerpts from other works, for example, The Children of Lir to introduce the concept of programme music.

5. Listen to The Fair Day and spend a considerable amount of time on the

features of the movement, orchestration etc, in line with the points set out in the specification. This will introduce the idea of the reel as a dance tune (originally from Scotland) and the folk song, both of which can be played/sung by students if appropriate.

6. Consider how and why this piece could meet the criteria for Musical

Arrangements.

7. Listen to some other music in which Irish Composers have attempted to fuse Irish music with ‘classical’ music, for example, The Brendan Voyage, The Seige of Derry Symphony, both by Shaun Davey.

8. Students play and/or sing some local folk songs or songs from other countries

which have become popular in Northern Ireland and, if appropriate create their own arrangements.

9. Listen again to The Blackberry Blossom from The Fair Day and then to the

reel The Bucks of Oranmore (the fashionable young men of Oranmore). This reel is in four parts rather than the usual two and is normally played at the end of a set of dances. The ‘Edge’ from U2 is playing on this performance along with other well-known musicians and it would be interesting for students to learn that many musicians perform different types of music. Allow students to become familiar with the instruments being played and then let them explore some of the ideas set out on page 17.

10. Where appropriate, let students listen to other performances of this reel, for

example, by the Chieftains, and to other reels played in traditional and modern styles.

11. Move on to the March, Strathspey and Reel played by the Field Marshal

Montgomery Pipe Band and ask students to identify the point at which the reel begins, then to compare this with other reels listened to, or to The Bucks of Oranmore. Provide some background information on the structure of pipe bands and the world-wide nature of pipe band competition and how piping and drumming is judged. Get students to listen for the drones on the pipes and the complex rhythms on the drums.

12. Discuss the relationship between Scottish and Irish music, for example, much

of the traditional music played in Donegal is of Scottish origin, also the similarities between bagpipes and the uilleann pipes and the rhythmic accompaniment of drums for each. Allow students to experiment with drum rhythms for different types of drums and possibly to play along with this and other recordings.

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13. Focus attention on the March and then discuss the types of music and tunes which would be played as marches by different types of bands, for example, brass bands, flute bands, silver bands, accordion bands. What are the important factors in composing a march? Students could reflect back on the march from Aida which they may have listened to in Music for Celebration. If appropriate, they might take a reel tune and turn it into a march.

14. Focus attention on the Strathspey, in particular on the elements of the tune and

how this is different from the dances which would be considered Irish. Listen to some other folk-dance tunes from the British Isles and identify similarities and differences.

15. Listen to a well-known Irish jig such as The Irish Washerwoman and discuss

its metre and structure as a basis for listening to April 3rd.

16. Provide some background information on Donal Lunny, how he is pushing the boundaries of traditional music, and let students listen to some music played by his one-time group Moving Hearts from the CD Electric Reels, if available.

17. Listen to April 3rd and spend time helping students identify the features of the

music outlined in the specification and then exploring some of the ideas on page 18. If possible, listen to some other music, for example, that by the Afro-Celt Sound System to experience the fusion of Irish with African traditions and the creation of ‘ambient’ music.

18. Listen to and/or perform some slow, melancholy folk songs or Irish airs and

discuss how mood and atmosphere is created. Students take an Irish air or slow folk tune and use previous learning to ornament it and/or create an arrangement for performance.

19. Students develop a composition, (with commentary) and performance within

any of the identified musical traditions, based on their learning across the area of study.

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Composing and Performing Activities within the Areas of Study This section sets out some ideas for composing and performing activities related to each of the Areas of Study. The ideas are differentiated in two ways:

1. those requiring students to undertake exploratory exercises which develop skills and understanding of the use of the musical elements to create both expression and structure; and

2. those providing students with opportunities to use the skills and knowledge

developed through the exercises in compositions which are an expression of their own thoughts and feelings.

The exercises are related to each of the set works within each area of study, and the suggestions for compositions are related to each area of study as a whole. It should be noted, however, that rhythmic and melodic devices are used for different purposes across the set works and areas of study. Music for Celebration The key characteristics of music for celebration are the features which remain unchanged over time and place. The characteristics of music for celebration are:

• composers select resources which are most appropriate to the commission and context;

• the musical content of the piece supports and reflects the nature of the celebration;

• the music draws attention to itself, stirs the emotions and creates a sense of well-being in the listener.

Some ideas for exploratory exercises based on the set works Handel: La Réjouissance Note: The recording for this work will be Deutsche Grammophon CD no 435 390-2 Students could explore:

• devices such as sequence and repetition, considering questions such as, how long can a sequence be maintained? When does repetition become boring?

• how sequence can be used to drive the music forward, and how repetition can be used to create a sense of urgency, stillness and/or unity;

• the effect of dotted rhythms; • the expressive impact of the use of sequence and repetition in Handel’s piece

and why these might be appropriate for outdoor music; • examples of sequence and repetition in the work of other composers; • sounds in confined and open spaces; • the use of effects in music technology; • the instruments which would be most appropriate for outdoor music;

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• two-part structures and ways of achieving contrast, for example, tempo, dynamics, tonality, timbre and texture.

Fanshawe: African Sanctus Students could explore:

• changing metres – duple interspersed with bars of triple time; • unpitched percussion exercises based on cross rhythms; • improvisations over chords IV – I and V – I in chosen keys; • the use of backing tracks in performing; • improvising along with a backing track; • building up rhythm and texture through the use of ICT; • various African chants and drumming; • the relationships (if any) between chanting and rap; • unaccompanied chants and chants with a percussion backing; • other settings of the Sanctus from plainchant to present-day.

Freddie Mercury: We are the Champions Students could explore:

• the characteristics of different types of songs, for example, verse and chorus, ballad, through-composed, folk songs, pop songs, art songs (ties in with The Trout);

• different types of voices and styles of singing; • solo singing and singing in parts; • accompanied and unaccompanied singing; • different ways of accompanying a song; • vocal ornamentation, for example, word-painting, melisma, sean nos singing

(ties in with Musical Traditions in Ireland); • popular songs of the past, for example, madrigals, music-hall songs, the blues,

spirituals, Victorian parlour songs. Some ideas for compositions and performances arising from the Area of Study All of the ideas which are set out in the materials which accompany the Music for Celebration programmes (Appendix 1) would be acceptable in fulfilling the requirements of the specification. The following list also includes possible stimuli arising from the suggestions for further listening in the specification. Students might like to compose and/or perform, with the use of music technology, as appropriate:

• a piece of celebratory music to be played outdoors, for example, at a school fête, sports day etc;

• a march in two or three parts; • a ‘pop’ song, traditional ballad, etc with a celebratory ‘feel’; • a hymn or song of praise/thanksgiving;

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• a Christmas carol, birthday song, school song, song for a football team; song to celebrate Spring/Summer/the holidays etc;

• a percussion piece based on rhythm alone; • an instrumental/vocal piece in a ‘modern’ style; • a word setting of an appropriate poem; • a piece based on fanfares; • a piece based on the idea of a funfair/circus/wedding etc.

Musical Arrangements The key characteristics of musical arrangements are the features which remain unchanged over time and place. Some characteristics of arrangements are:

• they are adaptions of compositions for media which are different from the original;

• the musical substance of the original composition remains substantially unchanged;

• the original musical content may be shown in a ‘new light’. Some ideas for exploratory exercises based on the set works Schubert: Piano Quintet The Trout, fourth movement Students could explore:

• the melodic/phrase structure of the theme, and create their own melodies based on that structure;

• the rhythmic structure of the theme; • the structure of some well-known melodies; • the expressive impact of some well-known melodies, for example, ‘classical’

themes which are used in advertising; • the ways in which a single-line melody could be ornamented; • the effects achieved by changing fundamental aspects of a melody, for

example, tempo, metre, tonality, rhythm etc; • creating a part above/below a given melody; • different ways of accompanying a melody, and different styles of

accompaniment; • how different parts of a melody may be selected and used as a basis for

expanding the original melody, and as a starting point for developing new melodies (this is an important factor in enabling pupils to meet the requirements of assessment objective 2 – creating and developing musical ideas);

• the need to match melody and instrument, that is, to write idiomatically for the chosen instrument.

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Kurt Weill: Mack the Knife Students could explore:

• any of the ideas suggested for the previous work; • different versions of the song and compare interpretations, for example, as

sung in The Beggar’s Opera and other more modern versions; • improvisations on the different phrases of the melody, using voices and/or

instruments; • improvisations on different harmonies in the recording, for example, Em, D7,

etc; • key changes that move up a semitone as a melody is repeated; • vocal and instrumental improvisations around other familiar songs, melodies

and harmonies; • ‘scat’ singing.

Some ideas for arrangements and performances arising from the Area of Study All of the ideas which are set out in the materials which accompany the Musical Arrangements programmes (Appendix 2) would be acceptable in fulfilling the requirements of the specification. The following list also includes possible stimuli arising from the suggestions for further listening in the specification. Students could develop and/or perform, with the use of music technology, as appropriate:

• an arrangement of a familiar song or melody which presents the original in a ‘new’ way;

• an improvisation on a harmonic framework such as the twelve-bar blues or a harmonic sequence from a popular song;

• an embellishment of a slow Irish air in a new way; • a set of variations on a familiar/new theme, for example, a nursery rhyme or

folk/Irish dance tune; • an arrangement of a song in a style that is different from the original, for

example, a ‘pop’ version of an old ballad or a ‘classical’ treatment of a pop song;

• take part in professionally adapted musical arrangements of a wide range of music in a variety of styles;

• a different arrangement of own composition; • a set of variations on a ground bass; • a piece based on a popular riff or ostinato figure.

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Musical Traditions in Ireland Some ideas for exploratory exercises based on the set works The Bucks of Oranmore: reel tune, but in five rather than the traditional two sections Students could explore:

• quaver movement in 4/4 time with the strong accents on the first and third beats of each bar;

• the discipline needed to play or sing a tune in unison; • eight-bar phrases and their embellishment; • the timbre of the individual instruments on the recording; • two-part and four-part structures; • repetition and variation; • percussion accompaniment to a reel tune; • other dance forms in 4/4 time.

Donal Lunny: April The 3rd – slip jig in 9/8 time Students could explore:

• the use of acoustic and electronically-produced sounds together; • the use of traditional dance-tunes merged with more exotic sounds such as

Eastern/African percussion; • building up/layering rhythms; • four-bar phrases in 9/8 time; • other Irish jigs and other gigs/gigues from the ‘classical’ repertoire; • traditional jigs played in a pop/rock style; • other dances of the suite.

Field Marshal Montgomery Pipe Band: The Clan Macrea Society (March) Field Marshal Montgomery Pipe Band: Susan Macleod (Strathspey)

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Field Marshal Montgomery Pipe Band: John McKechnie (Reel) Students could explore:

• the differences in metre between the march, strathspey and the reel, for example, reel has beats 1 and 3 accented and the strathspey has each beat accented;

• the use and effect of constant dotted rhythms; • the ‘Scotch snap’ (a very short note preceding a longer one); • snare drum rolls and rhythms; • chanters and drones; • movement from one time-signature to another or to different tempi or

rhythmic features within the same time signature; • rhythms on the drum kit; • rhythms on different types of drums; • tunes played by marching bands; • adding modern rhythms to traditional bagpipe tunes.

Sir Hamilton Harty: Irish Symphony, second movement – Scherzo – Fair Day Students could explore:

• the relationship between this movement and the Musical Arrangements area of study;

• other arrangements by Sir Hamilton Harty, for example, his orchestral arrangement of The Londonderry Air;

• different arrangements of Irish airs/songs; • the structure of a symphony; • how this symphony differs from the classical symphony; • the idea of the scherzo/minuet in the classical symphony; • how this scherzo differs from the ‘classical’ scherzo; • the traditional tunes (song – The Girl I left behind me and reel tune – The

Blackberry Blossom) used in the movement, and how they are arranged; • the creation of mood and atmosphere in their music; • telling a story through music; • the use of drones, parallel intervals etc; • creating humour in their music, for example, by combining high and low

pitched instrument, ‘jaunty’ rhythms etc; • the timbral qualities of tuned percussion and other orchestral instruments; • writing idiomatically for some orchestral instruments that they are familiar

with or may play; • how Sir Hamilton Harty incorporates other Irish tunes into his music, for

example, Variations on a Dublin Air.

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Some ideas for compositions, arrangements and performances arising from the Area of Study Students could:

• compose and perform their own airs, jigs, reels, marches, strathspeys etc; • create their own arrangements of existing songs, for example, any of the

popular songs which could be regarded as folk songs; • create their own arrangements of existing airs, jigs, reels, marches,

strathspeys etc; • compose a modern Irish folk/pop song/ballad; • set a poem by an Northern Irish/Irish poet to music; • perform accompanied/unaccompanied song or piece of instrumental music

which reflects any one of the influences/aspects of musical traditions in Ireland today;

• use Irish influences to create a piece of music in the ‘classical’ or ‘rock’ traditions;

• develop an ‘exotic’ arrangement of music related to the area of study, by using music technology.

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Musical Traditions in Ireland Introduction It is important to draw the distinction between Musical Traditions in Ireland and Irish Traditional Music. The music which is known as traditional music is one strand of a much wider musical environment which, at the beginning of the twenty-first century, reflects not only diverse value systems and allegiances, but also, the ‘globalisation’ of music through the influences and fusion of Western and non-Western musical idioms. This area of study focuses on the different strands of music-making which contribute to the musical life of Northern Ireland and the wider Island of Ireland. For the purposes of teaching they are identified as follows:

• Irish traditional music; • Scots-Irish tradition; • Anglo-Irish tradition; • Band tradition; • External musical influences.

Irish Traditional Music The fundamental aspect of Irish traditional music is that it is essentially an oral tradition, passed from one performer to another through listening and imitation. It contains three broad elements, dance music, unaccompanied vocal music and the harping tradition. Irish traditional music is not a homogenous style in itself as there are various regional tunes and styles of playing or singing, for example, Donegal is associated mostly with reels whilst musicians from Cork and Kerry would frequently play slides and polkas. Performers are also known for their individual approach to and treatment of the music. The main keys of traditional music are G and D major and A and E minor. Dance music The dance music as performed by present-day musicians has developed from a number of sources, for example, strathspeys and reels of Scottish origin, the hornpipe from England, and the polkas which were popular dances of polite society in the nineteenth century. While dancing remains and important activity, the dance music has also expanded its function by forming the content of the ‘session’ which provides an opportunity for a number of musicians to play together for their own enjoyment and to entertain the listener. Most old and newly composed dance tunes have a structure which consists of two eight-bar sections, each of which is repeated, although there are also tunes, for example, The Bucks of Oranmore which have more. A session usually consists of a number of tunes from different dances and types of dances, each played two or three times before moving on to the next tune or dance type. When the dance tunes are played as part of a session, they are usually played faster than they would be if accompanying a dance.

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The reel is a soft-shoed light dance in 4/4 time with continuous quaver movement and the accents on the first and third beats of the bar. It is possibly the most popular type of tune within traditional dance music and can be danced to as a solo or group stepdance. It arrived in Ireland from Scotland during the late eighteenth century and many of the reels in the Irish repertoire are variations of the Scottish reels. The jig was popular in the late seventeenth-century Ireland and exists in four different types, the most common of which is the double jig. Other types are the single jig, the slide and the slip jig. Many of the jig tunes date from the eighteenth and nineteenth centuries. The double jig is in 6/8 time and is characterized by quavers grouped in threes, with a the final bar of a section ending with a crotchet so the an up-beat quaver will provide a link to the next part. The single jig can be in 6/8 or 12/8 time and differs from the double jig in that its rhythmic pattern is usually a crotchet followed by a quaver. This dance is associated with a particular soft-shoe solo dance in competition. The slide is a fast type of single jig which is normally danced to in set dancing in Cork and Kerry. The slip jig (also called the hop jig) is in 9/8 time (cf Donal Lunny’s April 3rd) and it differs from the other jigs in that its eight-bar sections are normally not repeated. It is also a solo competition dance, danced in soft shoes. The polka, which is also popular in Cork and Kerry, originated in Bohemia during the eighteenth century and spread throughout Europe, arriving in Ireland around the end of the nineteenth century. The polka is fast in 2/4 time with driving rhythms, sometimes in four-bar sections with the final bar of the repeat modified to lead to the next section. Vocal music The song tradition encompasses songs in both Irish and English. The style of unaccompanied singing in Irish is known as the ‘sean-nós’ tradition whilst the songs in English encompass a wide range of types and styles such as folk songs and ballads and are usually accompanied. There are also songs which mix both languages. The song tradition covers a wide range of topics: songs about love, emigration, war, politics, people, places and songs of Scottish or English origin as collected by Hugh Shields in his Study of the song tradition in Magilligan (North Co L’Derry). Songs of the People by Sam Henry is a collection of songs from the locality around Coleraine (originally a series of newspaper articles). The term sean-nós literally means ‘old style’ and, as in the dance music, there are also regional styles of sean-nós singing, particularly in relation to the Donegal, Connemara and Munster. Apart from the regional dialects of these areas, the style of singing varies in relation to the amount of vocal ornamentation used by the singer, with Donegal having the least ornamentation, Connemara, the most and Muster somewhere in between. Traditional singing in English is generally less ornamented.

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The harping tradition The Irish harping tradition is different from other elements of Irish music in that it was an aristocratic art tradition requiring much skill and training. Its patrons, up to the sixteenth century were the old Irish and English aristocratic families, each of which would have had their own harper. After that time the fortunes of the old established families declined and the harpers were forced to become itinerant minstrels. The need to appeal to a wider audience resulted in a change of harping style and many harpers were influenced by Italian baroque music which was popular in Ireland during the seventeenth and eighteenth centuries. Elements of the Baroque style were assimilated into the music of harpers like Turlough O’Carolan (1670-1738) who is considered to be the last of the great Irish ‘bards’. Much of the present-day repertoire of Irish harp music is accredited to O’Carolan. One of his most popular pieces is known as O’Carolan’s Concerto. Edward Bunting was an organist who, at the age of nineteen, was employed to notate the music of the ageing harpers at the Belfast harp Festival in 1792. He was so taken with the tradition that he continued to collect and publish Irish music throughout his lifetime. A further reason for the decline in harping was the instrument itself which was capable of playing in one key only and was unable to address the increasing chromaticism of Western art music. The instrument had fallen into disuse by the end of the nineteenth century and was replaced by the neo-Irish harp which was modeled on the concert harp. Although it does not have pedals, it is possible to raise the pitch of each string by a semitone through the use of a lever at the top of the string. Also, the wire strings of the old harp (plucked with the fingernails) were replaced by gut strings plucked by the fleshy tips of the fingers. Ornamentation in Irish Traditional Music Irish traditional music is essentially melodic and depends, to a large extent, on individual creativity. This creativity is frequently achieved through the use of ornamentation to embellish the melodic line in ways which become assimilated into the performances of individual musicians to create recognisable styles and influences. While the different types of ornamentation remain basically unchanged, the use of ornamentation will vary from person to person and across time and place. Since Irish traditional music exists as an aural tradition, ornamentation is not considered to exist as a separate element to be applied to a basic tune. New tunes will be acquired with some form of existing ornamentation which may be modified to suit the musician’s own particular style and many musicians will not be either willing or able to attach labels to their musical embellishments. The concept of ornamentation applies both to instrumental music and to the unaccompanied singing in the sean nós tradition. Some of the terminology applied to ornamentation within the Irish musical tradition is similar to that used within the classical Western tradition, for example, grace notes, double stopping and triplet.

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A grace note, in its simplest form, is a single note which is used to ornament and accent a note of the melody, and can be played above or below the melody note. The grace note is also used in its double form where the melody note is played before the grace note. The idea of the grace note is further classified into the ‘pat’ or ‘tip’ - a lower grace note sounded between two notes of the same pitch, and the ‘cut’ - an upper grace note sounded between two notes of the same pitch. Double stopping is a term associated with string playing and means the same as in the classical music where two or more strings are sounded at the same time. It can be seen that this technique will produce a harmonic element into the melodic line when it is used mainly at the ends of phrases. The technique is also used by accordion and concertina players. The triplet is a method of ornamentation which is common across all instruments and styles and is a replication of its use in classical music, that is, three notes, usually moving by step upwards or downwards, which are played to the value of a single beat. Other forms of ornamentation include the cran(n), the roll, and the treble. Cran(n) is an Irish word with diverse meanings such as tree, rod, measure and step in dancing. It is a particular form of ornamentation used by uilleann pipers which is often imitated by tin whistle, fiddle, flute concertina and accordion players with varying degrees of success. It involves the alternation of different grace notes with the melody note to the value of the single beat and is used to ornament the low D or E on the chanter of the uilleann pipes. The roll is one of the most popular forms of ornamentation for all instruments, and exists as a long roll and a short roll and is related to the mordent in classical music. In each case, a single melody note is being ornamented. The value of the long roll is equivalent to the dotted crotchet where three repetitions of the melody note are separated firstly by an upper grace note and then by a lower grace note. The first note is held longer and the remaining four notes played quickly within the remaining value of the dotted crotchet. The short roll has the value of a crotchet and starts with an upper grace note followed by the melody note, then a lower grace note followed by the melody note. The treble is similar to the triplet where a longer note, usually a crotchet is divided into three shorter notes, not necessarily of the same value. It is a type of ornamentation favoured by fiddle players in the North, executed through the use of short accented bow strokes. Like instrumental music, the diversity of technique in sean nós singing reflects both regional differences and personal preferences. The techniques of melodic ornamentation are also found in sean nós singing and to these is added the technique of varying intervals between specific notes of a melody. Rhythmic variation can also be used to embellish a song and variation of both melody and rhythm can occur within different verses of the song as well as between different performances of the same song by the same singer. At all times and in all cases, the traditional musician uses ornamentation for an expressive purpose rather than as a showcase for performing technique.

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Instruments of Irish Traditional music The major melody instruments used in present-day traditional music sessions are tin whistle, flute, fiddle, uilleann pipes, accordion, melodeon, concertina, banjo, harp, and sometimes, mandolin and harmonica. Any combination of these might be accompanied by guitar, bouzouki, piano/keyboards, drumkit and woodblock (in bands) bodhran and sometimes, spoons or bones. The use of African, Asian and Arabic instruments is also becoming more popular (cf Donal Lunny’s April 3rd). The tin whistle is probably the most popular instrument for introducing young people to traditional music. Although whistle-like instruments made of bone have been discovered in various archeological digs, the present-day instrument dates from the nineteenth century. It is made of metal and is available in different sizes and, therefore, different pitches, the highest and lowest being D whistles which are an octave apart. The flute which is most commonly used in traditional music is an eighteenth century import and although it was sometimes played in traditional music at the end of the eighteenth century, it was not until the latter part of the nineteenth century that it became a common instrument. At that time it was rarely, if ever, used to accompany dance. The most common type of flute is the wooden ‘simple system’ flute which is basically a tube closed at one end with six finger holes, a mouth hole (embouchure) and some keys which can provide additional notes. The fiddle is a generic name for a stringed instrument played with a bow. It is the same instrument as is used in ‘classical’ music but, in keeping with the restricted range of notes in traditional tunes, the fiddler rarely moves beyond first position playing. There may also be differences in the ways in which traditional players hold their instruments and bows and these can differ considerably from the classical player. The uilleann pipes are thought to have evolved from the old Irish war pipes around the beginning of the eighteenth century. The uilleann meaning ‘elbow’ pipes consists of a bag, bellows (for filling the bag with air), chanter (with finger holes to produce the melody), drones and regulators which can be used to create harmony to accompany the melody. The chanter and regulators have double reeds whilst the drones have a single reed. A right-handed player sits with the bag under the left arm. The bag is linked to the bellows under the player’s right arm so that s/he is simultaneously pumping with the right arm, squeezing with the left arm and using the fingers of both hands to play the melody on the chanter which rests on the right knee while the drones and regulators sit across the top of the player’s legs. The accordion exists in two main types of instrument: the button accordion and the piano accordion. The button accordion is a ‘single action’ instrument where two different notes can be sounded by pressing or drawing the bellows whilst pressing a single key. The piano accordion is a ‘single’ action instrument which produces the same note on the press and draw of the bellows. This makes it more cumbersome when playing dance music.

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The melodeon is an earlier, simpler form of accordion. It has ten keys which provide a range of twenty notes (two notes - press and draw – on each button). It also has two ‘spoon-shaped’ keys which can provide a simple bass accompaniment. Like the accordion the concertina (also known as the squeeze-box) exists in two main forms: single action instruments and double action instruments. The double action instrument is most commonly used and is recognizable by its hexagonal shape. The instrument has three rows of five buttons on each side with the melody notes divided up between the two hands. The banjo may have been introduced to Ireland around the end of the nineteenth century by the black-faced minstrel shows which toured Ireland just before the famine. (Percy French played banjo in such shows around 1880). Steel strings were invented at the beginning of the twentieth century and this, along with influences from mandolin players, including the use of the plectrum, encouraged players to experiment, also in terms of tuning the banjo in fifths to the notes GDAE (like the fiddle/violin and mandolin. The bouzouki has eight metal strings and is played like a guitar with up to twenty-six frets. It is used mostly for accompaniment. The Scots-Irish tradition The links between Ulster and Scotland are historically strong with both countries sharing the Celtic culture in which poets and musicians moved freely between both countries. Following the plantation of Ulster in the seventeenth century the influence of the Lowland Scots became an important part of everyday music-making, for example, the concept of the narrative ballad which differed from the non-narrative Gaelic songs. Many ballads are common to both the Irish and Scottish repertoires. Instrumental music shared by Ulster and Scotland is particularly evident in the fiddle music of Donegal and the on-going musical exchanges have been developed by the seasonal workers who would migrate to Scotland to find work during the Winter months. The influence of Scottish music is particularly apparent in the reels and strathspeys which became popular in Donegal from the end of the nineteenth century. One example of a reel common to both repertoires is Rakish Paddy which is known as Cabair Féigh in Scotland. Another type of Scottish tune which is popular in Donegal is the ‘highland’. In common time and characterized by the use of dotted rhythms, the highland is often based on existing strathspey melodies. Further Scottish influences can be found in the competitive pipe band tradition with bands which have achieved international status. The Anglo-Irish Tradition Just as the Scots-Irish tradition is represented through the instrumental dance music, so the Anglo-Irish tradition is best represented by the range of ballads and folk songs with English words, often set to old Irish melodies. Some of the best examples are to be found in ‘Moore’s Irish Melodies’ with songs such as The Meeting of the Waters,

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Oft in the Stilly Night, The Snowy-Breasted Pearl etc. Additionally, Ulster has its own Anglo-Irish tradition with songs such as My Lagan Love, Kitty of Coleraine, The Londonderry Air, The Green Glens of Antrim, The Star of the County Down etc. many of these are part of the Victorian Parlour-Song tradition. The Anglo-Irish tradition of song-writing is also reflected in the songs of Percy French and, in more recent times, those of Mary Black, Christy Moore, Paul Brady, Brian Kennedy etc. Local songs and singing games As in the English tradition, many songs are also associated with street and other games played by children, for example, I’ll tell me Ma, My Aunt Jane etc. Students could be encouraged to do some research into local songs and singing games and use these as a basis for performing and composing activities. Narrative songs Ballads and other songs in English have provided not only a means of celebrating people and places, but also a means of remembering, and sometimes celebrating, events which have significant historical meaning for different communities. Students should be helped to understand that, whilst language may be political, the melody, of itself, has no extraneous meaning other than the emotion engendered by the words; also, that the same melody may have different sets of words. The Band Tradition The band tradition covers a range of popular instruments, including flute bands, pipe bands, accordion bands, brass and wind bands. The tradition of marching bands is international, but, in the context of Northern Ireland, it can also assume political as well as cultural significance. Many of the bands are registered as members of the Northern Ireland Bands Association and participate in local, national and often, international competitions. The flute band tradition is more indigenous to Northern Ireland whereas the other types of bands tend to be representative of a much wider international musical culture. Flute bands The flute band originates from the eighteenth century military band. The Irish Volunteers, founded in the late 1770s during the American War of Independence, modelled themselves on the British Army and adopted the fife and drum bands. By the late nineteenth century the small flute had replaced the fife and every district through the province had its own flute band that paraded at either the Orange or Hibernian demonstrations. It is more than likely that the flute became a popular instrument in traditional music-making through its use in the flute band. In more recent times, the marching flute band has become more associated with Protestant culture and has developed into two distinct types of band.

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The First Flute band uses the small B flat flute which has a simple system of fingering, with one or more keys, accompanied by snare drums and a bass drum. These bands play the melody, usually in unison, with a small compliment of drums, and are frequently involved in playing in band competitions. In more recent times some marching flute bands that are not competition-orientated, have developed a reputation for a more ‘energetic’ style of playing and more prominent drumming. It is interesting to note that the music played by such bands attains its emotive impact through association rather than through any intrinsic meaning within the music itself. The Part band is more ambitious in its use of different sized flutes (from B flat bass to B flat first flute). Such bands play arrangements, fully scored in the brass band style, which are often made by their conductors. Their repertoire often includes arrangements of ‘classical’ music. Some flute bands have a very high level of skill and musicianship, and play at international championship level, for example, Ballygowan F B, Ballywalter F B, Ballyclare F B, Ballylone F B, Ravenhill F B, Hamilton F B and Hunter Moore memorial F B. Pipe bands Pipe bands are another aspect of the Scots-Irish tradition. The instrument of the pipe band is the highland bagpipe which was originally connected to the clan system in Scotland. With the formation of the Scots regiments in the British army it was adopted by the military during the late eighteenth century. The marching pipe bands are modelled on the bands of the Scots regiments and are closely associated with competitions at both national and international levels. Whilst the art music of the bagpipe is called ceol mór (big music) or piobaireachd (normally played by a solo piper) the music of the pipe band is called ceol beag (little music) and normally consists of marches, reels, jigs and strathspeys. The highland pipes and their standardized printed music repertoire have now become the standard marching band instrument within Ireland and across continents where affiliation with Scotland exists. There is a Northern Ireland branch of the Royal Scottish Pipe Band Association with over ninety bands registered as members. There is also an Irish Pipe Band Association with all bands participating across the various competitions which operate at a range of levels. Unlike the other band competitions which focus primarily on ensemble playing, the pipe band competitions which run each Saturday from early June to late August, also include competitive elements for drumming and for Drum majors. One of the most successful pipe bands which has achieved world championship status is the Field Marshall Montgomery Pipe Band. Other successful bands include McNeillstown P B, Upper Crossgar P B, Cullybackey P B, Tamlaght O’Crilly P B and Quinn Memorial P B, but most areas across Northern Ireland will have access to a local pipe band.

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Accordion bands The accordion, like the flute, is also one of the instruments used in traditional music. There are, however, many different types of accordions and this is reflected in the diverse types of band and accordion orchestra. The most popular instrument in the accordion marching band is the two row button accordion, mainly because the instrument is light and, therefore, easy to carry. However, bands are also likely to include instruments with up to five rows of buttons or even piano accordions. Accordion bands and orchestras also participate in competitions playing specially composed and arranged music from the classical repertoire. Some examples of accordion bands are: Miller’s Hill A B, Dunloy A B, Kircubbin A B, Eglish A B and Blaris A B. Brass bands The brass band tradition is modelled on that of the North of England where brass band playing was closely associated with the coal-mining industry. There is a wide range of music specially composed and arranged for brass bands, frequently by well-known conductors. Although the senior brass bands are based in England, prominent Northern Ireland bands in competition include Belfast Laganvale Band, First Old Boys, Fifty-fifth Old Boys, CWA Brass, Murley Silver Band and Strabane Concert Brass. The brass band usually has about twenty-four players. The instruments which are included in a brass band are normally:

• Cornets (one in B flat the ‘soprano’ and six in E flat); • Horns (three flügelhorns in B flat, three alto saxhorns in E flat - called ‘horns’,

two tenor saxhorns in B flat - called ‘baritones’); • Trombones (two tenor trombones and one bass trombone); • Tubas (two tenor tubas in B flat - called ‘euphoniums’, two bass tubas in E flat

- called ‘E flat basses’, two bass tubas in B flat - called ‘B flat basses’; • Percussion section (snare drums, bass drums and cymbals).

Wind/Concert bands These bands are modelled on the military band and are declining in numbers in Northern Ireland, despite the fact that there are many school and ELB wind bands, with a few school bands being members of the Northern Ireland Bands Association. Two of the adult concert bands are Tullylish Concert Band (Banbridge) and St Catherine’s (Newry). Composers such as Vaughan Williams have arranged and composed music for wind band, for example, his ‘English Folk Song Suite’.

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Céilí bands Unlike the other bands the céilí band is a dance band. The first céilí band came into being around 1926 but it wasn’t until the 1940s and 1950s that the movement became fully developed with the introduction of competitions under the aegis of Comhaltas Ceoltóirí Éireann. The classic formation of the céilí band usually consists of a number of fiddles and flutes, accordion, banjo, concertina, piano and drums and has between three and ten members. An important performance context for many céilí bands is the competitions which culminate in the All-Ireland Fleadh Cheoil each year. External musical influences It could be argued that there is no ‘pure’ musical tradition in Ireland which can be traced back as an unchanging aspect of musical life, for music not only reflects culture but is also shaped by new and changing contexts and environments. One obvious aspect of change relates to instruments, where, apart from the uilleann pipes and the bodhrán all other instruments are imports to meet perceived needs. For example, the accordion originated in Austria and became popular in Ireland because it was perceived as a suitable instrument for accompanying set dances. It, like many other instruments, may originally have been brought home from England or Scotland by migrant workers. Similarly, the flutes used in Irish traditional music are English nineteenth century instruments, originally developed for the performance of classical music whilst the fiddles are Italian instruments which probably arrived in the eighteenth century. Much of what is now labelled ‘traditional dance music’ is the result of assimilation and adaption, during the nineteenth century, of mostly Scottish, English and classical influences into the domestic music of rural communities. During the second half of the twentieth century the effects of recording and other technologies has had a huge impact on traditional music, in one way by making it available across the world, but in another, by providing greater access to other world musics and musical styles. At a local level, the stylistic differences in performance between different regions has been somewhat eroded. Musicians can select those elements of different styles which they find appealing and adapt them to form their own personal styles. This has resulted in different regional styles being heard in any one place. Classical influences Seán Ó Riada was a classical composer with a background as a jazz pianist who was very interested in Irish traditional music. He established a band, ‘Ceoltóírí Cualann’ based on the idea of the jazz group where the musicians would play together and then feature as soloists at different times within the piece. His instrumentalists also performed in changing combinations to produce different textures. His intention was to create a new Irish ‘classical’ music. This group eventually reformed as ‘the Chieftains without Ó Riada and still retain their distinctive style of performance which places dance music beyond the context of the dance itself.

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More recently, Mícheál Ó Súilleabháin has become well-known for his fusion of traditional and classical elements. He reproduces fiddle techniques and ornamentation very effectively on the piano, for example, the triplet achieved on a single note. An example of Ó Súilleabháin’s approach is Oileán/Island, a work for traditional flute and chamber orchestra in the concerto style. Another work, Idir Eatharu/ Between Worlds is based on an English folk song tune, Jockey to the Fair which became was assimilated into Irish traditional music as a single jig tune. Examples of other works which combine traditional and classical instruments and idioms are Shaun Davy’s Brendan Voyage (a suite for uilleann pipes and orchestra) and Siege of Derry Symphony (pipe band and orchestra). In addition, composers such as Sir Hamilton Harty whose main interests were classical, sometimes based movements or complete compositions on Irish tunes and/or folklore, for example, Harty’s Irish Symphony and Variations on a Dublin Air. The influence of World Musics In recent times different world musics and ethnic traditions have influenced music-making in Ireland. One of the first influences was that of American music, in particular ‘rock’ music, reflected in the amplification of instruments and the introduction of a ‘heavy beat’ as exemplified by groups such as Moving Hearts, the Waterboys, Horslips, Thin Lizzy etc. The interest in African and other Eastern sounds continues to grow and influence Irish musicians as they seek to expand the boundaries of their music-making. In Northern Ireland the group Different Drums fuses the indigenous drums (lambeg and bodhran) and music of Ireland and Scotland with African drums and rhythms from a range of sources and styles to create new and exciting forms of music-making.