Department of Education and Professional Studies/Irish World Academy of Music and Dance

Course Title: Professional Master of Education (Music)

Course Director: Jean Downey

MU6031
Module Coordinator: Jean Downey
Assignment: Junior and Leaving Certificate Essay
Due Date: November 30th 2017

Student ID No. 13159232

Student name: Niamh Kelly

Document name: MU6031_Niamh Kelly_13159232_ Junior and Leaving Certificate Essay

 Junior Certificate and Leaving Certificate Music Curricula

Practical Skills MU6031 Essay

The Junior Certificate

The last Chief Examiners Report (JC Music, C.E.R.) in 2012 showed that the
percentage of students taking music for the Junior Certificate (JC) has risen each year from
2007 until 2012 (p.5). There also has been at least eight out of ten students taking higher level
the majority of these years - compared to about five out of ten in mathematics (JC Maths,
C.E.R., 2015, p.6). Music has the highest ratio of higher level candidates out of all JC
subjects, which is a fantastic encouragement for students to take up music in school (JC
Music C.E.R., 2012, p.5).

For JC Music, it is recommended that students take at least three forty-minute classes
per week throughout the three years. Teachers are permitted to dedicate up to one third of
their class hours on instrumental teaching (JC Guidelines, p.5). Learning to play a musical
instrument and to read music to a high standard can help students to excel in all areas of the
music curriculum. The syllabus is designed to suit an entire range of student aptitude and
ability (JC Music Syllabus, p.3). Teachers and students have a huge variety in choices
within the curriculum to tailor to their taste and interests. It is possible for any pupil to take
music for JC and do very well - even if they have never had lessons outside of school.

Aims

The aims of the JC music curriculum involve the development of 1. personality

through creative involvement, 2. musical sensitivity (critical and imaginative faculties) 3.
social awareness (an understanding of the artistic views of others) and 4. that all pupils can
engage and further their learning of music acquired in primary school in a gratifying way. As
a person who studied music in an Irish school at JC level, I can say that only some of these
aims were achieved for me. Unfortunately; many teachers are preoccupied with teaching to
the test of course they want their students to do well in the state examinations. However,
this means that many of these brilliant aims are forgotten. If teachers taught the syllabus with
the four aims at the forefront, it would make learning music in school for a highly memorable
and exciting experience. In my experience of JC music, I did not have many opportunities to
be creative in the sense of generating original work or using my imagination (composition
was simply an exercise). Groupwork and peer learning were limited. We did not get to do a
great deal of ensemble playing so most of my performing skills were developed with a
private teacher.

The Syllabus

The JC is split into three components; performing, composing and listening. The
performing exam is usually held in March and takes ten to fifteen minutes (depending on the
level). Candidates can perform solo or as an ensemble in a variety of genres. School and
classroom-based musical performances or pieces learned through private tuition are all
accepted. There is no hierarchy in these choices; all are considered of equal value. (In the
past, classical and solo performances would have been considered superior). This promotes
extra-curricular activities such as school musicals, bands and choir, as the fruit of its labour
can be used not only for entertainment and leisure, but in a state examination setting too.
Students are only expected to perform at a standard achievable in the three years of the JC; so
even if a student has never studied music beforehand, they are fully capable to take it up as a
subject in secondary school. HL students have the option of presenting one HL skill or two
OL skills to be examined; promoting a diversity in musical ability. The majority choose the
latter option (JC Music C.E.R. 2012, p. 23). Students with special educational needs can
submit a recording of their exam pieces if they wish. This helps to make the subject
accessible for a range of students.

Performing

For the performance exam; there are seven categories to choose from. The first
category (C1) is solo singing; students at OL must sing two songs and HL students sing four.
Diction, breath control, an appropriate key and intonation are important to receive a good
result (CEN, 2012). They should show a diversity in style and technical ability and provide a
live or pre-recorded accompaniment where appropriate. This is interesting because it is often
a bigger challenge to sing unaccompanied; keeping the beat and staying in tune. Singing
without accompaniment also leaves the performer more vulnerable; they must be very
confident to sing without backing. This category is one of the preferred categories (CEN,
2012).

The second and third categories (C2 and C3) involve performing as a member or a
group. This includes performing one piece in a recognised choir, orchestra or military band
(C2) or two pieces in a vocal or instrumental ensembles (C3). To do well in this category, it is
important that the examined students contribution can be heard and that their sound is not
shielded by the other performers. They also must be able to show an understanding of the
notational theory related to the genre. However, performing a skill in one of these categories
cannot constitute a full HL exam. HL students must perform another skill at OL standard. It
would be fantastic to make an ensemble performance a mandatory constituent of the practical
exam. Many music students make it through school not fully experiencing performing in a
group. They may have had one-on-one tuition for years and be technically very competent,
but their music practise has remained a very private affair between the teacher, the student
and perhaps a grade examiner once a year. They are missing out on an incredible opportunity
to develop many skills through group performance; peer learning, social and emotional skills,
musicianship (listening to others and awareness of ones own role in the ensemble). They
would also learn about other instruments or vocal parts experientially. Although not all
students may have the opportunity to be part of an organised musical group; making group
performance necessary as part of the exam would encourage duets, trios or bands within the
classroom or school. These collaborations may continue well after the JC practical exams are
finished (and encourage the creation of original music, at that!) This would help to achieve all
of the aims of the syllabus; especially one and three regarding development of personality
through creative involvement and social awareness. On top of that, if students go on to pursue
music performance professionally, they are likely to do so in a band setting and so would
have a good grounding in collaborative work.

The fourth category is performing solo on a classical instrument (OL must play two
pieces, HL must play four). Tone quality, phrasing, note placement and expression through
dynamics enhance the performance quality (JC Music, C.E.R. 2012, p.7). This section also
includes contemporary instruments such as synthesizers and musical computer systems. A list
of suggested pieces is provided for various instruments in the syllabus (p.29). The fifth
category, which is possibly the most demanding category, involves performing on traditional
Irish instruments. OL students must perform three tunes; one reel, one slow air and an
additional tune in their style of choice. HL students have to prepare thirteen tunes from a vast
selection of styles; from double reels and slow airs to hornpipes and more. They will be asked
to play six tunes of these tunes (of the examiners choice). They also must be proficient at
performing a multitude of ornamental techniques. It is custom that traditional musicians take
ownership of tunes by decorating them with ornamentation it is interesting that this is the
only evidence of real creativity being expected in any of the performance categories so far. It
is also highly unlikely that a student would be able to meet the demands of this category in
class without private tuition. For this reason, students that wish to play traditional music often
are examined under the final category (number seven), which encompasses all other genres of
music that are not specified in other categories.

Category six involves the highest level of creativity: improvisation. Students must
provide in advance two themes for their prepared improvisation as well as the style under
which they intend to improvise. There is also an unprepared component to the examination;
students would be given a line of music under each of the three headings; rhythm, melody
and harmony. OL students must improvise under one and HL must do three. This is a
fantastic opportunity for music students to develop their practical knowledge of theory and
composition through experimentation. Although in most cases, students would have to be
strong musicians before entering secondary school or receive extra tuition to be at a standard
to perform in this category, as most teachers unfortunately do not teach this. This category
highly promotes the success of aim two; using imaginative and creative faculties more so
than any other category. Improvisation should be something every student gets to experiment
with in class. Most music students would not know how to improvise if asked and would find
the task quite daunting even professional musicians do. Research has shown that as people
go through adolescence, their brains are constantly trimming unused pathways. Therefore,
their capacity for improvisation and creativity as an adult is weakened if it is not practiced
throughout childhood and adolescence (Chappell, 1999, p.255). This category is the least
popular and it is likely because few teachers encourage or acknowledge it as a practise (CEN,
p. 28).

There is also an unprepared test in which all students must either sight read/sing or
complete an aural memory test they hear a melody and must either repeat the melody
through singing or the rhythm through clapping. They hear it twice; perform it, hear it once
more and perform it a second time. They are awarded with the marks of their better
performance. Aural rhythm memory tends to be the most popular (JC Music C.E.R. 2012, p.
28). All of these skills are highly important for musicianship; especially sight reading and
singing. I think HL students should prepare for all of these tests and perhaps the examiner
would choose one on the day. That way, proficiency in all would be assured. Unfortunately,
rhythm sight-reading is not an option for the unprepared test, which is a bit unfair for
percussion instrumentalists.
 The performance exam could be implemented differently. The setting of the exam is
quite formal; the only audience member is the assessor and the environment is very exam-
like. It would be fantastic if it could be carried out with the atmosphere of a lunchtime
concert; students could invite a small audience for support and get a true performing
experience. Then it could be viewed as more of a positive event. Of course, the unprepared
tests could be done separately. As well as that, there are so many milestones musicians go
through while learning a new piece, but it is only the end-product that gets graded in the state
examinations. Students are often nervous and do not perform to their best ability. Perhaps for
some marks the students could submit a journal of their process and practise of the piece.
They could write about the new techniques they learned, some research of the composer and
the piece itself and their reasoning for choosing it. This would provide an opportunity for
students to engage with their own artistic views of music. How can they appreciate others
views if they have not established their own? (This would contribute to the development of
aim three). This would also ensure that students select music that they enjoy.

The Written Exam:

The written portion of the JC examination composing, listening and general study
is held in June and students are given two hours to complete it. In the composing section,
students have a choice between answering questions about triads, writing a melodic phrase
and chord progression OR writing a free composition. It is recommended to learn melody,
chord progressions and cadences separately (best suited to this age group) or very advanced
students can apply them altogether in the free composition option (JC Guidelines, p. 20).
They are expected to be able to compose in classical, popular and traditional styles. They
must learn to compose in keys with up to two sharps or flats and use rhythmic values from
semibreve down to quaver (including dotted rhythms) as well as their rest symbols. They
must be able to write in common time signatures. All of the skills learned through this
essential activity feed into the others; creating a more competent composer-performer-
listener. The knowledge of the relationship between sound and symbol is strengthened as
students practise composition.

Triads

Students must have an ability to recognise major and minor triads and set them to
given points in a song. This type of activity could be strengthened in a practical way by the
students learning the melody and singing it to the teacher playing chords on a guitar. The
teacher could demonstrate playing the chords at later or earlier points in the melody, so the
students could hear why holding or changing the chord was necessary. This would help
students who do not play accompaniment instruments to have a better understanding.
Students should be encouraged to be aware of outlined chords when singing, playing and
listening (JC Guidelines, p.24). This would serve for a more integrated approach to learning.
When I learned how to set chords to melody in school, I did not hear the options or hear how
a chord was weak or inappropriate, it was taught very mathematically. I think learning in an
experiential way would be hugely beneficial. When singing songs in class, it would be
interesting for students to analyse the sheet music and see if there are alternative chords to
suit parts of the melody. The teacher could play these variations while the students sing and
could decide which chord they preferred. This would be very creative, and the students would
have their very own variation!

Melody Writing

Among the remaining composition questions are many options for students. In
melody writing, the first option is setting music to text (with a given opening). This requires a
knowledge and awareness of natural rhythm and accentuation in speech. A good approach to
this is saying the sentence out loud and deciphering which syllables are emphasised naturally
(JC Guidelines, p. 22). To notate this emphasis musically, students must understand what
beats are more important in given time signatures: for example, beats one and three in 4|4
time. They can also use longer notes or dotted rhythms to bring out emphasised words. This
activity also requires creativity and imagination: knowing how to make the lyrics come to life
by reflecting them through music. They must have a good theoretical knowledge in order to
blend the melody, position the words in correspondence to their notes and bring the piece to a
close. Instead of this option at OL, students set can a melody to a given rhythm. The other
two melody writing options involve creating a phrase based on a given melodic opening or
answering a melodic phrase. Students must be able to recognise the rhythmic and chordal
patterns in the given music in order to continue in its style. To do well in this; students cannot
be too safe; they should use some appropriate leaps and a range of notes. There must be a
sense of direction towards a point of climax and a winding down for an effective ending.

Chord Progressions (HL only)

 HL students must be able to use chords I, II, IV, V and VI with appropriate
progressions in major and minor keys with an understanding of cadences. Students must have
a good grasp of treble and bass clefs to succeed in this area. There are three options for this
question as well; students can set simple melody and bass motifs within given cadences for
keyboard or choral music (some rhythms are provided here). Or, they can write backing
chords for a given melody. Students must be aware of passing notes here. In all options, the
majority of the music is provided with blanks to be filled by the candidate.

Free Composition (HL Only)

As an alternative to the previous composition questions, HL students can choose the

free composition option. They may set a melody and accompaniment to a provided verse,
choosing instrumentation. They can also write an instrumental composition inspired by a
provided verse. For example, if the lyrics are sad they may write in a minor key. This allows
for lots of creativity. There are many acceptable notational styles and approaches for this
option. This is a fantastic option for students with a flair for composition and can prepare
them for doing the LC elective if they chose to later on.

As outlined, there are many options within the composition segment of the exam,
however, students are often only taught how to answer one option per question. There are
pros and cons to this. On one hand, students will have more practise in the question that they
will answer and likely get a better result. On the other, they are missing out on valuable skills
that the remaining questions demand (that may also prepare them for LC). Of course, it all
depends on the ability and pace of the class, but perhaps teaching the other questions, even
briefly, should be considered.

Listening Skills:

The aim of this essential activity is for students to be able to respond in musically
perceptive ways to various songs and works that are both prepared and unprepared (JC
Syllabus, p.3). The pupils will be trained in aural skills and music notation to a level that they
can perceive and illustrate the relationship between sound and symbol (JC Syllabus, p.3).
The syllabus works to train the students ears and minds to listen to musical works with
purpose; to identify and categorise voices and instruments, recognise intervals and rhythmic
patterns, to identify form, texture, timbre, mood, structure, tonality, time signatures (both
duple and triple) and other stylistic features. They must have an awareness of the musical
purpose of these elements. This develops a students ability to discuss music and appreciate
music. In the old syllabus there was more of a focus on musical history, its periods and
composers (JC Guidelines, p.33). This was changed to accommodate a more experiential
means of studying music; which will aid pupils in the study of its history and recognition of
musical periods through listening at a later stage. The JC Guidelines recommend directed
discussions and making musical comparisons between pieces. Also to provide a list of
musical feature options while listening to excerpts (JC Guidelines, p. 36). This is hugely
important especially with the emphasis nowadays in Ireland on supporting literacy
(Department of Education and Skills, 2011). The terminology used to describe music can be
difficult and can lose pupils easily if they are not supported sufficiently.

In my experience, I was told what the features were (without understanding their
meaning) and memorised them. This goes against the whole notion of developing listening
skills this mode of teaching nurtures reliance rather than creating life-long, independent
learners. And unfortunately, it is all too common in Ireland. After the JC, I moved to Canada
to finish my final years of secondary school. It took me a long time to adjust to the school
system there I did terribly in my first year. I went from being a top student to just passing,
no matter how hard I tried. Reflecting on this now, in light of my experience in the
Professional Master of Education, I realise that it was because they have a much more
constructivist approach to teaching and learning over there. Much of the responsibility is
placed on the students for their own learning and research. This was something I had not
experienced before, and it took some time to get used to it.

To continue with the listening portion of the curriculum, students study eight set
songs from group A, B or C (depending on the year they will be examined); each song comes
from a specific genre. These vary from Irish songs and foreign folk songs to popular songs,
rounds and many more. Students learn about at least twelve further songs for special study
from these eight genres (one to a maximum of five from each). The variety of these styles
gives students a fantastic awareness of musical styles, different composers and the place of
music in historical settings. The listening component of the junior certificate is unique in
some respects to school curricula in other countries as well as private music tuition.
Chosen General Study, Irish Music, Set Works and Dictation

As the chosen general study, students will learn about music under one topic. Some
topics include day-to-day music, ethnic music (non-Irish) and modern art music. They must
know some songs and/or pieces and their composers as well as common features of the style.
The JC Guidelines suggest project-work as an approach to this part of the syllabus students
can choose their own topic with input and support from the teacher (p.42). This promotes
peer learning; this part of the syllabus is a great way to spark students interests in learning
about different styles of music there are so many! On top of that, candidates must know
about Irish music; its features, characteristics and instrumentation as well as history and
common dance metres. This is very important to have traditional music represented in the
syllabus for both national and international students alike. Culture and history is taught
through the music; strengthening Irish students sense of identity and teaching foreign
students more about their new home. Students must also undertake a detailed study of three
set works and study a further six chosen works (single movements; at least one from each of
six prescribed categories). The categories include dance movements, film music and
intermezzi from musicals. There are again many options to suit students and teachers
interests. They must have a knowledge of the composers, background and origin of these
works. This gives students experience of reading scores and an understanding of many
different instruments. OL JC students have a rhythmic dictation component and HL students
have a melodic dictation component. There are four bars in both cases, the first is provided
and they hear the phrase five times. This is a fantastic skill to build as a musician; it really
develops the students ear; it feeds into sight singing and composition in many ways.

The Leaving Certificate

The Leaving Certificates (LC) aims and objectives follow from the JC, with a
greater, in-depth study of the three essential activities; performing, listening and composing.
OL students are awarded double marks for the activity in which they score the highest. HL
students must choose a further elective in one of the three activities. Throughout the two
years, 180 hours is recommended with a minimum three hours of class per week. It is stressed
that students should be made aware of the relevance of the syllabus throughout the learning
experience; how music plays a part in society, history, culture, technology, society and many
more aspects of life (LC Syllabus, p.2). This is very important; the more people value music,
the more it will continue to grow in popularity and receive recognition and funding.

Performing

Students must perform to a standard achievable in the two years following from JC.
Group performances should contain no less than two parts (excluding accompaniment) unless
the melody is very challenging (e.g. in a plainchant piece). Under one skill, OL students must
prepare two songs or pieces and HL students must prepare three (or two pieces in two OL
skills totalling in four pieces). There are more options for the performance examination at LC
than there are at JC. There is a fantastic opportunity for advanced students to rehearse and
conduct a group for their practical exam. Vocal or instrumental ensembles in a variety of
genres is acceptable. It is recommended that the student works with the group for at least a
year. Shaping, tempo, eye contact and technique are examined. It is important that their
influence of the groups performance is apparent through their conducting. There is also an
unseen part to the exam which includes deciphering a score; identifying a rehearsal approach
as well as its musical and technical demands.

Students can also choose to do their performance exam through using music
technology. This involves inputting in real time or step time a (minimum) two-part musical
score, saving and recovering it. They also must be able to make edits to rhythm, pitch,
timbres and dynamics; it is vital that these change the music when played through the system.
And finally, all students must be able to print this music or provide a tape. HL students must
also must have created a pre-recorded accompaniment that they will perform to. Or they may
play two or more pieces of standard electronic music repertory. Nowadays, there are many
options to study music technology at third level, so this is a good basis for it.

The LC Improvisation category has a further option to JC; the additional heading of
Free improvisation under a given mood, visual or text stimulus (LC Syllabus, p.15). The
requirements are a bit fairer for Irish Traditional musicians in LC; they must play just as
many piece as other categories. For the HL Elective; students must present double the pieces
per activity, though they do not necessarily have to be of higher a standard. The vast majority
of students choose this as their elective (LC Music CER, p.3). Like in the JC, all students
must do one unprepared test. LC students have the additional option of an unprepared
improvisation.

Composition

The composition examination is ninety minutes. Composition is naturally more

challenging in the LC. Students must have a greater understanding of the bass clef, major and
minor keys and chord progressions; they are expected to compose much longer phrases. HL
students must be able to compose in keys of up to four sharps and flats (including minor), use
certain first inversions, chord V7 as well as modulate to the dominant key. They also need to
be able to compose in 6|8 time and use an upbeat. Students must have an awareness of non-
chord notes; passing and upper/lower auxiliary notes. Part A of the composition paper
involves melody writing. There is a similar choice to JC here with an added option of
composing to a given dance rhythm, metre or form (in the place of answering a given phrase).
(HL Composition Exam Paper, 2016, p.5). Part B is harmony writing. There are three
different choices for OL and HL students from which they answer one. HL is like a puzzle;
you are given one part: either the bass/descant, melody or chords and students must compose
the two missing pieces. In each case you are provided with a relatively full opening of one to
four bars. These options are fantastic for differentiated learning; some people may be stronger
at different aspects of composing, depending on their instrument. OLs choices include 1.
setting melody and base notes to given cadences. 2. Setting bass notes and chords at given
points and 3. Composing descant notes and chords at given points. In each case, two out of
every four bars are given; this is a great scaffold for students.

HL students can decide to present their composing elective as two short pieces in a
portfolio on top of the written composing exam. The pieces should be accompanied by a
written description and full notation (conventional or graphic). This allows for endless
creativity. As a second option, students may present their pieces through performance
(duration of approx. five minutes) instead of the written exam to make up the full marks.
They may approach their composition in a variety of ways; from avant-garde and popular to
traditional. Unfortunately, only a small number of students choose this option, but it could be
encouraged more.
Listening

All students must build upon their listening skills gained in JC through an in-depth
study of four prescribed works. Students should be able to identify structures such as binary
rondo and so on. HL candidates must be able to read music with semi-quavers as well as
compound time signatures. They also must be able to categorize various cadences. The LC
Guidelines suggest a packaged learning approach to this; providing students with structured
aims and guidance towards relevant research sources. They can fill out worksheets with key
information on the works to be learned and culminating the activity in a test (p. 24). This
activity puts responsibility on the students for their own learning; it is more of a constructivist
approach and could be used for other activities in the curriculum. Students must also continue
to learn about Irish music; they must be able to recognise idioms upon hearing, understand
influences on the genre and its context in modern day Ireland. HL students must learn about
its effect on the folk music of other cultures; particularly in North America. There is
surprisingly no dictation in the LC examination. It is such a great skill to have and to develop
so it is a shame it is not included. There are no set songs either.

For the very few students who pick listening as an elective, they will study a topic of
their choice from a variety of genres. There are suggestions in the syllabus; early jazz music
and music by contemporary Irish composers (p.25). They will study a variety of scores;
analyse the features, listen intently and appraise its repertory. It would be fantastic if students
were to perform a piece from its repertory as well even just for an in-class presentation. Self-
directed learning is a great methodology for listening elective students, which would give the
teacher time to work individually with students who needed it. Of course, planning must be in
place for this to be effective; having the resources in place and directed goals planned.

To conclude, the Junior and Leaving Certificate Music Syllabus covers a broad range
of skills which are highly relevant in shaping the well-rounded musician; the composer-
performer-listener. There are endless options to suit the needs, interests and strengths of the
students. There is also a lot of room for teachers in how they wish to teach the syllabus, but it
is important to make the students active agents in their learning.
Abbreviations
Category (C)
Chief Examiners Report: C.E.R.
Higher Elective: H.E.
Higher Level: H.L.
Junior Certificate: J.C.
Leaving Certificate: L.C.
Ordinary Level: O.L.
 Reference List and Bibliography

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