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

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76 Cambridge Pre-U Teacher Guide described above. A summary of the nature and extent of this guidance should be incorporated into the authentication form. Regular supervision is the essential basis on which teachers can be certain that the work submitted is that of the candidate who claims authorship, and in this sense, too, it is of vital importance. The Syllabus is intentionally vague about the issue of the duration of candidates’ compositions. One of the most important skills for a young composer to develop is that of judging how long a piece should be in relation to a song text, other materials or a structural outline given in the commissions. As a general rule, pieces should not be unduly long: an absolute maximum duration of approximately six minutes is suggested, for practical reasons as much as anything. On the other hand, compositions should not be excessively short: few student composers will be able to harness their ideas or their technique to produce music that emulates the brevity, complexity and compression of a Webern, for example (though it would seem absurd to suggest a duration long enough to mean that Webern would not be able to pass Pre-U Music!). Much depends on the nature of the music that a particular candidate composes. If it is relatively complex, a shorter duration will be expected; if it is quite simple, it might need to be longer. The examiners will take a flexible view of this issue, and will apply the Assessment Criteria equally to all compositions, irrespective of their duration. It is anticipated that, in most cases, compositions will be conceived for acoustic instruments and will be capable of being notated using traditional staff notation. Candidates should aim to ensure that their scores are as complete as possible, not only in terms of the notes but also in terms of dynamics, phrasing and expression markings. Scores may be handwritten, but will often be produced using a computer notation program such as Sibelius or Finale. If that is the case, care needs to be taken over the range of instrumental and vocal parts, since the MIDI sounds within the playback facility do not take account of the range and capabilities of acoustic instruments or of the human voice. For this reason, it is important that candidates should, whenever possible, have the opportunity to hear their music played live. This should be a significant part of learning to compose but it is often overlooked, especially now that it is so easy to form an impression of the sound of the music from a computer. The advice of instrumentalists about what aspects of the piece work well, and about possible ways of making a part more idiomatic, is invaluable, and well worth the extra time and trouble involved in setting up a workshop to play through the composition. Ideally this should be done before the piece is complete in every detail, so that there is time to make adjustments and revisions before it is submitted. The Syllabus provides the option of submitting an ‘Explanatory Document’ instead of a score. This option is permissible only in cases where the music is incapable of being conventionally notated. The examiners are willing to accept a reasonably wide range of notations, including Asian cipher notation and various forms of diagrammatic or graphic scores. In all such cases, however, an Explanatory Document should be provided. This document may take the form of a complete score using a different style of notation (e.g. cipher notation), a detailed graphic notation, a diagram, or a track sheet according to the nature of the music, together with a clear verbal description of (i) the process of composition and recording and (ii) the ways in which the notation, diagram or track sheet relate to the recording and how they are to be read and interpreted. Recordings submitted for this component must be on CDs, in a format which allows them to be played on standard domestic CD players. Recordings must not be submitted in any format that can be played only through a computer, nor in any format that requires particular software for playback (e.g. iTunes, Windows Media). www.cie.org.uk/cambridgepreu
Component 43: Free Composition Cambridge Pre-U Teacher Guide Most of the observations made above in relation to Component 3, Section C apply equally to Component 43 and should be taken as part of the guidance for both components. They include the comments about teacher supervision and guidance and about the duration of compositions, bearing in mind the stipulation that the total quantity of work involved in Component 43 must be commensurate with its weighting (i.e. one quarter of that required for the whole Syllabus). They also include the encouragement of live performance as a significant aspect of the learning process. One important difference between Component 43 on the one hand and Component 3, Section C on the other is that in Component 43 all submitted compositions must be presented in some form of staff notation. Thus the only forms of music technology permitted here are (a) computer notation programs to generate the score and (b) sequenced recordings, which are permitted if it is not possible to record a live performance. Candidates who wish to compose music involving electro-acoustic sounds should take Component 44 rather than Component 43. Within those constraints there is no restriction on the style of music that candidates may compose; indeed, it is positively hoped that this component will stimulate as wide a range of different styles as possible. There is no provision for arrangements to be submitted in this component. The requirement for a written commentary on the two contrasting compositions, of course, goes beyond what is necessary for the commissioned composition. The intention of this requirement is that the commentary should act as a focus for considered reflection on the process of composing that is individual to each candidate and to each piece, based on the framework given in the Syllabus. Candidates may find it helpful to approach this framework with a number of questions in mind about each heading. These might include some or all of the following suggestions: A description of the expressive intention of each piece • • • • • What was my initial stimulus for each composition? Was it a musical idea (e.g. a tune, a chord, a rhythm, a technique)? Or was it an extra-musical idea (e.g. a descriptive title, a picture, a poem, a story)? Or was it something else (which would need to be explained)? How did I hope to express these stimuli at the start of the compositional process? An explanation of the ways in which contrast between the pieces has been achieved • • • • • In what ways do my compositions contrast with each other? Are they different in style? In which case, how would I describe their styles? Are they different in the forces they require? In which case, why did I choose to compose for these particular forces? Are they different in structure? In which case, where did my ideas about the structure of each piece originate? How would I describe the structure of each piece? Are they different in some other way (which would need to be explained)? www.cie.org.uk/cambridgepreu 77
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