The subject content is divided into the three components: Increasing independence to master a musical skill.An understanding of how to collaborate musically in performance and be able to apply musical skills to their own creative process.Knowledge of the fundamental theoretical principles of music and how these relate to a wide range of distinct musical traditions from throughout history and around the world.The ability to use technologies appropriately and appreciate and understand a wide range of musical contexts and styles.The ability to listen to music with increasing discrimination and awareness, to inform their practice as musicians.Opportunities to develop their vocal and/or instrumental fluency, accuracy and expression and musical terminology styles, genres and traditions.An ambitiously planned and broad musical learning experience.The gift of powerful musical knowledge.Our Music Curriculum will provide students with: Across all Key Stages students are taught and assessed using a holistic approach, strengthening their connection between listening, performance and composition. We encourage them to realise their creative instincts through sound and technology expand their aspirations through the provision and opportunities from our national and local music community understand a wide range of musical traditions and concepts throughout history and enrich the soul with the universal language of music so they can access unforgettable experiences. Through the Music Curriculum at Ridgewood School we use our specialist skills to equip our students with powerful musical knowledge. Special Educational Needs and Disabilities (SEND).The results indicate that musical contexts that are more contrasting on the surface, or more predictable in terms of motivic features and organization, facilitate the identification of motivic variations, whereas the overall formal development of the musical materials and their context over time disturbs the recognition of those variations. In Experiment 3, musicians identified variations of the models while listening to either version of Anthèmes. From these results, motivic models were selected for each category. In Experiment 2, participants provided dissimilarity ratings for these variations. In Experiment 1, participants freely classified motivic variations extracted from Anthèmes 1 representing different motivic categories. They contain clear categories of motivic materials, whose recognition can be studied within the natural contexts of the two versions. This piece exists in two versions: 1) solo violin, and 2) violin and electronics. We empirically investigate the effects of these three contextual aspects on the perceived similarity of motivic variations while listening to Boulez's Anthèmes. P revious research suggests that musical context affects the formation of similarity relations among motivic/thematic materials during listening, and that three contextual aspects, namely contrasts in surface features and the organization and development of the musical materials, shape the listening experience of complete works.
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