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The AQA GCSE Music Study Guide is a definitive study guide for the 'reformed' GCSE (9-1) specification - For exams 2018 onwards. This clear and concise guide covers all components of the GCSE: 'Performing', 'Composing' and 'Understanding Music'. This edition also contains full coverage of the study pieces for all four areas of study, gives background information and advice on answering questions on ‘unfamiliar’ repertoire, offers comprehensive support for 'Composing' tasks, gives advice on how to tackle 'Performing', explains what to expect in the exam and introduces the musical language, elements and contexts that AQA expects students to know. Author Andrew S. Coxon has been Head of Department in three secondary schools. He has been involved in examination work with one of the major examining boards for 36 years and has held senior posts at GCSE and A level.
AQA GCSE Music provides through coverage and a solid knowledge base for all aspects of the specification, developing students' understanding of musical elements and devices, conventions, processes, and contextual influences. Provides full coverage of the three strands of learning - the Western Classical tradition, popular music of the 20th and 21st centuries, and world music. Develop your students musical skills with a blend of printed, audio and online resources to provide thorough coverage and a solid knowledge base of all aspects of the specification - performing, composing and listening. Provides support for the main tasks of composition, performance and evaluation.
Beards and Texts explores the literary portrayal of beards in medieval German texts from the mid-twelfth to the early sixteenth centuries. It argues that as the pre-eminent symbol for masculinity the beard played a distinctive role throughout the Middle Ages in literary discussions of such major themes as majesty and humanity. At the same time beards served as an important point of reference in didactic poetry concerned with wisdom, teaching and learning, and in comedic texts that were designed to make their audiences laugh, not least by submitting various figure-types to the indignity of having their beards manhandled. Four main chapters each offer a reading of a work or poetic tradition of...
The GCSE Performance Pieces series provides exciting contemporary repertoire levelled specifically for GCSE performance examinations, accompanied by expert commentary to help your students prepare and achieve their potential with material they really want to play.
Writing the Uncanny sees some of the best contemporary authors explain what drew them to horror, ghost stories, folklore and beyond, and reveal how to craft unsettling fiction which resonates. An essential guide for both the casual reader and the aspiring writer of strange tales.
The Edexcel GCSE Music Study Guide presents all of the key information you will need to know for the written exam (Component 3) of the 9-1 specification – For exams First teaching 2018 onwards. It includes the most important facts about each of the eight set works, a test on each set work, tips on how to prepare for the exam, a guide to the elements of music, to help you prepare for the questions on ‘unfamiliar’ works, and a glossary of the technical terms you will need to learn. A definitive study guide for the 9–1 GCSE syllabus, this comprehensive guide supports all components of the GCSE: Performing, Composing and Appraising. This title also covers the full list of Set Works and suggested Wider Listening, provides tests and practice exam questions and includes advice and tips on how to do well in the written paper.
Phill Savidge is widely credited as being the main instigator of the Britpop music movement that swept the UK in the mid-1990s. Savidge was co-founder and head of legendary public relations company Savage & Best, the company that represented most of the artists associated with the scene, including Suede, Pulp, The Verve, Elastica, Kula Shaker, Spiritualized, Menswear, The Auteurs, and Black Box Recorder. Savidge suggests that Britpop came about "by accident" because he refused to represent any American bands. He subsequently ended up with an extremely accessible, media-friendly roster that "lived ’round the corner" and included the most exciting press-worthy acts of the era. His unique exp...
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