manual of syllabuses...musical instruments, as well as in singing, theory of music, musicianship,...

Manual of Syllabuses

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2019

Published by the Australian Music Examinations Board Ltd

AMEB Ltd. PO Box 12168 A’Beckett Street Melbourne, Victoria, 8006

ABN 27 102 374 587

© Copyright Australian Music Examinations Board, 2018

All rights reserved.

Apart from any fair dealing for the purposes of study, research, criticism or review as permitted by the Copyright Act, no part of this publication may be reproduced, stored in a retrieval system or transmitted in any form, or by any means electronic, mechanical, recording, photocopying or otherwise, without the prior written permission of the Publisher.

ISSN 0729-3569

Cover design Studio Alto Typesetting by Alice Graphics and AMEB Printed by Valiant Press

Contents

Foreword 4

Enquiries 5

Syllabus News 6

Regulations 6

Reference Books 10

SyllabusesSpeech and Performance Theory 13

Speech and Performance (Revised syllabus) 24

Drama and Communication (Revised syllabus) 54

Voice and Communication 71

Board Members 104

Federal Office 104

State Committees 104

Australian Music Examinations Board Examiners 106

Successful Diploma Candidates 2017 107

Scholarships and Exhibitions 107

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F O R E W 0 R D

In 1887 a program of music examinations was initiated in Australia by the Universities of Adelaide and Melbourne. Subsequently the Australian Music Examinations Board (AMEB) emerged in 1918 as a national body with the purpose of providing graded assessments of the achievements of music students. Later, examinations were also provided for students of speech and drama.

The Board provides syllabuses across a wide range of musical instruments, as well as in singing, theory of music, musicianship, and speech and drama. It has become the most widely-used assessment system in these fields of study in Australia. The success and high regard for Australian musicians at an international level has been partly due to the encouragement of young performers in this country through their participation in AMEB activities.

While one of the chief functions of the Board is to set examination standards of a high order, more importantly it strives to offer all students access to some of the best repertoire for study purposes, whether they subsequently sit for the examinations or not. Through its publications the Board strives for the highest editorial standards of presentation together with advice on interpretation from some of the leading practitioners in the country. The Board has a commitment to including in its publications

and syllabuses compositions by Australian and New Zealand composers and writers of literary material.

Overall direction of these activities is the responsibility of a Federal Board consisting of representatives of educational institutions that are signatories to the AMEB constitution, namely the Universities of Melbourne, Adelaide and Western Australia, the Minister for Education, New South Wales, the Minister for Education, Queensland, and the Minister for Education and Training, Tasmania, through the University of Tasmania.

The success of the AMEB’s role in developing standards of performance and scholarship has been achieved through the support of teachers in all States. A collaborative approach is used in the development of syllabuses, and views are sought from teachers in all areas of the Board’s work. With the assistance of its examiners and specialist panels, the Board will continue to work in association with teachers to provide encouragement for students and the sense of achievement that is an outcome of participation in its syllabuses and examinations. The Board believes that its activities ultimately lead to the enhancement of the cultural life of the community.

Foreword

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G E N E R A LI N F O R M A T I O N

ENQUIRIESYour local State Office will be pleased to answer any queries you may have regarding practical and written examinations and can provide you with copies of entry forms and information bulletins. You can contact your State Office at the address listed below.

Enquiries regarding AMEB’s Online Shop, syllabuses and publications can be made to the Federal Office at the address listed below.

Federal OfficeMr Bernard Depasquale, CEO, Federal OfficePO Box 12168 A’Beckett StreetMelbourne Victoria 8006Phone: 1300 725 709Email: [email protected]: www.ameb.edu.au www.myameb.edu.au

New South WalesMs Maree Lucas, State ManagerAMEB (NSW)Level 6, 117 Clarence StreetSydney New South Wales 2000Phone: 02 9367 8456Email: [email protected]: www.ameb.nsw.edu.au

VictoriaMr Alwyn Mott, General ManagerAMEB (Vic) Ltd259 Auburn RoadHawthorn Victoria 3122Phone: (03) 9035 8888Email: [email protected]: www.ameb.vic.edu.au

QueenslandMs Kiley Tierney, State ManagerAustralian Music Examinations Board (Qld)PO Box 21 Ashgrove Queensland 40609 Nathan Avenue Ashgrove Queensland 4060Phone: (07) 3634 0933Fax: (07) 3634 0900Email: [email protected]: www.ameb.qld.edu.au

South Australia and Northern TerritoryMs Julie Cranswick, State Manager, AMEBThe University of AdelaideAMEB (SA & NT), The University of Adelaide South Australia 50051st Floor, Hartley Building, Kintore AvenueAdelaide South Australia 5005 Phone: (08) 8313 8088Fax: (08) 8313 8089Email: [email protected]: www.ameb.adelaide.edu.au

Western AustraliaMs Anne Winterton, State Manager, AMEB (WA)The University of Western AustraliaOffice address: Princess Road/Bay Road, Claremont, WA 6010Mailing address: M421, LB 5005, Perth, WA 6001 Phone: (08) 6488 3059Fax: (08) 6488 8666Email: [email protected]: www.ameb.uwa.edu.au

TasmaniaMrs Marita Crothers, State Manager, AMEBTasmanian Conservatorium of MusicPrivate Bag 63, Hobart Tasmania 7001Phone: (03) 6226 7317Email: [email protected]: www.ameb.utas.edu.au

General Information

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SYLLABUS NEWS2019 SYLLABUS REVISIONS AND UPDATES

Speech & Performance TheorySpeech & Performance Theory now features an updated Reference book list. There have also been changes to the following two questions in Grade 6 and Grade 7 respectively:

Grade 6 Question 1, Foundations (a) the length of the passage to be transcribed has been changed from 50 to 40 words.

Grade 7 Question 1, Foundations (a) the length of the passage to be transcribed has now been given as 50 words (previously no word length was given).

Speech & Performance (formerly Drama & Performance) – Revised syllabusIn 2018 an evaluation of the Drama and Performance syllabus was undertaken and as a result this syllabus has now been renamed: from 2019 it will be known as the Speech & Performance syllabus. The syllabus reference book list and some syllabus wording have been updated as part of the revision. In addition, the following changes have been made:

All grades – The timing requirements for various questions/sections within the exam have been altered. Some question parameters have also changed [see individual grades in the 2019 Speech & Performance syllabus for details].

Level 3 Diplomas – The ADPA (Associate of Drama and Performance, Australia) and LDPA (Licentiate of Drama and Performance, Australia) will now become the Associate of Speech and Performance, Australia (ASPA) and the Licentiate of Speech and Performance, Australia (LSPA).

Transition Arrangements The Speech & Performance (revised syllabus) will be examined concurrently with the Drama & Performance syllabus that last appeared in the 2018 Speech & Drama Manual for two years after the release of the revised syllabus. No combination of the syllabuses is permitted. From the start of 2021 Drama & Performance will be withdrawn and candidates will no longer be able to present using this syllabus.

ADPA and LDPA Candidates who commence their ADPA or LDPA before 2021 will be able to complete their diploma within the time frames outlined by Regulation 20. For further information please contact your state office.

Drama & Communication – Revised syllabusIn 2017 and 2018 the Drama & Communication syllabus was part of the Recital exam trial. The Recital exam trial has now concluded, but elements from the trial have now been incorporated as options in the full syllabus. An evaluation of the full syllabus has resulted in a revision that allows individual candidates, as well as duos and larger groups, to undertake exams in this syllabus. The syllabus now has additional flexibility, allowing all candidates to

pick from three different syllabus program structures [see the syllabus itself for specific details]. The time allowed for Drama & Communication exams at Grades 2, 5 and 6 has also changed (see Regulation 13 for details). Some other question parameters have also been altered/updated [see individual grades of the 2019 Drama & Communication syllabus for details] and the syllabus now features a refreshed reference book list.

Transition Arrangements The Drama & Communication (revised syllabus) will be examined concurrently with the Drama & Communication syllabus that last appeared in the 2018 Speech & Drama Manual for two years after the release of the revised syllabus. From the start of 2021 the previous Drama & Communication syllabus will be withdrawn and no longer available for examination.

Voice & CommunicationFor 2019 the reference book list for the Voice & Communication syllabus has been updated. In addition, some question parameters have also been altered/updated [see the individual grades in the Voice & Communication syllabus for 2019 requirements].

EXAM ENROLMENT ARRANGEMENTS

Speech & Performance (formerly Drama and Performance)Written Diploma Exams All ADPA/ASPA and LDPA/LSPA candidates are able to enrol six weeks in advance of their written examination. The examination date, venue and supervision arrangements are negotiable and need to be agreed between the enroller and the State Office. Please contact your State Office for more information.

LDPA/LSPA DissertationAll LDPA/LSPA candidates are able to enrol for Section III at a time of their choice and are required to submit their dissertation within six weeks of enrolling. This does not vary the requirement to have the dissertation topic approved by the AMEB prior to commencement of the dissertation.

Voice and CommunicationAPCA FolioAll APCA candidates are able to enrol for Part Two: Written at a time of their choice and are required to submit their folio within six weeks of enrolling. This does not vary the requirement to have the folio topic approved by the AMEB prior to commencement of

the folio.

REGULATIONS1. GeneralCandidates must present for examination using the syllabus listed as available within the current AMEB Manual of syllabuses. The syllabus chosen for examination must be presented in its entirety.

Note: Vertical rules alongside text from pp. 6-9 inclusive indicate changes to information published in the 2018 Speech & Drama Manual.

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A combination of different syllabuses is not accepted for examination.

Subject to these Regulations, arrangements for the examinations in each State will be carried out in accordance with the procedure adopted by the State concerned.

PLACE OF EXAMINATIONS2. Examination CentresPractical examinations will be held in centres where an approved number of candidates wish to attend. (See also Regulation 5.)

3. Written Examinations – Country CentresWritten examinations may be held in any Country Centre provided that:(a) a sufficient number of candidates has entered,(b) satisfactory arrangements for the conduct of the

examination can be assured. In the event of an insufficient number of candidates entering for a particular centre, the State Office reserves the right to call the candidates to an alternative centre.

4. Local AppointeesArrangements for examinations in country centres will be carried out by a Local Secretary duly appointed in each State.

5. Examination CentresPractical examinations may be conducted at places other than a general centre if the number of candidates and the examination conditions are approved by the State Office. Application for special centres must be made before the closing date for receipt of entries. The Board shall reserve the right to call candidates for Associate and Licentiate diploma examinations to the centre which in its opinion is best suited for the examination.

EXAMINATION ENTRIES6. Entry RequirementsSubject to Regulation 17, candidates may, irrespective of age, enter for any grade of any subject, without having passed a lower grade.

7. ApplicationsApplication for examination shall be made on the prescribed form that must be lodged with the appropriate State Office not later than the date specified in the State Teacher Bulletins, State Enrolment Handbook or State website.

8. Late EntriesLate entries may only be accepted from candidates on payment of a late fee within a specified period as determined by the State Office.

9. Fees Payable by CandidatesFor information on the scale of fees please contact your State Office.

EXAMINATION TIMES10. Special Examination TimesCandidates should advise the State Office of dates to be avoided in the scheduling of their examination. This advice should be provided in writing at the time of enrolment.

11. Examination PeriodsPractical examinations in each State shall be held at times determined by the State Office. Written examinations will be held in August on dates set by the Board.

12. Notification of ExaminationAs soon as practicable after the closing date of entries, candidates will be officially notified of their candidate number, and the time and place of their examination.

13. Time allowed for examinationsWRITTEN EXAMINATIONSBefore the scheduled commencement of all written examinations 10 minutes reading time is allowed.

Speech and Performance TheoryGrade 1 45 minsGrade 2 60 minsGrade 3 1 hr 30 minsGrade 4 2 hrsGrade 5 2 hrs 30 minsGrade 6 3 hrsGrade 7 3 hrsPRACTICAL EXAMINATIONSDrama and CommunicationIntroductory 30 minsGrade 1 30 minsGrade 2 35 minsGrade 3 40 minsGrade 4 40 minsGrade 5 45 minsGrade 6 50 mins

Voice and CommunicationPreliminary 10 minsGrade 1 12 minsGrade 2 15 minsGrade 3 17 minsGrade 4 20 minsGrade 5 20 minsGrade 6 25 minsGrade 7 30 minsGrade 8 35 minsCertificate 40 minsAssociate (Section I): Practical 45 minsAssociate (Section II): Folio

Speech and PerformancePreliminary 12 minsGrade 1 14 minsGrade 2 15 minsGrade 3 20 minsGrade 4 20 minsGrade 5 25 minsGrade 6 30 minsGrade 7 30 minsGrade 8 35 minsCertificate 40 minsAssociate (Section I) Practical 1 hr 5 minsAssociate (Section II) Written 3 hrsLicentiate (Section I) Practical 1 hr 20 minsLicentiate (Section II) Written 3 hrsLicentiate Section III) Dissertation

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SPECIAL SERVICES14. Candidates with disabilitiesThe AMEB makes every effort to accommodate candidates with disabilities by providing reasonable adjustments to the means by which examinations are undertaken (but not the examination requirements themselves). Teachers and candidates should contact the State Office for further details.

EXAMINATIONS15. Examiners for Diploma ExaminationsThere shall be two examiners for Associate and Licentiate diploma examinations.

16. Subjects and Grades of Examination(a) Grade examinations are offered in the following

subjects:Speech and Performance Theory – Grades 1 to 7.Speech and Performance – Preliminary to Grade 8.Drama and Communication – Introductory to Grade 6.Voice and Communication – Preliminary to Grade 8.

(b) Diploma and Certificate Examinations are offered as follows:Diploma of Associateship:APCA (Associate in Professional Communication, Australia).ASPA (Associate in Speech and Performance, Australia).Diploma of Licentiateship:LSPA (Licentiate in Speech and Performance, Australia).Certificate:CVCA (Certificate in Voice and Communication, Australia).CDPA (Certificate in Drama and Performance, Australia).

17. Additional and Prerequisite RequirementsPrerequisite requirements – ASPA; LSPA.

For these diploma examinations as set out in the table below, candidates must pass a prerequisite examination, which is regarded as a qualifying examination, before entering for the principal examination. In all cases, the stated prerequisite is the minimum requirement.

It is the responsibility of the candidate to give notification as to: • the date of passing this prerequisite requirement, and • the centre at which such examination was held.

A degree or diploma in Speech and Drama from a recognised Australian or overseas tertiary institution will be deemed to have met the prerequisite for ASPA Speech and Performance, and LSPA Speech and Performance.

Evidence of such qualification(s) and supporting material are to be supplied to the relevant State Office at the time of entry for the examination.

Examination Prerequisites

Associate Diploma (ASPA)

Pass

ANDB or credit gradingORB grading

Grade 7

Certificate (CDPA)

Grade 7

Speech and Performance TheoryORTheory of Speech and Drama

Speech and Performance

Speech and Drama (Practical)

Licentiate Diploma (LSPA)

PassORPass

Associate Diploma (ASPA)Associate Diploma (ADPA)Associate Diploma (ASDA)

18. Examinations in SectionsThe subjects set out below are divided into sections as shown. Candidates must pass each section of the examination before a certificate is awarded. Candidates may attempt the various sections of such examinations at the same time or at different examination sessions. A separate fee is payable for each section. Entries may be made only for section(s) to be attempted at the next available examination session(s) of the same calendar year. A certificate may be issued upon the successful completion of all sections of the examination within periods as prescribed – namely, for a two-section examination, within four years; for a three-section examination, within six years.

ASSOCIATE, PROFESSIONAL COMMUNICATIONSection ISection II

ASSOCIATE, SPEECH AND PERFORMANCESection ISection II

LICENTIATE, SPEECH AND PERFORMANCESection ISection IISection III

REPORTS AND CERTIFICATES19. Examination ReportsA report from the examiner is provided for the information of candidates and teachers. The examiner’s report carries the examination result. In all written examinations, the report will show the total marks obtained, and the marks obtained under each section of the examination.

20. CertificatesCertificates will be awarded to candidates who fulfil the requirements of the award. Certificates specify the subject and grade or diploma of examination and the result obtained.

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EXAMINATION PROCEDURES21. Inability to Present for ExaminationCandidates who are prevented by illness or other exceptional cause from presenting themselves for examination, should notify the State Office as soon as possible. On payment of a transfer fee, it may be possible to re-schedule the examination. Details can be obtained from the State Office. Dates for written examinations cannot be re-scheduled.

22. Content not in the syllabusIf a candidate includes content which is not in the current syllabus the examiner will indicate this to the candidate and will advise that the item cannot be presented. On the examination report the examiner will note that the omitted section could not be assessed as the item was not in the current syllabus. In arriving at the overall grading the absence of one section reduces the overall result by one grade. If two or more sections are not assessed due to items presented that are not in the current syllabus, the overall result will be noted as ‘not able to assess’ with an explanation given in the general remarks.

23. Practical Examination ProcedureExaminers may at their discretion hear the whole or any portion of the prescribed works presented for examination.

24. Written Examination ProcedureUnless otherwise specified, candidates should note that no materials other than pens, pencils and erasers are permitted in written examination rooms.

25. ComplaintsEvery effort is made to make each examination an enjoyable event. The examiners are professionals in their field and are highly trained to conduct quality assessments and provide informative reports. Each State Office has established procedures for handling complaints. Should you have a concern or complaint about an examination, please contact your State Office.

RESULTS26. Assessment SystemWRITTEN EXAMINATIONS(a) Diplomas – Associate and Licentiate:

Pass – 75 per cent(b) Speech and Performance Theory – Grades 1 to 7:

Pass – 65 per centCredit – 75 per centHonours – 85 per centHigh Distinction – 95 per cent

27. Assessment SystemPRACTICAL EXAMINATIONS(a) Diplomas – Associate and Licentiate:

Award with DistinctionAwardNo Award

(b) Grades and Certificate:A+ High Distinction, outstanding performance

in every sectionA HonoursB, B+ CreditC, C+ SatisfactoryD Not Satisfactory

The following descriptors outline the Board’s requirements for each grading.

A+: In addition to satisfying the criteria for the award of an A grading, the candidate demonstrates outstanding achievement in all areas of performance and preparation. For Drama and Communication, where a duo or group, that they demonstrate outstanding achievement in all areas of teamwork.

A: The candidate demonstrates an overall superior level of achievement in terms of reading accuracy, rhythmic sense, stylistic insight, performing presence, audience awareness, and preparation of topics. For Drama and Communication, where a duo or group, that they demonstrate superior achievement in all areas of teamwork.

B+: In addition to satisfying the criteria for the award of a B grading, the candidate demonstrates meritorious achievement against most criteria. For Drama and Communication, where a duo or group, that they demonstrate meritorious achievement in all areas of teamwork.

B: The candidate demonstrates an overall creditable level of achievement, with appropriate development of reading accuracy, rhythmic sense, stylistic insight, performing presence, audience awareness, and preparation of topics. Some unevenness of achievement between these criteria, or different parts of the examination, may be apparent. For Drama and Communication, where a duo or group, that they demonstrate creditable level achievement in all areas of teamwork.

C+: In addition to satisfying the criteria for the award of a C grading, the candidate demonstrates more than adequate achievement against some of the criteria. For Drama and Communication, where a duo or group, that they demonstrate more than adequate achievement in all areas of teamwork.

C: The candidate demonstrates an overall adequate level of achievement in reading accuracy, rhythmic sense, stylistic insight, performing presence, audience awareness, and preparation of topics. Considerable unevenness in achievement between these criteria, or different parts of the examination, may be apparent. For Drama and Communication, where a duo or group, that they demonstrate adequate achievement in all areas of teamwork.

D: The candidate demonstrates an overall inadequate level of reading accuracy, rhythmic sense, stylistic insight, performing presence, audience awareness, and preparation of topics. Often this resulted from deficiencies in preparation or a hesitant presentation evidencing technical errors and an inappropriate sense of style. For Drama and Communication, where a duo or group, that they demonstrate inadequate achievement in all areas of teamwork.

GENERAL REGULATIONS28. Academic DressAcademic dress is available for Associate and Licentiate diplomates. Details can be obtained from AMEB State Offices.

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R E F E R E N C E B O O K S

GENERAL REFERENCE BOOKSIt is recommended that where possible, the most recent publication be used. This list is intended as a guide to teachers and students, but is not prescriptive.

Previously Listed Texts Updated ListThis list has been updated. Previously listed texts from past Manuals may still be used at the discretion of teachers.

Out of Print ItemsFrom time to time publications listed in the syllabuses may be out of print, for reasons beyond the control of the AMEB. Teachers and candidates are advised to contact libraries where such texts may be available for reference.

Voice and speechAnderson, V. Training the speaking voice (OUP)Berry, C. Your voice and how to use it successfully (London:

Harrap)Carey, D. and Clark Carey, R. Vocal arts workbook and

DVD (London: Methuen Drama)Colson, G. Voice production and speech (London: Pitman)Crampton, E. Good words, well spoken (Heinemann)Crannell, K. Voice and articulation (Belmont:

Wadsworth Publishing Co)Houseman, B. Finding your voice (NHB)Linklater, K. Freeing the natural voice (New York: Drama

Book Specialists)Linklater, K. Freeing the natural voice 2nd edition

(London: Nick Hern Books)* McCallion, M. The voice book (London: Faber & Faber)McCarthy, V. Body talk (Hodder)Morrison, M. Clear speech (London: A&R Black)Pepper, B. Voice in action – DVD (Sydney)Rodenburg, P. The need for words – voice and text

(London: Methuen)Rodenburg, P. The right to speak – working with the voice

(London: Methuen)Rodenburg, P. A voice of your own video (Norwick,

Vanguard Films)Shewell, C. Voice work – art and science in changing voices

(Chicester: Wiley-Blackwell)* Wilson, P. The singing voice – an owner’s manual

(Sydney: Currency Press)

* These texts are particularly good for care of the voice

Speech communicationBritton, J. Language and learning (Pelican)Burniston, C. Speech for life (English Speaking Board)Cragan, J. Communication – small group discussions (West

Publishing)Dalby, J. How to speak well in business (Aardvark Press)Grant-Williams, R. Voice power: using your voice to

captivate, persuade and command attention (American Management Association)

Gunther, N. The challenge of debating: how to make your point quickly and effectively (Reed Books)

Gunther, N. Debating and public speaking (A.H. & A.W. Reed)

Hoey, A. Listening and learning (Dominie)

Rodenburg, P. Power presentation – formal speech in an informal world (London: Michael Joseph/Penguin)

Wilder, L. 7 steps to fearless speaking (John Wiley)

Communication theoryArgyle, M. The psychology of interpersonal behaviour

(Penguin)Bormann, E.G. Small group communication, theory and

practice (Harper and Row)Burgess, L. Excellence for communicators (Booralong

Publications)Evans, E. Radio: a guide to broadcasting techniques (Barrie

& Jenkin)Hall, E. The silent language (Doubleday)MacKay, H. Why don’t people listen? (Pan Books)McLuhan, M. Understanding media (Signet)Monroe, A. Principles of speech communication (Scott

Foreman)Mortensen, C.D. Communication, the study of human

interaction (McGraw-Hill)Scheflen, A.E. Body language and the social order

(Prentice Hall)

Educational dramaAdland, D.E. Group approach to drama, vols 1–6

(Longman)Baines, R. and O’Brien, M. Taking stage (Hodder

Education, 1997)Bolton, G. Towards a theory of drama in education

(Longman)Bolton, G. Drama as education (Longman)Bolton, G. New perspectives on classroom drama (Simon

and Schuster Education)Bolton, G. Acting in classroom drama: a critical analysis

(Trentham Books)Brandes, D. Gamesters handbook 1 and 2 (Stanley

Thornes)Burgess, R. Drama stages 1 through 4 (Longman)Clausen, M. Centre stage, creating, performing and

interpreting drama (Heinemann, 2000)Courtney, R. Play, drama and thought – intellectual

background to drama and education (Cassell)Davis, D. & Lawrence, C. eds Gavin Bolton: selected

writings on drama in education (Longman)Fleming, M. Starting drama teaching (David Fulton

Publishers)Haseman, B. Dramawise (Heinemann Educational)Heathcote, D. & Bolton, G. Drama for learning: Dorothy

Heathcote’s mantle of the expert approach to education (Heinemann)

Hodgson, J. and Richards, E. Improvisation (Eyre Methuen)

Hodgson, J. The uses of drama (Eyre Methuen)Howe, J. Stepping out, basics in communication and drama

(Moreton Bay Publishing, 1987)Miller, J. Springboards – ideas for drama (Nelson, 1990)Morrison, M. Classical acting (London: A&R Black,

1995)O’Neill, C. and Lambert, A. Drama structures

(Hutchinson)O’Neill, C. et al. Drama guidelines (Heinemann)Parsons, P. Companion to theatre in Australia (Sydney:

Currency Press, 1995)Poulter, C. Playing the game (Macmillan)Smith, J. Adventures in communication (Allyn & Bacon)

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Sowden, C. Developing language through drama. (Nelson, 1985)

Taylor, D. Drama – successful strategies for teachers (Collins Dove, 1990)

Tourelle, L. and McNamara, M. A practical approach to drama performance (Heinemann, 1998)

Wagner, B.J. and Heathcote, D. Drama as a learning medium (National Education Association, Washington, 1976)

Way, B. Development through drama (Longman)

English usageBoulton, M. The anatomy of language (Routledge)Fowler, H.W. Fowler’s modern English usage (OUP)Gowers, E. The complete plain words (Penguin)Hudson, N. Modern Australian usage (OUP)Hughes, B. Penguin working words (Penguin)McAuley, J. A primer of English versification (Sydney

University Press)Partridge, E. Usage and abusage (Hamish Hamilton)Scott, A.F. Current literary terms (Macmillan)Weiner, E.S. Oxford guide to English usage (OUP)

Phonetics (The structure of spoken English)Clark, J. & Yallop C. Introduction to phonetics and

phonology (Blackwell, 1990)Cochrane G.R. and McCallum, M. Introducing phonetics

(Angus & Robertson)Colai Anni, L. Joy of phonetics and accents (Drama

Books)Crystal, D. Dictionary of linguistics and phonetics

(Blackwell)Gimson, A.C. Introduction to the pronunciation of English

(Edward Arnold)Heffner, R.M.S. General phonetics (Uni of Wisconsin

Press)Jones, D. An outline of English phonetics (CUP)Ladefoged, P. A course in phonetics (Harcourt Brace,

1975)McCarthy, P. English pronunciation (Heffer)Mitchell, A.G. and Delbridge, A. The pronunciation of

English in Australia (Angus & Robertson)Piko, K. Phonetics (Uni of Michigan Press)Roach, P. English phonetics and phonology (CUP)Trim, J. English pronunciation illustrated (CUP)Wells, J.C. & Colson, G. Practical phonetics (Pitman

Publishing)

Accents and dialectsDyer, P. and Strong, G. Access accents series (London:

Methuen Drama)Hughes, A. and Trudgill, P. English accents and dialects

(Edward Arnold)Merton Wise, C. Applied phonetics (McGraw Hill)Weate, C. The real accent app (various accent apps

available for purchase online)

Speech dysfunctionsMorrison, M. Clear speech (A&C Black)Rubin, A.D. The vocal pitstop – keeping your voice on track

(Oxford: Compton Publishing)

Mime and movementBarker, C. Theatre games (Methuen)Barlow, A. The Alexander principle (Gollancz)Horn, D. Comedy Improvisation (Meriwether)

Scher, A. 100+ ideas for drama (Heinemann Educational)

Scher, A. Another 100+ ideas for drama (Heinemann Educational)

PlaysBrisbane, K. (ed). Plays of the 60s (Currency, 2000)Futcher, M. & Howard, H. A beautiful life (Currency,

2000)Shearer, J. Georgia (Currency, 2000)

Poetry and poetry speakingCutler-Stuart, M. How to understand poetry (Dominee

Educational)Eshuys, J. & Guest, V. The power of poetry (Universal/

Nelson)Little, G. Approach to literature (Science Press)Monahan, S. Fun with poetry (Longman)Reeves, J. Teaching poetry (Heinemann)Reeves, J. The critical sense (Heinemann)Spurr, B. Studying poetry (Sydney: Macmillan

Educational Australia, 1997)

History of the theatreHartnoll, P. A concise history of the theatre (Thames &

Hudson)Hodges, W. Shakespeare in his own age (OUP)Nicoll, A. British drama (Harrap)Nicoll, A. English theatre, a short history (Greenwood

Press)Racinet, A. Historical encyclopedia of costume (Studio)Wilcox, R.T. Dictionary of costume (Batsford)Wilson, E. Through the looking glass (BBC)

DramaBarker, H.G. Prefaces to Shakespeare, 6 vols (Batsford)Barton, J. Playing Shakespeare (Methuen)Benedetti, R.L. The actor at work (Prentice Hall)Bentley, E. The theory of the modern stage (Penguin)Boulton, M. The anatomy of drama (Routledge)Bowskill, D. Acting and stagecraft made simple (W.H.

Allen)Colson, G. Drama skills (Barrie & Jenkin)Courtney, R. Play, drama and thought. Intellectual

background to drama and education (Cassell)Fernald, J. The play produced (Kenyon Deane)Hall, P. Exposed by the mask: form and language in drama

(London: Oberon Books, 2000)Halliday, F.E. A Shakespeare companion 1564/1964

(Penguin)Hoggett, C. Stage crafts (A&C Black)Johnson, J., Bierman, J. and Hart, J. The play and the

reader (Prentice Hall)Kernodle, G. and P. Invitation to the theatre (Harcourt

Brace)Nicoll, A. The theatre and dramatic theory (Harrap)Ommanney, K. The stage and the school (McGraw Hill)Oxenford, L. Design for movement (Theatre Arts)Richmond, S. Further steps in stagecraft (Deane & Sons)Stanislavski, C. The actor prepares (Eyre-Methuen)Stanislavski, C. Building a character (Eyre-Methuen)Styan, J.L. The elements of drama (CUP)Taylor, J.R. Anger and after – guide to the new British

drama (Eyre-Methuen)Truman, N. Historical costuming (Pitman)

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Williams, R. Drama from Ibsen to Brecht (Penguin)

TheatreCarey, D. The actor’s audition manual (Sydney: Currency

Press, 1998)Carey, D. and Clark Carey, R. Dramatic text workbook

and video (London: Methuen Drama)Esslin, M. The theatre of the absurd (Penguin)Giannachi, G. and Luckhurst, M. (eds), On directing:

interviews with directors (London: Faber, 1999)Grotowski, J. Towards a poor theatre (Christian

Christensen)Hartnoll, P. (ed). Oxford companion to the theatre (OUP).Hornby, R. The end of acting – a radical view (New York:

Applause Books, 1992)Stanislavski, C. On the art of the stage, trans. Magarshack

(Faber)

LiteratureA companion to literature, British and Commonwealth

(Penguin)Buck, C. Bloomsbury guide to women’s literature

(Bloomsbury)Buck, C. Women’s literature (Bloomsbury)Carpenter, H. & Prichard, M. Oxford companion to

Australian children’s literature (OUP)Carroll, D. Australian contemporary drama (Currency)Crystal, D. Cambridge encyclopaedia of English language

(Cambridge)Drabble, M. (ed) Oxford companion to English literature

(OUP)Hart, J. Concise Oxford companion to American literature

(OUP)Howatson, M. (ed) Oxford companion to English literature

(OUP)Lees, S. & Macintyre, P. Oxford companion to children’s

literature (OUP)McArthur, T. (ed) Oxford companion to English language

(OUP)McLeish, K. and Unwin, S. A pocket guide to

Shakespeare’s plays (London: Faber and Faber)

Ousby, I. (ed) Cambridge guide to literature in English (Cambridge)

Parsons, P. (ed) Companion to theatre in Australia (Cambridge)

Pierce, P. Oxford literary guide to classical literature (OUP)Pynsent, R. Everyman companion to East European

literature (Dent)Thomas, J. (ed) Bloomsbury guides to English literature

(Bloomsbury)Trewin, J.C. The pocket companion to Shakespeare’s plays

(London: Mitchell Beazley)Wilde, W. (ed) Oxford companion to Australian literature

(OUP)Wynne-Davis, M. (ed) English literature A–Z

(Bloomsbury)

Oral interpretationBerry, C. From word to play (London: Oberon Books)Berry, C. Text in action (London: Virgin Books)Berry, C. The actor and the text (London: Harrap, 1987)Cohen, E. Oral interpretation. The communication of

literature (SRA, Chicago)Gamble, T. and M. Literature alive (National Textbook

Co, USA)Houseman, B. Tackling text [and subtext] (London: Nick

Hern Books)Lee, C.I. and Gura, T. Oral interpretation (Boston:

Houghton Mifflin, 1987)Linklater, K. Freeing Shakespeare’s voice (London: Nick

Hern Books)Rodenburg, P. Speaking Shakespeare (London:

Methuen)Weate, C. Classic voice (London: Oberon Books)Weate, C. Modern voice (London: Oberon Books)

GeneralBonetti, R. Don’t freak out – speak out (Words & Music)Bonetti, R. Taking centre stage (Words & Music)

13

S P E E C HA N DP E R F O R M A N C ET H E O R Y

Speech and Performance TheoryForewordThis syllabus provides candidates with the opportunity to show their understanding of the functional framework of speech and performance. It has been designed to have relevance for a wide range of candidates, focusing on progressive consolidation of knowledge relating to dramatic performance, oral interpretation and spoken interaction in a variety of communication situations.

In all grades the candidate’s literary expression will be taken into consideration.

Narrow Form Phonetic symbols only will be used in all grades of the syllabus. The Narrow Form Phonetic symbols for Cultivated Australian speech will be provided on the examination paper for candidates to use as reference in Level 1.

A List of Suggested Texts is now printed at the end of this syllabus.

The syllabus supports learning undertaken in the AMEB practical syllabuses:• Speech and Performance• Voice and Communication• Drama and Communication

It is a stand-alone syllabus which has two levels:Level 1 Grades 1, 2 and 3Level 2 Grades 4, 5, 6 and 7.

At the successful completion of each grade, the candidate receives a certificate showing the result Pass, Credit, Honours or High Distinction.

The minimum prerequisite requirement for examination at Speech and Performance Associate Diploma level is a pass in Grade 7 Speech and Performance Theory, and a B or Credit grading in Speech and Performance.

Please note: Question 4 Level 2Question 4, Level 2 of the Speech and Performance Theory offers Theatre History (Question 4a) and Communication/Skills Theory (Question 4b). Candidates may elect to answer either question.

The Speech and Performance Theory syllabus supports learning undertaken in the Speech and Performance and Voice and Communication syllabuses. In higher grades the syllabuses align in the following manner:

Speech and Performance Theory

Speech and Performance Voice and Communication

Grade 4 Grade 6 Grade 6



Grade 7 Certificate Certificate

14


LEVEL 1GRADE 1 TO GRADE 3

OBJECTIVES

Candidates should be prepared to answer questions on:

• sound recognition;• syllabic stress; • emphasis;• elementary phonetics;• literary forms; and• ways of communicating meaning.

GRADE 1 1661Examination Time: 45 minutes

QUESTION 1TEXTThe candidate will be required to respond to a given selection of text by answering elementary questions on the use of expressive qualities such as phrasing, pause and emphasis used to convey meaning when speaking the text. (40 marks)

QUESTION 2FOUNDATIONSIntroduction to phonetics.

Phonetic symbols for Cultivated Australian speech will be printed on the examination paper for reference.

The candidate will be required to:(a) identify vowels and consonants in words and transcribe single sounds phonetically.(b) mark stress in words of two syllables. (c) identify where the neutral vowel occurs in a short phrase.(40 marks)

QUESTION 3INTERPRETATIONA selection of prose, poetry, or drama text will be printed on the examination paper.

The candidate will be required to:(a) discuss their response to the text.(b) identify the mood(s) in the text.(c) select words and/or phrases from the text which indicate the mood(s). (20 marks)

Total marks – 100. Pass mark – 65.

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GRADE 2 1662Examination Time: One hour

Knowledge of work covered in the previous grade will be an advantage.

QUESTION 1TEXTThe candidate will be required to respond to a selection of poetry printed on the examination paper by answering questions on expressive qualities such as phrasing, pause, emphasis and stress. Questions may also be asked on rhyme, alliteration and assonance relating to the given text. (40 marks)



The candidate will be required to:(a) transcribe:

• phonetic words of one syllable into English.• English words of one syllable into phonetics.

(b) identify:• pure vowels.• breathed and voiced consonants.• plosive and continuant consonants.• strong and weak forms including the marking of stress.

(c) indicate how a change of stress brings about a change of meaning.(40 marks)

QUESTION 3INTERPRETATIONThe candidate will be required to discuss the presentation skills required for ONE of the following:(a) Portrayal of a character.(b) Performing with a puppet(s).(c) Giving a talk.(d) Storytelling to an audience.(20 marks)


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GRADE 3 1663Examination Time: One and a half hours

Knowledge of work covered in the previous grades will be an advantage.

QUESTION 1TEXTThe candidate will be required to respond to a selection of prose, poetry or drama text by answering questions on the appropriate vocal treatment used by the speaker to convey meaning and mood through the use of modulation (pitch, pace, pause, emphasis, tone colour, volume and intonation). (40 marks)



The candidate will be required to:(a) transcribe:

• two short phrases from phonetics into English.• two short phrases from English into phonetics showing primary stress and

vowel length.(b) identify:

• short and long pure vowels.• nasal, lateral, clear and dark ‘ɫ’, fricative, and affricative consonants.

(c) indicate where a speaker would use pause in a short piece of text to communicate meaning.

(40 marks)

QUESTION 3INTERPRETATION Three short selections of prose and/or poetry and/or drama text on a related theme will be printed on the examination paper.

The candidate will be required to: (a) select the order of presentation of the selections and give reasons for the sequence.(b) devise an introduction which leads to the first text and write links to the second and

third texts.(c) draw a stage plan and on it indicate positions for the presentation of the introduction,

links and performance of the three texts.(20 marks)



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LEVEL 2GRADE 4 TO GRADE 7

OBJECTIVES

Level 2 will include all the objectives of Level 1 as well as the following:

• Ear training, phonetics, Cultivated, General and negligent Australian speech;• Voice production techniques;• Principles of speech use in performance;• Visual and verbal response to text – style, form and period;• Theatre History – theatrical styles, buildings, presentation; OR

Communication Skills/Theory – public speaking, communication related topics.

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GRADE 4 1664Examination Time: 2 hours

Knowledge of work covered in the previous grades will be required. The candidate’s literary expression will be taken into consideration.

QUESTION 1FOUNDATIONSThe candidate will be required to:(a) transcribe one short sentence from phonetics into English.(b) transcribe two short sentences into phonetic script representing Cultivated Australian

speech indicating primary stress, vowel length, syllabic consonants, linking ‘r’ and dark ‘ɫ’ as they occur.

(c) answer questions on the formation of vowels, diphthongs, semi-vowels and consonants.

(25 marks)

QUESTION 2VOICEThe candidate will be required to give short answers and label diagrams in response to questions on the use and care of the voice. An elementary understanding of relaxation, posture, breathing, resonance and projection will be required. (25 marks)

QUESTION 3INTERPRETATIONThe candidate will be required to answer questions on key aspects of performance and presentation including the use of space, appropriate to a given selection of prose or poetry or drama text. (25 marks)

QUESTION 4(a) Theatre history

The candidate will answer questions on Greek Theatre. Focus areas will include the stage, costumes, masks, and chorus.

OR

(b) Communication skills/theoryThe candidate will answer questions on the elements of public speaking. Focus areas will include choosing appropriate subject matter, organisation or structure of the speech and the manner of presentation.

(25 marks)



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GRADE 5 1665Examination Time: 2 hours 30 minutes


QUESTION 1FOUNDATIONSThe candidate will be required to:(a) transcribe a short passage of approximately 30 words into phonetic script representing

Cultivated Australian speech.(b) identify the differences between Cultivated Australian and General

Australian speech.(c) show a knowledge of stress, intonation, pause and the neutral vowel by marking

a given selection of text to show how their use can influence meaning in connected speech.

(25 marks)

QUESTION 2VOICEThe candidate will be required to:(a) answer questions on the elements of functional vocal tone including forward tone and

a balance of resonance.(b) discuss breathy, nasal and harsh tonal qualities.(25 marks)

QUESTION 3INTERPRETATIONIn response to a given poem, or part of a poem, the candidate will be required to:• identify poetic forms.• explain their understanding of the poet’s intentions.• identify and explain strategies for the meaningful and imaginative interpretation of the

poem to an audience.(25 marks)


The candidate will be required to answer questions on the traditions and practices associated with ONE of the following:Travelling playersMystery/Miracle playsMorality plays

OR

(b) Communication skills/theoryThe candidate will answer questions on the prepa ration and presentation of a competitive six-speaker debate. Focus areas will include interpretation of topic, duties of speakers and techniques of presentation.

(25 marks)

Total marks – 100. Pass mark 65.

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QUESTION 1FOUNDATIONSThe candidate will be required to:(a) transcribe a passage of approximately 40 words into phonetic script using Cultivated

Australian and/or General Australian speech where appropriate.(b) identify and explain the processes of assimilation, similitude, and elision.(c) identify and show an understanding of acceptable and unacceptable variant

pronunciations. Consider elision, intrusion, assimilation, vowel and consonant substitution, and consonant transference.

(25 marks)

QUESTION 2VOICEThe candidate will be required to demonstrate an integrated understanding of voice and its use in performance in different spaces, e.g. open air, auditorium, studio spaces, and to suggest strategies and activities to achieve relaxation and appropriate posture, physical release, breath support, resonance, and articulation to ensure audibility and intelligibility.(25 marks)

QUESTION 3 INTERPRETATIONThe candidate will be required to answer questions on the physical, vocal, intellectual and/or emotional aspects of interpretation in performance.

The candidate will be required to relate their answers to: (a) A selection of text (approximately 20 lines) from an Elizabethan play or Jacobean play

brought to the examination.(The copy of the text brought to the examination by the candidate must be attached to the examination paper.)

OR

(b) A selection of text from an Elizabethan or Jacobean play printed on the examination paper.

(25 marks)


The candidate will discuss the playhouses, the use of the stage and the types of plays presented in the:Elizabethan period OR Jacobean period.A general knowledge of the plays of one period will be required.

OR

(b) Communication skills/theoryThe candidate will answer questions on the features and importance of non-verbal communication.

(25 marks)



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QUESTION 1FOUNDATIONSThe candidate will be required to: (a) transcribe a passage of approximately 50 words into phonetic script using Cultivated

and/or General Australian speech where appropriate.(b) apply knowledge of Educated Southern English, also known as Received

Pronunciation, by transcribing into phonetics a short excerpt from an appropriate text.

(c) show an understanding of the Cardinal Vowel Diagram.(25 marks)

QUESTION 2VOICEThe candidate will discuss the demands placed on the voice when performing texts of different styles and genres. The candidate will be required to explain how a flexible vocal technique can be achieved and may be required to relate their discussion to a given selection of text. (25 marks)

QUESTION 3 INTERPRETATIONThe candidate will be required to have a knowledge of the drama of the 17th or 18th century, i.e. Comedy of Manners or Burlesque or Farce, in order to discuss the elements of the text that need to be investigated to ensure an insightful and stylish performance. Elements may include sense, tone(s), character, language, intention, structure and form, sub-text, movement and period. The candidate will be required to relate their answer to:(a) a selection of text from a play of this period (approximately 20 lines) brought to the

examination.

OR

(b) a selection of text from a play of this period printed on the examination paper. (The copy of the text brought to the examination by the candidate must be attached to the exam ination paper.)

(25 marks)


The candidate will write an essay on Comedy of Manners or Burlesque or Farce of the 17th or 18th century. A general knowledge of the plays, playwrights, playhouses, costumes and properties will be required.

OR

(b) Communication skills/theoryThe candidate will answer questions on the role of technology and audio-visual aids in complementing verbal communication.

(25 marks)



22


SPEECH AND PERFORMANCE THEORY SUGGESTED TEXTSGRADE 3Cochrane, G. and McCallum, M. Introducing phonetics [Narrow Form] (Angus & Robertson)Colson G. Voice production and speech (Pitman)Krummel, D. The art of speech, 9th ed. (Boolarong Publications)Musgrave Horner, A. Speech training (A&C Black)Self, D. The drama and theatre arts course book (Macmillan)

GRADE 4Berry, C. Voice and the actor (Harrap Ltd)Cochrane, G. and McCallum, M. Introducing phonetics [Narrow Form] (Angus & Robertson)Colson G. Voice production and speech (Pitman)Krummel, D. The art of speech, 9th ed. (Boolarong Publications)Miles-Brown, J. Acting – A drama studio source book (London: Peter Owen, 1985)Musgrave Horner, A. Speech training (A&C Black)Poulter, C. Playing the game (Players Press, 1991)Self, D. The drama and theatre arts course book (Macmillan)

GRADE 5The relevant sections of texts for Grade 4 together with:Boulton, M. The anatomy of poetry (Routledge & Kegan Paul)Colmer, D. and Colmer, J. Pattern and voice (Macmillan)Cope, W. The funny side: 101 humorous poems (London: Faber, 1998)Crump, G. Speaking poetry (Dobson)Hobsbaum, P. Metre, rhythm and verse form (Routledge, 1996)Hughes, T. By heart: poems to remember (London: Faber, 1998)McCallum, M. Phonetic reader book II [Narrow Form] (Angus & Robertson)Mitchell, A. Spoken English (Macmillan)Parrott, E.O. How to be well versed in poetry (Viking, 1990)Probyn, D.T. English poetry (Longman) (York Handbooks)Reid, C. Sounds good: 101 poems to be heard (London: Faber, 1998)Ward, I. The phonetics of English (Heffer & Sons Ltd)

GRADE 6The relevant sections of texts for previous grades, together with:Barton, J. Playing Shakespeare (Methuen)Boal, A. The rainbow of desire – the Boal method of theatre and therapy (Routledge, 1995)Halliday, F.E. Shakespeare and his world (Thames & Hudson)Hobsbaum, P. Metre, rhythm and verse form (Routledge, 1996)Laurie, R. The actor’s art and craft (London: J. Garnet Miller Ltd, 1994)Linklater, K. Freeing the natural voice (New York: Drama Book Specialists)Mack, M. Twentieth century views (Prentice Hall)McCallion, M. The voice book (Faber, 1989)McCallum, M. Phonetic reader book II (Narrow Form) (Angus & Robertson)Mitchell, A.G. and Delbridge, A. The pronunciation of English in Australia (Angus and

Robertson)Morrison, M. Clear speech (Pitman)Oxenford, L. Playing period plays (London: J. Garnett Miller Ltd.)Shoenbaum, S. Shakespeare, his life, his language, his theatre (Signet)

23

Spain, D. Shakespeare sounded soundly (The verse structure and the language) (Capra Press) (also Garland Press)

Thomson, P. Shakespeare’s theatre (Routledge)Turner, C. Voice and speech in the theatre (Pitman)Weate, C. Classic voice (London: Oberon Books)Several texts are available relative to Shakespearean criticism.

GRADE 7The relevant sections of texts for previous grades, together with:Aitken, M. Style: acting in high comedy (New York: Applause Theatre Book Publishers, 1996)Argyle, M. Psychology of interpersonal behaviour (Penguin)Axtell, R. Do’s and taboos of public speaking (Wiley)Barker, C. Theatre games (Methuen)Brewer, J. The pleasures of the imagination: English culture in the 18th century (London: Harper

Collins, 1997)Colson, G. Voice production and speech (Pitman)Gruner, C.R. Speech communication in society (Allyn & Bacon)Hooke, J. Debating book (NSW Uni Press)Lawrence, A. Guide to public speaking (Pan)Linklater, K. Freeing the natural voice (Drama Book Specialists)McCallum, M. Phonetic reader book II (Angus & Robertson)Pease, A. Body language (Camel C) (Collins)Picard, L. Restoration London (London: Weidenfeld & Nicolson)Samover, L.A. and Mills, J. Oral communication message and response, 6th ed. (Wm C Brown

Publishers, 1994)Turner, C. Voice and speech in the theatre (Pitman)Uglow, J. Hogarth (London: Faber, 1997)Valentine, N. Speaking in public (Penguin)Weate, C. Classic voice (London: Oberon Books)Woodall, A. Think on your feet (Thorsons)

Candidates should be well prepared to answer Question 4. There are no set texts but the following are examples of available texts:

Hartnoll, P. Concise history of the theatre (Thames & Hudson)Hartnoll, P. Oxford companion to the theatre (OUP)McGraw-Hill. McGraw Hill Encyclopædia of world drama (I–V) (Sydney)Morrison, Malcolm, Classical acting (A&C Black)Scouten, A.H. Restoration and 18th century drama (Macmillan)Simmons, E. Augustan literature 1660–1789 (Bloomsbury)Sitarz, P.G. Curtain rises Volume 2: a history of European theatre from the 18th century to present

(Betterway Books, 1993)


24

S P E E C HA N D P E R F O R M A N C E

Speech and Performance (Revised Syllabus)

AIMThis syllabus is designed to develop interpretative and performance skills across a broad spectrum of styles, genres and eras. Candidates will achieve secure vocal technique, integrated physical response and imaginative and insightful presentation of texts. They will develop the skills required for interpreting to audiences in a variety of performance spaces.

The syllabus provides structured and sequenced learning opportunities. It starts with the early grades and progresses to the advanced professional skills of teachers or performers. Candidates are offered the opportunity to develop skills progressively. This syllabus also encourages learning through the exploration and interpretation of a diverse range of texts, and provides the opportunity to combine a number of performance skills in a single examination.

ForewordThis syllabus progresses through three levels: • Level 1 – Preliminary to Grade 3;• Level 2 – Grade 4 to Certificate of Speech and Performance, Australia; and • Level 3 – Associate Diploma in Speech and Performance, Australia and Licentiate

Diploma in Speech and Performance, Australia.

Versatility in performance is demonstrable through the selection and presentation of an appropriate program. Familiarity and understanding of the chosen texts will facilitate discussion and conversation with the examiner(s).

Links, where required, are statements devised and spoken by the Candidate to creatively and meaningfully ensure cohesion and unity of the program. They are also intended to extend the frame of reference for the audience.

For Levels 1 and 2, candidates will be examined by a single examiner. There will be two examiners for each candidate in Level 3.

The standard reference text for pronunciation in this syllabus is the Macquarie Dictionary.

Candidates are encouraged to consider accents where appropriate to their chosen texts.

A List of Suggested Texts for each grade is printed at the end of this syllabus.

A candidate’s performance will be assessed on an holistic basis against the stated objectives for the Level. How well a candidate performs against those objectives will determine the result awarded as evidenced in the advertised grading descriptors.

The Speech and Performance Theory syllabus supports learning undertaken in the Speech and Performance syllabus. In the higher grades the syllabuses align in the following manner:

Speech and Performance Speech and Performance Theory

Grade 6 Grade 4

Grade 7 Grade 5

Grade 8 Grade 6

Certificate Grade 7

25


LEVEL 1PRELIMINARY TO GRADE 3

OBJECTIVES

At the completion of Level 1, the candidate will have developed skills:

• to prepare and present a program which is introduced and linked; • to interpret prose and poetry;• to apply voice technique commensurate with the material presented;• to communicate naturally and effectively in discussion;• to use mime, movement and storytelling.

PRELIMINARY 5040Examination Time – 12 minutes

An important aspect of this examination will be a discussion with the examiner in order to demonstrate the candidate’s confidence and preparedness in presenting the program.

The candidate is responsible for setting the stage prior to the commencement of the examination.

The candidate is required to provide the examiner with a copy of all texts (but not self-devised material) in their chosen order of performance. Suggested Texts appear at the end of this Speech and Performance syllabus.

Examination Requirements1. The candidate will be required to introduce, link the selections and perform:

Introduction –

Mime – a prepared mime demonstrating awareness of shape, weight and size of objects.

Time limit – one minute maximum

Prose – a memorised interpretation of prose.

Time limit – one and a half minutes maximum

Poetry – a memorised interpretation of a poem.


Presentation of the introduction and links.

Time limit – two minutes maximum

The candidate may present the mime, prose and poetry in any order. The examiner will give no instructions to the candidate apart from prompts if required.

2. Discussion – the examiner will engage the candidate in discussion about the program.

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GRADE 1 5041Examination Time – 14 minutes

Grade 1 develops the candidate’s skills in preparing and performing a themed program for an audience.

The candidate is required to select a theme and develop an integrated program.


The candidate is required to provide the examiner with a copy of all texts (but not self-devised material) in their chosen order of performance.

Examination Requirements1. The candidate will be required to introduce the theme, link the selections and perform:

Introduction – to the theme

Mime – a prepared mime demonstrating awareness of shape, weight and size of objects as well as developing the action towards a climax and resolution.


Prose – a memorised interpretation of prose.




Presentation of the introduction and links.


The candidate may present the mime, prose and poetry in any order.The examiner will give no instructions to the candidate apart from prompts if required.

2. Object – the candidate is required to bring an object linked to the theme, which will lead to interaction and discussion with the examiner. The candidate is required to initiate discussion, but a prepared talk is not required.


3. Discussion – the examiner will engage the candidate in discussion about the works presented.

27



This grade extends the candidate’s skills in preparing, orchestrating and performing a unified program for an audience.

The candidate is required to select a theme and develop an integrated program.

The candidate is responsible for setting the stage and placing the reading material in the performance space prior to the commencement of the examination.


Examination Requirements1. Talk – the candidate will be required to give a talk related to the theme


then link and perform:

Mime – a prepared mime related to the theme, demonstrating awareness of shape, weight and size of objects as well as developing the action towards a climax and/or resolution.


Prose – a memorised interpretation of prose related to the theme.


Prose reading – a prepared reading from a different book related to the theme.


Poetry – a memorised interpretation of a poem or poems related to the theme.


Poetry reading – the reading of a poem or poems related to the theme.


Presentation of the links.


The candidate may present the mime, prose, prose reading, poetry and poetry reading in any order. The examiner will give no instructions to the candidate apart from prompts if required.

2. Discussion – the candidate will be required to discuss the theme and works prepared.

28



This grade focuses on the development of narrative skills.

The candidate may elect to introduce and perform the memorised program thematically but this is optional. For example, themes such as geographical locations, personal interest, timelines, etc, are all acceptable. The selection of the material will determine the most appropriate and imaginative staging.


Optionally, the program may be performed in any order.


Examination Requirements 1. Mime – the candidate will be required to perform an unprepared mime showing

awareness of shape, weight and size of objects, development of a plot, and creative use of the space. The examiner will provide the subject for the mime.

Time limit – thirty seconds’ maximum preparation time and one and a half minutes’ maximum performance time

2. Prose – the candidate will be required to:(a) give a memorised interpretation of narrative prose from a book chosen by the

candidate.


(b) prepare the reading of five pages of text from the same book, from which the examiner will select a passage to be read aloud.

3. Poetry – the candidate will be required to:(a) give a memorised interpretation of a narrative poem or part of a poem.


(b) prepare the reading of five poems from which the examiner will select a poem or parts of poems to be read aloud. The candidate is encouraged to compile their own anthology.

4. Storytelling – the candidate will tell a story (in character if preferred) with the aid of a puppet or simple prop.

Time limit – three minutes maximum

5. Discussion – the candidate will be required to discuss (in general terms), the program and how the use of phrasing, pause and emphasis contributes to effective reading and storytelling.

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LEVEL 2GRADE 4 TO CERTIFICATE

OBJECTIVES

At the completion of Level 2, the candidate will have developed skills:

• to prepare and present a program which is introduced and linked;• to interpret prose and poetry;• to apply voice technique commensurate with the material presented;• to communicate naturally and effectively in discussion;• appropriate to mime, improvisation, movement and storytelling;• to perform drama;• to present talks;• to discuss research that informs interpretation of text.

30



This grade focuses on the candidate’s skill in interpreting dialogue and sustaining characterisation.

The candidate may elect to introduce and perform the memorised program thematically but this is optional.


Optionally, the program may be performed in any order.


Examination Requirements1. Improvisation – the examiner will give the candidate an object. The candidate will

improvise one character incorporating the object provided by the examiner. It is required that the object retain its original function. For example, a cup is a cup (not a mobile phone). The improvisation will include dialogue, movement and development towards an effective resolution.

Time limit – one minute’s maximum preparation time and two minutes’ maximum performance time

2. Prose – the candidate will be required to:(a) choose an Australian text and give a memorised interpretation of a chosen passage

emphasising the use of dialogue.


(b) prepare the reading of ten pages of text from the same book. The examiner will select a passage to be read aloud.

3. Poetry – the candidate will be required to:(a) give a memorised interpretation of a poem or poems by an Australian poet.


(b) prepare the reading of six contrasting poems by different Australian poets from which the examiner will select a poem or part(s) of a poem to be read aloud. The candidate is encouraged to compile their own anthology.

4. Storytelling/characterisation – the candidate will tell a ‘yarn’, ‘folk story’ or ‘myth’ in character, or perform a memorised characterisation from, for example, a play, an adaptation from a novel or original composition. The selection does not necessarily need to be Australian.


5. Discussion – the candidate will be required to discuss: (a) background knowledge of texts and authors to inform interpretation.(b) the use of phrasing, pause, emphasis and stress.(c) rhyme, alliteration and assonance in relation to the poetry.

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Grade 5 introduces dramatic literature and the candidate is advised to select roles with reference to maturity and experience. The discussion of the texts is integral to the outcome of the improvisation.

The candidate is responsible for setting the stage and placing the reading material within the performance space prior to the commencement of the examination.

The candidate is required to provide the examiner with a copy of all texts (but not self-devised material) in their chosen order of performance. Suggested Texts appear at the end of this Speech and Performance syllabus.

Examination Requirements1. The candidate will introduce and link the program based on a selected prose text and

corresponding published play adaption/screenplay of the prose text.

Time limit for introduction and links – three minutes maximum

Prose – a prepared reading from the prose text.


Drama – a memorised interpretation from the selected play, which may involve one or more characters.


Drama reading – a prepared reading from the selected play, which contrasts with the memorised drama.


The candidate may present the prose, drama and drama reading in any order. The examiner will give no instructions apart from prompts in the memorised drama if required.

Discussion – the candidate will discuss the plot, theme and characterisation with the examiner who will then give the candidate a topic, theme or context suggested by some aspect of the selected drama or prose text for the:

Improvisation – the candidate will be required to improvise one character. The improvisation will include dialogue, movement and development towards an effective resolution.


2. Poetry anthology – the candidate will be required to compile an anthology of eight poems on a theme, from which the examiner will select a poem or part(s) of a poem to be read aloud.

3. Talk – the candidate will be required to give a talk on a subject of personal interest.


4. Discussion – the candidate will be required to discuss, in general terms: (a) the techniques employed in performing this program. (b) background knowledge of text and authors.

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This examination is a suitable entry point for more mature candidates. However, consideration should be given to the age and experience of the candidate when choosing the appropriate entry level.

The candidate is responsible for setting the stage and placing the prose reading in the performance space prior to the commencement of the examination.


Examination Requirements1. The candidate will be required to present a linked program on a connecting theme,

topic or idea. The program will include any two of the following – biographies, autobiographies or prose texts written in the first person.

Talk – a talk on some aspect of the chosen theme, topic or idea.


Prose – a memorised interpretation from one text.

Prose reading – a prepared reading from the other text.


Drama – a memorised interpretation from a play, which may involve one or more characters.

The candidate may present the talk, prose, prose reading, poetry and drama in any order. The examiner will give no instructions, apart from prompts if required.

Time limit for the entire program (talk, prose, prose reading, poetry, drama and links) – between thirteen and fifteen minutes

2. Poetry anthology – the candidate will be required to compile an anthology of ten contrasting poems from which the examiner will select a poem or parts of poems to be read aloud. The examiner may ask the candidate to compare and contrast aspects of the poems.

3. Discussion – the candidate will be required to discuss: (a) the works performed including background knowledge of authors and their socio-

historical context to inform interpretation.(b) voice production and projection. (c) key aspects of the presentation including the staging and use of the space.

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This grade introduces the candidate to literature that reflects a particular cultural or sub-cultural heritage.

The selection of material will determine the approach to staging and complement the cultural background from which it has evolved.



Examination Requirements1. The candidate will be required to perform a linked program derived from a specific

cultural or sub-cultural heritage:

Story – the program commences with a story, myth or legend derived from some aspect of a specific cultural or sub-cultural heritage, which serves to introduce the program.

Time limit – between two and three minutes


Drama – a memorised interpretation of drama, which may include one or more characters.

Prose reading – the prepared reading from a prose text.

Poetry reading – a prepared reading of a poem which contrasts in mood from the memorised poem.

The candidate may present the memorised poem, drama, prose reading, and poetry reading in any order.The examiner will give no instructions, apart from prompts if required.

Time limit for the entire program (story, poetry, drama, prose reading, poetry reading and links) – between thirteen and fifteen minutes

2. Improvisation – the candidate will be required to improvise one character based on a stimulus given by the examiner relating to the cultural or sub-cultural heritage chosen by the candidate.


3. Poetry reading – the candidate will be required to prepare the reading of ten poems comprising a selection of narrative and lyrical verse, including free verse and metrically patterned verse. The candidate is encouraged to compile their own anthology. The candidate may select poems, which relate to the cultural or sub-cultural heritage. The examiner will select a poem or parts of poems to be read aloud.

4. Discussion – the candidate will be required to discuss:(a) the forms of the poems.(b) background and authors of the works presented indicating their connection to the

cultural or sub-cultural heritage.

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This grade introduces the candidate to the Elizabethan and Jacobean eras.

The candidate is responsible for setting the stage and placing the reading material in the performance space prior to the commencement of each section of the examination.


Examination Requirements1. The candidate will be required to present a linked program derived from the

Elizabethan and/or Jacobean eras:

Talk – the program commences with a talk on any aspect of Elizabethan/Jacobean life and/or literature, which serves to introduce the program.

Time limit – between four and five minutes maximum

Drama – a memorised interpretation from a Shakespearean play.


Poetry – a memorised Elizabethan/Jacobean lyric or lyrics.


Original scene – a self-devised scene demonstrating Elizabethan/Jacobean manners, movement, costume and language as portrayed by one character.


The candidate may present the drama, poem/s and original scene in any order. The examiner will give no instructions apart from prompts if required.

Time limit for the entire program (talk, drama, poem(s), original scene and links) – between fourteen and sixteen minutes

2. Prose, poetry and drama reading – the candidate will be required to introduce and stage readings of prose, poetry and drama, which contrast in style and era with those presented in Section 1 of the examination.

Time limit – seven minutes’ maximum reading time and three minutes’ maximum for introduction and links

3. Discussion – the candidate will be required to discuss:(a) the works presented and the Elizabethan and Jacobean period including aspects of

theatre involving staging, costuming and social, political and religious influences of the time.

(b) the authors. (c) the factors that determined the approach to the presentation of the readings in

Section 2.

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CERTIFICATE OF SPEECH AND PERFORMANCE, AUSTRALIA 5049Examination Time – 40 minutes

The candidate should note that this examination forms part of the prerequisite requirement for entry to the Associate Diploma (ASPA) examination.

The candidate is responsible for setting the stage and placing the reading texts material in the performance space prior to the commencement of each section of the examination.

The candidate is required to provide the examiner with a copy of all texts (but not self-devised material) in their chosen order of presentation.

Note: The candidate is required to forward a copy of both the memorised and reading programs to the relevant State Office no later than two weeks before the practical examination date. Only titles, authors and sources are required.

Examination Requirements1. The candidate will be required to present and link a program of selections from works

published during either the 17th and/or 18th centuries:

a) Talk – the program commences with a talk on some aspect of either the 17th and/or 18th centuries, which serves to introduce the program.


b) Drama – a memorised interpretation from a Comedy of Manners or Burlesque or Farce, written during the 17th or 18th centuries. Consideration should be given to stylistic adjustments in relation to period.


c) Prose – a reading from any prose text written during either the 17th or 18th centuries.


d) The candidate may elect to perform either:

Original scene – A self-devised scene demonstrating manners, movement, costume and language from either the 17th or 18th centuries as portrayed by one character.


OR

Poetry – a memorised satirical poem or part thereof written during either the 17th or 18th centuries.


The candidate may present the drama, prose and original scene or poetry in any order.The examiner will give no instructions apart from prompts if required.

Time limit for Section 1 including links – between ten and twelve minutes

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2. The candidate will be required to present an integrated program of contrasting selections from any other era to show their versatility as a performer.

a) The candidate may elect to introduce the program with either:

Talk – to interest the audience in the program.


OR

Original scene – a self-devised scene involving one character relating to some aspect of the program.


b) Drama – a scene from any play.


c) The candidate may elect to present either:

Poetry – a poem or poems.


OR

Anthology – the candidate will be required to compile an anthology of ten poems comprising a variety of poetic forms and styles of writing such as Ballads, Blank Verse, Couplets, Elegies, Odes, Dramatic Verse, Free Verse, Sonnets, Narrative, Humorous, Parodies etc. The examiner will select a poem or parts of poems to be read aloud.

d) Prose – a selection from any text/s.


From the three elements drama, poetry and prose, the candidate may present one as a reading; the other two are required to be memorised. The anthology selection/s will be read.The candidate may present the drama, poetry/anthology selection(s) and prose in any order.The Examiner will give no instructions apart from prompts if required.

Time limit for Section 2 including links – between ten and twelve minutes.

3. Impromptu reading – the examiner will choose a selection from a published essay which the candidate will be required, after perusal, to read aloud.

Perusal time – one minute maximum

4. Discussion – the candidate will be required to discuss the program and factors that informed choice and presentation of selections.

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LEVEL 3ASSOCIATE AND LICENTIATE

OBJECTIVES

The candidate will demonstrate maturity, conviction and confidence in the performance of a balanced program, which covers a variety of technical and dramatic skills.

The candidate is required to demonstrate:

• an in-depth knowledge of the social, historical and literary background from which the programs are developed.

• skills to perform a range of styles and genres.• a sound understanding of the elements of drama.• a strong flexible vocal range capable of responding to and achieving a variety

of demands.• the ability to communicate clearly and with distinct and unambiguous intent.• self assurance and the capacity to select from a wide range of effective performance and

presentation skills to present a credible, engaging and insightful program.• a range of teaching strategies and techniques supported by a clear education philosophy

(Teacher Diploma).• knowledge of the elements of acting and performance techniques

(Performer Diploma).

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ASSOCIATE (ASPA)This examination can be taken either as a Teacher or as a Performer.

A candidate may not combine Teacher and Performer requirements when completing the diploma.

The examination for this diploma is in two sections:1. An individual practical examination2. A written examination

The candidate should refer to Regulation 17. The prerequisite requirement for this examination is at least a B or Credit grading in Certificate of Drama and Performance Australia OR Certificate in Speech and Performance Australia, and a pass in Grade 7 Speech and Performance Theory.

The candidate is advised to obtain a copy of the current AMEB Speech and Drama Manual of syllabuses and to study carefully the regulations governing examinations. Particular attention should be given to the Regulation relating to Examinations in Sections; the Foreword to the Speech and Performance syllabus; and the lists of Recommended Reference Books.

Note: The candidate is required to forward two copies of the program to the State Office in their state no later than TWO weeks prior to the practical examination date. Only titles, authors and sources are required for Sections 1 and 2. Lesson plan (Teacher Diploma) or Talk title (Performer Diploma) and audio, video or DVD support material if applicable, is required for Section 5.

ASSOCIATE. SECTION I. PRACTICAL EXAMINATIONTEACHER DIPLOMA 5050 PERFORMER DIPLOMA 5052

Examination Time – 1 hour 5 minutes

The material selected will determine the planning, structuring and orchestration of the programs.

The candidate may consider diaries, letters, journals, sermons, parliamentary reports, essays, judgements, speeches, etc. as well as fiction, poetry and drama in planning programs that show their versatility in performance.

The candidate is required to provide the examiners with a copy of all texts (but not self-devised material) in the order of performance.


The candidate is responsible for having audio-visual support/technology close at hand and setting up before commencing the program.

Time limit – four minutes maximum

If the candidate elects to use audio/visual support material in Section 5, the onus rests with the candidate to ensure that all equipment is functioning and does not disrupt the progress of the examination.

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Examination RequirementsPlease note that Section 1, Section 2, Section 3, Section 4 and Section 6 are common to both Teacher and Performer Diplomas.

1. Memorised – the candidate will be required to introduce and link an integrated program of memorised prose, poetry and drama selections from works written between 1800 and 1914 inclusive.

Time limit for Section 1 – between thirteen and fifteen minutes maximum, (including introduction and links – three minutes maximum)

The candidate may present the prose, poetry and drama selections in any order.The examiner will give no instructions apart from prompts if required.

2. Reading – the candidate will be required to introduce and link an integrated program of prose, poetry and drama readings from works written between 1800 and 1914 inclusive, which contrast with the works presented in the memorised program.

Time limit – between eight and ten minutes maximum; (including introduction and links – two minutes maximum)

3. Discussion – the candidate will be required to discuss in depth the technical and literary aspects of the works presented in Section 1 and Section 2 and the factors that informed choice and presentation of selections.

4. Impromptu reading –the candidate will be required to read aloud, after perusal, one selection of prose and one of poetry from any period. The examiners will choose the selections.

Perusal time – two minutes maximum

5. Teacher DiplomaThe candidate is required to present a detailed plan for a speech and/or drama lesson that contains elements specifically relevant to a student, or students in a class, undertaking study at Level 1. The lesson plan is required to be placed within the context of a broader series of lessons with some indication of what may have gone before and what is to come in the near future.The candidate is required to speak for between six and eight minutes on this lesson including specific aims and objectives, classroom management, discipline, supporting material, activities, strategic lesson progression and evaluation.Aspects of the lesson presented and any other aspects of speech and drama education, which may arise, will motivate discussion.It is a decided advantage to have taught the lesson presented.Two copies of this lesson plan and two copies of a video, or DVD support material (if applicable) are required to be submitted with the candidate’s literary program two weeks prior to the examination.

OR

5. Performer DiplomaThe candidate will be required to present a between six and eight on some aspect of the actor’s craft. The title of the talk, together with two copies of audio, video or DVD support material if applicable, is required to be submitted with the candidate’s literary program two weeks prior to the examination.The candidate will be required to speak for between six and eight minutes on the chosen topic. Supporting material e.g. photographs, portfolio, etc, may be included in the talk, which can provide the springboard for discussion.

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6. Discussion with the examiners will follow the talk. The candidate will be expected to have a thorough knowledge of the works presented and discuss issues that arose during the choice, preparation and presentation of the entire program.

ASSOCIATE. SECTION II. WRITTEN EXAMINATIONTEACHER DIPLOMA 5051

Examination time – 3 hours

1. The candidate will be required to:(a) transcribe phonetically (using Narrow Form symbols of IPA) a short passage

(maximum 60 words) into Cultivated Australian and/or General Australian speech indicating primary and secondary stress, vowel length, syllabic consonants, linking [r] and dark [ɫ] as they occur. (10 marks)

(b) answer questions on: (i) elements of pronunciation. (ii) possible causes of negligent pronunciation (assimilation, elision, intrusion,

substitution, consonant transference etc). (iii) strategies the teacher may apply to achieve appropriate pronunciation of words

in isolation and in connected speech.(20 marks)

2. The candidate will be required to answer questions on:(a) vocal projection and voice care, including strategies for overcoming faulty tone in

primary school aged students. (15 marks)(b) developing voice dynamics and the rhythmic flow of speech for social interaction

and interpretation of text and performance in primary school aged students. (20 marks)

3. The candidate will answer questions on lesson content, methods and materials to develop performance and/or communication skills, used by the speech and drama teacher with primary school aged students in the classroom or private studio. (20 marks)

4. The candidate will answer questions on criteria for selecting literature for use by the speech and drama teacher with primary school aged students in the classroom or private studio. (15 marks)


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ASSOCIATE. SECTION II. WRITTEN EXAMINATIONPERFORMER DIPLOMA 5053

Examination time – 3 hours

1. The candidate will be required to:(a) transcribe phonetically (using Narrow Form symbols of IPA) a short passage

(maximum 60 words) into Cultivated Australian and/or General Australian speech indicating primary and secondary stress, vowel length, syllabic consonants, linking [r] and dark [ɫ] as they occur. (10 marks)

(b) answer questions on: (i) elements of pronunciation. (ii) possible causes of negligent pronunciation (assimilation, elision, intrusion,

substitution, consonant transference etc). (iii) strategies the actor may apply to achieve appropriate pronunciation of words in

isolation and in connected speech.(20 marks)

2. The candidate will be required to answer questions on:(a) vocal projection and voice care, including strategies for overcoming faulty tone.

(15 marks)(b) developing voice dynamics and the rhythmic flow of speech for performance.

(20 marks)3. The candidate will be required to answer questions on:

(a) preparation and performance techniques required for an audition. (10 marks)(b) period movement and style, using a play studied for the Practical Section of this

examination. (10 marks)4. The candidate will answer questions on:

(a) the rehearsal process.(b) the actor’s art/craft in creating a character.(c) skills required to be an effective cast member.(15 marks)


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LICENTIATE (LSPA)This examination can be taken either as a Teacher or a Performer.

A candidate may not combine Teacher and Performer requirements in completing the diploma.

The examination for this diploma is in three sections:

1. An individual practical examination2. A written examination3. A dissertation

The candidate should refer to Regulation 17. The prerequisite requirement for this examination is ASPA.

The candidate is advised to obtain a copy of the current AMEB Speech and Drama Manual of syllabuses and to study carefully the regulations governing examinations. Particular attention should be given to the Regulation relating to Examination in Sections; the Speech and Performance syllabus in its entirety, particularly the foreword and the plan of development in progressive grades; and the lists of Recommended Reference Books.

Note: The candidate is required to forward two copies of the program to the State Office in their state no later than TWO weeks prior to the practical examination date. Only titles, authors and sources are required for Sections 1 and 2. Presentation outline is required for Section 5 (Teacher and Performer Diploma), and audio, video or DVD support material if applicable.

LICENTIATE. SECTION I. PRACTICAL EXAMINATIONTEACHER DIPLOMA 5054 PERFORMER DIPLOMA 5057

Examination time – 1 hour 20 minutes

The material selected from works published between 1914 and the present day inclusive, will determine the planning and orchestration of the programs in Section 1. It is essential that the candidate demonstrates vocal and physical sensitivity to, and empathy with, the material selected in presentation. The candidate is advised to look to various sources for their selections.

Section 2 in the practical examination requires the candidate to demonstrate their ability to handle the demands of verse drama. There are no restrictions on the selections of translations from the Greek.

The candidate is required to provide the examiners with a copy of all texts (but not self-devised material) in their chosen order of performance.

The candidate is responsible for setting the stage and placing reading material in the performance space prior to the commencement of the examination.

The candidate is responsible for having audio-visual support/technology close at hand and setting up before commencing the program.


If the candidate elects to use audio/visual support material in Section 5, the onus rests with the candidate to ensure that all equipment is functioning and does not disrupt the progress of the examination.

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Examination RequirementsPlease note that Section 1, Section 2, Section 3 and Section 4 are common to both Teacher and Performer diplomas.

1. Memorised – the candidate will be required to introduce and link an integrated program of memorised prose, poetry and drama selected from works published between 1914 and the present day.The examiners will give no instructions apart from prompts if required.

Time limit for Section 1 – between thirteen and fifteen minutes; (including introduction and links – three minutes maximum)

2. Verse drama – the candidate will be required to introduce and link a program selected from verse dramas, e.g. Greek, Shakespearean or of any other period. The program will include:(a) memorised performance.


(b) reading.


The examiners will give no instructions apart from prompts if required.

Time limit for Section 2 – between twelve and fourteen minutes including introduction and links

3. Impromptu reading – the examiner will provide two selections each of PROSE and POETRY, from which the candidate will be required to read aloud after perusal.

Perusal time – two minutes maximum

4. Discussion – the candidate will be expected to:(a) have a thorough knowledge of the works presented; and(b) discuss issues that arose during the choice, preparation and presentation of the

entire program.

5. Teacher DiplomaThe candidate will be required to give a presentation on some aspect of teaching speech and drama at secondary school/adult level.

Time limit – between eight and ten minutes

OR

5. Performer Diploma The candidate will be required to introduce and discuss a particular dramatic style or genres other than those already presented in Sections 1 and 2 and explain the approach to presentation.

Time limit– between eight and ten minutes

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LICENTIATE. SECTION II. WRITTEN EXAMINATIONTEACHER DIPLOMA 5055

Examination Time – 3 hours

1. The candidate will answer questions on current trends in pronunciation and colloquial speech, including strategies for overcoming negligent speech in students. (25 marks)

2. The candidate will answer questions on structuring speech, drama and communication programs for secondary, adult and tertiary students; teachers and specific groups, e.g. business people. (25 marks)

3. The candidate will answer questions on the role of the speech and drama teacher in the secondary school and the local community and discuss:(a) organisational skills required to plan and execute activities such as school drama

performances and play productions with secondary schools and amateur groups. (b) organisational skills and program planning for specific activities e.g. workshops,

festivals, fairs, jubilees. (25 marks).

4. The candidate will answer questions on criteria for oral assessment including adjudicating public speaking, eisteddfods and drama festivals. (25 marks)


LICENTIATE. SECTION II. WRITTEN EXAMINATIONPERFORMER DIPLOMA 5058

Examination Time – 3 hours

1. The candidate will answer questions on:(a) current trends in pronunciation and colloquial speech, including strategies for

overcoming negligent speech (10 marks).(b) the use of the voice in characterisation. (10 marks)(c) dialect and/or accents in the theatre. (10 marks)

2. The candidate will answer questions on the speech and communication techniques required of a performer in areas of public presentation such as public speaking, lecturing, broadcasting and television. (20 marks)

3. The candidate will answer questions on organisational skills and program planning for specific activities, e.g. play productions, workshops, festivals, fairs. (25 marks)

4. The candidate will answer questions on criteria for oral assessment including adjudicating public speaking, eisteddfods and drama festivals. (25 marks)


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LICENTIATE. SECTION III. DISSERTATIONTEACHER DIPLOMA 5056Preparation AdviceThe candidate will be required to have their proposed dissertation topic approved by the AMEB prior to commencement of the dissertation. Procedures for approval of the topic and details regarding the submission of the final document are included in an information document, which can be obtained from the AMEB State Offices.

Examination RequirementsThe candidate will be required to prepare a dissertation of 5,000 words on some aspect of language in education. The choice of topic should be practically based and make a positive contribution to speech and education. Supportive evidence such as audio, visual or audio/visual material may be included.

LICENTIATE. SECTION III. DISSERTATIONPERFORMER DIPLOMA 5059Preparation AdviceThe candidate will be required to have their proposed dissertation topic approved by the AMEB prior to commencement of the dissertation. Procedures for approval of the topic and details regarding the submission of the final document are included in an information document, which can be obtained from the AMEB State Offices.

Examination RequirementsThe candidate will be required to prepare a dissertation of 5,000 words on some aspect of theatre craft. The choice of topic should be practically based and make a positive contribution to theatre in general. Supportive evidence such as audio, visual or audio/visual material may be included.

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SPEECH AND PERFORMANCE SUGGESTED TEXTSPRELIMINARYProseChild, L. Utterly me, Clarice Bean (London: Orchard, 2003)Cleary, B. The mouse and the motorcycle (New York: W. Morrow, 1965)Cleary, B. Ramona Quimby, Age 8 (Harmondsworth: Puffin, 1984)Dahl, R. The magic finger (London: Puffin, 1989) Fox, M. Possum magic (Adelaide: Omnibus Books, 2006)Gleitzman, M. Toad rage (Melbourne: Puffin, 1999)Orr, W. Nim’s island (St Leonards: Allen & Unwin, 1999)Park, R. The muddle-headed wombat (Sydney: The Educational Press, 1962)or any contemporary award-winning or short-listed book.

PoetryFatchen, M. and Thiele, C. Tea for three (Melbourne: Moondrake, 1994)Foster, J. A first poetry book (Oxford University Press, 1979)Foster, J. A very first poetry book (Oxford University Press, 1987)Foster, J. Climb aboard the poetry plane (Oxford University Press, 2000)Foster, J. (ed) My first Oxford book of poems (Oxford University Press, 2006)James, S. (ed) Days like this: a collection of small poems (Candlewick Press, 2005)Kosseris, A. On with the show (Willoughby: Kindamindi, 2008)Kosseris, A. and Campbell, D. Gooey chewy and other junior giggles and dreams

(Willoughby: Kindamindi, 2005)Scott-Mitchell, C. (ed) Apples from Hurricane street (Sydney: Methuen, 1985)Scott-Mitchell, C. and Griffith, K. (ed) 100 Australian poems for children (Sydney: Random

House, 2002)

GRADE 1ProseBall, D. Selby’s secret (any in the series) (Harper Collins)Browne, A. Willy the wimp (London: Walker, 1995)Burningham, J. Oi! Get off our train! (London: Cape, 1989)Dahl, R. The magic finger (London: Puffin Books, 1989)Lester, A. Isabella’s bed (Rydalmere: Hodder Headline, 1994)Moore, I. Aktil’s bicycle ride (Melbourne: Oxford University Press, 1981)Prior, N. Lily Quench and the dragon of Ashby (Sydney: ABC Books, 2007)Wagner, J. Jo Jo and Mike (Melbourne: Nelson, 1984)Wagner, J. The machine at the heart of the world (Ringwood: Kestrel, 1983)Yeoman, J. and Blake, Q. The wild washerwomen: a new folk tale (London: Hamish Hamilton,

1979)or any contemporary award-winning or short-listed book.

PoetryBennett, J. (ed) Roger was a razor fish and other poems (Hippobooks)Bennett, J. (ed) Verses for children (Fontana Picture Lions, Collins)Bennett, J. Bags of poems (Family Album)Bennett, J. Spooky poemsFatchen, M. A pocketful of rhymes (Norwood: Omnibus/Puffin, 1989)Fatchen, M. and Thiele, C. Tea for three (Melbourne: Moondrake, 1994)Foster, J. A very first poetry bookKosseris, A. Here we go again (Willoughby: Kindamindi, 1999)

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Kosseris, A. Giggles and woes and anything goes (Willoughby: Kindamindi, 2002)Kosseris, A. and Campbell, D. Gooey chewy and other junior giggles and dreams (Willoughby:

Kindamindi, 2005)Oxenbury, H. Tiny Tim: verses for children (New York: Delacorte Press, 1981)Stephenson, M. Fives, sixes and sevens (Warne)Webb, K. (ed) I like this poem (Harmondsworth: Puffin, 1979)

GRADE 2ProseBroome, E. and Dyer, T. Winkles (Sydney: Collins, 1978)Burningham, J. Borka (Harmondsworth: Puffin Books, 1978)Dahl, R. Fantastic Mr Fox (London: Puffin Books, 1978)Dahl, R. George’s marvellous medicine (London: Cape, 1981)Dahl, R. The Twits (Harmondsworth: Puffin, 1982)Dahl, R. The witches (London: Puffin, 2001)Fox, M. Possum magic (Adelaide: Omnibus Books, 1983)Hathorn, E. The tram to Bondi beach (Sydney: Methuen Australia, 1981)Ireland, J. Face at the window (Pymble: Angus & Robertson, 1994)King-Smith, D. Blessu and Dumpling (Puffin, 1992)Lester, A. Yikes! (St Leonards: Allen & Unwin, 1993)Lindsay, H. Mr Poppleberry and the dog’s own daily. Books 1, 2 or 3 (Leichhardt: Ansay, 1983)Rodda, E. Bob the builder and the elves (Sydney: ABC, 1998)Thompson, J. and Lewis, N. Marco Polo and Wellington search for Solomon (Cape, 1982)Van Loon, J. and Van Loon, J. I remember Georgie (Richmond: Hutchinson, 1983)Williams, M. The velveteen rabbit (Pymble: HarperCollins, 1996)Williams, V. Something special for me (Greenwillow Books, 1983)Xhafer, A. The powder box lady (Melbourne: Oxford University Press, 1980)or any contemporary award-winning or shortlisted book.

PoetryAgard, J. I din do nuttin and other poems (London: Bodley Head, 1983)Bell, A. Muster me a song (Wagga Wagga: Triple D Books, 2001)Bennett, J. (ed) A cup of starshine (Walker Books, 1993)Fatchen, M. A pocketful of rhymes (Norwood: Omnibus/Puffin, 1989)Fatchen, M. Poetry all sorts (Wagga Wagga: Triple D Books, 2003)For me, me, me, (selected Butler) (Hodder & Stoughton)Harvey, R. and Dugan, M. More stuff and nonsense (Sydney: Collins, 1980)Kosseris, A. A cup of giggles, a saucer of dreams (Willoughby: Kindamindi, 1994)Kosseris, A. Giggles and woes and anything goes (Willoughby: Kindamindi, 2002)Kosseris, A. and Campbell, D. Gooey chewy and other junior giggles and dreams (Willoughby:

Kindamindi, 2005)MacLeod, D. In the garden of bad things (Ringwood: Penguin, 1982)McClure, G. Poems that go bump in the night (Simon & Schuster)Prelutsky, J. Something big has been here (Mammoth, 1993)Scott, B. See what I’ve got (Wagga Wagga: Triple D Books, 2001)Scott-Mitchell, C. Apples from Hurricane street (Port Melbourne: Mammoth Australia, 1990)Scott-Mitchell, C. When a goose meets a moose (Port Melbourne: Little Mammoth Australia,

1990)Thiele, C. Sun warm memories (Wagga Wagga: Triple D Books, 2003)

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GRADE 3ProseBanks, L.R. The Indian in the cupboard (London: Dent, 1980)Berg, L. Folk tales for reading and telling (London: Hodder and Stoughton, 1980)Cunliffe, J. Mr. Gosling and the great art robbery (Deutsch, 1979)Dahl, Roald. Any suitable bookDe Saint-Exupéry, A. The little prince (Penguin)DiCamillo, K. The tale of Despereaux (Candlewick Press)Fine, A. Flour babies (London: Puffin, 1994)Gillham, B. A place to hide (Deutsch, 1983)Gleitzman, M. Misery guts (Sydney: Piper, 1991)Gordon, J. Catch your death and other ghost stories (London: Hardy, 1984)Harris, C. Strike (Milsons Point: Random House Australia, 1994)Hirsch, O. Hazel green (any in the series) (St Leonards: Allen and Unwin, 1999)Hirsch, O. Bartlett and the ice voyage (any in the series) (Carlton North: Allen and Unwin)Kipling, R. Just so stories (Any edition)Lorentzen, K. Lanky longlegs (London: Dent, 1982)Martin, D. Peppino (Richmond: Hutchinson of Australia, 1983)Murphy, J. The worst witch (Harmondsworth: Puffin, 1979)Norton, M. The complete borrowers stories (Puffin, 1997)Rodda, E. Deltora quest (any in the series) (Lindfield/Gosford: Scholastic Australia)Rodda, E. Rowan of Rin (any in the series) (Scholastic Australia)or any contemporary award-winning or short-listed book.

Poetry Ahlberg, A. Please Mrs Butler (Harmondsworth: Kestrel, 1983)Bell, A. Muster me a song (Wagga Wagga: Triple D Books, 2001)Dugan, M. (ed) Ten times funny: 100 hilarious poems (Ferntree Gully: Houghton Mifflin,

1990)Factor, J. (ed) First Australian poetry book (Melbourne: Oxford University Press, 1983)Fatchen, M. Poetry all sorts (Wagga Wagga: Triple D Books, 2003)Foster, J. A first poetry book (Oxford University Press, 1979)Foster, J. A second poetry book (Oxford University Press, 1987)Harrison, M. and Stuart-Clark, C. (ed) The Oxford treasury of classic poems (Oxford University

Press, 2004)Herrick, S. Poetry to the rescue (St Lucia: Queensland University Press, 1998)Klein, R. Snakes and ladders: poems about the ups and downs of life (Melbourne: J.M. Dent,

1985)Kosseris, A. A cup of giggles, a saucer of dreams (Willoughby: Kindamindi, 1994)Kosseris, A. More giggles and dreams (Sydney: Kindamindi, 1997)Kosseris, A. Moving on with giggles and dreams (Willoughby: Kindamindi, 2004)Kosseris, A. Giggles and woes and anything goes (Willoughby: Kindamindi, 2002)Patten, B. (ed) The Puffin book of 20th century children’s verse (Puffin, 1991)Patten, B. (ed) The Puffin book of utterly brilliant poetry (London: Puffin, 1998)Philip, N. (ed) The new Oxford book of children’s verse (Oxford University Press, 1998)Rosen, M. A spider bought a bicycle: and other poems for young children (Kingfisher, 2005)Rosen, M. Kingfisher book of children’s verse (Kingfisher)Rosen, M. (ed) The Walker book of classic poetry and poets (Walker, 2001)Rosen, M. (ed) A world of poetry (London: Kingfisher, 1991)Scott, B. See what I’ve got (Wagga Wagga: Triple D Books, 2001)

49


Scott-Mitchell, C. & Griffith, C. (ed) 100 Australian poems for children (Sydney: Random House, 2002)

Thiele, C. Sun warm memories (Wagga Wagga: Triple D Books, 2003)Woodward, Z. and Woodward, I. Poems for fun (Beaver)

GRADE 4ProseAny novel by an Australian author, e.g. Gary Crew, Jackie French, Morris Gleitzman, Norman Lindsay, Lilith Norman, Ruth Park, Emily Rodda, Colin Thiele, Gillian Rubinstein.or any contemporary award-winning or short-listed author.

PoetryBarnes, J. and McFarlane, B. (ed) Cross-country: A book of Australian verse (Richmond:

Heinemann, 1984)Bell, A. Muster me a song (Wagga Wagga: Triple D Books, 2002) Denholm, Z. (ed) Celebrate! (Wagga Wagga: Triple D Books, 2007)Fatchen, M. Poetry all sorts (Wagga Wagga: Triple D Books, 2003)Hart, K. Peniel (Hawthorn: Golvan Arts, 1991)Harwood, G. Selected poems (North Ryde: Angus & Robertson, 1990)Herrick, S. Love poems and leg spinners: a month in the life of class 5B (St Lucia: University of

Queensland Press, 2001)Heseltine, H. (ed) The Penguin book of Australian verse (Ringwood: Penguin Books Australia,

1972)Kosseris, A. A cup of giggles a saucer of dreams (Willoughby: Kindamindi, 1994)Kosseris, A. More giggles and dreams (Sydney: Kindamindi, 1997)Kosseris, A. Giggles and woes and anything goes (Willoughby: Kindamindi, 2002)Kosseris, A. Moving on with giggles and dreams (Willoughby: Kindamindi, 2004)Mackellar, D. A poet’s journey (Wagga Wagga: The Dorothea Mackellar Memorial Society

and Triple D Books, 2002)Mattingley, C. Nest egg (Wagga Wagga: Triple D Books, 2005)Milsson, E. House guest (Ringwood: Viking, 1991)Murray, L. (ed) New Oxford book of Australian verse (Oxford)Scott, B. See what I’ve got (Wagga Wagga: Triple D Books, 2001)Scott-Mitchell, C. and Griffith, C. (ed) 100 Australian poems for children. (Sydney: Random

House, 2002)Thiele, C. Sun warm memories (Wagga Wagga: Triple D Books, 2003)

GRADE 5ProseBrontë, C. Jane Eyre and Jane Eyre: a drama in three acts (adapted by Helen Jerome)

(London: French, 1953)Burnett, F.H. A little princess (Penguin) and A little princess (dramatised by Michael Wild)

(Samuel French)Carpenter, H. Shakespeare without the boring bits (London: Viking, 1994)Carpenter, H. More Shakespeare without the boring bits (London: Viking, 1996)Carroll, L. Through the looking glass and Through the looking glass (adapted by V.A. Perne)

(French)Dahl, R. The BFG (Penguin) and The BFG (adapted by David Wood) (Samuel French)Dahl, R. Charlie and the chocolate factory and Roald Dahl’s Charlie and the chocolate factory: a play

(adapted by Richard George) (Puffin)Dickens, C. A Christmas carol and A Christmas carol: play (adapted by Kenelm Foss) (French)

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Forrester, H. Twopence to cross the Mersey (Fontana) and Twopence to cross the Mersey (adapted by Valerie Windsor) (Collins Educational)

Gleitzman, M. Two weeks with the Queen (Macmillan) and Two weeks with the Queen (adapted by Mary Morris) (Currency)

Graham, K. The wind in the willows (any edition) and Milne, A.A. Toad of Toad Hall (Methuen; any edition)

James, H. Turn of the screw (Penguin) and Archibald, W. The Innocents: a new play (New York: French, 1951)

Klein, R. Boss of the pool (Omnibus/Puffin) and Klein, R Boss of the pool – the play (adapted by Mary Morris) (Sydney: Currency Press, 1993)

Klein, R. Hating Alison Ashley and Hating Alison Ashley (adapted by Richard Tulloch) (Ringwood: Puffin, 1988)

Lamb, Charles and Mary. Tales from Shakespeare or Miles, Bernard Tales from Shakespeare (2 Volumes) or Shakespeare, W. A midsummer night’s dream or The merchant of Venice or As you like it or The comedy of errors

Lee, H. To kill a mockingbird and Harper Lee’s To kill a mockingbird (adapted by Christopher Sergel) (Dramatic Publishing Company, 1970)

Lewis, C.S. The lion, the witch and the wardrobe and The lion, the witch and the wardrobe (adapted by Glyn Robbins) (Samuel French, 1987)

Marsden, J. So much to tell you (Walter McVitty Books) and So much to tell you: The play (dramatised by John Marsden) (Montville: Walter McVitty Books, 1994)

Park, R. The harp in the south (any edition) and The harp in the south (adapted by Leslie Rees) (Yackandandah Playscripts, 1987)

Serraillier, I. The silver sword (Puffin) and The silver sword (adapted by Stuart Henson) (Heinemann, 1982)

Stow, R. Midnite (Bodley Head) and Midnite: the play (dramatised by Randolph Stow) (Puffin)

Twain, M. Tom Sawyer (any edition) and Tom Sawyer’s treasure hunt (adapted by Charlotte B. Chorpenning) (French)

or any other prose text and corresponding play.

GRADE 6Background studyBerry, C. Voice and the actor (London: Harrap, 1986)Colson, G. Voice production and speech (Longman, 1995)Krummel, D. The art of speech, 9th ed. (Spring Hill: Boolarong Publications, 1982)Miles-Brown, J. Acting – A drama studio source book (London: Peter Owen, 1985)Poulter, C. Playing the game (Players Press, 1991)Self, D. The drama and theatre arts course book (Macmillan, 1983)and any relevant texts from the General Reference Books list in the front section of this Manual.

GRADE 7Background studyThe relevant sections of texts from previous grades together with:Boulton, M. The anatomy of poetry (London: Boston: Routledge & Kegan Paul, 1982)Colmer, J. and Colmer, D. Pattern and voice (South Melbourne: Macmillan, 1981)Crump, G. Speaking poetry (Dobson, 1968)Probyn, C.T. English poetry (Longman) (York Handbooks)and any relevant texts from the General Reference Books list in the front section of this Manual.

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GRADE 8Background studyThe relevant sections of texts from previous grades together with:Barton, J. Playing Shakespeare (London: Methuen in association with Channel Four

Television Co., 1984)Berry, C. Text in action (London: Virgin, 2001)Boal, A. The rainbow of desire – the Boal method of theatre and therapy (London; New York:

Routledge, 1995)Crystal, B. Shakespeare on toast (London: Totem Book)Halliday, F.E. Shakespeare and his world (Thames & Hudson, 1976)Linklater, K. Freeing the natural voice (New York: Drama Book Specialists, 1976)Mack, M. (series ed.) Twentieth century views series (Prentice Hall)McCallion, M. The voice book: for actors, public speakers and everyone who want to make the most

of their voice (London: Faber, 1988)Morrison, M. Clear speech: Practical speech correction and voice improvement (Heinemann, 2007)Oxenford, L. Playing period plays (London: J.G. Miller, 1958)Rodenburg, P. Speaking Shakespeare (London: Methuen, 2002)Shoenbaum, S. Shakespeare, his life, his language, his theatre (Signet)Spain, D. Shakespeare sounded soundly (The Verse Structure and the Language)

(Capra Press) (also Garland Clarke Editions)Thomson, P. Shakespeare’s theatre (Routledge, 1992)Turner, J.C. Voice and speech in the theatre (London: A & C Black, 2007)Weate, C. Classic voice (London: Oberon Books)and any relevant texts from the General Reference Books list in the front section of this Manual.

CERTIFICATE OF SPEECH AND PERFORMANCEBackground studyArgyle, M. Psychology of interpersonal behaviour (Harmondsworth: Penguin, 1967)Axtell, R. Do’s and taboos of public speaking (Wiley, 1992)Barker, C. Theatre games: a new approach to drama training (London: Eyre Methuen, 1977)Colson, G. Voice production and speech (Longman, 1995)Gruner, C.R. Speech communication in society (Allyn & Bacon, 1977)Hartnoll, P. A concise history of the theatre (Macmillan, 1973)Hartnoll, P. The Oxford companion to the theatre (Oxford; New York: Oxford University Press,

1983)Hooke, J. and Philips, J. The debating book (Kensington: UNSW Press, 1994)Lawrence, A. Guide to public speaking (Pan)Linklater, K. Freeing the natural voice (New York: Drama Book Specialists, 1976)McGraw-Hill. McGraw Hill encyclopaedia of world drama (I-V) (Sydney)Morrison, M. Classical acting (Heinemann, 2007)Pease, A. Body language: how to read others’ thoughts by their gestures (North Sydney: Camel

Publishing, 1981) or (Collins).Samover, L.A. and Mills, J. Oral communication message and response, 6th ed. (Wm. C Brown

Publishers, 1994)Scouten, A.H. Restoration and 18th century drama (Macmillan, 1980)Simmons, E. Augustan literature 1660–1789 (Bloomsbury)Sitarz, P.G. Curtain rises Volume 2: a history of European theatre from the 18th century to present

(Betterway Books, 1993)Turner, C. Voice and speech in the theatre (London: A & C Black, 2007)

52


Valentine, N. Speaking in public (Ringwood: Penguin, 1993)Weate, C. Classic voice (London: Oberon Books)Woodall, M.K. Thinking on your feet (Thorsons)

ASSOCIATEBackground studyIntroduction to the Macquarie dictionaryAdland, D. Group approach to drama Vols 1–6 (Longman)Berry, M.F. and Eisenson, J. Speech disorders (Appleton-Croft)Burniston, C. and Bell, J. Into the life of things (Southport: English Speaking Board, 1972)Carrell, J. Disorders of articulation (Englewood Cliffs: Prentice Hall, 1968)Clark, J. An introduction to phonetics and phonology (Blackwell)Fader, D.N. and McNeil, E.B. Hooked on books (Oxford: Pergamon Press, 1969)Fairclough, G. The play is NOT the thing (Oxford: Blackwell, 1972)Fox, M. How to teach drama to infants without really crying (Sydney: Ashton Scholastic, 1984)Gimson, A.C. An introduction to the pronunciation of English (London: Edward Arnold, 1983)Jones, R.E. For speech sake! Rev ed. (Belmont: Fearon Publishers, 1970)Meek, M., Warlow, A. and Barton, G. The cool web: The pattern of children’s reading (London:

Bodley Head, 1977)Morrison, M. Clear speech: practical speech correction and voice improvement (Heinemann, 2007)Pool, D. What Jane Austen ate and Charles Dickens knew (New York: Simon & Schuster, 1993)Sansom, C. Speech and communication in the primary school (London: A & C Black, 1965)Thomas, J. (ed) Victorian literature 1830–1900. Bloomsbury guides to English literature

(Bloomsbury, 1994)Trelease, J. The read aloud handbook (Ringwood: Penguin, 1986)Wagner, B. Dorothy Heathcote: Drama as a learning medium (Washington: National Education

Association, 1976)Ward, G. (ed) Romantic literature 1790–1830. Bloomsbury guides to English literature

(Bloomsbury, 1994)Way, B. Development through drama (London: Longmans, 1967)Weate, C. Classic voice (London: Oberon Books)Weate, C. Modern voice (London: Oberon Books)Wells, J.C. and Colson, G. Practical phonetics (Financial Times Prentice Hall, 1980)

LICENTIATE Background studyAllensworth, C. The complete play production handbook (New York: Crowell, 1973)Barnes, D., Briton, J. and Rosen, H. Language, the learner and the school (Harmondsworth:

Penguin, 1971)Benedetti, R. The director at work (Englewood Cliffs: Prentice Hall, 1985)Burniston, C. Spoken English in further education (London: Methuen, 1966)Burton, E.J. Teaching English through self-expression (London: Evans, 1950)Caine, A. Voice workbooks (book and tape) (Headway)Creber, J.W.P. Lost for words: language and educational failure (Harmondsworth: Penguin,

1972)Crystal, D. Cambridge encyclopaedia of language 2nd ed. (New York: Cambridge University

Press, 1997)De Villiers, P.A. and De Villiers, J.G. Early language (Cambridge: Harvard University, 1979)Hayakawa, S.I. Language in thought and action (London: Allen and Unwin, 1952)Jeffree, D.M. and McConkey, R. Let me speak (London: Souvenir Press, 1976)

53

Lewis, M.M. Language and the child (Slough: National Foundation for Educational Research in England & Wales, 1969)

Lewis, M.M. Language, thought and personality in infancy and childhood (London: Harrap, 1963)

Matthei, E. & Roeper, T. Understanding and producing speech (London: Fontana, 1983)Wallace-Crabbe, C. Falling into language (Melbourne: Oxford University Press, 1990)Ward, S. Baby talk. New ed. (Arrow Books, 2004)Weate, C. Classic voice (London: Oberon Books)Weate, C. Modern voice (London: Oberon Books)Williams, L. The Twentieth Century: a guide to literature from 1900 to the present day.

Bloomsbury Guide to English literature (Bloomsbury)


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D R A M AA N D C O M M U N I C A T I O N

Drama and Communication (Revised Syllabus)

ForewordThis syllabus offers a series of examinations in the area of performing arts. The exams are especially designed for a wide range of drama and speech learning environments and provide for creative flexibility within these contexts. The syllabus should appeal to both classroom Drama teachers and Speech and Drama teachers working in a private studio.

It is a multi-optional syllabus and candidates may present for examination:• in one large class group in which sub groups could perhaps work together to flesh out

the focus and performance for the chosen grade. These students would present one examination lasting 30 mins (or more according to Level).

• in pairs (duo)• as individual candidates

The exams are intended to develop: • performance skills.• language skills.• interpretation skills.• response to text.

When taken as group exams they will also encourage: • ensemble performance skills.• collaborative working relationships.• negotiating skills. • group decision-making.

Candidates presenting as a duo or group will be assessed as a group and will receive a group report.

The exams are progressive in that each grade builds on the work developed in the one before; however it is entirely possible to present for a single grade (e.g. Grade 4) without previous exam experience. It is envisaged that the upper levels will prove useful for external assessment purposes in Year 11 and Year 12 Drama and Theatre Studies courses.

As these are essentially performance examinations, candidates may be permitted to watch the performance in other exams. External audience members may be invited to watch the exam depending on the venue. In such cases, the audience may join in the discussion at the end of the performance.

The syllabus follows the following format:Dramatic FocusWork Requirements

55

SUGGESTIONS FOR PREPARATIONDramatic FocusThe Dramatic Focus is the core that gives cohesion to the program. It provides a starting point both for the preparation and for the presentation by indicating the point that will initiate the drama.

The actual content and subject matter for every program is a matter for the individual candidate, duo or group members to decide in consultation with their teachers. It is expected that a unique program will be developed based upon special interests. It should arise from the experience of the individual candidate, duo or group as they work through the suggested processes and stimulus/resource materials.

WORK REQUIREMENTSPerformanceThe aim is to develop a well structured and cohesive presentation, around a central theme or idea. The program should be given a title encapsulating the theme. The individual candidate, duo or group should present their program using a range of dramatic elements. Candidates should consider spatial, physical, aural, oral, and visual dimensions, and should work through texts and self/group-devised material.

Links, where included, are devised and presented to creatively and meaningfully ensure cohesion and unity of the program. They also are intended to extend the frame of reference for the audience.

DocumentationThis is offered as an option in all grades and will take a different format from grade to grade. The purpose is to reveal:• the development of the program.• the participation of all the candidates.

Documentation is a valuable element of preparation and candidates are encouraged to consider the process whether or not they choose to present this option in their exam.

ImprovisationImprovisation, an option in Grades Introductory to 4 inclusive and a required element in Grades 5 and 6, is a core component of performance that helps generate ideas and extend creativity. Candidates who select this option will be given the opportunity to demonstrate their ability whilst those presenting in the higher grades are encouraged to include improvisation in their rehearsal process to develop this valuable skill. The examiner will give a topic related to the dramatic focus. The improvisation will include dialogue, movement and development towards an effective climax. For duos and groups, interaction will be a key component.

PresentationThis is an option in Grades 5 and 6 only. Prepare and present a talk/demonstration incorporating technology and/or other media to communicate knowledge and creative thinking about performance. Partners in the duo and all members of a larger group are required to participate.

DiscussionThis section of the exam will elicit some reflection on the content, dramatic processes, and ways of preparing for the exam or working as a group. All members of a duo and group should participate in the dis cussion.


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RECOMMENDED REFERENCESPlease note this is a suggested list only. Teachers are advised to refer also to the General Reference Books list in the front section of this Manual.

Performance skills/styles/genresBarton, J. Playing Shakespeare (Methuen)Colson, G. Drama skills (Barrie and Jenkins)Harrop, J. and Epstein, S. Acting with style (Prentice Hall)Oxenford, L. Playing period plays (J. Garnet Miller)Queneau, R. Exercises in style (New Directions)Yakin, M. Creating a character (Backstage Books)

Group interactionAdland, D. Group drama (Teachers’ Book) (Longman)Johnson, D.W. and Johnson, F.P. Joining together (Prentice Hall International 4th Edition

1991)

Drama teaching methodologyBolton, G. Towards a theory of drama in education (Longman)Haseman, B. and O’Toole, J. Communicate live! (Heinemann)Haseman, B. and O’Toole, J. Dramawise (Heinemann)O’Neill, C. and Lambert, A. Drama structures (Hutchinson)O’Neill, C. et. al. Drama guidelines (Heinemann)Wagner, B.J. Dorothy Heathcote: Drama as a learning medium (NEA, Washington)

Oral interpretationBerry, C. From word to play (London: Oberon Books)Berry, C. The actor and his text (Harrop)Berry, C. Text in action (London: Virgin Books)Harris, R. and McFarlane, P. A book to perform poems by (AATE)Harris, R. and McFarlane, P. A book to write poems by (AATE)Harris, R. and McFarlane, P. Making the magic (AATE)(AATE is the Australian Assoc. for the Teaching of English, PO Box 203, Norwood, 5067, SA)Houseman, B. Tackling text (London: Nick Hern Books)

Voice and Speech Carey, D. and Clark Carey, R. Vocal arts workbook and DVD (London: Methuen Drama)Pepper, B. Voice in action – DVD (Sydney)Rodenberg, P. The right to speak (Methuen)

Program planningLynskey, A.A. Children and themes (OUP)Pluckrose, H. Creative themes (Evans)

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INTRODUCTORY GRADE 5060(Examination time – 30 minutes, of which 5 mins is allowed for setting and striking)

Dramatic Focus: Interaction

WORK REQUIREMENTSPerformanceA performance that explores relationships and interactions relevant to candidates’ interests.

Documentation (Optional)An album decorated with pictures, collage, poems etc, that complement and extend the ideas in the performance.

Improvisation (Optional)The examiner will give a topic related to the dramatic focus. The improvisation will include dialogue, movement and development towards an effective climax.

DiscussionThe examiner will initiate discussion arising from the performance and the chosen option(s) in the program.

Examination Requirements

Individual candidates and Duos Individual candidates/duos will choose ONE Option from this table and prepare their program accordingly. Candidates should inform their State Office at the time of enrolment as to whether they are entering as an individual or duo. Before the start of the exam candidates should:a) inform the examiner as to which Option they have prepared.b) provide the examiner with a copy of their script or program summary to assist with the

assessment.

Performance Documentation Improvisation Discussion

Option 1 PerformanceTime limit - between 14 and 16 minutes

The candidate/duo will present a talk to elucidate the documentTime limit - 2 minutes maximum

n/a

Discussion


n/a

Improvisation by candidate/duoTime limit - 1 minute’s maximum preparation time - 2 minutes’ maximum performance time

Discussion


n/a n/aDiscussion

*n/a (not applicable): Not required for this Option.


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Groups Groups will choose ONE Option from this table and prepare their program accordingly. Candidates should inform their State Office at the time of enrolment that they are entering for the exam as a group. Before the start of the exam the group should:a) inform the examiner as to which Option they have prepared.b) provide the examiner with a copy of their script or program summary to assist with the

assessment.



The group will present a talk to elucidate the documentTime limit - 2 minutes maximum

n/a

Discussion

Option 2 PerformanceTime limit - between 14 and 16 minutes n/a

Group improvisationTime limit - 1 minute’s maximum preparation time - 2 minutes’ maximum performance time

Discussion


n/a n/aDiscussion


SUGGESTIONS FOR PREPARATIONProcess• Improvisation, storytelling, poetry, choral speaking, role play, puppetry, public

speaking, readers theatre, movement, mime and music are all activities that will help the individual candidate, duo or group to arrive at a subject of interest.

Stimulus/Resources• Texts, picture books, traditional rhymes and stories, poems and music, simple costumes

and props.

CRITERIA FOR EVALUATION AND DEVELOPMENT• Does the program flow smoothly and retain a sense of spontaneity?

• Is this a performance that demonstrates effective dramatic impact?

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GRADE 1 5061(Examination time – 30 minutes, of which 5 mins is allowed for setting and striking)

Dramatic Focus: Extraordinary

WORK REQUIREMENTSPerformanceA structured performance on a theme related to the dramatic focus.

Documentation (Optional)A log book of pictorial material comprising cartoon strips or narrative story board, or a poster sequence which may reflect the structure of the performance or the preparation for the exam. The material could be used as a backdrop to the performance if this were appropriate.





assessment.




n/a

Discussion


n/a

Improvisation by candidate/duoTime limit - 2 minutes’ maximum preparation time - 2 minutes’ maximum performance time

Discussion


n/a n/aDiscussion



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GroupsGroups will choose ONE Option from this table and prepare their program accordingly. Candidates should inform their State Office at the time of enrolment that they are entering for the exam as a group. Before the start of the exam the group should:a) inform the examiner as to which Option they have prepared.b) provide the examiner with a copy of their script or program summary to assist with the

assessment.




n/a

Discussion


Group improvisationTime limit - 2 minutes’ maximum preparation time - 2 minutes’ maximum performance time

Discussion


n/a n/aDiscussion


SUGGESTIONS FOR PREPARATIONProcess• Improvisation, storytelling, poetry, poems for two, choral speaking, role play, puppetry,

public speaking, readers theatre, movement, mime and music. All activities may be a part of the development process and as a consequence be included in the performance.

• Candidates should become aware of the effect of structure: beginnings and endings; climax and resolution.

Stimulus/Resources• Children’s literature: prose and verse by authors such as Michael Dugan, Max Fatchen,

Mem Fox, Paul Jennings, Robyn Klein, Margaret Mahy, Doug McLeod, Roald Dahl, Michael Rosen, Lewis Carroll and Edward Lear.

• Objects and photographs.

• Music.

CRITERIA FOR EVALUATION AND DEVELOPMENT• Is this a tightly structured and well-timed performance?

• Is the vitality and enjoyment of the material shared with the audience?

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GRADE 2 5062(Examination time – 40 minutes, of which 5–7 mins is allowed for setting and striking)

Dramatic Focus: Atmospherics

WORK REQUIREMENTSPerformanceThe performance should integrate a selection of 3 or more special effects, used to assist in the creation of the atmosphere of the performance.

Documentation (Optional)A stage designer’s folio which may include costume designs, lighting plots, sound cues, stage settings, make-up and mask designs and any other relevant materials. All candidates should contribute to the folio, including each member of a duo or group.





assessment.




n/a

Discussion


n/a


Discussion


n/a n/aDiscussion



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assessment.




n/a

Discussion



Discussion


n/a n/aDiscussion


SUGGESTIONS FOR PREPARATIONProcess• Experimentation with a variety of media, such as those listed under Stimulus/

Resources. Candidates should explore their potential for the building of atmosphere, before shaping their ideas into a structured presentation.

Stimulus/Resources• Ghost stories, urban myths, soundtracks from films, abstract or sound poetry, choral

speaking, music, sound effects, simple costume, props, masks, make-up, lighting, slides, dance, mime.

CRITERIA FOR EVALUATION AND DEVELOPMENT• Have the various special effects been used imaginatively and with technical precision?

• Has the desired objective as recorded in the logbook been achieved?

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Dramatic Focus: Attitudes

WORK REQUIREMENTSPerformanceDevise a program comprising a sequence of scenes, on a subject of own choice, during which a range of characters is explored.

Documentation (Optional)For each character in the program a personal profile will be evolved, giving candidates scope to flesh out their characterisations in detail. Information such as age, family, occupation and employment history could be accompanied with pictures or photographs of their clothes, hairstyles, and the homes they live in.





assessment.




n/a

Discussion


n/a


Discussion


n/a n/aDiscussion


64



assessment.




n/a

Discussion



Discussion


n/a n/aDiscussion


SUGGESTIONS FOR PREPARATIONProcess

• Observation of characters, both realistic and stereotypical.

• Vocal and physical exploration of characterisations and mannerisms.

• Experimentation with a wide range of the different roles people play out.

Stimulus/Resources• Popular culture – music video clips, soapies etc.

• Prose, media and poetry texts.

• Diaries and letters.

• Current affairs and topical events.

CRITERIA FOR EVALUATION AND DEVELOPMENT• How well sustained are the characters?

• What is the impact of the sequence of the scenes when taken as a whole?

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Dramatic Focus: Time

WORK REQUIREMENTSPerformanceA selection of texts woven into an integrated program linked with commentary and exploring the qualities and impact of time.

Documentation (Optional)A time capsule will document the evolution of their program as if for a future generation of students. A time line, photographs, pictures, objects symbolic of their program, poems, information and messages could form the basis of the capsule. The capsule itself may be decorated as seems appropriate to the individual candidate, duo or group.





assessment.




n/a

Discussion


n/a


Discussion


n/a n/aDiscussion


66



assessment.




n/a

Discussion



Discussion


n/a n/aDiscussion


SUGGESTIONS FOR PREPARATIONProcessExploration of elements of time within a dramatic presentation, such as:

• Timing, tempo and rhythm.

• Time sequences with flashbacks and tableaux.

• Dramatic time and real time.

• Unities of time, space and action.

Stimulus/Resources• Extensive resources of dramatic texts, prose and poetry, diaries and letters, explore

the impact and effect of time. Science fiction and many other novels form a genre in which the narrative structure deals intrinsically with time.

• Historical events can be viewed in the context of their own time or in their relationship to events at other times.

CRITERIA FOR EVALUATION AND DEVELOPMENT• Have the qualities and impact of time been effectively communicated?

• Does the performance reveal a sense of timing appropriate to the choice of material?

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Dramatic Focus: Change

WORK REQUIREMENTSPerformanceA program based on the juxtaposition of texts that have documented or effected change, or have influenced events. The program, lasting no longer than 25 minutes, will be introduced and linked with commentary as appropriate.

Documentation (Optional)A journal or log book, in which the ideas, working sessions and decision making are detailed, together with plans for staging the presentation, cue sheets etc. All candidates will take responsibility for entries in the journal, including each member of a duo or group.

Talk/Demonstration (Optional)Prepare and present a talk/demonstration incorporating technology and/or other media indicating knowledge and creative thinking about performance. All candidates will participate, including each member of a duo or group.

ImprovisationThe examiner will give a topic related to the dramatic focus. The improvisation will include dialogue, movement and development towards an effective climax.




assessment.

Performance Documentation Presentation Improvisation Discussion



n/a


Discussion


Talk/DemonstrationTime limit - 3 minutes maximum


Discussion

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Option 3 PerformanceTime limit - between 24 and 26 minutes n/a n/a


Discussion



assessment.




n/a


Discussion


n/a

Group devised talk/demonstrationTime limit - 3 minutes maximum


Discussion


n/a n/a


Discussion


SUGGESTIONS FOR PREPARATIONProcessAn exploration of theatre as an agent of change through:

• Texts that have documented or effected change, or have influenced events.

• Observation of, or participation in, theatre that is primarily concerned with social or political change. Verbatim theatre, street theatre, community theatre, rough theatre, TIE, Playback, and theatre-in-the-round may provide relevant insights.

• The media: the techniques of persuasion or promotion, and their potential impact.

Stimulus/Resources• Texts, including film and documentary material, that reflect society, or which

document social change, or that have influenced events.

• Media commentary: print, radio and television.

• World events, historical events.

CRITERIA FOR EVALUATION AND DEVELOPMENT• Has the concept of change been clearly revealed?

• Do the interpretations penetrate the texts?

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GRADE 6 5066(Examination time – 50 minutes, of which 5–7 mins is allowed for setting and striking)

Dramatic Focus: Style

WORK REQUIREMENTSPerformanceA cohesive program which brings together a selection of texts contrasting in performance styles and genres. The program should be introduced and linked.

DocumentationEach member of a duo or group will research a different aspect of the program and will present their findings in written form for incorporation into a document that supports and extends the performance. The final document should demonstrate a sense of cohesion, structure and style.

Talk/Demonstration (Optional)Prepare and present a talk/demonstration incorporating technology and/or other media indicating knowledge and creative thinking about performance. Each member of the duo or group will participate.

ImprovisationThe examiner will give a topic related to the dramatic focus. The improvisation will include dialogue, movement and development towards an effective climax.




assessment.




n/a


Discussion


Talk/DemonstrationTime limit - 4 minutes maximum


Discussion


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Option 3 PerformanceTime limit - between 26 and 28 minutes n/a n/a


Discussion



assessment.




n/a


Discussion


n/a

Group devised talk/demonstrationTime limit - 4 minutes maximum


Discussion


n/a n/a


Discussion


SUGGESTIONS FOR PREPARATIONProcess

• Experimentation with a variety of styles and genres.

Stimulus/Resources

• Dramatic, television, radio and film texts in a wide variety of styles and genres should be explored.

CRITERIA FOR EVALUATION AND DEVELOPMENT• Does the program reveal an incisive grasp of the material?

• Have the intended styles and genres been realised?

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Voice and Communication. . . get the message across!

AIMThis syllabus is designed to develop voice and communication skills both for everyday life and the professional sector. Candidates will develop confidence to communicate and skills to read effectively, speak with clarity, and make presentations to a variety of audiences. Candidates will gain an understanding of human interaction in a wide range of situations.

ForewordThis syllabus progresses through three levels:

Level 1: Preliminary to Grade 3, Level 2: Grade 4 to Certificate in Voice and Communication, and Level 3: Associate in Professional Communication.

Level 2 (from Grade 6) is designed to cater for either secondary/tertiary students or people working in the corporate sector or broader community. Level 3 is designed for mature candidates seeking a qualification in professional communication. The syllabus overall is designed to foster an individual’s confidence and skill in communication as well as their ability to interact effectively with others in a group.

The preparation of each candidate’s program should develop communication skills that will enrich their personality and contribute to social and intellectual growth. Interaction within a group should stimulate collaboration, exploration of ideas, questioning skills, planning and organisation and spontaneous response.

From the earliest grades, candidates should be encouraged to explore the options that are provided for the choice and presentation of the program. That is, candidates may elect to present the program thematically and in any order. Appropriate and careful choice of material will help to enhance the development of individuality, knowledge and self-confidence in communicating with others.

Links, where included, are statements devised and spoken by the candidate to creatively and meaningfully ensure cohesion and unity of the program. They also are intended to extend the frame of reference for the audience.

Own choice of texts facilitates the discussion and conversation motivated by the program. Vocal quality and speech should improve, not impair, communication. Candidates have a responsibility within the group situation to listen, encourage, share and comment.

The teacher’s understanding of the candidate’s cognitive development, background and experience will determine at what level students should start and the rate at which they progress through the grades.

A candidate’s performance will be assessed on an holistic basis against the stated objectives for the Level. How well a candidate performs against those objectives will determine the result awarded as evidenced in the advertised grading descriptors.

V O I C EA N D C O M M U N I C A T I O N

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The Voice and Communication syllabus aligns with the Speech and Performance Theory syllabus in the following manner:

Voice and Communication Speech and Performance Theory

Grade 6 Grade 4

Grade 7 Grade 5

Grade 8 Grade 6

Certificate Grade 7

The Associate in Professional Communication, Australia has its own compulsory theoretical component.

PrerequisitesThere are no pre-requisites for the Certificate of Voice and Communication and there is no essential theory component for this Certificate to be gained, however candidates are strongly recommended to complete Grade 7 Speech and Performance Theory before attempting the Associate in Professional Communication, Australia (APCA).

ExaminationsIt is highly recommended that candidates be examined as a group, providing support for each other and a springboard for group discussion. However, it is appreciated that this may not be possible and the options for examination within a ‘group’ are as follows:• One candidate and the examiner. • One or more candidates plus a support group of up to five. • Students of different grades may work together, e.g. Grades 1 and 2.• The maximum number of candidates examined in one session will be:

– Preliminary to Grade 2 – up to 5 candidates (plus a support group of up to five members).

– Grade 3 to Grade 6 – up to 3 candidates (plus a support group of up to five members).– Grade 7 and Grade 8 – up to 2 candidates (plus a support group of up to five

members).– Certificate – up to 2 candidates (plus a support group of up to four members).– Associate – one candidate (plus a support group of up to five members).

A support group aids candidate(s) by listening and participating in group discussion and acting as an audience to which the candidate(s) present their programs. Support group members will not be assessed, but must understand their function in the examination.

Conversation with the group and/or examiner is an essential component of the examination. Discussion may emerge after each section or develop at the conclusion of the whole program and will be determined after consultation with the candidate at the commencement of the examination (particularly if a theme is being presented) or at the discretion of the examiner.

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RECOMMENDED TEXTS FOR VOICE AND COMMUNICATION SYLLABUSPlease refer to Recommended Reference Books in the front of this Manual of syllabuses for texts pertaining to the Voice and Communication syllabus under headings: Voice and Speech, Speech Communication and Communication Theory.

Voice and SpeechAnderson, V. Training the speaking voice (New York: Oxford University Press 1977)Berry, C. The actor and the text (New York: Applause Books, 1992)Berry, C. Voice and the actor (New York: Collier Books, 1991)Berry, C. Your voice and how to use it successfully (London: Virgin, 1990)Colson, G. Voice production and speech (London: Pitman, 1988)Crampton, E. Good words, well spoken (Toronto: The Norman Press, 1983)Gates, L. Voice for performance: Training the actor’s voice, 2nd ed. (Hal Leonard Publishing

Corp., Limelight editions, 2008)Houseman, B. Finding your voice (London: Nick Hern Books, 2002)Linklater, K. Freeing the natural voice (London: Nick Hern Books, 2006)*McCallion, M. The voice book (London: Faber, 1988)McCarthy, V. Body talk (Hodder Children’s Books, 1997)Morrison, M. Clear speech (London: A & C Black, 1996)Pepper, B. Voice in action – DVD (Sydney)Rodenburg, P. The need for words – voice and text (London: Methuen Drama, 1993)Rodenburg, P. The right to speak – working with the voice (London: Methuen Drama, 1992)Rodenburg, P. A voice of your own [video recording] (Norwich: Vanguard Films, 1993)Turner, J. Clifford. Voice and speech in the theatre 6th ed. (London: A & C Black, 2007)*Wilson, P. The singing voice – an owner’s manual (Sydney: Currency Press, 1997)

*These texts are particularly relevant to care of the voice

Speech CommunicationBritton, J. Language and learning (Portsmouth: Heinemann Educational Publishers, 1993)Burniston, C. Speech for life (Sydney: Pergamon Press Australia, 1975)Cragan, J.F. and Wright, D.W. Communication in small group discussions: A case study approach

(St Paul: West Publishing, 1980)Cragan, J. and Wright, D.W. Communication in small group discussions: An integrated approach

3rd ed. (St Paul: West Publishing, 1991)Dalby, J. How to speak well in business (Aardvark Press, 1993)DeVito, Joseph A. The essential elements of public speaking 3rd ed. (New York: Allyn & Bacon,

2008)Grant-Williams, R. Voice power: Using your voice to captivate, persuade and command attention

(New York: American Management Association, 2002)Gunther, N. The challenge of debating: How to make your point quickly and effectively (Sydney:

Reed Books, 1988)Gunther, N. Debating and public speaking (Sydney: Reed, 1980)Hoey, A.M. Listening and learning: The development of auditory perception (Sydney: Educational

Supplies Pty Ltd, 1977)McCarthy, P., and Hatcher, C. Speaking persuasively: The essential guide to giving dynamic

presentations and speeches 2nd ed. (Sydney: Allen & Unwin, 2002)Rodenburg, P. Presence (London: Michael Joseph/Penguin)Rodenburg, P. Power presentation (London: Michael Joseph/Penguin)Rodenburg, P. The second circle (New York: W.W. Norton)Steel, J. Perfect pitch: The art of selling ideas and winning new business (New Jersey: John Wiley

& Sons, Inc., 2007)


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Watson, D. Death sentence: The decay of public language (Australia: Random House, 2003)Wilder, L. 7 steps to fearless speaking (New York: Wiley, 1999)

Communication TheoryArgyle, M. The psychology of interpersonal behaviour 4th ed. (Harmondsworth: Penguin, 1983)Bormann, E.G. Small group communication, theory and practice (Harper and Row)Burgoon, J., Buller, D., and Woodall, G. Non-verbal communication: the unspoken dialogue.

(New York: The McGraw-Hill Companies Inc, 1996)Burgess, L.K. Excellence for communicators (Canberra: Australian Rostrum Council, 1987)Dainton, M. and Zelley, E.D. Applying communication theory for professional life: a practical

introduction (California: Sage Publications, 2005)Evans, E. Radio: a guide to broadcasting techniques (London: Barrie & Jenkins, 1977)Hall, E.T. The silent language (New York: Doubleday, 1959)Hoover, Judith D. Effective small group and team communication (New York: Harcourt College

Publishers, 2002)MacKay, H. Why don’t people listen? (Sydney: Pan Australia, 1994)McLuhan, H.M. Understanding media: the extensions of man (Cambridge: MIT Press, 1994)Monroe, A.H. and Ehninger, D. Principles of speech communication (Glenview: Scott

Foresman, 1969)Mortensen, C.D. Communication, the study of human interaction (New York: McGraw-Hill,

1972)Scheflen, A.E. Body language and social order: communication as behavioural control (New

Jersey: Prentice Hall, 1973)

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LEVEL 1PRELIMINARY TO GRADE 3

OBJECTIVES

By the end of Level 1 candidates will have developed:

• skills in effective oral reading.• an ability to convey understanding of text.• an awareness of the need for preparation when presenting to an audience.• a spontaneous and natural style of speech in discussion and conversation.• clarity of speech and audibility of voice.• active listening skills to enable candidates to interact confidently with others.• spatial awareness.


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PRELIMINARY 1900Examination Time – 10 minutes

Instructions1. Optionally, the candidate may elect to present the prepared selections thematically.2. The candidate may elect to introduce and link the prepared selections.3. The candidate may present the prepared selections in any order.4. The candidate is responsible for setting the presentation area and having ‘props’ close at

hand before commencing the program.5. The candidate is required to provide the examiner with a copy of all the material in

their chosen order of presentation.

Examination RequirementsConversation with the group and/or examiner is an essential component of this examination.

1. ProseWith a simple introduction present a prepared prose reading.

Time limit – one and a half minutes maximum (including introduction)

2. PoetryWith a simple introduction present a prepared reading of a poem of your choice.

Time limit – one minute maximum (including introduction)

3. ChoiceBring along a significant object/mystery object, game, book, DVD, computer/TV program, handicraft, recipe to the examination, which will act as a springboard to discussion.


OR

Describe a TV program/game/computer game/book.


OR

Describe a ‘mystery’ object which the examiner and/or group will attempt to identify.


The presentation will be followed by discussion, which may be initiated by the examiner/group member/candidate.

The examiner will conclude the discussion.

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1. ProseWith a simple introduction present a prepared reading of a prose passage.

Time limit – two minutes maximum (including introduction)

2. PoetryPresent the reading of ONE or TWO poems with a simple introduction and link.


3. ChoiceShare your interest in a favourite sport/indoor board game/computer game or any other activity or interest. Bring along an object essential to the activity to help you illustrate your talk. A discussion with the examiner and/or group will follow.

OR

Present a short mime related to some aspect of the prepared program.



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2. PoetryPresent the reading of up to THREE poems or part(s) thereof with a short introduction and link(s) if appropriate.

Time limit– two minutes maximum (including introduction and link(s))

3. ChoicePresent a talk about a special person or animal in your life OR a famous/infamous person or animal.

OR

Present ONE or TWO favourite jokes. Briefly introduce the joke(s).

Time limit – two and a half minutes maximum (including introduction)

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Time limit – two and a half minutes maximum (including introduction)

2. PoetryIntroduce and share the reading of narrative poetry (ONE or TWO or parts thereof).

Time limit – three minutes maximum (including introduction)

3. ChoicePresent an ‘expert’ talk, which informs your listeners how to perform a particular skill. You could share your expertise on using technology, sport, a hobby or any other skill about which you have knowledge and experience.

OR

Tell a story which may be either original or adapted, (eg: ghost, mystery, fairy, adventure, legend, a tall-tale or yarn or any other form).



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LEVEL 2GRADE 4 TO CERTIFICATE

OBJECTIVES

By the end of Level 2 candidates will be able to demonstrate:

• significant skills in effective oral reading.• significant skill in the preparation of talks/presentations to a variety of audiences

(as determined by the situation).• spontaneous and natural speech in discussion and conversation.• clarity of speech and audibility of voice.• active listening skills and an ability to contribute to and stimulate discussion within

a group.• skill in persuasive speech.• ability to communicate personal response.• ability to respond and adjust to stylistic demands of a text.• knowledge about the care of the voice, voice dynamics and the effective use of

the voice.• ability to reflect on communication practice.

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Instructions1. Optionally, the candidate may elect to present the prepared selections thematically.2. The candidate may elect to introduce and link the prepared selections.3. The candidate may present the prepared selections in any order.4. The candidate is responsible for setting the presentation area and having ‘props’/audio-

visual aids/technology set up and close at hand before commencing the program.


5. Supply and operation of audio-visual and technological aids are the responsibility of the candidate.

6. The candidate is required to provide the examiner with a copy of all the material in their chosen order of presentation.

Examination Requirements Conversation with the group and/or examiner is an essential component of this examination.

1. Preparation Using a practical demonstration share an exercise/activity that focuses on ensuring appropriate posture and/or relaxation for a presentation.


2. ProseIntroduce a prose text in a manner which will encourage others to read it. Present a prepared reading of a passage which supports your introduction.


3. PoetryIntroduce and share the reading of ONE or TWO entertaining poems.



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4. ChoiceCommunicate your personal response to a picture/painting/photograph, which you have brought to the examination.

OR

Perform a magic trick or present a puzzle or brain teaser.

OR

Explain the function and usefulness of an object, thereby convincing your audience of its value. Bring this object (or a photo or diagram of it) with you to the examination.

OR

Describe an event or performance you have attended (e.g. a football match, a live theatre performance, a pageant or other of your choice).


5. DiscussionThe candidate will be asked questions on the program presented.

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1. PreparationWith a practical demonstration share your interest in an exercise/warm-up activity, which focuses on good breathing technique prior to giving a presentation.


2. ProseWith an introduction present the reading of a prose passage from an information/ non-fiction text.


3. PoetryShare your interest in ONE or TWO poems by the same poet. The candidate should preface the reading of the poem(s) with a short introduction and link poems together if appropriate.



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4. ChoiceShare ONE of the most humorous, exciting, frightening, embarrassing or emotional situations of your life.

OR

Persuade the audience to share your concern about a world issue.

OR

Share your interest in ONE or TWO songs. The candidate will read or sing the lyrics prefaced by a short introduction and provide a link if appropriate.

OR

Present an ‘info-commercial’ for an imagined TV audience advertising a new product.


5. DiscussionThe examiner will ask questions on the program presented.

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GRADE 6 1906This examination is a suitable entry point for adults or older candidates. However, consideration should be given to the age and experience of the candidate when choosing the appropriate entry level.

Examination Time – 25 minutes







1. PreparationWith a practical demonstration share your interest in an exercise/warm-up activity which focuses on breathing and/or resonance and/or projection prior to giving a presentation.


2. ProseIntroduce and present a feature article or part thereof from a media publication either digital or print. Follow the reading with a few personal remarks on the article which will stimulate discussion with the examiner and/or group.

Time limit – three minutes maximum (excluding discussion)

3. PoetryIntroduce and present the prepared reading of a narrative poem (or part of one).



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4. ChoicePresent a self-devised report that is appropriate for your choice of media eg. radio/TV/podcast/Youtube.


OR

Give an impromptu speech. The candidate will be given THREE topics by the examiner and required to select one of these on which to speak.

Time limit – one minute’s preparation time and two minutes’ speaking time

OR

Introduce or thank a guest speaker.


5. TalkGive a talk to a specified audience on a subject that interests you. Attention should be given to a clear structure – introduction, development and conclusion.

Time limit – five minutes maximum

6. DiscussionThe examiner will ask questions on the program presented and the candidate will be asked to reflect on the process of preparing a talk.

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1. Preparation With a practical demonstration share your interest in an exercise/warm-up activity, which focuses on articulation prior to giving a presentation.


2. ProseInterest your specified audience in a prose text by introducing it and presenting a prepared reading of a passage from the text. Text may include a novel, a non-fiction book, a diary or another of your choosing.

Time limit – one and a half minutes’ maximum introduction and three and a half minutes’ maximum reading time

3. PoetryIntroduce and present the prepared reading of lyrical poetry (all or part of ONE or TWO texts).



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4. ChoiceReview a concert, play, film, book, music release or event you have experienced.


ORGive an impromptu speech. The candidate will be given THREE topics by the examiner and required to select ONE of these on which to speak.

Time limit – one minute’s preparation time and two and a half minutes’ speaking time

OR

Talk about a significant person or event that has influenced or impressed you.

Time limit – three and a half minutes maximum

5. Talk/PresentationIntroduce a debatable topic and outline some of the arguments either for or against the topic.

OR

Describe the roles and responsibilities for a position in your firm, business, organisation or association. Include the skills required for the position.

OR

Tell a story which may be original or adapted.


6. DiscussionThe examiner will ask questions on the program presented and the candidate will be asked to reflect on points to consider when debating, arguing a case, structuring a talk or telling a story.

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1. Preparation Using a practical demonstration share your interest in an exercise/warm-up activity, which focuses on connecting movement, voice and speech prior to giving a presentation.


2. ProseIntroduce and present the prepared reading of TWO contrasting prose passages, one fiction and the other non-fiction.


3. PoetryIntroduce and link the prepared reading of at least TWO and no more than FOUR contrasting poems.

Time limit – five minutes maximum (including introduction and link(s))


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4. ChoicePresent a case to your employer/community leader/other nominated person for an increase in salary/responsibility/assistance, justifying such an increase.


OR

Give an impromptu speech. You will be given THREE topics by the examiner and required to select ONE of these on which to speak.

Time limit – thirty seconds’ preparation time and three minutes’ speaking time

OR

Bring to the examination a report, research document or article relating to the workplace or area of special interest. Deliver an oral summary of the report, research document or article which should include at least two quotations read directly from the document.


OR

Comment on the importance of non-verbal elements in communication. Illustrate your talk with examples.


5. Talk/PresentationPresent a talk/podcast/TEDtalk/presentation on a topic of your choice, or one related to your area of special interest/field of work/community activity. Audio-visual/technological aid(s) may be used to support the presentation.


6. DiscussionThe examiner will ask questions on the program presented and on the significance of non-verbal elements in communication.

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CERTIFICATE IN VOICE AND COMMUNICATION, AUSTRALIA(CVCA) 1909Examination Time – 40 minutes






Note: The candidate is required to forward ONE copy of the program to the State Office in their state no later than TWO weeks prior to the practical examination date. Only titles, authors and sources are required, but also audio, video and DVD support material if applicable.


1. Preparation Using a practical demonstration share your interest in any TWO exercise/warm-up activities which focus on preparing the mind/body/voice to give a presentation.


2. ProseChoose TWO prose passages from different works, which deal with similar subject matter but are written in contrasting styles. Introduce and read aloud the two passages.

Initiate discussion with the group and/or examiner by making a personal comment on the readings you have presented.

Time limit – five minutes maximum (including introduction and link)

3. PoetryExamine the significance of poetry as a medium of communication. Introduce and read aloud TWO poems or parts of longer poems, which illustrate your point of view.

Time limit – five minutes maximum (including introduction and link)


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4. ChoiceGive a talk which examines the impact of technology in our society.

OR

Bring to the examination a report, research document or article relating to the workplace or area of special interest. Analyse the effectiveness of the document’s structure and language in communicating its message, recommendations or conclusions.

OR

Analyse the communication style of a person in the public arena.


5. ImpromptuRead at sight a brief passage from a document supplied by the examiner. Comment on the content, purpose and tone of the document – that is, what you believe the writer is endeavouring to communicate.

Time limit – one minute’s perusal time, one minute’s reading time and two minutes’ speaking time

OR

Give an impromptu speech on ONE of THREE topics given to the candidate.

Time limit – one minute’s preparation time and three minutes’ speaking time

6. PresentationGive a presentation which focuses on a controversial subject where you set out to advocate on an issue or sway your audience to your point of view. You may use audio-visual/technological aids to support your presentation, which may be related to your area of work, interest or study.

Time limit – between five and seven minutes

7. DiscussionThe examiner will ask questions related to the program and the process of preparing and presenting it (this may include the role of technology, where appropriate).

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LEVEL 3A successful candidate in Parts One and Two of this examination will be a highly skilled professional communicator and will be entitled to claim the distinction of achieving the:

ASSOCIATE IN PROFESSIONAL COMMUNICATION, AUSTRALIA (APCA)

OBJECTIVES

By undertaking a course culminating in the assessment as outlined in the following examination candidates will be able to demonstrate:

• a high level of skill in oral reading.• confidence to prepare and give effective presentations (using technology and/or visual

aids) to an audience relevant to the candidate’s work/study/community activity.• fluent, spontaneous and natural speech in role-play situations and conversation at a

high level of clarity of speech, audibility of voice and knowledge of the care of the voice, particularly in the workplace.

• the ability to contribute actively to and stimulate discussion within a group.• a knowledge of communication theory and the elements of interpersonal

communication.• non-verbal skills that integrate with and support all areas of communication in this

program.• appropriate grammar, syntax and sophisticated use of language in both Part One and

Part Two.• discernment in evaluating various communication styles.

Note: There are no pre-requisites for Level 3. However the teacher and candidate should be guided by the age, maturity, level of skill development and work experience of the candidate when entering for this examination.


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PART ONE: PRACTICAL 1910There are 2 (two) examiners for the Practical Examination.

Instructions1. Part One and Two of the Associate Diploma may be studied and entered concurrently or

in any order.2. Optionally, the candidate may elect to present the prepared selections thematically.3. The candidate may elect to introduce and link the prepared selections.4. The candidate may present the prepared selections in any order.5. The candidate is responsible for setting the presentation area and having ‘props’/audio-




7. The candidate is required to provide the examiners with a copy of all the material in their chosen order of presentation.

Note: The candidate is required to forward TWO copies of the program to the State Office in their state no later than TWO weeks prior to the practical examination date. Only titles, authors and sources are required, but also audio, video and DVD support material if applicable.

Examination Time: 45 minutes

Examination RequirementsConversation with the group and/or examiners is an essential component of this examination.

1. ProseThe candidate will select TWO passages from texts chosen for a specific audience. The candidate will introduce him/herself, state their purpose and the intended audience, then introduce and read the passages as if to that audience. The candidate will then comment on aspects of the texts. A discussion with the group and/or examiners will follow.

Time limit – six minutes maximum (including introduction, but excluding discussion)

2. VoiceDemonstrate dynamics of voice by introducing the topic and supporting your presentation with readings of at least TWO and not more than FOUR contrasting poems or parts of poems to demonstrate vocal versatility in communicating the intention of the poems.

OR

Give a talk on the care of the voice. This may be specific to the candidate’s own workplace or a general comment on several different speaking contexts.

OR

Give a talk on the importance of effective use of the voice to convey meaning and maintain audience interest in the workplace.

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OR

Give a talk on the importance of effective use of the voice to convey meaning and maintain audience interest in the presentation of literary material. Support the talk with at least TWO contrasting readings of not more than one minute each in length.


3. CommunicationGive an explanation of some aspect of contemporary communication theory relevant to your workplace.

OR

Discuss and demonstrate the significance of non-verbal communication (apart from the voice) in becoming a professional communicator.

OR

Discuss active listening and consider the strategies you would apply to develop these skills when mentoring a colleague, conducting a meeting or organising a community event?

OR

Analyse persuasive language. Select a text, either print or non-print, of approximately 100 words and analyse the effectiveness or otherwise of the language in the chosen text.


4. Impromptu speechSocial SpeechThe examiners will suggest an occasion and/or purpose of a speech. Examples may include a thank you speech to a guest speaker, an introduction of a new staff member or other occasion which may be suggested by the examiners.

OR

Pleading a CaseThe examiners will suggest a case to plead.

Time limit – one minute’s preparation time and three minutes’ speaking time

5. PresentationThe candidate should set up and give a presentation to an audience related to their field of work, study or community activity. Visual/technological aids are required to be used and the candidate is responsible for managing these. The examiners and/or group in the role of members of the audience will ask questions following the presentation.

Time limit – between twelve and fifteen minutes’ speaking time and two minutes’ discussion

6. DiscussionThe examiners will ask questions related to the program presented including the processes involved in the preparation of the communication tasks undertaken for this examination.


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PART TWO: WRITTEN 1911General informationParts One and Two of the Associate Diploma may be studied and entered concurrently or in any order.

For a Diploma to be awarded, both sections must be completed within four years.

The candidate will be required to have their proposed folio topic approved by the AMEB prior to commencement of the folio. Procedures for approval of the topic and details regarding the submission of the final document are included in an information document, which can be obtained from the AMEB State Office.

FolioThe candidate is required to submit a folio. The folio is intended to be a critical and reflective journal demonstrating the candidate’s comprehensive knowledge of the elements of voice and communication relevant to the chosen topic. The folio could include:• Research findings• Readings• Critical appraisal/opinion on contemporary theory case studies (voice recordings on CD

or DVD)• Images or articles

Some suggestions for study are:• The study of phonetics and its application to voice and communications studies• Current trends in pronunciation in Australian speech, including commonly held views

on the level of acceptability and degree of negligence• The effective use of voice in establishing meaning and maintaining audience interest• The care of the voice in a workplace context• Current research on interpersonal communication including verbal and non-verbal

communication, one-to-one and group dynamics• Contemporary communication theory

or any other topic concerning voice and/or communication.

Presentation of the FolioThe document for the compilation and presentation of the folio might be either a spirex-bound art sketch book or A4 ring folder or display book.

All folios should include a title page with the name of the diploma, the name of the candidate, the date of submission, and the topic.

All pages should be numbered.

At the front of the folio, there should be a table of contents with headings and page numbers.

A bibliography should be included.

The folio should be between 30 and 50 pages in length.

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In submitting the folio, candidates are required to acknowledge all sources using one of the standard referencing methods available – see Commonwealth of Australia Style manual for authors, editors and printers.

Candidates are also required to complete a formal declaration to accompany the folio, confirming that all material derived from outside sources is duly acknowledged. Folios submitted without appropriate acknowledgement of sources will be returned to candidates for correction and resubmission.

THREE copies of the folio are to be prepared: ONE retained by the candidate, and the other TWO submitted to the AMEB for assessment. After the assessment one of these will be retained by the AMEB for further perusal by other Diploma candidates.

Assessment of the FolioThe completed folio will be evaluated and given ‘Awarded’ or ‘Not Awarded’ based on the depth of research, demonstrated understanding and contribution to the current level of knowledge and, where possible, the enhancement of already existing knowledge on the topic selected.


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VOICE AND COMMUNICATION SUGGESTED TEXTSPRELIMINARYProseBaumgart, K. Laura’s star (Sydney: Koala Books, 1999)Briggs, R. Jim and the beanstalk (Harmondsworth: Puffin, 1973)Cole, B. Princess smartypants (London: Hamilton, 1986)Fox, M. Possum magic (Norwood: Omnibus Books, 2004)Fox, M. Wombat divine (Norwood: Omnibus Books, 1995)Graham, B. Rose meets Mr Wintergarten (Melbourne: Viking, 1992)Hilton, N. A proper little lady (Sydney: Collins/Angus & Robertson, 1991)James, S. Dear Greenpeace (London: Walker, 1991)Laguna, S. Too loud Lily (Norwood: Scholastic, 2002)Mahy, M. The great white man-eating shark (New York: Dial books for young readers, 1990)Ormerod, J. and Lloyd, D. The frog prince (London: Walker, 1990)Pfister, M. The rainbow fish (New York: North-South Books, 1992)Rankin, J. Wow! It’s great being a duck (Aladdin, 2001)Scieszka, J. The true story of the three little pigs (Puffin, 1996)Shanahan, L. Bear and chook (Sydney: Hodder Headline, 2002)or any contemporary award-winning or short-listed book.

PoetryBarrs, M. and Ellis, S. (ed) Mr Grin and Mr Groan and other conversation poems (London:

Walker Books, 2001)Fatchen, M. A pocketful of rhymes (Norwood: Omnibus/Puffin, 1989)Fatchen, M. A paddock of poems (Adelaide: Omnibus/Puffin, 1987)Foster, J. (ed) My family and me – Poems about people (Oxford University Press)Foster, J. (ed) Pirate poems (Oxford University Press)Kosseris, A. (ed) Here we go again (Sydney: Kindamindi)Kosseris, A. On with the show (Sydney: Kindamindi)Kosseris, A. and Campbell, D. Gooey chewy and other junior giggles and dreams (Sydney:

Kindamindi, 2005)Rosen, M. Don’t put mustard in the custard (London: Deutsch, 1985)

GRADE 1ProseAnholt, L. Cinderboy or any titles in the Seriously Silly Stories series (Orchard Books)Brian, J. Party time or any titles in the Aussie Nibbles series (Melbourne: Puffin)Dahl, R. The enormous crocodile (London: Puffin, 1980)Fine, A. The diary of a killer cat (Puffin, 2004)Jennings, P. The cabbage patch fib (Melbourne: Puffin, 2007)Jennings, P. The paw thing (Melbourne: Puffin, 1989)Lurie, M. The twenty-seventh annual African hippopotamus race (Melbourne: Puffin, 1989)Oswald, D. Nathan and the ice rockets (Melbourne: Puffin, 1998)Tomlinson, J. The owl who was afraid of the dark (Sydney: Koala, 2001)Walker, K. Elephant’s lunch or any titles in the Solo series (Scholastic)Williams, M. The velveteen rabbit (Sydney: HarperCollins, 1996)Wrightson, P. The sugar gum tree (Melbourne: Puffin, 1999) or any titles in the Aussie Bites

series (Puffin).or any contemporary award-winning or short-listed book.

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PoetryAhlberg, A. Please Mrs Butler (Harmondsworth: Puffin, 1984)Cookson, P. Crazy classrooms and secret staffrooms (Lion, 2001)Foster, J. and Paul, K. (ed) Pet poems (Oxford: Oxford University Press, 2000)Foster, J. (ed) Seriously scary poems (HarperCollins, 2003)Henri, A. Spooky poems (Bloomsbury, 2001)Honey, E. Honey sandwich (Sydney: Allen & Unwin, 1998)Kosseris, A. (ed), A cup of giggles, a saucer of dreams (Sydney: Kindamindi)Kosseris, A. (ed) Giggles and woes and anything goes (Sydney: Kindamindi, 2002)Kosseris, A. (ed) Here we go again (Sydney: Kindamindi)Kosseris, A. (ed) More giggles and dreams (Sydney: Kindamindi, 1997)Kosseris, A. and Campbell, D. Gooey chewy and other junior giggles and dreams (Sydney:

Kindamindi, 2005)McGough R. and Rosen, M. You tell me (Harmondsworth: Kestrel, 1979)McNaughton, C. There’s an awful lot of weirdos in our neighbourhood (Walker, 2003)Phinn, G. (ed) Are we nearly there yet? (Franklin Watts)Prelutski, J. A pizza the size of the sun (London: Collins, 2002)Prelutski, J. It’s raining pigs and noodles (HarperCollins, 2000)

GRADE 2ProseBall, D. Selby’s secret or any other titles in the Selby Series (Sydney: Angus & Robertson)Dahl, R. Fantastic Mr Fox (London: Puffin, 1988)Dahl, R. The Twits (Harmondsworth: Puffin, 1982)Dahl, R. James and the giant peach (Harmondsworth, Puffin, 1973)Dahl, R. George’s marvellous medicine (London: J. Cape, 1981)Jennings, P. The gizmo (Melbourne: Puffin), 1994 or any titles in the Gizmo Series (Puffin)Griffiths, A. Just annoying (Sydney: Pan McMillan), 1998 or any titles in the Just Series

(Pan)Marsden, J. Looking for trouble (Sydney: Pan MacMillan, 1993)Milne, A.A. Winnie the Pooh (London: Methuen, 1988)Park, R. The muddle-headed wombat (Angus & Robertson, 1990)or any contemporary award-winning or short-listed book.

PoetryAs for Grade 1, plus:Bell, A. Muster me a song (Wagga Wagga: Triple D Books, 2001)Fatchen, M. Poetry all sorts (Wagga Wagga: Triple D Books, 2003)Kosseris, A. (ed) Moving on with giggles and dreams (Sydney: Kindamindi)Scott, B. See what I’ve got (Wagga Wagga: Triple D Books, 2001)Thiele, C. Sun warm memories (Wagga Wagga: Triple D Books, 2003)

GRADE 3ProseBanks, L.R. The Indian in the cupboard (London: Dent, 1980)Chase, D. Surf’s up (South Fremantle: Fremantle Arts Centre, 1999)Dahl, R. The BFG (London: Puffin, 2001)Dahl, R. The witches (Puffin, 1998)Dahl, R. Danny, the champion of the world (Harmondsworth: Puffin, 1977)


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Fienberg, A. Horrendo’s curse (Sydney: Allen & Unwin, 2002)Fine, A. Bill’s new frock (London: Methuen Children’s Books, 1989)Gleitzman, M. Misery guts (Sydney: Piper, 1991)Gleitzman, M. Blabbermouth (Macmillan Children’s Books, 2001)Horowitz, A. Groosham Grange (Walker, 2003)Horowitz, A. The switch (London: Walker, 1996)Horowitz, A. Granny (Walker, 2004)Hughes, T. The iron man (Faber Children’s Books, 1989)Jenkins, W. Killer boots (Fremantle: Fremantle Arts Centre Press, 1996)Klein, R. Halfway across the galaxy and turn left (Sydney: Puffin, 1994)Rodda, E. any title in the Rowan of Rin series (Scholastic)or any contemporary award-winning or short-listed book.

PoetryCollins, G. (ed) Conversation on a garden wall (Scholastic Australia, 1988)Dahl, R. Dirty beasts (London: Cape, 1983)Harrison, M. and Stuart-Clark, C. (ed) The Oxford book of story poems (Oxford University

Press, 2006)McLeod, D. Sister Madge’s book of nuns (Sydney: Puffin, 2002)McLeod, D. Spiky, spunky, my pet monkey (Sydney: Penguin, 2004)Patten, B. (ed) The Puffin book of utterly brilliant poetry (London: Puffin, 1998)

GRADE 4ProseColfer, E. Artemis Fowl (London: Viking, 2001) and sequels (Viking)Corder, Z. Lion boy (Melbourne: Puffin, 2003)Forrestal, E. Deep water (Melbourne: Puffin, 2003)French, S. Where in the world (Sydney: Little Hare Books, 2002)Gleitzman, M. Two weeks with the Queen (Sydney: Pan Books, 2001) Horowitz, A. Stormbreaker (London: Walker, 2005) or other titles in the Alex Rider series

(Walker)Jacques, B. Redwall (London: Hutchinson Children’s, 1986) and sequels (Red Fox)Klein, R. Hating Alison Ashley (Melbourne: Viking Kestrel, 1985) Klein, R. Boss of the pool (Adelaide: Omnibus, 1986)Lowrey, L. Number the stars (London: Harper Collins, 1989)Rowling, J.K. any title in the Harry Potter series (Bloomsbury)Rubinstein, G. Answers to Brut (Adelaide: Omnibus/Puffin, 1988)Snicket, L. A series of unfortunate events and sequels (New York: Harper Collins)Wagner, J. The Nimbin 3rd ed. (Melbourne: Puffin, 2001)or any contemporary award-winning or short-listed book.

PoetryBell, A. Muster me a song (Wagga Wagga: Triple D Books, 2001)Fatchen, M. Poetry all sorts (Wagga Wagga: Triple D Books, 2003)Foster, J. and Paul, K. (ed) Dragon poems (Oxford: Oxford University Press, 1991)Foster, J. and Paul, K. (ed) Dinosaur poems (Oxford: Oxford University Press, 2004)Foster, J. and Paul, K. (ed) Monster poems (Oxford: Oxford University Press, 2004)Foster, J. (ed) I’ve got a poem for you (Oxford: Oxford University Press, 2001)Foster, J. (ed) School’s out (Oxford: Oxford University Press)

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Gibbs, S. (ed) Poems to freak out your teachers (Oxford: Oxford University Press, 2003)Gibbs, S. (ed) Poems to annoy your parents (Oxford: Oxford University Press, 2003)Kosseris, A. (ed) A cup of giggles, a saucer of dreams (Sydney: Kindamindi) Kosseris, A. (ed) Moving on with giggles and dreams (Sydney: Kindamindi)McGough, R. (ed) The Kingfisher book of funny poems (Kingfisher, 2002)McGough, R. (ed) The Kingfisher book of comic verse (Kingfisher, 1991)McGough, R. (ed) The ring of words (Faber & Faber, 1999)Patten, B. (ed) The Puffin book of utterly brilliant poetry (London: Puffin, 1998)Prelutski, J. The dragons are singing tonight (Greenwillow, 1993)

GRADE 5ProseJones, C. any title in A time machine through Australia 1788–1901 (MacMillan)Hull, R. In their own words series (Watts)Malbunka, M. When I was little like you (Sydney: Allen & Unwin, 2004)Molitorisz, S. any title in the Australian bushrangers series (Moondrake)Morecroft, R. et al. Zoo album (Sydney: ABC Books, 2003)Nicholson, J. Animal architects (Sydney: Allen & Unwin, 2005)Nicholson, J. The mighty Murray (Sydney: Allen & Unwin, 2005)Parish, S. any title in the Sharing culture series (Steve Parish Publishing)Reid, G. any title in Australia’s national and marine parks (MacMillan)Religions of humanity series (Heinemann)Scientists at work series (MacMillan)Sims, L. A visitor’s guide to the ancient world (Usborne, 2004)Smith, A. any title in the Essential sports series (Heinemann)Walker, K. Recycle, reduce, reuse, rethink series (MacMillan)or any contemporary award-winning or short-listed book.

PoetryBell, A. Muster me a song (Wagga Wagga: Triple D Books, 2001)Fatchen, M. Poetry all sorts (Wagga Wagga: Triple D Books, 2003)Hamilton, E. and Livingston, J. Form and feeling, 2nd ed. (note song lyric section)

(Melbourne: Longman Cheshire, 1990)Herrick, S. Water bombs (Nundah: Jam Roll Press, 1992)MacKellar, D. A poet’s journey (Wagga Wagga: The Dorothea MacKellar Memorial Society

and Triple D Books, 2002)Patten, B. (ed) The Puffin book of twentieth century children’s verse (Puffin, 2006)Scott, B. See what I’ve got (Wagga Wagga: Triple D Books, 2001)Scott-Mitchell, C. (ed) 100 poems for Australian children (Sydney: Random House Australia,

2002)Thiele, C. Sun warm memories (Wagga Wagga: Triple D Books, 2003)

GRADE 6ProseFeature articles by such writers as Phillip Adams, Pamela Cassellas, Deborah Cassrels, Patrick Cook, Robert Hughes, Chrissey Iley, Danny Katz, Paul Kelly, Robin Lynch, Andre Malan, Hugh MacKay, Susan Maushart, Helen O’Neill, Emma Thom, Katherine Tulich or any other high profile writer of your choice.


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PoetryDennis, C.J. A sentimental bloke (Sydney: Angus & Robertson, 1992)Dennis, C.J. Moods of Ginger Mick (Sydney: Angus & Robertson, 1976)Harrison, M. and Stuart-Clark, C. (ed) The Oxford book of story poems (Oxford: Oxford

University Press, 2008)Heaney, S. (ed) Rattle bag (Faber & Faber, 1985)Paterson, A.B. (Banjo) The man from Snowy River and other verses (Sydney: Angus &

Robertson, 1987)

GRADE 7ProseDessen, S. Last chance (London: Hodder Children’s, 2002)Donaghy, B. Anna’s story (Sydney: HarperCollins, 2006)Eaton, A. Fireshadow (St Lucia: University of Queensland Press, 2004)Ellis, D. Parvana (Sydney: Allen & Unwin, 2002)Facey, A. A fortunate life (Fremantle: Fremantle Arts Centre Press, 1981)Hungerford, T.A.G. Stories from suburban road (Fremantle: Fremantle Arts Press, 2003)Jonsberg, B. The whole business with Kiffo and the pitbull (Sydney: Allen & Unwin, 2004)Marchetta, M. Looking for Alibrandi (Melbourne: Penguin, 1993) and Saving Francesca

(London: Puffin, 2004)Morgan, S. My place (Fremantle: Fremantle Arts Centre Press, 1987)Warren, A. Surviving Hitler (HarperCollins, 2001)Zusak, M. Underdog (Melbourne: Omnibus Books), 2007 or Fighting Ruben Wolfe

(Melbourne: Omnibus Books, 2007) and sequel (Pan)or any contemporary award-winning or short-listed book.

PoetryHamilton, E. and Livingston, J. Form and feeling, 2nd ed. (Melbourne: Longman Cheshire,

1990)O’Connor, M. (ed) Two centuries of Australian poetry, (Melbourne: Oxford University Press,

1996)Turner, S. (ed) Poems, (Lion Books)In addition, the following out of print books may be available from second hand book shops, libraries or from the following website: www.abebooks.com Colmer, J. and D. (ed) Mainly modern (Adelaide: Rigby, 1969)Colmer, J. and D. (ed) Pattern and voice (Melbourne: MacMillan, 1981)Murray, L. (ed) The new Oxford book of Australian verse (Melbourne: Oxford University Press,

1996)Untermeyer, L. (ed) Albatross book of verse (Collins)

GRADE 8ProseArmstrong, L. It’s not about the bike (Sydney: Allen & Unwin, 2002)Deveson, A. Tell me I’m here (Melbourne: Penguin, 1991)Drewe, R. The shark net (Melbourne: Penguin, 2003)Earls, N. After January (St Lucia: University of Queensland Press, 1996)Earls, N. 48 shades of brown (Melbourne: Penguin, 2004)Hirsch, O. Hurricane (Harper Collins)McCarthy, M. Queen Kat, Carmel and St Jude get a life (Melbourne: Puffin, 2007)

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Peet, M. Keeper (London: Walker, 2003)Winton, T. Cloudstreet (Melbourne: McPhee Gribble, 1991)Zusak, M. The messenger (Sydney: Pan, 2002)or any contemporary award-winning or short-listed book.

PoetryAs suggested for Grade 7, plusForbes, P. (ed) Scanning the century (London: Viking, 1999)

CERTIFICATE IN VOICE AND COMMUNICATIONProse and PoetryAny texts previously recommended.

Refer to Recommended Texts at the beginning of this syllabus for books on Voice and Speech, Speech Communication and Communication Theory.

ASSOCIATE IN PROFESSIONAL COMMUNICATIONRefer to the Recommended Texts section at the beginning of this syllabus for books on Voice and Speech, Speech Communication and Communication Theory.

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Board Members

B O A R D

M E M B E R S

C O M M I T T E E S

A N D

E X A M I N E R S

State Committees

Mike Tyler, DipT(Music), Principal Education Officer, State Schools – Performance, Department of Education, Queensland, Chair

Graeme Gilling, MusM(WA), MusB(Hons)(Cant), LRSM, Head of Performance and Keyboard Studies, School of Music, University of Western Australia

Professor Anna Reid, BMus Perf (Syd), MEdAdmin (UNE), PhD (UTS), Head of School and Dean, Sydney Conservatorium of Music, The University of Sydney

Professor Jennifer Shaw, BA(Hons), LLB(Hons) Syd, MA PhD Stony Brook, Executive Dean, Faculty of Fine Arts and Music, University of Adelaide, Deputy Chair

Associate Professor Andrew Legg, PhD (Tas), FGMWA (Michigan), BMus(Tas), TTC, Curator of Music & Performance, Community and Industry Partnerships, College of Arts, Law and Education, Hobart & Launceston, University of Tasmania

Professor Gary McPherson, DipMusEd (Syd), LTCL, FTCL (Trinity College), MMusEd (Indiana), PhD (Syd), Ormond Chair of Music and Director, Melbourne Conservatorium of Music, The University of Melbourne

Federal OfficeZak Assegaf, CPA, BBus(Accountancy) RMIT, Accountant Bernard Depasquale, BMus(Hons)(ElderCon), AMusA,

GradDipArtsAdmin(UniSa), LLB/LP(Hons)(Flinders), CEO

Robert Dugdale, MBA, BMus, Strategy, Planning and Operations Manager

Alexander Garsden, MMus(Melb), Project Officer (Technology)

Jeff Higgins, Sales and Marketing ManagerSteven Hodgson, BMus(Hons)(Melb), Head of PublishingDavid Howell, BMus(Hons) UWA, MMus(Composition)

(Melb), Music Typesetter & Reprints ManagerDeborah Johnston, CPA, BEc, MBA, MCom(Information

Systems), Finance ManagerLeah Phillips, BMus(Monash), Hons(Melb), Digital

Marketing and Events CoordinatorAndrew Raiskums, BSc(Melb), BMus(Melb), Theory

EditorMegan Rapp, BSc(U.of AR), Customer Service OfficerMohammad Sarfaraz, BIT, Developer/ITFiona Seers, BMus(Melb), Grad Dip Business Studies

(RMIT), AMusA, Relationship and Development Manager

Tim Simondson, Warehouse ManagerSamantha Wolf, BMus(QCGU), Hons(Melb), Sales and

Product Coordinator

STATE COMMITTEESThe several State authorities establishing the Board are as indicated below.

NSW Education Standards Authority – New South WalesProfessor Anna Reid, Head of School and Dean, Sydney

Conservatorium of Music at the University of Sydney, BMus Perf (Syd), MEdAdmin (UNE), PhD (UTS)

Louise Barkl, MMus(MusEd)UNSW, BA(MusEd)SydCon, Department of Education Representative

Victoria Clancy, LSDA, ATCL, Private Speech and Drama Teacher Representative

Cheryl Hainsworth, AMusA, ATCL, LTCL, Bachelor Music Education, Elected Private Music Teacher

Dr Sofia Kesidou, PhD, BSc(Hons), Executive Director, Assessment Standards, NSW Education Standards Authority

Dr Philip Matthias, PhD, BMus(Hons), FRCO (CHM), ARCM, Hon FGCM, NSW Vice Chancellors’ Committee Representative

Lyn Morgan BA, DipEd(Syd), AMusA(Piano and Piano Accompaniment), LMusA,TMusA(Dist), Examiner Representative

Richard Morphew, LMus, AMusA, FFCSME, DSME, TC, Examiner Representative

Roslynne Moxham, MA(Ed), BMusEd, AMusA, FACE, Department of Education Representative

Kelly Pecina, BMus, M.Teach(Primary), Elected Private Music Teacher

Mr Anthony van den Broek, BMus, LRSM, DipABRSM, AMusA, FMMTA (NSW), Private Music Teacher Representative

The University of MelbourneThe University of Melbourne has formed a not-for-profit subsidiary company, Australian Music Examinations Board (Vic) Limited, which is responsible for the conduct of examinations in Victoria. The Directors of the company are as follows:Ms Colleen Pearson, BBus(Deakin), MAcct(Melb), CPA

(Chair)Dr Joel Brennan, BMus(Oberlin), MMus, MMA,

DMA(Yale) (Deputy Chair)Dr Elizabeth Mitchell, PhD, MMus, BMus (Melb),

ConcertRecitalDip(Lond), LMusAMs Alison Sewell, LLB(Hons), BEdSec(Mus), AMusA

The Advisory Committee to the Victorian Board is as follows:Dr Elizabeth Mitchell, PhD, MMus, BMus (Melb),

ConcertRecitalDip(Lond), LMusA (Chair)Dr Mark McGee, DMA, MMus, BMus(Hons), GradDipEd,

FTCL, LMusA, STAT (Deputy Chair)Dr Rosemary Beer, BVsc(Hons), AMusA, ATMusA

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Mr David Howes, MMus, BEd (Melb), LMusAMs Jennifer Meachem, BEd(Music)(Melb)Dr Ken Murray, PhD, MMus(Perf), BMus(Hons)(Melb)Mr John Quaine, BMusEd(Melb)

Department of Education – QueenslandThe Queensland Advisory Committee to the Minister for Education in Queensland is as follows*:Mike Tyler, DipT(Music), Principal Education Officer,

State Schools – Performance, Department of Education, Queensland, (Chair)

Max Olding AM, MMus(Qld), HonDMus(Qld), HonFQCM, DipMus(Melb), HonFMusA, AMusA, (Deputy Chair)

Shari Armistead, BBus (Coms) (QUT)Judy Fromyhr, MEd(QUT), BAMusEd(Qld Con),

BAMus(Tas Con)Laurel Muirhead, LTCL, ATCL, AMusADavid Cockburn, BA, Grad Dip Teach, ATCL, Cert in

Speaking (GSMD) June Finney, ASDA, DipDA(NIDA)Associate Professor Gemma Carey, EdD, MMus,

BMus(QCM), AMusA, GradDip(QCM)Lieutenant Colonel Patrick Pickett CSM (Ret’d), MMus,

LMus, LTCL, LRAM, ARCM, LTCL, ALCMDr Malcom Cole, PhD(JCU), MMusEd(UWA),

CertMusEd(Hungary), BMus(UQ)Helen Smith, MDipMus(QCM)(Perf), FDipMus(QCM)

(Teaching), LMusA, ADipMus(QCM), AMusAKiley Tierney, BSocWk, DipAppSci (Community &

Human Services), AMEB Qld State Manager

*Information correct at time of printing. New Queensland Advisory Committee members will be appointed for 2019.

The University of AdelaideThe SA & NT Advisory Board is appointed by the University and is as follows:Professor Jennifer Shaw, BA(Hons), LLB(Hons) Syd, MA

PhD Stony Brook, Executive Dean, Faculty of Arts, University of Adelaide

Louise Borgo, Speech & DramaBen Chambers, AHOMINGSSusan Harding, AMusA, BMusA, Dip.Mus.T, Grad.Dip.T,

ASMEDr Luke Harrold, BMus (Hons), PhD, University of

AdelaideJessica Joyce, Catholic Education SAProfessor Graeme Koehne AO, DMus, MMus, BMus

(Hons), University of AdelaideAnna Lester, BMus(Adel), DipEd, AMusA, MIMT, Music

Examiners’ RepresentativeAmelia Monaghan, B.Mus Performance (Hon), Grad Dip

Ed, Department of Education and Child Development Daryl Pope, ABODA SARodney Smith FRCO, LRAM, ARCM, LGSM, DipRAM,

MIMT, MACE, Music Teachers’ AssociationStuart Storer, MMus(Adel), BMus(Perform.) Hons.

LMusA, CAM, MIMT, RockschoolStephen Whittington, University of Adelaide State

Manager, AMEB (SA & NT)

The University of Western AustraliaThe Advisory Committee to the Executive Committee of the Australian Music Examinations Board (WA), which is affiliated to The University of Western Australia is as follows:Graeme Gilling, MusM(WA), MusB(Hons)(Cant), LRSM,

Head of Keyboard Studies and Head of Performance Studies, School of Music, University of Western Australia

Karen Goddard, BEd, DipPE, LSDAGaby Gunders, BMus Perf&Teach(Hon)(Cant), LRSMJudith Haldane, BEd, DipTeach, AMusA Theresa Hill, ATMA, SIMT, DipMusTchg, Tchr’sCertJocelyn Kotchie, DipMusTeach, AMusA, MMTAJana Kovar, MDipMus(Bratislava)Valerie Lang, MMusEd, MusB(Hons), GradDipEd, AMusAYoon Sen Lee, MMus, BMus(Hons), LRSM, LGSM, ALCMDr Leatricia Logie, PhD, DipEd, LSDA, DipCounsellingGail McMasterRennae van der LaanRebecca Watson, BMus(Hons), DipEd, LMusA, AMusAGraham Wood OAM, MusM(WA), BMus(Melb&WA),

AMusAAnne Winterton, GradDipEdAdmin(Melb), MEd(Melb),

State Manager

University of TasmaniaThe State Committee to the Tasmanian Conservatorium of Music (University of Tasmania) on behalf of the Minister for Education and Training is as follows:Associate Professor Andrew Legg, PhD (Tas), FGMWA

(Michigan), BMus(Tas), TTC, Curator of Music & Performance, Community and Industry Partnerships, College of Arts, Law and Education, Hobart & Launceston, University of Tasmania, Chairperson

Frank Bansel, MEd(Studs)(Tas), BEd(TCAE), DipT(Tas), TTC

Cameron Earl, BMus(Perf)(Melb) Jane Edwards, BMus(Tas)Nicholas Haywood, PhD(Tas), MMus(Perf)(VCA)Jody Heald, GradDipMus(Tas), BMus(Tas), TMusA,

AMusA, LMusA, MIMTSherryn Arneil Hepher, ADipMus(Tas), BPerfArts(Tas),

BEd(Tas)Glen Hodges, PhD(Macq), MMus(North Texas),

BMus(UNE)Christopher KimberJenny Lakeland, BEd(Music)(Tas), AssocDipMus(Tas),

AMusAJennifer MacDonald, BMus(Tas), DipEd(Tas)Anne Morgan, BEd(Tas), DipChMus(NSW),

DipRth(RMIT), LTCLJane Polley, BEd(Vic), MEd(Hons)(GU) Aaron Powell, BMus(Tas), BTeach(Tas), DipMus(Tas)Margaret Reid, BA(MusEd)(Tas), TTCScott Weston, BMus, MusEd(Tas)

B O A R D

M E M B E R S

C O M M I T T E E S

A N D

E X A M I N E R S

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B O A R D

M E M B E R S

C O M M I T T E E S

A N D

E X A M I N E R S

AUSTRALIAN MUSIC EXAMINATIONS BOARD EXAMINERSCorrect at time of going to print.

Federal ExaminersWRITTEN: Louise Borgo, BA, GradDipEd, ASDA Victoria Clancy, LSDA, ATCLAllana Noyes, BA(Hons)(Qld), ASDAJohn Walker, MA, MLitt(Hist and Eng), FTCL, LSDA,

TC(NSW Dept of Ed)

New South WalesJudith Burgess, FTCL, LTCL(DistT), ATCL(HonsP), ASDA

(DistT)Noel Cislowski, BA(Hons), AEd, FSDA, FTCL(Speech &

Drama), LTCL(Singing), LMusA(Singing), LSDAVictoria Clancy, LSDA, ATCLMoira Hawker, BMus(Ed), ASDA, CertTVProd(AFTRS)Elaine Hodda, ASDA, LSDA, ATCLHelen Marchant, ASDA, Cert of Communication

VictoriaMelissa Agnew, PhD(Sydney), MA(QUT), BEd,

DipTeach(Melb), LSDA, ASDALeslie Cartwright, MCA(Wollong), BA, DipEd(Monash),

LSDAJulianne Eveleigh, DipActing(UK), GDEVT, ASDA, LSDAAstrid Wootton, FESB, LRAM, RAMDip, MACE

QueenslandMaria Chamberlain, BBus(Communication) (QUT),

ASDALouise Coman, DipT, ASDAPauline Edwards, LSDA, LTCL, BSpThy(UQ)June Finney, ASDA, DipDA(NIDA)Sister Kerry Gordon, RSM, DipEd, BEd, LSDARowena Luck-Geary, LSDA, ATCL, BSpThy(UQ)Melissa Lyndon, GradDipT, BA(Humanities), LSDA, LTCL,

ASDA, ATCLPatricia McCarthy, MA, BA, FTCL, LSDA, LTCL, ASDA,

ATCLAllana Noyes, BA(Hons)(Qld), ASDAAnnie O’Dowd, DipARTS(CRE) (USQ), LTCL, ASDAIan Peters, BA(Hons)(Qld), GradDipT, ASDA, LTCLAnnette Stoddart, BA(Journalism)(UQ), Bed(QUT), LTCL

South Australia & Northern TerritoryMarilyn Bodycoat, ASDA, ATCLLouise Borgo, BA, GradDipEd, ASDAOcea Bradley, BA(Adel), BEdLois Brimblecombe, BA(Adel), DipT, ADSA

Western AustraliaMargaret Erneste, BA, BEd, PostGradDipTESL, LSDA,

ASDA, FTCL, LTCL, ATCLKaren Goddard, BEd, DipPE, LSDAAndie Holborn, BA(English and Speech & Drama), DipTSuzanne Lawrence, ASDA(Dist), ATCLDr Leatricia Logie, PhD, DipEd, LSDA, DipCounsellingDeborah Mitchell, BA(ECU), ASDAMargaret Papaelias, DipSPEd, BEd, LSDA

TasmaniaFrank Bansel, MEd(Studs)(Tas), BEd(TCAE), DipT(Tas),

TTCLindy Hingston, LSDA, ASDAMarlene Lette, LRAM, IPA John Lohrey, BA, DipEd, MA, MEdAdmin, ADB(UK)Darren Sangwell, BMus(Tas), BTeach(Tas), DipMus(Tas),

MCA(NIDA)Sarah Triffitt, ASDA

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SCHOLARSHIPS AND EXHIBITIONSThe following awards are available. Details of the conditions of awards can be obtained from the State Office.

NEW SOUTH WALESSee the AMEB(NSW) website for information about Awards – www.ameb..nsw.edu.au

VICTORIA

MARGARET LEONARD SPEECH AND DRAMA AWARD Details are published on the AMEB Victoria website.

QUEENSLAND

COMMUNICATION, SPEECH AND PERFORMANCE TEACHERS (CSPT) INC.CSPT Inc. Queensland encourages students to continue their studies by making available special awards for outstanding performances.

The Daphne Roemermann Award was established to acknowledge excellence in communication skills. The Barbara Sisley Awards are presented to the students gaining the highest marks in each grade for AMEB speech and drama examinations for the preceding year.

SOUTH AUSTRALIA & NORTHERN TERRITORY

PRIZES FOR THEORY AND PRACTICE OF MUSIC AND SPEECH AND DRAMA $1500Candidates achieving the highest gradings in speech subjects will be awarded special prizes as decided by the Advisory Board.

WESTERN AUSTRALIA

THE AMEB AWARDS IN WESTERN AUSTRALIAA number of special prizes are awarded annually. Contact the State Office for details.

COUNTRY CENTRES AND LOCAL MANAGERS

Candidates should contact the State Office for details of the nearest Country Centre.

PUBLIC EXAMINATIONS

New South Wales and ACTFurther information can be obtained through the Undergraduate Admissions Offices of the respective tertiary institutions in NSW and the ACT

Western AustraliaFurther information can be obtained through the Admissions Offices of the respective tertiary institutions.

TasmaniaAMEB qualifications which are recognized by the Office of Tasmanian Assessment, Standards & Certification can contribute to the points needed by school students in Year 12 to gain the Tasmanian Certificate of Education (TCE). For more information, contact the AMEB State Office in Tasmania on (03) 6226 7317.

South Australia and Northern TerritoryAMEB qualifications are recognised by SACE and can be included in the ‘community based learning’ units required to complete SACE. Further information can be obtained from the AMEB State Office in South Australia on (08) 8313 8088.

S U C C E S S F U L

C A N D I D A T E S

S C H O L A R S H I P S

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E X H I B I T I O N S

SUCCESSFUL DIPLOMA CANDIDATES 2017*Pass with Distinction

ASSOCIATE DRAMA AND PERFORMANCE (ADPA)New South WalesChan, Jessica Cha KaIrwin, Kristen Nicole*Scanlan, Cushla Jean

VictoriaBortone, Belinda Kate

Western Australia*Rose, Emma

ASSOCIATE IN PROFESSIONAL COMMUNICATION (APCA) New South WalesLakshminarayanan, Harini Lathigara, Dhruvi

South Australia and Northern Territory Annear, Jack

LICENTIATE DRAMA AND PERFORMANCE (LDPA) QueenslandRoberts, Katrina

South Australia and Northern Territory Dickins, Meredith

Successful Candidates

Scholarships and Exhibitions

manual of syllabuses...musical instruments, as well as in singing, theory of music, musicianship,...

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