vce music advice for teachers - victorian curriculum and ... web viewjazz standards and...

VCE MusicAdvice for teachers

2017-2021

Authorised and published by the Victorian Curriculum and Assessment AuthorityLevel 1, 2 Lonsdale StreetMelbourne VIC 3000

ISBN: 978-1-925264-89-0

© Victorian Curriculum and Assessment Authority 2017

No part of this publication may be reproduced except as specified under the Copyright Act 1968 or by permission from the VCAA. For more information go to: www.vcaa.vic.edu.au/Pages/aboutus/policies/policy-copyright.aspx

The VCAA provides the only official, up-to-date versions of VCAA publications. Details of updates can be found on the VCAA website: www.vcaa.vic.edu.au

This publication may contain copyright material belonging to a third party. Every effort has been made to contact all copyright owners. If you believe that material in this publication is an infringement of your copyright, please email the Copyright Officer: [email protected]

Copyright in materials appearing at any sites linked to this document rests with the copyright owner/s of those materials, subject to the Copyright Act. The VCAA recommends you refer to copyright statements at linked sites before using such materials.

The VCAA logo is a registered trademark of the Victorian Curriculum and Assessment Authority.

VCE Music Units 1–4: 2017–2021 ADVICE FOR TEACHERS

3


ContentsIntroduction......................................................................................................................................5

General Assessment Advice...........................................................................................................5

Music Performance Units 1–4.........................................................................................................6Developing a program....................................................................................................................6

Teaching and Learning activities....................................................................................................7Music Performance Unit 1..............................................................................................................7

Teaching and Learning activities..................................................................................................14Music Performance Unit 2............................................................................................................14



Performance descriptors...............................................................................................................39

Music Investigation Units 3–4.......................................................................................................47Developing a program..................................................................................................................47

Teaching and Learning activities..................................................................................................49Music Investigation Unit 3.............................................................................................................49

Teaching and Learning activities..................................................................................................53Music Investigation Unit 4.............................................................................................................53

Performance descriptors...............................................................................................................62

Music Style and Composition Units 1–4......................................................................................67Developing a program..................................................................................................................67

Teaching and Learning activities..................................................................................................68Music Style and Composition Unit 1.............................................................................................68Music Style and Composition Unit 2.............................................................................................74

Music Style and Composition Unit 3.............................................................................................79Music Style and Composition Unit 4.............................................................................................84

Performance descriptors...............................................................................................................92APPENDIX..............................................................................................................................102

Group and solo performance......................................................................................................102

4


Employability Skills……………………………………...............................................................

5


IntroductionThe VCE Music study design 2017–2021 Advice for teachers provides teaching and learning advice for Music Performance Units 1 to 4, Music Investigation Units 3–4 and Music Style and Composition Units 1–4. Assessment advice is also provided for school-based assessment in Units 3 and 4.

The program developed and delivered to students must be in accordance with the VCE Music Study Design 2017–2021

General Assessment Advice Advice on matters related to the administration of Victorian Certificate of Education (VCE) assessment is published annually in the. VCE and VCAL Administrative Handbook. Updates to matters related to the administration of VCE assessment are published in the VCAA Bulletin.

Teachers must refer to these publications for current advice.

The principles underpinning all VCE assessment practices are explained in. VCAA Principles and guidelines for the development and review of VCE Studies.

The procedures for managing VCE school-based assessment are explained in Procedures for assessment in VCE studies

Prescribed lists, examination specifications for the VCE Music performance examinations, past examination papers and corresponding examination reports can be accessed at:

Music Performance

http://www.vcaa.vic.edu.au/Pages/vce/studies/music/musicperformunits3-4/musicperformunits3-4index.aspx

Music Investigation

http://www.vcaa.vic.edu.au/Pages/vce/studies/music/musicinvestigateunits3-4/musicinvestigateindex.aspx

Music Style and Composition

http://www.vcaa.vic.edu.au/Pages/vce/studies/music/musicstylecompunits1-4/musicstylecompindex.aspx

Graded Distributions for Graded Assessment can be accessed at

www.vcaa.vic.edu.au/Pages/vce/statistics/schoolstats/index.aspx

Excepting third-party elements, schools may use this resource in accordance with the VCAA’s Educational Allowance (VCAA Copyright and Intellectual Property Policy)

6

http://www.vcaa.vic.edu.au/Pages/vce/statistics/schoolstats/index.aspx







http://www.vcaa.vic.edu.au/Documents/vce/2017_Assessment_advice_for%20the%20VCE.docx

http://www.vcaa.vic.edu.au/Documents/vce/2017_Assessment_advice_for%20the%20VCE.docx

http://www.vcaa.vic.edu.au/Pages/vce/generaladvice/index.aspx

http://www.vcaa.vic.edu.au/Pages/vce/generaladvice/index.aspx

https://vcaa.edugate-cms.eduweb.vic.gov.au/Pages/correspondence/index.aspx

https://vcaa.edugate-cms.eduweb.vic.gov.au/Pages/correspondence/index.aspx

https://vcaa.edugate-cms.eduweb.vic.gov.au/Pages/schooladmin/handbook/handbook.aspx

http://www.vcaa.vic.edu.au/Pages/vce/studies/music/musicindex.aspx

http://www.vcaa.vic.edu.au/Pages/vce/studies/music/musicindex.aspx


Music Performance Units 1–4

Developing a programTeachers should use the study design and this advice to develop a teaching and learning program that includes appropriate learning activities to enable students to develop the knowledge and skills identified in the outcomes in each unit.

Students enrol in VCE Music Units 1, 2 and 3 with varied music interests, musicianship and performance knowledge and skills. Some students will have an extensive background; others will have less experience. The teaching and learning program for each VCE Music unit needs to provide all students undertaking the study equal opportunity to achieve the outcomes. VCE Music is designed so that all students can build their knowledge and skills irrespective of where they might be positioned on a music-learning continuum when they begin the course. Student learning plans are a useful tool to align course requirements and individual student progress.

Communication between students and teachers should also be planned and monitored. All teachers involved in delivery of the study need to combine their specialist skills and knowledge to deliver a course that meets the needs of each student. Planning also needs to consider the learning context and ensure that relationships between areas of study will be developed, particularly where more than one teacher has responsibility for delivering aspects of the course.

7


Teaching and Learning activitiesUnits 1–4 in VCE Music Performance each use the same structure and some outcome statements are repeated from Unit to Unit. The key knowledge and key skills in each Areas of study become more sophisticated or can be applied in different performance contexts. Teachers need to monitor student learning and ensure that the work each student undertakes for a Unit builds on prior learning and experience, addresses areas identified as requiring development and provides appropriate challenge in each Area of study.

The Music language chart on pp.20–23 in the study design is primarily for use with Outcome 3. However, students can learn about these concepts and apply their knowledge across all outcomes in Units 1–4. Teachers should decide the order that content will be covered across Units 1–2 and Units 3–4.

Music Performance Unit 1This unit focuses on identifying students’ performance interests and skills and developing habits of practice, listening and use of musicianship skills in practical, aural and theoretical contexts. Students learn about ways of researching music they will be performing and establish a journal or other document (hard or soft copy) they can use to document their practice, listening and evaluation.

Music Performance Unit 1 Area of Study 1: Performance

Outcome 1: Examples of learning activitiesPrepare and perform a program of group and solo works.

identify personal and group/ensemble performance goals for the semester; use this information to shape practice and rehearsal plansinterview other students and musicians about their approach to performance preparation and rehearsal; identify similarities and differences with personal approach; use a journal to reflect on possible approaches for personal/group performancemaintain a listening and performance journal to document approaches to performance and results of personal exploration and trialling; for example a series of links, videos and commentary collated using a ‘portfolio’ style appresearch a range of solo and group works that could be included in a performance program; chart composer/performer, music style and character of each work; use this information to select a performance program that includes a range of styles and diversity of characterresearch characteristic tone qualities for selected instrument/s and ways of varying tone; create a podcast to report findingsresearch terms such as ‘dexterity’, ‘flexibility’ and ‘security’ for specific instrument, group, music style and/or works using examples from recordings from sources such as CD, DVD, YouTube, radio/TV, podcastsexplore ways of conveying emotional meaning and expression appropriate to the selected repertoire and within stylistic conventions of the music; consider the mood or atmosphere intended by the composer, energy levels, dramatic intent, characterisation, use of stillness or silence, imagining a scene or colour that helps to convey intended emotion or expression

8


set performance goals/aims/intentions for each work being prepared for performancerehearse and perform work/s with an accompanist, rhythm section or other members of an ensembleset up and record performances of selected group and solo works for peer review and discussion of effectiveness of the performancesdevise a questionnaire to seek audience feedback about presentations of work- in-progress; include questions to check on audience perception of attempts to shape expressive elements or use specific conventions; use information to update practice planprepare a selection of group or solo works that represent a range of styles and are diverse in character to present in a performance

Detailed example

SELECTING, RESEARCHING, LEARNING, REHEARSING AND PERFORMING GROUP OR SOLO WORK/S

Early in the semester students make decisions about- whether they will focus on group or solo performance- which instruments they will use for performance- the styles and genres of music that they are interested in performing.

They also evaluate, through discussion with an instrumental music teacher or through a series of classroom activities their level of skill on the selected instruments. They use this information to identify, by listening to recordings or live performances or in discussion with teachers, one or two works they could learn and perform. This might involve sight-reading a larger number of works and then selecting two that are contrasting or that offer opportunities for the student to develop specific instrumental or expressive techniques or explore music in an unfamiliar style or genre.ResearchStudents research the works they have selected using the Unit 1 Outcome 1 Key knowledge relating to context, structure and possibilities for arranging and shaping works in performance as a guide [dot points 1, 2 and 3]. They document their research.Groups or soloists preparing an accompanied work might listen to live performances or recordings of work/s whilst following a score/chart. They listen to the accompaniment/other lines whilst following the score or chart, ‘inner hearing’ their part, noting, for example:

the relationship between their part and the other parts unison melodic /rhythmic passages and performance techniques used to achieve unison similarities or differences in performance of expressive elements such as phrasing, articulation and

dynamics between parts technical matters such as breathing points, bowing, pedalling, choice of specific equipment, for

example (drum) sticks, effects pedals.Soloists preparing an unaccompanied work might listen to live performances or recordings of work/s and follow the sheet music/score/chart noting features, such as:

main music ideas and accompanying ideas similarities or differences in performance of expressive elements such as phrasing, articulation, use of

dynamics technical matters such as breathing points, bowing, pedalling, choice of specific equipment, for

example (drum) sticks, effects pedals.

9


Performance goalsStudents identify 1–2 goals or intentions for the performance that are relevant to their level of experience (individual and/or as a group). For example, performing a complete work to an audience, demonstrating confident and consistent use of specific instrumental techniques, achieving a high degree of rhythmic and pitch accuracy or using expressive qualities such as dynamics and phrasing in a planned and controlled way to communicate the mood or character of the work.Learning and practisingStudents establish a plan for learning the work (or their part/s). They use practise material such as exercises that will assist them to develop required techniques or levels of control (see Outcome 2). They document their practice and identify how they have used information from their research in their work or other performers’ interpretations to develop their approach.Students prepare/annotate practice copies of the sheet music, score or chart; for example, performers in a group might notate rhythmic cues from other part/s onto their part to aid accurate entries and ensemble playing; identify (for example, draw a pair of glasses) where it is necessary to have eye contact with the accompanist or other ensemble members, or a soloist might note ideas for tempo markings, fingering, bowing/pedaling, use of technology, articulations, etc. Note, this activity might involve erasing editorial markings on sheet music or a chart and replacing with new markings that reflect the student’s approach to interpretation.Trial approaches to setting and maintaining tempo; for example, in groups, giving clear tempo indications, upbeats and cut-offs; rehearse preferred option or as soloists developing an approach to counting themselves in and trialling the effect of varying the tempo to achieve specific expressive effects.Rehearsing (with an accompanist or as a group)Students establish a rehearsal schedule taking into account number and complexity of works being prepared for performance, performance goals and performance date/s.Students then trial, discuss and refine approaches to rehearsal.Preparing for performanceThey repeat these activities in pairs or as a group, this time discussing and trialling possible approaches to performance.Trial possibilities for optimal placement of performers, instruments and other equipment in performance space. Rehearse beginning and ending performance of each work and, as appropriate, rehearse transition between works in the program. Memorise sections where it is necessary to communicate visually or via clear body language with the accompanist or other members of the group.Record a rehearsal or performance and listen back, checking for accuracy of intonation, balance, dynamic variation and tempo, in addition to the accuracy, clarity and fluency of notes and rhythms.Present a work-in-progress performance. Seek audience feedback, discuss responses, and revise their plan for interpreting and practicing the work/s.

10


Music Performance Unit 1 Area of Study 2: Preparing for performance

Outcome 2: Examples of learning activitiesDemonstrate and discuss techniques relevant to the performance of selected works.

keep a journal to identify practice and rehearsal habits and routine; identify personal and group/ensemble performance goals for the semester; devise an individual practice plan; maintain a record of progress and reflections throughout the semesterinterview other students and musicians about their approach to practice and, as appropriate, links between personal practice and rehearsal; identify similarities and differences with personal approach; use a journal to reflect on possible approaches for personal/group performanceidentify performance techniques used in each work in the performance program; choose technical work to meet the technical and musical challenges, for example published studies, self or teacher devised exercisesdevise a technical work program to develop overall instrumental technique, including scales, arpeggios, and exercises to develop expressive performance techniques such as phrasing, articulation, shaping dynamicspractise scales, arpeggios and exercises with a variety of articulation patterns and long note or tone exercisesprepare a checklist of strategies to promote fluency and accuracy in unprepared performanceuse the Internet to research and communicate with performers; discuss strategies they use to optimise performance outcomes, their use of performance techniques and their interpretive approach to works being prepared for performanceresearch selected solo or group works: when was the work written, why it was written, who by and for whom?; investigate the intended performance context for the work, for example private home or court, concert hall, church service, commercial radio/record/CD release, pub/club setting, film music; consider ways that the context might influence the style of performancedevelop skills in organisation, planning and goal-setting to improve identified aspects of solo and group performancesdiscuss ways that key musical elements in a selected performance work, particularly expressive elements, are used and manipulated to create defining musical characteristics and nuances of style and genreidentify and notate the main scale types used in the instrumental/vocal part of the work; in the key of the piece, compose and/or improvise and record a short, rhythmically simple, scalic exercise using only these scale typesanalyse the harmonic structure of a work, or a significant excerpt. Using the main chords identified, create and notate an arpeggio-based sequential exercise using repetition and different voicings/positions on an instrumentmap the sequence of dynamics used in the score of the work; perform the piece in three different ways; with original notated dynamics, without dynamic variation and with exaggerated/dramatic/unexpected dynamics; discuss the impact these different approaches make on the expressive nature of the workcompose a study, or series of short studies, for an instrument; focus on expressive elements such as dynamics, phrasing and articulation; discuss the pragmatic purpose and aim of the composed work/s

11


Detailed example

ORGANISATION, PLANNING AND GOAL-SETTINGStudents set a date for a work-in-progress performance of a new solo or group work/s (6–8 weeks ahead). They:

choose a program (at least two works) analyse the music to identify technical and expressive challenges and devise strategies/exercises to

overcome these problems research approaches used by other performers to perform selected works and/or present performances

of works in similar style/s devise a timeline for learning, rehearsing and refining the performance of the work/s by the set date maintain a regular practice schedule in the weeks leading up to the performance keep a record of progress made in learning the work/s, noting when and how various sections were

practised, and with what success seek feedback from teacher/s and peers; reflect on the feedback in relation to practice program and

evaluate progress towards meeting identified challenges.Students record their performance and review and evaluate its success or otherwise. They then set goals for the next performance of the work/s.

Music Performance Unit 1 Area of Study 3: Music language

Outcome 3: Examples of learning activitiesIdentify, re-create, extend and notate music language components and short phrases, and describe ways elements of music may be interpreted.

maintain a workbook and regularly evaluate progress in confident and accurate use of musicianship skills in aural written and practical contextsidentify strategies for specific features such as intervals or singing scales, chords, melodic phrases, rhythmic phrases and diatonic chord progressions writing, recognition and practical activities undertaken in classdiscuss the meaning, implications and relationships between the terms ‘diatonic’, ‘scale’, ‘key’, ‘tonality’, ‘interval’practice using naming conventions to identify ascending and descending intervals by size and quality in written and spoken contextsinvestigate and learn the intervallic structure of scales set for studyinvestigate and discuss formal and informal counting systems; experiment with different systems to find one that is suitable and the music styles of works being prepared for performanceresearch different approaches to notation and discuss advantages and disadvantages of each to performerspractise using specific notation conventions, for example relating to stem direction or beamingidentify use of conventions of music notation on manuscript (stave or tablature) by annotating sheet music of works being prepared for performance; investigate particular conventions such as rhythmic grouping by referring to appropriate texts; create a reference list of conventions used in works being studied for performance and those used in class activitiesregularly sing and improvise on short melodic and rhythmic motifs

compile a list of terms and definitions of musical terminology or descriptive

12


words useful for discussing ways expressive elements of music can be interpreted to achieve expressive outcomescreate a table identifying similarities and differences in interpretations of the same workchoose a short, very familiar piece of music such as a riff or children’s song and workshop ways that specific elements of music or patterns can be manipulated in performance to create different expressive outcomes; use music language and terminology to document the outcomes achieved and note any approaches that might be relevant to own performance practicecompile a workbook of writing, recognition and practical aural and theory activities.

Detailed example

WORKBOOK OF WRITING, RECOGNITION AND PRACTICAL AURAL AND THEORY ACTIVITIES

Each of these exercises/activities can be undertaken multiple times over the semester. Students should keep a record of their progress and discuss strategies relevant to each as required to build their confidence and capacity.

Task 1Students compare the interval structure of each type of scale listed for study, notating all scale-types from the same tonic and labelling the intervals between successive notes. They complete this exercise in various keys using treble and bass clef notation.Students:

practise singing (and/or playing) any given interval from a selected note, ascending and/or descending identify the opening interval of various four-bar diatonic melodies – aurally and/or in writing use a system to sing scales set for study beginning on ‘tonic’ notes of works being prepared for

performance compose and sing two-bar melodies which begin and end on the tonic note; use major and melodic

minor scales visually recognise each interval found in short melodic excerpts, canons or folk songs; practise singing

these melodies with accurate intonation listen to short melodies and aurally identify the opening and closing intervals listen to a short melodic phrase, sing the phrase and then transcribe missing note/s learn to write on the stave, to aurally recognise, to play from memory on the instrument selected for

solo performance and to sing in letter names major, harmonic minor, melodic minor and chromatic scales

use graphic symbols or coloured brackets to represent the different intervals found in scales set for study

learn to play the primary triads (I, IV, V) in keys of works being prepared for performance on a keyboard instrument

create ten different chord progressions of three to five successive chords using primary triads, beginning and ending on the tonic chord; play these for the class as a chord recognition activity

notate the progressions using a software program and playback and listen using an instrument or singing, practise echoing short (unseen) melodic phrases played or sung by

another student or a teacher.

13


use a counting system to practise reading and accurately performing (clapping/saying/playing on an instrument) short rhythms in simple duple, simple triple, simple quadruple and compound duple meter that use various combinations of notes and rests of crotchet, minim, quaver and semiquaver value

create a series of one-bar rhythms in two parts – use simple duple, simple triple, simple quadruple and compound duple meters; use body percussion and/or a verbal counting system to perform the rhythms

identify rhythmic patterns performed by other class members add time-signatures to written rhythmic patterns identify meter of rhythmic patterns in performance listen to a short rhythmic phrase, re-create the phrase and then transcribe the missing note/s.

Task 2Students listen to examples of music written and/or arranged for various types of musical ensemble; using a listening diary format, they identify the composer/arranger of each piece, the title of the piece and the type of ensemble performing it. They then list the instruments that they hear in each piece; describe the way in which texture, duration, scale forms and harmony are used in each piece; use diagrams to graphically describe the texture where possible.Students select one piece being performed by a student group and annotate a score/chart to show the composer’s/performer’s use of expressive elements – tone colour, blend of instrumental voices, balance of music parts/lines, articulation, ornamentation/ embellishment (melodic, harmonic and rhythmic), dynamic range and shape, phrasing and tempo choices.Students keep a listening diary noting use of expressive elements in works being prepared for performance and other works in similar music styles, for the same instrument or instrumental combination.They study examples of printed sheet music to ascertain conventions of musical notation for treble and bass clef such as size, placement and grouping of notes, beam and stems; placement of clef, key signature and time signature; use of bar-lines, double bar-lines and repeat signs; use of 1st and 2nd time bars; use of DC, DS and coda directions; dynamic indications and tempo indications; practise accurately hand-writing musical notation in bass and treble clefs.

14


Teaching and Learning activities

Music Performance Unit 2Music Performance Unit 2 Area of Study 1: Performance

Outcome 1: Examples of learning activitiesPrepare and perform a program of group and solo works

review performance goals from Unit 1; identify goals for Unit 2 focusing on developing fluency and control in performanceplan a series of practice or work-in-progress performances; chart goals for each, plan a way to monitor and reflect on progress towards goalsparticipate in a master class focusing on experimentation with a variety of interpretations that draw on different articulations, dynamics, and/or tempiuse recordings/performances of selected works by other performers/groups to identify approaches to shaping expressive elements of the works; chart use of historical, contemporary conventions and presentation techniques; trial and reflect on possible approaches taking personal skill as a performer into accountresearch contextual influences on works being prepared for performance; use a journal to record reflections about impact of this research on approach to performing the works; share reflections with teacher/peersrecord a group rehearsal and review to identify strategies being used to foster communication, interaction, cooperation and empathy between members of the group; discuss observations and develop an action plan to address identified issues and problemsresearch strategies used by other performers to foster communication, interaction, cooperation and empathy between members of the group; evaluate findings and refine rehearsal, performance practiceuse a graphic organiser or other drawing software to visually show roles and relationships between instrumental voices in group works being prepared for performance or parts within the texture of solo worksinvestigate video/DVD recordings of works chosen for group and solo performance, or other works of the same composers or works in a similar style; use as starting points for discussion about possibilities for using performance conventions to present performances that are musically engaging

Detailed example

MASTER CLASS FOCUSING ON EXPERIMENTATION WITH A VARIETY OF INTERPRETATIONSOver 3 to 4 weeks, students in a group or as a soloist select:

a well-known melody such as an advertising jingle, children’s song or folk song a style being prepared for performance.

Research performance conventions relevant to interpreting specific elements of music in the selected style, for example interpreting rhythms using conventions such as ‘swing’ or ‘double- dotting’, applying terrace dynamics or specific articulations.Present a research report that demonstrates findings through performance of the well-known melody supported by examples from other performances.

15


Using the work being prepared for performance, students: apply research findings develop different interpretations of specific sections of the work, present options to class and provide

rationale for each interpretation based on an understanding of stylistic characteristics and how each interpretation communicates the character of the work

use a questionnaire to obtain feedback from the class; evaluate responses; select preferred approach to interpretation of specific elements of music and/or sections of the work; refine performance of the work

present performance of the work to the class and explain approach to interpretation.Note: a similar approach can be used to focus on development of idiomatic tone qualities and achieving expressiveness, clarity and artistic variation of tone.

Students can repeat this activity using ‘the other’ performance context. For example, group then solo or solo then group.


Outcome 2: Examples of learning activitiesDemonstrate and discuss techniques relevant to performance of selected works

devise and practise selected exercises to develop technique appropriate to the instrument and level of facility; choose material relevant to the technical, expressive and/or stylistic challenges of the group and/or solo performance programdraw a diagram, chart or table that outlines the structure and features of the elements of music for two works selected for performance; or where no score exists for a work (such as a contemporary song learnt aurally), create a graphic or musical score indicating bars, key, chords, drum part, rhythm and lyrics, bass line and melody line; annotate the score, indicating features of the musical style; draw a graphic representation showing the structure of the work, clearly indicating each different section; then listen to two or more interpretations of the work and note similarities and differences on the diagram; use information to discuss approaches to interpretation in instrumental lessons, rehearsals, class discussionscontact other musicians who have performed work/s in the performance program; discuss approaches to interpretation and strategies used to optimise performance outcomesresearch the background of composers/performers and select two contrasting works in different styles; looking at the historical and social context, geographical, musical, technological, economic and/or political influences; use the Internet, reference texts, CD notes and compile a multimedia report to present to the classuse the strategy checklist prepared in Unit 1 to practise unprepared performance skills on an ongoing basis in weekly instrumental lessons, personal practice and/or ensemble rehearsalsanalyse a piece from a publication of technical studies for your instrument; describe/write a report on the purpose and aim of the study; what are the specific technical challenges addressed by the study?choose a melody, or melodic fragment from the work; play and notate the melody transposed into at least four different key areas (i.e. C, F, G, Bb in a major key, or a, e, f#, b in a minor key)

16


identify and notate the main rhythmic motifs in a melody; using a hand drum (djembe, tambourine), compose or improvise a piece using these rhythmsidentify a technically/musically difficult or challenging excerpt in a work selected for performance; work out an approach, including creating a series of small step exercises, to sequentially practise and resolve the challengescompose a study, or series of short studies, for an instrument; focus on melodic and/or rhythmic motives derived from a selected work; discuss the pragmatic purpose and aim of your composed work/s

Detailed example 1

DEVISING A TECHNICAL WORK PROGRAMThe purpose of the technical program is to support the student in the learning and skill development required for the performance of their solo and group program, in addition to developing their vocal or instrumental facility.

TasksAnalyse the selected solo/group repertoire to determine keys, dynamic range, pitch range, articulation patterns, length of phrases, use of thematic material and rhythmic features.Establish a journal format – paper or online – to record aims, intentions and progress, for example a podcast, blog, practice diary.Identify specific challenges in works and areas for overall development as a solo instrumentalist and as a member of a group.Select material for a technical work program such as scales, arpeggios, exercises, studies, and record each item in a journal. Note links between each item and specific works or challenges.Develop a practice plan to address challenges, and maintain and develop fluency and control. The plan might include, for example:

practising long notes over the pitch range required in the selected works, at varying dynamic levels, and with or without dynamic changes; use a tuning machine to check consistency of pitch; aim for an excellent tonal quality over the whole range of the instrument/ voice

practising scales, arpeggios, broken arpeggios, interrupted scales, etc. in the keys and related keys of the selected solo/group repertoire

using articulation/bowing patterns found in the selected works, for example all slurred, staccato, two slurred – two staccato

using accent patterns found in the selected works and using rhythmic patterns or devise own rhythmic patterns

isolating difficult intervals within melodic phrases and devising repetitive drills to improve performance of these.

Memorise all technical work associated with the selected repertoire.Memorise main melodic themes or chord progressions from selected repertoire and transpose these to new keys.Use a metronome when practicing all technical work. Aim for evenness and fluency in tone and rhythm. As vocal or finger technique improves, gradually increase the speed of the metronome.Maintain journal, for example recording exercises, studies, scales etc, practised in a session, indicating the metronome marking, articulation pattern and rhythmic pattern. Include comments about progress towards goals.Use information from journal in discussion about specific challenges during instrumental lessons, master classes, rehearsals, and class discussions.

17


Detailed example 2

COMPOSING SMALL STEP EXERCISES TO RESOLVE ISSUES RELATING TO RHYTHM, TEMPO AND/OR DYNAMICSIdentify a technically challenging/musically difficult or challenging excerpt in a work selected for performance.Annotate the score/chart identifying the challenges.If possible, listen to performances of the work by other musicians and note their approach to the challenging material/sections. Add notes to the annotated score/chart.Creatively experiment with rhythm, tempo and dynamics – slower, faster, unpredictable, play/sing mechanically without rhythmic complexity or expression, louder, softer.Break the example down into smaller components. Notate/perform/improvise small sequences using these fragments.If possible, sing/clap the sequences created.Produce a video/audio recording describing to other musicians the nature of the technical challenge and the method used to approach and solve the problem.Identify and discuss/demonstrate the purely physical and mechanical nature of the technical issue.Compose/notate/record a study or series of short, related exercises, to facilitate fluency and capability in resolving the selected technical challenge/s of the work.


Outcome 3: Examples of learning activitiesRe-create, extend and notate music language components and short phrases, and describe ways elements of music may be interpreted.

compile and maintain a workbook of theoretical principles, including conventions in traditional Western notation and practical activities undertaken in class, such as melodic and rhythmic transcription exercises, interval and chord recognition exercises and harmonic progression exercisespractise using a system when singing scales, intervals, chords, melodic phrases, rhythmic phrases and diatonic chord progressionssing a variety of melodies based on tonalities drawn from the scales listed for study; analyse the melodies, noting common melodic patterns and cadencescreate short melodic motifs diatonic to scales set for study; perform for class, lead process of imitation and improvisation on the motifsfrom a series of given alternatives (two or more of scales set for study), identify the tonality of various short melodies; repeat over time, gradually increasing the number of alternativesfind examples of major, minor, augmented and diminished triads and dominant 7th chords in works being prepared for performancecreate a chart showing intervallic structure of major, minor, augmented and diminished triads and dominant 7th chordssing and analyse scale tone triads on I, ii, iii, IV, V, V7 and vi degrees in major scalessing and analyse scale tone triads on i, iidim, iv, V, V7, VI in minor keys where the basis for chord building is the harmonic minor scalebuild a taxonomy of naming conventions used to identify quality and diatonic function of chords within a keyresearch and share approaches to identifying and notating diatonic, root position chord progressions

18


use a system to sight read rhythmic exercises in simple duple, triple and quadruple and compound duple time; analyse these, noting the use of common rhythmic patternscreate a list of all possible rhythmic groupings (not exceeding four subdivisions per beat) relevant to simple duple, triple and quadruple time-signatures and compound duple time-signaturescreate two-bar rhythms in meters set for study using a limited range of note values, for example dotted crotchets, crotchets, quavers and semiquavers; perform these with accuracy while maintaining a steady tempocombine two-bar rhythms to create four-bar phrases; perform and transcribeimitate two-bar rhythms performed by other class members; use a process to improvise on the rhythms; transcribe resulting extended rhythmscompose four-bar sight-singing melodies for performance in class; analyse these in terms of ease/difficulty of performance and underlying harmonic structure; comment on refinements that could be made; explore ways of interpreting melodies using a range of expressive elements; repeat focusing on rhythmlisten to a variety of group and solo works and analyse (either aurally or using a score) the treatment and interpretation of expressive characteristics, including idiomatic qualities and variations of instrumental tone colour, ways instrumental voices blend and resulting tone colours, balance between different parts/lines, use of articulation, ornamentation/embellishment (melodic, harmonic and rhythmic), and dynamic range and shape, use a chart to record interpretation of selected elements and resulting effectsexperiment with phrase shaping, articulation, dynamics, blend of tone colour and balance of musical lines/parts through performance of a homophonic work or excerpt using conventional and non-conventional combinations of instruments; repeat this activity using a music technology, for example a sequencing program

Detailed example

COMPOSE SIGHT-SINGING MELODIES FOR PERFORMANCE IN CLASS

Students select a series of folk songs or sight-singing exercises.

TasksPrior to singing, analyse the melodies looking for common melodic patterns and aural reference points (for example tonic, dominant).Sight-sing these melodies, providing guidance where necessary with the piano. Sing as many times as is necessary in order to ensure good intonation and maintenance of tonality.Analyse the intervals, phrasing and rhythmic patterns of melodies.Compose a four-bar melody based on a tonality selected from those listed for study. Begin and end on the tonic note and use a variety of rhythmic values (no longer than a dotted crotchet).Compile these melodies onto one sheet for distribution among the class. Sing each melody and analyse it for relative ease/difficulty of performance. This analysis should focus on issues such as the quality and accuracy of the notation, logical progression of the melody, security of tonality and rhythmic aspects.Experiment with different ways of interpreting each melody, for example compile a list of styles from works being prepared for performance, list characteristic uses of expressive elements of music (tempo, tone colour, dynamics, articulation, phrasing, ornamentation, individually and in combination) in those styles and apply to performance of the melodies; discuss expressive outcome of each interpretation.

19


Music Performance Unit 2 Area of Study 4: Organisation of sound

Outcome 4: Examples of learning activitiesDevise a composition or an improvisation that uses music language evident in work/s being prepared for performance

Compositionaurally and visually analyse the development of melody and the harmonic implications of melody in a work being prepared for performance; create a diagram showing use of melodic patterns, relationship of melody to underlying chords and relationship of melody to tonal centreinvestigate the use of common compositional devices such as augmentation, diminution, inversion, retrograde, repetition, sequence, etc. and apply these to a given (or an original) melodytake an existing melody and chord progression and reharmonise it using substitute chords and/or chord extensionsarrange a given melody in four-part vocal style, pianoforte style or write another part of equal importance to be performed in combination using part-writing techniques; use a music notation software program to present the arrangementcomplete exercises to improve facility in using available sequencing software to input and edit, including transposing parts, adding markings relevant to expressive elementsImprovisationlisten to various examples of music featuring a range of improvisation techniques; analyse the improvisation techniques used by the musicians on these recordingstranscribe and/or imitate from recordings various styles of improvised solos or sections of improvised solosvisually study transcribed improvisations analysing factors such as relationships between note choice and harmonic progression, melodic development, rhythmic development, use of motifs, riffs or licks, stylistic characteristics, use of tone colourinvestigate the relationship between chords and associated scales, for example use of mixolydian mode in conjunction with dominant 7 chords, use of dorian mode as an alternative to natural minorinvestigate common forms used in mainstream improvisational styles, for example 12-bar blues, 32-bar popular song form, AABBundertake improvisation exercises which focus specifically on one aspect at a time, for example melody, rhythm, harmony, tone, colour

20


Detailed example 1

COMPOSITION

Students choose a work that is being prepared for performance.They identify, document and study the use of various characteristic, technical and expressive elements within the work and undertake a study of their application, function and relationship. Document them graphically/visually/electronically in a clearly organised chart or annotated score presentation format, including for example:

phrasing, articulation, dynamics idiomatic expressive/musical devices used physical/acoustic/electronic qualities and technical capacity of an instrument sonic/timbral implications of particular tonal areas and choices of key on the instrument and its

relationship with other instruments instrumental/vocal tessitura, range chord progressions/relationships, chord structure (inversions, quality) rhythmic motif/s relationship between rhythm and melody form, structure, use of repetition key, modulation tempo, time signature/s.

Using one of the following starting points/ideas to a select/combine of the musical material and expressive devices identified, compose and notate a short composition. For example:

use original melody and reharmonise it compose a new melody over existing harmonic structure in a different key, compose a stylistically similar piece, experimenting with a different range/tessitura,

i.e. lower, higher, wider range without significantly changing melodic and harmonic structure, experiment with varied use of rhythm

and expressive musical devices (articulation, phrasing, dynamics) to change the stylistic character of the excerpt

compose an entirely original work as a tribute to, or comment/reflection upon, the nature of the selected work/excerpt

take a single musical element from the excerpt (i.e. melodic/harmonic/rhythmic motif, chord progression sequence, articulation technique) and use it as the basis of a new composition

use computer sequencing software, construct a derivative but transformational composition based on elements from the excerpt.

Perform/record/present the composition.

21


Detailed example 2

IMPROVISATION – Pitched instruments

Students study the melody, melodic variations, bass and harmonic structure of a selected renaissance improvisatory ground bass composition, such as Recercada Segunda by Diego Ortiz (Trattado de Glosas 1553, published in Recorders at Large, Vol.1, Benjamin Thorn, Currency Press Australia, 1995, p.87).Analyse the harmonic progression and write a chart for the ground bass progression. Investigate scales used in Ortiz’s published Recercada. Play scales/arpeggios over chord progression, experimenting with rhythmic patterns.Analyse/summarise the manner in which Ortiz develops incremental melodic and rhythmic complexity and contrast in each variation.For chordal instruments, explore variations in chord voicing and rhythmic variation over the ground bassUsing the ground bass chordal framework, in a small ensemble (e.g. solo, bass, chordal accompanying instrument), improvise a series of incrementally more diverse and complex melodic variations starting out very simply. Experiment with different aspects in each repetition of the ground bass, for example:

vary the rhythm of the original melody, including the use of syncopation vary the range/tessitura of the original melody add appropriate ornaments, divisions and/or passing notes to the melody vary the rhythm in the accompaniment and bass explore new voicings in accompaniment.

Based on these explorations, improvise a new set of improvised variations based on the original melody and ground bass framework. Record the performance and discuss/document the changes/modifications made compared to the original.Further investigation/extension:

jazz standards and recorded/performed improvisations (for example, Ella Fitzgerald, scat singing, One Note Samba)

improvised/composed classical cadenzas (for example, cadenzas Improvised to Mozart's Violin Concerto in G Major No. 3)

Baroque improvisatory fantasia (Teleman, Fantasie nr. 3 for solo recorder performed by Frans Brüggen)

Jacob van Eyck, Wat zal men op den avond doen for recorder performed by Hanneke van Proosdij JS Bach, Passacaglia and Fugue in Cm for organ, BWV 582 performed by Hans-Andre Stamm Marin Marais, Folies d’Espagna for viola da gamba performed by Jordi Savall.

Detailed example 3

IMPROVISATION – Non-pitched instruments

Students learn the chord progression and melody (head) of a standard within the jazz repertoire and experiment with improvisational techniques focusing on relative pitch, rhythm and tone colour.Create variations of the rhythmic accompaniment for the head by exploring:

different rhythmic ‘feels’ and rhythmic relationships use of different drums and percussion instruments to outline/accent melodic phrases and/or harmonic

progression rhythmic interplay between drums and chordal instruments.

Restrict the sounds available for use to one drum only and create rhythmic patterns over one complete chorus. Extend this exercise gradually by exploring dynamic variations and the tone colour possibilities that are available on the one drum, and by increasing the number of drums available for use.

22


Explore ‘melodic’ possibilities by creating ‘melodies’ using variously pitched drums.Make an audio recording of each exercise.Create a podcast or report on ways that selected exercises use music language from a work being prepared for performance.Further investigation/extension:

choose a selection of rhythmic elements and techniques explored in one or more percussion technical exercise/study books; improvise a piece based on a selected sequence of elements and techniques

Indian/African improvisation techniques.

23




Outcome 1: Examples of learning activities

Prepare and perform a program of group and solo works, and demonstrate a diverse range of techniques and expressive qualities and an understanding of a wide range of music styles and performance conventions

Group and SoloDiscuss and debate questions such as What does it mean to create mood and character in performance and how

do performers do this? How can performers ‘push’ interpretive boundaries? Why might they choose

to?

keep a record of key points/ideas raised in the discussion and consider how these possibilities could be incorporated into performances

discuss the meaning of ‘contrast’ in music; identify ways that performers can use different elements of music and performance techniques to create contrast in performance; use music phrases or riffs/hooks as a basis for experimentation; seek feedback and evaluate the audience response to different optionsrecord options for arranging, shaping, interpreting and/or presenting works in performance program, research findings, monitor progress, reflect and evaluate using a – paper or digital – journallisten to different interpretations of group and solo works, compare and evaluate the interpretations focusing on expressive qualities, select and trial ideas relevant to own performanceanalyse works being prepared for performance; identify structure, including overall form and formal features within the work or movement such as harmonic progression, use of rhythmic or melodic motifs, melodic structure; identify characteristics of the work that place it within a particular stylechart characteristics of the music style of each work in the program; write a description of the character of each work referring to specific expressive qualitiesplan and trial options for interpreting each work in performance program, perform work in progress to an audience, seek feedback, evaluate and refine approachview performances of works in the performance program or works in similar music styles; identify performance conventions, ways that performers communicate their musical intentions for example with the audience, other members of the group or an accompanist and/or how expressive elements of music are manipulated to create mood or characterselect, research and prepare performances of works in a range of music styles and with diversity of character from the Prescribed List of Group Works or the relevant instrument list in the Prescribed list of Notated Solo Worksdevelop informed interpretations of works in the performance program; identify different past performance practice compared with today, including differences between original instruments the work was written for at the time and today’s instruments; develop knowledge of ways the work was originally thought to be

24


performed, the individual composer’s style and the original artist’s style of performing as relevant to selected worksuse a journal – paper or digital – to record aims for the performance program; research findings and options for interpreting works; monitor progress and reflect on strategies used in lessons, practice and rehearsals, timeline for learning, rehearsing, trialling performance of work/s prior to assessment performanceperform on a regular basis to the rest of the class (with accompanist where appropriate); discuss and evaluate each other’s performances, identifying strengths and weaknesses and commenting on ways one can perform to an audience with particular consideration to continuity and presentation of the program; seek and evaluate feedback from the audience; adjust organisation of performance in responseGroupcreate a group profile focusing on available instrumentation and other resources and performers’ individual skills and music interests;.use this information to identify options for arranging and interpreting selected worksidentify the role of each performer for each work in the program; consider options for solos, establishing, maintaining and manipulating tempore-arrange an existing musical work to suit the instrumentation of the performance group in a way that preserves the essential elements of style; discuss and workshop the merits of differing arrangement strategies and instrumental combinationsuse sectional rehearsals as a means for developing accuracy within the ensemble, for example rhythm section, acoustic, and vocal rehearsalsSolocreate a chart that outlines the range of music styles in the relevant solo instrument; list key performance techniques or conventions associated with each style; use this information to plan a performancechart characteristics of the music style of each work in the program; identify music style and describe character of each work; note performance techniques that can be used to communicate character and style of each work; compare the range of styles and techniques with those found across the complete list

Detailed example 1

RESEARCH MUSIC STYLESStudents select and listen to a work from the Prescribed List of Group Works or the relevant instrument list from the Prescribed List of Notated Solo Works.As appropriate, locate sheet music, backing tracks, published scores, TAB charts and transcribe as necessary, for example solos, ornamentation/ embellishment.Listen to alternative interpretations of the work and a range of other works in the selected style, note characteristic use of elements of music in a journal, and discuss the defining elements of the chosen style. Create a folio that comprises recorded examples of the style and commentary, identifying the relevant stylistic conventions and relevant performance techniques, particularly techniques used to realise expressive elements of music.For group works, particular attention should be placed on the individual role of each instrument and/or voice in the arrangement.Students undertake the following tasks as appropriate to the work, context (group or solo) and style:

identify timbral/tonal characteristics relevant to the style for each instrument

25


establish articulation and phrasing in melodic lines to realise the conventions of the style identify structural elements relevant to style

determine appropriate beat patterns and fills for style determine chord progression and chord voicing commonly used in the styles establish possible scales to be used in improvisations over chord progression/s.

Repeat as appropriate for other works in the program.

Detailed example 2

STUDY DIFFERENT INTERPRETATIONS OF WORKSBaroque workStudents choose a work in Baroque style, for example one of the preludes from the J.S. Bach Well Tempered Clavier. Research the nature of the instrument/s used, in this case, harpsichord – its construction, method of sound production, acoustic properties, use in performance and performance venues.Listen to a number of recordings of the prelude under study as performed on the harpsichord.Make notes on:

articulation and phrasing tempo length of detached notes projection to listener of thematic material and/or particular notes and/or harmonies dynamic effect created through changes in texture, register and rhythmic complexity use of rubato and flexibility of phrasing to give importance to beginnings of sections, cadence points,

modulations.Study the introduction to an edition or a recording of the selected work, for example the Alfred edition of the Well Tempered Clavier which gives the performance practice of a range of famous pianists who have performed these works on piano.Listen to, compare and appraise a variety of recordings of the work, for example listen to a prelude from the Well Tempered Clavier as performed on piano using the above list as the basis for comparison. Take note of:

the use of the sustaining and soft pedals means by which the performers explore the dynamic and tonal capabilities of the modern piano in their

performance projection of thematic material and/or particular notes and/or harmonies that cannot be achieved in

performance on harpsichord.Draw conclusions about the success of each performance on piano in realising an authentic performance on a modern instrument.Develop strategies for informed personal interpretation based on the knowledge and insight gained through the above research.Note: this activity can be adapted for other music styles.

26



Outcome 2: Examples of learning activitiesDemonstrate and discuss techniques relevant to performance of selected works

identify performance goals; select group and/or solo works being prepared for performance; identify technical challenges in works and performance techniques relevant to works; devise and/or collect a series of exercises that can be used to progressively address each challenge; focus on meeting technical challenges related to interpreting expressive qualitiesbrainstorm strategies for optimising effectiveness of group rehearsals or rehearsals with accompanists; research strategies used by similar ensembles; evaluate possibilities, use ICT to develop a rehearsal plan and collaborative journal (WIKI, podcast) to monitor progress against performance goals and specific technical, expressive and/or stylistic challenges; use the plan to develop an individual practice routine; monitor and adjust throughout semesterestablish ways of monitoring progress, including seeking and responding to feedback from teachers, peers, other performersuse ICT to develop a practice plan and journal to monitor progress against performance goals and specific technical, expressive and/or stylistic challenges; use the plan to develop a practice routine; monitor and adjust throughout semesterselect and practice a study or work with a technical focus that supports overall development as an instrumentalist and/or focuses on a specific performance technique used in one or more works in the selected performance programidentify and analyse technical requirements necessary for the realisation of the works selected for performance; develop personal performance strategies to improve technical controldevise a plan to develop facility in unprepared performance on an ongoing basis; include in weekly instrumental lessons or ensemble rehearsalsinvestigate and compare a variety of music styles being prepared for performance from a study of their stylistic elements such as rhythm, accent and tempo, instrumentation, quality of timbre, use of harmony and melody, structure/formdiscuss and note procedures and techniques used by performers in a particular ensemble to perform convincingly in a variety of stylesdiscuss ideas and methods the group has used to maximise the impact of their performances, and to minimise performance problemsprepare a demonstration of the acoustic qualities of the rehearsal area, and show how these can be used or manipulated to obtain the desired acoustic effectdiscuss strategies for practice and rehearsal using excerpts from texts as starting pointsdemonstrate ways technology can be used in performance presentation, and show how it can be used to maximise performance impactcompose and notate, and/or improvise and record, a short piece in the same musical style as a movement, or significant excerpt, from a selected performance workperform the melody of a selected work in a different style, e.g. swing jazz, baroque, hip hop, folkchoose two recorded works that are based on a single chord/harmonic fundament; what musical devices do the performers/composers use to achieve musical interest and diversity despite the focus on a single key area?

27


use the ‘exercise/worksheet’ (or equivalent) creation function in a digital notation program (for example Finale/Sibelius), generate and print a series of exercises based on melodic, harmonic and rhythmic patterns in a selected work; discuss the effectiveness and success of creating exercises digitally/electronicallycompose a study, or series of short studies, for an instrument. Focus on harmonic progression and rhythm. Discuss the pragmatic purpose and aim of the composed work/s.

Detailed example

USING TECHNOLOGY TO ENHANCE PERFORMANCEThe songs All I Need (Radiohead, CD, In Rainbows, self release 2007, TBD Records, USA, 2008) and Tomorrow Never Knows (The Beatles, Revolver, Parlophone, 1966) are both essentially constructed around a single chord base (C major).Document/discuss/analyse how the songs are harmonically and melodically constructed to achieve subtlety and complexity despite the limitations of being based fundamentally on one chord. How are the musical devices and expressive elements used in the recorded versions of these songs designed and manipulated to create interest and engage the listener, for example:

melodic invention and relationship to harmonic base scales/modes used use of pedal/drone creation of drama and tension through use of complex chord extensions of harmonic base (i.e.

voicings, inversions) instrumental texture and contrast in instrumentation use of dynamics use of tape loops and effects function of bass riffs and repetitive rhythmic motifs.

Listen to an earlier, very different studio version of Tomorrow Never Knows (CD, Beatles Anthology 2, Track 17, Apple Corps Ltd/EMI Records Ltd, 1996) and compare with the version released on the Revolver album (Parlophone, 1966).Compose/improvise a short exercise/piece for an instrument similarly using only a single chord base.Further investigation/extension:

select an example of non-Western music constructed over a drone/pedal. Discuss the role of the harmonic structure and how instrumentalists/singers achieve diversity and interest within a harmonically static framework

vocal/instrumental (melodic/motivic single note/octave) repetition within rich orchestral context-Convoi Funèbre de Juliette, Roméo et Juliette, Hector Berlioz Op.17 (Eulenberg Edition No 424, pp.231–247).


Outcome 3: Examples of learning activitiesIdentify, re-create, notate and transcribe short excerpts of music, and discuss the interpretation of expressive elements of music in pre-recorded works

investigate and evaluate systems to assist singing of scales, intervals, chords, melodic phrases, diatonic chord progressions and re-creating rhythms using singing/vocal sounds and body percussion; identify systems that work in particular contexts; build regular use of these systems into a range of learning and practice activities, for example in class, rehearsal, instrumental lessons, individual practice

28


create a taxonomy for this area of study, include definitions and examples relating to terminology, theoretical concepts, notation conventions, sound and structure of intervals, scales, modes and chords, set for study, rhythmic organisation in relevant meters and time-signatures, as well as related naming conventions and language to identify, describe and discuss the interpretation of expressive elements of musiccreate a bank of diatonic chord progressions; use software to re-arrange voicings within each chord; print and distribute arrangements to classdevelop a personal learning plan to address specific challenges; apply knowledge to specific tasks and develop general musicianship throughout semester; work collaboratively with peers and teachers to implement learning plan through class and individual activitiescomplete activities of aural comprehension and music notation using appropriate software; keep a log/journal to record progress and questions on specific content, use of strategiesimprovise by clapping, tapping, playing or singing on short rhythmic and melodic patterns from works being prepared for performancework in pairs or small groups to imitate regular and syncopated rhythm patterns in simple, compound and asymmetric meters set for studydevelop aural memory and transcription skills by regularly recreating (singing/playing) previously unseen and unheard short melodic patterns and then notating the pattern (beginning with a short sequence of notes and building to 2 bars)using the Music language chart and Unit 3 Outcome 3 Key skills as a guide, compile and maintain a workbook of notes on excerpts of Australian music created post 1980 for example: use appropriate language and terminology to identify and describe melodic,

harmonic, rhythmic, expressive and structural characteristics transcribe short, significant melodic, harmonic and rhythmic themes/motifs create charts showing use of dynamics over the duration of the excerpt,

texture and changes in texture, tone colour and variation of tone colour, tempo and variation of tempo, phrasing

describe use of expressive elements of music such as articulation, ornamentation/embellishment

describe the character of the excerpt using examples from notes about treatment of specific elements of music to support description

compare recordings of the same work, focusing on manipulation of expressive elements of music; use the relevant sections of the Music language chart and the key skills as a guide; use notes to plan and write responses to structured questions about the excerpts

29


Detailed example

SING CHORD PROGRESSIONS IN FOUR-PART HARMONYAs a class, create a bank of diatonic chord progressions that use triads and 7th notes. Each progression should begin on the tonic chord. The progressions might, but do not have to end with a cadence. The progressions should be presented with close position voicings.Using sequencing software, re-arrange voicings within each chord. Chords should always remain in root position; however, SAT voices may be voiced openly. While it may also be useful to study the principles of four-part harmony writing and to follow these in re-arranging the progressions, students should also be encouraged to try individual approaches.Print some of these arrangements and distribute to the class.Assign parts and sing each progression. Where written ranges are beyond student vocal ranges, they should be encouraged to transpose the part by an octave in order to sing it.All students should sing all parts.Discuss strategies maintaining tuning and intonation while singing progressions.Listen to other progressions from the ‘bank’ and learn aurally. Discuss strategies for identifying notes to be sung by specific parts, for example the bass note, the next highest note, the second highest note, the highest note or, the root, the third, the fifth, the seventh, the doubled note.

30




Outcome 1: Examples of learning activitiesPrepare and performed informed interpretations in a program of group and solo works, and demonstrate a diverse range of techniques, expressive qualities and understanding of a wide range of music styles and performance conventions

review performance goals, recordings of previous performances and other interpretations of works being prepared for performance; establish process for monitoring progress towards goalsevaluate potential strategies for preparing and refining performance of selected works, particularly in relation to accuracy, fluency and controlcreate a podcast using excerpts from the works (performed by student or other performers) and commentary explaining aims for achieving shape in music through interpretation of expressive elements of the musicevaluate other musicians use of idiomatic tone qualities in performances of selected work/s; consider implications for own performanceanalyse interpretation of stylistic characteristics of each work, and document interpretive approach focusing on how balance between personal, ensemble, stylistic, practical, technological, historical and/or cultural influences is achieved across the programwork with accompanist (where appropriate) on a regular basis; discuss, experiment and refine dynamics, balance, tempi, phrasing and other aspects of interpretationperform on a regular basis to the rest of the class with accompanist, where appropriate; discuss and evaluate each other’s performances, identifying strengths and weaknesses and commenting on improvement on past performancesmonitor technical requirements necessary for the realisation of the works selected for performance; use personal performance and practice strategies to improve technical control and stylistic understandinginvestigate presentation techniques and performance conventions that define the stylistic roles of each instrument in the ensemble for a chosen workutilise a range of performing opportunities such as concerts, battle of the bands, eisteddfods/competitions, school assemblies to perform a variety of worksrecord and evaluate a performance of a program of group and/or solo works

Detailed example 1

RECORD AND EVALUATE A PERFORMANCE BY A GROUP

Students select an appropriate venue, paying particular attention to the acoustic properties of the performance space, the nature of the performing ensemble and works selected for performance.Organise appropriate technology to undertake a live, recording (recording equipment, amplifiers, microphones etc.). The use of multi-track recording is optimal.Individually ‘sound check’ the recorded sound of each instrument in the group.

31


Record the performance.

Establish criteria for evaluating the performance including, for example: evidence of accuracy, fluency and control as appropriate to the style and character of each work in the

program success of strategies for communication, cooperation, empathy between members of the group use of idiomatic tone quality and variation of expressive elements of music.Each member of the group and selected others (peers, teachers, audience) reviews the recording and also adds any comments about aspects of the performance not evident in the recording.Discuss feedback, noting performance aims that were achieved. Develop strategies for maintenance or further development of individual and ensemble skills.

Detailed example 2

SOLO PERFORMANCE

Students schedule regular performances with accompanist where appropriate. Establish routine for rehearsal and preparation prior to each performance.Participate in ongoing discussion about strategies for communicating/interacting with accompanist, presentation techniques.Seek feedback about each performance, for example through an audience questionnaire. Focus on response to presentation techniques, communication, how the audience perceived the range of styles and characters across the program.Reflect on each performance using a structured format – paper or digital. Use excerpts from recordings of the performances and accompanist, and gain audience feedback where possible.Observe and perform in master classes organised by various instrument associations.Organise guest performer to evaluate performances in a master class situation.Organise guest performer to give written evaluations of each performance of a whole program at a scheduled evening concert.



Demonstrate and discuss techniques relevant to refining the performance of selected works

Also see activities in Unit 3 Outcome 2maintain and develop the ability to use performance techniques, and technical, expressive and stylistic skills to refine performance of work learnt in Unit 3; for example: create a chart to document techniques, resources, knowledge and skill level

progression/development for each work in performance program; develop evaluation criteria to monitor progress; make adjustments to practice plan in response to monitoring

create a bank of listening examples that demonstrate performance techniques used to interpret and realise works in program; analyse relevance of approach taken in examples in relation to own interpretive approach; use analysis to refine application of specific techniques

analyse use of specific performance techniques in practice performances; evaluate which techniques were secure, which require further development and/or modification as well as how the techniques contributed to communicating style and character of the work; use information to refine

32


practice plan

analyse performance techniques used in improvised solos and use as a basis for developing own solo

preparing a questionnaire

Detailed example

PREPARING A QUESTIONNAIRE

Collate information about the work and performance aims used to prepare the work for performance: Title: Composer: Style: Instrument/s: Intended interpretation/ performance aims: Reference recordings, score/chart annotations:

Use this information and the relevant examination criteria to develop three to four key questions for an audience response questionnaire focusing on issues such as audience perception of the mood and character of the music and how this is communicated by the performer/s, what listeners found musically engaging about the performance, the impact of specific performance conventions, etc.Present a ‘work-in-progress’ performance and ask audience members to complete the questionnaire.Make a recording of the performance and evaluate using the questionnaire as a guide.Review the feedback and identify aspects of the performance requiring refinement. Select and/or create a series of relevant exercises and develop a practice routine to develop further command of instrumental and performance techniques.



Identify, re-create, notate and transcribe short excerpts of music and discuss the interpretation of expressive elements of music in pre-recorded works

review preferred system for singing of scales, intervals, chords, melodic phrases, diatonic chord progressions and re-creating rhythms using singing/vocal sounds and body percussion in different contexts or for completing specific tasks; refine and practise use of system/sreview and refine taxonomy/ies for this area of studyevaluate ability to demonstrate key skills required to meet this outcome; develop a personal learning plan to address specific challenges; apply knowledge to specific tasks and develop general musicianship throughout semester; work collaboratively with peers and teachers to implement learning plan through class and individual activitiescomplete activities of aural comprehension and music notation using appropriate software; keep a log/journal to record progress and questions re specific content, use of strategies and so on.create and improvise on five or six note melodic motifs and three or four bar rhythmic patternsanalyse ways that expressive outcomes are realised in performance, focusing on idiomatic tone qualities and variations of tone colour, ways instrumental voices blend to create tone colour, relative balance between music parts/lines, structural and expressive roles of instrumental voices within a music texture, use of articulation, different forms of ornamentation/embellishment, dynamic

33


range and shape, phrasing, tempo and variation of tempo; share and discuss analysis during class discussion or posts to an online discussion board

choose a familiar song or instrumental work and in small groups, workshop a range of approaches to interpreting the work; listen to each interpretation and create a chart outlining how the differences in interpretations were created; describe the expressive outcome of each interpretation focusing on manipulation of tempo, dynamics, tone colour, articulation, phrasing, blend of instrumental voices, balance of music lines and use of improvisation/embellishment/ornamentation

Detailed example

IMPROVISE USING MELODIC MOTIFS AND RHYTHMIC PATTERNS

Each student creates two or three melodic motifs and two or three rhythmic patterns. Each melodic motif should be five or six notes and be built on a scale or mode set for study; each rhythmic pattern should be three or four bars in length and use a meter set for study; at least one pattern should feature syncopation.Use IT to prepare notation for each motif and pattern.In pairs, students perform the motifs and patterns they have created and learn the complete set through imitation, this step can be also be undertaken as a whole class activity, perhaps using a small selection of the material.Print/display a random subset of notation files then ask students to identify motifs or patterns from the series of alternatives.Students select one or more motifs and patterns and improvise by: extending using repetition and varying one or more aspect of the material combining motifs and patterns to create specific textures performing in a different scale, mode or meter harmonising using root notes of appropriate triads using expressive elements to refine phrasing, articulation, dynamics in response to specific instructions.

34


Music Performance Unit 3Sample approach to developing an assessment taskArea of Study 3

Introduction

This task assesses students understanding of music language used for performance, interpretation and critical listening. The task includes three sections:

aural and theory

written (listening and critical response)

practical.

Task design

The task is based on Area of Study 3, Preparing for performance and draws on Outcome 3 and associated key knowledge and key skills.

The task design needs to incorporate questions based on a representative cross-section of the knowledge and skills in each of the music language and listening and interpretation sections of the key skills. The mark allocations on page 38 of the VCE Music Study Design provide a guide to the scope and weighting for each section of the task.

Task conditions

The task is worth 50 marks and contributes 10 per cent of the study score for Music Performance.

The task may be completed across one or more sessions.

The questions or musical material for any sections of the task should not be published before the assessment takes place.

Other conditions may refer to use of instruments or other equipment in the practical components of the task.

Where possible all students in a class should be assessed under common conditions.

The format for practical tasks including a task that requires playing/singing and notating a previously unheard diatonic melody should be provided to students in advance.

Preparation

Preparation for the task begins at the commencement of Unit 3 and can include a number of stages. For example, class and homework activities might include a combination of skill development drills and exercises and applying knowledge and skills in performance contexts, for example, rehearsals, performances of master classes. Other preparation might happen in intensive sessions focusing on specific knowledge and skills across aural, theoretical and practical contexts. Learning activities should be informed by the developmental stage of each student in terms of their knowledge of music theory, aural comprehension/perception skills, practical skills and experience in aural analysis of recorded performances.

Preparing and writing the task

The task design needs to draw on a broad range of the relevant knowledge and key skills within and across the three sections. Questions that test similar knowledge in different

35


contexts can be included. For example, teachers might begin by developing a chart that identifies the different contexts in which knowledge and skills relating to intervals, chords, notation conventions, rhythmic organisation and so on can be tested.

Teachers need to decide on the duration and format for each section of the task. For example:

aural and theory test: 45–50 minutes including questions relating to intervals, scales and modes, tonality, chords, rhythms and transcription

listening and interpretation test: 20–30 minutes including two excerpts, one focusing on performers’ manipulation of elements of music in a single work/excerpt and the other focusing on comparison of treatment of elements in two different interpretations of a work/excerpt

practical test: 5–15 minutes including singling intervals, scales, short phrases and chord-tone arpeggios, melodic and rhythmic imitation and improvisation and singing/playing and notating a previously unheard diatonic melody.

Marking the task

The marking scheme used to assess a student’s level of performance should reflect the relevant aspects of the performance descriptors and be explained to students before commencing the task.

A specific number of marks should be assigned to each question (including sub-parts) or practical task. The contribution of each section of the task to the final score is aural and theory – 20 marks, written (listening and critical response) – 10 marks and practical – 20 marks.

Authentication

Authentication issues can be minimised if students complete the aural, writing and listening/interpretation sections of the task as a class. Using a range of source material for the practical task will assist in authenticating student work, particularly for large classes.

36


Music Performance Unit 4Sample approach to developing an assessment taskArea of Study 2

Introduction

This task focuses on students’ use of a structured program of material that they will develop and practise as part of their practice/rehearsal regime. Each student’s individual program will support them to refine their ability to present musically engaging and technically competent performances of the works selected for Outcome 1 and the end-of-year performance examination. The task is similar in structure to the task for Unit 3 Outcome 2 and includes two sections:

demonstration

discussion – oral and/or multimedia format.

Task design

The task is based on Area of Study 2, Preparing for performance and draws on Outcome 2 and all associated key knowledge and key skills.

The task design needs to allow for equity across the class whilst catering for the needs of individual students. For example, a viable and relevant program of material will have different components across different instruments, works selected, students’ levels of experience and goals, and and/or between students who have selected to present their examination program as a member of a group or as a soloist.

Task conditions

The task is worth 50 marks and contributes 10 per cent of the study score for Music Performance.

The demonstration and discussion sections of the task are completed in class over a period of about 10–12 minutes (demonstration and oral discussion) or over two periods of about 6–8 minutes (demonstration) and 45–60 minutes (preparation or preparation and oral presentation of a multimedia presentation).

The questions or prompts for the discussion section should not be published prior to the task.

Other conditions may refer to use of sheet music and other resources such as use of notes, devices and other technology and pre-prepared playlists, backing tracks or music examples in both sections of the task. For example, a teacher may decide that the use of digital devices and/or the internet will be agreed on a student by student basis before the task commences or that notes for the discussion section of the task will consist no more than two pages and be submitted for authentication prior to the task.

Where possible all students in a class should be assessed under common conditions, for example, a panel including the classroom teacher and the students’ instrumental teachers will assess all students in the class.

Preparation

Preparation for the task begins at the commencement of Unit 4 and can include a number of stages. For example, class/instrumental lesson activities might focus on evaluation of progress towards being able to realise planned interpretation of specific works, reflections on

37


work completed for Unit 3 Outcome 2, identification of issues for refinement in performance of works from Unit 3 Outcome 1 in preparation for the end-of-year performance examination, analysis of the technical and expressive qualities of works being prepared for Unit 4 Outcome 1 and/or progress in developing aspects of general instrumental technique such as the stamina to perform an extended program at the highest possible standard in a high-stakes environment.


The task design needs to allow for equity across the class whilst catering for the needs of individual students. For example, a viable program of material will have different components across different instruments, works selected, experience and preferences of the students and/or between students who have selected to present their examination program as a member of a group or as a soloist.

Teachers may provide a task that begins with a broad statement that captures both aspects of the task and allows flexibility for individual students. For example

Task 1: a 6–8 minute demonstration of a range of material designed to refine student performance of works selected for Outcome 1 and to develop general instrumental technique. The demonstration must include at least two exercises created by the student.

Task 2: oral responses to questions about how this material has supported the student to refine their ability to present musically engaging and technically competent performances of works for Outcome 1 and build general instrumental technique. This section of the task will take 2–3 minutes and will follow immediately after the demonstration.

Additional information outlining the stages/activities involved in preparing for the task might also be provided. For example the task instructions provided to students might include a timeline, a rubric or other analytical tool for evaluating the extent to which each student’s Unit 3 Outcome 2 program allowed them to meet identified goals, a checklist of the types of exercises or other material that might be included in the program or a sheet of ideas for creating exercises. Information about the equipment available in the assessment room and instructions about students’ responsibilities for providing additional equipment/resources might also be provided.

Marking the task:


A specific number of marks should be assigned to each component of Task 1: Demonstration. For example:

selection of relevant material to address identified performance challenges and building general instrumental technique (5 marks)

inclusion of exercises created by the student to address specific challenges and/or develop instrumental and/or presentation techniques a (10 marks)

demonstration of instrumental and presentation techniques (25 marks) discussion of why specific material was included in the program and how it has been

used to prepare works for performance (10 marks).

38


Authentication

Authentication issues can be minimised if students complete both tasks for Outcome 2 under test conditions. Sheet music and other notes that students will use in the task should be authenticated and approved for use in the task before the assessment begins.

39


Performance descriptorsMUSIC PERFORMANCE

SCHOOL-ASSESSED COURSEWORK

Performance descriptors

Unit 3 Outcome 2: Demonstrate and discuss techniques relevant to performance of selected works

DESCRIPTOR: typical performance in each range

Very low Low Medium High Very high

Material presented demonstrates a very limited understanding of how specific performance challenges relevant to either the student’s performance of selected works and/or general instrumental technique can be addressed.

Material presented demonstrates a some understanding of how specific performance challenges relevant to either the student’s performance of selected works and/or general instrumental technique can be addressed.

Material presented demonstrates moderate understanding of how specific performance challenges relevant to either the selected works and/or general instrumental technique can be addressed.

Material presented demonstrates informed understanding of how specific performance challenges relevant to both the selected works and general instrumental technique can be addressed.

Material presented demonstrates comprehensive and insightful understanding of how specific performance challenges relevant to both the selected works and general instrumental technique can be addressed.

Exercises created by the student have very limited connection to identified performance challenges.

Exercises created by the student are limited in their relevance to addressing identified performance challenges.

Exercises created by the student are relevant to addressing identified performance challenges.

Exercises created by the student are purposeful and relevant to addressing identified performance challenges.

Exercises created by the student are sophisticated and highly appropriate to addressing identified performance challenges relevant to both the selected works and general instrumental technique.

Selection of material and Selection of material and Selection of material and Selection of material and Selection of material and

40


choice of focus for exercises demonstrates very little evidence to address performance challenges through practice and rehearsal.

choice of focus for exercises demonstrates some evidence to address performance challenges through practice and rehearsal.

choice of focus for exercises demonstrates evidence of some research and planning to address performance challenges through practice and rehearsal.

choice of focus for exercises demonstrates evidence of detailed research and planning of a systematic approach to address performance challenges and communicate intended interpretations through practice and rehearsal.

choice of focus for exercises demonstrates evidence of comprehensive research and planning a systematic and personally relevant approach to address performance challenges and communicate intended interpretations through practice and rehearsal.

Very limited technical accuracy, control, dexterity, fluency and/or expressive shaping evident in the demonstration.

Some technical accuracy, control, dexterity and/or fluency is evident in the demonstration and there is limited expressive shaping of the material.

A competent level of technical accuracy, control, dexterity and fluency is evident; expressive shaping of the material is mostly appropriate to the planned interpretation.

A proficient level of technical accuracy, control, dexterity and fluency is sustained throughout the demonstration; expressive shaping of the material is appropriate for the planned interpretations and a sense of artistry is demonstrated regularly.

An outstanding level of technical accuracy, control, dexterity and fluency is sustained throughout the demonstration; expressive shaping of the material is highly appropriate for planned interpretations and a strong sense of artistry is demonstrated consistently.

Discussion of how the material presented has been used to overcome identified performance challenges and meet performance goals lacks detail and is poorly substantiated.

Discussion of how the material presented has been used to overcome identified performance challenges and meet performance goals has some clarity with some substantiation.

Discussion of how the material presented has been used to overcome identified performance challenges and meet performance goals includes some relevant details and generally substantiated.

Discussion of how the material presented has been used to overcome identified performance challenges and meet performance goals is clear, detailed and substantiated.

Discussion of how the material presented has been used to overcome identified performance challenges and meet performance goals is comprehensive cohesive and substantiated in an insightful way.

KEY to marking scale based on the Outcome contributing 40 + 10 = 50 marks

41


Task 1: Demonstration of technical material

Very low 1–8 low 9–16 Medium 17–24 High 25–32 Very high 33–40

Task 2: Discussion of how the material has been used to address challenges and build instrumental technique

Very low 1–2 Low 3–4 Medium 5–6 High 7–8 Very high 9–10

42


MUSIC PERFORMANCESCHOOL-ASSESSED COURSEWORK


Unit 3 Outcome 3:Identify, re-create, notate and transcribe short excerpts of music, and discuss the interpretation of expressive elements of music in pre-recorded works



Aural and theory

Identification of short excerpts of music presented aurally and in writing is very limited in accuracy, with limited clarity.

Identification of short excerpts of music presented aurally and in writing with some accuracy.

Identification of short excerpts of music presented aurally and in writing is generally accurate.

Identification of short excerpts of music presented aurally and in writing is detailed, clear and accurate.

Identification of short excerpts of music presented aurally and in writing is thorough, clear and highly accurate.

A very limited level of aural comprehension skill and knowledge of relevant music theory principles is demonstrated.

A limited level of aural comprehension skill and knowledge of relevant music theory principles is demonstrated.

A moderate level of aural comprehension skill and knowledge of relevant music theory principles is demonstrated.

A proficient level of aural comprehension skill and knowledge of relevant music theory principles is demonstrated.

A highly proficient level of aural comprehension skill and a thorough knowledge of relevant music theory principles is demonstrated.

Notation of short excerpts of music presented aurally and in writing is very limited in accuracy and clarity.

Notation of short excerpts of music presented aurally and in writing has limited accuracy and some clarity.

Notation of short excerpts of music presented aurally and in writing is generally accurate, and mostly clear.

Notation of short excerpts of music presented aurally and in writing is accurate and clear.

Notation of short excerpts of music presented aurally and in writing is consistently accurate and very clear.

Very limited accuracy and completion evident in transcription tasks.

Some accuracy with some completion shown in transcription tasks.

Mainly accurate with generally complete transcription tasks.

Highly accurate and complete transcription tasks.

Highly accurate and thoroughly completed transcription tasks.

43


Written

Very limited understanding of ways performers have interpreted and manipulated expressive elements of music is demonstrated.

Some discussion of ways performers interpret and manipulate expressive elements of music.

Mostly relevant and clear discussion of ways performers interpret and manipulate expressive elements of music.

Relevant clear and substantiated discussion of ways performers interpret and manipulate expressive elements of music.

Insightful, detailed and substantiated discussion of ways performers interpret and manipulate expressive elements of music.

Very limited use of music terminology.

Some use of music terminology.

Generally clear and relevant use of music terminology.

Accurate and relevant use of music terminology.

Highly accurate use of a broad range of relevant music terminology.

Practical

Singing/playing of intervals, scales, modes, short melodic phrases and/or chord tone arpeggios is incomplete and/or mostly inaccurate.

Singing/playing of intervals, scales, modes, short melodic phrases and/or chord tone arpeggios is sometimes incomplete and lacking accuracy.

Singing/playing of intervals, scales, modes, short melodic phrases and/or chord tone arpeggios is mainly complete and accurate.

Singing/playing of intervals, scales, modes, short melodic phrases and/or chord tone arpeggios is accurate and features some expressive detail such as dynamics or articulation.

Singing/playing of intervals, scales, modes, short melodic phrases and/or chord tone arpeggios is accurate and presented with expressive detail including dynamics and articulation.

Imitation of and/or improvisation on rhythmic patterns is largely inaccurate and/or provides very limited evidence of understanding of beat and meter.

Imitation of and/or improvisation on rhythmic patterns lacks some accuracy and/or provides limited evidence of understanding of beat and meter.

Imitation of and/or improvisation on rhythmic patterns is mostly accurate and provides some evidence of understanding of beat and meter.

Imitation of and/or improvisation on rhythmic patterns is accurate and provides clear evidence of understanding of beat and subdivision, meter and phrasing.

Imitation of and/or improvisation on rhythmic patterns is accurate and expressive and provides very clear evidence of understanding of beat and subdivision, meter, phrasing and articulation.

44


Very limited accuracy and limited completion evident in singing/playing and/or notation of a short diatonic melody.

Some accuracy and some completion is evident in singing/playing and/or notation of a short diatonic melody.

Generally accurate completion is evident in singing/playing and/or notation of a short diatonic melody.

A good level of accuracy and completion is evident in singing/playing and/or notation of a short diatonic melody; expressive detail is included in the performance and/or notation of the melody.

A high level of accuracy and completion is evident in singing/playing and/or notation of a short diatonic melody; highly expressive detail is included in the performance and notation of the melody.

KEY to marking scale based on the Outcome contributing 20 + 10 + 20 = 50 marks

Aural and theory

Very low 1–4 low 5-8 Medium 9-13 High 14-17 Very high 18-20

Written


Practical


45


MUSIC PERFORMANCESCHOOL-ASSESSED COURSEWORK


Unit 4 Outcome 2: Demonstrate and discuss techniques relevant to refining performance of selected works



Very limited connection is evident between material presented and identified intentions for presentation and performance of selected works.

Limited connection is evident between material presented and identified intentions for presentation and performance of selected works.

Obvious connections are evident between material presented and identified intentions for refining presentation and performance of selected works.

Detailed connections are evident between the range of material presented and identified intentions for refining use of performance conventions and performance of aspects of selected works.

Nuanced connections are evident between the broad range of material presented and identified intentions for refining use of performance conventions and performance of aspects of selected works.

Material presented demonstrates a very limited understanding of how performance of works and general instrumental technique developed over time.

Material presented demonstrates a limited understanding of how performance of works and general instrumental technique developed over time.

Material presented demonstrates a general understanding of how of how general instrumental technique developed and/or refined over time.

Material presented demonstrates an informed understanding of how general instrumental technique developed and refined over time.

Material demonstrates comprehensive and insightful understanding of how general instrumental technique developed and refined enhanced.

Exercises created by the student have very limited connection to refining technical and expressive aspects of performance of selected works.

Exercises created by the student are limited in their relevance to refining technical and expressive aspects of performance of selected works.

Exercises created by the student are relevant for refining technical and expressive aspects of performance of selected works.

Exercises created by the student are purposeful and relevant for refining technical and expressive aspects of performance of selected works.

Exercises created by the student are sophisticated and highly appropriate for refining technical and expressive aspects of performance of selected works.

Very limited technical Limited technical A competent level of A proficient level of An outstanding level of

46


accuracy, control, dexterity, fluency and/or expressive shaping evident in the demonstration.

accuracy, control, dexterity and/or fluency is evident in the demonstration and there is limited expressive shaping of the material.

technical accuracy, control, dexterity and fluency is evident; expressive shaping of the material is mostly appropriate to the planned interpretation.

technical accuracy, control, dexterity and fluency is sustained throughout the demonstration and expressive shaping of the material is appropriate for the planned interpretations; a sense of artistry is demonstrated regularly.

technical accuracy, control, dexterity and fluency is sustained throughout the demonstration; expressive shaping of the material is highly appropriate for planned interpretations and a strong sense of artistry is demonstrated consistently.

Discussion of how the material presented has been used to realise performance intentions lacks detail and is not substantiated.

Discussion of how the material presented has been used to realise performance intentions lacks clarity and limited substantiation is offered.

Discussion of how the material presented has been used to realise performance intentions includes some relevant details but is not always substantiated or clear.

Discussion of how the material presented has been used to realise performance intentions is clear, detailed and substantiated.

Discussion of how the material presented has been used to realise performance intentions is comprehensive, cohesive and substantiated in an insightful way.


Task 1: Demonstration of technical material


Task 2: Discussion of how the material has been used to refine performances and build instrumental technique


47


Music Investigation Units 3–4

Developing a programTeachers should use the study design and this advice to develop a teaching and learning program that includes appropriate learning activities to enable students to develop the knowledge and skills identified in the outcomes in each unit.

Music Investigation is a ‘portfolio’ study in that the Investigation Topic they select scaffolds each student’s learning. Students may complete the study as a member of a group or as a soloist. Students enrolling in VCE Music Investigation Units 3 and 4 will have diverse music interests, and, a preference for the particular style, genre, ensemble type, performer/s, composer/s or music works they’re intending to study through their Investigation Topic. Others will have general music interests but won’t have ‘pre-determined’ their preferred Investigation Topic.

The learning program needs to begin with activities that allow students to explore their options. Each student needs to frame and test potential Investigation Topics for breadth, depth and their capacity to generate the required work – a research report, exercises and a composition/arrangement or improvisation and a performance program of at least four works. Each Investigation Topic must be based on a work selected from a current VCAA Prescribed list or an approved Alternative Work.

Communication between students and teachers should also be planned and monitored. All teachers involved in delivery of the study need to combine their specialist skills and knowledge to deliver a course that meets the needs of each student. Planning also needs to consider the learning context and ensure that relationships between areas of study will be developed, particularly where more than one teacher has responsibility for delivering aspects of the course.

Identifying and developing an Investigation TopicWhen they select these units, students’ first task is to nominate an Investigation Topic and identify a work from a prescribed list that will serve as a starting point/basis for their study. Students are strongly advised to select an Investigation Topic that they find interesting and that will allow them to complete study requirements at the highest level. Investigation Topics can be derived from all music styles, genres or approaches to performance but not all styles, genres or approaches to performance offer scope for the student to demonstrate appropriately the sophisticated learning required to achieve at the highest levels in a VCE study. Identify an approach that will allow the student to work in a preferred style or genre and meet assessment requirements. The Investigation Topic should also complement the student’s experience and abilities as a performer and challenge them to develop their knowledge and expertise. The repertoire associated with the Investigation Topic needs to be broad enough for the student to build a performance program of works that are diverse in character and that meets study design requirements.

Students who are undertaking these units as a member of a group are most likely to select an Investigation Topic that is different from, but complementary to, Topics selected by other

48


group members, for example bass solos in jazz fusion and drumming techniques used in jazz fusion.

Listening and analysing a ‘sample of works’Students will spend considerable time across Units 3 and 4 locating, listening to and analysing (aural and/or visual) a broad and diverse range of music connected to their Investigation Topic. Study of this ‘sample of works’ will inform development of the performance program. Students might use formats such as structured questions or a listening diary template to guide this work. It is also important that they apply findings, for example, about characteristic manipulation of expressive elements or use of performance conventions to their own practice. This learning should inform their decision-making about the interpretation and presentation of each work in their performance program.

Teaching rolesMusic Investigation can be delivered primarily through the instrumental program or the classroom music program or instrumental and classroom teachers can work collaboratively to deliver the study. The roles of each teacher must be clear to the student and the teacher/s. Where a student’s instrumental music teacher is not on the school staff, establishing expectations about delivery of specific aspects of these units will be crucial. In this situation a plan that outlines how information and requirements will be communicated, including expectations regarding monitoring of teaching and learning and assessment requirements, should be used. Decisions about teaching roles should reflect the complex interrelationships between the areas of study, and planning should consider how each student’s learning will be monitored.

49



Music Investigation Unit 3Music Investigation Unit 3 Area of Study 1: Investigation


Demonstrate understanding of practices and issues that inform performance of works that are representative of a selected music style, tradition and/or genre relevant to the Investigation Topic.

define an Investigation Topic and write a statement that the intended scope of the investigationcompile a journal of characteristics of music style/s relevant to the Investigation Topic; include examples from listening, practice, performance, analysis, concert attendance activitiescomplete detailed aural and/or visual analysis of the work selected from a prescribed list as the basis of the investigationattend/view a performance of works that are representative of the areacreate a playlist/discography of works that are representative/considered important in the styleidentify leading composers/performers associated with the area of investigationcreate a chart that compares two works that are representative of the area; identify similarities and differencescreate listening taxonomy for use of elements of music in style/s that are representative of the area being investigatedcreate a list of performance techniques/practices/conventions central to the style/s represented in the area of investigation; define key characteristics of each technique and how they connect to the conventions of the styleresearch the historical and cultural context of a range of works and its impact on performance practiceresearch performance practices relevant to the area of investigationinvestigate influences on the area of investigation: earlier styles, related styles, trends, changes in the styles over time, historical positioning and/or commercial influences; chart connections to works that are representativemake a list of literature available for research performance in this area of investigationidentify where the area of investigation sits within the wider musical spectrumidentify significant works that are precursors to the area of investigation and later works that can be said to have been influenced by the area

Detailed example

DETAILED AURAL AND/OR VISUAL ANALYSIS OF THE WORK SELECTED FROM A PRESCRIBED LISTStudents gather a comprehensive collection of source material – scores, sheet music (one or more editions), chart, recordings (CD, DVD, different performers, same performer on different occasions), commentaries such as recording notes.If no score, sheet music or chart is available, create a chart or diagram showing structure of the work and/or transcribe music.

50


Listen to the work and note on sheet music, score, chart or create a diagram to show treatment of elements of music, for example:

structure – macro and micro form melody – main, motifs, accompanying harmony and tonality – key, modulations, chord progression rhythm – harmonic rhythm, motifs, patterns texture, dynamics, articulation, instrumentation, tone colour, tempo, ornamentation/ embellishment,

improvisation.Use a checklist of characteristic treatment of elements of music in this music style, tradition, and/ or genre and compare which aspects of the work are characteristic.Identify examples of idiomatic writing for the instrument/s, and annotate score to indicate nature of idiomaticity (how is this writing idiomatic?).Identify evidence of influences on the work – social, cultural, personal, historical, geographical and/or commercial.Identify aspects of work open to interpretation by the performer. Note variations between sheet music/ score and specific recordings and consider how interpretative decisions evident in the recordings fit with the checklist of ‘characteristics’. Identify examples of use of performance conventions.Review commentaries about the work and consider the extent to which the author supports the student’s own analysis of the work. Consider reasons for different views.Record findings in a multimedia journal, including examples from score/sheet music, recordings and commentaries,Report on characteristics of the work that make an excellent example of music that is representative of a style, genre or approach to performance that is central to the Investigation Topic.

Unit 3 Area of Study 2: Composition/improvisation/arrangement


Compose, improvise and/or arrange original music exercises and document and discuss music characteristics and performance practices relevant to the Investigation Topic.

compose exercises to assist technical development for a work in a performance programcreate a chord progression that is typical; improvise over the progression; re-write varying the voicingstranscribe a typical melodic or rhythmic motif and extend through composition or improvisationanalyse a typical chord progression and improvise/compose and use a scale or mode/chord tonescreate a series of short sections that are typical of the part an instrument will play in each section of a work in a characteristic structureimprovise a melody over a chord progression; begin with the first two bars of a melody from a work in the performance program and create three to four alternative extensions of the melodyimprovise a second ‘verse’ for a short Baroque work that has a decorated repeatfor a chamber group, expand short passages of piano works for the area of investigation for the ensemblecreate a two-stave reduction of an orchestral, a chamber or a small ensemble worktake a piano score and revoice for an ensemble

51


for a popular/jazz drummer, write a series of short rhythmic studies that explore the ‘feel’ typical of works in a performance program

create a melodic or rhythmic phrase and use a set of articulations that are typical of the area to create a set of variations to establish the style or feelcompose/arrange/improvise a walking bass line from a chord sequencewrite lyrics and devise rhythmic structure for a melodyrework a phrase into a different metrical feel

Detailed example

COMPOSE EXERCISESStudents briefly research the context of the chosen work for example, focusing on historical, cultural and stylistic influences on the work and considering how it fits progressively and sequentially with other works by the same composer.Students identify, list and chart key compositional devices and characteristic treatment of elements of music in the work. They discuss these ideas with peers (in class) or with their teacher/s, noting how these factors relate, interact and shape the musical characteristics that define style/genre, for example:

form, structure, use of repetition orchestration, instrumentation use of fugue, counterpoint, polyphony, implied polyphony, augmentation, diminution, homophony,

imitation, mirroring rhythm, polyrhythm, cross-rhythm, syncopation instrumental/vocal tessitura, range texture, contrast, timbre harmonic structure, chord progressions/relationships, chord structure (inversions, quality) phrasing, articulation, dynamics relationship between rhythm and melody idiomatic expressive/musical devices and qualities unique to a particular instrument, timbre tempo, time signature/s key, tonality, modulation improvisation relevant to the work various digital/electronic musical devices and effects integral to the nature of the work

Students isolate one or two of the above musical components and compose, using computer based notation or digital sequencing software, a series of short exercises focusing specifically on these limited, selected elements relevant to the work and its instrumentation, for example:

choose a rhythmic motif from the selected work. Compose a short 2-4-part exercise for percussion instruments based on presenting, developing, varying and transforming the motif

select a melody or melodic fragment from the work. Compose a short contrapuntal multi-part exercise solely based on the original shape and nature of the melody/fragment, i.e. consider using techniques such as mirroring, inversion, transposition, augmentation, diminution

reharmonise a melody/melodic fragment using the harmonic structure of the work, or a significant excerpt of harmonic progression, improvise a

new melody within the style of the original and record the performance.Students evaluate these exercises and then compose, perform and record a short study or series of longer exercises that reflect/s the compositional and musical devices inherent in the style and nature of the work chosen for performance.

52


53


Unit 3 Area of Study 3: Performance


Present a performance of music works and communicate knowledge and understanding of a specific music style, tradition and/or genre relevant to the Investigation Topic.

sing selected parts of each work in the performance program to develop possibilities for phrasing, articulation, intonation, rhythmic feel and understand different roles/partstranscribe/annotate score for short excerpts showing use of melodic motifs, harmonic rhythm, rhythmic patterns, dynamics, phrasing, pedalling, bowingrehearse ‘unplugged’rehearse selected instrument lines within an ensemble, for example without drums or just rhythm section or just melody partsundertake performance research: listen, observe, analyse, consult with experts to understand or comprehend conventions of performance appropriate to each work in the programexperiment with performance conventions to achieve a creative and engaging interpretation of each work in the programexplore possible repertoire to identify works that offer options for a thorough and comprehensive exploration of the Investigation Topiccreate a flow chart that shows a purposeful relationship between each work in the program; justify how each work relates to the Investigation Topic and how the works relate to each otherarticulate connections between research findings from Outcome 1 and the performance programat regular intervals during the semester analyse strengths and weaknesses in the performance of each work; identify technical, expressive goals and plan approach to further refinement or addressing issues relating to control fluency and clarity and tone productioninvestigate performance etiquette and stagecraft relevant to the Investigation Topicestablish a mentor relationship with performers who work in this field; discuss their use of performance conventions, rehearsal strategies, ways of communicating within the group/with an accompanist and evaluate options for own performanceexperiment with different acoustic environments; evaluate changes to performance techniques to communicate effectively in each spacedevise a practice program to achieve performance aims – include technical and expressive components; demonstrate a typical practice session and describe role/ function of each activity in relation to overall performance aims

Detailed example

FLOW CHART SHOWING RELATIONSHIP BETWEEN WORKS IN PROGRAM

Make a recording of each work in the program. Analyse and note how each is representative of the Investigation Topic. Identify similarities and differences between character and, as appropriate, music style/s of the works. Include information about how specific elements of music are realised in the performance and how this relates to the area of investigation.Use ICT to build a flow chart showing this information. Include annotations to highlight how specific aims of the investigation are demonstrated in the performance of each work.Provide a copy of the flow chart to audience members at a performance of the program. Ask for their feedback about the extent to which the aims of the investigation were demonstrated in the performance.Evaluate the feedback and use to inform further research into performance practice

54



Music Investigation Unit 4Music Investigation Unit 4 Area of Study 1: Preparing a Performer’s Statement


Explain and justify their interpretative approach to performance of a program of works

create a chart showing characteristics of each work in the program; focus on use of elements of music and performance techniquesuse research from Unit 3 to create a list of similarities and differences between works in the programprepare a two-minute introduction to each work in the program, outlining its connection to the Investigation Topicprepare a podcast highlighting examples of idiomatic writing and/or use of performance techniques/conventions that are characteristic of the Investigation Topicdebate a rationale for selection of a work/s in the program as representative of the Investigation Topic with another musician (student, teacher, mentor)

Detailed example

INTRODUCING WORKS IN THE PERFORMANCE PROGRAM

Resources/materials needed:Analysis of works in the program, analysis of how works are representative of the Investigation Topic, recordings – self and others used as reference in preparing the program; glossary of terms/language relevant to the Investigation Topic, information about context of each work.Before the performance students

Decide on a format for the statement. Printed? Online? Spoken? Multimedia? Consider audience, venue and nature of information; for example, is there a particular work/performance that is the inspiration for the work being discussed? Does the audience need to hear that work to understand the work to be performed?

draft a 50–100 word introduction describing the Investigation Topic that is the basis for study identify three to four key points that highlight characteristics of each work. Analyse information about

the context for each work and write a paragraph about contextual issues that the audience needs to know about to understand the nature of the work

consider the interpretive decisions they have made about this work and how these relate to the Investigation Topic. Which decisions do they to highlight for the audience? What is the best way to do this – by informing? By giving a listening cue?

Review notes and synthesise to create an introduction of about two minutes for each work.After the performance students

Develop questions for reviewer/s to check if key messages about the works have been communicated. As necessary, rehearse spoken presentation and/or prepare written presentation.

55


Music Investigation Unit 4 Area of Study 2: Composition/improvisation/arrangement


Compose/improvise/arrange an original music work and perform a music work and explain how it is characteristic of a music style, tradition and/or genre relevant to the Investigation Topic.

select an exercise created in Unit 3 and add other aspects such as harmony and texture to create a complete workcombine a number of exercises created in Unit 3 to create a complete workimprovise/compose/arrange a piece of music that extends and combines one or more exercises created in Unit 3annotate a score or chart to show examples of where/how specific conventions, techniques are used in the created workcompare examples from created work with excerpts from works by other composers that are representative of the Investigation Topicmap development of music ideas from Unit 3 exercises to completed work through versions/work-in-progress scorescreate a commentary about how development of the work has refined and strengthened connection to the Investigation Topicobserve effect of refinements to work during rehearsal and make adjustments, for example to phrasing, dynamics, articulation, voicings, registercritique the work against research findings from Outcome 1; identify examples from the created work of specific conventions, techniques and so onanalyse the appropriateness of parts for each group member: playability, use of idiomatic techniques and so oncompose/create a music work that exploits, and is stylistically derived from, characteristics and elements evident in the musical focus of the Investigation Topic; document, notate, perform and record the work; produce a written or audio/visual report with commentary on the nature, purpose, compositional process and inspiration behind the work

Detailed example

Creating a detailed original derivative work, documenting the process

Students revise work completed in Unit 3, Outcome 2, referring to summary of compositional devices and characteristic musical elements and devices relating to the Investigation Topic.Create a checklist/map/chart of issues and requirements for the work: What is your aim in creating this work? Which aspects of the Investigation Topic is the work based on? Describe the intention for the work.Students select a format for documenting development of the work such as a journal, hard copy or audio recording, visual diary/presentation or a combination of preferred formats. Consider how to include relevant examples – from the score and audio material.As the work is developed, using notation, audio recording, writing, and/or diagrams:

record initial music ideas – melodies, chord progression, motifs, textural design track development, for example through trialling or exploration and refinement of ideas; show iteration

of specific music ideas such as treatment of an element of music, development of voicings, creating accompanying parts, shaping music phrases through use of expressive elements and performance techniques – articulation, dynamics, bowing, pedalling, use of effects and so on.

document process used to compose/improvise/ arrange, for example use of works studied/being prepared for performance as stimulus material, process for trialling ideas through playing/ improvising

describe reasons for decisions, for example refining a section to enhance use of a performance technique in a manner that is typical of works studied or in performance program, or to manipulate an element of music to achieve a particular stylistic effect

56


document changes made so that the work can be performed accurately, expressively and in a way that reflects style appropriate to the Investigation Topic.

For group works, include commentary about consultation with other performers, for example researching specific performance techniques or other idiomatic issues.

57


Music Investigation Unit 3Sample approach to developing an assessment taskArea of Study 1,2 and 3

Introduction

This task includes three sections:

report – based on research undertaken for Outcome 1 presentation – including demonstration of material that demonstrates key points about

the characteristics of music that is characteristic of the styles and genres relevant to the Investigation Topic, exercises created for Outcome 2 and material from the Outcome 3 technical work program

responses to questions about material presented in the report and the presentation.

Together these task components assess the depth and breadth of students’ understanding of the performance practices, stylistic characteristics and contextual issues relevant to the Investigation Topic they have selected.

Note, VCAA must approve an Investigation Topic for each student. Information about this process, due dates and the application form are available on the Music Investigation index page.

Task designInstructions for this task should be presented in a single document at the commencement of Unit 3. These initial instructions should provide a broad outline of the task and explain connections between its different parts and the three outcomes. Information about the format for presenting each section of the task and a timeline should be included with the instructions. Further instructions about specific parts of the tasks can also be provided.

The task design needs to incorporate key knowledge and key skills from Outcomes 1, 2 and 3. Care is required to make connections between the three sections of the task without undue duplication. For example, the prompt for the report might ask students to discuss a broad range of characteristic performance practices or treatment of specific elements of music whereas the requirements for the presentation/demonstration might be to link selected information and music examples from the report to the exercises created for Outcome 2 and the Outcome 3 technical work program. Questions posed in the final stage of the task should be crafted to clarify and extend material in the report and/or presentation and/or seek further information. Each section of the task should offer students opportunities to demonstrate knowledge and understanding about their Investigation Topic from a performer’s perspective.

Task conditionsThe task is worth 100 marks and contributes 30 per cent of the study score for Music Investigation.

The task may be completed across one or more sessions. For example, the report could be completed and the presentation developed in class over two double periods using prompts/questions provided on the day, pre-approved notes and audio/visual material; students could then present/demonstrate material during class-time and either respond to questions as part of the presentation/demonstration or in a separate session where they are interviewed by their classroom and instrumental teachers.

58


The prompts/questions for any section of the task should not be published before the assessment takes place.

Other conditions may refer to use of instruments or other equipment in the practical components of the task.

Where possible all students in a class should be assessed under common conditions.

PreparationPreparation for the task begins at the commencement of Unit 3 as students explore options to develop a proposal for approval of their Investigation Topic. As well as completing individual research into relevant performance practices and music styles students might also participate in whole-class activities focusing on aural analysis, identifying and documenting music examples. Learning activities should be flexible as the level of knowledge each student will have of performance practices and music styles relevant to their Investigation Topic and their general knowledge of music theory, aural comprehension/perception skills, practical skills and experience in analysing music works and performances will vary. Students should keep digital and hard-copy notes and research records as they gather material they can draw on when preparing the report and presentation.


Teachers may provide a framework that outlines requirements for the task whilst allowing flexibility for individual students. For example

Section 1: a report that identifies and describes key characteristics of music styles and genres and performance practice relevant to the Investigation Topic supported by music examples and analysis of a representative sample of works including the work selected from a VCAA prescribed list as the basis for the Investigation and/or performances by key practitioners.

Section 2: a practical demonstration that presents an overview of the key characteristics of music works and performance practices relevant to the music styles/genres studied in the Investigation. Exercises created by the student to develop their performance skills and material from the technical work program they have used to overcome challenges in preparing a performance program and develop their overall instrumental skills should also be included.

Section 3: responses to questions about material presented in the report (Section 1) and the presentation (Section 2).

Marking the task:The marking scheme used to assess a student’s level of performance should reflect the relevant aspects of the performance descriptors and be explained to students before commencing the task.

A specific number of marks should be assigned to each part of the task. The contribution of each section of the task to the final score is Report (40 marks), Presentation (40 marks) and Responses to questions (20 marks).

AuthenticationAuthentication issues can be minimised if students complete each section of the task under test conditions. Regular discussion with students about the progress of their investigation will also assist teachers to authenticate work submitted for assessment. Sheet music, music

59


examples and other notes that students will use in the task should be authenticated and approved for use in the task before the assessment begins.

.

60


Music Investigation Unit 4Sample approach to developing an assessment taskArea of Study 2

Introduction

This task focuses on composition, improvisation or arrangement of a solo or group work to demonstrate understanding of characteristics and performance techniques of a music style and/or genre relevant to the Investigation Topic selected by the student. Students also document, rehearse and perform the work and explain how it is representative of the music style, tradition and/or genre. Students may build on work completed for Unit 3 Outcome 2

Task design

The task is based on Area of study 2, Composition/arrangement/improvisation and draws on Outcome 2 and all associated key knowledge and key skills.

The task design needs to allow for equity across the class whilst catering for the needs of individual students. For example, students focusing on a jazz performance style are most likely to select improvisation whereas a student focusing on reimagining works from one instrumental tradition for another might choose arrangement.

Expectations and requirements relevant to each section of the task should be included in the instructions provided to students. For example, the expected duration of the work, documentation formats (score, chart, screenshots, composer’s journal etc.), performance context, use of software, hardware and other equipment, the expected duration of the complete work, for example, 1–2 minutes and number/type of questions for the ‘explanation’ component of the task. Additional information outlining the stages/activities involved in preparing for the task might also be provided. For example the task instructions provided to students might include a timeline or a sample framework for the oral/multimedia presentation.

Information about the equipment available for each section of the task and instructions about students’ responsibilities for providing additional equipment/resources might also be provided.

Task conditions

The task is worth 100 marks and contributes 20 per cent of the study score for Music Investigation.

The composition/improvisation/arrangement should be completed over an extended period. Documentation such as a score or chart and/or a composer’s journal should be developed as the work is created. Time should then be allocated for rehearsal and performance of the work. The ‘explanation’ component of the task can be completed as part of the performance or at another time. For example, students could be provided with a brief or series of questions during a class just prior to the performance and given time to prepare a statement or notes about their work. They present this statement orally as an introduction to the performance.

The questions or prompts for the explanation section of the task should not be published prior to the task.

61


Other conditions may refer to use of technology, the performance format (for example, in class, concert) or use of notes and other material to prepare an oral/multimedia presentation that explains how the work is representative of a style or genre.

Where possible all students in a class should be assessed under common conditions, for example, a panel including the classroom teacher and the students’ instrumental teachers will assess all students in the class.

Preparation

Preparation for the task begins at the commencement of Unit 4 and can include a number of stages. For example, class/instrumental lesson activities might focus on methodologies or creative processes for composing, improvising or arranging or students might evaluate material from research undertaken in Unit 3 to identify musical material as a starting point for the work. Students might write a brief for the work or create a plan/diagram showing intended sections and features of the work.


Teachers may provide a framework that outlines requirements for the task whilst allowing flexibility for individual students. For example

Section 1: a composition, improvisation or arrangement of about two minutes and relevant documentation (score or chart) that demonstrates understanding of the selected Investigation Topic. Students should also maintain a journal as a record of their creative process.

Section 2: rehearsal and performance of the work. Performances will take place during a Unit 4 Music Investigation concert in the final week of Term 3.

Section 3: an explanation about the how the work is representative of the selected Investigation Topic. Students will prepare a statement in response to questions/prompts in the class immediately prior to the performance and deliver it orally to introduce the performance.

Marking the task:


A specific number of marks should be assigned to each component of the Task, for example,

composition/improvisation/arrangement of a solo or group work that demonstrates understanding of music characteristics and performance techniques relevant to the selected Investigation Topic (40 marks)

documentation of the work and creative process in an appropriate format (10 marks)

application of effective rehearsal process/es in preparation for a performance of the work (10 marks)

demonstration of relevant performance techniques and conventions in performance of the work (20 marks)

explanation of features of the work that are representative of a music style or genre relevant to the selected Investigation Topic (20 marks).

62


Authentication

Authentication issues can be minimised if teachers review student’s work for Outcome 2 on a regular basis.

63


Performance descriptorsMUSIC INVESTIGATION





Unit 3 Outcome 1:Demonstrate understanding of practices and issues that inform performance of works that are representative of a selected music style, tradition and/or genre relevant to the Investigation Topic

Outcome 2:Compose, improvise and/or arrange original music exercises and document and discuss music characteristics and performance practices relevant to the Investigation Topic

Outcome 3:

Material presented in the Report is of very limited relevance to the Investigation Topic.

Demonstrates very low level knowledge of relevant characteristics of music style/s, tradition/s and/or genre/s and associated performance techniques and conventions.

Material presented in the Report is of limited relevance to the Investigation Topic.

Demonstrates a limited knowledge of relevant characteristics of music style/s, tradition/s and/or genre/s; associated performance techniques and conventions.

Material presented in the Report is generally relevant to the Investigation Topic.

Demonstrates broad, general knowledge of relevant characteristics of music style/s, tradition/s and/or genre/s and associated performance techniques and conventions.

Material presented in the Report presents a detailed overview of a performer’s practices of the Investigation Topic.

Demonstrates detailed knowledge of specific characteristics of music style/s, tradition/s and/or genre/s and associated performance techniques and conventions.

Material presented in the Report presents a cohesive overview of a performer’s perspective of the Investigation Topic.

Demonstrates detailed, comprehensive and insightful knowledge of specific characteristics of music style/s, tradition/s and/or genre/s and associated performance techniques and conventions.

Music examples used in the report and presentation add little additional information about the Investigation Topic and are very limited in scope.

Music examples used in the report and presentation add some additional information about the Investigation Topic and are limited in scope.

Music examples used in the report and presentation add relevant information and communicate a broad, general understanding of the Investigation Topic.

Music examples used in the report and presentation add relevant information and communicate a deep and broad understanding of the Investigation Topic.

Music examples used in the report and presentation add relevant information and communicate an insightful, deep and broad understanding of the Investigation Topic.

64


MUSIC INVESTIGATIONSCHOOL-ASSESSED COURSEWORK




Present a performance of music works and communicate knowledge and understanding of a specific music style, tradition and/or genre relevant to the Investigation Topic

Exercises created by the student offer very limited scope to address identified performance challenges and provide very limited evidence of research into relevant performance practices.

Exercises created by the student offer limited scope to address identified performance challenges and provide limited evidence of research into relevant performance practices.

Exercises created by the student appropriately address identified performance challenges and provide evidence of satisfactory research into some aspects of performance practice.

Exercises created by the student target specific identified performance challenges and provide evidence of thorough research into a broad range of performance practices.

Exercises created by the student comprehensively target specific performance challenges, and are musically interesting; provide evidence of extensive research into a broad and diverse range of performance practices.

Performance of technical and other material in the presentation demonstrate a very limited range of relevant performance techniques and conventions.

Lacks expression and has limited accuracy.

Performance of technical and other material in the presentation demonstrate a limited range of relevant performance techniques and conventions.

Demonstrates some accuracy and fluency and uses a limited range of expression.

Performance of technical and other material in the presentation demonstrates a range of relevant performance techniques and conventions.

Is generally accurate and fluent and uses appropriate expression.

Performance of technical and other material in the presentation demonstrates a wide range of relevant performance techniques and conventions.

Demonstrates accuracy and well controlled fluency with a wide and varied range of characteristic expressive qualities.

Performance of technical and other material in the presentation demonstrates a wide range of stylistically specific performance techniques and conventions.

Demonstrates a very high level of accuracy and fluency with a wide and varied range of characteristic expressive qualities.

Presentation/performance commentary provides a very limited description of features and characteristics of styles or genres relevant to the Investigation Topic.

Very limited range of relevant music terminology.

Presentation/performance provides a limited discussion of features and characteristics of styles or genres relevant to the Investigation Topic.

Limited range of relevant music terminology is used.

Presentation/performance provides clear explanation of features and characteristics of styles or genres relevant to the Investigation Topic.

Relevant music terminology in a mostly accurate way is used.

Presentation/performance provides detailed explanation of features and characteristics of styles or genres relevant to the Investigation Topic

Relevant music terminology is accurately used.

Presentation/performance provides an informed and sophisticated explanation of features and characteristics of styles or genres relevant to the Investigation Topic

Style-specific music terminology is accurately used.

Responses to questions Responses to questions Responses to questions Responses to questions Responses to questions

65






provide very little consistency with information in the report and presentation.

Very limited range of relevant music terminology is used.

provide limited consistency with information in the report and presentation.

Limited range of relevant music terminology presentation is used.

provide consistency with information in the report and presentation.

Relevant music terminology in a mostly accurate way is used.

provides detail and consistency with information in the report and presentation.

Relevant music terminology is accurately used.

provide additional information as well as consistency to the report and presentation.

Use style-specific music terminology is used accurately and confidently.

KEY to marking scale based on the Outcome contributing 40 + 40 + 20 = 100 marks

Task 1: report including written, audio and visual components


Task 2: presentation including exercises created by the student and material from technical work program


Task 3: responses to questions about material presented in the Report and the Presentation


66






Unit 4 Outcome 2: Compose (improvise) arrange an original music work and perform a music work and explain how it is characteristic of a music style, tradition and/or genre relevant to the Investigation Topic

Treatment of elements of music and use of compositional devices in the work is often uncharacteristic of styles/genres relevant to the Investigation Topic.

Treatment of elements of music and use of compositional devices in the work is generally characteristic of styles/genres relevant to the Investigation Topic.

Treatment of elements of music and use of compositional devices in the work is appropriately characteristic of styles/genres relevant to the Investigation Topic.

Treatment of elements of music and use of compositional devices in the work demonstrates an insightful understanding of styles/genres relevant to the Investigation Topic.

Treatment of elements of music and use of compositional devices in the work demonstrates an insightful and comprehensive understanding of styles/genres relevant to the Investigation Topic.

The score and other documentation has limited accuracy and/or detail.

The score or other documentation has some accuracy with some detail.

The score or other documentation is generally accurate and includes an appropriate level of detail.

The score or other documentation is accurate and includes stylistically relevant detail.

The score or other documentation is accurate and includes all detail relevant to the style/format.

In rehearsal, the composer gives limited attention to resolving issues relating to accurate and expressive performance of the work.

In rehearsal, the composer resolves some issues relating to accurate and expressive performance of the work.

In rehearsal, the composer resolves most issues relating to accurate and expressive performance of the work.

In rehearsal, the composer resolves issues relating to accurate and expressive performance of the work.

In rehearsal, the composer comprehensively resolves issues relating to accurate, expressive and stylistically informed performance of the work.

The performance is often inaccurate and/or lacking in expression.

Very limited or inappropriate range of performance techniques and conventions is used.

The performance includes some inaccuracies and/or uses a limited expressive palette.

Limited range of performance techniques and conventions relevant to the Investigation Topic is used.

The performance is generally accurate and uses a range of expressive qualities.

A range of performance techniques and conventions that are generally appropriate to the Investigation Topic is used.

The performance is accurate and uses a wide range of expressive qualities.

A broad range of performance techniques and conventions characteristic of the Investigation Topic is used.

The performance is accurate and uses a wide range of expressive qualities in a nuanced manner.

A diverse range of performance techniques and conventions characteristic of the specific style/genre referenced in the work is used.

67






The explanation of how the work is representative of a specific style or genre includes few references to the Investigation Topic.

Very limited range music terminology is used.

The explanation of how the work is representative of a specific style or genre broadly connects the work to the Investigation Topic.

Limited range of music terminology is used.

The explanation of how the work is representative of a specific style or genre outlines clear connections between the work and the Investigation Topic.

Appropriate range of music terminology is used.

The explanation of how the work is representative of a specific style or genre provides a detailed description of connections between the work and the Investigation Topic.

A broad range of relevant music terminology is used accurately and appropriately.

The explanation of how the work is representative of a specific style or genre provides a comprehensive and sophisticated description of connections between the work and the Investigation Topic.

A broad range of style-specific music terminology is used accurately and appropriately.


Task 1: composition, improvisation or arrangement and performance of a work


Task 2: an explanation of how the work is representative of a music style or genre relevant to the Investigation Topic

Very low 1–4 Low 5-8 Medium 9-13 High 14-17 Very high 18-20

68


Music Style and Composition Units 1-4

Developing a programThe central focus of Music Style and Composition Units 1 to 4 is the exploration of the way sound can be organised in music. Students are asked to examine specific works in different styles, explore and respond to a wide range of other music via aural analysis, and create music in response to their study of the work of music creators across time and place. Three broad areas are covered across all four units:

Responding to music: where students experience a wide range of music works in different styles and build skills in aural analysis and critical response.

Organisation and context: where there is a focused study of specific works, which are analysed in terms of their musical characteristics and stylistic context.

Creative responses/processes: where students create music in response to the musical ideas uncovered in the music they have studied and document the processes used.

The basis of all analysis of musical characteristics throughout the four units is a development of understanding about the treatment of the elements of music and the use of compositional devices.

It is essential that both teachers and students have a firm understanding of the nature of these two fundamentals.

In Units 1, 3 and 4, the works selected for Area of Study 2 should be short works, single movements and/or small collection/s of minor works, for example, a movement of a symphonic work or two to three songs from the same artist or two to three pieces from a geographical location. Students should focus on the musical characteristics of the work rather than undertaking any comprehensive analysis of the style from which it comes.

In Unit 2, works from two different multidisciplinary forms must be used in Area of Study 2. The music selected for study should be small selections of music from each form, for example, two to three pieces of underscore from a film or an aria, a recitative and a chorus from an opera or two to three songs from a musical.

In Unit 3, one work must be Australian. In Unit 4, one work must have been created after 1950.

For Area of Study 3 in Units 1 and 3, students make creative responses which may be defined as short musical exercises created in response to a given musical idea or task, for example, exploring an idea from a work studied in Areas of Study 1 and 2. They also need to document the links between their music and the music studied.

For Area of Study 3 in Units 2 and 4, students are required to take part in a creative process that will lead to a completed short work. They are also required to document the processes used to arrive at the end result.

Assessment requirements for the Externally-assessed Task must be considered when planning teaching and learning activities for Outcome 3 in Unit 3 and Outcome 3 in Unit 4.

69


Teaching and Learning activitiesAcross Music Style and Composition Units 1-4 it is essential that students listen to, study and respond to music in a diverse range of styles, traditions, genres. E-journals are a useful way to track this linking. Students can post entries that identify for example the title, composer/creator, style and instrumentation of a work and include analysis/evaluation of the treatment of elements of music and use of compositional devices.

Music Style and Composition Unit 1In this unit students explore diverse music styles, traditions and practices. The learning program should include material that is familiar to students as well as material that is unfamiliar. For Outcome 2 students must study at least three distinct styles including music that is not from the Western art music or popular repertoires. A graphic organiser that combines information about when and where music being studied was composed and/or performed could be used to track the range of music students study in this unit.

Music Style and Composition Unit 1 Area of Study 1: Responses to music


Identify and describe characteristics of music and describe their subjective responses to music.

provide a multiple-choice checklist of the treatment of elements of music using terminology appropriate to the style/tradition; tick which set of boxes fit the musical excerpts heardbuild a glossary of appropriate music terminology and descriptive words that can be used in written responses to a wide range of music; for example, presenting a series of activities focusing on use of a single element of music in selected excerpts; building a glossary of terms and descriptors relevant to the elementbuild a journal of listening experiences, noting the treatment of elements of music and compositional devicesmodel a focused listening strategy and process, for example, jottings, identifying instrument/sound source roles, identifying sectional changes; breaking down treatment of individual elements of music, identifying ways elements of music are used in combination; applying the strategy when listening to excerpts of music from different times, places, styles, genres and/or traditionsresearch the way music retailers and digital music providers categorise music according to style, genre and tradition

complete aural analysis charts showing the use of elements of music in selected excerptscompare the use of elements and devices in three songs in the same tradition (for example, soul, rap, blues) from three different decadescompare similarities and differences in the treatment of the music elements in three short works for the same instrumentation, from three different styles and/or erasprovide guided listening charts which use tick boxes to identify specific characteristics of selected excerpts

70


prepare guided listening activities for the rest of the class when using an excerpt of each student’s choice

use the Internet to research reviews of music from different styles; discuss the language used; write reviews of concerts or of new CDsuse programs/websites such as The Live Set to investigate and listen to the music from musicians around the world; complete class worksheets (also see detailed example)

Detailed example 1

RESEARCH WAYS MUSIC IS CATEGORISED

Research the way music retailers and digital service providers categorise music according to style, genre and tradition, for example:

Focusing on the styles of music students have been listening to for Outcomes 1 and 2, produce a summary chart/diagram/map or audio/visual presentation outlining the way in which this style/genre is usually categorised in a wider music industry/commercial/library context

Identify a range of places that recorded music can be accessed, for example, retail stores, record companies/distributors, online retailers , libraries, books/dictionaries that include sound files, digital providers [See Resources]

Choose a work or performer and read CD covers or use search functions to identify how it is categorised.

Identify similarities and differences in the categorisations across different music providers

As a class, discuss reasons for the similarities and differences

Establish a set of criteria for categorising music according to style and/or genre

Detailed example 2

AURAL ANALYSIS SHOWING USE OF ELEMENTS OF MUSIC

Selected excerpt: Constant Craving (kd Lang)

By focusing on two music elements, form and instrumentation, students learn a simple strategy for focused listening, in which they jot down observations under two headings. This activity could first be done with the teacher and whole class, over a number of listenings, using this song as a model. Below is an example of a completed aural analysis chart for this song. Students can then apply this strategy to other popular songs. Other columns can then be added to charts, such as texture, rhythm, melody, harmony.

FormIntroduction

InstrumentationPiano, with soft hi-hat, for first half of this section; then accordion, acoustic guitar, drum kit (emphasis on beats 2 and 4), percussion (with ‘swish’ on beat 3) added

Verse 1 Solo voice and electric bass guitar added

Chorus (new melody and chord pattern) Verse 2 Backing vocals added (on off-beats)

Chorus (only half the chorus is used) As for Verse 1, vibraphone fill added

Chorus variation (new melody; includes ‘A-HA’ section)

As for chorus above; accordion adds short driving chords on every beat

71

http://www.abc.net.au/radionational/programs/liveset/


Instrumental break (verse) Solo voice and backing vocals now the focus; thinner sound, some instruments drop out

Chorus (last line sung on higher pitch) Bridge (very short)

Drum fill leads into instrumental section; distorted electronic keyboard added and has focus; much fuller sound, with all instruments

Chorus variation As for chorus above

Chorus (with repeats of final line, more harmonies added, and fade out)

Drum kit alone (hi-hat only at first) As for chorus variation aboveAll instruments and voices

Music Style and Composition Unit 1 Area of Study 2: Organisation and content


Identify and describe music characteristics and contexts of selected works.

develop diagrams or charts outlining the main formal sections of a musical work studiedanalyse the harmonic make up of chords and their progression in one piece; analyse a melodic line with reference to the underlying chordsprovide a graphic representation of a work showing analysis of texture, instrumentation, tone colour, articulation and dynamicsselect an element of music (for example, rhythm), and provide a graphic that focuses on the variety of its treatment within the workdiscuss any differences between the three styles studied when the music is performed from sheet music/notations and when it is performed from an aural tradition, for example, jazz or folk traditioncomplete an aural analysis and discussion of a short excerpt from a work focusing on instrument roles, interaction and playing techniques; use this as a basis for an analytical chartannotate a section of a score highlighting relevant treatment of one or two elements of musicselect an identifiable motive from a work and chart its progress and developmentfind examples of the same compositional device across the three works studiedexplore the use and meaning of the music works being studied within the traditional culture in which they were createduse the Internet and other sources to research the cultural background of a music work being studied; consider the relationship of the work to other parts of the cultureproduce an ‘overall’ chart that lists the main characteristics of the treatment of elements of music across the three music works studiedcreate a multimedia presentation about similarities and differences between the organisation and context of the three chosen works

72


Detailed example

A GRAPHIC FOCUSING ON ONE MUSICAL ELEMENT

Selected work (style – West African): Agbadza– from CD Adzohu, by Melbourne-based African ensemble of the same name.Selected element: rhythm

Students attend a concert or workshop on African music presented by local ensembles. Use websites such as African Music Festival, TheAge/EG, CERES, City of Yarra, City of Moreland, City of Greater Dandenong, City of Hobson’s Bay, The Boite or ABC Radio National to identify appropriate performances

Listen to examples of drumming music, and other pieces that demonstrate the distinctive treatment of rhythm in much African music.

Explore short, simple examples of African cross-rhythms and polyrhythms using body percussion and voices to learn and play 2-part or 3-part patterns in class.

Investigate the importance of repetition within the music, and the momentum created by complex patterns of repeating and changing rhythms.

Listen to Agbadza, focusing on: the unchanging ‘time-keeper’ part (played on an iron bell) that provides a rhythmic reference point for the

players other ostinato patterns that interlock with this.Over repeated listenings, track the progress of each instrument (time-keeper bell, shaker, low drum, higher drums, flute).Identify and discuss: the variety and interest when patterns change use of improvisation, freer solo flute part.Introduce the concept of a rhythm matrix as a way of notating these complex patterns. Use the plan below as an example.

Bars 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Time-keeper

Rhythm 1

Rhythm 2

Students either continue to work with Agbadza, or choose a simpler piece of polyrhythmic African music. They: study the piece aurally to discover the instrumentation, and rhythmic patterns played by each instrument draw up a table for a rhythm matrix fill in the instrumentation, and the actual rhythmic patterns found in time-keeper and one other part in a short

section of the piece.

73

http://www.africanmusicfestival.com.au/


Music Style and Composition Unit 1 Area of Study 3: Creative responses


Compose and/or arrange short music works and describe the creative processes used

create three melodies that have similar descriptive characteristics as those found in music studied (for example, soaring, lyrical, circular, repetitive); describe how each melody is similar to a melody in a studied workconstruct a series of short melodic exercises with specified characteristics that are the opposite of ideas contained in music studied (for example, symmetrical/ asymmetrical, arched/angular, diatonic/modal)add a repetitive bass line beneath a series of chords; describe the process usedconstruct a simple melody over a chordal accompaniment similar to music studied; create a flow-chart to document the process/es usedadd layers of rhythm to a given rhythmic pattern taken from a studied work; create a podcast that documents the process/es used and reflects on how the studied work has influenced the creative responseuse a sequencing program to experiment with different instrumental combinations to explore tone colour possibilities of a given melody and harmonic accompanimentuse a sequencing program to experiment with different drum patterns to change rhythmic feel of a given melody and harmonic accompanimentuse a given music excerpt and arrange/transform it into an arrangement based on characteristics treatment of the elements of music in a work/style studied; use ICT to document the process/es used.complete a series of exercises focusing on building up to a musical setting of text (for example, melody, a chord structure, bass line, rhythmic accompaniment)use music notation software to change a simple melody into a specific style by altering such aspects as rhythm, instrumentation, ornamentations, scale according to the chosen style; reflect on how the work studied influenced the creative responsecreate an audio/visual timeline of the creative process used to alter a given motif according to a chosen stylecreate a bass line which follows a 12-bar blues formcreate lyrics and a melody in a blues style, based on a blues scaleuse music notation software to arrange a melody from a style studied in Area of Study 2 for three instruments, adding a percussion line, a harmony part and a counter-melody or ostinato part as appropriate to the style; document the intended and resultant effects of choices made

74


Detailed example

CREATE AN AUDIO VISUAL TIMELINE OF THE CREATIVE PROCESS USED TO ALTER A GIVEN MOTIF TO REFLECT A DIFFERENT MUSIC STYLE

This example focuses on developing musical ideas identified through an initial study of music styles connected to world music, drumming and/or, jazz. Select a work for study. Complete a listening analysis of the music and then identify points of departure to consider as the focus of an exercise, for example melody, harmony, rhythm.

Select a particular aspect such as a melodic phrase, or a bass line motif, or a chord progression, or a rhythm pattern) from the chosen work to focus on.

as a class, transcribe then record the initial pattern play the pattern as an ensemble. Discuss different ways of developing the music ideas (e.g. melody -

change of contour/direction, bass line - change of chord tone/rhythmic emphasis, chord progression - addition of chord tones/new chord voicings, rhythmic pattern - changing accents, shifting beats.)

in small groups select a segment of the chosen work. Students improvise and notate new patterns this segment (about 16-32 bars). Groups may be organised according to element chosen (eg melody, bass line, chord progression, rhythm pattern). Each group plays each students pattern. Small groups may then combine and try combinations of different patterns. Discuss the way new patterns could be used in the arrangement of the chosen work.

students notate their ideas manually or using notation software. They document the process/es they have used and reflect on how the studied work influenced their creative response, for example on the class blog

completed responses are recorded with the class as performers or by utilising sequencing technology.

75


Music Style and Composition Unit 2In this unit students focus on how music is used in multi-disciplinary forms. For Outcome 2 students must study at least two works, each in a different multi-disciplinary form. Other music selected for study should expand and reinforce (deepen) understanding of the diverse ways that composers/creators can treat elements of music and use compositional devices..



Identify and describe ways in which elements of music and compositional devices are used to create effects and elicit responses.

write personal responses to excerpts noting mood/mood changes; analyse the same excerpts noting element treatment and compositional devices that may have elicited these responsesfind two works known to relate to the same non-musical source (for example, the sea, the desert) and discuss musical means the composers/creators have chosen to reflect the sourcelisten to a song from a musical (for example, the first scene from ‘Into the Woods’ (Sondheim), in which many characters are introduced; create a chart of the form of the song showing how the composer treats musical elements to establish each character in musiclisten to excerpts from a multidisciplinary work in which the same thematic material is repeated and varied in different contexts to create different moods, different aspects of one character; track changes across the worklisten to an excerpt of film music that creates a distinctive and unusual sound- world for the story (for example, the use of Ligetis “Requiem” in Kubrick’s 2001 A Space Odyssey or an excerpt from the soundtrack of Whale Rider (Lisa Gerrard); present an oral report on how and why this is achievedlisten to two examples of orchestral music: an extract from a symphony and an extract from music for Looney Tunes cartoons; compare the rate of change of musical ideas between the works; discuss reasons for differences observedlisten to a dramatic scene from an opera or a musical and describe how the composer has used musical resources to create and enhance drama and characteranalyse a scene from a ballet; for example, “The Shrovetide Fair” from Petrushka (Stravinky) to examine how different themes and instruments used to tell the story and convey information about the characterslisten to a song from a musical, for example, ‘Summertime” from Porgy and Bess (Gershwin), and create a chart to analyse the treatment of the elements of music in creating effects and telling the storycreate slide presentation on the different ways music can be used in films; visual and aural material from the film can be embedded in the presentationinvestigate Expressionism and early 20th century music and analyse the treatment of two specifically 20th century elements such as tone colour and rhythm, and how they are used to create an effect and convey the extra-musical meaning in works such as Wozzeck (Berg) or Pierrot Lunaire (Schoenberg)

76


Detailed example

HOW MOOD IS CREATED

Select two short excerpts in different styles that have the same overall mood and analyse how the mood is created in the different styles, noting similarities and differences.Mood: Relaxed and melancholicWorks: for example

Erik Satie: Gymnopedie No. 1 (solo piano – 1888) Miles Davis Group: Intro and Davis solo of ‘Flamenco Sketches’ (from CD ‘Kind of Blue’ – 1959) Music from a ‘relaxation’ CD (search for ‘relaxed and melancholic music)

Listen to each piece and discuss the overall mood – are they in any way similar?Discuss the tempo of each piece and its effect.Aurally analyse and discuss

the opening four bars of the Satie work (it uses repetitive one-note-per- bar left-hand bass on G–D which is continued throughout the first section. Right-hand chords repeat also, using major 7th structure).

the opening of Davis’ work (uses a falling two-note bass part which is repeated, piano plays basic two-chord motive, with variations, in answer).

Identify features of the ‘relaxation music’ that are similar and different to the works by Satie and Davis. Discuss in light of the purpose/context for each work.Discuss the use of repetition in each work.Focus on the melodies in each piece noting:

the rhythms employed, for example Satie’s is simple and crotchet based on-the-beat; Davis’ is freer, using slightly swung jazz syncopation, but generally hitting a sustained tone at the beginning of each bar

use of ‘Flamenco’ mode.Discuss these features in relation to:

changes in mood throughout the differences between the written Satie music and the largely improvised and swung feel of the Davis

piece any other musical ideas that might contribute to the overall moods, for example the breathy tone of

Davis’ muted trumpet and his general ‘laying back’ on the pulse.Write two responses to the pieces concentrating on the overall mood and how it is achieved in each.Note:

the contours of phrases in each, for example Satie follows step-based arches and final fall; Davis employs variations on a falling 5th, the first three phrases coming to rest on the same note

the tonal implications of each melody in relation to the accompaniment, for example Satie employs extensive use of 7th and 9th of underlying chords; Davis rarely uses the root, and also employs 7th and 9th over basic C Major accompaniment.

From the above, discuss the effects of repetitive or regular melodic rhythms, the use of grounding pitches, the effect of melodic material ‘outside’ expected chord tones.

Analyse the tonal make up of the pieces in different sections, for example Satie employs a shifting major to minor idea in sections – ending in minor; Davis employs different modal bases for four or eight bar sections, including a ‘Flamenco’ mode.Extension/Connecting areas of study:

what is the context for each of these works? Is there any evidence in the works that indicates that the context has influenced the composition of the works?

Satie and Davis can both be described as musical innovators. Is there evidence in these works that confirms this description?

77


Music Style and Composition Unit 2 Area of Study 2: Organisation and context


Describe characteristics of music in two works that combine music and non-music features, and discuss the contexts and processes used to create the music.

watch video/performances of the works selected for studyinvestigate the relationship between the composer and other artists involved in the creation of the works, for example film director, choreographer, librettist, stage director, graphic artistuse the Internet to find and review articles by composers who work in a multidisciplinary form and discuss their ways of workingexamine the use of music in a multidisciplinary form being studied (for example, animation) and create a chart of its function in this work (for example, reinforcing a character’s emotions, source music, providing geographical location, building tension, mimicking action/movement)annotate a written score using the elements of music and comment on the intended effects of the music; identify at least three different effects and/or emotions created by the musicidentify use of music in a short video or animation, and create a cue sheet outlining timing, description of action, music function, effect on audience and music element useusing one multidisciplinary form (for example, the musical), analyse musical selections using the elements of instrumentation, texture, rhythm and harmony and the effect of their useIdentify, document and discuss how certain musical elements, and combinations thereof, create emotional responses, tension, drama and mood. Discuss the impact on a film/video of using a different/alternative musical soundtrack

Detailed example

A GRAPHIC FOCUSING ON ONE MUSICAL ELEMENT

Select three excerpts from the musical ‘West Side Story’.For each excerpt:

Describe the instruments used (including voices), their role and how they are combined in each excerpt. Examine the different effects achieved by the various combinations throughout the music.

Describe how particular instruments are featured and note any special effects achieved. Examples may include the clicking fingers and muted trumpets in ‘Cool’ and the trombone glissandi and vocal sound effects in ‘America’.

Analyse the melodies used in terms of range, phrasing, articulation, compositional ideas and changes made to the basic melody by the performer/s during the course of ‘America’.

Note the relationship between the words and the melody, for example the light, short, staccato rhythmic

motives, the emphasised waltz rhythms, the high tessitura and major tonality of ‘I Feel Pretty’. the change in tonality, the use of even rhythms and Latin ornamentation in the middle section, sung by

Maria’s friends.Describe the accompaniment in each excerpt, considering time, rhythms, riffs, articulation, tempo and volume, and its relationship to the melody.For example ‘A Boy Like That/I Have a Love’ uses two contrasting songs and moods that are first juxtaposed then superimposed. Consider the final bars where the two characters sing in harmony (representing Anita’s acquiescence).

78


Analyse the harmonic structure and tonality and discuss their effects. Examples may include the use of blues scales and chords contributing to the harmonic structure of ‘Cool’.Note: Only one form is used in this example. Two forms should be studied for Outcome 2.

Music Style and Composition Unit 2 Area of Study 3: Creative processes in music for multi-disciplinary forms


Create music for a work that combines music and non-music components, and describe the creative processes used.

create a storyboard for a film and then create a cue sheet for the storyboard noting where music will be used and for what functionprovide the musical underscore for a storyboarded filmcreate a 30-second radio advertisement that combines music, voiceover and effects for a specific purposeselect a text to be performed and underscore a reading with music after noting moods/emotions that music should portraycreate two different soundtracks to be used for the same short digital video excerpt; test the result with an audience noting if the intentional mood/effect was createdcreate two short dramatic songs using the same text as lyrics, but portraying different emotionscompose a piece to a set brief, for example a fanfare for a sports event; a school song; advertising jingleuse one musical idea such as a melodic motive or a rhythmic pattern and use it to create different effects, for example horror, melancholy, suspense, joy; document the reasons for choices madechart three moods that need to be conveyed for a dance piece using a constant tempo and pulsecreate a folio of short soundtracks behind short digital videos using Garage Band and Sibelius to identify ‘hit points’ in the videos, adding sound effects and backing tracks to enhance the videos and to help to tell stories; document the creative processes used, including the treatment of elements of music and compositional devicesrecord an interview with students before and after composing a soundtrack for a given short film scene; document the process used and test whether intended effects were realised in the final compositionsselect a scene from a favourite computer game and sequence music to the action, matching timings and moodcreate music for a dance video selected from youtube

79


Detailed example

PROVIDE THE MUSICAL UNDERSCORE FOR A STORYBOARDED FILM

Students choose or write a storyline for a two- minute film.They undertake a creative process to create music for the film including, for example:

Storyboarding the shots and dialogue for the film, including precise timing. Discussing the type of effects that need to be created for sequences in the film. Writing a rhythmic motif. Putting chords to the rhythm. Writing a short melodic motif.

Students experiment ways of orchestrating the motif they have created, for example, varying the orchestration to communicate different moods, or to reflect different types of action in the storyboard. They then

Plan the timings for three short musical sequences to be used in the film. Experiment with tempo and meter to accommodate the timing. Use the rhythmic, harmonic and melodic ideas and material they have created to compose a short

musical sequence. They record the music and play it to others to ascertain their responses – does it work the way it should?

Use the created sequence and vary it to suit other sequences for the film depending on the effect needed, for example change harmony/ instrumentation, augment the melody, use rhythmic motive as ostinato building to a climax, introduce new sound sources.

They produce a score of the completed sequences and document their process noting how they varied the material to create effects and elicit responses.

80


Music Style and Composition Unit 3In this unit students continue to hone their skills in aural analysis and critical response (Outcome 1) and build their skills in analysis of the organisation of specific works and identify evidence of contextual influences on the works.


Outcome 1: Examples of learning activitiesAurally analyse music and make critical responses to music.

listen to extracts in which repetition plays an important structural role (for example, minimalist music, African drumming music, Maninyas, gamelan music, techno/ house); note where repetition is exact; track how and where subtle/major changes occurlisten to excerpts from works in established forms that use contrast as a fundamental structural device (for example, sonata form, rondo)listen to three improvised solos in a standard jazz performance; compare different treatments of musical elements and compositional devices that are used over the recurring harmonic patternlisten to an excerpt that provides a clearly audible example of one compositional device; build a library of such excerpts, covering many devices; use as reference points for aural recognition of these devices in unfamiliar workslisten to short works with clearly defined sections (for example, overtures to operas and musicals; songs with contrasting sections); note musical characteristics of each section; create an audio/visual presentation to describe this formal analysisfind two works in different styles that use contrast as a fundamental structural device; analyse musical means by which contrast is achieved in both worksuse guiding questions to focus listening on use of a particular element or compositional device in an excerpt; play the excerpt again, focusing on a different element; then repeat with another elementcompare two excerpts in different styles that use repetition and variation as fundamental structural devices; analyse musical means by which musical interest is maintained in both worksrespond to aural excerpts by completing a guided listening sheet which focuses on two elements and one compositional device

Detailed example

GUIDED LISTENING

Provide students with a series of guiding questions that focus their listening on use of a particular element or compositional device in an excerpt. Repeat the activity again focusing on a different element or device or considering an element/s and devices in combination.Excerpt: ‘Bambi Said’ (music of Egyptian Gypsies), on CD from film Latcho Drom; first 1.5 minutes Students draw up an analysis chart (as below), and over three listenings complete their analysis. Note that for Outcome 1, separate consideration of how compositional devices are used at global, medium and/or micro levels is not required. However, it may be appropriate to refer to these levels in the structured questions.This excerpt falls into two clear sections, with the second section beginning with the entry of the percussion. Using the chart below, list the musical characteristics of each section using the nominated elements of music.

81


Following is an example of how such a chart might be completed.

INSTRUMENTATION AND TEXTURE Clear three-part layering:

string instrument playing constant drone; two wind (oboe-like) instruments, one of which is the lead melody instrument; the two melody instruments interweave with each other at the start, then the lead instrument continues on its own.

More complex texture; added layers: regular hand-clapping on the beat, drums with repeated pattern, voices singing along in background, more wind instruments (of same type) playing melody line in unison, high- pitched small bells shaken rhythmically (near end).

MELODY Freely and constantly

changing, over unchanging drone; improvisatory melodic lines; varying phrases of repeated notes, repeated scalar fragments, fast alternations between two notes, circling round limited pitch range; builds to climax with use of ornamentation, shorter note values, fast virtuosic flurries, expressive slide up to a high note and down again.

Wind instruments play bouncy melody with dance-like feel; distinctive dotted figure at start, then descends and ascends back to starting note, regular phrase lengths, simple rhythm, same melody is repeated many times with no apparent variation.

RHYTHM No sense of regular pulse,

free and improvisatory, long and irregular phrases, mainly short note values.

Very strong, steady sense of pulse; regular phrase lengths, settled tempo, driving rhythmic momentum in all layers, simple and repetitive rhythmic patterns.

Respond to the following questions/prompts Describe how the composer creates and varies layers of sound in the different sections of the excerpt Draw the contour of the opening melody Discuss use of repetition in the excerpt Describe how the composer uses the compositional device of contrast to create unity and diversity

within the excerpt Treatment of the elements of dynamics and articulation is often closely related to treatment of melody.

Is that the case in this excerpt? Justify your response using evidence from the music.



Analyse and describe the use of the elements of music and compositional devices in music works, and discuss the style and the context from which the works emerged.

annotate excerpts of a visual score with reference to treatment of the elements of music and use of repetition, contrast and variationbuild a library of musical motives (for example, melodic, rhythmic) from a work studied; chart their occurrences, and discuss the way they are used within the workanalyse the harmonic and tonal organisation of the works studiedresearch the stylistic, historical and cultural contexts in which the works were created. Consider the musical influences on the composer. Working in a small group, create an online blog/presentation/chart to map out, and correlate, contextual and conceptual issues and the distinctive stylistic musical characteristics employed by the composer.use the web to research other forms common at the time and/or place and note

82


similarities to the music styles studied

investigate the instrumental/technological capabilities at the time and place of the styles studied and identify musical outcomesannotate a score identifying the compositional devices used in the work. Code the annotations, for example, using different colours or shapes to categorise use of each device as global, medium or micro and/or linking each to the devices of repetition, variation and/or contrast.work in a small group to create an online/blog that records ideas and discussion of the key knowledge on the work studied; include a page for each of: the treatment of the elements of music, contextual issues, characteristics of the music style, appropriate music terminology, compositional devices

Detailed example

ANNOTATING A SCORE

Selected work:‘Earth Cry’ by Peter Sculthorpe (for orchestra)Background information:

http://awscdn.australianmusiccentre.com.au/documents/ds_1999_2837.pdf http://www.australianmusiccentre.com.au/workversion/sculthorpe-peter-earth-cry/1985 http://www.australianmusiccentre.com.au/workversion/sculthorpe-peter-earth-cry/26778 The score and recording for ‘Earth Cry’ are available from the Australian Music Centre

Introduction:The fast section of ‘Earth Cry’ draws upon the earlier work ‘Song of Tailitnama’ (1974), which features an Aboriginal chant. In ‘Earth Cry’ Sculthorpe wanted to write a ‘quick and joyous’ response to the Australian landscape, but felt that the piece must also reflect his distress at the self-interest of our culture, and his belief that we should be listening to the ‘cry of the Earth, as the Aborigines have done for many thousands of years’. These contrasting moods of joy and pain are central to the structure of the work.Students explore this contrast via visual and aural analysis of the score. They make annotations on the score to show

how contrast is achieved musically via the use of different material, and different treatment of elements, between the three main sections (what the composer calls ‘quick ritualistic music framed by slower music ofa supplicatory nature’)

and, also identify and annotate examples of repetition in the music ways that variation is used in the work

Below is a summary of what students might find initially. This could then be organised into a complete chart with much more musical detail, categorised according to treatment of music elements, including descriptions of each sub-section, musical examples and annotations etc)AnalysisSlow introduction (bars 1–20)Bars 1–12 (slow melodic section); Bars 13–20 (slow chordal section)Extremely slow tempo; restrained dynamics with occasional dramatic outbursts; open spacey chords with many open 5ths, 4ths; low Db drone throughout; powerful timpani triplet figure initiates phrases; occasional low gong sets a timeless feel; many long, sustained notes; simple, slow-movingrhythm; simple, clear texture; yearning legato melody on trombones and violas.Central fast section bars (21–166)

83


Bars 21–72 (first part); Bars 73–88 (transition); Bars 89–140 (second part); Bars 141–148 (transition); Bars 149–166 (slower climactic section)

Fast tempo; new key; loud throughout; violinsplay fast, frequently syncopated, accented, highly-rhythmic melodic ‘chant’ material withshort repeated notes and limited melodic range; repeated driving accompaniment figures on percussion and strings; complex texture full of changing cross-rhythms/polyrhythms; busy, rippling accompaniment figures in woodwinds; transition sections break the melodic flow, but maintain rhythmic tension, with stabbing chords and pounding percussion; addition of a contrasting counter-melody with wide-range and long note values; texture becomes increasingly complex, and excitement builds, until ecstatic harmonic shift and sense of resolution in climactic section.Slow final section (bars 167–210)Bars 167–182 (modified introduction); Bars 183–210 (extended coda)Repetition and variation: returns to key, tempo, mood, and material of introduction with modifications (melodic and rhythmic) and some re-orchestration; added coda in which material from the melodic and chordal sections of introduction is combined and expanded; tension in occasional accented brass/woodwind figures, and dissonances; drone returns in coda; varying dynamics with occasional outbursts; gradual wind-down to quiet and consonant resolution with spacey open 5th in whole orchestra.

Music Style and Composition Unit 3 Area of Study 3: Creative responses


Create two original music exercises and describe the relationship between the exercises and the source music studied

take a given melody and experiment with different accompaniment styles similar to those used in the music studieduse a given harmonic pattern typical of the work/style studied in Area of Study 2 and compose a new melody over it, focusing on contrast as a main feature between sectionsuse a sequencing program to experiment with different voicings and sounds; create a podcast to document creative processescreate a melodic motive and use it in different ways to create variations of the motive, for example changing range, tessitura, instrumentation, rhythmic patterns, harmonic accompanimentuse one small idea (rhythmic, melodic or harmonic) and set up a loop so that it is repeated constantly; attempt to keep musical interest by focusing on new ideas being added on top of the repeated ideaexperiment with creating music from different starting points, for example a given melody, a given rhythmic figure, a given harmonic outline; discuss techniques and problems raised; use a graphic organiser to show influence of works studied in Outcomes 1 and 2identify compositional devices within the music studied (for example, imitation, ostinato, octave doubling, forms) and use these devices in short exercisescreate or use a given melodic motive to then create three exercises, each lasting for one minute and exploring one of the given compositional devices (contrast, repetition and variation); describe the process of altering the melodic idea by completing a Statement of Intention sheetrepeat these activities using a given rhythmic motiveuse music notation software to create a verse in a similar style to a Rhythm and Blues song studied, then create a contrasting chorususe music notation software to create a chord based on twentieth century concepts of harmony; create a rhythm for the chord and arrange it for different

84


instruments; use it to create a rhythmic motive; document processes used and reflect on connections with works studied in Outcomes 1 and 2 in a composer’s journal

create a contrasting section by experimenting with different harmony, instrumentation and texture; describe influence of works studied in Outcomes 1 and 2 on decisions made about how to create contrastcreate an audio/visual presentation comparing a studied musical work with an original music exercise created as a response to that chosen piece

Detailed example

VARYING MUSIC IDEAS

Work: Any work featuring identifiable melodic or rhythmic motifsStudents study the work, noting the general treatment of melody (for example, even phrase lengths, question and answer structures, contrasting/balancing ideas, diatonic tonality, repetition) and/or rhythm (for example, meter, pulse, motifs)Choose a short melodic or rhythmic motif as the basis for a creative response (exercise)Improvise on the motif, exploring different ways of extending and varying the material by manipulating elements of music or using compositional devices in ways that are characteristic of the style of the original work. (Use notes from aural and/or visual analysis of the work as a starting point).Notate (by hand or using software) or record 2 or 3 of the ideas developed through improvisationAnnotate how each idea draws on specific characteristics of the studied work.Select 2 or 3 of the ideas developed and, for each, using analysis of the original work/source material as a guide,

add 1-2 additional parts trial various ways of using the compositional devices of repetition, contrast and variation to add interest

to the exercises annotate, identifying features of the exercise that are consistent with the style of the original work

85


Music Style and Composition Unit 4In this unit students refine their skills in aural analysis and critical response (Outcome 1). They study a work created since 1950 (Outcome 2) and compose and complete documentation of an original work.


Outcome 1: Examples of learning activitiesAurally analyse and make critical responses to music.

listen to extracts from same era, style, location, or composer/creator as the work being studied in Outcome 2; discuss similarities of approachListen to a virtuoso improviser, for example, Anoushka Shankar (sitarist), Joseph Tawadros (oud), Dr L.Subramaniam (Carnatic violinist), Kudsi Erguner (ney), Angelique Kidjo (vocalist). List ways the soloist utilises elements of music to achieve variety and interest eg. development of melodic contour, use of repetitive and variation techniques, such as ornamentation, augmentation/diminution, approaches to harmonic voicing, use of tessitura etc.. Select specific examples of various compositional devices in the recorded work and share it with the class in an audio/visual presentation.apply focused listening skills to music heard outside the classroom (for example, on the radio or from a CD); share the results with classcontinue compiling a vocabulary of objective music terminology, and descriptive words, to use in critical responses; practise using vocabularycreate a graphic representation of a piece of dance music, to be used by a choreographer who needs a plan of the form and musical content of the piecepractise efficient aural analysis strategy in responses to music under time limit and test conditionsfind two works in different styles that use repetition as a fundamental structural device; analyse musical means by which repetition is used, and how musical interest is maintained

Detailed example

PREPARING AND DEBATING CRITICAL RESPONSES

Each student in the class chooses a virtuoso improviser and sources a recording of a performance that is characteristic of this performer’s work. They aurally analyse the work and prepare a critical response to the work. In their response students

describe their response to the workand

justify this subjective response with objective analytical information evident in the music by describingo treatment of 2-3 elements of music, focusing on the elements that are central to the

performer’s characteristic style or highlighted in the selected musico how the work uses one of repetition, variation or contrast

The class then listens to the selected excerpts and shares their prepared critical responses. They discuss the responses, confirming (with further evidence from the music) and/or challenging each other’s points of view about the music (also by providing evidence from the music).

86


87




Analyse and explain the use of the elements of music and compositional devices in a music work, and discuss the style and the context from which the work emerged

annotate a score of the selected work focusing on use of compositional devices including repetition, variation and contrast at global, medium and micro levels; discuss how unity and diversity are achievedchart the formal design of the workselect one element of music (for example, melody or rhythm) and write a brief description of its treatment in various sections of the worksuse the Internet and print sources to research how and why the work was written; investigate other forms at the time and/or place of the style studied and note similarities/influencesinvestigate influences on the works and identify evidence in the work that supports these findingscreate a flow chart to show how expressive elements of music (dynamics, articulation) are used within the structure of the workwork in a small group to create a wiki that records ideas and discussion of the key knowledge on the work studied; include a page for each of: the treatment of the elements of music, contextual issues, characteristics of the music style, appropriate music terminologySelect an identifiable motif/theme/idea in one work and create a list of how the idea is varied. Describe the use of repetition and variation to develop and alter the original idea. Identify ways that contrast is created in the work and describe the impact/effect of this from a listener’s perspective.

Detailed example

ANALYSING HOW AN IDEA IS VARIED

Selected work: Music for Strings, Percussion andCeleste, Movement 1 by BartokBrief students on the work, describing how the first movement of this work is an exemplary exploration of one melodic idea. The formal design not only follows some traditional fugal structures, but there is also ample evidence of variation of one idea across a large number of elements. The following approaches might be taken. Explore the character of the main theme by examining the way subsequent phrases build on the chromatic

arch shape established in the first bars. Look at the repetition of a grounding ‘home’ note despite the theme’s intense chromaticism. List the changes that occur with the second entry of the theme – different instrumentation, different starting

note, slight change in length/ shape. Chart the pitches of subsequent entries as the movement builds, noting the variation in pitch areas (akin to a

Baroque fugue). Search for and annotate fragmentation of the theme on the score. Describe traditional devices such as inversion, imitation and stretto. Explore the dynamic changes that occur to the theme. Describe the role that repetition plays in this movement, particularly in the supporting roles played by the

percussion/celestaConstruct a chart using the variation of the theme as a central focus, including examples of changes in pitch levels, instrumentation, dynamic, register and textural settings, as well as the use of fragmentation, inversion, imitation.

88


Music Style and Composition Unit 4 Area of Study 3: Creative processes


Create, document and evaluate an original work.

take a very short melodic fragment and create another three fragments by changing intervallic range, but keeping the same shape; use these in a short piece that follows the same shape dynamicallyexplore concepts of harmonic tension and resolution within a chosen style. Using given material such as a harmonic pattern, vary the chord structure to explore concepts of tension and resolution (for example, changing to minor/major /modal key; experimenting with substitute chords, adding new chord tones and suspensions).set up a repetitive harmonic cycle – record/notate five separate melodic lines on top of the patternusing a given melodic line, create at least three different settings with a focus on creating different texturesconstruct a percussive piece by adding, subtracting and then changing rhythmic patterns, leaving one pattern unchangedconstruct a form based on mood contrast; note aspects of music element treatment that could be used to create the contrasting moodskeep a diary of the changes that occur in the process of completing a pieceuse music notation software to create a melody based on a melodic idea from a work studied; experiment with different ways of varying the melody such as chordal harmony, adding an ostinato, varying the pitch, instrumentationcreate a ‘head’ based on a jazz style; experiment with different improvisations on the head, then transcribe the versions that you have decided to usecreate an audio/visual timeline of the creative process used to develop and refine ideas to create an original work

Detailed example

EXPLORING HARMONIC TENSION AND RESOLUTION

Allow students to use their own or a given harmonic progression from a given style. Their task is to generate ideas to extend the existing chord pattern so that it repeats with variation, develops through contrast, and finally concludes.Students trial different harmonic processes, for example

shifting individual pitches within chords to change harmonic content (chord quality) substituting related chords from within a key creating contrast through rotating and permutating existing chords to generate new progressions using chromaticism to change sense of key.. varying harmonic rhythm (ie. instead of 1 chord per beat, 1 chord every 3 beats, chords changing

irregularly) varying rhythmic patterning (eg, use of subdivision and syncopation) varying rhythmic articulation of chords (eg. arpeggiation) using silence using a global harmonic framework (eg cycle of 5ths, table of mode harmonisations, serial pitch

structures (atonal/12 tone) using a drone using an ostinato

89


After experimenting with different possibilities, students make decisions as to the techniques they will use to show repetition with variation, contrast and conclusion in their chord progression. They also document the reasons for their decisions - by examining the nature of the of the original chord progression as well as their intention in the piece.From this task, students would then be free to flesh these ideas out (through melody, textural arrangement/orchestration etc.) to a completed work.

90


Music Style and Composition Unit 3Sample approach to developing an assessment taskArea of Study 2

Introduction

This task focuses on analysis and discussion of two music works including a work composed/created by an Australian. The task may be presented as

a report,

responses to structured questions

a multimedia presentation.

Task design

Teachers should develop an assessment task that allows students to

describe and discuss the treatment of the elements of music in the selected works

describe and discuss how compositional devices including repetition, variation and contrast at global, medium and micro levels

describe the musical characteristics that make each work representative of its style

identify contextual issues and discuss their effect/s on the creation of the works

use relevant music examples and appropriate music terminology to support the analysis and discussion of each work.

Task conditions

The task is worth 60 marks and contributes 7.5 per cent of the study score for Music Style and Composition.

The task may be completed across one or more sessions. For example students could write a report about one work in one session and respond to structured questions about the other work in another session.

Preparation

Preparation for the task begins at the commencement of Unit 3 as students study the selected works. A teacher may select the works to be studied by the class to ensure all students have access to quality research/resources. Or a teacher can allow the student choice of the works they study.

Learning activities might include aural and/or visual analysis of the works, documenting the analysis using a combination of annotations, diagrams and/or prose, creating charts showing use of elements of music and compositional devices, researching the circumstances in which the works were created, identifying potential influences on the works and locating evidence of these influences in the works and/or reading and discussing commentary about the works.

Writing the task

Depending on the format/s chosen, the teacher will provide a prompt or description of content to be included and information about the expected structure and content of the report or multi-media presentation, or structured questions.

91


In this task students are allowed to use notes based on study of the works undertaken during Unit 3. For example, students could prepare a summary of their analysis and other notes and submit this for authentication prior to the task.

Marking the task


it may be appropriate to allocate marks to each section of the report or multimedia presentation or to each question. The marks allocated, however, should reflect the degree of difficult or complexity required by task words. These, in turn, would be based on the key skills listed for the outcome.

Authentication

Authentication issues can be minimised if the students complete report/s or presentation/s or respond to structured questions under test conditions.

Assessment rubrics/performance descriptors provide a guide to the levels of performance typically demonstrated within each range on the assessment task/s. The performance descriptors for each outcome identify the qualities or characteristics expected in a student response.

92


Music Style and Composition Unit 4Sample approach to developing an assessment taskArea of Study 1

Introduction

In this task students aurally analyse and write critical responses to four excerpts of previously unheard music.

Task design

Teachers should select four excerpts of music that are unfamiliar to the students. Each excerpt should be different in style from the others. A matrix or mind-map is one way to keep track of the excerpts selected and monitor the range of styles and genres represented in excerpts used for teaching, learning and assessment activities. Students should practise listening to and responding to music in a diverse range of styles and genres as part of the learning program and in assessment tasks.

Sources for selecting excerpts include:

Physical and online music libraries such as the Australian Music Centre

Music listening and download sites including those hosted by record labels and/or available via subscription

CDs, vinyl etc.

The excerpts selected should be about one minute to one minute 30 seconds in duration and feature treatment of element/s of music and/or compositional devices that is both obvious and significant

Task conditions

The task is worth 60 marks and contributes 7.5 per cent of the study score for Music Style and Composition. The assessment task should be completed in class over approximately 45-60 minutes. At the discretion of the teacher, students could bring in support notes such as glossaries of music terminology.

Teachers may decide to play the excerpts via a central play-back system with a set number of playings with specified writing time between each playing. Another approach is to allow students to have individual access to the excerpts, for example, from the school intranet or on a USB. This approach allows the students to control the order in which they listen to the excerpts, how many times they listen to each one and whether or not they pause during an excerpt. Teachers may decide to use one approach for Unit 3 and the other in Unit 4.

Preparation

Preparation for the task is undertaken across Unit 4 and builds on the learning in Unit 3 Outcome 1. Students should complete aural analysis activities relating to a diverse range of music developing experience in writing responses that focus on use of elements of music and compositional devices including repetition, variation and contrast. They should be given the opportunity to develop skills in using music terminology to describe how the manipulation of elements of music and use of compositional devices contributes to the creation of style and character and elicits subjective responses.

93


Writing the task

In this task, the questions function as prompts, alerting students to the aspects of the music they are required to analyse. The questions should also guide students to provide a critical response as their answer; that is the question should prompt the student to include subjective comments in their response but also to substantiate these with objective and analytical information evident in the music.

Some context may be provided as background to the question but students are not required to demonstrate knowledge of the context.

Questions might focus on one or more elements of music and/or compositional device/s or might allow students to base their response on treatment of elements of music or use of compositional devices they can hear in the excerpt, for example

Excerpt: [provide details such as name of work and composer/creator, section etc. as appropriate]

Describe how melody is used in this excerpt. In your response, comment on how the composer has used the compositional device of motif

Or

How is unity created in this excerpt? In your response refer to at least two elements of music and one compositional device

Or

Excerpt: [provide details such as name of work and composer/creator, section etc. as appropriate]a. Use letter names or a diagram to describe the structure of this excerpt.b. Describe the role of one instrument/sound sourcec. Discuss how contrast is achieved between any two of the sections. Refer to at least

two of texture, tone colour and/or articulation

Marking the task


Each question and sub-part should be allocated a specific number of marks. The available marks can be evenly weighted across the questions or can be allocated differently between questions. For example, each question could be allocated 15 marks or the questions could be allocated 10, 15, 20 and 15 respectively.

Authentication

The task should be completed under test conditions so that student work can be authenticated.

Assessment rubrics/performance descriptors provide a guide to the levels of performance typically demonstrated within each range on the assessment task/s. The performance descriptors for each outcome identify the qualities or characteristics expected in a student response.

94


Performance descriptorsMUSIC STYLE AND COMPOSITION





Unit 3 Outcome 1:Aurally analyse music and make critical responses to music

Identification and/or analysis of the treatment specified elements of music and compositional devices in the selected excerpts has limited accuracy.

Identification and/or analysis of the treatment specified elements of music and compositional devices in the selected excerpts has some accuracy and limited detail.

Identification and/or analysis of the treatment specified elements of music and compositional devices in the selected excerpts is accurate and includes appropriate detail.

Identification and analysis of the treatment specified elements of music and compositional devices in the selected excerpts is accurate, cohesive and detailed.

Identification and analysis of the treatment specified elements of music and compositional devices in the selected excerpts is accurate, sophisticated and comprehensive.

Presents a very limited understanding of ways in which the treatment of specified elements of music and compositional devices contributes to the style and/or character of the music.

Presents a limited understanding of ways in which the treatment of specified elements of music and compositional devices contributes to the style and/or character of the music.

Demonstrates clear understanding of ways in which the treatment of specified elements of music and compositional devices contributes to the style and/or character of the music.

Demonstrates a well- developed understanding of ways in which the treatment of specified elements of music and compositional devices contributes to the style and/or character of the music .

Demonstrates a cohesive and insightful understanding of ways in which the treatment of specified elements of music and compositional devices contributes to the style and/or character of the music.

Subjective responses to the music are very limited in scope and lack support through evidence from the music.

Subjective responses to the music are evident and support a limited range of evidence from the music.

Subjective responses to music are articulated clearly and supported with generally relevant evidence from the music.

Subjective responses to music are detailed and articulated clearly and substantiated by relevant evidence from the music.

Subjective responses to music are detailed , comprehensive and articulated in a sophisticated way and substantiated by a wide range of relevant evidence from the music.

95


MUSIC STYLE AND COMPOSITIONSCHOOL-ASSESSED COURSEWORK




Very limited use of music terminology and language.

Some accurate use of music terminology and language.

Appropriate use of music terminology and language.

Appropriate and accurate use of music terminology and language.

Appropriate, accurate and sophisticated use of music terminology and language.

Task 1: aural analysis of four excerpts of music


96






Unit 3 Outcome 2:Analyse and describe the use of the elements of music and compositional devices in music works, and discuss the style and the context from which the works emerged.

Identification of elements of music, compositional devices and contextual influences relevant to the works selected for study has limited accuracy with very limited scope.

Identification of elements of music, compositional devices and contextual influences relevant to the works selected for study includes some accuracy with limited scope.

Identification of elements of music, compositional devices and contextual influences relevant to the works selected for study is generally accurate with some limit in scope.

Identification of elements of music, compositional devices and contextual influences relevant to the works selected for study is accurate and broad-ranging.

Identification of elements of music, compositional devices and contextual influences relevant to the works selected for study is accurate and comprehensive.

Description of the treatment of elements of music, the use of compositional devices and the contextual influences relevant to the works selected for study has limited accuracy, includes analysis that is very limited or lacking in relevant detail.

Demonstrates very limited understanding of ways in which the works are representative of a particular music style.

Description of the treatment of elements of music, the use of compositional devices and the contextual influences relevant to the works selected for study has some accuracy, some analysis and some relevant detail.

Demonstrates some understanding of ways in which the works are representative of a particular music style.

Description of the treatment of elements of music, the use of compositional devices and the contextual influences relevant to the works selected for study is generally accurate and includes relevant and reasonably detailed analysis.

Demonstrates clear understanding of ways in which the works are representative of a particular music style.

Description of the treatment of elements of music, the use of compositional devices and the contextual influences relevant to the works selected for study is accurate and thorough and includes detailed and broad-ranging analysis.

Demonstrates a well-developed understanding of ways in which the works are representative of a particular music style.

Description of the treatment of elements of music, the use of compositional devices and the contextual influences relevant to the works selected for study is accurate and insightful and includes detailed and comprehensive analysis.

Demonstrates a sophisticated level of understanding of ways in which the works are representative of a particular music style.

Very limited accuracy and relevant use of music examples to support the analysis.

Limited accuracy and relevant use of music examples to support the analysis.

Generally accurate, relevant and clearly presented use of music examples to support the analysis.

Relevant detailed, wide-ranging and clearly presented use of music examples to support the analysis.

Sophisticated, wide-ranging and clearly presented use of music examples to support the analysis.

97






Very limited appropriate use of music terminology and language.

Limited appropriate use of music terminology and language.

Appropriate use of music terminology and language.

Accurate and appropriate use of music terminology and language.

Sophisticated use of music terminology and language.

Task 1: analysis of selected


98






Unit 4 Outcome 1:Aurally analyse music and make critical responses to music

Identification and/or analysis of the treatment specified elements of music and compositional devices in the selected excerpts is incomplete or includes many inaccuracies.

Identification and/or analysis of the treatment specified elements of music and compositional devices in the selected excerpts includes some inaccuracies and/or irrelevant detail.

Identification and/or analysis of the treatment specified elements of music and compositional devices in the selected excerpts is accurate and includes some detail.

Identification and analysis of the treatment specified elements of music and compositional devices in the selected excerpts is accurate, cohesive and detailed.

Identification and analysis of the treatment specified elements of music and compositional devices in the selected excerpts is accurate, sophisticated and comprehensive.

Presents a very limited understanding of ways in which the treatment of specified elements of music and compositional devices contributes to the style and/or character of the music.

Presents a limited understanding of ways in which the treatment of specified elements of music and compositional devices contributes to the style and/or character of the music.

Demonstrates clear understanding of ways in which the treatment of specified elements of music and compositional devices contributes to the style and/or character of the music.

Demonstrates a well- developed understanding of ways in which the treatment of specified elements of music and compositional devices contributes to the style and/or character of the music.

Demonstrates a cohesive and insightful understanding of ways in which the treatment of specified elements of music and compositional devices contributes to the style and/or character of the music.

Subjective responses to the music are very limited in scope and lack support through evidence from the music.

Subjective responses to the music are evident and support a limited range of evidence from the music.

Subjective responses to music are articulated clearly and supported with generally relevant evidence from the music.

Subjective responses to music are detailed and articulated clearly and substantiated by relevant evidence from the music.

Subjective responses to music are detailed, comprehensive and articulated in a sophisticated way and substantiated by a wide range of relevant evidence from the music.

99






Very limited use of music terminology and language.

Some accurate use of music terminology and language.

Appropriate and mostly accurate use of music terminology and language.

Highly appropriate and accurate use of music terminology and language.

Appropriate, accurate and sophisticated use of music terminology and language.

Task 1: aural analysis of four excerpts of music


100






Unit 4 Outcome 2:Analyse and explain the use of the elements of music and compositional devices and discuss the style and the context from which the work emerged.

Identification of elements of music, compositional devices and contextual influences relevant to the studied work is very limited in accuracy and scope.

Identification of elements of music, compositional devices and contextual influences relevant to the studied work has some accuracy with limited scope.

Identification of elements of music, compositional devices and contextual influences relevant to studied work is generally accurate with some limits in scope.

Identification of elements of music, compositional devices and contextual influences relevant to studied work is accurate and broad-ranging.

Identification of elements of music, compositional devices and contextual influences relevant to the studied work is accurate and comprehensive.

Analysis and discussion providing an explanation of the treatment of elements of music, the use of compositional devices and the contextual influences relevant to the studied works is very limited or lacking in relevant detail and demonstrates very limited understanding of ways in which the works are representative of a particular music style.

Analysis and discussion providing an explanation of the treatment of elements of music, the use of compositional devices and the contextual influences relevant to the studied works is limited and/or lacking in relevant detail and demonstrates some understanding of ways in which the works are representative of a particular music style.

Analysis and discussion providing an explanation of the treatment of elements of music, the use of compositional devices and the contextual influences relevant to the studied works is relevant and reasonably detailed and demonstrates clear understanding of ways in which the works are representative of a particular music style.

Analysis and discussion providing an explanation of the treatment of elements of music, the use of compositional devices and the contextual influences relevant to the studied works is detailed and quite broad-ranging and demonstrates a well-developed understanding of ways in which the works are representative of a particular music style.

Analysis and discussion providing an explanation of the treatment of elements of music, the use of compositional devices and the contextual influences relevant to the studied works is detailed and comprehensive and demonstrates a sophisticated level of understanding of ways in which the works are representative of a particular music style.

Use of music examples to support the analysis shows very little accuracy and relevance to the analysis and/or the work.

Use of music examples to support the analysis shows some accuracy with limited relevance to the analysis and/or the work.

Use of music examples to support the analysis is generally accurate and presented clearly and generally relevant to the analysis and the work

Use of music examples to support the analysis is accurate, detailed and clearly presented, wide-ranging and relevant to the analysis and the work.

Use of music examples to support the analysis is accurate, sophisticated and clearly presented, wide-ranging and adds information to the analysis.

101






Use of music terminology and language is often inaccurate or inappropriate, resulting in an unconvincing analysis.

Use of music terminology and language is sometimes inaccurate or inappropriate and/or irrelevant to the analysis.

Music terminology and language is used in a generally accurate way to support a reasonably convincing analysis.

Use of music terminology and language is used appropriately and accurately to support a well-articulated and convincing analysis.

Music terminology and language is used accurately and in a sophisticated way to support a comprehensive and insightful analysis.

Task 1: analysis of selected


102


Employability Skills

Assessment task Employability skills selected facets

Performance – group and solo Learning (Managing own learning, using a range of mediums to learn - mentoring, peer support and networking, being open to new ideas and techniques, being prepared to invest time and effort in learning new skills, acknowledging the need to learn in order to accommodate change)Initiative and enterprise (adapting to new situations, developing a strategic, creative, long term vision, being creative,identifying opportunities not obvious to others, translating ideas into action,generating a range of options,initiating innovative solutions)Self-management (having knowledge and confidence in own ideas and visions; evaluating and monitoring own performance; taking responsibility; articulating own ideas and visions)Problem solving (developing creative and innovative solutions; developing practical solutions; applying a range of strategies to problem solving)Technology (using IT to organise data, being willing to learn new IT skills, Having the OHS knowledge to apply technology, Having the physical capacity to apply technology e.g. manual dexterity)Planning and organising (managing time and priorities- setting time lines, co-ordinating tasks forself and with others,being resourceful, taking initiative and making decisions, establishing clear project goals and deliverables, participates in continuous improvement and planning processes, developing a vision and a proactive plan to accompany it, predicting - weighing up risk, evaluate alternatives and apply evaluationcriteria)

Group performance Team work (working across different ages and irrespective of gender, race, religion or political persuasion, working as an individual and as a member of a team, knowing how to define a role as part of the team, applying team work to a range of situations e.g. futures planning, crisis problem solving, identifying the strengths of the team members, coaching and mentoring skills including giving feedback)

Composition /improvisation/arrangement

Learning (Managing own learning, using a range of mediums to learn - mentoring, peer support and networking, being open to new ideas and techniques, being prepared to invest time and effort in learning new skills, acknowledging the need to learn in order to accommodate change)Initiative and enterprise (adapting to new situations, developing a strategic, creative, long term vision, being creative,identifying opportunities not obvious to others, translating ideas into action,generating a range of options,initiating innovative solutions)Self-management (having knowledge and confidence in own ideas and visions; evaluating and monitoring own performance; taking responsibility; articulating own ideas and visions)Problem solving (developing creative and innovative solutions; developing practical solutions; applying a range of strategies to problem solving)Technology (Having a range of basic IT skills, using IT to organise data, being willing to learn new IT skills, Having the OHS knowledge to apply technology, Having the physical capacity to apply technology e.g. manual dexterity)

Planning and organising (managing time and priorities- setting time lines, co-ordinating tasks forself and with others,being resourceful, taking initiative and making decisions, establishing clear project goals and deliverables, participates in continuous improvement and planning processes, developing a vision and a proactive plan to accompany it, predicting - weighing up risk, evaluate alternatives and apply evaluationcriteria)

103


Oral responses Communication (writing to the needs of the audience; sharing information)Problem solving (developing creative and innovative solutions; developing practical solutions; applying a range of strategies to problem solving)Learning (being open to new ideas and techniques)Initiative and enterprise (being creative; generating a range of options; initiating innovative solutions)Self-management (having knowledge and confidence in own ideas and visions; evaluating and monitoring own performance; taking responsibility; articulating own ideas and visions)Planning and organising (Collecting, analysing and organising information)

Written/multimedia responses Communication (writing to the needs of the audience; sharing information)Problem solving (developing creative and innovative solutions; developing practical solutions; applying a range of strategies to problem solving)Learning (being open to new ideas and techniques)Initiative and enterprise (being creative; generating a range of options; initiating innovative solutions)Planning and organising (Collecting, analysing and organising information)

Student-designed investigation Initiative and enterprise (generating a range of options; initiating innovative solutions; being creative)Planning and organising (planning the use of resources including time management; establishing clear project goals and deliverables)Problem solving (developing practical solutions; testing assumptions taking the context of data and circumstances into account)Self-management (evaluating and monitoring own performance)

*The employability skills are derived from the Employability Skills Framework (Employability Skills for the Future, 2002), developed by the Australian Chamber of Commerce and Industry and the Business Council of Australia, and published by the (former) Commonwealth Department of Education, Science and Training.

104


APPENDIX

Group and solo performance

In Music Performance Units 1 to 4 all students perform group and solo repertoire. In Units 1 and 2 the balance between group and solo work will vary between students in the class, depending on students’ prior music experience and the context they are likely to select for Music Performance Units 3 and 4 and/or Music Investigation Units 3 and 4.

For all students, work undertaken on an individual basis to develop technical expertise and facility challenges them to develop a range of music performance skills they can use when performing group or solo repertoire. Each student should have a technical work program designed to meet their needs as an instrumentalist and to support their learning and performance of repertoire. Students may use different instruments for the solo and group components of their program in all units. Students who complete Units 3 and 4 as a member of a group may use more than one instrument to perform group works for Outcome 1 and the end-of-year performance examination. All students should complete all or at least a substantial majority of technical work and exercises for Outcome 2 using their main instrument.

Group work allows all students to experience the complexity of music produced by an ensemble, and to develop an ability to work collaboratively with others to achieve musical outcomes. Structured rehearsals should be a part of each student’s VCE Music Performance program. These rehearsals are also an opportunity for students to apply aural perception skills, for example by listening to all parts being performed and refining intonation to accurately perform specific chords across a music texture.

For students whose main focus is group performance teachers need to establish requirements relating to solo performance for Outcome 1. Students may use any instrument to meet these requirements. The nature of the learning activities and task required to demonstrate Outcome 1 should be closely aligned to the student’s work as a member of a group. For example, a student in a rock or jazz band might transcribe (practising Outcome 3 skills), learn, rehearse and perform a short solo from a work in a similar style to one they are preparing for group performance. This approach provides opportunities for students to develop dexterity and flexibility in using stylistically relevant techniques. Students focusing on chamber music might learn, rehearse and perform a short notated work by one of the composers they are studying as an ensemble focusing on manipulating the expressive elements of music to achieve specific effects.

Students whose main focus is solo performance might complete the group performance requirement by rehearsing and performing with an existing ensemble such as the school chamber choir or clarinet ensemble. Smaller rather than large ensembles offer more opportunities for these students to develop specific skills that will enhance their solo performance such as exploiting expressive qualities in the music through sophisticated manipulation of the elements of music or stylistically specific performance conventions.

Another option is for the class to form an ensemble. This approach allows considerable flexibility to explore approaches to interpreting works and trialling different ways of achieving expressive outcomes.

105


In Music Investigation, the Topic chosen may have a particular alignment with group or solo performance. This decision needs to take into account specific performance conditions such as the composition of Groups. These conditions are outlined in the Performance Examination Specifications. For example,

If the Investigation Topic is based on the work of a multi-instrumentalist, the student may wish to be assessed on all the instruments they use in their performance and so will select the Group option.

If the Investigation Topic is based on the work of a singer/song-writer, students may choose to be assessed as a singer, enrolling using the Voice – Contemporary popular code or as a multi-instrumentalist, enrolling using the Group code.

1.2 Connecting Areas of study In VCE Music, learning about a range of over-arching concepts is embedded into the practical, analytical, theoretical and aural knowledge and skills across the Areas of study and outcomes in each sequence of units. Planning needs to consider how relationships between areas of study will be developed, particularly where there is more than one teacher involved in teaching the course. Developing students’ awareness of these connections will build their capacity to manage their learning and consequently enhance their presentation of performance program/s. Each set of skills is developed over time as students work with more complex material, different repertoire or new styles. Opportunities for students to reflect on connections between practical and other learning should be embedded throughout the course.

Examples:

Create a mind-map that tracks/unpacks key terms across Areas of study. For example, students could

o track connections between key knowledge and skills in different areas of study such as, the way that Music Performance

Outcome 1, key knowledge: the possibilities for arranging and shaping works in

performance … , musicianship skills used by performers to realise works and to

create character in performance …

connects with

the Outcome 3 key skills relating to listening and interpretation

o list aural skills they use consciously and unconsciously when they are practising/rehearsing/performing as an individual and when they are playing/performing with others and connect these aspects of musicianship with knowledge and skills in Music Performance Outcome 3

o use a single journal/workbook to document their learning across Outcomes 1, 2 and 3 in Music Investigation

106


Maintain a digital learning journal that includes material such as

o listening/aural analysis of works/excerpts studied for Music Performance Outcome 3 – interpretation or Music Investigation Unit 3 Outcome 1 linked to ideas for how they could trial/incorporate approaches taken by those performers to their own performance

o research evidence to support their interpretation of a work o a practice journal

Music PerformanceAcross Units 1-4 students develop and practise Musicianship skills in aural, practical and theoretical contexts. The ability to hear and comprehend how music language including the elements of music is manipulated to achieve expressive effects and apply this knowledge in performance is central to this study. Specific references to musicianship skills and music language are embedded in all Areas of study.

Music Investigation

The Music Investigation course requires students to undertake Performance Research. All work should be undertaken from the perspective of a performer rather than a composer or from an analytical point of view. In these units theoretical and experiential learning are connected. The three areas of study are interrelated and interdependent, linked by study of a sample of works selected to allow the student to study a broad range of material relating to the Investigation Topic. Opportunities for students to reflect on connections between theoretical and experiential learning and performance practice should be embedded throughout the course. A series of evaluative questions designed to reinforce these connections can be used at regular intervals throughout each semester.

Study of a broad and representative sample of works through listening, analysis and creative work across Unit 3 Outcomes 1 and 2 scaffolds students’ work and allows them to maintain focus on the main purpose of their investigation – that is, demonstration of the depth and breadth of their understanding of performance practice and related issues relevant to the Investigation Topic. The sample of works should include at least one work selected for performance and must also include works that are not part of the performance program. The number of works in the sample will vary according to the Investigation Topic. Most students will study 5 to 8 works or sections of works.

In Unit 4, students draw on learning about the sample of works in Outcomes 1, 2 and 3.


While the three areas of study in each unit of Music Style and Composition are presented separately and all aspects must be covered in developing a course, the design of these units is most suited to an integration of content across areas of study in each unit.

For example, a work chosen for focused study for Area of Study 2 ‘Organisation and context’, may lead to further listening activities using excerpts from other works that use similar (or contrasting) treatment of music elements or devices. These listening activities may then form part of Area of Study 1 ‘Responses to music’. Essential musical features uncovered in both these areas of study may then become the focus of a creative response in Area of Study 3.

107


In developing any unit, teachers should approach the selection of works for focused study in terms of how their characteristics may lead to further listening and creative activities. In Unit 1, for example, Area of Study 2 ‘Organisation and context’ might focus on study of a Mozart Piano Sonata first movement (for example, K545 or K257) involving:

analysis of characteristics, including sonata form structure, nature of contrasting melodic material, harmonic progressions of main themes and overall modulation system, use of imitation, overall clarity of sectional design (contextualised by an outline of features of Classical and eighteenth century architecture).

Unit 1 Area of Study 1 ‘Responses to music’ might include listening to:

a sonata movement in the same form an excerpt to hear the contrast in two themes from a Mozart symphonic movement in

sonata form (or an excerpt from a symphony by another composer) excerpts/performances of songs that use primary triadic harmony such as children’s’

songs a country song using the same three chords a gospel choir or a drumming ensemble excerpt using call and response imitation an excerpt from a Bach invention focusing on the imitation between parts.

Unit 1 Area of Study 3 ‘Creative responses’ might involve:

creating a contrasting melody to a given one via contrasting contour, dynamics, articulation, key and register

creating three separate melodies over the same primary triad harmonic progression creating a 30-second piece to be performed by the class, built on one melodic idea and

which must include imitation and contrast.

1.3 Teaching roles and communicationCommunication between student and teacher/s should also be planned and monitored. Ideally instrumental and classroom music teachers will combine their specialist skills and knowledge to deliver a course that meets the needs of individual students. Whilst the starting point for each student will vary within general guidelines, courses developed for Units 2, 3 and 4 should reflect development in work undertaken in earlier units.

Teachers who may be involved in the teaching and learning program and the assessment process for these units include:

Instrumental music teachers – employed by the school or private studio teachers Classroom teacher/s Ensemble directors – of school or community ensembles Director of Music

Teachers’ specific roles will vary from school to school and in some cases from student to student within a school. The following tables outline suggested ways that different teachers may be involved in implementing specific units.

108


Music Performance

Area/s of Study Responsibility for teaching and learning program

Assessment responsibilities

Performance Instrumental music teacher and/or ensemble conductor/director (school or community based) and/or classroom teacher and/or a teaching team.

Instrumental music teacher who taught the student or classroom teacher or director of music or two or more of these teachers acting as a panel.

Performance technique Instrumental music teacher and/or ensemble director and/or classroom master classes focusing on presenting works in performance.

Instrumental music teacher or classroom teacher or director of music or two or more of these teachers acting as a panel: ensemble directors/conductors of community ensembles can be involved in the assessment process at the invitation of the school.

Musicianship and creative organisation of sound

Classroom teacher and/or instrumental teacher/s or other specialists.

Classroom teacher or instrumental teacher or other specialist teacher/s or two or more of these teachers acting as a panel.

Music Investigation

Learning approach Description Teacher/s

Self-directed learning using a negotiated learning plan

Students would undertake sequential and developmental activities for Outcomes 1 and 2 in addition to study of performance repertoire. The learning will be supported by questioning and feedback from the teacher/s. This approach is most appropriate for students who will complete the performance examination as a soloist. There are strong similarities between this approach and the approach used in visual arts education.

Instrumental music teacher based at school.

Or Classroom and instrumental

music teacher based at school.Or Classroom and instrumental

music teacher not based at school.

Classroom teacher (where student does not have an IM teacher – will require student to identify and access resources and mentors who guide performance study).

Class approach Students will individually respond to a general learning outline provided by a teacher. This approach is most appropriate for students who will complete the performance examination as a member of a group.

Classroom music teacher takes responsibility for Outcomes 1 and 2 and instrumental music teacher/s has responsibility for Outcome 3.

Classroom teacher may deliver all outcomes acting as performance coach or mentor for a group/s.

109



Learning approach Description Teacher/s

Self-directed learning using a negotiated learning plan (for listening and composition)

Guided listening and composition tasks structured to Introduce students to diverse

music styles and genres, treatment of elements of music and use of compositional devices .from the familiar to the unfamiliar

Develop students’ awareness of approaches to composition and technical aspects of the composing process relating, for example to instrumentation and scoring

Classroom teacher establishes a series of tasks or learning goals and provides students with a starting set of resources, particularly online resources and, where possible supports the student to participate in conversations (face-2-face or virtual) with composers

Note, it is study of works (Outcome 2) be undertaken using a teacher-led/classroom approach.

It is recommended that one teacher, usually a teacher based full time in the school, oversee all assessment tasks with reference to input from studio/specialist teachers and ensemble directors. Often this teacher will be a classroom music teacher, but an instrumental music teacher can undertake the role successfully. Every effort should be made to develop students’ awareness of the relationship between work undertaken in the classroom, in rehearsals, and work undertaken as part of private instrumental tuition, through regular communication between the student and all teachers involved in study delivery. This might occur through meetings, or an online information-sharing tool like a wiki or blog.

In Music Performance and Music Investigation one or more teachers can be involved in the assessment process. For example, a panel of classroom and instrumental music teachers might assess School-assessed Coursework tasks.

It is advised that one teacher, usually a teacher who works at the school for a significant time each week, oversee all assessment tasks with reference to the learning plan and Victorian Curriculum and Assessment Authority assessment advice. Every effort should be made to develop awareness of connections between Areas of study and how this is reflected in each assessment task. This might occur through student-teacher conferences, meetings of teachers, or an online information-sharing tool like a wiki or blog.

110


1.4 Composition, improvisation and arrangement in VCE MusicOpportunities for students to create music are embedded throughout VCE Music. For example

Music Performance: students can create and perform works for Outcome 1 in all Units. Note that students who undertake Units 3-4 as a soloist need to get their work approved as an alternative work

all students create exercises (2 or more) for Music Performance Units 1-4 Outcome 2 and Music Investigation Unit 3 Outcome 2

In Music Investigation Unit 4 Outcome 2 students compose, improvise or arrange a work that reflects key characteristics of their Investigation Topic. They also perform this work

In Music Style and Composition Units 1 and 3, students create exercises in response to music they have studied and in Unit 4 they compose original works. They can but are not required to perform these works.

Note, where the term ‘composition’ is used generically in VCE Music, it can refer to composition, real-time music creation, improvisation and/or arrangement.

Across VCE, students may compose in any relevant style or genre. For example, students might

Work as a group to write an original song in a style that contrasts with other works in their Music Performance program

Write a vocal that reflects articulation and rhythmic patterns relevant to a song they are preparing for performance

Compose a work that features extended techniques they have studied through their Investigation Topic

Use a chord progression or rhythmic motif as the basis for an exercise that explores how another composer has used this material

Compose music for a short film that a friend has made for VCE Media

Students may document/note/record their creative work using any appropriate format such as western staff notation, traditional notation relevant to music from a specific time or location or screen shots. See the Music Style and Composition Externally-assessed Task specifications for details re requirements for that task.

As teachers plan VCE Music courses they need to make decisions about where and how composition activities can be included in ways that will be relevant and meaningful for students. Teachers also need to consider how composition/improvisation/arrangement skills and technical competence can be developed along with performance, musicianship, and analysis/critical response skills. For example teachers might provide ‘how-to’ materials that model traditional and contemporary examples of creative/compositional process via the school intranet or compile a list of online tutorials/resources that students can access for advice about technical issues such as instrument ranges, scoring and notation conventions etc.

VCE Music also encourages students to document their listening, analysis, evaluation and critical responses. These reflections provide a resource for composition ideas. To scaffold this, teachers can include information about music students are studying which acknowledges the integral role of the composer as architect and designer of the fundamental arrangement/construction of elements that characterise the music. This can assist in delineating the composers’ work from that of the performers particularly in Music

111


Performance Outcomes 1 and 3 where students focus on the interpretive elements of expression in live performance. For example, students could discuss and debate questions such as

How do successive generations of musicians and composers interpret / perform period music, especially the nuances of style?

What can contemporary composers / musicians learn from past composition and performance practice?

How can the compositional tools available via hand-held devices be used to create music or enhance performance?

What are the advantages and disadvantages of real-time composition vs traditional methods.

Students are encouraged to use available and appropriate technology as an integral part of their learning and performance practice across all units in VCE Music. This can range from using mechanical and easily formulated elements of music technology software programs such as pre-recorded loops, samples and effects for composition and performance to creating works in the electronica genre or using sequencing software to notate or arrange.

1.5 Cross-Study specifications – examples and further information

Elements of music

The elements of music, depending on the style being studied, may be analysed with reference to:

structure/form – the design of a work or section: for example, large-scale or global structures such as symphonies, dance suites, and operas; medium-scale structures such as twelve-bar blues, sixteen and thirty-two bar song form, verse/ chorus, strophic, sonata form, binary, ternary, rondo, theme and variations, through-composed, fugue, round, canon, cantus firmus, metrical and/or harmonic cycles; small-scale/micro structures such as motives and motivic development, phrasing, chord patterns, textural components, modulatory systems

instrumentation – the instruments/sound sources used to realise the music; for example, the list of instruments/sound sources (including digital and electronic instruments) used

tone colour – the quality of an instrumental, vocal or group sound/s; for example, the effect of the way in which the instruments/sound sources are used and the effect of techniques employed; combinations of instruments used at various stages in the work or excerpt; particular instrumental techniques employed such as muting, pizzicato, glissandi, flutter tonguing; production techniques such as reverb, chorus, distortion

texture – the ways in which music parts and voices are combined and layered; for example, layers of sound (contrapuntal, polyphonic, chordal, homophonic, monophonic, heterophonic, pointillistic, unison); the density of sound (from light/thin to heavy/thick); tessitura (effect of pitch height on texture)

tonality – the hierarchical organisation of pitch (commonly referred to as the scale) upon which a composition or section of a composition is based; for example, modal, diatonic (major/minor – functional), pentatonic, polytonal, whole tone, chromatic, atonal, serial

harmony – the vertical organisation of pitch; this may also refer to relationships between chords or use of chords in a progressive combination (i.e. chord progression); for example, triads, triadic extensions, cluster chords, organum, vertical pitch combinations and the interrelationship of chords (functional or non-functional), modulation, ostinato, harmonic rhythm (rate of harmonic change per bar), pitch centres

112


melody, the horizontal organisation of pitch (i.e. the tune); for example, tunes, tone rows, themes, horizontal pitch patterns and the characteristics of a melody such as intervals, phrasing, tessitura, shape/contour, motives and, where appropriate, influence of text

rhythm/time – the horizontal organisation of sounds into patterns according to duration; for example, meter/time signature, pulse, length of notes, tempo, rhythmic motives and rhythmic devices such as syncopation, ostinato, augmentation/diminution, polymeters and cross rhythms

meter – the organisation of rhythm into repeating patterns of stressed and unstressed beats, for example, simple, compound, duple, triple, compound, asymmetric/complex, pulse, additive, divisive, hypermeter

tempo – the speed of the beat, for example fast, lively, slow, very slow, languid, 72 beats/minute, andante, presto, feel, in 1, in 3

dynamics – the relative volume or intensity of a sound/s or note/s, soft, loud, getting louder, getting softer, piano, forte, crescendo, diminuendo,

articulation – the attack, release and decay of the sound; for example, staccato marcato, legato, sforzando, strong, light

Compositional Devices

micro level; for example, ornamentation, inversion, augmentation, diminution, fragmentation

medium level; for example, imitation, use of sequence, modulation, re-orchestration, re-harmonising, addition/subtraction of melodic lines, rhythmic accompaniment, instruments or layers of sound

global level; for example, contrast, repetition, variation. Compositional devices at the global level may occur in relation to the treatment of all the elements of music, individually and in combination. They may also involve specific devices at the lower level/s, for exampleo contrast may be achieved via changes to the treatment of dynamics, orchestration,

melodic shapes and registers, rhythms, meters, harmonies, textures, articulation and forms. This may include such devices as modulation, re-orchestration and the addition or subtraction of layers of texture, repetition, variation.

o repetition can be seen in repeating, for example, entire formal sections, melodic lines or phrases, rhythms, intervals, melodic shapes, harmonic patterns, timbres, riffs, ostinati.

o Variation can include any change to an established pattern when heard again. This might include such things as shifting a melodic pattern to a new starting pitch, adding ornaments, expanding or contracting intervals in a melody, retaining melodic contour but changing pitches, changing to a new key area, tempo changes (gradual or sudden), adding or removing rubato or metrical changes, using a rhythmic figure in different places within the bar, adding harmonic accompaniment, changing harmony, adding or subtracting melodic lines or layers of sound, re-orchestration, changing register, changing articulation and sound effects.

Conventions

Conventions are often style, genre or instrument specific, for example, improvisation in jazz styles, figured bass in Baroque works, lead drum calls in the music of Ghana, guitar effects and distortion in rock styles, sampling and editing techniques in techno music. Other conventions relate to expected behaviours of both performers and audience for example, the formality and silence within a concert hall setting, applause at the end of solos in many jazz

113


styles, dramatic flair and aggression within heavy metal, the structure of a North Indian raga performance in three parts. Conventions may also relate to expectations about the scope and formatting of information provided, for example, on a music score, about a recording or to identify an ensemble.

Critical response

Critical responses to music are formed as a result of critical listening. Following are examples of critical responses:

The driving, energetic feeling evoked in the Police song ‘Synchronicity’ is created by the rapid, consistent regular rhythms of the hi-hat and kick drum aligned with the unison rhythm of the bass.

The lush, rich and lyrical atmosphere of the final theme of Gershwin’s ‘Rhapsody in Blue’ is achieved by the use of unison, legato full string orchestration.

The adjectives in these two examples – ‘driving, energetic’ and ‘lush, rich and lyrical’ – are subjective responses to music. The analytical information is given in the statements ‘the rapid, consistent regular rhythms of the hi-hat and kick drum aligned with the unison rhythm of the bass’ and ‘unison, legato full string orchestration’.

1.6 ContextInfluences on composers, performers and audience members can be many and varied. In VCE Music, consideration of the context of a work can include study of specific musical, cultural, historical, social, political, environmental, gender, economic, legal influences, practical and commercial considerations, and issues relating to the likely performer/s of the work.

Some examples might be:

‘cross-fertilisation’ or the development of new/hybrid forms and styles that arises when musicians from different tradition (for example style/genre or cultural) work together or draw on each other’s practice to create new work

the impact of technological advances for example, development of valves on brass instruments resulting in increased capacity to play in different keys, in pianoforte manufacture resulting in an increased range of dynamic and tonal qualities, the influence of music from one culture on composers from another cultural background, for example the influence of music from Asia on Debussy, The Beatles, John Coltrane, or Phillip Glass; the on-going development of digital instruments and equipment resulting in new approaches to composition and different performance possibilities

the impact and effect of social/historical events on music works and practitioners, for example, composition of pianoforte works for left hand alone following WWI or the effect of the 1960s civil rights movement on the use of African-American musical traditions in popular music

the early twentieth century recording industry which allowed for only three- to four-minute recordings and its effect on the structures of popular music of the time

the cultural integration of music in the North Indian classical tradition resulting in the religious/mood/temporal qualities of the Indian raga

the systems of patronage, commissions, dedications and contracts in different periods and their effect on music created.

114


1.7 AuthenticationSchools are advised to monitor use of music material sourced from other compositions via traditional sheet music, recordings or other digital sources such as preset algorithms [plug-ins] and ensure that all work complies with relevant legislation. See Copyright information in the Resources section. Authentication records should be used to document students’ use of, for example, source material, software and hardware to create or manipulate sounds or algorithms in notation software and identify the contribution of this material to the completed work.

Across VCE Music, students’ performance work should be assessed via live performance. This allows the teacher to verify that they are the performer and provide feedback relevant to the performance context. For other work such as composition/arrangement/improvisation, analysis or evaluation strategies for ensuring that work submitted for assessment is the student’s own need to be in place. Where aspects of tasks for school-based or external assessment are completed outside class time teachers must monitor and record each student’s progress through to completion. This requires regular sightings of the work by the teacher and the keeping of records. The teacher may consider it appropriate to ask the student to demonstrate his/her understanding of the task at the time of submission of the work.

If any part of the work cannot be authenticated, then the matter should be dealt with as a breach of rules. To reduce the possibility of authentication problems arising, or being difficult to resolve, the following strategies are useful:

Ensure that tasks are kept secure prior to administration, to avoid unauthorised release to students and compromising the assessment. They should not be sent by mail or electronically without due care.

Ensure that a significant amount of classroom time is spent on the task so that the teacher is familiar with each student’s work and can regularly monitor and discuss aspects of the work with the student.

Ensure that students document the specific development stages of work, starting with an early part of the task such as topic choice, list of resources and/or preliminary research.

filing copies of each student’s work at given stages in its development. Regular rotation of topics from year to year to ensure that students are unable to use

student work from the previous year. Where there is more than one class of a particular study in the school, the VCAA expects

the school to apply internal moderation/cross-marking procedures to ensure consistency of assessment between teachers. Teachers are advised to apply the same approach to authentication and record keeping, as cross-marking sometimes reveals possible breaches of authentication. Early liaison on topics, and sharing of draft student work between teachers, enables earlier identification of possible authentication problems and the implementation of appropriate action.

Encourage students to acknowledge tutors, if they have them, and to discuss and show the work done with tutors. Ideally, liaison between the class teacher and the tutor can provide the maximum benefit for the student and ensure that the tutor is aware of the authentication requirements. Similar advice applies if students receive regular help from a family member.

For the Music Style and Composition, externally-assessed Task, the Authentication Record Form should be filled out, documenting each aspect of the creative process.

115