Music Work program sample Sample Senior Music work program Reproduced with the permission of Sunshine Beach State High School September 2008 A work program is the school’s plan of how the course will be delivered and assessed, based on the school’s interpretation of the syllabus. The school’s work program must meet syllabus requirements, and indicate that there will be sufficient scope and depth of student learning to reflect the general objectives and meet the exit criteria and standards. This sample demonstrates one approach, and should be used as a guide only to help teachers plan and develop school work programs. PLEASE NOTE: This is a sample provided by a school. It is not an official publication of the QSA. Queensland Studies Authority Ground floor, 295 Ann Street, Brisbane. PO Box 307, Spring Hill Queensland 4004 Phone: (07) 3864 0299; Fax: (07) 3221 2553; Email: [email protected]; Website: www.qsa.qld.edu.au SUNSHINE BEACH STATE HIGH SCHOOL SENIOR MUSIC WORK PROGRAM July 2005 SUBJECT 091 PANEL B26 SCHOOL CODE 220 For Syllabus 2004 PLEASE NOTE: This is a sample provided by a school. It is not an official publication of the QSA. Queensland Studies Authority Ground floor, 295 Ann Street, Brisbane. PO Box 307, Spring Hill Queensland 4004 Phone: (07) 3864 0299; Fax: (07) 3221 2553; Email: [email protected]; Website: www.qsa.qld.edu.au TABLE OF CONTENTS Course Organisation 3 Time Allocation 3 Outline of Intended Student Learning - Music’s Greatest Hits 4 - Heroes & Villains 5 - Jazz 6 - Big Bangs 7 - Film Music 8 - My Island Home 9 Assessment Plan - Year A 10 - Year B 11 Sample Profile 12 PLEASE NOTE: This is a sample provided by a school. It is not an official publication of the QSA. Queensland Studies Authority Ground floor, 295 Ann Street, Brisbane. PO Box 307, Spring Hill Queensland 4004 Phone: (07) 3864 0299; Fax: (07) 3221 2553; Email: [email protected]; Website: www.qsa.qld.edu.au Course Overview Sunshine Beach State High School’s Music course is structured to allow implementation in either separate Year 11&12 classes or in a combined 11/12 class. To this effect, therefore, the years have been notated as Year A and Year B. Combined Class Scenario A student entering year 11 in 2006 will study Year A then Year B; and a student entering Year 11 in 2007 will study Year B then Year A. example Year 11 student Year 12 student 2006 Year A 2007 Year B Year B 2008 Year A Year A Separate Classes Scenario Students will study Year A in Year 11 and Year B in Year 12. Time Allocation & Course Outline Sunshine Beach SHS allocates 220minutes per week for senior Music. This exceeds the minimum stated requirement of 220 hours over the course of study. The Course outline below uses a combination of thematic and genre-based approaches. Year A Time Allocation Unit/Topic Term 1 Music’s Greatest Hits (Thematic) Terms 2 & 3 Heroes & Villains (Thematic) Term 4 Jazz Styles (Genre) Year B Time Allocation Unit/Topic Weeks 1-15 Big Bangs (Thematic) Weeks 16-30 Film Music (Thematic) Term 4 My Island Home (Thematic) PLEASE NOTE: This is a sample provided by a school. It is not an official publication of the QSA. Queensland Studies Authority Ground floor, 295 Ann Street, Brisbane. PO Box 307, Spring Hill Queensland 4004 Phone: (07) 3864 0299; Fax: (07) 3221 2553; Email: [email protected]; Website: www.qsa.qld.edu.au Outline of Intended Student Learning Music’s Greatest Hits (Year A Term 1) Focus - An exploration of a broad range of musical styles, genres and contexts through the study of specific works (or composers’ bodies of work) that have become recognised as frequently performed and widely admired. This unit has an instrumental focus, including: • • • Music through the ages (baroque, classical, romantic and contemporary) Music of famous well known composers and artists Yr 11 only – foundational musical concepts and skills Suggested assessment: The assessment during this unit could be selected from: • Formal test covering the styles studied in class, using both studied and unstudied repertoire, requiring (yr11 some) extended analytical responses to aural and/or visual sources. • An analysis of an unstudied work from one of the studied genres, contexts or composers. May be presented electronically with visual and audio additions. • Composition (either as recorded sound or written score) reflecting a particular genre, context or composer • Arrangement of a theme from the repertoire (either as recorded sound or written score) • Performance of music from a studied genre, context or composer (may be as conductor) Conditions of implementation are given in the Assessment Outline (p.10) Suggested repertoire: • Music from the Baroque period including: Bach Brandenburg Concertos; Handel Water Music; Vivaldi The Four Seasons • Music from the Classical Period including: Mozart Symphony 40, Eine Kleine Nachtmusik; Beethoven Symphonies 5 & 9, Fur Elise; • Music from the Romantic Period including: Tchaikovsky Nutcracker, Grieg Peer Gynt, Piano Concerto in Amin; Mussorgsky Pictures at an Exhibition, Smetana The Moldau, Dukas The Sorcerers Apprentice • Contemporary Music (post 1900) including Orff Carmina Burana, the music of Gershwin, Porter, Glenn Miller, The Beatles, Queen, Tommy Emmanuel, James Morrison, John Farnham, Yothu Yindi PLEASE NOTE: This is a sample provided by a school. It is not an official publication of the QSA. Queensland Studies Authority Ground floor, 295 Ann Street, Brisbane. PO Box 307, Spring Hill Queensland 4004 Phone: (07) 3864 0299; Fax: (07) 3221 2553; Email: [email protected]; Website: www.qsa.qld.edu.au Suggested learning experiences: • Exploring (yr11 and developing an understanding of) aspects of duration, dynamics, harmony, melody, structure, texture and timbre within selected repertoire. • Identifying musical elements and compositional devices in heard and unheard music and how they are used within the structure of the whole, or section of, a piece • Listening to recordings and reading the scores from a wide range of music contexts, genres and styles • Deconstructing the notation of a piece to understand more fully the use of musical elements in a wide variety of repertoire. • Attending live performances (when available), watching videos • Comparing musical works • Investigating musical contexts, genres and styles with reference to related historical, social, cultural and philosophical backgrounds • Determining the style of a composition and evaluating stylistic consistency • Creating and notating rhythms, melodies and harmonic progressions • Representing musical compositions in score format • Evaluating and editing composition using audiation, drafting and peer review • Writing idiomatically for specific instruments, voices and other sound sources • Creating and arranging music relating to performed and analysed repertoire. • Singing, playing or conducting a variety of music • Making adjustments to the sound during performance to enhance its quality • Rehearsing to improve accuracy, technique, ensemble skills, style and presence Heroes and Villains (Year A Terms 2 & 3) Focus An exploration of how composers have portrayed heroes and villains or a related moods (eg triumphant, sinister) in a variety of musical works. Students develop knowledge and understanding of a range of musical styles and genres which highlight the dichotomous character traits of heroes and villains. By investigating and analysing, students develop an awareness of the features, characteristics and nuances inherent in particular works and genres and the role of musical elements in character portrayal. This unit has a vocal focus. Suggested assessment: The assessment during this unit could be selected from: • Formal test covering the styles studied in class, using both studied and unstudied repertoire, requiring (yr11 some) extended analytical responses to aural and/or visual sources. • Analysis task involving comparing and contrasting two works of the same genre (eg opera) but from different historical or social contexts. • Rehearse and perform a piece from the studied repertoire, as performer or conductor • Accompany a performance • Year 12 – composition for 2-4 voices a capella or accompanied. • Year 11 – arrangement of a given melody for 2-4 voices a capella or accompanied. Conditions of implementation are given in the Assessment Outline (p.10) Suggested repertoire: • • • • • • • Gilbert & Sullivan Pirates of Penzance, The Mikado Mozart Don Giovanni Rodgers & Hammerstein South Pacific; Bernstein West Side Story; Sondheim Sweeney Todd, Kander & Ebb Cabaret Lloyd-Webber Cats, JC Superstar, Gershwin Porgy & Bess, Schonberg Les Miserables Schubert Erlkonig Handel Hallelujah Chorus, St Matthew’s Passion Amorosi Heroes Live Forever; and other contemporary music portraying elements of heroes/villains. PLEASE NOTE: This is a sample provided by a school. It is not an official publication of the QSA. Queensland Studies Authority Ground floor, 295 Ann Street, Brisbane. PO Box 307, Spring Hill Queensland 4004 Phone: (07) 3864 0299; Fax: (07) 3221 2553; Email: [email protected]; Website: www.qsa.qld.edu.au Suggested learning experiences: • Identifying musical elements and compositional devices in heard and unheard music and how they are used within the structure of the whole, or section of, a piece • Listening to recordings and reading the scores from a wide range of music contexts, genres and styles • Deconstructing the notation of a piece to understand more fully the use of musical elements in a wide variety of repertoire. • Attending live performances and theatrical productions(when available), watching videos • Comparing musical works • Investigating musical contexts, genres and styles with reference to related historical, social, cultural and philosophical backgrounds • Determining the style of a composition and evaluating stylistic consistency • Creating and notating rhythms, melodies and harmonic progressions • Writing accompaniments • Representing musical compositions in score format • Evaluating and editing composition using audiation, drafting and peer review • Writing idiomatically for specific instruments, voices and other sound sources • Creating music for a specific purpose, relative to context, genre, style and mood • Singing, playing or conducting a variety of music • Making adjustments to the sound during performance to enhance its quality • Rehearsing to improve accuracy, technique, ensemble skills, style and presence • Playing and singing at sight Jazz Styles (Year A Term 4) Focus An investigation and study of a range of repertoire and styles of jazz music. Suggested assessment: The assessment during this unit could be selected from: • • • • • • Composition in a jazz style Arrangement of a melody in a jazz style Rehearse and perform a piece from the jazz repertoire, as performer or conductor Improvising Yr 12s only - Formal test covering the styles studied in class, using both studied and unstudied repertoire, requiring (yr11 some) extended analytical responses to aural and/or visual sources. Yr 12s only - An analysis of an unstudied work from one of the studied genres, contexts or composers. May be presented electronically with visual and audio additions. Suggested repertoire: • • • • • • • • • • • • • Bessie Smith – Backwater Blues Bille Holiday – Billie’s Blues Louis Armstrong – West End Blues, Ory’s Creole Trombone Weill – Mack the Knife Glenn Miller – In the Mood, Little Brown Jug, Tuxedo Junction, Ellington – It Don’t Mean a Thing, Ko-Ko, Take the A-Train Weather Report - Birdland Porter - Delovely Gershwin – Piano Concerto in F, Piano Prelude #1 Joplin – Pineapple Rag Charlie Parker – Au Privave, A Night in Tunisia Ed Wilson – 12 metre boogie, Recycled Blues (aka song for Sarah) Artisans Workshop - Ridiculous PLEASE NOTE: This is a sample provided by a school. It is not an official publication of the QSA. Queensland Studies Authority Ground floor, 295 Ann Street, Brisbane. PO Box 307, Spring Hill Queensland 4004 Phone: (07) 3864 0299; Fax: (07) 3221 2553; Email: [email protected]; Website: www.qsa.qld.edu.au Suggested learning experiences: • Identifying musical elements and compositional devices in heard and unheard music and how they are used within the structure of the whole, or section of, a piece • Listening to recordings and reading the scores from a wide range of music contexts, genres and styles • Deconstructing the notation of a piece to understand more fully the use of musical elements in a wide variety of repertoire. • Attending live performances (when available), watching videos • Comparing musical works • Exploring the music conventions in different cultures • Investigating musical contexts, genres and styles with reference to related historical, social, cultural and philosophical backgrounds • Determining the style of a composition and evaluating stylistic consistency • Creating and notating rhythms, melodies and harmonic progressions • Representing musical compositions in score format • Arranging music from one context, genre or style to another • Evaluating and editing composition using audiation, drafting and peer review • Writing idiomatically for specific instruments, voices and other sound sources • Creating music for a specific purpose, relative to context, genre, style and mood • Singing, playing or conducting a variety of music • Making adjustments to the sound during performance to enhance its quality • Rehearsing to improve accuracy, technique, ensemble skills, style and presence • Presenting analyses in a variety of media • Improvising Big Bangs (Year B Weeks 1-15) Focus An investigation and exploration of some significant breakthroughs in western music that have contributed to its development over the past two millennia. • • • • Big Bangs in Compositional Technique Big Bangs in Instruments Big Bangs in Music Technology Yr 11 only – Foundation music concepts & skills Suggested assessment: The assessment during this unit could be selected from: • Formal test covering the styles studied in class, using both studied and unstudied repertoire, requiring (yr11 some) extended analytical responses to aural and/or visual sources. • An analysis of an unstudied work from one of the studied “bangs” or composers. May be presented electronically with visual and audio enhancements. • Performance of music from a studied genre, context or composer (may be as conductor) • (yr 12 only) Composition in a particular style studied in class Suggested learning experiences: • • • Suggested repertoire: • Plainsong, organum • Bach – Well Tempered Klavier ; Little Fugue in Gm, Toccata & Fugue in Dm • Bull – The Kings Hunt • Mozart – Piano Concerto, Symphony #40 in Gm, Eine Kleine, Le Nozze di Figaro • Chopin – Fantasie-Impromptu • Rossini – William Tell Overture • Purcell – Dido & Aeneas • Oldfield – Tubular Bells • Fanshawe – African Sanctus • Crumb - The Ancient Voices of Children • Reich – Its Gonna Rain, New York Counterpoint • Boulez – Hammer without a Master PLEASE NOTE: This is a sample provided by a school. It is not an official publication of the QSA. Queensland Studies Authority Ground floor, 295 Ann Street, Brisbane. PO Box 307, Spring Hill Queensland 4004 Phone: (07) 3864 0299; Fax: (07) 3221 2553; Email: [email protected]; Website: www.qsa.qld.edu.au • • • • • • • • • • • • • • • Studying the way music and its development have been shaped by revolutions in areas such as instruments, composition and technology. These revolutions may include: o Music notation o Harmony o Polyphony o Equal temperament o The piano o Valves o Opera o Music printing o Music recording o Synthesis, sequencing o Computer notation and scoring o Sonata form o Avant Garde (minimalism, aleatory, graphic notation etc) Exploring (yr11 and developing an understanding of) aspects of duration, dynamics, harmony, melody, structure, texture and timbre within selected repertoire. Identifying musical elements and compositional devices in heard and unheard music and how they are used within the structure of the whole, or section of, a piece Listening to recordings and reading the scores from a wide range of music contexts, genres and styles Deconstructing the notation of a piece to understand more fully the use of musical elements in a wide variety of repertoire. Attending live performances (when available), watching videos Comparing musical works Investigating musical contexts, genres and styles with reference to related historical, social, cultural and philosophical backgrounds Determining the style of a composition and evaluating stylistic consistency Creating and notating rhythms, melodies and harmonic progressions Representing musical compositions in score format Arranging music from one context, genre or style to another Evaluating and editing composition using audiation, drafting and peer review Writing idiomatically for specific instruments, voices and other sound sources Creating music for a specific purpose, relative to context, genre, style and mood Singing, playing or conducting a variety of music Making adjustments to the sound during performance to enhance its quality Rehearsing to improve accuracy, technique, ensemble skills, style and presence Film Music (Year B Weeks 16-30) Focus Throughout this unit, students examine the musical score as an integral structural element of cinema, and explore the role of music in films through analysing repertoire, composing and performing. A variety of genre and styles could be studied, including pop, jazz, folk; music from other countries and selected orchestral works. Suggested Assessment: • Suggested learning experiences: Analysing repertoire: Extended written task - Analytical essay discussing the manipulation of music elements and compositional devices used in a chosen excerpt from film and the relationship between the scene/action and the music (Year11) • • • - Analytical comparative essay discussing two or more excerpts from the one film, or two or more films from the one composer and the manipulation of music elements and compositional devices used Formal Test Composition underscoring a film excerpt Performance of piece of music from a film • • • • • Suggested Repertoire (based on composers): • • • • • • • • John Williams - ‘Jaws’, ‘Starwars Trilogy’; ‘Schindler’s List’; ‘Far & Away’; the ‘Superman’ series I, II, III & IV; ‘E.T.’; the ‘Indiana Jones’ movies; ‘Close Encounters of the Third Kind’; ‘J.F.K’; ‘Home Alone’; ‘Empire of the Sun’; ‘Minority Report’; ‘Hook’; ‘Harry Potter and the Philosopher’s Stone’; ‘War of the Worlds’; ‘The Terminal’; Danny Elfman – ‘Beetlejuice’; ‘Edward Scissorhands’; ‘Dick Tracy’; ‘Midnight Run’; ‘Men In Black’; ‘To Die For’; ‘Red Dragon’; ‘Spiderman I & 2’; ‘Hulk’; Bernard Herrmann – ‘Citizen Kane’; ‘The Day the Earth Stood Still’; ‘Psycho’; ‘Cape Fear’ John Barry - Goldfinger’; ‘Born Free’; ‘A View to a Kill’; ‘Dances with Wolves’; Jerry Goldsmith - ‘Planet of the Apes’; ‘Chinatown’; ‘Star Trek – the Motion Picture’; ‘Psycho II’; ‘Gremlins I & 2’; ‘Rambo series’; ‘The Burbs’; ‘First Knight’; ‘Mulan’; ‘The Omen’; ‘The Mummy’; Hans Zimmer - ‘Rain Man’; ‘Never Ending Story II’; ‘Driving Miss Daisy’; ‘The Power of One’; ‘The Prince of Egypt’; ‘Gladiator’; ‘Mission Impossible II’; ‘King Arthur’; ‘Batman Begins’; ‘The Lion King’; ‘Spanglish’; Howard Shore – ‘Mrs Doubtfire’; ‘Analyse This’; ‘Silence of the Lambs’; ‘The Lord of the Rings’ series; ‘The Aviator’ Harry Gregson-Williams – ‘Antz’; ‘Chicken Run’; ‘Spy Kids’; ‘Shrek’; ‘Sinbad, Legend of the Seven Seas’; ‘Shrek 2’; ‘Bridget Jones: The Age of Reason’; ‘The Chronicles of Narnia – The Lion, The Witch and The Wardrobe’ PLEASE NOTE: This is a sample provided by a school. It is not an official publication of the QSA. Queensland Studies Authority Ground floor, 295 Ann Street, Brisbane. PO Box 307, Spring Hill Queensland 4004 Phone: (07) 3864 0299; Fax: (07) 3221 2553; Email: [email protected]; Website: www.qsa.qld.edu.au • • • • • • • • • Identifying and analysing musical elements and their manipulation while analysing repertoire, composing and performing Analysing repertoire to discover how composers use music to underscore the action in a film (through the manipulation of musical elements) Deconstructing repertoire to more fully understand compositional devices and techniques Discussing the roles that music plays in films (including setting the scene; underscoring the action; portraying characters, source music), listening and viewing appropriate examples; discussion of how the musical elements are used to achieve the desired result Viewing excerpts from films and analysing each in terms of the role the music plays in the sequence, the relationship between the scene/action and the music and the use of musical elements and compositional devices and their relationship to the music’s role in the film sequence Comparing film scores and composers Identify and discuss elements of music and compositional devices in a range of genres and styles Identify types of sound used in specific film sequences, and ways music is used in selected excerpts from films Experimenting with sounds, instruments, styles to portray character themes Compose short music work’s using available sound sources (vocal, instrumental, found sounds) to underscore film excerpts, to create a time or place and/or to create a character themes Performing extracts of a variety of works from films, both vocal and instrumental Developing effective rehearsals skills Making adjustments to the sound during performance to enhance its quality Rehearsing to improve accuracy, technique, ensemble skills, style and presence My Island Home (Year B Term 4) Focus The study of a range of repertoire, styles and composers of Australian music, including: • • • Australian Art Music Australian Popular/Rock Music Australian Indigenous Music Suggested Assessment: • Formal test • Arrangement of Australian melody for 2-4 voices, a capella or accompanied. • Composition reflecting the style of an Australian composer/performer. • Performance of a piece from the Australian music repertoire. • Research task, analysing the body of work of an Australian composer/performer. Suggested Repertoire: • “Boinko & Billio and other children’s Pieces for Piano” – Whiticker • Dragonflies – Miriam Hyde • Knips Suite – Carl Vine • Russian Rag – Elena Kats-Chernin • Earth Spirit – Betty Beath • Dance Gundah – Philip Bracanin • Seven Ages of Man; Festival Overture – Colin Brumby • Voices of Gondwana; Once on a Mountain – Stephen Leek • Past Life Melodies – Sarah Hopkins • Playback; Four Miniatures for Piano– Mary Mageau • Fandango – Ann Carr-Boyd • White Knight and Beaver – Martin Wesley-Smith • Works of Australian popular artists, including Barnes, Farnham, Williamson, Morrison, Wilson, Yothu Yindi, Anu, and others • Traditional indigenous music Suggested learning experiences: • Identifying musical elements and compositional devices • Reading a score to correlate sound & notation • Deconstructing notation • Listening to recordings from a wide range of contexts, genres and styles • Attending concerts, viewing videos • Exploring innovative music-making techniques • Comparing musical works • Exploring music conventions in different cultures • Determining how mood and character is achieved through use of musical elements • Creating compositions • Representing compositions in score format • Creating and notation rhythms, melodies and harmonies • Creating music for a variety of sound sources • Writing accompaniments • Creating and arranging music relating to performed and analysed repertoire • Singing/playing/conducting a variety of music • Realising a score • Practising individual parts • Interpreting notation within context, style and genre • Rehearsing to improve accuracy, technique, ensemble skills, style and presence in performance. PLEASE NOTE: This is a sample provided by a school. It is not an official publication of the QSA. Queensland Studies Authority Ground floor, 295 Ann Street, Brisbane. PO Box 307, Spring Hill Queensland 4004 Phone: (07) 3864 0299; Fax: (07) 3221 2553; Email: [email protected]; Website: www.qsa.qld.edu.au Suggested Assessment Plan Assessment tasks should be chosen from the lists provided in the unit overviews, and should demonstrate a balance across the three general objectives. The student’s best achievement in each criterion will be selected and used for summative purposes (in addition to the one task in term 4 year 12). Only these items will appear on the profile, and the items chosen may differ from student to student. Year A Year 11 Unit Analysing Repertoire Composing Music’s Greatest Hits Formal test covering the styles studied in class, using both studied and unstudied repertoire, requiring some extended analytical responses to aural and/or visual sources. Approximately 1.5 hours, 300 word minimum Arrangement of a theme from the repertoire (either as recorded sound or written score) (Term 1) Heroes & Villains (Terms 2&3) Jazz Styles (Term 4) Performing 16 bars minimum Extended written analysis task involving comparing and contrasting two works of the same genre (eg opera) but from different historical or social contexts. 600-800 words. Rehearse and perform a piece from the musical theatre repertoire, as performer, conductor or accompanist. May be from the vocal /instrumental music program. At least 3 minutes in length. Arrangement of a melody in a jazz style. 16 bars minimum Rehearse and perform a piece from the jazz repertoire, as performer or conductor. May be from the vocal/ instrumental music program. Alternatively, piece may be improvised to a specific jazz style. At least 3 minutes in length. PLEASE NOTE: This is a sample provided by a school. It is not an official publication of the QSA. Queensland Studies Authority Ground floor, 295 Ann Street, Brisbane. PO Box 307, Spring Hill Queensland 4004 Phone: (07) 3864 0299; Fax: (07) 3221 2553; Email: [email protected]; Website: www.qsa.qld.edu.au Year 12 Unit Analysing Repertoire Composing Performing Music’s Greatest Hits Formal test covering the styles studied in class, using both studied and unstudied repertoire, requiring extended analytical responses to aural and/or visual sources. Approximately 1.5 to 2 hours. 500-600 words minimum. Composition (either as recorded sound or written score) reflecting a particular genre, context or composer. 32 bars minimum. Performance of music from a studied genre, context or composer (may be as conductor or accompanist). May be from the vocal/ instrumental music program. Extended written analysis task involving at leat two works to support or refute a given contention. 800 – 1000 words Composition for (recommended 2-4) voices acapella or accompanied that portrays either “good” or “evil” or describes an interplay between the two. 32 bars minimum. Rehearse and perform a piece from the musical theatre repertoire, as performer, conductor or accompanist. May be from the vocal /instrumental music program. At least 3 minutes in length. An analysis of an unstudied work from one of the studied genres, contexts or composers. May be presented electronically with visual and audio enhancements. Approximately 1000 words for extended written response, or 4 minutes of presentation. Composition (vocal, instrumental or mixed) in a jazz style. 32 bars minimum. Rehearse and perform a piece from the jazz repertoire, as performer or conductor. May be from the vocal/ instrumental music program. Alternatively, piece may be improvised to a specific jazz style. At least 3 minutes in length. (Term 1) Heroes & Villains (Terms 2&3) Jazz Styles (Term 4) one task is to be completed in any one of the criteria, following student/teacher negotiation At least 3 minutes in length. PLEASE NOTE: This is a sample provided by a school. It is not an official publication of the QSA. Queensland Studies Authority Ground floor, 295 Ann Street, Brisbane. PO Box 307, Spring Hill Queensland 4004 Phone: (07) 3864 0299; Fax: (07) 3221 2553; Email: [email protected]; Website: www.qsa.qld.edu.au Year B Year 11 Unit Analysing Repertoire Big Bangs Extended written task, investigating one or more of the musical “big bangs” that have shaped the development of western music. Approximately 600800 words. (Weeks 1-15) Composing Performing Performance of music from a studied genre, context or composer (may be as conductor or accompanist). May be from the vocal/instrumental music program. At least 3 minutes in length. Composition (may be vocal, instrumental or mixed) of a piece to accompany a given section of film. Work may be dramatic or mood underscore. 30 seconds in duration. Music of Film (Weeks 16-30) My Island Home (Term 4) Formal test covering the styles studied in class, using both studied and unstudied repertoire, requiring some extended analytical responses to aural and/or visual sources. Approximately 1.5 hours, 300 word minimum Rehearse and perform a piece from a film score as performer, conductor or accompanist. May be from the vocal/ instrumental music program. At least 3 minutes in length. Arrangement of a given Australian melody for (recommended 2-4 voices) acapella or accompanied. 16 bars minimum. PLEASE NOTE: This is a sample provided by a school. It is not an official publication of the QSA. Queensland Studies Authority Ground floor, 295 Ann Street, Brisbane. PO Box 307, Spring Hill Queensland 4004 Phone: (07) 3864 0299; Fax: (07) 3221 2553; Email: [email protected]; Website: www.qsa.qld.edu.au Year 12 Unit Analysing Repertoire Composing Performing Big Bangs Extended written task, investigating one or more of the musical “big bangs” that have shaped the development of western music. Approximately 1000 words. Composition (instrumental, vocal or mixed) in a particular style studied in class or in students own style. 32 bars minimum. Performance of music from a studied genre, context or composer (may be as conductor or accompanist) May be from the vocal/ instrumental music program. (Weeks 1-15) At least 3 minutes in length. Music of Film (Weeks 16-30) My Island Home (Term 4) one task is to be completed in any one of the criteria, following student/teacher negotiation Extended analysis task, comparing and contrasting two works from the same film music composer (eg Williams, Goldberg, Faltermeyer) May be presented electronically with visual and audio enhancements. Approximately 1000 words for extended written response, or 4 minutes of presentation. Composition (may be vocal, instrumental or mixed) of a piece to accompany a given section of film. Work may be dramatic or mood underscore. 1 minute in duration. Rehearse and perform a piece from a film score as performer, conductor or accompanist. May be from the vocal/ instrumental music program. At least 3 minutes in length. Formal test covering the styles/composers studied in class, using both studied and unstudied repertoire, requiring extended analytical responses to aural and/or visual sources. Approximately 1.5 to 2 hours. 500-600 words minimum. Composition (may be vocal, instrumental or mixed) in a style that reflects a studied Australian composer/performer. 32 bars/ 1 minute minimum. Rehearse and perform a piece from the Australian music repertoire (popular or art music), as performer, conductor or accompanist. May be from the vocal/ instrumental music program. At least 3 minutes in length. PLEASE NOTE: This is a sample provided by a school. It is not an official publication of the QSA. Queensland Studies Authority Ground floor, 295 Ann Street, Brisbane. PO Box 307, Spring Hill Queensland 4004 Phone: (07) 3864 0299; Fax: (07) 3221 2553; Email: [email protected]; Website: www.qsa.qld.edu.au Sample Student Profile Sunshine Beach SHS Profile for Senior Music SUNSHINE BEACH SHS - MUSIC Name: Yr 11 ASSESSMENT ITEM ANALYSING REPERTOIRE Yr 12 COMPOSING YEAR 11 (all formative) 1. ANALYSING REPERTOIRE 2. COMPOSITION 3. PERFORMANCE INTERIM LEVEL OF ACHIEVEMENT AT MONITORING YEAR 12 (all summative) 4. ANALYSING REPERTOIRE 5. COMPOSITION 6. PERFORMANCE INTERIM LEVEL OF ACHIEVEMENT AT VERIFICATION 7. POST VERIFICATION TASK EXIT LEVEL OF ACHIEVEMENT PLEASE NOTE: This is a sample provided by a school. It is not an official publication of the QSA. Queensland Studies Authority Ground floor, 295 Ann Street, Brisbane. PO Box 307, Spring Hill Queensland 4004 Phone: (07) 3864 0299; Fax: (07) 3221 2553; Email: [email protected]; Website: www.qsa.qld.edu.au PERFORMING
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