music investigation session notes here
Association of Music Educators 2015 VCE Music Teachers’ Conference SESSION NOTES Music INVESTIGATION SATURDAY 21 FEBRUARY SESSION 1 MUSIC STYLE AND COMPOSITION 9.30am – 1.00pm Mark McSherry Matt Pankhurst Helen Champion SESSION 2. MUSIC INVESTIGATION 1.30PM PLENARY SESSION VCAA Update Helen Champion Outcome 1 – Investigation report Lynne Morton Outcome 3 – Performance exam report Rod Marshall Q&A 3.00PM TEACHING STRATEGIES WORKSHOPS Teaching strategy workshop MI 1 MI:1.1: Selecting repertoire for the end of year exam/linking with Focus Statement Rod Marshall MI:1.2: Arranging Gavin Cornish MI:1.3: Enhancing and harnessing creativity in Outcome 2 - Composition in Music Investigation Matt Pankhurst MI:1.4: Surviving and achieving in the Multi-Study Classroom Lynne Morton 4.00PM Teaching strategy workshop MI 2 MI:2.1: Using the new assessment guide numbers for School Assessed Coursework. Lynne Morton MI:2.2: Improvisation Rod Marshall MI:2.3: Arranging Gavin Cornish MI:2.4: Enhancing and harnessing creativity in Outcome 2 - Composition in Music Investigation Matt Pankhurst 5.00PM: CLOSE OF DAY 1 **Notes included in this document SUNDAY 22 FEBRUARY SESSION 3. MUSIC PERFORMANCE PLENARY SESSION 9.30am VCAA update Helen Champion 10.00am Outcome 3 – Musicianship Examiner’s report Barry Fletcher 10.30am Outcome 2 – Performance technique Reviewer’s report David Graham 11.00am Outcome 1 – Performance Examiners report Eddie Dorn Q&A TEACHING STRATEGIES WORKSHOPS 12.45pm Teaching strategy workshop MP:1 MP:1.1: What your musicianship students need to learn and how to teach it – Deboral Smith MP:1.2: The things I wish I knew when I started teaching my first VCE instrumental student – Shannon Ebeling MP:1.3: Preparing and presenting successful group performances –Mary Jo Kelly MP:1.4: Surviving and achieving in the Multi-Study Classroom – Lynne Morton MP:1.5: Dialogue with a mentor – Roland Yeung MP:1.6: NEW - Auralia 5. VCE aural with audio recordings, notation excerpts & multipart dictation! – Peter Lee 2.00pm Teaching strategy workshop MP:2 MP:2.1: Listening Analysis: Building up listening skills – Jennifer Gillan MP:2.2: Rhythm Expert: iPad app and rhythmic dictation – Andrew Philpot MP:2.3: Selecting repertoire appropriate for each student – Outcome 1 – Manfred Pohlenz MP:2.4: Engaging learning activities in musicianship – James LeFevre MP:2.5: Technical What? Engaging your students to design and improve Outcome 2 – Kate Brady MP:2.6: Musition & Auralia 5 – Classroom reporting, testing and cloud! – Peter Lee 3.30pm Teaching strategy workshop MP:3 MP:3.1: Designing a School-assessed Coursework Assessment Task – Deborah Smith MP:3.2: What are the expressive elements of music in performance interpretation, and analysis of music previously unheard? – Roland Yeung MP:3.3: Integrating jazz into the VCE music curriculum – Tim Nikolsky MP:3.4: VCE Music Performance: How the year unfolds in the life of a school – Fiona Branford MP:3.5: The technical SAC – Don’t invent problems! – John Ferguson MP:3.6: NEW - Auralia 5. VCE aural with audio recordings, notation excerpts & multipart dictation! – Peter Lee **Notes included in this document 4.30pm CLOSE OF CONFERENCE MUSIC INVESTIGATION PLENARY SESSION Outcome 1 – Investigation Report Lynne Morton MUSIC INVESTIG ATION 2015 Lynne Morton Belmont High School MUSIC INVESTIGATION • Focus Area – ask yourself can it be demonstrated through performance? If not, the Focus Area will need to be m o d i fi e d s o t h a t i t c a n b e demonstrated through performance. T h e c o n c e p t o f t h e M u s i c InvesJgaJon Focus Area is not to be an essay topic or a mini thesis! • F o c u s A r e a A p p r o v a l s – a r e dependent on whether it can be demonstrated through performance; t h e d e p t h o f p e r f o r m a n c e techniques; the relevance of the proposed performance program to the Focus Area Lynne Morton Belmont High School MUSIC INVESTIGATION COURSEWORK • How are you as a teacher linking the outcomes to the Focus Area and the elements of Music? • Outcome 1 – DemonstraJng an understanding of the performance pracJces/contexts and influences • Unit 3 SAC Outcome 1 Performance/ Commentary is recommended for authenJcaJon, that includes characterisJcs, techniques and performance pracJces, analysis of a sample of works, and audio/video excerpts to support analysis eg students could present a report that includes all of these items and demonstrate live, the techniques being highlighted Lynne Morton Belmont High School MUSIC INVESTIGATION COURSEWORK • Outcome 3 – Performance (program to be representaJve of the Focus Area) Unit 3 15min, Unit 4 10min • Unit 3 & 4 Outcome 3 SAC – Performance/Commentary is recommended for authenJcaJon of the performance of technical work and exercises relevant to the Focus Area, and how the technical work is informing the development of the performance program Lynne Morton Belmont High School MUSIC INVESTIGATION COURSEWORK AUDIT • How are you as a teacher demonstraJng that you are covering the requirements for each outcome? • Do you use a Jmeline for your class acJviJes? • What resources and acJviJes are you using to promote the Focus Area intent? • How are you guaranteeing that the Focus Area can be demonstrated through performance? • How are you communicaJng with the Instrumental Music staff/Classroom Music staff/ Tutors? • Do you need help? • What can you do to improve your teaching of this course? Lynne Morton Belmont High School MUSIC INVESTIGATION COURSEWORK • Unit 4 Outcome 2 -‐ ComposiJon/ ImprovisaJon/Arrangement • What exercises/techniques linking to the Focus Area style are being incorporated? • Unit 4 SAC Outcome 2 Performance/ Commentary is recommended for authenJcaJon. Students are to present and perform their composiJon/improvisaJon/ arrangement that uses the characterisJcs, performance techniques relevant to the Focus Area, and an explanaJon on HOW the work is representaJve of the Focus Area Lynne Morton Belmont High School NEW GRADING SYSTEM FOR SACS 2015 Music Inves+ga+on Unit 3 Unit 3 SACs contribute 25% to the final assessment Outcome 1: Present a report (performance and commentary or mulJmedia or wri_en or a combinaJon of these formats) that discusses characterisJcs, techniques and performance pracJces of works representaJve of a Focus Area. The report will need to define the Focus Area and include: • Analysis of a sample of works • Audio/video excerpt to support analysis • Discussion of characterisJcs and pracJces and other issues that influence interpretaJon of works MARKS /60 Lynne Morton Belmont High School NEW GRADING SYSTEM FOR SACS 2015 Music InvesJgaJon Unit 3 Unit 3 SACs contribute 25% to the final assessment Outcome 3: Performance of technical work and exercises relevant to the Focus Area and descripJon of how this technical work is informing development of the performance program. MARKS /15 Lynne Morton Belmont High School NEW GRADING SYSTEM FOR SACS 2015 Music Inves+ga+on Unit 4 Unit 4 SACs contribute 25% to the final assessment • Outcome 2: Present and perform a composiJon, improvisaJon or arrangement of a music work that uses characterisJcs, performance techniques and other convenJons relevant to the Focus Area AND an explanaJon of how the work is representaJve of the Focus Area (wri_en or mulJmedia or oral) MARKS /60 Lynne Morton Belmont High School NEW GRADING SYSTEM FOR SACS 2015 Music InvesJgaJon Unit 4 Unit 4 SACs contribute 25% to the final assessment Outcome 3: Performance of technical work and exercises relevant to the Focus Area and descripJon of how this technical work is informing development of the performance program. MARKS /15 Lynne Morton Belmont High School MUSIC INVESTIGATION • ModeraJon • Are you in a moderaJon group? • The benefits of moderaJon Lynne Morton Belmont High School MUSIC INVESTIGATION 2015 morton.lynne.d@edumail. vic.gov.au Lynne Morton Belmont High School MUSIC INVESTIGATION TEACHING STRATEGY WORKSHOP MI:1.4 Surviving and achieving in the Multi-Study Classroom Lynne Morton Music Inves+ga+on Outcome 1 Inves.ga.on • The combined class approach using a Listening Journal highlights the elements of Music in a progressive pedagogy to develop greater depth of understanding in the elements of Music. Previous and current examiners reports, detail the lack of understanding by many students of the elements of Music eg. melody – students discuss rhythm, dynamics etc but not the characteris+cs of the melody! This workshop aims to give teachers a Listening Journal approach that highlights a variety of Musical elements and builds on student knowledge progressively throughout the year, to bring depth of understanding to the Focus Area. • 2011 VCE Study Design . . . “On comple+on of this unit the student should be able to demonstrate understanding of performance prac+ces, context/s and influences on music works. Lynne Morton Belmont High School Music Inves+ga+on Outcome 1 Key Knowledge includes: • • • • • • • • Aural and theore+cal concepts that underpin ways in which elements of music, including structure, melody, harmony, rhythm, tone colour, texture, dynamics, tempo, ar+cula+on and instrumenta+on, are characteris+cally treated within a sample of works representa+ve of the Focus Area Strategies for preparing performances of selected group and solo works Idioma+c instrumental techniques associated with the sample of works Performance prac+ces and conven+ons associated with the Focus Area and sample of works Leading composers/performers associated with the selected Focus Area and sample of works Social, cultural, personal, historical, geographical and commercial influences that impact on the selected Focus Area and sample of works Ways in which works chosen for performance are representa+ve of the Focus Area Issues that impact on interpreta+on of works selected for performance Music terminology and language appropriate to iden+fica+on, descrip+on and discussion of characteris+c features of the sample of works and works selected for performance Lynne Morton Belmont High School Music Inves+ga+on • • • • • • • • • Key Skills includes the ability to: Describe the Focus Area Aurally and visually analyse a sample of music works that are representa+ve of the Focus Area, including works that are selected for performance in Area of Study 3 Apply aural and theore+cal Knowledge to iden+fy, describe and discuss Ways in which elements of music are characteris.cally treated in the sample of works Idioma+c instrumental techniques associated with the selected Focus Area and ways in which they are applied within the sample of works, including works chosen for performance Social, cultural, personal, historical, geographical and commercial influences that have had an impact on both the Focus Area and the sample of works Performance prac+ces and conven+ons associated with the Focus Area and ways in which these might be applied in performance of the selected program of works Issues that influence interpreta+on of works selected for performance Use appropriate music terminology and language Lynne Morton Belmont High School Music Inves.ga.on Elements of Music Lynne Morton Belmont High School Focus Area Lynne Morton Belmont High School Variety of Focus Areas • The development of Nocturnes (for Solo Piano) beginning with the style’s origin with John Field (Nocturne in C minor) and then looking at innova+ons made by other composers such as Chopin and Faure as well as the different approach of C20 composers. • The stylis+c characteris+cs used by Guitarists Jeff Beck, Mark Knopfler and Albert King, and the use of different varia+ons of a finger-‐ picking method to achieve the style. Lynne Morton Belmont High School Focus Areas • Vocal performance techniques and characteris.cs of recognised female jazz vocalists from 1940-‐2010. • A demonstra.on of how the early French saxophone style and techniques were developed in the C20, as influenced by Marcel Mule • A demonstra.on of the development of the contemporary use of polyrhythms and other performance techniques (e.g. double bass drum and various accent paQerns) on the drum kit in modern progressive rock and metal styles 1990 to present Lynne Morton Belmont High School Class Time Structure • Listening Journal – Elements of Music • Aural Training – Intervals, Chords and progressions, rhythmic and melodic dicta+on as appropriate • Theory – select one piece from program, specify the tonic key, find the modula+ons and how they relate to the tonic or chord progression within a phrase/sec+on • Technical work or exercises designed and prac+cal work on exercises OR • Inves+ga+on research ques+on OR • Composing/Arranging/Improvisa+on exercises linked to the above Lynne Morton Belmont High School Unit 3 Timeline • Week of March 9 Trial performance of Focus Area works, (at least 15 minutes of contras+ng works), and technical work and exercises • Week of March 16 Submit drae of how technical work and exercises is assis+ng your development and understanding in preparing your Outcome 3 pieces & submit drae of progressive analysis and research discussing characteris+cs, techniques and performance prac+ces of your Focus Area works • Week of March 23 Submit drae of composi+on/improvisa+on/arrangement exercsises and how this relates to your Focus Area Lynne Morton Belmont High School Unit 3 Timeline cont. • Week of March 23 Presenta+on of technical work and exercises explaining how they have improved your instrumental skills and understanding of the Focus Area • Week of May 4 Report Presenta+on -‐ ( p e r f o r m a n c e a n d c o m m e n t a r y o r mul+media or wrihen or a combina+on) discussing characteris+cs, techniques and performance prac+ce of works representa+ve of your Focus Area-‐ SAC • Week of May 11 Technical work and exercises SAC (including a wrihen descrip+on of how selected performance techniques, technical work and exercises have supported the student as an instrumentalist, and in their prepara+on oLynne f works utcome 3) Morton f or BO elmont High School Unit 3 Timeline cont. • Week of May 18 Performance of at least a 15 minute program of Focus Area works • Week of May 25 Submit and perform composi+on/improvisa+on/arrangement exercises and outline how your created work relates to your Focus Area • Weekly Aural and Theory exercises relevant to Focus Area analysis • Weekly Progress report and plan for next week Focus Area Research Lynne Morton Belmont High School New grading system for SACs 2 015 Music Inves.ga.on Unit 3 Unit 3 SACs contribute 25% to the final assessment Outcome 1: Present a report (performance and commentary or mul+media or wrihen or a combina+on of these formats) that discusses characteris+cs, techniques and performance prac+ces of works representa+ve of a Focus Area. The report will need to define the Focus Area and include: • Analysis of a sample of works • Audio/video excerpt to support analysis • Discussion of characteris+cs and prac+ces and other issues that influence interpreta+on of works MARKS /60 Lynne Morton Belmont High School New grading system for Sacs 2015 Music Inves+ga+on Unit 3 Unit 3 SACs contribute 25% to the final assessment Outcome 3: Performance of technical work and exercises relevant to the Focus Area and descrip+on of how this technical work is informing development of the performance program. MARKS /15 Lynne Morton Belmont High School Listening Journal Lynne Morton Belmont High School Listening Journal • Name the instruments • Detail the Form/ structure • Rhythm • Melody • Harmony • Tone Colour • Texture • Instrument techniques • Style? Lynne Morton Belmont High School Key Words Melody • Ascending, descending, repe++ve, short, long, high, low, wide range, small range, stepwise/smooth, based on a scale, based on a triad, jagged, made up of phrases, uses • sequences, tonality – scale forms, modal, contour, draw a line-‐ graph of the phrase shape, upbeat, anacrusis, angular contour (leaps), mo+ve, register, unison, chroma+cism Rhythm • • Riff, straight, shuffle, jazz, swing, la+n, describe note values within a phrase, short rhythmic paherns, call and response, os+natos, off beat, nota+on, +me signatures, mixed metres, polyrhythms, dohed rhythms, even, syncopa+on, tacet, dura+on, note values, pulse, regular, irregular, repe++ve, hemiola, isometric Used as – to maintain momentum, as part of the structure/form, os+nato, to provide pulse/beat, to create unity, to create contrast Harmony • Chord progression, tonality, primary triads, 7ths, altered chords, describe the chords within a phrase, modula+on, consonance, dissonance, resolu+on Lynne Morton Belmont High School Key Words • • Dynamics Loud, soe, crescendo, decrescendo, diminuendo, fade-‐out, fade-‐in, moderately loud, moderately soe, sforzando, smorzando Tone Colour Timbre, warm, cold, shrill, mellow, woody, bright, bleak, dark, light, heavy, percussive, Guitar amp effects, effects units, Powerchords, mute Texture • Monophonic, homophonic, polyphonic • Rubato, rallentando, register, Piano pedalling, vibrato, change of register, Recording techniques – effects, reverbera+on, mutlitracking, Ornamenta+on – trills, mordents, drops offs, smears, pause, harmonics, melismas, scat, Ar+cula+on – legato smooth, semi-‐legato, staccato, mezzo-‐staccato, marcato, accents, tenuto, slides, bends, hammer ons, pull offs, damping, pizzicato, double stop, mute Tempo – slow, fast, broadly, lively, accelerando, rallentando, ritenuto, ritardando, • • • • Interpreta.on Lynne Morton Belmont High School Listening Journal • Describe the different rhythms heard in excerpt 1 • Write the different rhythms heard in excerpt 1 that you have described • Describe the shape of the melody in excerpt 2 • Draw the shape of the melody in excerpt 2 • Describe the varia+ons in tone colour throughout the excerpt • Describe the structural and expressive role of each instrument in excerpt 2 Lynne Morton Belmont High School Listening Journal • Select one instrument, and detail the use of ar+cula+on throughout the excerpt • Write the rhythm of 2 instruments/ voices that performed in excerpt 1, include the ar+cula+ons • Iden+fy and describe the interpreta+ve decisions you believe is evident in the pre-‐recorded work • What expressive elements have been used in the excerpt and what effect do they have? Lynne Morton Belmont High School Listening Journal • What style is this piece of Music? Describe why you think it is this style. • Discuss how the performer’s approached performing the melody and rhythm to highlight the style. • Discuss how the performer’s approached performing the melody and rhythm to demonstrate variety within the style. Lynne Morton Belmont High School Listening Journal • Describe the similari+es and differences between how the different instruments are being played. • Describe the similari+es and differences between excerpt 1 & 2 • Describe the similari+es and differences with the rhythms being performed. • Describe the similari+es and differences with the expressive elements used. Lynne Morton Belmont High School Music Language Highlight the use of key words to extend student language Lynne Morton Belmont High School Music Inves+ga+on Outcome 3 Performance (including Technical Work) • On comple+on of this unit the student should be able to present a performance of music works that communicates understanding of the Focus Area. • Key Knowledge includes: • Strategies for planning a performance program that communicates understanding of a selected Focus Area • Strategies for developing and refining accuracy, control, fluency, flexibility, dexterity, security, coordina+on and clarity in performance as relevant to the selected works and instruments • Idioma+c instrumental tone quali+es and varia+on of tone relevant to the selected repertoire • Stylis.c characteris.cs, musical structures and textures, and use of other elements of music in selected works as they relate to the Focus Area • Ways of achieving purposeful shape in music through ar.s.c varia.on of expressive elements of music, including tone quality, tempo, phrasing, ar.cula.on, dynamics and texture Lynne Morton Belmont High School Cont. Outcome 3 • Strategies for developing expressively shaped, informed interpreta+ons of works that demonstrate understanding of relevant historical and contemporary performance prac+ces, conven+ons and ar+s+c balance between relevant personal, stylis+c, prac+cal, technological, historical and cultural influences • Roles of, and rela+onships between, instrumental voices in selected group works, or parts within the texture of solo works in achieving ar+s+c balance, blend and varia+on of texture Lynne Morton Belmont High School Outcome 3 • • • • • • • • Key skills include the ability to: Prepare and perform a program of group or solo works that communicates understanding of a selected Focus Area Demonstrate accuracy, control, fluency, flexibility, dexterity, security, coordina+on and clarity in the performance of selected works Control idioma+c tone quality, and ar+s+c varia+on of tone in the performance of selected works Demonstrate ar+s+c intent Create shape in performance of selected works through ar+s+c varia+on of expressive elements of music Communicate direc+on in performance through considered, expressive contrasts between structural and textural sec+ons of each work and across the program of selected works Demonstrate developing mastery of historical and contemporary performance conven+ons in interpre+ng and performing selected works Lynne Morton Belmont High School Outcome 3 • Perform informed interpreta+ons of selected works that demonstrate understanding of ar+s+c balance between relevant personal, stylis+c, prac+cal, technological, historical and cultural influences • Demonstrate understanding of the roles of, and rela+onships between, instrumental voices in selected group work/s, or parts within the texture of solo work/s, to achieve ar+s+c balance, blend and varia+on of tone. • D e m o n s t r a t e c o m m u n i c a + o n , i n t e r a c + o n , coopera+on and empathy with other musicians and audience as appropriate to the performance of selected works • Reflect on and evaluate development of a performance program Lynne Morton Belmont High School Technical Work & Exercises • Students specify one piece of Music from their program • Students state what the key of the Music is • Students write the scale one octave ascending • Students write three technical work scales related to the tonic key • Students highlight one rhythm in this piece • Students write an exercise using the tonic key scale, and the rhythm • Students design three exercises using the rhythm and combina+ons from the scale Lynne Morton Belmont High School Exercises • Exercises are directly related to their piece of Music • All technical work and exercises are used in prac+cal sessions • Exercises are designed to enhance the knowledge of the elements of Music • Students keep a weekly journal of technical work and exercises • Student knowledge and technical skill is progressively developed Lynne Morton Belmont High School Assessment Tasks Lynne Morton Belmont High School Unit 3 Assessment Tasks Outcome 1 • Weekly Listening Journal – Elements of Music and stylis+c characteris+cs • Weekly research documented –to include over the Semester characteris+cs, techniques and performance prac+ces of the Focus Area • Analysis of a sample of works (at least two) from the Focus Area program that highlight the Elements of Music • Audio/video excerpts to support analysis • Discussion of characteris+cs and prac+ces and other issues that influence interpreta+on of Focus Area works Lynne Morton Belmont High School Unit 3 Outcome 1 SAC • Present a report (performance and commentary or mul+media or wrihen or a combina+on of these formats) that discusses characteris+cs, techniques and performance prac+ces of works representa+ve of a Focus Area. The report will need to define the Focus Area and include: • Analysis of a sample of works • Audio/video excerpt to support analysis • Discussion of characteris+cs and prac+ces and other issues that influence interpreta+on of works Lynne Morton Belmont High School Unit 3 Outcome 1 SAC • 1. Focus Area statement • 2. Detail the stylis+c characteris+cs of the pieces in your performance program • 3. Audio/Visual excerpts to support your analysis • 4. What techniques and performance prac+ces are representa+ve of your Focus Area? • 5. What has been the most interes+ng thing you have discovered from your research to date? • 6. Present your performance/ commentary of the above Lynne Morton Belmont High School Unit 4 Assessment tasks Outcome 1 • Weekly research to reflect on and evaluate their interpreta+ve approaches to the music works being prepared for performance -‐ balance relevant personal, stylis+c, prac+cal, technological, historical and cultural influences. • Prepare (draes and refine) program notes based on the Focus Area research and evalua+on, that may be used to introduce the Outcome 3 performance program. These notes will inform the Focus Statement provided by the student for the end-‐of-‐year performance examina+on Lynne Morton Belmont High School Unit 4 Outcome 1 Assessment Task – Class Presenta+on of Program Notes • Evaluate and present your interpreta+ve approach to your Focus Area program of Music works. Lynne Morton Belmont High School Unit 4 Music Inves+ga+onTimeline Lynne Morton Belmont High School Unit 4 Timeline • Week of August 10 Trial performance of Focus Area works, (at least 10 minutes of contras.ng works), and technical work and exercises • Week of August 17 Submit dra` of composi.on/improvisa.on/arrangement and how this relates to your Focus Area • Week of August 24 Presenta.on of technical work and exercises explaining how they have improved your instrumental skills and understanding of the Focus Area Lynne Morton Belmont High School Unit 4 Timeline cont. • Week of August 25 Crea.ve Work Presenta.on SAC -‐ Outcome 2: Present and perform a composi.on, improvisa.on or arrangement of a music work that uses characteris.cs, performance techniques and other conven.ons relevant to the Focus Area AND an explana.on of how the work is representa.ve of the Focus Area (wriQen or mul.media or oral) • Week of September 1 Technical work and exercises SAC (including a wriQen descrip.on of how selected performance techniques, technical work and exercises have supported the student as an instrumentalist, and in their prepara.on of works for Outcome 3) Lynne Morton Belmont High School Unit 4 Timeline cont. • Week of September 7 Performance of at least a 10 minute program of Focus Area works • Week of September 14 Performance of created work, with explana.on on how this relates to Focus Area • Weekly Aural and Theory exercises relevant to Focus Area analysis • Weekly Progress report and plan for next week Focus Area Research Lynne Morton Belmont High School New grading system for SACs 2015 Music Inves.ga.on Unit 4 Unit 4 SACs contribute 25% to the final assessment • Outcome 2: Present and perform a composi+on, improvisa+on or arrangement of a music work that uses characteris+cs, performance techniques and other conven+ons relevant to the Focus Area AND an explana+on of how the work is representa+ve of the Focus Area (wrihen or mul+media or oral) MARKS /60 Lynne Morton Belmont High School New grading system for SACs 2015 Music Inves.ga.on Unit 4 Unit 4 SACs contribute 25% to the final assessment • Outcome 3: Performance of technical work and exercises relevant to the Focus Area and a descrip+on of how this technical work is informing development of the performance program. MARKS /15 Lynne Morton Belmont High School eMail Address [email protected] u Lynne Morton Belmont High School MUSIC INVESTIGATION TEACHING STRATEGY WORKSHOP MI:2.1 Using the new assessment guide numbers for School Assessed Coursework Lynne Morton MUSIC INVESTIG ATION 2015 Lynne Morton Belmont High School MUSIC INVESTIGATION • Focus Area – ask yourself can it be demonstrated through performance? If not, the Focus Area will need to be m o d i fi e d s o t h a t i t c a n b e demonstrated through performance. T h e c o n c e p t o f t h e M u s i c InvesJgaJon Focus Area is not to be an essay topic or a mini thesis! • F o c u s A r e a A p p r o v a l s – a r e dependent on whether it can be demonstrated through performance; t h e d e p t h o f p e r f o r m a n c e techniques; the relevance of the proposed performance program to the Focus Area Lynne Morton Belmont High School MUSIC INVESTIGATION COURSEWORK • How are you as a teacher linking the outcomes to the Focus Area and the elements of Music? • Outcome 1 – DemonstraJng an understanding of the performance pracJces/contexts and influences • Unit 3 SAC Outcome 1 Performance/ Commentary is recommended for authenJcaJon, that includes characterisJcs, techniques and performance pracJces, analysis of a sample of works, and audio/video excerpts to support analysis eg students could present a report that includes all of these items and demonstrate live, the techniques being highlighted Lynne Morton Belmont High School MUSIC INVESTIGATION COURSEWORK • Outcome 3 – Performance (program to be representaJve of the Focus Area) Unit 3 15min, Unit 4 10min • Unit 3 & 4 Outcome 3 SAC – Performance/Commentary is recommended for authenJcaJon of the performance of technical work and exercises relevant to the Focus Area, and how the technical work is informing the development of the performance program Lynne Morton Belmont High School NEW GRADING SYSTEM FOR SACS 2015 Music Inves+ga+on Unit 3 Unit 3 SACs contribute 25% to the final assessment Outcome 1: Present a report (performance and commentary or mulJmedia or wri\en or a combinaJon of these formats) that discusses characterisJcs, techniques and performance pracJces of works representaJve of a Focus Area. The report will need to define the Focus Area and include: • Analysis of a sample of works • Audio/video excerpt to support analysis • Discussion of characterisJcs and pracJces and other issues that influence interpretaJon of works MARKS /60 Lynne Morton Belmont High School NEW GRADING SYSTEM FOR SACS 2015 Music InvesJgaJon Unit 3 Unit 3 SACs contribute 25% to the final assessment Outcome 3: Performance of technical work and exercises relevant to the Focus Area and descripJon of how this technical work is informing development of the performance program. MARKS /15 Lynne Morton Belmont High School NEW GRADING SYSTEM • Unit 3 Area of Study 1 Outcome 1 • Demonstrate understanding of performance pracJces, context/s and influences on music works. • This outcome will contribute 60 marks out of 75 marks allocated to School-‐assessed Coursework for Unit 3. It will be assessed by one or more tasks, which will contribute a total of 60 marks. Lynne Morton Belmont High School NEW GRADING SYSTEM Performance descriptors The following descriptors provide a guide to the levels of performance typically demonstrated within each range on the assessment task/s. MARK RANGE 49-60 marks DESCRIPTOR: typical performance in each range An informed and perceptive description of the Focus Area. Highly detailed analysis of selected works demonstrates sophisticated understanding of pertinent characteristics of the music enhanced by a wide range of highly relevant music examples and insightful annotations. Very well chosen contextual NEW GRADING SYSTEM MARK DESCRIPTOR: typical RANGE performance in each range 37-48 A clear and concise marks description of the Focus Area. Detailed analysis of selected works shows strong understanding of relevant characteristics of the music supported by a range of appropriate music examples and clearly articulated NEW GRADING SYSTEM MARK DESCRIPTOR: typical RANGE performance in each range 25-36 A generally clear marks description of the Focus Area. Analysis of selected works demonstrates general understanding of some relevant characteristics of the music supported by a range of generally appropriate music examples and NEW GRADING SYSTEM MARK DESCRIPTOR: typical RANGE performance in each range 13-24 A limited description marks of the Focus Area. Analysis of selected works shows some understanding of a limited range of characteristics of the music referenced by a limited range of music examples and annotations with limited detail and/or NEW GRADING SYSTEM MARK DESCRIPTOR: typical RANGE performance in each range 1–12 Very limited marks description of the Focus Area. Analysis of selected works shows minimal understanding of a very limited range of characteristics of the music. Music examples NEW GRADING SYSTEM • Unit 3 Area of Study 3 Outcome 3 • Present a performance of music works that communicates understanding of the Focus Area. • This outcome will contribute 15 marks out of 75 marks allocated to School-‐assessed Coursework for Unit 3. It will be assessed by one or more tasks, which will contribute a total of 15 marks. Lynne Morton Belmont High School NEW GRADING SYSTEM MARK DESCRIPTOR: typical RANGE performance in each range 13–15 Insightful marks understanding of relationship between Focus Area and range and nature of material performed. Outstanding levels of accuracy, control, fluency, NEW GRADING SYSTEM MARK DESCRIPTOR: typical RANGE performance in each range 10–12 Clear marks understanding of relationship between Focus Area and range and nature of material performed. Very high levels of accuracy, control, fluency, flexibility, NEW GRADING SYSTEM MARK DESCRIPTOR: typical RANGE performance in each range 7–9 Mostly clear marks understanding of relationship between Focus Area and range and nature of material performed. Competent levels of accuracy, control, fluency, NEW GRADING SYSTEM MARK DESCRIPTOR: typical RANGE performance in each range 4–6 Limited marks understanding of relationship between Focus Area and range and nature of material performed. Limited accuracy, control, fluency, flexibility, dexterity, security, NEW GRADING SYSTEM MARK DESCRIPTOR: typical RANGE performance in each range 1–3 Very limited marks understanding of relationship between Focus Area and range and nature of material performed. Very limited accuracy, control, fluency, flexibility, dexterity, MUSIC INVESTIGATION COURSEWORK • Unit 4 Outcome 2 -‐ ComposiJon/ ImprovisaJon/Arrangement • What exercises/techniques linking to the Focus Area style are being incorporated? • Unit 4 SAC Outcome 2 Performance/ Commentary is recommended for authenJcaJon. Students are to present and perform their composiJon/improvisaJon/ arrangement that uses the characterisJcs, performance techniques relevant to the Focus Area, and an explanaJon on HOW the work is representaJve of the Focus Area Lynne Morton Belmont High School NEW GRADING SYSTEM FOR SACS 2015 Music Inves+ga+on Unit 4 Unit 4 SACs contribute 25% to the final assessment • Outcome 2: Present and perform a composiJon, improvisaJon or arrangement of a music work that uses characterisJcs, performance techniques and other convenJons relevant to the Focus Area AND an explanaJon of how the work is representaJve of the Focus Area (wri\en or mulJmedia or oral) MARKS /60 Lynne Morton Belmont High School NEW GRADING SYSTEM FOR SACS 2015 Music InvesJgaJon Unit 4 Unit 4 SACs contribute 25% to the final assessment Outcome 3: Performance of technical work and exercises relevant to the Focus Area and descripJon of how this technical work is informing development of the performance program. MARKS /15 Lynne Morton Belmont High School NEW GRADING SYSTEM • Unit 4 Area of Study 2 Outcome 2 • Compose/improvise/arrange and perform a music work and discuss the use of music characterisJcs, instrumental techniques, performance techniques and convenJons in the work. • This outcome will contribute 60 marks out of 75 marks allocated to School-‐assessed Coursework for Unit 4. It will be assessed by one or more tasks, which will contribute a total of 60 marks. Lynne Morton Belmont High School NEW GRADING SYSTEM MARK DESCRIPTOR: typical RANGE performance in each range 49–60 Sophisticated marks understanding of Focus Area through informed and perceptive use of elements of music and compositional devices in the work. Refined and well-rehearsed use NEW GRADING SYSTEM MARK DESCRIPTOR: typical RANGE performance in each range 37–48 Detailed marks understanding of Focus Area through informed use of elements of music and compositional devices in the work. Wellrehearsed use of relevant NEW GRADING SYSTEM MARK DESCRIPTOR: typical RANGE performance in each range 25–36 Satisfactory marks understanding of Focus Area through mostly well-informed use of elements of music and compositional devices in the work. Generally well-rehearsed use NEW GRADING SYSTEM MARK DESCRIPTOR: typical RANGE performance in each range 13–24 Limited marks understanding of Focus Area through some relevant use of elements of music and compositional devices in the work. Performance is under-rehearsed and lacks security NEW GRADING SYSTEM MARK DESCRIPTOR: typical RANGE performance in each range 1–12 Very limited marks understanding of the Focus Area through minimal use of elements of music and compositional devices in the work. Performance is under-rehearsed and demonstrates minimal refinement. Very limited NEW GRADING SYSTEM • Unit 4 Area of Study 3 Outcome 3 • Demonstrate arJsJc intent and understanding of the Focus Area in a cohesive and engaging performance of music works. • This outcome will contribute 15 marks out of 75 marks allocated to School-‐assessed Coursework for Unit 4. It will be assessed by one task, which will contribute a total of 15 marks. Task/s Descrip4on • Performance of technical work and exercises relevant to the Focus Area and descripJon of how this technical work is informing development of the performance program. Lynne Morton Belmont High School NEW GRADING SYSTEM MARK DESCRIPTOR: typical RANGE performance in each range 13–15 Mature and highly marks refined technical ability characterises performance of all elements of music. Work is presented with certainty and features complete accuracy, control, fluency, flexibility, dexterity, security, coordination, clarity, NEW GRADING SYSTEM MARK DESCRIPTOR: typical RANGE performance in each range 10–12 Reliable and marks generally refined technical ability is evident in performance of all elements of music. Performance features high levels of accuracy, control, fluency, flexibility, dexterity, security, coordination, clarity, NEW GRADING SYSTEM MARK DESCRIPTOR: typical RANGE performance in each range 7–9 Reliable and marks generally refined technical ability is evident in performance of most elements of music. Performance is sometimes tentative with limited accuracy, control, fluency, flexibility, dexterity, security, coordination, NEW GRADING SYSTEM MARK DESCRIPTOR: typical RANGE performance in each range 4–6 Limited reliability marks and refinement is evident in technical ability across performance of most elements of music. Performance is often tentative with limited accuracy, NEW GRADING SYSTEM MARK DESCRIPTOR: typical RANGE performance in each range 1–3 Very limited marks reliability and refinement is evident in technical ability in performance of most elements of music. Performance is generally tentative with very limited MUSIC INVESTIGATION • ModeraJon • Are you in a moderaJon group? • The benefits of moderaJon Lynne Morton Belmont High School MUSIC INVESTIGATION 2015 morton.lynne.d@edumail. vic.gov.au Lynne Morton Belmont High School Unit 3 Area of Study 1 Outcome 1 Demonstrate understanding of performance practices, context/s and influences on music works. This outcome will contribute 60 marks out of 75 marks allocated to School-assessed Coursework for Unit 3. It will be assessed by one or more tasks, which will contribute a total of 60 marks. Performance descriptors: The following descriptors provide a guide to the levels of performance typically demonstrated within each range on the assessment task/s. MARK RANGE DESCRIPTOR: typical performance in each range 49-60 marks An informed and perceptive description of the Focus Area. Highly detailed analysis of selected works demonstrates sophisticated understanding of pertinent characteristics of the music enhanced by a wide range of highly relevant music examples and insightful annotations. Very well chosen contextual information insightfully highlights specific, relevant influences and their impact on the Focus Area, selected works and associated performance conventions and practices. Provides an articulate, considered and critical discussion of the impact of these influences and the application of relevant performance practices and conventions in performance of works. A sophisticated and articulate use of highly relevant music terminology and language. 37-48 marks A clear and concise description of the Focus Area. Detailed analysis of selected works shows strong understanding of relevant characteristics of the music supported by a range of appropriate music examples and clearly articulated annotations. Carefully chosen contextual information highlights and describes specific influences and their impact on the Focus Area, selected works and associated performance conventions and practices. Provides an informed discussion of the impact of these influences and the application of some performance practices and conventions in performance of works. A detailed use of appropriate music terminology and language. 25-36 marks A generally clear description of the Focus Area. Analysis of selected works demonstrates general understanding of some relevant characteristics of the music supported by a range of generally appropriate music examples and generally relevant annotations. Appropriately chosen contextual information discusses generally relevant influences and their impact on the Focus Area, selected works and some associated performance conventions and practices. Provides some discussion of the impact of some of these influences and the application of performance practices and conventions in performance of works. Generally clear and appropriate music terminology and language is used. 13-24 marks A limited description of the Focus Area. Analysis of selected works shows some understanding of a limited range of characteristics of the music referenced by a limited range of music examples and annotations with limited detail and/or relevance. Some contextual information discusses a limited range of influences and their impact on the Focus Area, selected works and associated performance conventions and/or practices. Range and appropriateness of music terminology and language is limited. 1–12 marks Very limited description of the Focus Area. Analysis of selected works shows minimal understanding of a very limited range of characteristics of the music. Music examples and annotations show very limited relevance and detail. Contextual information demonstrates very limited understanding of influences and their impact on the Focus Area, selected works or associated performance conventions and/or practices. Very limited use of relevant music terminology and language. Task/s Description Present a report that discusses characteristics, techniques and performance practices of works representative of a Focus Area. The report should define the Focus Area and include: • analysis of a sample of works • audio/video excerpts to support analysis • discussion of characteristics and practices and other issues that influence interpretation of works. Unit 3 Area of Study 3 Outcome 3 Present a performance of music works that communicates understanding of the Focus Area. This outcome will contribute 15 marks out of 75 marks allocated to School-assessed Coursework for Unit 3. It will be assessed by one or more tasks, which will contribute a total of 15 marks. Performance descriptors The following descriptors provide a guide to the levels of performance typically demonstrated within each range on the assessment task/s. MARK RANGE DESCRIPTOR: typical performance in each range 13–15 marks Insightful understanding of relationship between Focus Area and range and nature of material performed. Outstanding levels of accuracy, control, fluency, flexibility, dexterity, security, coordination, clarity, idiomatic tone colour and variation of tone, artistic variation of expressive elements of music and use of relevant performance practices and conventions are evident. Relationship between impact of technical matters on shaping of works in performance and development of informed interpretations is articulated in a detailed and perceptive way. 10–12 marks Clear understanding of relationship between Focus Area and range and nature of material performed. Very high levels of accuracy, control, fluency, flexibility, dexterity, security, coordination, clarity, idiomatic tone colour and variation of tone, artistic variation of expressive elements of music and use of generally relevant performance practices and/or conventions. Relationship between impact of technical matters on shaping of works in performance and development of informed interpretations is articulated in a detailed way. 7–9 marks Mostly clear understanding of relationship between Focus Area and range and nature of material performed. Competent levels of accuracy, control, fluency, flexibility, dexterity, security, coordination, clarity, idiomatic tone colour and variation of tone, artistic variation of expressive elements of music and use of some relevant performance practices and/or conventions. Relationship between impact of technical matters on shaping of works in performance and development of informed interpretations is articulated in a plausible way. 4–6 marks Limited understanding of relationship between Focus Area and range and nature of material performed. Limited accuracy, control, fluency, flexibility, dexterity, security, coordination, clarity, idiomatic tone colour and variation of tone, artistic variation of expressive elements of music and/or use of some relevant performance practices and/or conventions is evident throughout. Limited clarity and understanding of the relationship between impact of technical matters on shaping of works in performance and development of informed interpretations. 1–3 marks Very limited understanding of relationship between Focus Area and range and nature of material performed. Very limited accuracy, control, fluency, flexibility, dexterity, security, coordination, clarity, idiomatic tone colour and variation of tone, artistic variation of expressive elements of music and/or use of some relevant performance practices and/or conventions is demonstrated throughout. Very limited understanding of the relationship between impact of technical matters on shaping of works in performance and development of informed interpretations. Task/s Description Performance of technical work and exercises relevant to the Focus Area and description of how this technical work is informing development of the performance program. Unit 4 Area of Study 2 Outcome 2 Compose/improvise/arrange and perform a music work and discuss the use of music characteristics, instrumental techniques, performance techniques and conventions in the work. This outcome will contribute 60 marks out of 75 marks allocated to School-assessed Coursework for Unit 4. It will be assessed by one or more tasks, which will contribute a total of 60 marks. Performance descriptors. The following descriptors provide a guide to the levels of performance typically demonstrated within each range on the assessment task/s. MARK RANGE DESCRIPTOR: typical performance in each range 49–60 marks Sophisticated understanding of Focus Area through informed and perceptive use of elements of music and compositional devices in the work. Refined and well-rehearsed use of relevant instrumental and performance techniques and conventions to achieve idiomatic instrumental sound/s and communicate music ideas. Sophisticated consideration and resolution of issues relating to performer ability and performance space. Expert use of music language and relevant terminology to explain connections between the work and the Focus Area. 37–48 marks Detailed understanding of Focus Area through informed use of elements of music and compositional devices in the work. Well-rehearsed use of relevant instrumental and performance techniques and conventions to achieve idiomatic instrumental sound/s and communicate music ideas. Good consideration and resolution of issues relating to performer ability and performance space. Competent use of music language and relevant terminology to explain connections between the work and the Focus Area. 25–36 marks Satisfactory understanding of Focus Area through mostly well-informed use of elements of music and compositional devices in the work. Generally well-rehearsed use of relevant instrumental and performance techniques and conventions to achieve idiomatic instrumental sound/s and communicate music ideas. Satisfactory consideration and resolution of most issues relating to performer ability and performance space. Generally competent use of music language and relevant terminology to explain connections between the work and the Focus Area. 13–24 marks Limited understanding of Focus Area through some relevant use of elements of music and compositional devices in the work. Performance is under-rehearsed and lacks security and refinement. Limited use of instrumental and performance techniques and conventions to achieve idiomatic instrumental sound/s and communicate music ideas. Limited consideration and resolution of issues relating to performer ability and performance space. Limited use of music language and terminology to explain connections between the work and the Focus Area. 1–12 marks Very limited understanding of the Focus Area through minimal use of elements of music and compositional devices in the work. Performance is under-rehearsed and demonstrates minimal refinement. Very limited application of instrumental and performance techniques and conventions leads to use of instrumental sound/s that are not idiomatic in the context of the Focus Area. Most issues relating to performer ability and performance space are not considered and/or are resolved in ways that lack relevance to the Focus Area. Very limited explanation of connections between the work and the Focus Area. Limited use of music language and terminology. Task/s Description : Present a composition, improvisation or arrangement of a music work that uses characteristics, performance techniques and other conventions relevant to the Focus Area. AND An explanation of how the work is representative of the Focus Area. The explanation may be in one or more of the following formats: • written • oral • multimedia. Unit 4 Area of Study 3 Outcome 3 Demonstrate artistic intent and understanding of the Focus Area in a cohesive and engaging performance of music works. This outcome will contribute 15 marks out of 75 marks allocated to School-assessed Coursework for Unit 4. It will be assessed by one task, which will contribute a total of 15 marks. Performance descriptors The following descriptors provide a guide to the levels of performance typically demonstrated within each range on the assessment task/s. MARK RANGE DESCRIPTOR: typical performance in each range 13–15 marks Mature and highly refined technical ability characterises performance of all elements of music. Work is presented with certainty and features complete accuracy, control, fluency, flexibility, dexterity, security, coordination, clarity, idiomatic tone colour and stylistically appropriate variation of tone and artistic variation of expressive elements of music. A broad range of relevant performance practices and conventions are used in ways that reflect comprehensive understanding of the Focus Area. Relationship between technical material selected for study and decisions relating to shaping, interpreting and presenting a performance program features extensive specialist knowledge, evaluation and reflection. 10–12 marks Reliable and generally refined technical ability is evident in performance of all elements of music. Performance features high levels of accuracy, control, fluency, flexibility, dexterity, security, coordination, clarity, idiomatic tone colour and variation of tone and artistic variation with generally stylistically appropriate application of expressive elements of music. A range of relevant performance practices and conventions are used in ways that reflect understanding of the Focus Area. Relationship between technical material selected for study and decisions relating to shaping, interpreting and/or presenting performance program features some specialist knowledge with detailed evidence of evaluation and reflection. 7–9 marks Reliable and generally refined technical ability is evident in performance of most elements of music. Performance is sometimes tentative with limited accuracy, control, fluency, flexibility, dexterity, security, coordination, clarity and/or idiomatic tone colour and variation of tone. Generally stylistically relevant artistic variation of expressive elements of music and use of performance practices and conventions. Relationship between technical material selected for study and decisions relating to shaping, interpreting and/or presenting performance program includes some specialist knowledge and some evidence of evaluation and reflection. 4–6 marks Limited reliability and refinement is evident in technical ability across performance of most elements of music. Performance is often tentative with limited accuracy, control, fluency, flexibility, dexterity, security, coordination, clarity and/or idiomatic tone colour and variation of tone. Limited artistic variation of expressive elements of music and use of relevant performance practices and conventions. Limited use of specialist knowledge, reflection and/or evaluation is evident in rationale for decisions relating to shaping, interpreting and/or presenting performance program. 1–3 marks Very limited reliability and refinement is evident in technical ability in performance of most elements of music. Performance is generally tentative with very limited accuracy, control, fluency, flexibility, dexterity, security, coordination, clarity and/or idiomatic tone colour and variation of tone. Minimal artistic variation of expressive elements of music and performance practices and conventions are used. Rationale for decisions relating to shaping, interpreting and/or presenting performance is described with minimal specialist knowledge and little evidence of reflection and evaluation. Task/s Description Performance of technical work and exercises relevant to the Focus Area and description of how this technical work is informing development of the performance program.
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