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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: • 
• 
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• 
• 
• 
• 
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, • 
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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 • 
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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.