sample assessment tasks - school curriculum and...

SAMPLE ASSESSMENT TASKS

MUSIC – CONTEMPORARY ATAR YEAR 11

2014/16395v4

Copyright

© School Curriculum and Standards Authority, 2014

This document – apart from any third party copyright material contained in it – may be freely copied, or communicated on an intranet,

for non‐commercial purposes in educational institutions, provided that the School Curriculum and Standards Authority is acknowledged

as the copyright owner, and that the Authority’s moral rights are not infringed.

Copying or communication for any other purpose can be done only within the terms of the Copyright Act 1968 or with prior written

permission of the School Curriculum and Standards Authority. Copying or communication of any third party copyright material can be

done only within the terms of the Copyright Act 1968 or with permission of the copyright owners.

Any content in this document that has been derived from the Australian Curriculum may be used under the terms of the Creative

Commons Attribution‐NonCommercial 3.0 Australia licence

Disclaimer

Any resources such as texts, websites and so on that may be referred to in this document are provided as examples of resources that

teachers can use to support their learning programs. Their inclusion does not imply that they are mandatory or that they are the only

resources relevant to the course.

1

Sample assessment tasks | Music – Contemporary | ATAR Year 11

Sample assessment task

Music – Contemporary – ATAR Year 11

Task 1 – Unit 1

Assessment type: Aural

The paper will consist of seven questions and will cover the following concepts: identification of scales/modes and intervals chord progression recognition of tonality and modulation rhythmic and melodic dictations

Conditions Time for the task: 60 minutes Formal in‐class assessment, Week 7

Task weighting 3% of the school mark for this pair of units ________________________________________________________________________________________________________

Name:_____________________________________ Mark: / 40

Question 1 (4 marks)

Interval recognition

Identify the four bracketed intervals and write your answers in the spaces underneath the score.

(i) __________________________________ (ii) __________________________________

(iii) __________________________________ (iv) __________________________________

2



Scale recognition

Identify the scale or mode that occurs in the following extracts. Tick () the correct answer.

(a)

(b)


Tonality and modulation

(a) Identify the tonality at the beginning of this extract. Circle the correct answer.

Major pentatonic Minor pentatonic Major Minor

(b) Identify the modulation (if any) that occurs in this extract. Tick the correct answer.

To the relative major

To the relative minor

To the dominant

No modulation

()

Major

Harmonic minor

Chromatic

Minor pentatonic

Melodic minor

()

Major

Harmonic minor

Chromatic

Minor pentatonic

Melodic minor

3



Harmonic progression

Complete the following harmonic progression providing the Roman numerals for the missing chords.

The tonic chord will be played prior to the progression being heard.


Identify two compositional devices evident in the following recording

(i)___________________________________ (ii)_____________________________________

Question 6

Rhythmic dictation (10 marks)

The following extract will be heard six times. Insert the time signature, bar lines and rhythm to the

pitches given. There are 8 bars in total.

4



Melodic dictation

Complete the following melodic dictation to be played six times. The tonic chord and note will be played

prior to the dictation.

5


Marking key for sample assessment task 1 – Unit 1


Interval recognition

Identify the four bracketed intervals and write your answers in the spaces underneath the score.

(i) minor 6th (ii) perfect 4th (iii) minor 7th (iv) Major 6th


Scale recognition

Identify the scale or mode that occurs in the following extracts. Tick () the correct answer.

Description Mark

Chromatic 1

Melodic minor 1

Total /2


Tonality and modulation

(a) Identify the tonality at the beginning of this extract. Circle the correct answer.

Major pentatonic Minor pentatonic Major Minor

(b) Identify the modulation (if any) that occurs in this extract. Tick the correct answer.

To the relative major

To the relative minor

To the dominant

No modulation

6



Harmonic progression

Complete the following harmonic progression providing the Roman numerals for the missing chords.

The tonic chord will be played prior to the progression being heard.

1 mark for each chord, 1 mark for 7th


Identify two compositional devices evident in the following recording

(i) pedal/pedal point/pedal note (ii) sequence

Question 6

Rhythmic dictation (10 marks)

The following extract will be heard six times. Insert the time signature, bar lines and rhythm to the

pitches given. There are 8 bars in total.

1 mark for each beat, bars 1–7 and 1 mark for bar 8 = 15

1 mark for triplet

4 marks for 8 correct bar lines, 3 marks for 6–7 correct bar lines, 2 marks for 4–5 correct bar lines, 1 mark for 2–3 correct bar lines and 0 marks for less than 2 correct bar lines

Divide the total mark of 20 out of 2 for a final mark out of 10.

7



Melodic dictation

Complete the following melodic dictation to be played six times. The tonic chord and note will be played

prior to the dictation.

1 mark for each pitch: 20 marks, divided by 2 for a mark out of 10

1 mark for each rhythm to be completed: 8 marks, divided by 4 for a mark out of 2

Add the two marks together for a total mark out of 12.

8




Task 2 – Unit 1

Assessment type: Performance – Sight reading or Improvisation

Perform a sight reading task from a given excerpt, observing articulation/bowings, phrasing and dynamics

Perform an improvised solo over a given chord progression demonstrating shape, stylistically appropriate rhythmic and melodic creativity, and understanding of the chord sequence and harmonic context

Conditions Time for the task: five minutes, including two minutes preparation Formal in‐class assessment, Week 10 Task weighting 3% of the school mark for this pair of units ________________________________________________________________________________________________________

Sight reading: You will be given two minutes to look at a short musical excerpt during which time you

must not play/sing any notes. You will then be given two opportunities to perform the extract, noting

articulation/bowings, phrasing and dynamics. Marks will only be awarded for your second playing if you

choose to select the option of playing it twice.

OR

Improvisation: You will be required to play an improvised solo over a given chord progression using a

backing CD, backing band or instrumentalist. You will then be given two opportunities to perform the

extract, demonstrating shape, stylistically appropriate rhythmic and melodic creativity and

understanding of the chord sequence and harmonic context. Marks will only be awarded for your

second playing if you choose to select the option of playing it twice.

9



Name:________________________________________ Mark: /34 (3%)

Performance – Sight reading

Description Marks

Rhythm /10

Performs with consistent rhythmic accuracy and tempo control 9–10

Performs with only very slight rhythmic lapses in rhythm and/or tempo 7–8

Performs with competent rhythmic accuracy and maintains a suitable tempo, demonstrating an ability to recover from minor inaccuracies

5–6

Performs with several rhythmic inaccuracies yet manages to maintain a sense of metre, and/or minor fluctuations in tempo

3–4

Performs with many rhythmic errors, displaying an inconsistent pulse and/or significant fluctuations in tempo

1–2

Pitch and intonation /10

Performs with consistently accurate pitch and intonation 9–10

Performs with excellent pitch and intonation with only occasional slight lapses 7–8

Performs with competent pitch and intonation, demonstrating an ability to recover from minor inaccuracies

5–6

Performs with several inconsistencies in pitch and intonation, but manages to maintain a sense of tonality

3–4

Performs with several errors in pitch and intonation, and little sense of tonality 1–2

Tone /6

Performs confidently, displaying excellent tonal control 5–6

Performs with reasonable confidence, but experiences some difficulty with tonal control 3–4

Performs with little or no confidence, and experiences great difficulty with tonal control 1–2

Dynamics, phrasing and bowings/articulation /8

Performs repertoire with excellent sensitivity, musically and accurately interpreting dynamics, phrasing and bowings/articulation

7–8

Performs repertoire with generally accurate interpretation of dynamics, phrasing and bowings/articulation

5–6

Performs repertoire with inconsistent attention and/or some errors with dynamics, phrasing, and bowings/articulation

3–4

Performs repertoire with minimal attention and/or several errors with dynamics, phrasing, and bowings/articulation

1–2

Total mark /34

Note: Zero will be used when there is no evidence demonstrated relating to each criterion.

10


Name:________________________________________ Mark: /34 (3%)

Performance – Improvisation

Description Marks

Rhythm /10

Performs with consistent rhythmic accuracy and tempo control 9–10

Performs with only very slight rhythmic lapses in rhythm and/or tempo 7–8

Performs with competent rhythmic accuracy and maintains a suitable tempo, demonstrating an ability to recover from minor inaccuracies

5–6

Performs with several rhythmic inaccuracies yet manages to maintain a sense of metre, and/or minor fluctuations in tempo

3–4

Performs with many rhythmic errors, displaying an inconsistent pulse and/or significant fluctuations in tempo

1–2

Pitch and intonation /10

Performs with consistently accurate pitch and intonation 9–10

Performs with excellent pitch and intonation with only occasional slight lapses 7–8

Performs with competent pitch and intonation, demonstrating an ability to recover from minor inaccuracies

5–6

Performs with several inconsistencies in pitch and intonation, but manages to maintain a sense of tonality

3–4

Performs with several errors in pitch and intonation, and little sense of tonality 1–2

Tone /6

Performs confidently, displaying excellent tonal control 5–6

Performs with reasonable confidence, but experiences some difficulty with tonal control 3–4

Performs with little or no confidence, and experiences great difficulty with tonal control 1–2

Improvisatory skills /8

Performs a well‐shaped, effective and imaginative improvisation which clearly outlines the chord changes, using clear rhythmic and melodic shapes and voicings, use of repeated motives and a good understanding of the chord sequence and harmonic context

7–8

Performs a mostly effective improvisation, demonstrating consistency with rhythmic and melodic aspects of the style and an understanding of the chord sequence and harmonic context

5–6

Performs an improvisation, demonstrating a basic sense of shape with some rhythmic and melodic aspects of the style, and some understanding of the chord sequence and harmonic context

3–4

Performs an inconsistent and mostly ineffective improvisation, demonstrating a limited awareness of style, inconsistent application of rhythmic and melodic ideas and a limited understanding of the chord sequence and harmonic context

1–2

Total mark /34

Note: Zero will be used when there is no evidence demonstrated relating to each criterion.

11




Task 5 – Unit 1

Assessment type: Cultural and historical analysis This task requires the completion of a graphic organiser/mind map outlining the evolution of a style of rock music and a 1000 word essay based on given criteria, using this material as a starting point. You will be given eight weeks to complete the task, submitting both the essay and the draft material in Week 14. Conditions Period allowed for completion of the task: eight weeks Completed draft and essay to be submitted in Week 14 Task weighting 2% of the school mark for this pair of units _____________________________________________________________________________________ You will be required to write a 1000 word essay discussing the evolution of a style of rock music chosen from the three options below based on a mind map/flow chart, which is to be submitted with your essay. The essay must outline the contribution made by at least one singer/songwriter of the designated works to the development of this style, supported by reference to musical evidence from the designated and related work(s) studied this semester.

Rock’n’roll

Heavy rock/hard rock

Grunge

Part 1: To assist in structuring and planning your essay, you are required to complete a graphic representation of the evolution of your chosen rock style. This mind map/flow chart will summarise developments and changes in instrumentation, form, tonality/melody, rhythm, harmony, texture, lyrics and other relevant features to the style.

Part 2: Complete the essay according to the following criteria.

Discuss the origin and development of the chosen rock style from its early influences through to the full expression of this style, noting musical influences from other preceding rock styles.

Outline the musical changes in the development of this style, referring to at least four music elements; rhythm, tonality/melody, harmony, instrumental techniques, and texture.

Discuss changes made to the instruments of rock and recording techniques and how these influenced the evolution of the style.

Outline cultural, historical and social features that contributed to the development of this style, noting how the musicians and fans expressed their attitudes and ethos through song lyrics and fashion.

Outline the importance of the contribution made by the singers(s)/songwriter(s) of the designated work(s) to the evolution of this style, making specific reference to musical evidence from the works studied throughout the semester and additional works where necessary, to support your discussion.

Include a bibliography which correctly references books and websites used to complete the table and the essay. Use correct referencing throughout the essay where necessary.

12



Description Marks

Completes a graphic organiser illustrating the evolution of the chosen rock style /5

Effectively and comprehensively illustrates the evolution of the style with a form of graphic organiser

5

Illustrates most aspects of the development of the style with some inconsistencies 4

Illustrates most aspects of the development of the style, but only provides simple and sometimes inconsistent responses

3

Provides an incomplete graphic representation of the development of the style with several inaccuracies

2

Does not complete, or provides a mostly incomplete and inaccurate graphic representation of the evolution of the style

1

Discusses the origins and development of the chosen rock style /5

Provides detailed and insightful discussion about the origin and development of the style, accurately referring to influences from preceding rock styles

5

Provides detailed discussion about the origin and development of the style, accurately referring to a number of the preceding musical influences

4

Provides some discussion about the origin and development of the style, referring to some of the preceding musical influences

3

Provides inconsistent discussion about the origin and development of the style, referring to some of the musical influences, with several inaccuracies

2

Provides limited discussion about the origin and development of the style, inaccurately or inappropriately referring to few musical influences

1

Outlines musical changes in this style referring to at least four music elements /4

Makes specific and insightful reference to at least four music elements to describe musical changes to the style

4

Makes some reference to at least three music elements to describe musical changes to the style 3

Makes minimal reference to one or two music elements or refers to some of them incorrectly when describing musical changes to the style

2

Makes limited reference, or mostly incorrect and/or inappropriate references to the music elements, that do not adequately describe musical changes to the style

1

Discusses changes to instruments/ instrumental technique and recording techniques /3

Provides an accurate and detailed discussion about changes to rock instrumentation and resulting influences on instrumentation techniques, as well as to changes in recording techniques

3

Provides a mostly accurate discussion about changes to rock instrumentation and outlines some resulting influences on instrumentation techniques and provides some discussion of recording techniques

2

Provides a mostly inaccurate and incomplete discussion about changes to instrumentation and instrumental techniques, and makes little reference to recording techniques

1

Outlines cultural, historical and social features that contributed to the development of the style with reference to lyrics and fashion

/4

Provides a detailed discussion, comprehensively outlining the cultural, historical and social features that contributed to the development of the style, noting the expression of this style in both lyrics and fashion

4

Provides a mostly detailed discussion, outlining several cultural, historical and social features that contributed to the development of the style, making some reference to their expression in lyrics and fashion

3

Provides some discussion, outlining a few cultural, historical and social features that contributed to the development of the style, with little reference to lyrics and/or fashion

2

Provides limited discussion, making sporadic or no reference to extra‐musical features of the style, with several errors

1

13


Description Marks

Outlines contributions made by the singers/songwriters of the designated works to the development of the rock style

/4

Provides specific and insightful discussion outlining contributions made by at least one singer/songwriter of the designated works to the development of the style with specific reference to supportive works

4

Provides discussion, outlining contributions made by at least one singer/songwriter of the designated works to the development of the style, or detailed discussion outlining the contribution of only one other singer/songwriter with reference to supportive works

3

Provides little discussion outlining contributions made by the singer/songwriter(s) of the designated works to the development of the style, with insufficient reference to selected works or reference to works that are inappropriate

2

Provides limited discussion which is mostly incorrect or inappropriate, with little or no reference to supportive works

1

Cites musical examples from designated and additional works /4

Makes detailed reference to musical examples from both designated works and additional works in support of the question

4

Makes reference to musical examples from both designated works and some additional works in support of the question

3

Makes little reference to musical examples from the designated works and does not refer to additional works

2

Makes limited or no reference to musical examples from the designated works and/or additional works

1

Coherent well‐structured response /3

Presents a coherent, well‐structured and articulate response supporting the main aims of the question

3

Presents an adequate response, but at times lacks clarity of meaning and/or is not of a sufficient quantity to fully express ideas or support the main aims of the question

2

Provides a simple response offering little support for the main aims of the question 1

Provides limited or no support to the main aims of the question 0

Bibliography and referencing /3

Includes correct referencing in the text and a comprehensive and accurate bibliography 3

Includes mostly correct referencing in the text and bibliography 2

Incorrectly uses referencing in the text and Includes a limited and/or irrelevant bibliography 1

Does not include referencing in the text and does not include a bibliography 0

Total /35

14




Task 6 – Unit 1

Assessment type: Theory and composition The paper will consist of three questions and will cover the following concepts: transposition scale writing and recognition chord writing and recognition terminology rhythmic scansion and melody writing Conditions Time for the task: 60 minutes Formal in‐class assessment, Week 14 Task weighting 2% of the school mark for this pair of units

________________________________________________________________________________________________________

Name:________________________________________ Mark: /40

Question 1: Theory skills (15 marks)

(a) Identify the following scales or modes: (3 marks)

(i) ___________________________________________________________

(ii) ___________________________________________________________

(iii) ___________________________________________________________

15


(b) Write a Blues scale on B ascending, using only accidentals (2 marks)

(c) Write the following chords using accidentals (2 marks)

(d) Write the chord symbol for the following notes (1 mark)

(e) Add the following articulation markings to the notes below (3 marks)

(f) Name and define the meaning for the following: (4 marks)

Name: ______________________ Definition: _______________________________

Name: ______________________ Definition: _______________________________

16


Question 2: Transposition (5 marks)

(a) Which of the following extracts (i), (ii) or (iii) will be the correct sounding pitch if the passage on

the top line is transposed down a major 3rd into bass clef? Place a () tick indicating the correct

answer (i), (ii) or (iii). (1 mark)

(b) A trumpet player needs to perform the following excerpt with an ensemble. The only score

available is the conductor’s score with all parts written at concert pitch. Transpose the following

excerpt (including the key signature) so that the trumpet player can play with the ensemble and

sound at concert pitch. (4 marks)

17


Question 3: Rhythmic scansion and Melody writing (20 marks)

Provide a rhythmic scansion for the given text, choosing a time signature and setting the text to an

appropriate rhythm. Make choices regarding syllabification and melisma in the text, using correct placement of dashes and corresponding slurs in the notation.

Choose a key signature and decide on an appropriate tempo. Create a harmonic framework for your melody, taking into account the form of the chosen text. You may need to modify the text to suit your harmonic framework.

Present your melody in lead sheet form, with the chord symbols indicated above the melody and the lyrics written below. Your melody must be at least 8 bars in length. Include appropriate dynamics and articulation and indicate performance directions at the correct positions.

[Lyrics/text to be selected relevant to style being studied]

18



Question One: Theory skills (15 marks)

(a) Scale recognition (3 marks)

(i) C Dorian

(ii) C Major pentatonic

(iii) C Harmonic Minor

(b) Write a Blues scale on B ascending, using only accidentals (2 marks)

(c) Write the following chords using accidentals (2 marks)

E mi

A7 (d) Write the chord symbol for the following notes (1 mark)

D major 7 or Dmaj7

(e) Add the following articulation markings to the notes below (3 marks)

19


(f) Name and define the meaning for the following: (4 marks)

Description Mark

For each chord award: 1 mark for the name: Slide. 1 mark for definition: moving from one note to the next, moving between two given pitches. Often this is performed in by slurring to the next note.

Total /2

Description Mark

For each chord award: 1 mark for the name: Trill. 1 mark for definition: Ornamentation performed as a rapid alternation between two notes, the one provided and the note above. Often starting on the note above the written note and the note above.

Total /2

Question 2: Transposition (5 marks)

(a)

Description Mark

The correct answer for the Bb trumpet is response (ii) – see below. 1

Total /1

(b)

Description Mark

1 mark for correct key signature 1

1 mark for each correct bar 2

1 mark for correct accidentals 1

Total /4

20


Question 3: Rhythmic scansion and melody writing (20 marks)

Description Marks

allocated Marks

Word setting /7Selects a suitable time signature /1Rhythms are appropriate for the words, with effective scansion and correctly placed accents, appropriate application of syllabification, slurs and dashes and some imaginative use of rhythms to enhance the text

4 /4

Rhythms are generally appropriate for the words, with correctly placed accents and mostly effective scansion and/or appropriate application of syllabification, slurs and dashes

3

Rhythms are sometimes inappropriate for the words, with some incorrectly placed accents and occasional ineffective scansion and/or inappropriate application of syllabification, slurs and dashes

2

Rhythms are generally inappropriate for the words, with several incorrectly placed accents. Scansion is generally ineffective and/or inappropriate with several instances of incorrect syllabification, slurs and dashes

1

Consistently uses correctly grouped rhythms 2 /2Uses mostly correctly grouped rhythms 1 Uses several incorrectly grouped rhythms 0 Melody /5Consistently establishes, develops, refines and sustains stylistically appropriate melodic ideas

3 /3

Shows clear evidence of establishing and sustaining stylistically appropriate melodic ideas with some evidence of consistency and development

2

Demonstrates some evidence of establishing mostly stylistically appropriate melodic ideas but uses them sporadically and does not develop or sustain them

1

Little or no evidence of establishing and sustaining melodic ideas with little or no evidence of consistency and development or stylistic appropriateness

0

Melody accurately relates to the chord progression 2 /2Melody is generally accurate for the chord progression with some inconsistencies 1 Melody inconsistently relates or does not relate to the chord progression 0 Harmony /3Uses an accurate and stylistically appropriate chord progression in support of the melody and chosen text

3

Uses a generally accurate and stylistically appropriate chord progression in support of the melody and chosen text

2

Uses a stylistically appropriate chord progression with several errors that inconsistently supports the melody and chosen text

1

Uses a mostly inaccurate and stylistically inappropriate chord progression that does not support the melody or chosen text

0

Dynamics /3Includes effective and stylistically appropriate tempo, dynamics, articulation and score directions

3

Includes suitable tempo and mostly stylistically appropriate, dynamics, articulation and score directions

2

Includes tempo and some stylistically appropriate, dynamics, articulation and score directions

1

Does not include, or includes ineffective and/or stylistically inappropriate tempo dynamics, articulation and score directions

0

Presentation /2Notated melody is neat, accurate and well‐presented in conventional lead sheet format with chord symbols correctly placed

2

Notated melody is neat and generally accurate, presented in conventional lead sheet format with most chord symbols correctly placed

1

Notated melody is not neatly presented in conventional lead sheet format with most chord symbols incorrectly placed

0

Total /20

sample assessment tasks - school curriculum and...

Documents