student tasks level 1

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NCEA LEVEL ONE

SOLO PERFORMANCEMusic 1.1

Achievement Standard 91090

MUSIC

UNLIMITED PAENGA TAWHITI

2011

Freely distributed by....Matt Davis 2011! 1



STUDE NT TASKSMusic 1.1 ( Achievement Standard 91090)

Credits: 6

Internal assessment

Tasks# In order to pass this standard, you will need to perform at least TWO pieces as a

FEATURED SOLOIST on your major instrument, in front of an audience. There will be a

number of assessment opportunities provided throughout the year - in the form of perform-

ance evenings, lunchtime recitals, major productions, in-class performance or jam sessions etc,

as well as events such as smokefree rockquest, jazzquest etc.. Formal assessment for all per-

formance standards will take place at the end of each term. You may also arrange to be assessed

if you are performing solo or with a group outside of school ( eg a local brass band, a commu-

nity theatre group, your own rock band etc), however you must organise this with Matt at

least 1 week prior to the performance. If Matt is unable to assess the performance, you will

need to take part in one of the school-based assessment activities.

# Students wanting to sit NCEA performance standards are strongly advised to attend

music classes, as well as getting lessons with an instrumental tutor. The school currently off ers

tuition in piano, guitar, bass, drums and vocals. If you are studying a diff erent instrument, it

may be possible to organise a tutor or mentor for you... Please see Matt as soon as possible if

you are having difficulty in finding suitable tuition, or if you are not sure whether your instru-

ment would meet the criteria of the standard.

Achievement Criteria

Achievement Perform two pieces of music as a featured soloist. This involves live presentation of music to an audience. The performance must demonstrate

technical, musical, and presentation skills appropriate to students in at least their third year of instrumental study through group itinerant tuition. Each piece of music must be of sufficientlength to demonstrate these skills.

Achievement with Merit Perform two pieces of music effectively as a featured soloist. Perform effectively means that the performance is technically secure, stylistically appro-priate and confidently communicated to the audience.

Achievement with Excellence Perform two pieces of music convincingly as a featured soloist.

Perform convincingly means that the performance is assured, musically expressive and dem-

onstrates interpretive understanding.




Important things to know about this standardWhen performing...

1. You need to be easily heard and seen, have a central or leading role, and play a sepa-rate or uniquely identifiable part.

2. You can be unaccompanied or accompanied, or a featured soloist in a small group.

3. Improvisation can be used as evidence to meet the requirements of the standard.

4. Each performance will be assessed holistically, and a final grade will be awarded

based on the balance of evidence from both pieces.

Preparing for this standard...1. PRACTICE! I recommend spending at least 30 mins a day doing focused practice. If you

find it difficult to practice at home, book in some rehearsal time in the practice rooms at

school, and build this into your timetable. Developing a good practice routine is really help-

ful. Talk to experienced musicians about how they practice their instruments. My tip: Prac-

tice everything slowly with a metronome before attempting to play it at speed!

2. Select your pieces carefully. You should choose pieces that you enjoy ( so that you’ll feel in-

spired to practice them) and that challenge you ( so that practicing them makes you a better

player). However, your pieces should also be manageable and realistic. You should also talkto both Matt and your instrumental tutor about your song choices before you start practic-

ing them. Choose your performance pieces early in the year, so you have plenty of time to

work them up to a performance standard. Avoid the temptation to change your mind about

a piece at the last minute!

3. Listen to as much music as you possibly can! For starters, find recordings of virtuoso players

of your instrument. You should also immerse yourself in the genre of the pieces you are per-

forming - if you are playing a baroque piece, listen to as much baroque as you possibly can ( or

black metal if that’s what you’re playing ). Listen really closely to the way players articulate

and phrase each passage. I recommend starting and finishing each practice session with at

least 10 minutes of focused listening.

4. Watch as many live music performances as you can. You learn a lot more from watching

someone play than just listening to a recording. If you have trouble getting to see live per-

formances, sites such as Youtube and Myspace can be a great source of inspiration. Bear in

mind you are being assessed on your presentation skills and your ability to communicate

with the audience, as well your skill on your instrument. Watching how the pros create a

rapport with their audiences is a great way to develop these skills yourself.




Unpacking the Standard...There are a number of terms used in the wording of this standard that may require a little ex -

planation...

1. Technical Skills - Generally this refers to how confidently and accurately you can play. This

can be demonstrated by playing a fast, challenging piece with very few errors, but good tech-

nique can also be demonstrated by simply holding your instrument correctly ( or standing

correctly ) and using some appropriate technical skills ( such as a guitarist’s hammer-ons or

pinch harmonics). For singers and wind players, having a good strong tone and playing in

tune can also reflect good technique. Technically secure musicians are able to demonstrate

good technique and a clear familiarity with a range of technical skills in their performance.

Assured players can do so with ease...You should include technical exercises in your prac -

tice routine, and focus on trying to play with the best possible technique at all times! Prac-ticing slowly with a metronome is a very good way to work on your technique...

2. Musical Skills - Musical skills really refer to the expressive aspects of your performance.

These include; being able to play in time, using dynamics, having good articulation and

phrasing, being in tune, or having the ability to play a piece from memory ( and so on). I rec-

ommend really focusing on dynamics, articulation and timing with everything your play, as it

is often these things which gives each musician their own unique personality, and makes a

performance musically expressive. Regular, focused listening sessions are essential to de-

veloping good musical skills.

3. Presentation Skills - This is what dramatists refer to as ‘stage-craft’. Presentation skills

can include the way in which you walk on stage, the way you introduce your piece, how en-

gaged ( and engaging ) you are whilst performing, and how well you acknowledge the audi-

ence’s applause etc. Not all genres of music have the same expectations or performance

styles - for instance, no hard-core metal performance would be complete without a little

wind-milling, head-banging, strutting, and leaping off of a Marshall stack... however, it would

be a little weird if you did this whilst performing one of Chopin’s preludes...If stage-craft

isn’t your strong point, you should make sure you at least know the name of the piece and

who composed it ( and when) so that you can introduce your piece confidently.

4. Stylistically Appropriate - Diff erent genres also have diff erent conventions when it

comes to the interpretation of a piece of music. To make some gross generalisations, jazz

music should ‘swing’; baroque music should have an even, mechanical time-feel; romantic

music should have a loose, lyrical feel with lots of dynamics; and rock music should be loud!

It is important that you know what era your pieces were written in, what genre best de-

scribes each piece, and what the stylistic conventions for that genre are.

This document has been prepared using version 1 of the NZQA achievement standard 91090, 17 December 2010




NCEA LEVEL ONE

GROUP PER FORMANCEMusic 1.2


MUSIC

UNLIMITED PAENGA TAWHITI2011





Demonstrate ensemble skills through performing a piece of music as a

member of a group

Credits: 4

Internal assessment

Tasks# In order to pass this standard, you will need to perform at least ONE piece of music as

part of an ensemble, in front of an audience. You can achieve this standard by either taking

part in one of the school elective ensembles - jazz band, choir, rock band etc - or by organising

your own group. There will be a number of assessment opportunities provided throughout the

year - in the form of performance evenings, lunchtime recitals, major productions, in-class per-

formance or jam sessions etc, as well as events such as Smokefree Rockquest, Jazzquest etc..

Formal assessment for all performance standards will take place at the end of each term. You

may also arrange to be assessed if you are performing with a group outside of school ( eg a local

brass band, a community theatre group, your own rock band etc), however you must organisethis with Matt at least 1 week prior to the performance. If assessment is unable to take place,

you will need to take part in one of the school-based assessment activities.


AchievementDemonstrate ensemble skills through performing a piece of music as a member of a group.i.e.. contribute to the cohesion, balance, intonation, feel, style, and accuracy of the group’s per-formance

Achievement with MeritDemonstrate ensemble skills through performing a piece of music effectively as a member of agroup.Your contribution to the cohesion, balance, intonation, feel, style, accuracy and confident presenta-tion of the group’s performance is consistent and musically responsive.

Achievement with ExcellenceDemonstrate ensemble skills through performing a piece of music convincingly as a member of agroup.Your contribution to the cohesion, balance, intonation, feel, style, accuracy and confident presenta-tion of the group’s performance is sustained and assured.




Important things to know about this standard

1. Traditional forms of Maori music may be used for assessment against this standard.

2. Ideally, a group should comprise 3-7 members.

3. Each performer must play a separate or uniquely identifiable part.

4. The ensemble skills must be appropriate to at least a third year of instrumental study

through group itinerant tuition. Music must be selected to ensure ensemble skills are

required of all performers being assessed.

5. Improvisation can be used as evidence to meet the requirements of the standard.

6. The individual performer’s contribution to the piece must be assessed holistically. This

means considering the musicality and merits of the whole performance.

Preparing for this standard...1. Join a band! Working collaboratively with other musicians is one of the best ways to improve

your own playing, and can be a lot of fun. As mentioned above, you can either join one of the

bands provided through school, form your own band or be assessed for your participation ina band outside of school. Play with as many diff erent musicians as you can before settling on

a final line-up. Ideally, you should try to play with musicians of at least a similar level of expe-

rience as yourself for the assessment, in order to show your playing in the best light. Stu-

dents in the same band can be assessed at multiple levels for a performance - eg the drum-

mer could be assessed at level 2 while the guitarist and bass player are assessed at level 1, ac-

companying a singer completing level 3...

2. Set regular rehearsal times. Your band should try to practice at least twice a week in the

month leading up to the assessment. As well as rehearsing together, members should workon their individual parts outside of band practice, in order to maximise the rehearsal time.

There are many diff erent approaches to running eff ective group rehearsals, but generally

they work best when everyone is focused and communicating well, and when all members

are committed to achieving the band’s goals.

3. Selecting repertoire. Choosing compositions and arrangements that work well for your band

and fit the criteria of the assessment is essential. Check with Matt to make sure your piece is

appropriate for the standard before beginning any work.




Unpacking the Standard...Your performance is assessed on how well you demonstrate the following...

1. Cohesion - This is the degree to which your band sounds ‘together’. Group cohesion is generally achieved

through regular, well-organised rehearsals, and clear communication between band members. A lot of factors

contribute to creating cohesion - knowing the ‘form’ or structure of the piece, using the correct dynamics, play -

ing with an accurate time feel ( and not getting lost!) and most importantly listening and responding to the rest

of the group will all help to make your band sound ‘tight’.

2. Balance - Balance in this sense refers to dynamics ( not playing the ukelele whilst perched on a unicycle...). Can

every member of the band be clearly heard, or is the drummer too loud?? Again, this is something that is best

solved through regular rehearsal, and careful listening and awareness of group dynamics from all members of

the band.

3. Intonation - Intonation refers to how in-tune the band sounds. For some instruments ( like pianos) intonation

isn’t really an issue. For others ( such as the violin or saxophone) it is a constant struggle. If you are playing an

instrument that doesn’t have fixed pitch, it is a good idea to invest in a tuner. However, no matter how good

your tuner is, you are still going to need to use your ears very carefully to make sure you are in tune with your

band. Again, regular band practice can help fix tuning issues. ...If you know your piece well enough, you can

stop worrying about which notes you’re playing, and start thinking about how each note actually sounds ...

4. Feel - Feel is difficult to describe - in most senses it really refers to how well you play in time, but it is also a lot

more than that. It is possible to have a great feel and a very loose sense of time, depending on what style of mu-

sic you’re playing. Bass players and drummers often talk about developing their feel by accenting or muting

particular notes in a phrase, or even by deliberately putting certain notes slightly out of time! It might be easi-

est to think of feel as a combination of dynamics, time, articulation and a sense of style.

5. Style - A sensitivity to the genre of the piece you are performing, and an awareness of what you want the band

to actually sound like contribute to the development of a sense of style. Listen to as many bands from the genre

you are playing and analyse your own sound in relation to them. Often the timbr e ( individual characteristic

tone) of the instruments is important in establishing a clear sense of style, especially when electric instruments

are involved, however, a lot of factors contribute to giving the band a clear sense of style - timing, dynamics and

presentation skills can also be important here.

6. Accuracy - Whilst minor mistakes are allowable ( or if you’re lucky, hidden by the rest of the band!), try to play

your part as accurately as possible. You should aim to select pieces where the accuracy of your performance can

be easily assessed-

wall-of

-noise alternative rock or avante

-garde free jazz are all very nice, but are very di

fficultto mark accurately...

7. Presentation - There are lots of ways bands can create amazing presentations. The way in which you interact

with each other adds another dimension ( and usually more energy ) to the performance. Watch bands that do

the presentation side of things well, to get some ideas. Interacting with the audience, each other and the music,

and thinking about the theatrical nature of performing music can really lift a band’s performance.

This document has been prepared using version 1 of the NZQA achievement standard 91090, 17 December 2010




NCEA LEVEL ONE

COMPOSITIONMusic 1.3


MUSIC


2011





Compose two original pieces of music

Credits: 6

Internal assessment

Tasks# Over the course of the year, you will need to write two pieces of original music. Your

pieces can be in any style, and written for any combination of instruments, however, pleasediscuss your ideas with Matt before beginning any work. For those of you taking a music

classes, there will be a number of specific composition tasks ( eg. writing in a particular style,

writing for certain instruments, writing for production, waiata, song -writing and scansion) set

throughout the year. You may use work for these assignments as evidence towards this stan-

dard, or you could work independently on something entirely original. Competitions such as

“Play it Strange” and Smokefree Rockquest provide good incentives for writing your own ma -

terial, and songs written for these events can also be submitted for assessment.

# You may work as part of a group ( 2-5 students) for one or both of your compositions.You will need to be able to clearly identify your contribution to the overall composition, and

will be assessed based on how eff ectively your part contributes to the completed work. ( Your

collaborators will also be able to be assessed for the same composition - level 1 only )

# Any student wanting to sit this standard as part of an independent ( ICL) project will

need to attend weekly 1-1 progress meetings with Matt for at least 3 weeks prior to submission

of the work.

Your final submission should include:

1. An audio recording of your composition

2. Written/ graphic representation of your composition, appropriate to the style or genre ( eg.

TAB, a full score using conventional notation, a lead sheet, a narrative description or a com-

bination of these)

3. A portfolio showing the development of your ideas

4. A completed ‘statement of authenticity’ ( see attached)





Achievement Compose two original pieces of music.

Compose involves the individual and/or collaborative generation, development, structuring,and representation of original musical ideas to create music.

Achievement with Merit Compose two effective original pieces of music.Compose effective pieces of music means that the musical ideas are developed, struc-tured and represented coherently, and the music demonstrates stylistic control.

Achievement with Excellence Compose two convincing original pieces of musicCompose convincing pieces of music means that the musical ideas are developed, struc-tured and represented skillfully, and the music is stylistically assured.

Important things to know about this standard

1 Representation must convey compositional intent as appropriate to the style/genre.Representation must include both audio and visual representation.

Representation of a composition must comprise:•

an audio or audio visual file playable on a CD player or computer without special-ised music software• a visual representation that is appropriate to the style/genre and conveys compo-

sitional intent eg standard music notation, lyric and chord chart, lead sheet, tab,graphic notation, narrative description, or a combination of these.

2 Collaborative composition must involve 2–5 students, working in a group. Each stu-dent’s creative contribution to the group composition must be individually assessed.

3 For improvisation sufficient detail must be supplied in the visual representation togive a clear indication of the composer’s intentions.

4 The assessment criteria must be applied to provide an overall judgment based on theweight of evidence across both compositions.

Preparing for this standard...1# A good understanding of music theory is extremely valuable when creating composi-

tions. I would strongly advise seeking advice and guidance from an experienced musician when

you are starting out with your composition. Joining a music class is a good way to do this...




NCEA LEVEL ONE

MUSIC WORKSMusic 1.6


MUSIC


2011




Important things to know about this standard1# Contrasting contexts refer to the:

• historical, social and/or cultural contexts in which the work was composed and/or performed eg

medieval, renaissance, baroque, classical, romantic, twentieth or twenty-first century ‘art’ music,popular, rock, jazz, musical theatre, music for film, music of the tangata whenua (traditional), mu-sic of other cultures

• composer(s) and/or performer(s) associated with the works• purpose and/or function (eg commissioned works, film music, whakapapa (genealogical narra-

tive)).

2 Musical elements and features refer to:• elements (eg timbre, texture, form)• compositional devices (eg motif, riff, repetition, sequence)• performance practices (eg articulation, call and response, improvisation)• sound production technologies (eg delay, EQ, sound properties of acoustic instruments/taonga

pūoro)•

notation/transmission conventions (eg graphic score, figured bass, jazz/rock chord symbols, oralnarrative).

The score of at least one work must be analysed. Score refers to a conventionally notated score, leadsheet, TAB, or graphic notation.

5 Evidence for assessment may take one or more of the following forms – written, static display, Power-Point, seminar, annotated scores.

6 Traditional forms of Māori music may be used for assessment against this standard.

7 The assessment criteria must be applied to provide an overall judgment based on the weight of evi-dence across the study of both music works.

Preparing for this standard...# In 2011, you will need to attend a level 6 music class during one of the following blocks; 1.2, 2.1 or 3.1, if

you wish to achieve this standard. It will not be possible to attain this standard through independent study.

# A good understanding of musical theory, and a rudimentary ability to read music will greatly help you to

achieve this standard. If you have trouble reading music, seek help from your instrumental tutor or your Learning

advisor. Matt’s music theory book has several chapters on how to read music... Otherwise, there are also some

great resources on-line - just google it! Reading music ( and music theory in general) is hard, but it DOES get easier

with practice. If you make it part of your daily practice, you will be amazed by how quickly you improve!

# You should also know how to carry out and present eff ective research, both as part of a group and inde-

pendently. We will be discussing research strategies throughout the year, but you can also get valuable research

tips from other subject areas - particularly English, Media Studies, Biology and History. You might also like to

seek advice and guidance from others - whanau, community assistants, homebase LAs and other students are a

great source of support and information

.




FORM and STRUCTURE - The “big picture” - how a piece of music is organised. There are anumber of conventions by which this is typically done. The most common are: Binary : Two distinct sections. normally each section repeats AABB Ternary: Three sections where the third is a repeat of the first. ABA Rondo: Multiple sections with the main section returning between

contrasting sections. ABACADA Sonata Form: An expansion of binary form. A first section (exposition) introduces two or morethemes, the first in the tonic, the second in the dominant or a closely related key. The next section(the development section) develops the themes in new keys, and the final section (the recapitula-tion) restates the themes, but ends in the original key. Sonata form emerged in the Classical pe-riod, and was often used for the first movement of solo sonatas, symphonies and concertos Strophic: Song form; Verse/chorus/Verse/Chorus/Bridge/Verse/Chorus/Chorus Through Composed - Music where there are no repeats and ideas change and develop from beginning to end

RHYTHM - Notes of different durations organised into groups and placed in time often in relationto a pulse.

Keywords: Pulse, Beat, Time Signature, Metre, Bar, Barlines, Simple TIme, CompoundTime, Tempo Anacrusis: An unaccented note or a group of notes which precede the first strong beat in aphrase of music. Hemiola: A specific form of syncopation, often used in Baroque music, particularly at impor-tant cadences. The most usual form occurs when a piece in triple time places accents on alternatebeats, giving a temporary duple feel to the music Syncopation: The use of accents on weak beats or between beats, creating tension betweenthe accents of the pulse and the accents of the rhythm Cross Rhythm: Cross rhythm – A rhythmic arrangement which contradicts expected metricalaccents by introducing a different pattern of groupings

DYNAMICS: Volume changes from soft to loud in Music Diminuendo - Get softer over time Decrescendo - Get softer over time Crescendo - Get louder over time Piano: Soft Forte: Loud Terraced Dynamics : Blocks of loud and soft sound with movement between. Often dynamicsare produced by adding or removing instruments. From Baroque music

TIMBRE -A particular characteristic sound; normally a particular instrument. Also means all thedifferent sounds an instrument can make. Envelope - Entire sound consisting of attack through to decay Decay - Dying away of a Sound

Attack - Beginning of a Sound Idiomatic : Refers to the capabilities of an instrument; Alsowhat sets it apart from other instruments: E.g a Trombone can glissando because of how its made Range: How high or low and instrument can play Tessitura: The area within a range of a voice or instrument where a piece mainly lies; Apiece with a high tessitura means its average pitch towards the top of its range

MUSICAL FEATURES can include• compositional devices (eg motif, riff, repetition, sequence)• performance practices (eg articulation, call and response, improvisation)• sound production technologies (eg delay, EQ, sound properties of acoustic instruments/

taonga pūoro)•

notation/transmission conventions (eg graphic score, figured bass, jazz/rock chord sym-bols, oral narrative).


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