unit plan
TRANSCRIPT
SENIOR MUSIC UNIT PLAN
UNIT 3 - INNOVATIONS
GERARD CLARK AND OLIVIA WILLIAMS
1
RATIONALE
This unit of study has been created within the guidelines of the Music Senior Syllabus Draft 2 2016 and has
been created in relation to the third unit on Innovations. In this unit, students make and respond to music that
demonstrates innovative use of music elements and concepts, and the manner in which these ideas are used
to communicate new meanings. Students will study how to incorporate innovative music practices to
communicate meaning when performing and composing. They will study the ways in which music traditions
have been challenged, further developed, or even conceptualized to represent, reflect and shape cultural,
societal and technological change. Such innovations in musical language and expression have often been
prompted by the ways in which music reflects and comments on culture and society. Students examine how
music elements and concepts have been used, manipulated and adapted in the promotion of these new ideas
and representations, and the main philosophical ideas that have promoted these changes. The musical styles
and genres that reflect innovations extended from Western art music through to jazz, contemporary and
emerging styles promoted by technological developments. 1
The study of music combines the development of cognitive, psychomotor and affective domains through music
making . Through study in junior high school and the first two units of year 11, students should have continued 2
their development of musicianship both theoretical and practical through making and responding as it is at the
centre of the study of music and a key aspect of this unit. This unit will utilise, but does not require students to
have, background knowledge of musical styles such as jazz, as well as team-work and cooperation skills for
pair or group tasks. Through ‘Making’ (Composition), students experiment with music elements and concepts
and demonstrate their skills and understanding to create new music works. Students resolve music ideas 3
through the manipulation of music elements to convey meaning and/or emotion to an audience. Through
‘Making’ (Performance), students sing and play music and demonstrate their practical music skills through
refining solo and/or ensemble performances. Students realise music ideas through the demonstration and
interpretation of music elements and concepts to convey meaning and/or emotion to an audience. Through
Responding (Musicology), students identify and explain the use of music elements and concepts in a variety of
contexts, styles and genres. They appraise music works through the synthesis of analytical information to
present a music viewpoint. 4
1 Queensland Curriculum & Assessment Authority. (2016). Music Senior Syllabus 2016 Draft 2. Retrieved October 19, 2016, from QCAA, https://www.qcaa.qld.edu.au/downloads/senior/snr_stage1_draft2_music_16.pdf: 26 2 Adams, N. E. (2015). Bloom’s taxonomy of cognitive learning objectives. Journal of the Medical Library Association : JMLA , 103 (3), 152–153. doi:10.3163/1536-5050.103.3.010 3 Australian Curriculum, Assessment and Reporting Authority. (2011). Shape of the Australian curriculum: The arts . Retrieved from http://www.acara.edu.au/_resources/Shape_of_the_Australian_Curriculum_The_Arts_-_Compressed.pdf: 15. 4 Queensland Curriculum & Assessment Authority. (2016). Music Senior Syllabus 2016 Draft 2. Retrieved October 19, 2016, from QCAA, https://www.qcaa.qld.edu.au/downloads/senior/snr_stage1_draft2_music_16.pdf: 8
2
The Context for which the design of the unit plan has been based around is a year 12 classroom in an inner
city Brisbane Secondary school. There is a class size of approximately 25 students all who have an average to
above average level of musical knowledge, understanding and musicianship. By the end of this unit, students
should be able demonstrate technical skills in performance of music; recognise and select music elements and
concepts in composition; apply knowledge and understanding of music elements, concepts and techniques in
composition; interpret music elements and concepts in performance of music; resolve music ideas in
composition; and realise music works in performance. During this Unit year 12 students will look at two 5
overarching periods of innovation within music. Firstly students will study 5 innovative trends in early jazz
before moving into 5 innovative trends in modernism. Both formative and summative styles of assessment
tasks will be used in this unit.
The Summative assessment is in the form of a composition in which the students will focus on the creation of a
musical work which resolves musical ideas through the manipulation of music elements and concepts to
communicate style and intent appropriate to the context of the unit. There will also be two formative pieces of
assessment in the form of studied repertoire listening test to help prepare students for external assessment as
well to help them engage with, identify and study a wide range of innovative repertoire. The pieces chosen for
this listening test are taken from the suggested repertoire list in the draft curriculum and are also included 6
further on in the unit plan. Within this unit there will also be an excursion to a Queensland Symphony Orchestra
“World Beat” Concert, America. This concert will tie into the topics on early jazz innovations and in particular to
the use of jazz in an orchestral setting. Throughout the unit there will revision and quiz lesson and the aim of 7
these is to refresh and reinforce students knowledge and understanding of key topics, histories, pieces,
composers and styles in a fun and informative manner. Students will be put into 4 teams at the start of the unit
and these teams will continue throughout the unit and points from each quiz will accumulate. At the end of the
Unit the team that wins will be awarded a prize.
5 IBID; page 26 6 Queensland Curriculum & Assessment Authority. (2016). Music Senior Syllabus 2016 Draft 2. Retrieved October 19, 2016, from QCAA, https://www.qcaa.qld.edu.au/downloads/senior/snr_stage1_draft2_music_16.pdf: 25 7 Queensland Symphony Orchestra. (2017, April 27). America. Retrieved October 19, 2016, from QSO 2017 season, https://qso.com.au/events/world-beat/america
3
2017 – Year 12 Music - Brisbane Secondary School
Semester 1, term 1 – Innovations in Art music from the first half of the 20th
CE: Monday 23 January - Friday 31 March
● Innovative trends in early jazz
● Trends in modernism
Semester 1 Desired Results UNIT OBJECTIVES
1. Demonstrate technical skills in performance of music
2. Recognise and select music elements and concepts in composition 5. Apply knowledge and understanding of music elements, concepts and techniques in composition 6. Interpret music elements and concepts in performance of music 8. Resolve music ideas in composition 9. Realise music works in performance CORE LEARNING GOALS In this unit of Music, students will be able to:
● Identify and explain the use of music
elements and concepts, including
duration, expressive devices, melody,
tonality, texture and timbre.
● Analyse repertoire to discern
innovations in music according to
common musical elements:
● adopt innovative practices of other
composers in their own composition
● demonstrate innovative composition
techniques when experimenting with,
developing and refining music ideas
● manipulate music elements and
innovative concepts to communicate
music ideas
● resolve their own music works using
imagination and musical understanding
of innovative music concepts and
practices
● explain their innovative use of music
elements in shaping their compositional
ideas
Transfer Students will be able to independently use their learning to...
1. Develop creative works that compositionally focus on pre 1950s musical innovations
2. Recognise and identify music elements and concepts typical of pre 1950’s innovations in music
2. Apply knowledge and understanding of music elements, concepts and techniques from analysis and adopt innovative practices of other composers in their own composition.
3. Possible extensions compositions ● extension activity of arranging a classical piece of music
for jazz.
Meaning UNDERSTANDING
1. Students will understand that musical compositions are constructed through manipulation of interacting musical elements and compositional devices used intentionally (and in this case, innovatively) to communicate meaning.
2. The appearance of a final composition may come together through experimenting with innovative compositional elements, devices and methods.
3. Students will understand that the development of technology has had an important role in extending musical possibilities and this will be explored through the the stimulus compositions of … (need to decide)
ESSENTIAL QUESTIONS 1. How do musicians
incorporate innovative music practices to communicate meaning when composing?
2. How are the elements of music and compositional devices used in early jazz music?
3. What is the role of technology in extending musical possibilities and concepts used to communicate meaning?
4
● demonstrate performance techniques
and skills when singing and playing
repertoire that reflects innovative music
● interpret music elements to convey
meaning in stylistically appropriate ways
Acquisition 1. Students will know how to
select suitable repertoire, from the context of the unit for their performance that will enable, and support, a discerning understanding of musical styles and reflect a personal aesthetic.
2. Students will know how compositional techniques from repertoire can be creatively used or extended with compositional devices and technology.
1. Students will develop their composing skills through a pair formative composition task and an individual formative task
2. Students will extend their compositions through the use digital notetaking software such as Mixcraft and Sibelius.
3. Students will extend their musical understanding through teacher and student-led research and analysis of pre-1950 innovative works, aurally and with score.
Unit 3 Evidence Evaluative Criteria Assessment Evidence 1. The composition show student’s
discernment in his / her choice of innovative musical elements and compositional devices within the context of innovative pre-1950’s music.
2. Student has communicated an understanding of the different styles of innovative music and can identify stylistic characteristics.
COMPOSITION TASK(S): Individually Students will create a composition that specifically uses at least one innovation studied in the unit. 20% of final grade MUSICOLOGY: Students will individually complete two short listening tests throughout the unit that reflect the topics and repertoire studied throughout the unit. Total of 10% of final grade
Unit 3 Repertoire
Selected repertoire styles Selected pieces for Study
trends in early jazz, such as: These pieces have been chosen as they are key composers or pieces of the styles studied.
- Blues Robert Johnston: Sweet Home Chicago; Blues brothers: Sweet Home Chicago
- Ragtime Scott Joplin: The entertainer; maple leaf rag
- Dixieland Louis Armstrong: When the saints go marching in; The Original Dixieland Jazz band; Tiger rag.
- Swing Benny Goodman: Sing, Sing, Sing
- Gypsy Django Reinhardt: Djangology
Trends in modernism, such as: These pieces have been chosen as they are the suggested repertoire for the styles studied in the unit.
5
- Impressionism Debussy: Prelude to the Afternoon of a Faun.
- Primitivism Stravinsky: Introduction; Dance of the Adolescents (The Rite of Spring)
- Expressionism Schoenberg: Five Pieces for Orchestra, Pierrot Lunaire
- Serialism Berg: Violin Concerto
- Neoclassicism Stravinsky: The Rake’s Progress
Semester 2 Learning Plan Summary of Key Learning Events and Instruction
1. Elements and Principles of Music with focus on;
● Trends in Early Jazz ● Trends in Modernism ● Innovative compositions
2. Extension elements include; ● extension activity of arranging a classical piece of music for jazz.
3. Introduction and discussion of different trends in early Jazz as innovative compositional styles. 4. Introduction and discussion of different trends in Modernism as innovative compositional styles. 5. Idea of artistic intention explored and discussed throughout the unit. 6. Through the exploration of innovative music students will make and respond to music that demonstrates innovative use of music elements and concepts, and the manner in which these ideas are used to communicate new meanings. 7. Through the Repertoire study in this unit students will develop skills in Listening, rhythmic Dictation, composing, and score/ aural analysis. 7. Students will have the opportunity to demonstrate their knowledge and understanding of innovations studied through two Repertoire listening tests. 8. Students will have the opportunity to demonstrate their knowledge and understanding of innovations through formative compositional tasks. 9. Students will have the opportunity to demonstrate their knowledge and understanding of innovations through the creation of an original composition highlighting the use of one of the innovations studied. 10. Musicianship will be developed through aural skills and regular theory covered in lessons.
Extension activities will include the opportunity to compose small portfolio compositions such as arranging an orchestral work into a jazz style and these formative compositions could then be extended in future or used in music extension if applicable. Students in exceptional circumstances will be extended with in-depth research on a particular style or composer of an innovation studied.
6
Semester module summary – based on 30 hours
Topic Assessment Module 1 10hours
Innovative trends in early Jazz - QSO excursion - Jazz Club Friday night meet up for any students
interested. 7-9 Lesson on trends and styles of early innovations in Jazz.
Short answer Listening exam on studied repertoire, with students identifying piece and stylistic/innovative traits.
Module 2 10 hours
Trends in Modernism 8-10 lessons on innovative trends and styles in Modernism.
- activities and analysis leading towards development of composition.
Short answer Listening exam on studied repertoire, with students identifying piece and stylistic/innovative traits.
Module 3 10 hours
developing and creating an innovative composition 7-9 lessons on developing and finalising composition
- teacher check in’s - Peer evaluation
Independant composition that explicitly demonstrates the use of one or more innovations studied in the unit
Module Week Class Topic Content Sample Resources
Module 1:
Early Jazz
(Integrate
with
Module
3)
1 Mon Intro to musical
innovations and
early jazz
- Introduce topic
- Focus on pre-1950s innovations, primarily
early jazz
- Carnegie Hall history of African American Music. Includes an interactive timeline with historical information and listening examples. to go through this as a class and get an overview of where the styles fit into place. - List and explain assessment
- Hand out composition task sheet
http://honor.carne
giehall.org/honor/h
istory/index.aspx
Thur
s
Blues - Introduction
- Examples: _______
Score example
- - 12 bar blues (performance activity)
(improvising)
Fri Ragtime - keyboard lesson on playing the
entertainer and through playing
discover what was innovative about
http://makingmusic
fun.net/htm/f_mmf
_music_library/ho
7
the style and develop a
compositional technique to use in
own composition.
meschool-music-les
sons-for-scott-jopli
n.htm
2 Mon Dixieland - explain how different areas of
america produced different jazz
styles, such as dixieland
- collective improvisation activity.
- (https://www.youtube.com/watch?
v=EadpcjMB_2s) - Collective
improvisation
http://www.jazzina
merica.org/LessonP
lan/8/5/207
https://www.youtu
be.com/watch?v=5
SS9EnD_-_Y
Thur
s
Swing
(includes an
element of
numeracy in
music - ted. ed
video)
- Jazz Fundamentals: What Is Swing?
(https://www.youtube.com/watch?
v=31JgwfP15kw)
- Rhythm activity showing the
difference of swing vs straight. (ted
Ed. A-rhythm-etic. The math behind
the beats - Clayton Cameron
- How to write swing music
- Compare and contrast a piece with
swing and a piece without swing.
- http://ed.ted.co
m/lessons/a-rh
ythm-etic-the-
math-behind-th
e-beats-clayton
-cameron
- http://d16outft
0soac8.cloudfro
nt.net/uploade
dFiles/Swing%2
0Baby%20Swin
g%20Teachers%
20Resource%20
Notes.pdf
Fri Gypsy - theory of style
- playing examples on guitar or
ukulele
3 Mon Recap and Quiz
- 4 team buzzer quiz on key aspects
of the module.
- buzzers
Thur
s
Jazz in the
orchestra or
extra lesson
Background on excursion and how
composers began to use jazz in the
orchestra (an american in Paris). How the
excursion ties into the unit.
- extension activity of arranging a
classical piece of music for jazz
https://www.youtu
be.com/watch?v=E
Gt000iascg
Fri QSO World
Beat (America)
or
Documentary
Class excursion to see the QSO Perform
their world beat concert America . In this
concert we student's will get to hear some
of the most celebrated American
composers of the twentieth century
https://qso.com.au
/events/world-beat
/america
8
including Gershwin and Bernstein. This ties
into the current module on Jazz
innovations, Looking at the use of Jazz in
the orchestra.
Module 1:
Bridging
week
between
modules
1 and 2
4 Mon Listening Test
an
Decide pairs or
small groups
for
non-assessed
practice jazz
composition,
start planning.
- first listening test
- small group formative composition
on a jazz innovation.
Thur
s
Listening test
marks and pair
practice
composition
Fri Swimming
Carnival
Module 2:
Trends in
Modernis
m
5 Mon Modernism
Introduction
- GENERAL BACKGROUND ON THE
MODERN ERA
- Important Musical Considerations in the Modern Art Music Era
- Important Developments in Modern Art Music
- Experimentation with NEW SOUNDS
- The Influence of MULTI-NATIONAL STYLES
- Early-20th century Composers (active before 1950)
Thur
s
Impressionism
and
compositions
Background on Impressionism and Prelude
to the Afternoon of a Faun and Bolero .
Example lesson
plan attached
below which
includes resources
https://drive.googl
e.com/drive/u/0/fo
lders/0Bw1G_KkJ-i
U7RWk3MjlWTHVG
M0E
Fri Primitivism Background on Primitivism and The Rite of
Spring
- Aural analysis
Example lesson
plan attached
9
- Melodic dictation activity below which
includes resources
6 Mon Primitivism
cont.
● The Rite of Spring Composition activity
● Possible extension activity to explore the
keeping score website and have a
webquest
http://www.keepi
ngscore.org/sites/d
efault/files/swf/str
avinsky/full
Thur
s
Expressionism - background on expressionism and
free/atonality,
- score analysis → how to convert
into your own composition.
https://www.youtu
be.com/watch?v=ol
wVvbWd-tg
Fri Expressionism
cont.
- comparing expressionism and
impressionism
https://msu.edu/~kubotaer/portfolio/documents/cep810ppt.ppt
“Bernstein on
Schoenberg”https:/
/www.youtube.co
m/watch?v=olwVvb
Wd-tg
7 Mon Serialism - Intro on How to compose in 12
tone
- Ground bass/12 tone composition
activity
https://www.youtu
be.com/watch?v=c
6fw_JEKT6Q
Thur
s
Neo-Classicism - historical background (interwar
years wanted to return to how it
was before)
- ask students what types of sounds
do you think these might have been
- score / aural analysis (the rake's
progress stravinsky)
Music of the 20th Century - Neo classicism - http://www.slideshare.net/CarmenNhs/music-of-the-20th-century-neo-classicism
Fri Recap or extra
lesson.
- Recap of all innovations studied and
how they could be used in a
composition.
- Individual composition time
Module 3:
Compositi
on
8 Mon Listening test
and
composition
work
- Listening test
- Individual composition time
10
Thur
s
Recap and class
quiz
4 team buzzer quiz on key aspects of the
module.
buzzers and
teacher made quiz
Fri Composition
work
Teacher 5-10 min check ins with students
9 Mon Composition
work
Teacher 5-10 min check ins with students
Thur
s
Composition
work
Peer evaluation and feedback - Students to
peer review
using a copy of
the task sheet
and marking
rubric
Fri Composition
work
200-word justification
- For authentication purposes, include an
artist’s statement explaining of the use of
music elements in shaping the purpose and
execution of the composition
(approximately 200 words or spoken
equivalent).
10 Mon Composition
work
Editing and extension applications
Thur
s
Finish
compositions
Finalising of compositions and handing in
of work.
Fri Submit
composition
and movie
Whiplash
11
References
Reference Clark, G. (2016). Primitivism in the Rite of Spring. Retrieved October 19, 2016, from Prezi.com,
https://www.google.com.au/#q=the+rite+of+spring
Fatova Mingus (2010, January 30). Joffrey ballet 1987 rite of spring (1 of 3) Retrieved from
https://www.youtube.com/watch?v=jF1OQkHybEQ
Google Classical (2015, May 16). An American in Paris ~ Gershwin ~ Dudamel and the LA
philharmonic Retrieved from https://www.youtube.com/watch?v=EGt000iascg
HOUSE :ED. (2013). Swing baby swing! Teachers resource notes . Retrieved from
http://d16outft0soac8.cloudfront.net/uploadedFiles/Swing%20Baby%20Swing%20Teachers%20Resource%20
Notes.pdf
Indie, E. Music of the 20th Century - Neo classicism. Retrieved October 19, 2016, from Slide share,
http://www.slideshare.net/CarmenNhs/music-of-the-20th-century-neo-classicism
Jazz at Lincoln Center’s JAZZ ACADEMY (2015a, January 11). Collective improvisation in New Orleans
jazz Retrieved from https://www.youtube.com/watch?v=EadpcjMB_2s
Jazz at Lincoln Center’s JAZZ ACADEMY (2015b, October 12). Exploring New Orleans jazz Retrieved from
https://www.youtube.com/watch?v=5SS9EnD_-_Y
jazzinamerica.org. Dixieland and the swing era. Retrieved October 19, 2016, from
http://www.jazzinamerica.org/LessonPlan/8/5/207
K, P. (1992). Carnegie hall presents honor! A celebration of the African American cultural legacy - A history.
Retrieved October 19, 2016, from http://honor.carnegiehall.org/honor/history/index.aspx
Michigan State University education dept. (2016). Impressionism vs Expressionsim. Retrieved October 19,
2016, from PPT., https://msu.edu/~kubotaer/portfolio/documents/cep810ppt.ppt
naviglec (2009, November 25). 12 tone Serialism Retrieved from
https://www.youtube.com/watch?v=c6fw_JEKT6Q
paxwallacejazz (2013a, October 18). Bernstein on Schoenberg Retrieved from
https://www.youtube.com/watch?v=olwVvbWd-tg
12
paxwallacejazz (2013b, October 18). Bernstein on Schoenberg Retrieved from
https://www.youtube.com/watch?v=olwVvbWd-tg
Queensland Curriculum & Assessment Authority. (2016). Music Senior Syllabus 2016 Draft 2. Retrieved
October 19, 2016, from QCAA,
https://www.qcaa.qld.edu.au/downloads/senior/snr_stage1_draft2_music_16.pdf
Queensland Curriculum and Assessment Authority. (2015). Music (2013) teaching and learning resources:
Learning experiences . Retrieved from
https://www.qcaa.qld.edu.au/downloads/senior/snr_music_13_learning_exp.pdf
Queensland Symphony Orchestra. (2017, April 27). America. Retrieved October 19, 2016, from QSO 2017
season, https://qso.com.au/events/world-beat/america
Symphony, S. F. (2006). A riotous premiere. Retrieved October 19, 2016, from
http://www.keepingscore.org/sites/default/files/swf/stravinsky/full
Ted. Ed. (2014, November 3). A-rhythm-etic. The math behind the beats - Clayton Cameron. Retrieved
October 19, 2016, from Ted. Ed.,
http://ed.ted.com/lessons/a-rhythm-etic-the-math-behind-the-beats-clayton-cameron
A Wave Music Studio Company. Homeschool music lesson plans. Retrieved October 19, 2016, from Scott
Joplin | Homeschool Music Lesson Plans,
http://makingmusicfun.net/htm/f_mmf_music_library/homeschool-music-lessons-for-scott-joplin.htm
13
Brisbane Secondary School Year 12 Music
Semester 1: Innovations in music from the first half of the 20th CE:
Assessment Item Number: Item 1
Task Description/ Assessment technique: Listening Exams
Unit Assessed/Work Program Reference: Repoirte is selected from the recommended list included in Unit 3 of the QCAA Draft 2 Senior Secondary Music Curriculum
Conditions: ● Students will be asked to identify the composer and
title of the set listening works, and to comment on the music in the test.
● Listening test questions The Two listening tests (each 5%) will each have 5 questions, worth one mark.
● The test is is based on 5 audio excerpts which will each be played 3 times during the test. Students will have 3 minutes of silent writing time following the playback of each 1-minute excerpt. Each question is worth 1% of the final percentage mark. At the end of the test, the teacher will repeat the playback of the five excerpts
Length: Two listening tests will be held during the first 20 minutes of three separate Lessons. The tests are scheduled for Week 4 (13 Feb), Week 8 (13 March).
Common Curriculum Elements: 3. identify and explain the use of music elements and concepts When students identify the use of music elements and concepts they locate, recognise and name distinguishing features within music. When explaining, students give an account of how music elements and concepts have been used to create music. 10. evaluate music and justify a viewpoint When students evaluate, they make judgments about the ideas and concepts evident in music works in relation to purpose and context, examining and determining the value or significance of music from various perspectives. When students justify viewpoints, they give valid reasons or evidence to support an answer, response or conclusion. They synthesise their knowledge and understanding of the elements of music into a coherent and complex response to express opinions, ideas and arguments.
Student Name and Class :
Teacher: Mr. Gerard Clark / Ms Olivia Williams Due Dates: The tests are scheduled for Week 4 (13 Feb), Week 8 (13 March). Weighting : This instrument has a weighting of 10% in total (5% per exam) Other: Students can access a repertoire playlist from the class portal page under assessment resources. In most cases it will only be specific sections or movement of the works that have been studied in class Assessment Criteria: Questions 1-4
1. Name the composer and title of this excerpt 2. Identify one of the most prominent stylistic
features of this excerpt (10-30 words) Question 5
1. This excerpt is not from the listening list. It was composed by the same person as one of the works on the listening list, and shares prominent stylistic features. Who do you think is the composer of this excerpt?
2. What aspects of the music led you to your answer for question 5 (10-30 words)?
Overall Grade Awarded
14
Assessment Item: Internal assessment 1: Listening Exams Task: Throughout this unit students have studied composer’s innovative use of music elements and concepts, and the manner in which these ideas are used to communicate new meanings in the first half of the twentieth Century. Drawing from this study Individually, students will complete two listening tests on repertoire studied in the unit. The first exam will be based around music from the trends in early jazz module and the second on trends in modernism. Students will will hear 5, 1 minute excerpts and have to identify who the composer is and Identify one of the most prominent stylistic features of this excerpt. Each test will contain one mystery piece which is by a composer studied and have similar stylistic characteristics.
Jazz Listening Test listening list Modernism listening list
- Robert Johnston: Sweet Home Chicago - Scott Joplin: The entertainer - The Original Dixieland Jazz band; Tiger rag. - Benny Goodman: Sing, Sing, Sing - Django Reinhardt: Djangology
- Debussy: Prelude to the Afternoon of a Faun. - Stravinsky: Introduction; Dance of the Adolescents
(The Rite of Spring) - Schoenberg: Five Pieces for Orchestra, Pierrot
Lunaire - Berg: Violin Concerto - Stravinsky: The Rake’s Progress
Preparation for the task: For this task it is key that students regularly listen to the set listening list for each lesson as the pieces that will be assessed will be talked about and discussed in class. Often students won’t have to listen to the whole piece but rather a movement or section of a work. Students can access a repertoire playlist from the class portal page under assessment resources. In most cases it will only be specific sections or movement of the works that have been studied in class. Student’s need to make sure they are able to identify the use of music elements and concepts they locate, and be able to recognise and name distinguishing features within music so that they can give a valid reasons or evidence to support why they chose that composer and piece.
Conditions:
● Each Question will be worth one mark. ● Students will be asked to identify the composer and title of the set listening works, and to comment on
the music in the test. ● The test is is based on 5 audio excerpts which will each be played 3 times during the test. Students will
have 3 minutes of silent writing time following the playback of each 1-minute excerpt. They will all be played one last time at the end.
● for Questions 1-4 students need to, name the composer and title of this excerpt and Identify one of the most prominent stylistic features of this excerpt (10-30 words)
● for Question 5 the excerpt will not be from the listening list. It was composed by the same person as one of the works on the listening list, and shares prominent stylistic features. Students will need to answer who they think is the composer of this excerpt, and what aspects of the music led you to your answer for question 5 (10-30 words).
● Students can access a repertoire playlist from the class portal page under assessment resources. ● In most cases it will only be specific sections or movement of the works that have been studied in class
15
Listening test: 10 marks
Assessment objectives: 3. identify and explain the use of music elements and concepts When students identify the use of music elements and concepts they locate, recognise and name distinguishing features within music. When explaining, students give an account of how music elements and concepts have been used to create music. 10. evaluate music and justify a viewpoint When students evaluate, they make judgments about the ideas and concepts evident in music works in relation to purpose and context, examining and determining the value or significance of music from various perspectives. When students justify viewpoints, they give valid reasons or evidence to support an answer, response or conclusion. They synthesise their knowledge and understanding of the elements of music into a coherent and complex response to express opinions, ideas and arguments.
Marks The student work has the following characteristics:
0-5 Students Correctly identified composer of each work.
0-5 Students correctly identified most prominent stylistic features of the excerpt
Grade Awarded
Comments:
16
Brisbane Secondary School Year 12 Music
Semester 1: Innovations in music from the first half of the 20th CE:
Assessment Item Number: Item 2
Task Description/ Assessment technique: Independent composition which explicitly uses one or more of the innovations studied in the Unit.
Unit Assessed/Work Program Reference: 6.4.2 Internal assessment 2: Composition 2 from the 2016 Draft 2 of the QCAA Senior Secondary Music Curriculum.
Conditions: ● Students will be given adequate continuous
class time to develop the composition throughout the unit.
● However Students will complete the majority of the task in their own time.
● Minimum one minute in length. ● The composition must demonstrate the use
of an innovation studied in the unit.
Length: 10 weeks to complete
Common Curriculum Elements: This assessment technique is used to determine student achievement in the following objectives: 2. recognise and select music elements and concepts in composition that demonstrate innovation 5. apply knowledge and understanding of music elements, concepts and composition techniques composition that demonstrate innovation 8. resolve music ideas to consolidate and communicate style and intent in composition demonstrating innovation.
Overall Grade Awarded
Student Name and Class :
Teacher: Mr. Gerard Clark / Ms Olivia Williams
Due Dates: 30/03/2017 Weighting : This instrument has a weighting of 20%
Other: Students can present their compositions as a sound recording and/or a score (traditional, graphic or contemporary) Supporting evidence For authentication purposes, include an artist’s statement explaining of the use of music elements in shaping the purpose and execution of the composition (approximately 200 words or spoken equivalent).
Assessment Criteria: Composing:
● The composition show student’s discernment in his / her choice of innovative musical elements and compositional devices within the context of innovative pre-1950’s music.
● Consistent and proficient selection and application of music elements and concepts relevant to the creation of their own innovative composition
● Skilful manipulation and application of compositional techniques in the creation of cohesive and well-structured music.
● Discerning synthesis and convincing expression of music ideas and stylistic characteristics integral to the creation of an innovative composition.
17
Assessment Item: Internal assessment 2: Composition 1 Task: The Composition task assesses the creation of a musical work. Students resolve music ideas through the manipulation of music elements and concepts to communicate style and intent. Throughout this unit students have studied composer’s innovative use of music elements and concepts, and the manner in which these ideas are used to communicate new meanings in the first half of the twentieth Century. Drawing from this study Individually, students will draw upon and apply the knowledge and understanding of genre, forms, historical contexts and styles to create an original composition which explicitly uses one or more of the innovations studied. As part of this composition, supporting evidence will be considered in the understanding of student intentions but will not be assessed and must explain the use of music elements in shaping the purpose and execution of the innovative composition. Preparation for the task: For this composition it is key that you recognise and select music elements and concepts in composition that demonstrates an innovation studied from that unit. This can be any innovation from trends in early Jazz or in Modernism. Once an innovation or innovative style has been selected you need to apply your knowledge and understanding of music elements, concepts and composition techniques to create an original composition that appropriately reflects the innovation chosen. It is important to resolve music ideas to consolidate and communicate the chosen style and intent in your composition, therefore explicitly demonstrating innovation. The Innovations Studied in this unit are: trends in early jazz, such as: − blues − ragtime − dixieland − swing − gypsy
trends in modernism, such as: − impressionism − primitivism − expressionism − serialism − neoclassicism
Conditions:
● duration: 10 weeks.
● students will be given continuous class time to develop the composition.
● minimum one minute in length.
● the composition must demonstrate the use of an innovation studied in the unit.
● Your composition must recognise and select music elements and concepts in composition that
demonstrate innovation
● Your composition must apply knowledge and understanding of music elements, concepts and
composition techniques that demonstrate innovation
● Your composition must resolve music ideas to consolidate and communicate style and intent in
composition demonstrating innovation.
● students can present their compositions as a sound recording and/or a score (traditional, graphic or
contemporary).
18
Composition (20 marks)
Assessment objectives: 2. recognise and select music elements and concepts in composition that demonstrate innovation 5. apply knowledge and understanding of music elements, concepts and composition techniques composition that demonstrate innovation 8. resolve music ideas to consolidate and communicate style and intent in composition demonstrating innovation
Marks The student work has the following characteristics:
0 The work does not reach a standard described by the descriptors above.
1-2 recognises music elements to convey a basic music idea.
3-4 development of composing techniques to explore the potential of composition.
5-6 use of selected music elements shows some understanding of style.
7-8 combination of music elements creates some structure.
9-10 application of music elements, concepts and composition techniques to express style and intent.
11-12 demonstration of style specific composition techniques.
13-14 application of stylistic features specific to style support the style and intent.
15-16 integration of music elements, concepts and composition techniques specific to style creates a cohesive and well-structured work.
17-18 deliberate and considered use of idiomatic writing and nuances specific to style to communicate meaning.
19-20 resolution of meaning is supported by complex interconnections between stylistic features and music elements that create a cohesive work.
Grade Awarded
Comments:
19
BRISBANE SECONDARY SCHOOL
Excursion Consent Form – (Year 12 music QSO Concert) 23/01/2017 Dear Parent/Carer On 03/02/2017, we will be attending a Queensland Symphony Orchestra Performance as part of our Unit on Innovations in Art music from the first half of the 20th CE:. The aims of the Excursion are for students to gain a heightened appreciation and understanding of the distinctively innovative orchestral style early American art music gave to the world. Activity details: QSO salutes the USA in its second WorldBeat event for 2017. In this concert we honour the most celebrated American composers of the twentieth century including Gershwin and Bernstein (Koussevitzky was Russian-born, but a long time director of the Boston Symphony Orchestra). QSO Music Director Alondra de la Parra will conduct a succession of beloved works, and together we will gain a heightened appreciation of the distinctive orchestral style this great nation has gifted to the world of music. Grofé Sunrise and Cloudburst from Grand Canyon Suite
Koussevitzky Double Bass Concerto Gershwin An American in Paris Bernstein On the Waterfront
● Students will catch the train to QPAC with Supervising teachers, please make sure studetn’s are at School by
9am ● This is a low risk Excursion ● Students will be confined to Southbank parklands and the QPAC Surrounds with constant teacher supervision. ● Incase of and concerns see Mr Clark who will be leading the excursion. ● Students are to wear their formal uniforms (blazers, stockings and ties) however will continue without hats ● Students are able to purchase food or bring their own to eat for morning tea before the concert however will
not be able to bring food into the venue so all packaging will have to be disposable ● Students can bring a small bag into qpac or share a bag between 3 or 4 and store it in the cloak room. ● Students will return to school in time for lunch break
Activity Costs: The cost of the excursion will be covered by the Music Department's annual budget, however students will have the option to purchase their own lunch at Southbank or bring their own. If you wish for your child to participate in the activity, please complete this consent form and return all pages (including this page) to: Brisbane Secondary School - Music Department - Mr Gerard Clark / Miss Olivia Williams, 0733963512. For further information about the activity, please contact Mr Gerard Clark / Miss Olivia Williams, on 0733963512 Yours sincerely _____________________________________ _____________________________________
20
Mr John Smith Mr Gerard Clark / Miss Olivia Williams Principal Department Heads Brisbane Secondary School Brisbane Secondary School. Privacy Notice The Department of Education and Training (DET) is collecting the personal information requested in this form in order to: - obtain lawful consent for your child to participate in the activity; - help coordinate the activity; - respond to any injury or medical condition that may arise during, or as a result of the activity; and - update school records where necessary. The information will only be accessed by authorised school staff and will be dealt with in accordance with the confidentiality requirements of s.426 of the Education (General Provisions) Act 2006 (Qld) and the Information Privacy Act 2009 (Qld). The information will not be disclosed to any other person or agency unless it is for a purpose stated above, the disclosure is authorised or required by law, or you have given DET permission for the information to be disclosed. Activity Risks & Insurance Please note that the Department of Education and Training does not have personal accident insurance cover for students. If your child is injured as a result of an accident or incident while participating in the activity, all costs associated with the injury, including medical costs are the responsibility of the parent/carer. Some incidental medical costs may be covered by Medicare. If you have private health insurance, some costs may be also be covered by your provider. Any other costs must be covered by parents/carers. It is up to all parents/carers to decide what types and what level of private insurance they wish to arrange to cover their child. Please take this into consideration in deciding whether or not to allow your child to participate in this activity. Consent By signing this form (below) I agree that:
● I have read all of the information contained in this form in relation to the activity (including any attached material) and I am aware that the Department of Education and Training does not have personal accident insurance cover for students.
● I give consent for my child, _______________________________________________in class ________ , to participate in the Q.S.O. Excursion on 03/02/2017.
● I will pay to the school the costs detailed above for my child’s participation in the activity. ● In the event of an accident or illness, school staff may obtain or administer any medical assistance or treatment my child may
reasonably require, including contacting my child’s doctor. ● I accept liability for all reasonable costs incurred by the Department of Education and Training in obtaining such medical
assistance or treatment (including any transportation costs) and undertake to reimburse the Department of Education and Training the full amount of those costs.
● I have provided the school all relevant details of my child’s medical or physical needs on enrolment and where relevant have updated this information.
Parent/Carer Name: ____________________________________________________________________________(Please Print) Parent/Carer's Signature: _________________________________________________ Date: ________/_________/________ Additional medical information The school collected medical information about your child at enrolment. This information is stored electronically in OneSchool. Please give full details of any new or updated medical information which may affect your child’s full participation in the activity described in the form. ___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ You may also wish to provide the following information*: Name of child’s medical practitioner: ___________________________________ Telephone No.: ________________________ Medicare No:. _____________________________________________________ Private Health Insurance Company (if applicable): _________________________ Membership No.:_______________________ *If an enrolment form for your child has been completed or updated since October 2012 this information will already be recorded in OneSchool. ☐ I would like this additional information about my child’s medical information to be recorded in OneSchool records.
21
22