Music Extension 2020 v1.1 IA3 high-level annotated sample response July 2018 Composition project (35%) This sample has been compiled by the QCAA to assist and support teachers to match evidence in student responses to the characteristics described in the instrument-specific marking guide (ISMG). Assessment objectives This assessment instrument is used to determine student achievement in the following objectives: 1. apply literacy skills using terminology relevant to genre/style, and use referencing and language conventions 2. evaluate two techniques and/or strategies of best practice examine the music elements, concepts and compositional devices in composition express the meaning communicated through the composition apply compositional devices in the creation of their own work manipulate music elements and concepts in composition specific to style and genre resolve music ideas to communicate meaning and intent in composition.

Instrument-specific marking guide (ISMG) Criterion: Applying techniques and processes Assessment objective 5. apply compositional devices in the creation of their own work The student work has the following characteristics: Marks application of compositional devices integral to the work showing understanding and command 10 application of compositional devices to create a unified and cohesive work 9 application of idiomatic compositional devices that develop the work 7–8 application of compositional devices in the creation of their own work 5–6 application of a selection of compositional devices 3–4 evidence of a compositional device 1–2 does not satisfy any of the descriptors above.    

Criterion: Manipulating music elements and concepts Assessment objective 6. manipulate music elements and concepts in composition specific to style and genre The student work has the following characteristics: Marks manipulation of music elements and concepts is consistent and embodies compositional practices 8 manipulation of music elements and concepts makes the chosen style and genre explicit through the synthesis of compositional practices 7 manipulation of music elements and concepts are integrated to enhance the chosen style and genre 5–6 manipulation of music elements and concepts in composition specific to style and genre 3–4 use of a selection of music elements and concepts 2 evidence of music elements 1 does not satisfy any of the descriptors above.    

Criterion: Communicating meaning Assessment objectives examine the music elements, concepts and compositional devices in composition express the meaning communicated through the composition 7. resolve music ideas to communicate meaning and intent in composition The student work has the following characteristics: Marks resolution of the composition through the sustained use of music ideas that communicate subtleties of meaning 11–12 resolution of the composition shows a synthesis of complex music ideas that communicate meaning and intent with sensitivity 9–10 resolution of music ideas that are integral to the communication of meaning and intent 7–8 examination of the music elements, concepts and compositional devices in composition expression of the meaning communicated through the composition resolution of music ideas to communicate meaning and intent in composition 5–6 simple statements made about the music demonstration of music ideas reflects meaning 3–4 description of music ideas evidence of a music idea 1–2 does not satisfy any of the descriptors above.    

Criterion: Evaluating best practice Assessment objective apply literacy skills using terminology relevant to genre/style, and use referencing and language conventions evaluate two techniques and/or strategies of best practice The student work has the following characteristics: Marks evaluation provides evidence of metacognition that informs independent best practice 4–5 application of literacy skills through articulated ideas, controlled structure and the sequencing of information evaluation examines the logic of the two selected techniques and/or strategies 3 application of literacy skills using terminology relevant to genre/style, and use of referencing and language conventions evaluation of two techniques and/or strategies of best practice 2 application of literacy skills to describe ideas identification of techniques or strategies of best practice 1 does not satisfy any of the descriptors above.    

Task Compose one complete work or significant section/movement of a much larger work. You may compose or arrange in any established context, genre and/or style. You may compose for any sound source/s including instrument/s, voice/s and contemporary technologies. Complete a statement of compositional intent that examines the music elements, concepts and compositional devices, and expresses the meaning communicated through the composition. You will also complete a reflective statement that evaluates at least two techniques and/or strategies of best practice that influenced the composition.

Sample response Criterion Marks allocated Result Applying techniques and processes Assessment objective 5 10 Manipulating music elements and concepts Assessment objective 6 8 Communicating meaning Assessment objectives 3, 4 and 7 12 Evaluating best practice Assessment objectives 1 and 2 5 Total 35 The annotations show the match to the instrument-specific marking guide (ISMG) performance-level descriptors.

The Traveler Applying techniques and processes [10] application of compositional devices integral to the work showing understanding and command Repetition of motif creates a sense of movement and time travel. Subtle modulations between relative keys create a seamless effect, evoking imagery of space and time. Manipulating music elements and concepts [8] manipulation of music elements and concepts is consistent and embodies compositional practices Use of triple metre captures the forward movement of time. The notion of openness and wonderment of space is conveyed through the timbre and pitch of the synthesised strings. Mystery is created through the subtle changes in dynamics. Communicating meaning [12] resolution of the composition through the sustained use of music ideas that communicate subtleties of meaning Synthesis of melodic and rhythmic motifs capture the traveler’s feelings of awe and wonder and the notion of space-time continuum. Timbral choices convey the future of time travel, and subtle shifts in texture create moments of seamless tension and resolution.       Click the image for audio. This audio can also be accessed at https://www.qcaa.qld.edu.au/downloads/portal/media/snr_music_ext_20_ia1_ia3_asr_comp.mp3

Statement of compositional intent The Traveler This composition explores the concept of time travel. My original inspiration came from the characters and experiences of Dr Who, and the characters Marty McFly and Doc Brown from the movie series Back to the Future. As such, it was important to capture the transition between moments in time and the environments and experiences that accompany them. The ‘space-time continuum’ is a phrase used by Doc Brown and refers to a four dimensional understanding of the universe. It is understood as a continuum because there are no missing points in space or instants in time. As such, it was important that the music elements captured this understanding of the time travel continuum. To capture this theme, there are notable manipulations of the music elements and concepts. Use of melodic ostinatos capture the forward movement of time. Likewise, the momentum of the waltz inspired the use of triple time. Smooth transitions between traditional and synthesized timbres captured changing environments without disrupting this notion of a space-time continuum. Dynamic shifts were subtle but mostly created by experimenting with texture. As the tempo remains constant throughout, different environments and experiences were captured with a combination of sudden and gradual textural and timbral shifts. Harmonically, there is no use of dissonance within this composition. This choice was made specifically to maintain the notion of a continuum. Subtle moves through relative keys enhance the imagery of changing spaces and time. Finally, the use of a simple legato melodic motif played over the top of the ostinato, captures the character of ‘the traveler’; specifically, his feelings of awe and wonder as he journeys through time. The motif is repeated with subtle variations throughout the entirety of the composition.   Communicating meaning [12] resolution of the composition through the sustained use of music ideas that communicate subtleties of meaning The use of music terminology is relevant to the style. Grammar, paragraphing and sentence structure are clear and ideas are well articulated. The notion of changing environments is clearly expressed through the explanation of the use of timbre. The expression of awe and wonder is clearly expressed and the explanation of the motif and ostinato supports the composer’s intent.          

Reflective statement Evaluating best practice [5] evaluation provides evidence of metacognition that informs independent best practice Three key strategies are evidenced and evaluated in the statement: Strategy 1 — Using the ‘continuum’ idea to experiment with structure, particularly through-composed and blended forms. Strategy 2 — Exploring other works in order to understand the consistent themes found in time-travel compositions.   Evaluating best practice [5] evaluation provides evidence of metacognition that informs independent best practice Strategy 1 has been evaluated as successful, identifying ‘continuum’ as the music idea to explore further with various forms. Re-evaluation of strategy 1 and its potential concerns led to a re-formulated strategy that focused thinking around consistent themes across different stories.   Reflective statement The process of creating a unique composition that captured the subject of time travel challenged me to understand how music elements could be manipulated to portray story and characters in different environments across space and time. Originally inspired by the Back to the Future series, it seemed logical that a better understanding of the notion of a space-time continuum would provide the foundation upon which I would structure a believable programmatic composition. After exploring many resources, the definition that determined the musical form was that space-time ‘is believed to be a “continuum” because so far as we know, there are no missing points in space or instants in time’ (Ostenwald, 2017) Whilst I admit that this understanding of such a complex phenomenon is somewhat limited and narrow, this understanding enabled me to experiment by blending rondo form with theme and variation and through-composed structures to capture the paradox of continuity and change. Next, I immersed myself in the following films and television series: Back to the Future series Doctor Who – both the original series that ran from 1963-1989 and the new series beginning 2005, and The Time Machine – the 1960 and 2002 adaptation of the original novel by H.G. Wells. Whilst watching these films and television episodes, I was concerned that this exploration might be detrimental to my own ability to create a new and original programmatic composition. Hence I was careful to focus my attention on understanding the consistent themes across different stories: Although characters travel through time and space, their physical form (appearance) and personality remains the same.              

Reflective statement Evaluating best practice [5]   Evaluating best practice [5] evaluation provides evidence of metacognition that informs independent best practice Strategy 3 — Reflection — having already identified themes and some manipulations of music elements integral to the genre, the reflective documentation was used to create an original work. Reflective statement Evaluating best practice [5] evaluation provides evidence of metacognition that informs independent best practice Strategy 2 provides evidence of metacognition through the discovery of consistent themes to inform the final composition. Strategy 3 was evaluated as successful and the statement evidences the notion of separating and creating space between all previous ideas and influences while experimenting in order to produce original work.     In stories that involve time travel on Earth, technological changes, methods of travel and increased use of computer-like devices in daily life typically indicate the future. Time travel inevitably involves personal and cultural conflict, fear of the unknown and catastrophic consequences for environments and societies both past and present. This discovery became the foundation upon which I based my experimentations and ultimately the final composition. During my initial brainstorming, I concluded that there were a number of significant music elements needed in order to capture the contrast, continuity and tension associated with time travel. These included repetition of thematic elements, leitmotif, variation, use of ostinati, sequences, and modulation. In addition, synthesized timbres typically indicated the future and textural shifts, both sudden and gradual generally indicated either rising tension, conflict and/or resolution. I acknowledge that I couldn’t help but hear these elements as I watched time-travel films. As such, it was in the best interest of my composition to put them away entirely; after all, I had already identified the programmatic themes and some manipulations of the music elements. This logical step, assured me that my final product would be original and not clouded by melodies from other composers. A significant portion of my reflective practice documentation then became dedicated to my experiments using these elements as I looked for ways to create my own unique interpretation of this popular storytelling idea. It was through this understanding of the space-time continuum and the identification of thematic content within contrasting storylines, I was able to choose and manipulate music elements that captured the juxtaposition of continuity and difference. References Ostenwald, S. (2017) Special and General Relativity questions and answers. Retrieved 7 September 2017 from https://einstein.stanford.edu/content/relativity/q411.html