1. Music Style & Composition 2011 Units 3 & 4 Classroom strategies to prepare your students for assessment

2. Lesson 1: Clear information on assessment The three outcomes Works to be studied Tests and SAC dates Allocation of marks and weightings Plan ahead to avoid disasters – spell out the expectations from the beginning, particularly re computer ‘issues’.

3. UNIT 3 & 4 MUSIC STYLE & COMPOSITION 2011 UNIT 3 Area of study 2: Organisation and context Study of two short works; one an Australian work: Antarctica by Nigel Westlake. Treat her Right by Roy Head and Gene Kurtz. In both works we focus on the use of contrast as well as repetition and variation Key knowledge and skills to be covered consist of: Treatment of the elements of music Use of compositional devices Characteristics of the music style Contextual issues and how they influence the work Assessment is based on a written test. (SAC) This will be on Tuesday March 29 th. This Outcome is allocated 15 marks and is worth 7.5% of the study score.

4. Area of study 1: Responses to music Develop skills in aural analysis using the elements of music. How the elements of music are treated across a range of music styles Compositional devices of repetition, variation and contrast. Developing appropriate musical terminology and language Developing ability to present critical responses that include subjective responses to music justified by objective analytical information evident in the music. Assessment is based on a written test. This will be on Tuesday May 3rd. This Outcome is allocated 15 marks and is worth 7.5% of the total study score.

5. Area of study 3: Creative responses Assessment will comprise an externally assessed task. Students submit a folio that contains two short exercises, documentation and audio recordings. Folio contains: Two short creative exercises in notated and audio form that were completed in response to works studied. Description/annotation of relationship between exercises and music studied including elements of music and compositional devices. Evidence of development and refinement of the work and explanation of decisions. Explanation of technical factors Requirements for this task: Documentation and score must be word processed and submitted in an A4 plastic pocket folder. Each version of the creative exercises must be saved into a named folder and dated so that the progress of the responses can be seen and work authenticated. Sibelius file must be saved in three places: On Senior PublicOn your own USBOn a CD Loss of computer files is not a legitimate reason for failure to submit any part of this assessment. All of the above formats must be submitted to VCAA for this externally assessed task. The eternally assessed tasks for Units 3 & 4 together contribute 30% to the study score.

6. UNIT 3 OUTCOME 1 SAC: 7.5% OUTCOME 2 SAC: 7.5% OUTCOME 3 EAT:S/N UNIT 4 OUTCOME 1 SAC: 7.5% OUTCOME 2 SAC: 7.5% OUTCOME 3 EAT:S/N School assessed coursework contributes 30% to the study score. The eternally assessed tasks for units 3 & 4 together contribute 30% to the study score. The end of year aural and written exam contributes 40% to the study score.

7. Organising your classes Begin with Outcomes 2 & 1. Initially spend most time on Outcome 2. Use the start of double periods and some homework time to practise Outcome 1 – aural analysis. Assess Outcome 2 first. Test each topic separately, and try to fit in a ‘Practice SAC’ before the ‘real one’.

8. Sample timeline for Semester 1: February 7 – March 4: Antarctica. Outcome 1 – homework and class work. March 4: Test on Antarctica March 4– March 22: other work. ( Treat her Right) March 22 Test on Treat her Right March 25 SAC revision March 29 Outcome 2 SAC March 29 – April 8: Outcome 1 activities – homework and class work. Set homework for holidays Commence work on Outcome 3; creative response exercises. April 27: Outcome 1 Test (practice SAC) May 3: Outcome 1 SAC. May 4 – 26 Work on Outcome 3 May 27 Outcome 3 EAT due May 30 – June 6 Unit 3 revision June 6 – 10 Unit 3 (Practice) Exam

9. Sample weekly class organisation Monday: Antarctica analyse contrast Tuesday: Ear Gym – listening, worksheet & class discussion Antarctica - elements of music (can also use a wiki) Friday: Antarctica - elements of music Antarctica - contextual issues Class work : Homework : Monday: Ear Gym (wiki) worksheet. Tuesday: Listening to Antarctica, analyse two elements, background reading. Friday: Listening to Antarctica. Short essay describing use of contrast

10. Teaching ideas for Outcome 1 Track 1: The Habibis: traditional Greek song (1:30) 1.a.List the sound sources in this extract. b.Describe the roles of these sound sources in the music overall, and how the parts interact. 2.Describe the treatment of melody and rhythm in this excerpt. 3. Describe the use of two compositional devices in this excerpt. 4.Describe the use of tone colour in this excerpt. Create a CD or wiki of aural examples for homework and class discussion. http://2011vcassauralhom ework.wikispaces.com/ http://2011vcassauralhom ework.wikispaces.com/ Begin with tick box sheets to assist students ‘get their bearings’ at the start. Provide a number of questions for each excerpt, so they practise a range of responses:

11. Melody How many main melodies are there in this excerpt? _____________ The first melody is performed on which instruments? __________________________________________ This melody is based on: a diatonic scale: a non western scale or mode It uses a wide range of notesIt uses a narrow range of notes It uses little/ no repetitionIt uses a lot of repetition of notes and melodic ideas The melody sounds like it is improvised The melody sounds like it has been composed The phrases in the melody are regular (all the same length) The phrases are irregular The melody uses small intervals The melody uses large intervals The contour is mainly descendingAscending Ascends and descends Write a short paragraph describing the first melody, using some of the ideas above as well as some of your own.

12. Have students working in groups to create and revise the components of each element of music: Melody:Rhythm: Form/Structure: ScaleTime signatureBinary form ContourNote valuesRepetition PhrasingsyncopationContrast ____________________________________________________ Instrumentation:Tone colour:Texture: Solo instrumentExtremes of registerNumber of layers Chamber ensembleunusual combinationswho does what when Rock bandharsh, bright soundhomophonic ______________________________________________________

13. Outcome 2: choosing works Unit 3 works: Australian work: Clear use of contrast with plenty of evidence in the music Two major contextual issues – clear link to the music with specific musical examples. Consideration of how much it reflects (or doesn’t) an ‘Australian’ style – exam questions on this in 2007 & 2010. Other work: Clear use of contrast with plenty of evidence in the music Two major contextual issues – clear link to the music with specific musical examples. Try to choose a contrasting work to the Australian work to cater for different interests of the students. Both works: Clear distinction between contextual issues and characteristics of the style.

14. Unit 4 works: Work created since 1910 Significant use of repetition and variation with plenty of evidence in the music Investigate ways repetition and variation are used to develop ideas. Two major contextual issues – clear link to the music with specific musical examples. Other work: As above * No comparison of compositional devices between the two works.

15. Contextual issues Contextual issues are external influences such as social trends, personal circumstances or practical considerations. The CONTEXT in which the work was composed. Choose two major ones which are quite different to characteristics of the style, and make sure there is plenty of evidence in the music. Students need to be able to describe the issue and make a clear link to the work studied, with specific musical examples.

16. Contextual issues: Symphony of Psalms Issue 1: Renewed faith in Russian Orthodox church: After a 16 year break, Stravinsky had rejoined the church, and composed the work to reflect the renewal of his faith. This is reflected in: His choice of text from the Latin Vulgate. His reverential, prayer-like setting of the text, particularly evident in the plain chant melody at fig.4. The ritualistic style created at fig. 4 and fig. 7; a narrow range, chant-like melody accompanied by a dry, organ-like ostinato using oboes and bassoons His preference for a children’s choir to create an open, pure and calm tone colour.

17. Contextual issue 1: Music composed for a documentary on Antarctica This music was originally composed in 1991 specifically for a documentary on Antarctica. For the IMAX film, Westlake’s task was to compose music which captured the grandeur, desolation and harshness of the Antarctic environment. The theme of the film focuses on this, and the impact humans are having on the planet. The structure of the suite is determined by the film content. Westlake dedicated the score to ‘the future of Antarctica as a world park’. In 1992, Westlake received a commission to compose a work for the Tasmanian Symphony Orchestra. He reworked the film score as a Suite for guitar and orchestra. Only small changes were made to create the second version, and Westlake’s original creative intention is still very apparent in the Suite for Guitar and Orchestra. In the suite the guitar replaced the sections taken by the narrator in the film; so the guitar became the narrator. Describe three different images/ scenes from the documentary, and link them specifically to how they are depicted by the music:1:__________________________________________________________ _________________________________________________________________ _____ 2.

18. Exam preparation Use Section A from previous exams to practise responding under exam conditions. http://2010vcasseargym.wikispaces.com/ Create wikis to practise writing responses to practise and past exam questions. http://2010vcassrevision-oc2.wikispaces.com/ Give students information about exam timings and opportunities to practise within the time constraints.

19. MUSIC STYLES EXAM 2010 15 minutes reading time 2 hours writing time Section A52 minutes4 questionsapp. 10 minutes each44 marks (aural responses) Section B68 minutes4 questions36 - 40 minutes35 marks (Organisation and context) Q5(15 minutes)(12 marks) Q6(12 minutes)(9 marks) Q7(6 minutes)(6 marks) Q8(7 minutes)(8 marks) Section C 1 question 25 - 30 minutes21 marks (composition) (10 + 20/15)(9 + 12) `

20. Students need to understand the different types of questions and organise their time effectively for the different question types Discuss questions are usually worth more marks and need more time to construct an ‘essay-type’ response. Often these include a quote which must be discussed. E.g.2010 Q5: ( 15 minutes)(12 marks) It has been said that there is no such thing as an ‘Australian’ music style. Discuss this statement with reference to this work. In your answer refer to the following. characteristics of the music style(s) of the selected work contextual issues associated with the selected work Students should be discouraged from going in with prepared responses. The exam rewards students who can synthesise the concepts and information they have learnt, and can use this knowledge to discuss a concept. Read the examiners’ report to gain a deeper understanding of how the exam is marked.

21. Question types: List - just a simple list of words or short sentences (usually a list of instruments) Identify - list with some identifying information. Often a question such as 'identify features’ means identify as many of the characteristics of each section as you can; instruments, texture, form, key, things about the melody). Describe - a lot more information - but you can still use dot points. Describe as many aspects of the music as you can, in as much detail as you can. Explain - similar to describe but very detailed and include background information. Construct a clear link between the music and the background - e.g. Q6 on the 09 exam - a clear explanation is needed with a clear link between the issues and how they affected the creation of the work. Discuss - often involves discussing a statement. Develop an opinion and present an argumentative essay that argues that opinion, using evidence from the work(s) to support your contention. Involves comparing similarities and differences, considering different points of view. Is a very detailed, well constructed response that uses musical examples to support the argument.

22. MUSIC STYLE & COMPOSITION EXAM 2011 15 minutes reading time120 minutes writing time Section A 50-60 minutes?4 – 5 questions?45 - 55marks (aural responses) Section B 50 - 60 minutes4 questions?45 – 55 marks (Organisation and context) Overall exam out of 100 marks http://www.vcaa.vic.edu.au/vcaa/vce/studies/music/musicstylecompunits1- 4/mustylecomp-samp-w.pdf `