Complied and Written by D. CraigLiverpool Boys high School

Liverpool Boys High School

Music 1Student Handbook

HSC Course

Assessment Guideline and DatesOutcomes

Through activities in performance, composition, musicology and aural, a student:H1           performs stylistically, music that is characteristic of topics studied, both as a soloist and as a member of an ensembleH2           reads, interprets, discusses and analyses simple musical scores that are characteristic of the topics studiedH3           improvises and composes music using the range of concepts for familiar sound sources reflecting the cultural and

historical contexts studiedH4           articulates an aural understanding of musical concepts and their relationships in a wide variety of musical stylesH5           critically evaluates and discusses performances and compositionsH6           critically evaluates and discusses the use of the concepts of music in works representative of the topics studied and

through wide listeningH7           understands the capabilities of performing media, incorporates technologies into composition and performance as

appropriate to the topics studiedH8           identifies, recognises, experiments with, and discusses the use and effects of technology in musicH9           performs as a means of self-expression and communicationH10        demonstrates a willingness to participate in performance, composition, musicology and aural activitiesH11        demonstrates a willingness to accept and use constructive criticism

HSCMid - September, 2010 – completion and hand in date – no later than 9am – Composition

Mid - September, 2010 – Practical / Musicology Exam

Aural Exam during HSC Exam period

OutcomesComponents

(syllabus)

Weighting

(syllabus)

Task 1 Task 2 Task 3 Task 4

Musicology & related

CompositionHalf Yearly

Electives Presentation

Trial HSC

Task type Task type Task type Task type

H1, H5, H7, H8, H9, H10,

H11

Performance Core

10% 5% 5%

H2, H6, H8, H10, H11

Aural SkillsCore 25% 10% 15%

H3, H5, H7, H8, H10, H11

Composition Core

10%10%

H4, H8, H10, H11

MusicologyCore

10%5% 5%

H1, H3, H4, H5, H6, H7

Elective 1 15% 5% 5% 5%

H1, H3, H4, H5, H6, H7

Elective 2 15% 5% 10%

H1, H3, H4, H5, H6, H7

Elective 3 15% 5% 10%

Marks 100% 15% 20% 20% 45%

Music 1 – HSC Course

Mandatory Core – 50%

(All students)

Electives – 60%

Any combination of electives to the mark value

of 60

Candidates must represent each of the 3 topics studied during the HSC course in their choice of Electives.

Performance – 20%1 piece representing one topic from the HSC course.

May be solo or ensemble.

Maximum time – 5 minutes

Performance Elective – 20%Perform one piece representing a topic studied in the HSC course.

May be solo or ensemble.

Maximum time – 5 minutes

Aural (Written) - 30%Comment on all extracts in terms of the various Concepts of Music.

Time: 45 – 60 minutes

Composition Elective – 20%Submit one original composition representing one of the topics studied in the HSC course

Keep a Composition Portfolio

Maximum time – 4 minutes

The marking of submitted compositions is based on the written score and the recording. The recording is used as a guide to the intention of the composer. They are to represent stylistic features of the topic studied. The Composition Portfolio may be requested to validate authorship.

Musicology Elective – 20%Prepare and present one Viva Voce which represents one of the topics studied in the HSC course

Maximum length - 10 minutes

Students may specialise within a topic and are required to demonstrate an understanding of the use of the Concepts of Music in the topic studied.

ContextsAt least three topics will be studies in the Preliminary Course, and at least three more topics will be studied in the HSC Course. The topics will be chosen from the following list:

An Instrument and its Repertoire Australian Music Baroque Music Jazz Medieval Music Methods of Notating Music Music and Religion Music and the Related Arts Music for Large Ensembles Music in Education Music of a Culture (Preliminary Course) Music of a Culture (HSC Course) Music of the 18th Century Music of the 19th Century Music of the 20th and 21st Centuries Popular Music Renaissance Music Rock Music Technology and its Influence on Music Theatre Music

Each topic will approach the Concepts of:

Duration, Pitch, Dynamics and Expressive Techniques, Tone Colour, Texture and Structurethrough the skills of:

Performance, Composition, Musicology and Aural Skills.

The Course Structure: Topics For StudyStudents will develop knowledge and understanding about the use of the following Musical Concepts:

Duration Pitch Dynamics and Expressive Techniques Tone Colour Texture Structure,

and skills in Performance, Composition, Musicology and Aural within the context of a range of styles, periods and genres.

At least three topics will be studied in the Preliminary Course, and at least three topics will be studies in the HSC Course (either different topics from the Preliminary course, or 2 different and one the same – which shows greater understanding, explore new repertoire and includes a comparative study). The topics will be chosen from the following list:

An Instrument and its Repertoire Australian Music

Baroque Music Jazz

Medieval Music Methods of Notating Music

Music and Religion Music and the Related Arts

Music for Large Ensembles Music in Education

Music of a Culture (Preliminary Course) Music of a Culture (HSC Course)

Music of the 18th Century Music of the 19th Century

Music of the 20th and 21st Centuries Popular Music

Renaissance Music Rock Music

Technology and its Influence on Music Theatre Music

Topic ContextsStudents may chose to study a broad survey of the topic or to specialise within the topic.

Refer to pages 22 – 25 of the Music 1 Stage S Syllabus.

Topic Suggested aspects for studyAn instrument and its repertoire solo instrumental music, changes to instruments, vocal/instrumental music

with or without accompaniment, the impact of technology, the role of improvisation

Australian music traditional and contemporary music of Aboriginal and Torres Strait Islander peoples, art music, jazz, forms of popular music, multicultural influences, folk music, the impact of technology, the role of improvisation

Baroque music a style, the music of a composer, a genre, keyboard music, vocal/choral music, the suite, the impact of technology , the role of improvisation

Jazz a style, music of a group, a comparison of styles, music of a solo artist, music of a composer, technology in jazz, the role of improvisation

Medieval music sacred music, secular music, modality, instrumental music, vocal music, dance and its music, the role of improvisation

Methods of notating music graphic notation, neumes, guitar tablature, jazz chord charts, rock charts, the impact of technology, the role of improvisation

Music and the related arts a style across disciplines, influences on a composer’s music , a composer’s music for dance, a cultural context, installations, the role of technology, the role of improvisation

Music and religion the music of a religion, spirituals, sacred music, popular music in a religious context, the role of improvisation

Music for large ensembles instrumental music, choral music, instrumental/vocal combinations

Music for radio, film, television and multimedia

a composer, music in advertising, theme music , historical perspectives, film soundtracks, music for computer games, multimedia productions, the use of technology

Music for small ensembles chamber music, jazz ensembles, rock/pop groups, stage band, vocal ensembles, world music ensembles, the role of technology, the role of improvisation

Music in education music in early childhood , Kodály, Orff etc, music and movement, vocal/instrumental music, learning and teaching in different cultures, the role of improvisation, the role of technology in music education

Music of the 18th century a style, music of a composer, a genre, the sonata, the symphony, chamber music, vocal/choral music, the impact of technology, the role of improvisation

Music of the 19th century a style, the music of a composer, a genre, orchestral music, concerto, art song, choral music, the impact of technology

Music of the 20th and 21st centuries a style, the music of a composer, a genre, popular music, art music, the impact of technology, the role of improvisation

Music of a culture traditional and contemporary music, stylistic features, notation, dance and its music, cultural context, instruments and their role, the role of improvisation In the HSC course students may study this topic in either of the following ways:i) a different culture from the Preliminary course, ii) a comparative study within the topic (please refer to p 11 for details).

Popular music a style, music of a group, music of a composer, a solo performer, technology in popular music, the role of improvisation

Renaissance music vocal music, instrumental music, dance and its music , the role of improvisation

Rock music music of a group, a style, innovations, music of a solo performer, the role of improvisation, technology in rock music, world music, the music of a composer

Technology and its influence on music

the development of musical technologies within a period, music of a composer, computer generated music, technologies utilised by the music industry, technologies used in popular music, the Internet

Theatre music opera, ballet, musicals, incidental music, rock operas, the work of a composer, the role of technology

You will be required to complete a form (similar to this page) just prior to your HSC Practical Examination, to be handed in to the Examiners on the day. You are advised to complete the relevant row of this grid below after you have completed your study of each Topic. This will alleviate stress for you and your teacher in remembering all the details when you finally have to fill in the official form.

Higher School Certificate Examination M8Student No.: ……………………………………………… School No.: ……………………………………………… Date: …………………………….

MUSIC 1 CERTIFICATION OF HSC COURSE TOPICS STUDIED

To be prepared in advance and handed to the Examiners

In Music 1 each work presented for the examination in Performance, Composition and Musicology must represent one of the three topics studied in the HSC course.

Students are to provide brief details of the performance, composition, musicology and aural learning experience in each of the three topics studied in the HSC course. This form will assist markers to determine whether the repertoire presented is representative of the topics studied.

Course Topic Performance Composition Musicology Aural

Signed ………………………………………….. (Student) Signed ………………………………………….. (Class Teacher)

Preparing For Your Music Practical ExaminationPerformance, like all areas of music, offers almost endless possibilities. It is not always easy to find the answer or an easy answer to the problem of playing your pieces more musically. There are, however, several things you can do over time that will make a difference.

Getting 'involved'

Find recordings and listen to live performancesFind recordings and listen to live performances of artists playing your instrument type. You will observe and absorb the attributes and subtleties of performance, e.g. phrasing, tone, articulation etc. Make observations/notes and deliberately incorporate these findings into your performance practice.

Listen to expertsListen to experts performing on all instruments. Important understanding of interpretation and performance practice is not exclusive to any one instrument. Become familiar with the best performance standards. You have a far greater capacity to learn by modelling and imitation than you probably imagine. You will absorb many performance nuances and also learn a great deal about style by listening (and watching) the best performers.

Collect other versionsWhere possible, collect two or more versions of the same piece (if possible, the repertoire your performing). A comparative analysis will quickly prove that performance is more than decoding notes; it is a highly individual and interpretative art.

Observe rehearsalsObserve rehearsals whenever possible. Concert performance provides a product; rehearsal will help provide the processes behind that product.

Work with your teacherWork with, not simply for, your teacher(s). Be prepared to generate discussion and bring your own findings/thoughts to the lesson.

Vary the perspectiveIf possible, organise occasional lessons with different teachers, including those of different instruments (violin teachers may offer the trumpet student many valuable insights and vice versa). All teachers have different strengths and perspectives from which they instruct and you can provide the means of connecting valuable pieces of advice.

Bring other musical knowledge into your performanceRelate other learning experiences to performance. For example, composing requires you to think of how a phrase would best sound, i.e. how it could be best performed to maximise its impact. Apply the insights you gain as a composer to the way you play your repertoire.Prior knowledge is vital when constructing new understanding. Be prepared to build skills gradually and research background information either through listening or accessing other sources such as texts, experts or multimedia.

Make the Piece Your ownWhenever you learn a new piece of music, you are faced with a set of musical choices which you must make. The final outcome is your individual musical interpretation of that piece, which will make it different from anyone else’s performance.This is your piece, so you decide how to interpret it...what you can do to make it special? Don’t imitate the artist on the CD – it is only a starting point for your version of the song. Express your deepest emotions. This is not a time to be shy and...enjoy yourself!

Some Interpretation Choices

Tempo – Will you play it fast or slow? Assuming that you r technique is adequate, experiment with various speeds to see which tempo gives the best musical effect. Don’t forget changes in tempo within a piece, especially at the end. Some pieces may sound better with the inclusion of rubato.

Dynamics – All pieces should make use of dynamic contrasts. The changes may be sudden or gradual. Don’t forget accents. Phrases should be shaped, i.e. they tend to rise and fall in volume.

Tone Colours – Many pieces can be enhances by changed in tone colour. This can easily be achieved on electronic instruments, accordions and guitars. Even woodwind, brass and stringed instruments can change the tonal quality of their notes when required. The piano is somewhat limited, but pedalling can have a noticeable effect on the resulting tone colour.

Phrasing and Articulation – The character of a melody can be quite dramatically changed by the way it is phrased or articulated (staccato/legato, accents etc).

Formal Structure – in many popular pieces you may wish to omit or repeat certain sections (e.g. verses or choruses).

Beware! – Bands, Backing Tracks, CDs & Old Stereo SystemsIf you have asked friends to accompany you, ensure they will practice as hard as you do and will turn up on the day. Non-school performers may forget to turn up or something important crops up. Try and use reliable music students that understand exactly what workload is involved preparing for and HSC Music exam. Make sure that your accompanist is of a sufficiently high standard and stylistically appropriate to do justice to your performance.Backing tapes, CD and MP3’s are to be used with great caution as it is hard to project your interpretation using pre-recorded musicians. The positive of a backing track is that it always turns up to rehearsal and never makes a mistake. If you are using a backing on CD, tape or MIDI file, make sure the melody is not doubled by another part, singer or instrument.Make sure you give a ‘back up’ of your CD to your teacher and make sure the original and copy are not scratched. Make sure that you practise on the CD Stereo system you will actually use on the day.

Performance tipsArticulationGive close attention to the attack and release of notes, in particular, those at the beginning and end of phrases. The decay of a sound is often given little attention. Whether a note should taper or immediately cease with a definite or indefinite (evaporate) close are important interpretative decisions.

PhrasingPlan and mark the preferred phrasing on the music. Remember that under the stress of concert performance, it is very easy to phrase by convenience rather than artistry (especially if a wind player running short of air!).

DynamicsMarked dynamics are often an average volume that permits minor personal shifts within the phrase, providing the structural shape and interpretive quality required.

Performance practiceMake yourself familiar with style-specific performance practice. Much of how music is interpreted was and is left unwritten, whether in a Baroque sonata or jazz. It is not difficult to source information (electronic, text, teachers, performers) regarding stylistic conventions, authentic practices etc. Try to be as faithful to stylistic requirements as possible.

CommunicationAll music is communication. You need to know what messages your piece imparts and what messages you wish to convey. Otherwise it is like speaking a language in which none of the words are understood (even if clearly pronounced). Technical control or even brilliance is not an end in itself. It serves the intent of the composer to construct a meaningful musical moment in which you are the translator adding the appropriate nuance and inflection (no different to adding facial expression and changing intonation when reading literature).

Tension and releaseMusic operates around moments of building tension and its release. Look within each phrase for the moment(s) of greatest tension and how they may resolve. Build this structural understanding into your performance through changes of dynamics, articulation, tempo, tone colour etc.

Technical considerationsNever neglect fundamental technical elements, e.g. pedalling, developing range or shifting hand positions. They are not important in themselves, but good phrasing and interpretation are impossible without securing these elements.

The whole Understand the whole work. The performance of the soloist's part, or for that matter any part, is dependent on an understanding of the relationship between all parts. For example, the dovetailing of a soloist's phrase to allow an accompanying instrument to be heard as part of an answer or phrase transition.

The musical conceptsLook for direction in the foundations of the piece, i.e. the concepts. A harmonic understanding of a work will often suggest critical phrases or even pivotal points within a phrase that soloists should consider in the interpretation of their line. An overall structural familiarity will help emphasise contrasts and maintain interpretative consistency.

Expressive markings Find concrete ways of translating abstract thoughts or directions. It is easy to ask someone to play "majestically" and to think majestically whilst playing the passage, but what does this really mean in terms of actually performing the music?

For example, should notes be generally longer, tempo a little slower, volume somewhat louder, bass levels rebalanced, each note more sharply sounded? Views will differ about exact meaning, but at least have a tangible translation of these expressive markings to work by.

Plan your rehearsalPlan your rehearsals and practice time. Playing, repetitively and/or without purpose, may improve your standard to a certain level, after which gains are minimal. Deliberate and well-planned practice that incorporates shorter and longer term goals will more likely lead to continual and sustainable improvement. Write your goals down and modify if necessary. The crucial point is to commit to those actions that will bring maximum improvement. Each practice should have breadth, depth and variety. Cover a range of material from technical work, studies, light reading of new works to the intense practice of major pieces. Try to keep practice balanced and enjoyable.

How to Work Smart

The point in not how much practice, but HOW MUCH DO YOU HOPE TO ACHIEVE TODAY?

Lots of so-called “hard work” can sometimes achieve little. When has a teacher ever told you ‘Don’t work so hard!?’

Well, make the most of it now. Don’t work so hard! (at the bits you know already)

Many players waste valuable time every day, playing over the easy bits, reassuring ourselves with the bars we can play, while avoiding the tricky ones that we can’t. Often we feel cheated by a bad performance, for after all, didn’t we practise for hours and hours each day? Forgoing social life and a favourite television show! Don’t we deserve a better outcome?

Here’s the good news: YOU CAN ACHIEVE DOUBLE RESULTS IN HALF THE TIME!

All you need to do is produce: LESS NOISE, MORE THOUGHT

YOU DON’T HAVE TO MAKE A NOISE TO BE PRACTISING

If only:

The time is used intelligently, constructively and thoughtfully. You set and attain your goals (short, medium and long term)

The big secret (shh!) is in:

SILENT PRACTICE

To learn new material twice as fast, try this:

**Talk it through. Before you play a note:

a) Say the notes aloud as you finger through the first bar, line or phrase;b) Tap or clap the rhythm;c) Say the notes aloud in the correct rhythm, while fingering;d) Repeat the process, phrase by phrase.

How to Work Smart To Learn a New PieceVary your practice with some ideas from this menu: The Add-a-Note MethodIsolate the tricky bit. Start with a few notes. Repeat. Progressively add the next note. The Building Block MethodTo learn a new piece or script, work in small units, like building bricks. First phrase 1, over and over until it’s secure. Now phrase 2. Cement phrases 1 and 2 together, by playing them together, paying special attention to the few notes which join them. Next practice phrase 3, and then cement it to phrase 2.5-in-a-Row Method

You have a tricky passage. Analyse; what is the problem area? Isolate this down to a couple of notes. Draw a circle around them. Play 5-in-a-row correct. If you make a mistake, it’s back to one again. Then add a note. Repeat. Add another note, repeat. Until the whole phrase is clear.

Playing from memoryOccasionally memorise performance pieces and then concentrate on listening to your performance, making adjustments where necessary. Freedom from written notation gives another perspective to what you play as long as memorising does not produce robotic or cloned performance.

EvaluateEvaluate your performance. Have others listen and constructively comment and regularly record your performance. Get as much feedback as possible. Perception of our own performance may vary greatly from that of others. You are the final judge and of course do not have to accept all suggestions, but equally, you will benefit from carefully considering all advice.

Know your instrumentKnow the idiosyncrasies of your instrument. What notes are naturally sharp/flat, where does the tone colour tend to change and in what keys is the performance more flexible/facile, what is the natural projection in different registers etc? Intonation is a problem peculiar to most instruments and its correction needs gradual training, attention to its effects and a sound knowledge of the instrument.

Learn from your mistakesWelcome mistakes and then fix them. So much of learning arises from the errors we all make. It is important to remain receptive and positive to mistakes as markers for future improvement. Healthy evaluation stimulates progress, while excessive self-criticism raises anxiety and creates unrealistic expectations.

Near enough is not good enoughAim for perfection. Most performers practice a piece until it is 70%-80% right. We usually do not analyse it in this way, nor do we readily recognise the imperfections that exist. But, for examination purposes try, over time, to get as close to 100% as possible. This may mean your expectations and definition of 100% may also need to develop/change.

TempoPractice slowly at first and gradually build tempos to performance markings. Do not be obsessed with speed; clarity at a slower tempo is superior to a blemished and garbled performance at the marked tempo.

Sight readingDevelop sight reading skills, it will provide you with quick access to a wide range of new music and consequently new musical understanding.

Music is not a static art formRecognise that music is an active, not a static art form. Its perception is related to time and how sound is organised in relation to it. Mature players use time to their advantage in a number of ways, e.g. altering tempos to emphasize structural contrasts; allowing the pulse to be elastic and shape phrases; treating note subdivisions less strictly mathematically and more as expressive opportunities.

Repertoire choiceSelect the type of piece carefully. Perform a piece that displays your skills to the greatest degree. You may like a particular piece very much, but that does not mean it is the best example for the purpose of examination. Also, your piece should be suitable or translate well for your instrument, not simply something you like or have conveniently found.

TechnologyYou control the technology (not vice versa). Be sure that it enhances a performance, not screens or interferes with the essential communication or focus of the performance. Double check it is working and preset.

ProjectionProject your intentions through your music and demeanour. Your presentation should contain energy, commitment, enjoyment, excitement, atmosphere etc. If you look bored, you can be sure the audience will react accordingly. Similarly, don't react negatively if things don't quite go according to plan. Mistakes (often very inconsequential) may be amplified by your actions but otherwise little noticed by the examiners. Errors become far more obvious when you sigh, look anguished, temperamentally turn your music or shriek in the middle of the performance!

The performance spaceThink more of a concert hall than your bedroom when preparing for performance. Practice in large spaces frequently (or at least similar to the area in which you will be examined) and adjust the volume, setting, stage presentation to suit.

Warm upAlways fully warm up before performing. Playing an instrument is as much a physical as intellectual/emotional experience. Do the right thing by your muscles, which are unlikely to fully cooperate unless prepared for performance.

The performance orderConsider performance order of repertoire carefully. Factors such as fatigue, accessibility of pieces, stylistic and expressive balance, logistical changes etc will potentially change the best sequence of pieces.

Control the total performanceIt is in your best interests to control the total performance. Listen to, or record your ensemble performances and ensure that all players are working towards the best result. You will be the only one given a mark, but there is little chance of creating the best result if other performers do not complement or enhance your efforts. Always be in control and don't allow others/friends to dictate how the performance should sound. Working with an ensemble or accompanist also takes considerable practice. You have to develop a rapport and understanding beyond simply interpreting the notation.

Tune before you startTuning and intonation are vital components of any performance. You start at a disadvantage if, for example, your guitar is out of tune or trumpet not in tune with the piano.

Overcoming NervesNo matter how you perform in practice, for some people all the effort is undermined once they are placed in an examination or concert situation. Understanding anxiety and the nervous response will help ensure it does not negatively affect you.

Prepare thoroughlyThe knowledge that things are not quite right will quickly translate into a flawed performance. Concern begets concern and one fault can quickly spread errors to other facets of the performance.

Perform frequentlyNew situations generate anxiety while familiarity with positive experiences allows us to remain calm and anticipate problems. Therefore, perform, perform, perform, for anyone who will listen. Take every possible opportunity (for family, friends, school assemblies/functions) to make performance a familiar and knowing experience.

Practise difficult passagesCorrectly practise any difficult passage, not once, but many times. The probability that you will reproduce the correct version in concert will then remain in your favour.

Remain mentally focusedAny lapse or allowing for other thoughts in your mind will potentially result in distraction and cause problems. This skill takes practice and concentration. You must have an overwhelming image of the outcome you're trying to produce and the desire not to be diverted from the end result.

Cultivate mental toughnessMake sure you know what you want and how to get it. Forget illusions such as "I shouldn't have made a mistake" and accept genuine criticism as an opportunity to improve and bring you closer to your goals. Have faith in your ability and the standards established in rehearsal. After all, it is your performance and nothing is going to stop you from doing well!

Select the level of piece carefullyThe piece you select has to be of a standard that can be attained and will remain secure under the rigours of examination. Continuity of performance is vitally important. Music only makes sense over time. Performances continually disrupted by minor breaks and blemishes will not create a desirable result.

Maintain your composureDon't approach your performance in a hurried or flustered fashion, e.g. playing the first sound on the keyboard whilst still adjusting the stool. Take your time and construct a 'frame' in which you are mentally and physically ready and the performance will be appropriately received.

Deal with stressGeneral fitness, rest and a healthy diet help negate the effects of stress.

The Performance

The final decision you have to make is that of BALANCE between soloist and all accompanying instruments. Remember that YOU are the one who must be heard clearly. This may require the use of amplification – so experiment beforehand to find the right volume levels for each instrument or voice. You are the one who controls the final performance.

If you are playing guitar, why not find a Google photo of your school amp or the one you will be suing in the exam and make a ‘knob sheet’ for each piece you are playing in? You can also check out eh various manufacturers websites for “ideal” settings for different sounds and pictures. It makes it easier to just walk in and set up your amp so you can concentrate on more important things…like your actual performance!

Here is an example: Marshall MG100DXFX Knob Sheet

The Performance ExamTuning Tuning is your responsibility. The examiners will not stop the performance because you are out of tune. Warm up wind instruments before you enter the room. If you tune tem cold they will go out of tune during the piece. Tune guitars before you enter the room. Fine tune them again when you go in. Don’t assume they are still in tune. Take the time a few days before hand to make sure the drum kit is in tune. If you don’t know how to, find someone who can, it makes a difference.

Equipment Have a technical rehearsal with the equipment you intend to use before the day of the exam. During that rehearsal check the sound levels are balanced. When setting up guitar effects pedals take care not to blast the examiners ears with feedback, it really irritates them. You should know what level to set them on from your technical rehearsal. If you haven’t sung with a microphone before, the exam is not the time to start. You need to practice correct microphone techniques. Two main things to remember… keep the microphone close to your mouth and don’t point it towards the speakers. Foldback speakers are very important – it allows you to hear yourself. If you don’t have one, turn one of the front of house speakers slightly in your direction so the singer can be heard. If you can’t get enough volume from the singer, turn down the other instruments. Make sure backing CDs or tapes are cued. If you have a backing CD make sure you always have a spare copy. CDs have limitation. If you have an accompanist and you get lost, the accompanist will help you find your spot. A CD will just keep playing. An accompanist allows you to interpret the music exactly how you want it, you can slow down in places, get louder or softer. The big advantage of CDs is they don’t forget to comet to rehearsal. Do a level check before you start your performance. Have an independent person listen to the sound to make sure it is balanced. The person being examined is the most important so that person should be the loudest.

AccompanistsYou can be accompanied by a teacher, a student, a community member or an electronic backing track. It is your choice. Some things you need to consider: Is the person reliable and willing to spend time rehearsing? Is the person going to be available for your exam? Is the person capable of playing the music to the necessary level of expertise? It is your responsibility to give the accompanist the music well in advance of the performance. If you start rehearsing with them soon after you give them the music you will quickly be able to decide whether they are going to learn it in time. Remember…accompanists have to learn their part too. If your song is designed to have another instrument play in it or a singer, make sure you have one. Make sure you have communication with your accompanist.

CD Backing tracks Use a proper backing track, don’t just sing along with a pre-recorded CD. Rehearse with the actual backing you are intending to use (it may be slightly different to the published version of the song. Eg. Wrong key, tempo etc

The Venue Rehearse in the venue. It is important for you to feel comfortable there. Every venue has different acoustics. It can be very disconcerting to play a note and hear a hall reverb effect if you are not used to it. Do you have adequate light to see your music? Is the lighting sufficient for you to be seen? Often a class room is better than a hall. It is very lonely playing to a big hall with only two people in it. Make sure your sound level is correct for the venue.

The Performance Remember the examiners are music teachers too. They have students just like you who are suffering back at their own school (they understand). Smile and look like you are enjoying yourself. It makes the performance more convincing. If you are a singer move around a little. The person who is actually being examined should be in the best position to be sent by the examiners. Face the examiners, if you are a wind instrumentalist arrange your stand so the examiners can see you. If you are a guitarist, it may be stylistic to cover your face with your hair, but it won’t get you marks. Discuss with the other members of your band how you can look more interesting. Video your performance and look it at critically afterwards. In some schools the school policy requires students to wear school uniform to their exam. Most importantly, clothing must be comfortable. Not tight around the shoulders, you must be able to breathe and move freely. What you wear can reflect the music you are performing, but remember you don’t have time to have a complete change of outfit between each song. Sometimes adding a hat or scarf can change your appearance enough to add character to your song. Rock music may have been designed to be played at ear bleeding volume in concert, but this is an exam, keep it to a reasonable level. Most people get nervous in a performance exam. The examiners are aware of it and have full sympathy. The best way to combat exam nerves is to become accustomed to playing while nervous. Take every possible opportunity to perform for people. You will gradually become accustomed to performing while nervous. Every performance you have to do in class is a preparation for you HSC, so treat each one as a very important event.

Practical Task Marking Guide

RANKING DESCRIPTORS

Mark Range Poorest Efforts Below Average Average Above Average Outstanding

1 – 3 4 – 7 8 – 13 14 – 17 18 – 20

1, 2, 3 4, 5, 6, 7 8, 9, 10, 11, 12, 13 14, 15, 16, 17 18, 19, 20

Self-Expression and Communication

performance lacks competence

limited self-expressionlimited musical skills

less than competent performance, lacking in individuality

limited self-expression

limited musical skills

competent performance displaying self-expression and communication skills

competent and confident presentation

performance demonstrates musical sensitivity

high standard of performance displaying self-expression and communication skills

competent and confident presentation

performance demonstrates musical sensitivity

outstanding standard of performance displaying sophisticated self-expression and communication skills

authoritative, advanced, professional presentation

performance demonstrates a high degree of musical sensitivity and personal style

Musical Skills

performance demonstrates a lack of mastery of technical skills

lack of musical sensitivity in performance

lack of fluency

limited technical skill and musicality

technical flaws eg. Intonation, dynamics and expressive techniques

limited musical sensitivity in performance

demonstrates competent technical skills and musicality, showing understanding of the technical capabilities of their chosen performing media

performs with some musical sensitivity

performance demonstrates technical mastery, musicality and stylistic understanding

outstanding technical mastery, musicality and stylistic understanding

Solo/Ensemble Techniques

demonstrates a lack of understanding of solo/ensemble techniques

limited understanding of their role as a soloist

limited understanding of their role in an ensemble

demonstrates competent skills as a soloist

demonstrates limited ensemble skills and understanding of their role in an ensemble

refined ensemble skills demonstrated in performance

demonstrates effective ensemble direction

sophisticated ensemble skills in performance

sophisticated understanding of ensemble direction

Interpretation

lack of understanding of stylistic interpretation demonstrated in performance

limited understanding of stylistic interpretation demonstrated in performance

understanding of stylistic features demonstrated in performance

a detailed understanding of stylistic features demonstrated in performance

a musically sensitive and personal interpretation

demonstrates a sophisticated level of understanding of stylistic features in performance

a musically sensitive and personal interpretation, displaying highly developed interpretive skills

Some Helpful Hints on the Composition ProcessThere is no substitute for careful planning and forethought in creating a successful composition.

When you plan your composition, you need to consider all the elements of music in terms of unity, variety, balance and contrast.

Performing MediaOne of the first things to consider is the Performing Media. You should always compose for a specific group of musicians where you know the capabilities and limitations of each member. For example, there is no point writing a dazzling oboe cadenza when your oboist is only a beginner.You must consider the balance of the instruments or voices so that certain parts are not overpowered. Choose instruments carefully and make sure that you use them appropriately. If your piece has been conceived, composed, and performed on the computer, you are advised to label your parts as “Synth-guitar”, “Synth-flute” etc. and not presuppose that it would work as well on live instruments.

Formal StructureYour second main consideration is to select an appropriate formal structure. This is often dependant on the Performing Media that you have chosen e.g. a Rock group would most likely perform compositions in a Song form, where as a Woodwind quartet would be more suited to movements from a Suite etc. Another consideration is your ability to develop musical ideas into an extended form. If you are not very practised at that, you would be advised to stick with the shorter forms, e.g. Binary, Ternary, Rondo, Song for (verse, chorus etc.)Remember that a satisfying Formal Structure will have a good balance between new material (for variety and contrast), and old material (repetition of themes and /or sections – giving unity). Too much old material quickly leads to boredom, and too much new material makes the listener unable to remember anything.

Thematic MaterialThe next major task is to create some interesting and contrasting themes that will form the basis of your composition. These themes will need to have interesting rhythms as well as interesting melodic patters. Most themes can be broken down into several motifs or cells which have the potential to be developed later in the piece. N.B. These motifs may be rhythmic or melodic ideas. Analyse your themes carefully so that you know their potential for further development. Naturally, an effective and interesting chord progression is essential to the success of any piece of music. It is in this area that a great deal of experimentation should take place.

Achieving UnityOnce you have decided upon your thematic material, your next task is to work out ways of developing the rhythm and melodic motifs contained within them. Experiment with some of the following ideas:

Changing instruments Changing certain intervals Using inversions Changing between major and minor Augmenting and diminishing note values Using sequences Using imitation Using repetition Using ostinato Using inversion Using ornaments

All of these techniques give a sense of unity to your compositions by enabling you to use the original material in different ways, and consequently avoiding boredom.

Achieving VarietyTo achieve variety you can experiment with some of the following ideas: Changes in key signature Changes in time signature Changing texture Different instruments or tone colours Different dynamics in contrasting

sections Use of new material

(either motifs or sections)

Use of different tonalities Use of different rhythmic patterns Use of different accompaniment styles Use of different chord progressions

It may be helpful to use the Composition Grid on the following page to assist you in focussing you attention on particular areas that may otherwise be overlooked. You may even wish to use it as a planning grid.

Composition Planning Grid Title of Composition: ___________________________________

Melody Harmony Rhythm Tone Colour Texture Dynamics & Expressive Techniques

Formal Structure

Unity

Variety

Balance

Contrast

For your own appraisal

Development of thematic material

Appropriate tonality and effective key relationships

Effective use of instrumentation for

the chosen medium

Effective harmonic progressions

Structural coherence

Detailed performance

directions

Clarity of scoring

This composition has achieved the following features:

The Written Score and RecordingThe marking of submitted compositions is based on both the written score and the recording, with the recording being used as a guide – therefore the technical quality will not be taken into consideration. Your score should be very clearly notated, with great attention to all performance details. Improvised passages should also be written out in full, or at the very least, should give a clear plan of what is happening in that section, with an indication of what thematic material is being used as a basis for the improvisation and where. Computer printed scores must be very carefully edited to ensure absolute accuracy.

Your recording should be as clear as possible – but remember that a few performance inaccuracies don’t matter, because wherever any discrepancies occur (between score and recording) the examiner will assume that the score is the correct version. You are strongly advised to make recordings of your earlier draft versions, so that you can hear where changes need to be made before the final due date of submission.

The Composition PortfolioIf you intend choosing Composition as one or more of your Electives, you will need to develop a Composition Portfolio for each composition. This will eventually form your entire HSC School Assessment for that elective. The Composition Portfolio will show evidence of the compositional process by including:

Information on the decision making process Performance considerations Self-evaluation Editing Related listening activities Composition drafts Discussions that have informed and guided the compositional process The development of your compositional skills

Further Points on Composition Notate clearly and accurately Use a few ideas well Firm structure is vital There should be Repetition, Variation and Contrast There should be a good, striking beginning and an effective finish The best compositions have development and a climax Establish a mood! Establish a style! If you compose for the computer, explore and exploit what it can do Write idiomatically; think about the instrument/voice carefully Remember the basics! Correct range, tempo, dynamics, phrasing etc. Don’t forget to say what your voice or instrument is to perform the music Make sure it fits the nominated topic area Make sure you time it accurately, and it is within the time limitation It is the composition that is marked, not the recording Take time to record and polish the recorded version so that it accurately represents your intentions. Be original. Study other pieces to get ideas, but make your own masterpiece

The composition process takes a great deal of time, planning and experimentationDON’T LEAVE IT UNTIL THE LAST MINUTE

Composition Task Marking Guide

Musicology RequirementsPreliminary CourseAt least three of the 22 topics must be studied during the Preliminary CourseEach topic chosen must be studied in the areas of Performance, Composition and Musicology. This means that you must perform music from that topic, compose in that style and study the musical characteristics of that style.You should present the following work to your teacher, for each of the three chosen topics:-

1. A two page essay on background information relating to the topic2. Detailed analysis of at least five compositions 3. A summary sheet which demonstrates the musical characteristics for each element which are common to all

the pieces that have been studied. This summary should consequently show the characteristics of that particular style of music

4. A viva voce test presented to your teacher, and/or Class presentation – you will be asked questions about the musical characteristics of your chosen topic (approx 10 minutes)

HSC CourseSame requirements as the Preliminary Course.

HSC Examination Requirements (only where Musicology is chosen as an Elective) Candidates will prepare and present ONE viva voce for each Musicology Elective presented. The maximum

length of each viva voce will be 10 minutes. Each viva voce must represent a different one of the three chosen topics studied in the HSC Course. Students

may specialise within each topic. For each Musicology topic, candidates will present a Viva Voce Outline Summary Sheet to the Examiners

outlining the area of study for examination. For each Musicology topic, candidates will develop a Musicology Portfolio to support their preparation for the

Viva Voce Examination. The Portfolio should contain topic overviews, evidence of related listening activities, concept based analysis and discussion of works studied, primary source examples, for example, audio and video recordings.

The Musicology Portfolio may form part of the internal HSC Assessment for that Elective.

Musicology: Researching a Viva Voce Topic

Which Topic?You will discuss better a topic that you are interested in so don’t choose a style of music that you don’t enjoy.

ResourcesConsider the resources available to you when choosing a viva voce topic. Concentrate on primary resources such as recordings, scores etc. then consider secondary resources such as books, magazine articles etc.Burn your own CD with extracts. There are many simple-to-use computer programs with which to edit your extracts, so that they demonstrate precisely the section of music you wish, in a very professional way.Putting your extracts on CD means they are instantly accessible, so long as you know the track numbers of your excerpts. You can take a track listing of your CD into the Exam Room.

What is Your Focus?When you have chosen a topic, decide on what area of that topic you would like to focus on.

Always refer back to the Concepts of MusicDiscussing the Concepts of Music should form the basis of your viva. Talk about the music and refer to recorded excerpts which back up your discussion. Use sheet music or any other form of printed music to back up your discussion. This is particularly helpful when it comes to discussing harmony.

Preparing for the DayRemember that your viva is a discussion not a lecture or prepared talk. Practising in front of the class will give you confidence. You are allowed to take a summary sheet into the exam with you. This should be no more than an A4 page and should contain a very brief background of the topic you have studied, as well as a very short list of musical characteristics. Don’t make this summary too extensive. It is for the examiner, not for you, and is meant to briefly outline your topic so they know what to ask you questions about.

Resources you may not take into the exam with you: Do not take your notes into the exam room with you

Resources you make take into the exam with you: Your Viva Voce Summary Sheet – plus 3 exact photocopies for the examiners to use CD’s, MP3 players containing relevant excerpts (no the whole songs_ which help illustrate any points you

wish to make. A CD or MP3 player with which you are familiar so that you can use the counter effectively. Make sure they

play your media format. A list of the excerpts which are on the CD/MP3 player so they can be found easily. Illustrations of instruments. These are especially useful if you are discussing music of other cultures. Scores which illustrate a point Your own instrument so that you can demonstrate some musical characteristics e.g. if you are discussing

the 12-bar blues and you are a keyboard or guitar player, you may wish to play it for the examiners.

Musicology Questions

There are no set questions for Musicology. Questions depend on the individual topic and the musical excerpts that you play or talk about. Here are some of the sort of questions which might be asked.

Why did you choose the topic?

How did you research the topic?

What pieces of music did you listen to?

What musical features are heard in this style? / in the music of this performer or composer?

Do all pieces of music in this style have these same features?

Explain (or demonstrate) what you mean by this feature you have mentioned e.g. blues note, call and

response, hammer-ons, distortion etc.

What different types of music are found in this style?

Describe how they differ illustrating the answer with specific musical examples.

Apart from the music you studied directly connected to your topic, what other related music did you hear?

Describe it.

What other music influences the style / composer / performer?

What are the features of this music which influenced the style?

In the excerpts from CD/MP3: What will we hear when these specific features occur? When will / does it

occur?

Tone Colour

Pitch

Duration

Dynamics & Expressive Techniques

Structure

Texture

What is the effect of this feature?. E.g. riff? Countermelody? Distortion?

How is this specific effect or feature achieved?

How is this section different to the next section?

In this section, describe what is happening…e.g. what is the bass guitar playing?

Describe the texture…tone colour…pitch…harmony…expressive techniques…etc

How does the music change at this point?

Is this chorus the same as the first chorus?

How is it varied?

Why do you think the composer, or performer, has done that?

How does one excerpt compare with another? i.e. what is the same and what is different? How is the mood

achieved?

Viva Voce Tips

Choose a topic that excites you

Think of an interesting title which sums up your topic.

Keep the topic area narrow and deep. E.g. ‘Jazz’ is far too broad to cover. Instead look at “Scott Joplin and Ragtime”; instead of ‘Rock’ research “Heavy Metal in the 90s”; instead of ‘Film Music’ study “Music in Star Wars”; instead of “The Guitar”, compare the techniques and style of three different guitarists.

Concentrate on the music not the historical facts or terms. It is far more important to discuss in terms of the Concepts than to give lots of dates and names.

Research from source material – not secondary books etc. It is much better to talk about music that you have heard, and your own response and observations that to quote from others. Listen to recordings, go to concerts, watch videos, play the instruments…use your ears, and your brains!

Demonstrate whenever possible. Why struggle to explain what a blues note is when you can sing or play an example for more effectively?

Use CDs, Videos, DVDs, artefacts, instruments to illustrate each point you make. But please be well organised! Make sure the recording is of first rate quality. Have any example lined up, ready to play. Be confident in using any equipment, and make sure it is ready to operate. If demonstrating on a guitar etc. make sure it is tuned. Make sure any example you have is relevant and well chosen and only contains the most appropriate example of the point you’re making, i.e. short and sweet.

CDs are no substitute for your knowledge. Be able to talk over a CD, explaining how it illustrates your points. Be prepared to say what is demonstrated on the recording in detail.

Learn all you can about the topic. Be like a tap that can’t be turned off! On any aspect of your topic, be able to talk for ages with lots of examples that you can talk about from personal knowledge.

Plan you viva summary intelligently. It is a guide for the examiners to know what areas you looked at. It is not a crib to remind you of facts. Keep it brief – don’ t let it give answers you want to give. Put down areas that you want to expand on e.g. “Urban Aboriginal Music – instruments, lyrics, melodic motifs” not “Aboriginal Music is used in cities such as Redfern. It uses rock instruments like the electric guitar and drums and sometime traditional instruments like the didgeridoo”. A summary that suggests areas of comparison, that discusses the claims of various critics or offers a new perspective to the topic suggests a superior candidate.

Practice talking about your topic to anyone you can grab. Check with a friend you can trust – do you speak clearly? Are your explanations clear? Do you waffle – as if you don’t really know much but just talk rubbish? Can you make them interested in what you are talking about? Can you answer their questions?

Don’t learn your facts by rote, parrot fashion. You must know and understand all you have studied and heard, and be able to talk about it from any angle the examiner chooses, in a chatty, conversational way – not as if quoting from a book. Be able to share how and why you researched it; “the teacher told me to do it and gave me these books to study” would not be a happy answer!

Smile, make eye contact with the examiners. Don’t be nervous, they’re just normal music teachers, and they want you to do well. Above all, remember that the viva is not an attempt to find out what you don’t know, but to explore what you do know. It is a discussion not a lecture by you or an inquisition! Enjoy yourself raving on about your favourite musical topic.

Viva Voce Summary Form – to be handed to the examiners

MUSIC 1 MUSICOLOGY VIVA VOCE OUTLINE SUMMARY (M6)

To be prepared in advance and handed to the Markers (A separate form must be used for each viva voce)

This Musicology Viva Voce is being presented as ( ):

ELECTIVE 1 or ELECTIVE 2 or ELECTIVE 3The viva voce must represent ONE of the three topics studied in the HSC Course as nominated on the ‘Certification of Course Topics Studied’ sheet.

The maximum length of each viva voce is 10 minutes.

If more than one Musicology elective is presented, each viva voce must represent a different topic from among the

three topics studied in the HSC Course.

Title of Viva Voce(which aspect of the Topic you wish to discuss)

Course Topic Represented

Outline Summary:__________________________________________________________________________________________________________________________________

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The Concepts of Music

The concepts provide an overview of musical understanding that students need to develop. An approach to music

through the concepts is very significant, as music often displays a distinctively abstract nature, existing without

reference to anything else.

Investigating the concepts enables students to examine the ways in which sound is used to create music and apply

this to their own experience of performance, composition, musicology’ and aural.

Developing an understanding of the musical concepts is not an end in itself. The concepts have application in a

musical context because different musical styles use the concepts in different ways.

In both the Preliminary and HSC courses, the concepts will be constantly revisited at increasing levels of

sophistication. The degree of sophistication will depend on the topics chosen for study and the breadth of musical

experiences.

Students will develop knowledge and understanding about the use of the following musical concepts:

• pitch

• duration

• dynamics and expressive techniques

• tone colour

• texture

• structure

Pitch

Pitch refers to the relative highness and lowness of sounds. Important aspects include high, low, higher and lower pitches, direction of pitch movement, melody, harmony, indefinite and definite pitch.

Students should be able to discuss the following aspects of pitch as relevant to the music studied:

High / low: pitches can be comparatively high or low direction of pitch movement: up, down , same level melody: a horizontal succession of pitches harmony: two or more pitches sounding together indefinite pitch: untuned sounds, for example, the speaking voice definite pitch: tuned sounds, for example, the singing voice

Students should understand and apply the following (where appropriate to the musical context):

definite and indefinite pitch pitch direction and contour pitch patterns pitch range and register harmony methods of notating pitch, both traditional and graphic various scales, modes and other ways of organising pitch.

Pitch — Checklist

Is there a melody?

Is there one main melody, or many different

melodies in succession?

What is the melodic shape? e.g. Movement by steps / leaps / drone

Diatonic / modal / pentatonic / atonal / scale like

Intervals — repeated / steps / leaps / chromatic /

etc.

Narrow / wide range of notes / register

Decorated / arpeggio

Improvised

Ascending / descending / sequences

Climax

Instrumental / vocal

Accompanied / unaccompanied

Phrasing

What is the interpretation? e.g. flowing

lyrical

abrupt/jumpy

cantabile (singable)

Is the melody accompanied or unaccompanied?

If so, how and by what instruments?

Are there fragments of the melody that recur? e.g. motifs

riffs

ostinatos

If more than one melody, consider: similarities /

differences.

Is there a counter melody? How do they fit

together?

e.g. canonic

round

register of each melody

simultaneous

contrary motion

counterpoint

Describe the phrases. e.g. balanced / symmetrical

unbalanced

how many phrases

question and answer / call and response

repetitive

sequential / symmetrical

contrasting

use of climax

Describe the tonality e.g. diatonic (major / minor)

modal

atonal

centered on one note

pentatonic

consonant

dissonant

whole tone

Style e.g. specific stylistic characteristics (e.g. African, Folk)

Interpretation / techniques e.g. Decorations

improvisation

lyrical

cantabile

staccato

legato

trill

anticipation

angular

ornamental

mordents

sliding

glissando

appoggiatura

acciaccatura

accents

Is there a key centre?

Is modulation used?

Are the harmonies traditional? e.g. chords I, IV, V, etc.

Are the chords ‘added-on’ e.g. 7th 9th 11th etc.

Is chromaticism used?

Is there dissonance? e.g. resolved or unresolved

use of suspension

Use of chord patterns e.g. 12 bar blues

ice-cream chords

Is there a pedal point / drone / Alberti bass?

What is the rate of the harmonic movement? e.g. many chords

few chords

related / unrelated chords

Pitch Glossary

A Capella A vocal soloist or group that sings without instrumental accompaniment.

Accent A note or chord that is stressed or emphasised.

Acciaccatura To crush the First note with the second and then release it.

Accompaniment A vocal or instrumental part that supports the main part, or provides background for a so Joist.

Alberti Bass A pattern of bass notes played one after the other that outlines the chord (low-high middle-high). -

Anticipation To hear the note played slightly before t is expected (E.g. on the upbeat).

Appoggiatura To lean on the first note quickly, release and play the second.

Arpeggio Notes of a chord that are played in succession, either ascending or descending. A broken chord.

Ascending To move upward or higher in pitch.

Atonal Without a sense of key (tone center), often dissonant.

Cadence A musical progression that ends a melody, theme, phrase, section or complete work.

Call & Response A short melodic idea sung or played by a soloist and answered by another soloist or group.

Canon Where the music is based on a set phrase or melodic idea that is

repeated throughout, with the repetition entering shortly after the original and so on.

Cantabile Can be sung easily, singable.

Chord A set of notes, usually three or four, played simultaneously -. usually

containing a root, and other notes that have a tonal relationship to that root

Chordal A form of music in which a single melody is accompanied by sets of chords, rather than a competing counter melody.

Chromaticism Use of chromatic scales (movement by semitones / smallest intervals), ascending or descending.

Climax - Often the highest or most important point of a melody heightened by harmony, dynamics, texture, etc.

Consonance - Sounds that are in agreement in terms of physical generation of sound;

i.e. sounds found in the harmonic series of a pitch being hamaonized, in contrast to dissonance.

Contour The movement or shape of the melody.

Contrary Motion Two parts moving in opposite directions, either away or towards each other.

Countermelody A melodic part that contrasts the main melody

Counterpoint The combination of two or more melodic lines played against one another. A horizontal structure built upon competing melodic lines,

rather than a chordal setting.

Descending To move downward or lower in pitch.

Diatonic Based on a major or minor scale.

Dissonance Notes that conflict, or sound outside of a chord in which they occur. E.g. Intervals of a 2, or tri-tone.

Drone A long held note, usually of a very low pitch.

Glissando Sliding across, many notes either asndng or descending. -

Harmony The sounding of two or more tones simultaneously; the vertical aspect of music.

Imitation One voice repeats a phrase stated by a different voice.

Improvisation To make up the music on the spot can be restricted by certain musical guidelines.

Instrumental A piece of music written only for instruments (no vocals).

Interval The distance in pitch between two notes.

Jagged The melody moves mostly in leaps and in different directions.

Leap The movement of a single musical line by more than an interval of a second.

Legato Smooth and well connected.

Lyrical A very melodic line (diatonic).

Melody Notes of similar or different pitch arranged one after another. The main line in a piece of music.

Modal Based on a musical mode (scale). E.g. Mixolydian, Phrygian.

Modulation The process of changing from one key to another within a composition.

Mordent An ornament consisting of an alteration (once or twice) of the written

note by playing the one immediately below it (lower mordent), or above it (upper, or inverted, mordent) and then playing the note again.

Motif Part of a phrase that returns during a piece of music, sometimes with variation (may be only a few notes in length). A short musical idea.

Ornament A melodic embellishment, either written or improvised. Types of ornaments include trills, turns, mordents, and grace notes.

Ostinato A rhythmic, melodic or harmonic pattern that is repeated throughout the piece.

Pedal Point - A long sustained note, usually in the bass, which is hold whist

harmonic progressions continue above it.

Pentatonic - A piece of music containing only a five-note scale.

Pitch Highness or lowness of a sound.

Register

- Part of a melody that sounds complete by itself. Most pieces employ a square phrasing (2 or 4 bars). Some pieces use irregular phrases (different lengths).

Repetition To perform a section of the music again

Resolve To change from a dissonant harmonic progression to a consonant

Round A piece of music that has a number fo sections that can be performed by different instruments or voices at the same time

Scale A specific progression of notes in ascending or descending order. E.g. major, minor

Semitone Smallest distance between two notes on a keyboard

Sequence A melodic pattern repeated at a different pitch either higher or lower

Sliding An ornament in which the player moves from one note to the next by passing through all the noted in between

Smooth The melody moves mostly in steps (stepwise)

Staccato Short and detached

Step wise To move in small steps, usually tones or semitones, either ascending or descending

Style A name given to a particular genre of music. E.g. Baroque, Classical, Rock etc.

Suspension A harmonic device in which a note sounded as part of a chord is

sustained while the next chord is played. The result is a discord that is then usually resolved

Theme A prominent melody that returns often during a piece of music (possibly with variations). Often referred to as the subject

Tone An interval of a major 2nd. Can be subdivided into two semitones

Trill Decoration, rapid alternation of two notes

Vocal A piece of music that contains a part for voice

Whole Tone A scale that contained only intervals of a tone

Duration

Duration refers to the lengths of sounds and silences in music and includes the aspects of beat, rhythm, metre, tempo, pulse rates and absence of pulse.

Students should be able to discuss the following aspects of duration as relevant to the music

studied:

Beat: the underlying pulse in music

Rhythm: patterns of long and short sounds and silences found in music

Tempo: the speed of the beat. Music may be relatively fast or slow and may become faster

or slower.

Metre: the grouping of beats. Beats can be grouped in any combination including 2, 3, 4, 5,

6, 7, and so on.

Students should understand and apply the following (where appropriate to the musical context):

Regular and irregular metres

Metric groupings

Tempo

Rhythmic devices such as syncopation, augmentation and diminution

Methods of notating duration, both traditional and graphic

Duration – Checklist

Describe the beat. e.g. steady indefinite strong /weak

Are there accents? e.g. regular irregular

Describe the meter (bar lengths) e.g. changing constant time signature (simple or

compound) absence of time signature

Describe the tempo e.g. slow / fast changes in tempo accelerando / rallentando /

ritenuto

Is there syncopation?

What are the note values? e.g. sustained notes dotted notes length (short/long) metrical repetition

Are there rhythmic patterns? e.g. riffs ostinatos repetitive patterns/phrases changing patterns/phrases balanced/imbalanced phrasing cross-rhythms/polyrhythms strong/weak notes

Describe the mood e.g. animated lively dramatic constant motion

Is there a rhythmic style? e.g. Samba Dance Swing Etc.

Duration – Tempo Markings

Grave Slow, solemn (40)

Largo Slow and broad (46)

Lento Slow (52)

Adagio At ease, slowly (56)

Larghetto Slow and broad, but no less then Largo (60)

Adagietto Slightly faster than Adagio (66)

Andante At an easy walking pace (72)

Andantino Slightly faster than Andante (80)

Maestoso Majestic, defined (88)

Moderato At a moderate speed (96)

Allegretto Moderately fast (108)

Animato Animated, lively (120)

Allegro Fast (132)

Assai Fast (144)

Vivace Fast and lively (160)

Presto Very fast (184)

Prestissimo As fast as possible (208)

Rallentando Gradually becoming slower

Ritenuto Immediately slower, held back

Accelerando Gradually becoming faster

Rubato Controlled flexibility of tempo where notes are shortened or lengthened as

the performer slows down or speeds up

Fermata To pause on a specific note or chord

(xx) – Approximate number of beats per minutes (bpm)

Duration – GlossaryAccelerando To gradually become faster

Accent To emphasise a note or chord

Anacrusis An incomplete bar that occurs at the beginning of a piece of music. The

remainder of which is usually found at the end of the piece (also often

described as an upbeat)

Bar A metrical division of music (measure)

Beat Regular recurrent pulsation driving music into equal units of time (pulse)

Changing meter Music using more than one meter (not simultaneously)

Dotted rhythm Use of long notes followed by short notes

Down beat The first beat of a bar

Heterophony Use of different rhythms with the same melodic ideas performed

simultaneously

Irregular meter Beats in unpredictable groupings as determined by the time signature. E.g.

5/4, 7/4, 13/4

Meter Repeated pattern of strong and weak beats into regular groups (time signature)

Duple meter – two beats in a bar Triple meter – three beats in a bar Quadruple meter – four beats in a bar Simple time – the beat is divided into two e.g. 2/4 (simple duple), 3/4 (simple

triple), 4/4 (simple quadruple) Compound time – the beat unit is divided into three e.g. 6/8 (compound

duple), 9/8 (compound triple), 12/8 (compound quadruple)No meter Music lacking a pulse, no time signature

Ostinato A rhythmic, melodic or harmonic pattern that is repeated throughout the piece

Phrase a unit of melody of indeterminate length. Often in 2 or 4 bar lengths and can

end with some form of cadence

Polymetric Use of more than one meter simultaneously

Polyrhythmic Simultaneous use of strikingly contrasted rhythms

Rallentando Gradually becoming slower

Rhythm Length of musical notes, and the beat of music

Riff A repeated rhythm /chordal pattern that is played at certain points throughout

a piece

Ritenuto Immediately slower, held back

Rubato Controlled flexibility of tempo where notes are shortened or lengthened as the

performer slows down or speed up

Style Rhythm may be associated with a specific style. E.g. if the rhythm, typifies a

Latin American Dance (e.g. Tango)

Syncopation To change an accent from what is normally a strong beat and place it on a

weak beat ( to accent on the off-beat)

Tempo The speed of the beat at which a piece is performed

Up Beat The last beat of a bar

Dynamics and Expressive Techniques

Dynamics refer to the volume of sound. Important aspects include the relative softness and loudness of sound, change of loudness (contrast), and the emphasis on individual sounds (accent).

Expressive techniques refers to the musical detail that articulates a style of interpretation of a style.

Students should understand and apply the following (where appropriate to the musical context):

A range of dynamics, including graduation s Articulations Tempo, including graduations Stylistic indications

Dynamics and Expressive Techniques – Checklist

Describe the loudness and / or softness of the music.

How are dynamic levels achieved? e.g. the number of instruments

the type of instruments

Describe the loudness or softness of individual instruments.

Are changes in dynamics gradual or sudden?

Are there terraced dynamics?

How do dynamics contribute to contrast or unity?

Are there accents? How are they achieved?

How is silence used?

How are performance techniques used to create unity or contrast?

List specific techniques of individual or groups of instruments e.g. double stopping

sliding / glissando

pizzicato

phrasing

legato / staccato

arco

pause / fermata

etc.

How is tempo used throughout?

How is articulation used?

Are there any stylistic interpretations?

Dynamic Symbols

Symbol Term Meaning

ppp Pianississimo Very, very soft

pp Pianissimo Very soft

p Piano Soft

mp Mezzo piano Moderately soft

mf Mezzo forte Moderately loud

f Forte Loud

ff Fortissimo Very loud

fff Fortississimo Very very loud

< cresc. Crescendo Gradually becoming louder

> decresc. Decrescendo Gradually becoming softer

Dim Diminuendo Gradually becoming softer

< > Messa di voce Becoming louder then softer

fp Fortepiano Loud, then immediately soft

> Accent To emphasise a note or chord

sfz SforzandoTo force a note or chord (more

than an accent)

Dynamics and Expressive Techniques – Glossary

Accent To emphasise a note or chord

Arco To play with the bow

Articulation To perform in a specific way in which the piece was written

Contrast Variation or change achieved within the music

Double stopping A chord of two notes performed by playing two strings at once on a bowed, string

instrument

Dynamics Degrees of loudness and softness in musical performance

Fermata To pause

Glissando Sliding across many notes either ascending or descending

Legato Smooth and well connected

Pause A wait of indefinite length on a note or rest

Performance techniques

Indications to perform in a specific way

Phrase A unit of melody of indeterminate length. Often in 2 or 4 bar lengths and can end

with some form of cadence

Pizzicato To pluck the strings with the fingers on either a violin, viola, cello or double bass

Silence A period of no sound. Indicated on the music with a rest

Sliding An ornament in which the player moves from one note to the next by passing

through all the notes in between

Staccato Short and detached

Style A name given to a particular genre of music e.g. Baroque, Classical, Rock etc.

Tempo The speed of the beat at which a piece is performed

Terraced dynamics

Alternation between loud and soft. Common to the Baroque period.

Unity Use of repetition within a piece

Tone Colour

Tone Colour refers to that aspect of sound that allows the listener to identify the sound source or combination of sound sources.

Students should be able to discuss the following aspects of tone colour as relevant to the music studied:

Sound source material, for example, wood, metal, string, skin, electronic and vocal Method of sound production, for example, blowing, hitting, plucking, scraping and shaking Combination of sound sources, for example, single voice, multiple voices, voices

accompanied or unaccompanied by instruments

Students should understand and apply the following (where appropriate to the musical context):

Types of instruments and voices Combinations of voices and instruments Acoustic sounds Electronic sounds Synthesized sounds Sound production methods Traditional and non-traditional ways of using sound sources

Tone Colour – Checklist

Name the performing media – instruments

Discuss the timbre of each instrument, refer to instrument register

Describe the tone colours created in the performance

Name the particular sound source and method of sound production e.g. voice type

specific instrument

instrument family

description if unknown

electronic sounds

Combination and types of instrument used e.g. solo

small ensemble

large ensemble

rock band

orchestra

jazz band

string quartet

woodwind ensemble

brass ensemble

folk group

etc.

Describe tone colours of instrument from another culture e.g. aerophones

chordophones

idiophones

membranophones

Traditional and non-traditional methods of sound production

Tone Colour – Glossary

Acoustic A natural sound produced by vibrations of a material e.g. strings, wire or membrane

Aerophone An instrument that uses a vibrating column of air to produce the musical sound

Brass ensemble An ensemble consisting of only brass instruments (trumpet, trombone, French Horn and tuba)

Chordophone An instrument that uses a vibrating string to produce the musical sound

Electronic Sound produced using electronic equipment like tape recorders, computer music, amplified sounds etc.

Folk group An ensemble that performs folk music (music that has been preserved through oral tradition)

Idiophone an instrument that is self-sounding and played by hitting, scraping, rattling, shaking etc.

Instrument family The specific group of instruments tha each instrument belongs to e.g. strings, woodwind, brass, percussion etc.

Jazz band A band that performs one of the many jazz styles, including blues, swing, Dixieland, ragtime, fusion, bebop etc.

Large ensemble An ensemble consisting of more than 8 instruments

Membranophone An instrument with a stretched skin that vibrates by being hit with a stick or hands etc.

Orchestra A specific group of instrument. The orchestra consists of instrument from the brass, woodwind, strings and percussion families and generally ranges from 80 to 140 instruments

Performing media A list of the instruments performing a specific piece of music

Rock band A band generally consisting of drums, lead and rhythm guitar, bass guitar and vocals

Small ensemble A group of 3 – 8 instruments

Solo A single instrument performing with no accompaniment

Sound production How a specific sound is achieved e.g. blowing, scraping, plucking, hitting and electronic

Sound source The type of instrument and materials it is made of

String quartet A groups of four string instruments, including two violins, viola and cello

Synthesiser An electronic keyboard in which many sounds and sound effects can be produced by pressing various buttons and keys

Timbre The quality of a particular sound from a specific instrument

Tone Colour Same as timbre. The effective combination of many tone colours is essential for good orchestration

Woodwind ensemble A group of instruments from the woodwind family, including flute, oboe, clarinet, bassoon and their related instruments

Tone Colour – Performing Media Guide

Section Instrument Possible words to describe Timbre

Woodwinds Piccolo - Shrill, comical

Flute - Bright (high register) or hollow,

mellow (low register)

Oboe - Piercing, morose, eastern, course

Cor anglais - Rounded

Clarinet - Rich (low register) or bright, fluid

(high register)

Bass clarinet - Dark

Bassoon - Gruff ( middle/low register) or

comical (high register)

Saxophones Soprano - Breathy, nasal, light

Alto - Breathy, rich

Tenor - Breathy, mellow, rich

Baritone - Breathy, dark

Brass Trumpet - Brilliant, commanding, regal, thin

(when muted)

French Horn - Rounded, mellow, muted

Trombone - Full, mocking, cheeky

Tuba - Heavy

Strings Violin - Bright, smooth, vibrant, subdued

(when muted)

Viola - Somber, subdued

Cello - Mellow, rich, full, crying (high

register)

Double bass - Heavy, dark

Harp - Thin, light

Other strings Acoustic guitar - Thin, delicate

Harpsichord - Thin, short, bright

Electric guitar - Vibrant, rich, brilliant

Bass guitar - Dark, rounded, rich

Piano - Various depending on register and

texture

Voice Soprano - Light

Mezzo soprano - Light

Alto - Rich

Tenor - Bright

Baritone - Rich, deep

Bass - Dark

Treble - Pure

Counter tenor - Comical

Percussion Glockenspiel - Bright, metallic

Xylophone - Wooden, bony

Vibraphone - Wavy, bright

Timpani - Hollow

Snare drum - Bright, bouncy

Bass drum - Dark, thundery

Cow bell - Metallic, bright, short

Tambourine - Vibrant, bright

Texture

Texture results from the way voices and / or instruments are combined in music.

Students should be able to discuss the following aspects of texture as relevant to the music studied:

The layers of sound and their function The roles of instruments and / or voices

Texture – Checklist

What is the degree of density of the music? e.g. thick (many

sounds/heavy chords/low

pitch)

thin ( solo instrument/few

sounds/high pitch)

Describe any changes that occur in the density.

What are the levels of sound? e.g. upper

middle

bass

What are the layers of sound? e.g. monophonic

homophonic

polyphonic

What is the relationship between the levels? e.g. similar motion

contrary motion

How is unity and contrast achieved? e.g. antiphonal

call and response

imitation

unison

counterpoint

heterophonic

fugal composition

Use descriptive words to describe the texture e.g. smooth

coarse

silky

bright

rough, etc.

Texture – Glossary

Antiphonal Two or more groups positioned in different performance spaces with one

group responding to the other

Call and response A short melodic idea sung or played by a soloist and answered by another

soloist or group

Contrary motion Two parts moving in opposite directions, either away or toward each other

Counterpoint The combination of two or more melodic lines played against one another. A

horizontal structure built upon competing melodic lines, rather than a chordal

setting

Fugal A contrapuntal composition. A subject is introduced and is then answered by

many more staggered entries of the subject (often slightly modified to

preserve tonality)

Heterophonic The simultaneous playing of two or more performers of different variations of

the melody

Homophonic One instrument plays the melody whilst all other instruments provide

accompaniment

Imitation One voice repeats a phrase stated by a different voice

Monophonic Music that consists only of a melody, without any other accompaniment

Polyphonic Tow or more melodic lines played simultaneously, with or without added

accompaniment

Similar motion Movement of two or more parts or melodies in the same direction, either up or

down

Unison Tow or more notes of the same pitch

Structure

Structure refers to the idea of design or form in music. In organising sound the concepts of duration, dynamics, pitch and tone colour are combined in some way for a particular purpose. Structure relates to the ways in which music sound the same (or similar) and/or different.

Students should ne able to discuss the following aspects of structure as relevant to the music studied:

Phrases Motifs Riffs / repetitive patterns Techniques of call and response / question and answer Traditional and non-traditional patterns of musical structure Structures used in single pieces of music Multi-movement structure (e.g. symphony)

Structure – Checklist

Discuss the uses of structural devices e.g. repetition

imitation

phrasing

themes

contrast

variation

sequences

Are there clear-cut sections? e.g. A / B / C / etc.

verse / chorus / bridge

coda / introduction / cadenza

Is the piece in a specific form? e.g. binary

ternary

rondo

theme and variations

strophic

through composed

fugue

sonata

other specific form relevant to a

particular style or period

How do the sections vary from each other?

Structure – Glossary

Binary form A piece of music that has two distinct sections, A and B. Section A is

performed first and may be repeated any number of times before section B,

which may also then be repeated. E.g. AB, AAB, ABB, AABB etc.

Chorus The main section of a rock song that is played many times throughout the

song, usually in between each verse

Contrast Variation or change achieved within the music

Development A section usually in the middle of a piece that explores the possibilities of

thematic material through contrapuntal elaboration, modulation, rhythmical

variation, etc. In Sonata Form, the development follows the exposition

Fugue A contrapuntal composition in which 2 or more parts or ‘voices’ are built on a

subject. This is a theme that is introduced at the beginning in imitation and

recurs frequently in the course of the composition. The second entry of the

subject, which is generally a fifth higher or fourth lower, is called the answer.

This is often slightly modified to preserve tonal quality. A third entry then

occurs a bar or two later usually an octave higher or lower than the original.

The piece then develops with many more subject entries, answers and

possible countersubjects

Repetition To perform a section of the music again

Rondo form A piece of music that has a recurring section (usually called A), that

alternates between a number of different sections (or episodes) e.g.

ABACADA etc.

Sonata form A term for a piece of music that consists of three main sections. The

exposition (presentation of thematic material), the development (a variation

by dismemberment, transposition and contrapuntal treatment), and

recapitulation (re-presentation of original thematic material)

Strophic form A piece of music that contains a verse and chorus section, and may also

contain an introduction, coda, bridge, etc. The main form of many rock songs

Ternary form A piece of music that has two distinct sections, A and B, where A is

performed first, then followed by section B, and then a return to section A.

Each section may be repeated. E.g. ABA, AABA, AABBAA etc.

Theme and Variations A piece of music that contains a musical theme that is repeated throughout

the whole piece, with slight changes to each repetition either in melodic

shape, accompaniment, style, dynamics, texture, etc. e.g. A1 A2 A3 A4

A5 etc.

Through composed A piece of music that lacks specific sections. The whole piece is one section

that continues to develop throughout

Variation To make changes and alterations to the music in any way

Verse A section of a rock song where the musical accompaniment is repeated for

each verse, however the lyrics usually change. It is almost always followed

by the chorus

Aural Question Buzz Words:Unity

How is unity created? (that is, what draws the piece together?)Unity is created by what repeats or continues or returns or is similar in a piece of music

Unity can be created by:

Repeating a melody Repeating a rhythm patter

A melody returning Repeating a section of music

As ostinato continuing throughout The same key used throughout

The same instrument playing throughout The same volume kept throughout

The same tempo kept throughout A drone continuing throughout

The same performing media throughout The same texture kept throughout

The same style of music throughout The same mood kept throughout

Melodies used are similar Rhythms used are similar

Sequences are used All music is high (or low)

The same accompaniment throughout A pattern reoccurs

Contrast

How is contrast created?Contrast is created by anything that changes or is different. Contrast must compare tow items. Contrasting things can happen at the same time!

A piece may contain ‘contrast’ through:

Introducing a new melody Introducing a new rhythm

Changing or varying the melody Changing the key

Changing the performing media Changing the volume

Adding a countermelody Changing the texture

Changing the style Changing the accompaniment

Adding a new instrument Changing the mood

Adding ornaments Changing the harmony/chords

Adding echoes, call and response etc,

Aural Skills StrategiesThe following article will attempt to outline some aural skills strategies that might be useful when approaching the problem of finding the right words to describe what you hear in an unfamiliar piece of music.

Checklists

A checklist attempts to list all the possible aspects related to a particular concept. The advantage of a checklist is that is provides you with raw information from which to construct an answer.

e.g.C H O M P

Counter Melodies – I could hear themHarmony – there was harmonyOrnamentation – yesModulation – the piece modulatedPatterns and phrases – there were no patterns or phrases ion the piece

You should be aware that many teachers will give you checklists to help you prepare dor the aural skills section. Of course, you cannot bring checklists into the exam, so the challenge is to practice enough with them, using a wide variety of music, so that the components of the checklist become familiar. That really is the key to listening – regular practice with as wide a variety of music as possible. Be careful not to give what HSC markers calla ‘Shopping list’ answer. An shopping list answer is when you simply right down a checklist you have studied and then either tick the boxes or briefly say yes or no. This type of Raw answer many get you a few marks, but it does not show your true ‘Music Awareness”.

Defining the Concepts and TechniquesIt is absolutely essential that you understand what the Concepts and techniques are all about. Spend some time clarifying in your own mind what tone colour or texture, for example, might mean.Always define what you mean.Text Answers – never simply refer to a piece of music, for example, as being homophonic without then explaining and writing a few sentences as to why you think it is so. (WWWHW?)Graphic Answers – never draw a diagram without labels and also without explaining exactly what you have drawn.

Be Stylistic!List some stylistic differences between genres.e.g. riffs happen in rock and jazz music, motifs occur in classical music.

Music ChangesThe Board of Studies will choose a piece that suits the question. They probably will not ask you to describe Duration is the rhythm is constant, but you never know! Many students fall into the trap of discussing music as though it remains the same throughout – “the rhythm is fast”, for instance. Music rarely exists in an unchanging state. We should focus on how the music changes (or develops) during the course of the excerpt – no matter what concept you are asked to consider. The word ‘change’ is a very important word to apply during your listening. It is also a prime consideration when the question asks you to focus on contrast.

Listen Deeper – there is more than just a melody occurringTry and focus your listening on the layers in the music – not just the vocalist or instrumental melody. You need to be more ‘musically aware’. Layers can also be applied to nearly any concepts. The most logical is texture – but how could you apply layered listening to rhythm or tone colour, for instance? The high, loud parts and the long, slow parts are generally the easiest to hear, so focus on the opposites and see what happens.

Diagrams and Graphic AnswersDiagrams are a particularly useful resource to consider in your response. The thing to bear in mind – as always – is that you have to convey your intentions very directly. Examiners see many diagrams that would score really well in a Visual Arts exam, but are too fussy and complicated to convey meaning in a musical sense. So here, as in written responses, think simply. You can prepare yourself for this technique by thinking about how specific concepts can be portrayed in diagrams. For example, how would you represent the following music gestures in a diagram?

A beat or rhythm that changes from slow to fast A melody that moves from high to low A texture with three parts doing different things A soft section followed by a very loud section

What is A Good Answer?There are many approaches, but the best answers:

Understand and address the question Use terminology correctly and always qualify what they mean Are concise – often in point form Are well organised and logical Use appropriate diagrams, label them and then discuss what has been written Expand on any points raised Clearly identify sections in the music that are being discussed Are factual Avoid unnecessary opinion and are not overly subjective and descriptive. E.g. “It sounds like people running

around in a Bug’s Bunny cartoon”. “The sound of the trumpets is annoying:

Practise ListeningLike any skill, the only real way to develop your ability to answer the questions is through regular practice. If you listen to a different piece of music every week between no and the exam, you will have experience a considerable amount of music and developed your skills in recognition.

Higher School Certificate Course

Topic 1_______________________________________________________________________________________

(Name of Course Topic)

Performances related to this Topic:No. Title Composer/Arranger/Band

Composition Tasks related to this Topic:No. Title Track No.

These composition tasks are not necessarily notated, nor do they need to be full scale compositions. They may be Rock or Jazz improvisations, or even a set of themes or harmonisations in the style of a “classical’ work. You may wish to list Class compositions, provided you had a reasonable input into the final product.

It is advisable to record all composition tasks on to a CD

If you have been assigned a complete composition for this Topic, you may find the following Composition Planning Grid useful. It is a means of directing your thoughts towards achieving Unity, Variety, Balance and Contrast in your composition.

If you choose this Topic as a Composition elective, you will need to submit a Composition Portfolio. You will also need to accurately note and record this composition.

Composition Planning Grid Title of Composition: ___________________________________

Melody Harmony Rhythm Tone Colour Texture Dynamics & Expressive Techniques

Formal Structure

Unity

Variety

Balance

Contrast

For your own appraisal

Development of thematic material

Appropriate tonality and effective key relationships

Effective use of instrumentation for

the chosen medium

Effective harmonic progressions

Structural coherence

Detailed performance

directions

Clarity of scoring

This composition has achieved the following features:

Musicology Summary PageHSC Course Topic 1

Topic: :

Area in Which I Have Specialised:

General Background Research Done:

Titles Of Music Studies:Each example is analysed according to the following Concepts of Music:

Duration, Pitch, Tone Colour, Dynamics and Expressive Techniques, Texture, Structure

1.

2.

3.

4.

5.

N.B. If this Topic is chosen as a Musicology Elective, it may be advisable to analyse more pieces and in greater detail.

Other Pieces of Music Heard from General Background Research:

1.

2.

3.

4.

5.

Other Aspects Covered in This Topic

Musicology Topic Overview Write a two page essay giving a concise overview of the Topic. You may include some musical information, such as historical and chronological contexts, as well as some biographical facts where appropriate.

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Musicology Analysis of Piece 1

Topic: ________________________________________________________________________

Name of Excerpt: _______________________________________________________________

Tonality:

Melodic Structure:

Tempo and Metre:

Rhythmic Features:

Harmonic Features:

Performing Media and Tone Colour:

Texture:

Dynamics & Expressive Techniques:

Structure:

Musicology Analysis of Piece 2

Topic: ________________________________________________________________________

Name of Excerpt: _______________________________________________________________

Tonality:

Melodic Structure:

Tempo and Metre:

Rhythmic Features:

Harmonic Features:

Performing Media and Tone Colour:

Texture:

Dynamics & Expressive Techniques:

Structure:

Musicology Analysis of Piece 3

Topic: ________________________________________________________________________

Name of Excerpt: _______________________________________________________________

Tonality:

Melodic Structure:

Tempo and Metre:

Rhythmic Features:

Harmonic Features:

Performing Media and Tone Colour:

Texture:

Dynamics & Expressive Techniques:

Structure:

Musicology Analysis of Piece 4

Topic: ________________________________________________________________________

Name of Excerpt: _______________________________________________________________

Tonality:

Melodic Structure:

Tempo and Metre:

Rhythmic Features:

Harmonic Features:

Performing Media and Tone Colour:

Texture:

Dynamics & Expressive Techniques:

Structure:

Musicology Analysis of Piece 5

Topic: ________________________________________________________________________

Name of Excerpt: _______________________________________________________________

Tonality:

Melodic Structure:

Tempo and Metre:

Rhythmic Features:

Harmonic Features:

Performing Media and Tone Colour:

Texture:

Dynamics & Expressive Techniques:

Structure:

Musicology Summary of Musical Characteristics for This Topic

Topic: ________________________________________________________________________

Melodic Structure and Tonality:

Rhythm and Tempo:

Structure:

Dynamics & Expressive Techniques:

Harmonic Features;

Texture:

Tone Colour and Performing Media:

Other Important Features:

Bibliography for Books, Journals & Periodicals

Author Title Page Nos. Publisher Date Vol.Noe.g.

Comte, Martin

Music in the Early Childhood Years.

Part 2

38 Australian Journal of Music Education

April 1982 No 30

Discography for Records, CD & MP3’s

Composer Title Conductor Performers Label numbere.g.

Prokofieff, S.“March” from the

Love of Three Oranges

Walter Weller London Philharmonic Orchestra

Decca SXL 6945

Higher School Certificate Course

Topic 2_______________________________________________________________________________________

(Name of Course Topic)

Performances related to this Topic:No. Title Composer/Arranger/Band

Composition Tasks related to this Topic:No. Title Track No.

These composition tasks are not necessarily notated, nor do they need to be full scale compositions. They may be Rock or Jazz improvisations, or even a set of themes or harmonisations in the style of a “classical’ work. You may wish to list Class compositions, provided you had a reasonable input into the final product.

It is advisable to record all composition tasks on to a CD

If you have been assigned a complete composition for this Topic, you may find the following Composition Planning Grid useful. It is a means of directing your thoughts towards achieving Unity, Variety, Balance and Contrast in your composition.

If you choose this Topic as a Composition elective, you will need to submit a Composition Portfolio. You will also need to accurately note and record this composition.

Composition Planning Grid Title of Composition: ___________________________________

Melody Harmony Rhythm Tone Colour Texture Dynamics & Expressive Techniques

Formal Structure

Unity

Variety

Balance

Contrast

For your own appraisal

Development of thematic material

Appropriate tonality and effective key relationships

Effective use of instrumentation for

the chosen medium

Effective harmonic progressions

Structural coherence

Detailed performance

directions

Clarity of scoring

This composition has achieved the following features:

Musicology Summary PageHSC Course Topic 2

Topic: :

Area in Which I Have Specialised:

General Background Research Done:

Titles Of Music Studies:Each example is analysed according to the following Concepts of Music:

Duration, Pitch, Tone Colour, Dynamics and Expressive Techniques, Texture, Structure

1.

2.

3.

4.

5.

N.B. If this Topic is chosen as a Musicology Elective, it may be advisable to analyse more pieces and in greater detail.

Other Pieces of Music Heard from General Background Research:

1.

2.

3.

4.

5.

Other Aspects Covered in This Topic

Musicology Topic Overview Write a two page essay giving a concise overview of the Topic. You may include some musical information, such as historical and chronological contexts, as well as some biographical facts where appropriate.

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Musicology Analysis of Piece 1

Topic: ________________________________________________________________________

Name of Excerpt: _______________________________________________________________

Tonality:

Melodic Structure:

Tempo and Metre:

Rhythmic Features:

Harmonic Features:

Performing Media and Tone Colour:

Texture:

Dynamics & Expressive Techniques:

Structure:

Musicology Analysis of Piece 2

Topic: ________________________________________________________________________

Name of Excerpt: _______________________________________________________________

Tonality:

Melodic Structure:

Tempo and Metre:

Rhythmic Features:

Harmonic Features:

Performing Media and Tone Colour:

Texture:

Dynamics & Expressive Techniques:

Structure:

Musicology Analysis of Piece 3

Topic: ________________________________________________________________________

Name of Excerpt: _______________________________________________________________

Tonality:

Melodic Structure:

Tempo and Metre:

Rhythmic Features:

Harmonic Features:

Performing Media and Tone Colour:

Texture:

Dynamics & Expressive Techniques:

Structure:

Musicology Analysis of Piece 4

Topic: ________________________________________________________________________

Name of Excerpt: _______________________________________________________________

Tonality:

Melodic Structure:

Tempo and Metre:

Rhythmic Features:

Harmonic Features:

Performing Media and Tone Colour:

Texture:

Dynamics & Expressive Techniques:

Structure:

Musicology Analysis of Piece 5

Topic: ________________________________________________________________________

Name of Excerpt: _______________________________________________________________

Tonality:

Melodic Structure:

Tempo and Metre:

Rhythmic Features:

Harmonic Features:

Performing Media and Tone Colour:

Texture:

Dynamics & Expressive Techniques:

Structure:

Musicology Summary of Musical Characteristics for This Topic

Topic: ________________________________________________________________________

Melodic Structure and Tonality:

Rhythm and Tempo:

Structure:

Dynamics & Expressive Techniques:

Harmonic Features;

Texture:

Tone Colour and Performing Media:

Other Important Features:

Bibliography for Books, Journals & Periodicals

Author Title Page Nos. Publisher Date Vol.Noe.g.

Comte, Martin

Music in the Early Childhood Years.

Part 2

38 Australian Journal of Music Education

April 1982 No 30

Discography for Records, CD & MP3’s

Composer Title Conductor Performers Label numbere.g.

Prokofieff, S.“March” from the

Love of Three Oranges

Walter Weller London Philharmonic Orchestra

Decca SXL 6945

Higher School Certificate Course

Topic 3_______________________________________________________________________________________

(Name of Course Topic)

Performances related to this Topic:No. Title Composer/Arranger/Band

Composition Tasks related to this Topic:No. Title Track No.

These composition tasks are not necessarily notated, nor do they need to be full scale compositions. They may be Rock or Jazz improvisations, or even a set of themes or harmonisations in the style of a “classical’ work. You may wish to list Class compositions, provided you had a reasonable input into the final product.

It is advisable to record all composition tasks on to a CD

If you have been assigned a complete composition for this Topic, you may find the following Composition Planning Grid useful. It is a means of directing your thoughts towards achieving Unity, Variety, Balance and Contrast in your composition.

If you choose this Topic as a Composition elective, you will need to submit a Composition Portfolio. You will also need to accurately note and record this composition.

Composition Planning Grid Title of Composition: ___________________________________

Melody Harmony Rhythm Tone Colour Texture Dynamics & Expressive Techniques

Formal Structure

Unity

Variety

Balance

Contrast

For your own appraisal

Development of thematic material

Appropriate tonality and effective key relationships

Effective use of instrumentation for

the chosen medium

Effective harmonic progressions

Structural coherence

Detailed performance

directions

Clarity of scoring

This composition has achieved the following features:

Musicology Summary PageHSC Course Topic 3

Topic: :

Area in Which I Have Specialised:

General Background Research Done:

Titles Of Music Studies:Each example is analysed according to the following Concepts of Music:

Duration, Pitch, Tone Colour, Dynamics and Expressive Techniques, Texture, Structure

1.

2.

3.

4.

5.

N.B. If this Topic is chosen as a Musicology Elective, it may be advisable to analyse more pieces and in greater detail.

Other Pieces of Music Heard from General Background Research:

1.

2.

3.

4.

5.

Other Aspects Covered in This Topic

Musicology Topic Overview Write a two page essay giving a concise overview of the Topic. You may include some musical information, such as historical and chronological contexts, as well as some biographical facts where appropriate.

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Musicology Analysis of Piece 1

Topic: ________________________________________________________________________

Name of Excerpt: _______________________________________________________________

Tonality:

Melodic Structure:

Tempo and Metre:

Rhythmic Features:

Harmonic Features:

Performing Media and Tone Colour:

Texture:

Dynamics & Expressive Techniques:

Structure:

Musicology Analysis of Piece 2

Topic: ________________________________________________________________________

Name of Excerpt: _______________________________________________________________

Tonality:

Melodic Structure:

Tempo and Metre:

Rhythmic Features:

Harmonic Features:

Performing Media and Tone Colour:

Texture:

Dynamics & Expressive Techniques:

Structure:

Musicology Analysis of Piece 3

Topic: ________________________________________________________________________

Name of Excerpt: _______________________________________________________________

Tonality:

Melodic Structure:

Tempo and Metre:

Rhythmic Features:

Harmonic Features:

Performing Media and Tone Colour:

Texture:

Dynamics & Expressive Techniques:

Structure:

Musicology Analysis of Piece 4

Topic: ________________________________________________________________________

Name of Excerpt: _______________________________________________________________

Tonality:

Melodic Structure:

Tempo and Metre:

Rhythmic Features:

Harmonic Features:

Performing Media and Tone Colour:

Texture:

Dynamics & Expressive Techniques:

Structure:

Musicology Analysis of Piece 5

Topic: ________________________________________________________________________

Name of Excerpt: _______________________________________________________________

Tonality:

Melodic Structure:

Tempo and Metre:

Rhythmic Features:

Harmonic Features:

Performing Media and Tone Colour:

Texture:

Dynamics & Expressive Techniques:

Structure:

Musicology Summary of Musical Characteristics for This Topic

Topic: ________________________________________________________________________

Melodic Structure and Tonality:

Rhythm and Tempo:

Structure:

Dynamics & Expressive Techniques:

Harmonic Features;

Texture:

Tone Colour and Performing Media:

Other Important Features:

Bibliography for Books, Journals & Periodicals

Author Title Page Nos. Publisher Date Vol.Noe.g.

Comte, Martin

Music in the Early Childhood Years.

Part 2

38 Australian Journal of Music Education

April 1982 No 30

Discography for Records, CD & MP3’s

Composer Title Conductor Performers Label numbere.g.

Prokofieff, S.“March” from the

Love of Three Oranges

Walter Weller London Philharmonic Orchestra

Decca SXL 6945

Music Course 1 – Individual Student Register

Name:

Term: 4

Year: Year 11, 2009

Wk Elective 1 Elective 2 Elective 3

Performance/Composition/Musicology Performance/Composition/Musicology Performance/Composition/Musicology

1

2

3

4

5

6

7

8

9

10

A copy of this page is be to collected at the end of each term and added to the central register

Music Course 1 – Individual Student Register

Name:

Term: 1

Year: Year 12, 2010

Wk Elective 1 Elective 2 Elective 3

Performance/Composition/Musicology Performance/Composition/Musicology Performance/Composition/Musicology

1

2

3

4

5

6

7

8

9

10

A copy of this page is be to collected at the end of each term and added to the central register

Music Course 1 – Individual Student Register

Name:

Term: 2

Year: Year 12, 2010

Wk Elective 1 Elective 2 Elective 3

Performance/Composition/Musicology Performance/Composition/Musicology Performance/Composition/Musicology

1

2

3

4

5

6

7

8

9

10

A copy of this page is be to collected at the end of each term and added to the central register

Music Course 1 – Individual Student Register

Name:

Term: 3

Year: Year 12, 2010

Wk Elective 1 Elective 2 Elective 3

Performance/Composition/Musicology Performance/Composition/Musicology Performance/Composition/Musicology

1

2

3

4

5

6

7

8

9

10

A copy of this page is be to collected at the end of each term and added to the central register

Music Technology and Related Internet Links Finale

www.finalemusic.com

Finale Notepad (Free version)www.finalenotepad.com

Sibelius 5www.sibelius .com

Kids Note Font for Sibelius and Finalewww.dvmpublications.com

Audacity – Free MP3 and Wav file editorAudacity.sourceforge.net

Kristal Sound EngineKristal Audio Engine is a multi-track recorder, audio sequencer and mixer – ideal for anyone wanting to get started with recording, mixing and mastering digital audio. Kristal Audio Engine is free for personal, educational and non-commercial use.www.kreatives.org/kristal/

Sony Sound Forge 9.0 – Professional Sound Editingwww.sonycreativesoftware.com/products/soundforgefamily.asp

Sony Vegas Video Pro 8.0 – Professional Video Editingwww.sonycreativesoftware.com/products/vegasfamily.asp

Sony Acid Pro 6.0 – Professional loop manipulation and music creationwww.sonycreativesoftware.com/products/acidfamily.asp

Acid Planet – you can create and upload your own music and videos for the world to experience!www.acidplanet.com

Cubase and Wavelabwww.steinberg/net

Emagic Logic 8.0 – basic sequence – free licensewww.apple.com/logicstudio/logicpro/

Band in A Boxwww.pgmusic.com

Powertab community – you need to register (free)www.powertabs.net

Powertab Softwarewww.power-tab.net

Guitar Pro 5Guitar Pro is a multitrack tab editor for guitar, banjo and bass. Besides writing scores, Guitar Pro is a useful resource for guitarists from beginner to experienced levels to progress, compose or simply accompany themselves.www.guitar-pro.com

Guitar Pro Tablature linkwww.guitar-pro.com/en/index.php?pg=resources-tablatures

Websites – Resources

The Board of Studies’ website has some very useful links. All documents relating to the HSC courses are found on the site. These documents are easily downloadable and are in accessible formats such as Word and Acrobat:www.boardofstudies.nsw.edu.au

While you are on the Board’s page, you might like to follow the link to one of the Board of Studies Partner websites provided by Charles Sturt University. Just click on “NSW HSC Online” or type”http:/hsc.csu.edu.au/

Check the Board of Studies website regularly for any changes:www.boardofstudies.nsw.edu.au/events/

Marking Centre Notes – at the completion of the marking process each year, the markers collaborate, evaluate, discuss and release a document outlining an analysis of student responses:http://www.boardofstudies.nsw.edu.au/hsc_exams/hsc2008exams/index4.html#m

Acknowledgements David Horton Val Hull Garry Rodgers Wendy Yeomans Greg Thwaites Veronica Dickeson Karen Burke Headley Harwood Karen Byrnes