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Teaching and learning

Accreditation period Units 1-4: 2023-2027

A range of suggested learning activities have been provided for each area of study in Units 1–4. As noted in the Planning section, the outcomes for the VCE Music Study Design are related to skill areas. Students build knowledge and skills through the integration of performing, music-making, creating, analysing and responding with the knowledge development of the elements, concepts and compositional devices, via a broad repertoire across time and cultures. Each outcome in VCE Music draws on a set of cross-study specifications listed on pages 13 to 19 of the study design and teachers design their programs and choose learning activities appropriate to the needs and interests of their student cohort, the teaching context and the units elected. Listed below are a number of generic learning activities that relate to performing, creating, analysing and responding that teachers can adapt according to the repertoire they choose. A number of these learning activities are customised to repertoire in the detailed examples section.

It should be noted that the activities included cover a range of the key knowledge and key music skills for each area of study, but not all of them. Some activities could be completed within one class and others could be completed over an extended period. They include learning activities that involve group work, class discussion, practical application of musical skills and synthesis of knowledge and skills in written responses.

Many of the learning activities could be adapted for use in other areas of study or units, or developed into assessment tasks. All are intended to be examples that teachers will use and/or adapt to suit the needs of their own students.

Examples of general learning activities

Area of study: Performing

  • playing / singing activities connected with repertoire
  • improvising
  • performing arrangements of works studied
  • performing sections / aspects of works
  • performing / exploration related to composition activities
  • performing pieces that demonstrate similar features to those in the works studied
  • performing rhythmic / melodic fragments from works studied
  • experimenting with performing techniques featured in analysis
  • developing technical exercises applicable to a selected work (to be performed in class) together with a rationale for each exercise
  • engaging in verbal self-reflection on performances and answering teacher / peer questions regarding the piece’s musical elements and expressive techniques
  • rehearsing and receiving feedback on pieces specific to the student’s instrument
  • developing a practical understanding of elements of music and compositional devices by applying it to their own performance
  • selecting a work from a repertoire list and changing the style or characteristic through use of the elements of music and / or compositional devices encountered in other areas of study
  • performing a selected song / piece that relates to a particular genre
  • drawing on the skills and knowledge that are being developed in other areas of study, students use their performance repertoire to demonstrate an understanding of ways in which music is organised, and how this contributes to the performer’s ability to convey musical meaning.
  • linking class ensemble piece to composing exercises; for example, writing a two-bar lead in for this chord progression 

Area of study: Creating

Creating in music refers to a wide range of activities, many of which are genre specific and occur on a continuum of creativity from embellishing through arranging to composing. For example:

  • performing creative exercises related to key features of analysis
  • exploring
  • improvising (spontaneous composition)
  • experimenting
  • arranging
  • embellishing
  • reorganising
  • reimagining
  • recording
  • composing to create a fixed composition using a DAW, notation software, aurally and using recording software / hardware to document.

Creating activities can be integrated with the Performing, Analysing and responding areas of study (see detailed examples). Creating may also be taught through stand-alone activities. For example, in Units 1 and 2, Area of Study 2, composing exercises can be undertaken through chord worksheets that scaffold musical knowledge and language, are at multiple levels, and are accessible for musically inexperienced students. For example:

Students are provided with 8 bars, given melody in C major using conventional staff notation or on a DAW and asked to:

  • identify the key
  • write out the scale
  • write out the I IV V chords (more able learners can add 7th chords and chord extensions)
  • harmonise melody with I IV V chords; document using staff notation, a DAW, or tab
    (Any suitable documentation can be used: staff notation, DAW, notation software, tab, writing letter names, audio recording.)

Students are provided with a chord progression in Key of G and asked to:

  • create a melody using chord notes; more able students could add articulation and dynamics or use scale notes
    (Any suitable documentation can be used: staff notation, DAW, notation software, tab, writing letter names, audio recording.)

Students are provided with an 8-bar chord progression in G and asked to:

  • create the chords
  • write a bass line using a choice of 3 simple bass lines; for example, semibreves on beat 1, crotchets using 1 and 5 and so on
  • create a melody
    (Any suitable documentation can be used: staff notation, DAW, notation software, tab, writing letter names, audio recording.)

Area of study: Analysing and responding

Students engage with visual and aural sources to examine how compositional devices and the elements and concepts of music are organised into a coherent piece of music in contrasting works. Referring to a broad range of styles and traditions they learn to identify and describe the treatment of elements of music and compositional devices in musical examples, and then use this evidence to formulate critical responses that can include a range of documentation.

  • references to key features from analysis
  • stylistic features
  • relationship to other pieces, styles, musical periods, etc.
  • comparison with other examples of same and different styles, performers, musical periods, composers
  • score reading where appropriate
  • research / project related to music studied
  • transcriptions: rhythmic, melodic, harmonic, bass lines
  • recognition of key features from analysis
  • exploration of musical elements, concepts and compositional devices found in works studied and those chosen for performance
  • reference to use of compositional devices
  • comparison with other relevant works

Detailed examples

Unit 1: Organisation of music

In this unit students explore and develop their understanding of how music is organised. They explore and develop their understanding of the possibilities of musical organisation by performing, creating, analysing and responding to music works that exhibit different approaches to organisation.

Detailed example 1: Sample approach to integrating the outcomes

Focus

This integrated learning sequence explores performing, creating, analysing and responding through a female Indigenous artist’s (Emma Donovan) cover version of ‘Dead Heart’ by Midnight Oil. The repertoire chosen as a starting point for students in small groups performing and composing is contemporary Indigenous music that makes use of riffs as a structural device. This unit is designed to be accessible to all learners, including those with limited prior musical experience or limited previous formal music education (classroom or instrumental), while providing scope to appropriately challenge those who are intending to undertake Units 3 and 4 specialists options (Performance). The process outlined can be applied to other repertoire, particularly contemporary popular music.

Students will focus on the following musical knowledge: elements, concepts, music language, compositional devices.

Element: pitch

Concept: A natural minor, A minor pentatonic, power chords: A5, C F G Em chords (transposed key, original is in B minor)

Element: duration / rhythm

Concept: Crotchet, quaver, minim, ties, 4/4, off beat reggae rhythm, 120 bpm, laid back feel

Element: structure / form

Concept: accumulative structure (builds in layers), verse, chorus, riff, intro, coda (big solo section including singing in language)

Element: tone colour

Concept: Guitars, bass, drums, vocals, backing vocals, guitar effects

Element: dynamics / articulation / expression

Concept: Ad libs and improv on vocals

Element: texture

Concept: Layers are integral to structure

Compositional devices used in this example: repetition, variation, contrast and transition.

 

The key knowledge and key skills addressed in this sequence are in bold:

Area of Study 1 Performing

Key knowledge

  • how the works selected for performance are organised in terms of elements of music, concepts and compositional devices
  • effective instrumental and ensemble / group practice including, as appropriate, the use of music-making technology, devices and sound equipment
  • strategies for developing individual and ensemble / group instrumental techniques, as appropriate for the selected instrument and musical tradition.

Key skills

  • demonstrate technical control and expression in performance specific to the instrument or sound source
  • identify performance challenges relevant in selected works
  • demonstrate and discuss a planned approach to improving instrumental and presentation techniques relevant to the performance of selected works
  • reflect on feedback, analyse effectiveness of approaches and identify issues for further development.

Area of Study 2 Creating

Key knowledge

  • ways in which composers combine music elements, concepts and compositional devices to organise their music
  • technical and practical factors involved in composing and/or arranging musical ideas
  • ways of developing and refining music ideas
  • ways of describing and documenting the creative process
  • ways of using digital tools to develop, record, refine and document music

Key skills

  • manipulate the elements of music, concepts and compositional devices to create a music work
  • develop and refine creative responses that focus on ways of organising the elements of music, concepts and compositional devices
  • use an approach to musical organisation studied in Outcome 3
  • use appropriate music terminology and language to describe their creative process and organisational approach
  • use appropriate methods to record and document their music.

Area of Study 3 Analysing and responding

Key knowledge

  • characteristics of the elements of music, concepts and compositional devices
  • ways the elements of music, concepts and compositional devices are treated in different approaches to musical organisation
  • strategies for responding to and analysing music by identifying the music characteristics used in music excerpts
  • music terminology for describing characteristics of music as appropriate to convention
  • common music concepts, for example chords, scales, melodic and rhythmic patterns
  • methods of documenting music graphically, for example 5-line staff notation, graphic notation, tablature, annotated track listing, rhythm grids.

Key skills

  • describe the treatment of elements of music, compositional devices and concepts in selected works
  • respond to selected music excerpts by identifying and describing relevant musical characteristics
  • identify, recreate and / or document common musical concepts, for example chords, scales, melodic and rhythmic patterns used in music examples in isolation and in context:
    • diatonic intervals in major scales (up to one sharp or flat) within the range of an octave
    • scales and modes including major, natural minor, major pentatonic, minor pentatonic
    • melodic contours
    • melodic lines (up to four beats) using major scales
    • triads in major scale degrees on I, ii, IV, V, vi (in major keys up to one sharp and flat)
    • common chord progressions: V-I, ii-V-I, I-IV-V-I, I-V-vi-IV (in major keys up to one sharp or flat)
    • rhythms in metres including 4/4 and 3/4 using rhythmic groupings outlined on p. 22
  • use appropriate methods to document responses.

Assessment

  • Performance of small-group cover version of ‘The Dead Heart’ (acoustic instruments or digital technology or both)
  • Performance (acoustic instruments or digital technology or both) of small-group composition
  • Composition (audio recording either live or recorded / created using digital technology)
  • Documentation of composition
  • In class workbook:
  • Reflections on performances (written, verbal or multimedia)
  • Reflection on composition (written, verbal or multimedia)
  • Documentation of, and reflection on, group performance practice process (written, verbal or multimedia)
  • Documentation of, and reflection on, composition process (written, verbal or multimedia)
  • Aural transcription exercises (staff notation or alternative notation)
  • Listening Chart / Guide and Listening Journal

Learning sequence

Lessons 1–2

  • Listen to the first 1:22 of Emma Donovan’s cover of Midnight Oil’s ‘The Dead Heart’.AoS3 analysing and responding
  • Listen to and copy the riff from ‘The Dead Heart’ that you first hear in the vocal part (Audio Excerpt 1). Use a classroom instrument to find the notes (or a virtual piano app). This version is in a new key, it has been transposed down a tone to A minor (using Audacity).AoS1 performing
  • Transcribe the riff (using different forms of notation). On manuscript paper, transcribe the pitch of the riff (the riff is provided below). Alternative form of notation: write letter names below the staff, use tab, piano roll, graphic score (melodic contour).AoS3 analysing and responding
  • Listen to and copy the chorus (sing, then play) in A minor (Audio Excerpt 2).AoS3 analysing and responding
  • Transcribe the melody of the chorus (the rhythm is provided below). Use alternative forms of notation if appropriate.AoS1 performing
  • Watch all of the YouTube video, which includes Emma singing in language towards the end.AoS3 analysing and responding
  • Discussion: What is ‘The Dead Heart’ about? Discuss the social, historical and cultural context of the ‘The Dead Heart’ and Emma Donovan’s reinterpretation. See notes below.AoS3 analysing and responding

Lessons 3–6

  • In small groups, play and sing to create a cover version. Do this by listening to, and copying the recording to sing and play the riff, verse and chorus (up to 1:22) in A minor. A lead sheet is also provided (see below).AoS1 performing
  • Group performance Journal, complete at the end of each lesson. What did you do? What went well (strengths)? Even better if (1 improvement)?AoS3 analysing and responding
  • Intersperse small group rehearsal with listening and analysis activities using Listening Chart / Guide to scaffold verbal / written responses in a Listening Journal. Focus on the organisation of ‘The Dead Heart’ by identifying and describing relevant elements of music and compositional devices.AoS1 performing
  • Listen to, and compare similarities and differences between, Emma Donovan’s version and the original Midnight Oil version.AoS3 analysing and responding
  • Optional: Transcribe the chord progression from the chorus, using letter names.AoS3 analysing and responding

Lesson 7

  • Perform cover versions of ‘The Dead Heart’.AoS1 performing
  • Peer feedback (in relation to performance criteria) and self-reflection. Self-reflect on effective group practice (identify 3 x what went well, 1 x even better if) including use of any music-making technology and sound equipment used.AoS1 performing
  • Use class cover versions for listening, discussing what similarities and differences in relation to the elements were noticed.AoS3 analysing and responding
  • Weekly Listening Journal: range of Contemporary Indigenous Music focusing on elements of music and music language, explored through listening and performing.

Lessons 8–12

  • Individually or in groups, using the musical material you explored previously (riff, melody, chords) in any way you choose, create a song based on the theme of hope and strength. You can sing or rap your lyrics or compose an instrumental piece. Optional: add a horn section with two different riffs, incorporate a key change.AoS2 creating
  • Document your composition as you proceed in an appropriate way; for example, audio record at the end of each rehearsal, create lead sheets / lyrics.AoS2 creating
  • Rehearse and perform composition using acoustic instruments and / or use digital technologies.AoS1 performing, AoS2 creating
  • Record your performances live or use digital technologies to record / sequenceAoS2 creating, AoS3 analysing and responding
  • Composition process journal: written, verbal or multimedia.AoS2 creating
  • Weekly Listening Journal: range of Contemporary Indigenous Music focusing on elements of music and music language, explored through listening and performing

Lesson 13

  • Share composition recordings.AoS2 creating
  • Conduct self- and peer-reflection and feedback on the product.AoS2 creating
  • Class compositions can also be used as a source of listening material and discussions regarding compositional devices used.AoS3 analysing and responding
  • Weekly Listening Journal: range of Contemporary Indigenous Music focusing on elements of music and music language, explored through listening and performing.AoS3 analysing and responding

Assessment

Assessment tasks:

  • Perform small group cover versions of ‘The Dead Heart’ and composition (acoustic instruments or digital technology or both): demonstrate technical control and expression in performance specific to the instrument or sound source
  • Rehearsal process (self-assessment): rehearse in groups effectively with chosen music-making equipment
  • Composition product (audio recording either live or recorded/created using digital technology)
  • Documentation of composition (for example, final audio recording and work-in-progress recordings, lead sheet, lyrics, as appropriate for style)

Complete in class workbook:

  • Reflections on performances (written, verbal or multimedia)
  • Reflection on composition (written, verbal or multimedia)
  • Documentation of, and reflection on, group performance practice process (written, verbal or multimedia)
  • Documentation of, and reflection on, composition process (written, verbal or multimedia)
  • Aural transcription exercises (staff notation or alternative notation)
  • Listening Chart / Guide and Listening Journal

Assessment criteria:

  • Demonstrate technical control in performance specific to chosen instrument or sound source in cover version and composition
  • Demonstrate expression to convey meaning in performance of cover version and composition
  • Level of detail, accuracy and insight / sophistication in class workbook tasks
  • Reflect with detail, accuracy and insight on performance challenges, rehearsal process, composition process, performance product, composition product
  • Exploit chosen elements of music and sound sources in composition
  • Convey meaning and feeling of hope and strength in composition

Resources

Recorded music:

Scott Darlow (Melbourne-based, includes a didgeridoo)
Alexisonfire (Canadian post-hardcore)
Emma Donovan ‘The Dead Heart’

Range of contemporary Indigenous music for Listening Journal / aural skills development also explored through playing. For example:

From My Eyes – No Fixed Address
Took the Children Away – Archie Roach
The Children Came Back – Briggs
Treaty – Yothu Yindi

Other:

Dead Heart Listening Chart
Pitched instrument (keyboard, piano, virtual piano app)
Manuscript paper and pencil or plain paper or mini whiteboard with staves
Chordal instrument: guitar, ukulele, piano / keyboard
Audio excerpt 1: riff in A minor
Audio excerpt 2: chorus in A minor
Audio excerpt 3: Dead Heart to 1:22 in A minor

References

D’Amore, A 2008, Musical Futures: An approach to teaching and learning. Teachers resources pack.

Green, L 2008, Music, informal learning the school: A new classroom pedagogy (informal composing), Farnham: Ashgate.

MCA and MFA (n.d.) Songwriting workshops for teachers – Educational resources. Retrieved from
Langton, M 2021 (2nd edn) Welcome to Country: A travel guide to Indigenous Australia (Chapter 6: Performance), Hardie Grant Travel.

Swainston, A 2008, ‘Contemporary Aboriginal music module’ in Proceedings of the International Society of Music Education 28th World Conference (pp. 281–285), Bologna, Italy.

Transcription 1 – pitch of the riff

A music notation score

Transcription 2 – pitch of the chorus

A music notation score A music notation score A music notation score

 

Lyrics and chords
Midnight Oil recorded ‘The Dead Heart’ for the handing back of Uluru to the Anangu people, the traditional owners in 1985. The band was invited to tour some of the remote communities with the Warumpi Band, as part of the Blackfella / Whitefella tour. The song raises awareness of the mistreatment and non-recognition of Aboriginal and Torres Strait Islander cultures and also of the Stolen Generations. It is a song of hope and strength, particularly the chorus.

Detailed example 2: Sample approach to Area of Study 1 Performing – Solo performance skills

Focus

This learning sequence focuses specifically on students developing solo instrumental skills on their chosen instrument in preparation for a range of Units 3 and 4 options including: Inquiry, Contemporary and repertoire. This unit is designed to be accessible to all learners from a range of previous musical backgrounds, including those with very little instrumental experience, while providing opportunities to challenge learners who are intending to undertake Units 3 and 4 specialist options. Musical knowledge (elements, concepts, language, compositional devices) will be drawn from students’ solo repertoire.

The key knowledge and key skills addressed in this sequence are in bold:

Area of Study 1 Performing

Key knowledge

  • how the works selected for performance are organised in terms of elements of music, concepts and compositional devices
  • effective instrumental and ensemble / group practice including, as appropriate, the use of music-making technology, devices and sound equipment
  • strategies for developing individual and ensemble / group instrumental techniques, as appropriate for the selected instrument and musical tradition.

Key skills

  • identify performance challenges relevant in selected works
  • demonstrate and discuss a planned approach to improving instrumental and presentation techniques relevant to the performance of selected works
  • reflect on feedback, analyse effectiveness of approaches and identify issues for further development.

Assessment

  • Performance (end-of-semester performance evening and mid-semester work-in-progress performance during class time)
    • Perform at least two works, one solo and one [whole-class] ensemble, which demonstrate knowledge drawn from their investigation of music organisation.
    • Whole-class ensemble performance piece is connected to Area of Study 3: Analysing and responding (one of which should be associated with a music approach studied in Area of Study 3, see page 22 of the study design) through a whole-class ensemble performance work (e.g. ‘All Blues’ by Miles Davis).
    • (Optional 3rd performance: this can be another solo or a small group ensemble.)
  • Listening Journal (also used for Area of Study 2 and Area of Study 3)
    Analysis of works for performance assessed through Listening Journal for each piece using a given template:
    • Elements of music and concepts
    • Compositional devices
  • Music Exercises (practical demonstration and presentation)
    Students create exercises specific to their solo piece and devise a practice plan (documented in their Practice Diary, see below); devise exercises for their instrument / part in the whole class ensemble.
    Assessed at Music Exercises test and presentation / discussion: work-in-progress mid semester and end of semester.
  • Practice Journal
    Solo performance: Minimum one period per week to work on solo repertoire, analysis, exercises. Teacher observation and regular assessment on at least two occasions. Last 10 minutes of each performance practice lesson is spent filling in the Practice Journal, including identifying next steps / setting goals.
    Whole-class ensemble performance: integrated as a part of regular class work. Teacher observation and regular assessment on at least two occasions in class and regular review of Practice Journal.
    Small group / additional solo performance. Teacher observation and assessment on at least two occasions. Assessed mid-semester work-in-progress, end-of-semester performance evening.

Example of Music Exercises

  • Identify solo performance piece.
  • Identify key and tonality.
  • Write one octave of scale ascending.
  • Write minimum one exercise based on this scale; e.g. scales in 3rds: 1 3 2 4 3 5 etc.
  • Highlight one rhythm from this piece.
  • Using the rhythm, write an exercise based on the tonic key scale.

Example of Presentation / Discussion

  • Identify one to two technical challenges in this piece.
  • Demonstrate technical work and / or exercises to address these challenges.
  • Discuss / explain why these exercises were developed.
  • Discuss how the chosen piece and exercises help to develop individual instrumental techniques.
Learning sequence

Week 1

  • Identify solo performance piece in consultation with instrumental teacher (if they have one).

Week 2

  • One period per week to work on solo repertoire, analysis, exercises. Teacher observation and regular assessment. Last 10 minutes of each performance practice lesson is spent filling in Practice Journal, including identifying next step / setting goals.

Week 3

  • One period per week to work on solo repertoire, analysis, exercises. Teacher observation and regular assessment. Last 10 minutes of each performance practice lesson is spent filling in Practice Journal, including identifying next step / setting goals.
  • Identify key and tonality solo piece, write one octave of scale ascending (exercise 1).

Week 4

  • One period per week to work on solo repertoire, analysis, exercises. Teacher observation and regular assessment. Last 10 minutes of each performance practice lesson is spent filling in Practice Journal, including identifying next step / setting goals.
  • Write minimum one exercise based on scale built on key; e.g. scales in 3rds: 1 3 2 4 3 5 (exercise 2).

Week 5

  • Practice performance of solo repertoire. Have students identified repertoire? If not, allocate them a piece of suitable teacher-chosen repertoire for their instrument.
  • Highlight one rhythm from solo performance piece. Using the rhythm, write an exercise based on the tonic key scale.

Week 6

Teacher determined activities

Week 7

  • Music Exercises test and presentation/discussion: work-in-progress assessment.

Week 8

Teacher determined activities

Week 9

Teacher determined activities

Week 10

Teacher determined activities

Week 11

Teacher determined activities

Week 12

Teacher determined activities

Week 13

Teacher determined activities

Week 14

Teacher determined activities

Week 15

  • Music Exercises test and presentation / discussion.

Week 16

Teacher determined activities

Week 17

  • End-of-semester performance.

Week 18

Detailed example 3: Sample approach to a whole-class ensemble performance and integrating the outcomes

Focus

This learning sequence explores performing, creating, analysing and responding with a focus on developing a whole-class ensemble performance. The repertoire chosen as a starting point is ‘All Blues’ by Miles Davis from the seminal cool jazz album Kind of Blue. ‘All Blues’ appears on the prescribed lists of group works for previous VCE Music Study Designs, which have many resources available to help teachers and students. ‘So What’ is another track from this album that would work well as an alternative or to further explore the ideas introduced. The learning sequence is designed to be accessible to all learners, including those with limited prior musical experience or limited previous formal music education (classroom or instrumental), while providing scope to appropriately challenge those who are intending to undertake Units 3 and 4 specialist options (both contemporary and repertoire performance). The process outlined can be applied to other repertoire.

Students will focus on the following musical knowledge: elements, concepts, music language, compositional devices.

Element: pitch

Concept: 12-bar blues in G 7th chords

Element: duration / rhythm

Concept: swung quavers

Element: structure / form

Concept: Head-solos-head

Element: tone colour

Concept:

Element: dynamics / articulation / expression

Concept:

Element: texture

Concept:

Compositional devices used in this example: repetition, variation, contrast and transition.

 

The key knowledge and key skills addressed in this sequence are in bold:

Area of Study 1 Performing

Key knowledge

  • how the works selected for performance are organised in terms of elements of music, concepts and compositional devices
  • effective instrumental and ensemble / group practice including, as appropriate, the use of music-making technology, devices and sound equipment
  • strategies for developing individual and ensemble / group instrumental techniques, as appropriate for the selected instrument and musical tradition.

Key skills

  • demonstrate technical control and expression in performance specific to the instrument or sound source
  • identify performance challenges relevant in selected works
  • demonstrate and discuss a planned approach to improving instrumental and presentation techniques relevant to the performance of selected works
  • reflect on feedback, analyse effectiveness of approaches and identify issues for further development.

Area of Study 2 Creating

Key knowledge

  • ways in which composers combine music elements, concepts and compositional devices to organise their music
  • technical and practical factors involved in composing and / or arranging musical ideas
  • ways of developing and refining music ideas
  • ways of describing and documenting the creative process
  • ways of using digital tools to develop, record, refine and document music.

Key skills

  • manipulate the elements of music, concepts and compositional devices to create a music work
  • develop and refine creative responses that focus on ways of organising the elements of music, concepts and compositional devices
  • use an approach to musical organisation studied in Outcome 3
  • use appropriate music terminology and language to describe their creative process and organisational approach
  • use appropriate methods to record and document their music.

Area of Study 3 Analysing and responding

Key knowledge

  • characteristics of the elements of music, concepts and compositional devices
  • ways the elements of music, concepts and compositional devices are treated in different approaches to musical organisation
  • strategies for responding to and analysing music by identifying the music characteristics used in music excerpts
  • music terminology for describing characteristics of music as appropriate to convention
  • common music concepts, for example chords, scales, melodic and rhythmic patterns
  • methods of documenting music graphically, for example 5-line staff notation, graphic notation, tablature, annotated track listing, rhythm grids.

Key skills

  • describe the treatment of elements of music, compositional devices and concepts in selected works
  • respond to selected music excerpts by identifying and describing relevant musical characteristics
  • identify, recreate and / or document common musical concepts, for example chords, scales, melodic and rhythmic patterns used in music examples in isolation and in context:
    • diatonic intervals in major scales (up to one sharp or flat) within the range of an octave
    • scales and modes including major, natural minor, major pentatonic, minor pentatonic
    • melodic contours
    • melodic lines (up to four beats) using major scales
    • triads in major scale degrees on I, ii, IV, V, vi (in major keys up to one sharp and flat)
    • common chord progressions: V-I, ii-V-I, I-IV-V-I, I-V-vi-IV (in major keys up to one sharp or flat)
  • rhythms in metres including 4/4 and 3/4 using rhythmic groupings outlined on page 22 of the study design
  • use appropriate methods to document responses.

Assessment

Class ensemble performance of ‘All Blues’

In class workbook:

  • Reflections on performances (written, verbal or multimedia)
  • Reflection on composition (written, verbal or multimedia)
  • Documentation of, and reflection on, group performance practice process (written, verbal or multimedia)
  • Documentation of, and reflection on, composition process (written, verbal or multimedia)
  • Aural transcription exercises (staff notation or alternative notation)
  • Listening Chart / Guide and Listening Journal

Learning sequence

Aural learning, aural and visual analysis

  • Listen to and copy the riff. Optional (extension): also learn the melody of head by ear.AoS1 performing, AoS3 analysing and responding
  • Music language: transcribe the rhythm, then the melody of the riff.AoS3 analysing and responding
  • Aurally analyse: from listening, what music elements / concepts and language are evident? Complete the listening template. You may use the following to help you: audio recording.AoS3 analysing and responding
  • Performing: learn the head using notation or aurally. This can be done as a whole class or individually and then as a whole class.AoS1 performing
  • Visually analyse: using the lead sheet to help you, identify additional music elements / concepts and language. Add to your listening template.AoS3 analysing and responding

Improvise

Using the music language you have identified, for example the scale (or a related scale such as the minor pentatonic), to improvise a melody over the ‘All Blues’ backing track.AoS1 performing, AoS2 Creating
(A backing track is provided which is exported from  iReal pro as an MP3 / WAV file. You can use iReal pro if you prefer, which will allow you to loop sections and change the tempo and key.)
Differentiation: transcribed solos. Develop and improvise your own. A G minor pentatonic scale will fit over all the chords (most accessible).

Whole-class ensemble

Start rehearsing whole-class ensemble. (This can be done aurally using the lead sheet and transcription book to help you, or use a notated arrangement (see resources for examples)).AoS1 performing, AoS2 Creating
Students are encouraged to develop their own improvisations using a Head-solos-head structure, each student taking a solo for a chorus (basic chord progression).
Other options are available such as playing the transcribed solos, or using the transcribed solos as a starting point for embellishment.

End-of-unit performance

Performance and assessment of whole-class ensemble including solos at end-of-unit performance evening with work-in-progress performance in week 5.AoS1 performing, AoS2 Creating

Assessment

Assessment tasks:

  • Perform a class ensemble performance of ‘All Blues’ using a head-solos-head structure with each class member taking a solo
  • Rehearsal process: rehearse in groups effectively with chosen music-making equipment
  • Present improvisation as part of a class ensemble performance
  • Documentation of improvisation (for example, final audio recording and work-in-progress recordings, lead sheet, lyrics, as appropriate for style)

Complete in class workbook:

  • Reflections on performances (written, verbal or multimedia)
  • Reflection on improvisation (written, verbal or multimedia)
  • Documentation of, and reflection on, ensemble performance practice process (written, verbal or multimedia)
  • Documentation of, and reflection on, developing an improvisation process (written, verbal or multimedia)
  • Aural transcription exercises (staff notation or alternative notation)
  • Listening Chart / Guide and Listening Journal

Assessment criteria:

  • Demonstrate technical control in performance specific to chosen instrument or sound source in cover version and composition
  • Demonstrate expression to convey meaning in performance of cover version and composition
  • Level of detail, accuracy and insight / sophistication in class workbook tasks
  • Reflect with detail, accuracy and insight on performance challenges, rehearsal process, improvisation process, performance product, improvisation product
  • Exploit chosen elements of music and sound sources in improvisation and performance
  • Convey meaning and feeling in improvisation and performance

Resources

Recording available: Miles Davis
Transcription of solos available (whole album) Miles Davis Kind of Blue  
Various arrangements for school jazz ensembles available, use these for your classroom ensemble. Differentiation: transcribed solos, students develop and improvise their own.
Easy jazz combo
Easy jazz ensemble

Blank listening template:

Repertoire Analysis

Pitch (melody, harmony, tonality)
Duration (rhythm, time, metre)

 

 

 

Piece:
Composer:
Performer:

Structure / Form
Dynamics and Volume
Tone colour; instrumentation
Texture / Timbre
Composing, Improvising, and Performing ideas derived from analysis
Social, cultural and historical context

 

Audio: Miles Davis

Reduced score available (included with transcriptions of solos) 
Lead Sheet

Digital technologies: iReal pro is very useful for creating an authentic backing track that can be edited, for example looping sections for students to practise and develop their improvisation. Other DAWs such as Soundtrap, Garageband or Logic are alternatives.

Audio tracks
Audio excerpt 1: whole track
Audio excerpt 2: opening riff looped
Audio excerpt 3: head

References

Green, L 2008, Music, informal learning the school: A new classroom pedagogy (informal composing), Farnham, Ashgate.
Green, L 2014, Hear, listen, play! How to free your students’ aural, improvisation and performance skills, Oxford University Press.

 

Unit 2: Effect in music

In this unit, students focus on the way music can be used to create an intended effect. They explore and develop their understanding of the possibilities of how effect can be created by performing, analysing and responding to music works / examples that create different effects, and they create their own music to reflect this exploration and understanding.

Detailed example 1: Sample approach to integrating the outcomes

Focus

This example focuses on an integrated approach to the three outcomes and explores performing, creating, analysing and responding in relation to a well-known piece, ‘Aquarium’ from Carnival of the Animals by Saint Saëns. It begins with a creating activity where students create a short soundscape / piece exploring the effect of conveying the image of water through music. This can be done individually or in groups and leads to a performance of their works followed by a focused listening activity. An analysis of the work and a score reading exercise have been provided as extension activities.

Students will focus on the following musical knowledge: elements, concepts, music language, compositional devices. The learning sequence is designed to be accessible to all learners, including those with limited prior musical experience or limited previous formal music education (classroom or instrumental), while providing options to appropriately challenge those who are intending to undertake Units 3 and 4 specialist options. The process outlined can be applied to other repertoire.

Element: pitch

Concept: tonal centre of A; chromaticism; sequence; pedal point; ornamentation; primary triads and inversions plus III & V7; arpeggios; enharmonic changes

Element: duration / rhythm

Concept: 4/4 syncopation, ties, use of sextuplets in 2nd piano, ‘decatuplets’ (10 in the time of 8) in 1st piano

Element: structure / form

Concept: Bars 1–8 A Bars 9–12 piano codetta Bars 13–20 A Bars 21–24 piano codetta. Theme repeated Bars 25–39 B

Element: tone colour

Concept: scored for flute, 2 pianos, glass harmonica, violins, violas and cellos; water ‘effects’ e.g. rippling demisemiquaver patterns in piano parts

Element: dynamics / articulation / expression

Concept: Use of pp ppp, sf then diminuendo in piano; mute; pizzicato; arco; damper and sustain pedals in piano

Element: texture

Concept: homophonic

Compositional devices used in this example: repetition, variation, contrast and transition.

rhythmic vocabulary

 

  1. Students (in groups or individually) create their own, short ‘water’ music with their choice of sound sources (acoustic and / or digital) in response to a water visual (video or photograph of underwater).Outcome 2 Creating
  2. Students perform their ‘water’ pieces for the whole class and note ways in which a sense of water is created (e.g. exploiting tone colour, instrumental effects, etc.).Outcome 1 Performing
  3. Compare class compositions noting the similarities and differences, performance techniques, compositional devices used, which elements / concepts predominate and how are they used.Outcome 3 Analysing and responding
  4. Listen to ‘Aquarium’ and describe the techniques and devices Saint Saëns has used to create the sense of an aquarium (fish, water, etc). Compare these devices with the information from Activity 3.Outcome 3 Analysing and responding
  5. Listen to / perform other examples of music connected with water (e.g. ‘Manners’ by Arca, ‘The Commission’ by Breton, Ravel’s ‘Jeux D’Eaux’, Debussy’s ‘La Mer’, Philip Glass’s film score for H2O, Anne Boyd’s ‘Goldfish Through Summer Rain’) noting the techniques and devices used by the various composers to create effect.Outcome 1 Performing, Outcome 3 Analysing and responding
  6. Complete in class workbook:
    • Reflection on the compositions (written, verbal or visual) and ways in which effects are achieved
    • Documentation of, and reflection on, composition process (written, verbal or visual)
    • Listening Journal – note devices use by composers to create effect

OPTIONS

  • Record / document a version of the piece**Outcome 2 Creating
  • Complete the Focused Listening Chart*Outcome 3 Analysing and responding
  • Examine the score and the techniques used*Outcome 3 Analysing and responding
  • Work through score reading exercises and open-ended questions**Outcome 3 Analysing and responding

**Assessment opportunity
*Indicates provided resource

Aquarium: Analysis at a glance

Pitch (melody, harmony, tonality)

  • simple melody doubled by flute and strings – E D# E D# E A – semitones then drop of a 5th syncopated version played by glockenspiel
  • third time played a 5th lower with a rise of a 3rd at the end
  • melody echoed in glockenspiel
  • use of chromaticism, especially in piano interludes
  • tonal centre of A – no key signature, A minor implied, ends with an A arpeggio and major chord
  • use of pedal – cello; sometimes split between strings
  • ornamentation – glissando in glockenspiel, piano part acts as ornamentation
  • sequence in melody in A
  • piano part very high - 8ve; use of ledger lines
  • alto clef for viola
  • enharmonic changes
  • simple harmonic structure: centres around primary triads and inversions plus III
  • dominant 7th used
  • arpeggios in piano parts

Duration (metre, rhythm, tempo)

  • use of sextuplets in 2nd piano, ‘decatuplets’ (10 in the time of 8) in 1st piano
  • andantino
  • syncopation:
    • through note values e.g. Music note
    • through rests in glockenspiel partMusic note
    • through ties in strings e.g. 2nd violinMusic note
  • tie

Examples of rhythmic vocabulary: Music note

Structure

The piece is in bar form and is based on a medieval German poetic form used by the meistersingers. It follows the pattern of a melody repeated twice followed by another melody which may contain elements of the first melody – AAB. Wagner revived the form in Tannhäuser and Der Meistersinger.

Bars 1–8 A              Bars 9–12               piano codetta
Theme played by flute, doubled by violin; echoed by syncopated glockenspiel; pedal on A

Music note

Bars 13–20              A              Bars 21–24              piano codetta
Theme repeated

Bars 25–39              B

Slight variation of theme – played 5th lower with last two notes rising a 3rd; pedal on D; segues into arpeggios and glissandi on glockenspiel; finishes with A major arpeggio and A major chord

Dynamics

  • pp ppp
  • sf then diminuendo in piano

Articulation

  • use of mutes in string parts
  • pizzicato and arco in string parts
  • damper and sustain pedals in piano

Tone Colour

  • originally scored for flute, 2 pianos, glass harmonica, violins, violas and cellos
  • use of French instrument names on score
  • glockenspiel or celesta substituted for glass harmonica
  • wide range in piano
  • light and airy tone colour created through the emphasis on the upper registers of instruments and dynamics

Texture

  • basically homophonic
  • melody in flute and string parts
  • use of pedal or sustained notes in cello
rippling demisemiquaver patterns in piano parts
Music note with Theme played by instruments, accompaniment, glockenspiel and codetta

Create a Score Reading Worksheet from the following:

What is the meaning of the following?

8_____
andantino
pp
ppp
sourdine
una corda

sf
diminuendo
pizz
arco
P
*

A music notation
  • What instruments is the piece scored for?
  • What does ‘harmonica’ refer to?
  • What does ‘alto’ refer to?
  • What is the time signature?
  • What is the harmonic device used by the cello part called?
  • Find example of pedal point in the score.
  • What is the rhythmic device used in the second of the flute called?
  • What is the rhythmic device used in the ‘harmonica’ part in Bars 1 and 2?
  • Find four examples of syncopation.
  • What is the difference between Bars 1 and 2, and 3 and 4?
  • What is the cadence used in Bar 4?
  • What are the violin 2 and viola playing in relation to the violin part in Bars 1–4?
  • What is the melodic device used in bars 5–7 called?
  • Find an example of sequence.
  • Write out the harmonic progression used in Bars 7 and 8.
  • What is the harmonic device used in the string part in Bars 9–12 called?
  • What is the relationship of the pedal used in Bars 9–12 to the tonic?
  • Is there a pattern in the right part of Piano 1 in Bars 9–12?
  • How are Bars 21–24 different from Bars 9–12?
  • Describe the theme in Bars 25–26.
  • Outline the harmonic progression Bars 25–30.
  • Describe the structure of Bars 1–12.
  • Describe the structure of the piece.

Open-ended synthesis activities for advanced students

These items can be used with the aural stimulus only or with the recording and score. (Ref ‘Aquarium’ – analysis at a glance and / or the annotated score).

  1. Referring to the elements of music, describe how Saint Saëns has created the sense of an aquarium in this piece.
  2. Describe the composer’s use of melody and tone colour in this piece.

 

Detailed example 2: Focus on film

Focus

This example explores performing, creating, analysing and responding with a focus on film music using a theme of Antarctica but teachers can use the processes outlined with any film repertoire. Students will examine how effect is created through variation of the elements of music, concepts and compositional devices. The learning sequence is designed to be accessible for all learners, while providing scope to appropriately challenge those who are intending to undertake Units 3 and 4 specialist options (Performing and Composition).

Choose from and combine the following activities for a learning sequence that suits the student cohort. Adapt the suggested processes to the repertoire of your choice.

Creating, performing, responding and analysing

Antarctica #1

  • Discuss Northern Hemisphere winter / the Arctic / Antarctica and brainstorm appropriate words that reflect various aspects of these scenarios. Group these into positive and negative words. Discuss and experiment with ways of vocalising these words. Students could split into pairs or small groups choosing two or more of the words to vocalise, then perform and discuss the effects created.
  • Explore transferring these ideas to instrumental resources.
  • Discuss possible ways of documenting these results – traditional, graphic or a combination of both.
  • In groups or individually, take a selection of the words to devise a scenario as guidelines for a short piece of music that will create an Antarctic mood. Use whatever media is preferred – instrumental, vocalisations, environmental sounds, digital, or any combination. (Extension: Also devise a method of documenting the piece as a score.)
  • Share student pieces. Discuss the effectiveness of the works and the devices used to create this effect (and the method of documenting, if appropriate).
  • Listen to an excerpt from Vaughan Williams’s Sinfonia Antarctica (the section of the Prelude starting at ‘Lento’ 2:26 to 4:30]. Discuss the effects Vaughan Williams has used, referring to the elements of music, and compare similarities and differences with class compositions.
  • Compare with a section from Antarctica by Nigel Westlake (for example, 7. ‘Meltponds’ at 4:52).

Penguins

  • Using the above sequence as a model, work towards creating a ‘Penguin Circus’. Then listen to Westlake’s ‘Penguin Circus’.

Antarctica #2

  • Present a variety of images depicting Antarctic scenes (as photos, PowerPoint, movie excerpt without sound such as the opening credits of Scott of the Antarctic).
  • Students create music that will complement the images and act as a soundtrack using available resources.
  • Listen to an excerpt from Vaughan Williams’s Sinfonia Antarctica (the section of the Prelude starting
    at ‘Lento’ 2:26 to 4:30). Discuss the effects Vaughan Williams has used, referring to the elements of music, and compare similarities and differences with class compositions.
  • Compare with a section from Antarctica by Nigel Westlake (for example, 7. ‘Meltponds’ at 4:52).
  • Discuss the effects Vaughan Williams and Westlake have used, referring to the elements of music,
    and compare similarities and differences with class compositions.
  • Examine the Vaughan Williams score and the techniques used (score excerpt from the Prelude, Lento to Tempo Primo, pp. 7–12).

Reverse the process

  • Listen to a variety of music used to depict the Antarctic (see resources below).
  • Examine the similarities and differences, focusing on the elements of music such as tone colour, melody, texture.
  • Create your own soundtracks to a series of images or film footage using ideas and techniques from the works examined.

Using poetry

Use the following quote from the poet Percy Bysshe Shelley as a basis for a composition (quoted by Vaughan Williams under Prelude title).

To suffer woes which Hope thinks infinite;
To forgive wrongs darker than death or night;
To defy power which seems omnipotent…
Neither to change, not to falter, nor repent,
This … is to be.
Good, great, joyous, beautiful and free;
This is alone Life, Joy, Empire, and Victory.

From ‘Prometheus Unbound’ by Percy Bysshe Shelley

Resources

Sinfonia Antarctica (No. 7) Vaughan Williams

This is a symphony in five movements (Prelude, Scherzo, Landscape, Intermezzo and Epilogue) which was first performed in January 1953 in Manchester by the Halle Orchestra conducted by Sir John Barirolli. Some of its themes were taken from the music written for the 1948 film Scott of the Antarctic. The work is scored for a large orchestra including:

  • Woodwinds: three flutes (3rd doubling on piccolo), two oboes, cor anglais, two clarinets, bass clarinet, two bassoons, contrabassoon
  • Brass: four horns, three trumpets, three trombones, tuba
  • Percussion: timpani, side drum, bass drum, cymbals, triangle, gong, bells, xylophone, glockenspiel, vibraphone, wind machine
  • Keyboards: celesta, piano, organ (in the third movement)
  • Strings: harp and strings
  • Voices: (first and last movements) soprano solo, SSA women’s chorus
  • Vaughan Williams: Sinfonia Antarctica, Chandos Records CHAN8796
    • Prelude available in iTunes and on Spotify
  • Vaughan Williams: Sinfonia Antarctica (No. 7) OUP Bishops Frome, Worcs. Allegro Music, (2007), c1968. For soprano, chorus (SSA) and orchestra; without words.
  • Nigel Westlake: Antarctica (the film music) Tall Poppies TP012
    • available in iTunes and on Spotify
  • Kim Waldock: Out of the Blue Set of score analysis and aural activities based on the film score Antarctica: Suite for Guitar and Orchestra by Nigel Westlake  available at the Australian Music Centre.
  • Peter Maxwell Davies: Symphony No.8 'Antarctic'
  • Vangelis: Theme from Antarctica
  • Ugasanie: In Antarctic Night
  • Nigel Westlake: ‘Penguin Circus’
  • Excerpt from Scott of the Antarctic: Journey up the Glacier (note underscoring)

Sinfonia Antarctica: Vaughan Williams – questions for the score excerpt from Prelude, Lento to Tempo Primo (pp.7–12)

  • Describe the construction of the Lento theme(s).
  • Describe the harmony in the bar at Letter 6.
  • What is the tonality of the Lento section?
  • Describe the overall texture of the excerpt.
  • Describe the use of rhythm and metre in the excerpt.
  • What are the meanings of the following signs and terms? Where do they occur in the score?
  • lento
  • pizz
  • unis
A music notation
  • con sord
  • senza sord
  • loco
  • poco pui mosso
  • poco animato
  • sul pont
    • A music notation
  • pos nat
  • niente
  • tempo primo
  • What concepts and compositional devices are exemplified in this excerpt?

Detailed example 3: ‘Oye Como Va’ by Tito Puente

Focus

This example explores performing, creating, analysing and responding with a focus on Tito Puente’s ‘Oye Como Va’, comparing it with the Santana version and a variety of other cover versions. Students will examine how effect is created through variation of the elements of music, concepts and compositional devices. It is designed to be accessible to all learners while providing scope to appropriately challenge those who are intending to undertake Units 3 and 4 specialist options (Performance and Composition).

Element: pitch

Concept: tonal centre of A minor, simple two chord groove; pentatonic, riffs

Element: duration / rhythm

Concept: 4/4, syncopation, accents, moderato, polyrhythmic, cha cha, crotchet, quaver, rests

Element: structure / form

Concept: chorus, intro, coda

Element: dynamics

Concept: As per versions chosen

Element: tone colour

Concept: Percussion: cow bell, bongos, clapping, timbale; Vocals: singing and whistling and interjections; piano; Wind: double bass; trumpet, trombone, saxophone, piccolo; Rhythm section; Horn section

Element: dynamics / articulation / expression

Concept: Little or no vibrato, some flutter tonguing in wind and horns; overblowing on trumpets

Element: texture

Concept: Homophonic; layering the instruments to create the harmonic structures

Compositional devices used in this example: repetition, variation, contrast and transition.

Choose from and combine the following activities for a learning sequence that suits the student cohort:

  • Learn and perform rhythmic and melodic riffs.
  • Improvise over bass and rhythms.
  • Learn and perform a classroom or small-group arrangement of ‘Oye Como Va’.
  • Add improvised sections.
  • Experiment with changing an aspect or several aspects of the piece (e.g. tempo, rhythmic groupings, time signature, instrumentation, add another vocal harmony, change Vocal 2, add improvisations on various instruments, reallocate the backing to different instruments, etc.).
  • Compare and discuss the different versions – what works and what doesn’t?
  • Listen to and compare the Puente and Santana versions (see Listening Chart).
  • Choose one from the following list of cover versions, comparing similarities and differences and compiling a list of stylistic characteristics:
    • Kinky
    • Eliane Elias (jazz vocal)
    • Fattburger (jazz flute improvisation)
    • Groove Society – acappella vocal jazz sextet (a number of arrangements are available online)
    • Michel Camilo (jazz featuring piano)
    • Percy Faith (muzak)
    • Erick Yu Su Grupo Massore
    • Running Hits (Dance remix)
    • 3 Canal, La Corte, Marka (rap)
    • House mix
    • Love Assassins Remix.

Resources

‘Oye Como Va’ by Tito Puente

Introduction (instrumental)
0:00–0:45

Begins with syncopated organ riff over straight cha cha chá rhythm (the latter initially marked out just by clicked wooden sticks and handclaps)

Full percussion section and horn section enter at 0:15 (following a lead-in played on the timbales): timbales, congas and güiro play standard cha cha chá rhythmic patterns; horns (saxophones, trombones, trumpets) double organ riff rhythm

0:23

Flute takes main melody

0.38

Unison figure played

Vocal 1
0:45

‘Oye Como Va’ tune sung by group of male singers (unison/harmonised vocal texture; cha cha chá groove)

1:01

Partial return of unison figure

Mambo Section I
1:05

Saxophone riff (1:05), trombone riff (1:20), trumpet riff (1:36)

1:51

Partial return of unison figure

Vocal 2
1:56

As before, but ends with big instrumental crescendo (2:11) leading up to second mambo section

Mambo Section 2
2:19 to the end

  • More syncopated and complexly related horn riffs than in first mambo section; building intensity
  • Flute, vocal shouts and whistling create party-like atmosphere
  • Concludes with full statement of the signature unison figure at 3:06

‘Oye Como Va’ by Santana with Carlos Santana (electric guitar), Gregg Rolie (Hammond B-3 electronic organ)

Introduction
0:00–0:37

  • Opens with the standard ‘Oye’ organ riff (as in Puente original) but the Hammond B-3 organ’s timbre is very different from that of the organ in Puente’s version; also, no clicked sticks / clapping groove here, and the bass part is more prominent in the mix.
  • Standard cha cha chá groove established with entry of percussion section at 0:08; no horns; opening flute melody of Puente version is played here on electric guitar (by Carlos Santana) and some bluesy melodic embellishments in the guitar part give the music a different character.
  • Signature unison figure arrives at 0:30.

Vocal 1
0:38–0:56

  • Singing is similar to that heard in the Puente version, although the vocal timbre is different.
  • Partial return of unison figure at 0:53.

Improvised solo 1
(electric guitar)
0:57–1:44

  • Played by Carlos Santana; electronic distortion enhances the basic timbre of the instrument.
  • Replaces the first mambo section (Mambo I) of the Puente arrangement in terms of formal design.
  • Although the horn section is absent, Carlos Santana’s guitar solo actually builds mainly from lines adapted from the original Puente horn riffs (enhanced by occasional bluesy riffs at the ends of phrases).
  • Percussion instruments are played more freely here than in Puente’s version (e.g. improvised drum fills in conga and timbales parts) and more of a rock feel is evident in the rhythmic groove, although a cha cha chá foundation still predominates.

Transition 1
1:45–2:07

  • First, return to opening organ riff (over cha cha chá rhythmic groove).
  • Second, contrasting section (1:53) with very different mood and style.
  • Third, dramatic crescendo at 2:04 (essentially an abridged, altered version of the big crescendo at the comparable point in the Puente arrangement).

Improvised solo 2
(Hammond B-3 electronic organ)
2:07–2:47

  • Played by Gregg Rolie; note distinctive timbre of the Hammond B-3.
  • Replaces second mambo section (Mambo II) of Puente arrangement in the form.
  • Rolie immediately rips into a heavy, rock- and blues-style solo that takes the piece far from its Latin roots and into new musical territory.

Vocal 2
2:59–3:21

  • Sung as before.
  • Singing followed by an extended crescendo build-up at 3:14 (again reminiscent of the Puente recording).

Transition 2
2:48–2:58

  • Shorter than first Transition section.
  • Partial return of signature unison figure at 2:56.

Improvised solo 3
(electric guitar)
3:22–end

  • Played by Carlos Santana.
  • Begins like the first guitar solo, but then ventures further afield into rock-blues territory; as solo progresses, Santana shifts back and forth between Latin, rock, and blues styles, creating a highly effective and fluid blend of stylistic elements.
  • Performance concludes with a final full statement of the signature unison figure at 4:06.

Listening Chart (example of focused listening comparing versions)

This table describes components of a Listening Chart
 PuenteSantana 
   Same

Melody

  

‘Oye Como Va’ tune

Key

  

A minor

Tempo

  

Moderato

Text

  

simple, one-line, Spanish-language song

Singing style

   

Cha cha chá groove

   

Structure

  

Same basic sequence of the arrangement.

   

Different

Instrumentation

solo flute part and the horn section

replaced the flute and horn riffs with his guitar

 
  

solo instrument, and the heavily blues- and rock-influenced style of the improvised organ solo

 

Rhythm

 

embellishment of the traditional cha cha chá rhythmic groove with rock-style drumming (played on a drumset

 
 

horn riff–dominated mambo sections

improvised electric guitar and Hammond B-3 organ solos

 

Further resources

Oye Como Va Tito PuenteOye Como Va Tito Puente

Oye Como Va Santana (Live at Montreux, 2011)

Arrangement

Oye Como Va Chords by Santana

Play along with Tito PuentePlay along with Tito Puente

Carlos Santana Teaches Oye Como Va from his MasterClass

Units 3 and 4 Music inquiry

Unit 3: Influence in music

In Unit 3 students focus on connections between music created in different times and / or places and the influence(s) of one on the other through music-making and responding. They compose, arrange, interpret, reimagine, improvise, recreate, perform and critique music in a scaffolded manner that will lead to their project in Unit 4. Teachers are encouraged to model an approach that will assist and support students with their Project in Unit 4.

Modelling approaches to Inquiry

Musical influences can include social, historical and cultural (for example, some contemporary Aboriginal music has been influenced by reggae). As a starting point for choosing a teaching focus for Unit 3, there are a number of websites that make particular mention of notable artists and their influences along with other artists that they in turn have influenced.

  • The Quartz site presents a list of musicians and the number of artists they have influenced.
  • The All Music site offers artist profiles with their influences and those they have influenced (under the ‘Related’ tab) covering many genres including Avant Garde, Blues, Classical, Country, Electronic, Folk, Jazz, Pop / Rock, Rap, R&B and Reggae.
  • Mapping influences with its visual map might also be useful in helping to narrow down a focus (for example, The Beatles) and Musical Influence Diagrams offers a range of artists.

Examples of general learning activities

There are many ways of encouraging students to focus on the influences in their own music-making that teachers can highlight in activities designed for Unit 3 so that students are prepared to choose their focus for the Unit 4 Project. Students could:

  • consider their musical background and experience – what inspired them to take up music-making?
  • name the artists they think have influenced them and choose three or four who are the most important (to keep them focused)
  • play along with the artists and copy them, noting the features that resonate with them most
  • create a song in the style of their favourite artist(s) and see what happens
  • create a parody song of their favourite artist
  • sing along with a vocalist that is in their range and that that they like (using an original track); then challenge themselves to sing it alone with their own karaoke track (there are sites that offer tracks with vocals but the guitar or bass (or even drum IIRC) removed from the performance)
  • think about the mixing and production influences on recordings
  • perform and / or create cover versions of influential artists’ works
  • replicate an artist’s techniques in performing and creating
  • discuss the difference between a musical listening influence and a musical performing influence. There is music they listen to deeply and in detail but would never try to incorporate into music-making. Can they make this distinction and why do some influence their music-making and others not?

Unit 3: Music inquiry

Detailed example

Focus

This learning sequence uses the song ‘Blackbird’ from The White Album by the Beatles as a starting point to model an influence in Music inquiry. The focus of Unit 3 is modelling an inquiry, which students then apply to their own project in Unit 4. This unit looks at how the musical features of the Beatles have generally influenced Australian music and musicians, focusing on the musical features found in ‘Blackbird’ and The White Album. Choose a work by an Australian artist influenced by the Beatles for the second work that students study to address the Outcome 2 requirement, ‘Analyse and describe the treatment of music elements, concepts and compositional devices in two works, discussing how one work has influenced the other’ (page 30 in the study design). Suggestions include: Sarah Blasko, Tame Impala, Nick Cave. This learning sequence draws on Lucy Green’s Seven Stage Project using informal learning principles. Stage 1: in at the deep end; Stage 2: modelling aural learning; Stage 3: in at the deep end again; Stage 4: informal composing.

Knowledge and skills

This learning sequence is conceived for Unit 3 Inquiry to model an approach to the Unit 4 project that students will experience before developing their own. It aims to be accessible to all learners from a range of previous musical backgrounds.

Area of Study 1 Music making

Key knowledge

  • technical performance requirements related to the style(s) of the studied works
  • the characteristics of the studied style(s) via performance, composing / arranging
  • how the music characteristics of a work may influence the performance / creation of another work
  • technical / practical factors that may affect the performance / creation/arrangement of a work
  • ways compositional devices can be used to develop a work
  • ways of recording, documenting and preserving music.

Key skills

  • demonstrate technical skills including accuracy and control in performance specific to the instrument(s) or sound source(s)
  • perform / create / arrange a music work influenced by the music characteristics of the studied works
  • interpret elements of music and concepts related to the studied works in performance, composing / arranging
  • manipulate the elements of music and concepts to create / arrange a work
  • explain the works and performance/composing / arranging choices made in relation to the studied works
  • describe technical / practical factors that affected the performance / composition / arrangement of the work
  • preserve their works in audio format and with appropriate documentation.

Area of Study 2 Analysing for music making

Key knowledge

  • the treatment of the elements of music and concepts in the works studied
  • the way compositional devices are used to develop the music works studied
  • compositional devices used to develop each work studied
  • similarities and differences in musical approach between the studied works
  • the context / background of the studied works
  • ways of investigating influences between creators, styles and / or genres.

Key skills

  • identify and explain the use of elements of music, concepts and compositional devices in each studied work
  • describe the context / background of each studied work
  • discuss the influence of one selected work on another using evidence from the works
  • reflect on the process by which context and style can influence other works
  • formulate and present a topic proposal for Unit 4 Area of Investigation.

Assessment

Outcome 1

Perform a short work in the style of a selected work / creator from Area of Study 2 and explain how their performance relates to the selected music style and/or creator.

Create and / or arrange music and demonstrate the connection to the selected music style and / or creator. Live or video and / or audio recording of a composition and appropriate notation / record of composition / arrangement.

Outcome 2

Analyse and describe the treatment of music elements, concepts and compositional devices in two works, discussing how one work has influenced the other, and formulating and presenting a proposal for an Area of Investigation for Unit 4.

Assessment tasks

Live or video recording of a performance (2–2.5 mins) of a work or excerpt on a chosen instrument.

Explanation of influences. (oral / written / multimedia)

A description of how one music work / approach has influenced another (oral / written / multimedia)

An Investigation Proposal showing influences between two works to be used as the basis for development in Unit 4. (written / multimedia)

Learning sequence

  • Stage 1: in at the deep end (Green, 2008), students work in friendship groups to create a cover version of ‘Blackbird’ using informal learning principles: friendship groups, learn by listening and copying recordings, performing, composing and listening integrated, student-directed haphazard non-linear learning. Students can work individually if they choose. They may also use the internet and other resources for help; for example, YouTube videos, transcriptions of guitar part, listening to other arrangements (e.g. acapella melody line only).AoS1 Music making, Analysing for music making
  • Intersperse this with listening and analysing activities to develop an aural analysis in small bite-size pieces. Allow 15 minutes each lesson (suggested) and this may involve students playing parts, talking and creating video diaries.Analysing for music making
  • Stage 2: modelling aural learning. Using another Beatles song (for example, ‘Let it Be’) students prepare separate isolated tracks of the main musical ideas, looped. They listen to and copy the song in whatever way they wish, using the tracks of the isolated musical material as a guide if desired, in order to make up their own version of it as a band.AoS1 Music making, Analysing for music making
  • Analysis: comparing the new song with ‘Blackbird’, identify musical features.Analysing for music making
  • Analysis: cover versions. Create a class YouTube playlist of favourite ‘Blackbird’ covers. Listen to cover versions and identify what the band has done to make it their own, using elements and concepts for the analysis. Analysis is done on a little and often basis and may involve students playing parts, talking and creating video diaries.AoS1 Music making
  • Stage 3: ‘In at the deep end…’ revisited. Students have free choice of Beatles songs and work in friendship groups to create a cover version of ‘Blackbird’ using informal learning principles: friendship groups, learn by listening and copying recordings, performing, composing and listening integrated, student-directed haphazard non-linear learning. Students can work individually if they choose. They may also use the internet and other resources for help; for example, YouTube videos, transcriptions of guitar part, listening to other arrangements (e.g. acapella melody line only).Analysing for music making
  • Stage 4: informal composing. Students build on what they have learnt through listening and copying in stages 1–3. ‘This replicates how popular musicians learn by creating their own music spontaneously based on what they have heard’ (p. 26). Students might use the chords and instruments that they used to play the three previous songs. They can use the words that they have written either as spoken word or sung, or they might create an instrumental piece.AoS1 Music making
  • Document composition: play live and audio- and video-record. Multitrack record using DAW. Sequence using a DAW. Compose using a DAW (loops and software instruments).AoS1 Music making

End-of-unit performance

  • The influence of the Beatles on Australian music. Students investigate this musically by immersing themselves in examples from a range of time periods beginning with the most recent and working backwards (for example: recent: Sarah Blasko, Tame Impala, Nick Cave; 70s / 80s: John Farnham; 60s: Easybeats, Bee Gees). Students explore these musics using informal learning principles: learn by listening and copying recordings (playing) to create cover versions of part of these songs (such as verse and chorus), then spontaneously create their own music using informal composing principles. They document / record their analysis by playing ideas they have learnt and video-recording to create a video portfolio. They analyse using elements and concepts by talking, playing and video-recording.AoS1 Music making, AoS2 Analysing for music making, AoS3 Responding

Next step: Students choose one example to undertake a more in depth analysis of to address Outcome 2

Resources

Recorded music:

Blackbird original
Transcription of the original guitar part of 'Blackbird'

Other:

Blackbird (cultural information)
Cultural impact of the Beatles

Impact on Australian artists:

How the Beatles changed music in Australia (Sydney Morning Herald article)
Beatles down under part one
Beatles down under part two
Nick Cave and the Beatles

References

Green, L 2008, Music, informal learning and the school: a new classroom pedagogy, Ashgate: Aldershot.

Sawyers, J 2009, 10 songs that changed the world, Murdoch Books.

 

Unit 4: Music inquiry – Project

In Unit 4 students consider influence at a personal level. They move from considering and reflecting on the influences in the works of others to applying new understandings of influence in their own music-making. They perform music demonstrating the musical influences of an existing style and / or performer on their own works, and they create / arrange short music works that include identifiable influences from an existing work / performer / style, which they are able to explain. Students will undertake this project using the methods modelled in Unit 3.


Units 3 and 4 Music contemporary performance

This unit caters for those students whose performance practice includes embellishment and / or improvisation, uses collaborative and aural practices in learning, often takes recordings as a primary text, and projects a personal voice. Unit 4 builds on Unit 3 in preparation for the final performance and assessment tasks.

Reimagining and recreating

Recreating is concerned with replicating and imitating an existing work and aiming to reproduce it faithfully. Reimaging is about taking a work and making it your own. The extent of the reimagination can be conceived of on a continuum with a cover version or reinterpretation that minimally changes the original (perhaps a change in instrumentation to suit the student cohort) through to a change in style (perhaps with additional material such as an improvised solo section added). Reimaging can be demonstrated in several ways that may include but are not limited to creativity in interpretation; for example, Verse 1 and Chorus 1 are the same as the original and these are then changed in Verse 2 and later choruses. Changes in instrumentation might include a 4-person rock band being reduced to an acoustic guitar / vocal duet. Listening examples to understand reimagining are encouraged; for example, Triple J Like a Version reimagines works each week.

Examples of learning activities

  • Create a Venn diagram comparing the stylistic differences and similarities in two works of the same or different styles, one of which is part of the performance program.
  • Create a Frayer model to identify and describe the conventions of particular music styles.
  • View existing performance works and develop a potential Statement of Intent that could be used for each performer.
  • Develop a digital portfolio using prompting questions to investigate the musical concepts, manipulation of elements and techniques used in selected works, and brainstorm ideas about how these can be reimagined or interpreted.

Area of Study 1: Performing

  • Work with instrumental music teacher on solo piece.
  • Work in groups in class time to practise performing.
  • Explore technical skills and interpretations – student directed or teacher directed.
  • Develop online slideshow / presentation with prompting questions to scaffold the student responses.
  • Work in pairs to investigate specific styles of music and share back with the class.
  • Explore different effects created by performances as a platform for the reimagination task.

Area of Study 2: Analysing for performance

  • Develop a digital portfolio to document progress in relation to techniques (recording at the beginning of the period, checkpoints throughout, evaluations).
  • Reimagine a work.
  • Play an excerpt of the piece in a different tonality.
  • Experiment with adapting an excerpt to different time signatures.
  • Annotate video / audio recordings of experimentation to comment on what / why happened.
  • Isolate one part of the song to show progression of technique over a series of weeks.
  • Explicitly try different techniques (e.g. three different approaches to playing a bass riff); demonstrate these and evaluate the choices (What skills are required for these? How do you learn / progress / develop that skill?). Demonstrate the exercise / approach. This is a way of validating that every student is accountable and has completed the task / demonstrated the skill – each student experiments with different techniques as part of a whole group reimagining, in response to each other.
  • Use film music to reimagine a soundscape – maybe as simple as find / source a different sound track to manipulate the effect created.

Area of Study 3: Responding

  • Play a scale or mode (isolated); improvise using a scale or mode (in context).
  • Melodic transcription – once completed, student to play this back before correcting in attempt to ‘proof read’ their answer.
  • Interconnect analysis and responding – potentially through score analysis.
  • Complete aural analysis of a work set by the teacher.
  • Use the same work to identify, recreate and document music concepts.
  • Identify intervals in the melody.
  • Transcribe the rhythm of a riff.
  • Listen to a hip-hop track, recreate the beat within the same feel / groove – keeping the style but altering the beat.

Detailed example: Sample approach to Unit 3

Area of Study 1: Performing and Area of Study 2: Analysing for performance with some elements of Area of Study 3 (Responding)

Key knowledge

  • treatment of music elements and concepts, and the use of compositional devices in a range of contemporary music excerpts
  • ways in which performers interpret and manipulate music elements, concepts and compositional devices in performance
  • music language concepts including horizontal and vertical pitch organisation (melody and harmony), rhythmic organisation and appropriate notation conventions.

Key skills

  • identify treatment of music elements, concepts and the use of compositional devices in a range of contemporary music excerpts
  • identify, describe and compare the ways in which performers interpret and manipulate music elements and concepts in performance.

Class activities and formative assessment opportunities forming preparation for the School-assessed Coursework

  • Performance (end of semester performance evening and mid-semester work-in-progress performance(s) during class time, and at assemblies or other whole school occasions).
    Perform program of works including works intended for performance in Unit 4,
    Present a Performer’s Statement of Intention to explain choice of works (written, oral or multimedia),
  • Listening Journal (also used for Area of Study 3) 
  • Analysis of works for performance (listen to a range of recordings where possible) assessed through Listening Journal for each piece using the given template:
    • Elements of music and concepts and compositional devices - see definitions of compositional devices and music elements, and many suggested concepts on pages 16–19 of the study design.
    • Ways in which performers manipulate elements of music and concepts in performance.

Students could share their analysis of one of their works, and set a short comparison or listening task for the class to complete.

  • Effective practice routines: (practical demonstration and presentation)
    Students create routines and exercises specific to their solo piece or own part in an ensemble, and they devise a practice plan (documented in their practice journal, see below).
    Students devise ways of incorporating digital tools and other music equipment (including metronomes) into their regular practice.
    They explore ways of making the best use of rehearsal times with accompanists or in ensembles and make checklists to use when rehearsing.
    Formative assessment through classwork and presentation / discussion: work-in-progress mid semester. School assessed coursework task formally assesses the key knowledge and key skills.

Demonstration / presentation (Many ways possible  to present this - oral, multimedia, and / or practical demonstration)

  • Investigate the Assessment Criteria for Area of Study 1 (Performing), and develop a process to select a suitable performance program,
  • Select a work to be reimagined, and demonstrate ways that this could be done, including ways others might have already reimagined it, if applicable.
  • Discuss how techniques and personal voice are being developed in reimagined work, and in other works being prepared for performance, and explain why these works have been selected.

Practice Journal 
Performance: Designated periods each week to work on performing repertoire, analysis, exercises. Regular teacher observation, and assessment on at least 2 occasions. Last 10 minutes of each performance practice lesson is spent filling in (or recording a short audio / video) Practice Journal including identifying next step / setting goals.

Ensemble performance: this could be a whole class ensemble and integrated as a part of regular class work. Teacher observation, and regular assessment on at least two occasions in class and regular review of Practice Journal. Other options include assessed student being an accompanist for another student, a duet (or larger music group) with another student or a teacher (minimum of two independent parts and not with the student being substantially a soloist).

Example of ways to use works being prepared for performance as the basis for Areas of Study 2 (analysing) and 3 (responding).

  • Identify performance piece.
  • Identify key and tonality.
  • Write (any suitable approach to documentation, for example notation, tab or letter names) and play one - two octaves of scale ascending and descending.
  • Write (any suitable approach to documentation, for example notation, tab or letter) and play minimum one exercise based on this scale, for example – scales in 3rds: 1 3 2 4 3 5 etc.
  • Highlight one or two significant rhythms from this piece.
  • Using the rhythm write (staff notation or other suitable form of documentation) and play an exercise based on the tonic key scale.
  • Identify challenges when working with another musician in an ensemble, and develop strategies for managing them.

Example of demonstration / discussion

  • Identify 1–2 technical challenges in this piece.
  • Identify 1–2 expressive challenges in this piece, the approach taken to interpretation and what influenced these interpretative choices.
  • Demonstrate technical work and/or exercises to address these challenges.
  • Discuss / explain why these exercises were developed and the approach taken to interpretation.
  • Discuss how the chosen piece and exercises help to develop individual instrumental techniques.
  • Discuss approaches to working with other musician(s) when preparing an ensemble work, and describe ways that particular challenges have been approached in rehearsal.

Example of demonstration and discussion of reimagined work

  • Demonstrate reimagined work. This could be presented as part of the end of unit performance event which is video recorded. Alternatively, students could present reimagined work(s) for the teacher.
  • Using the Statement of Intention as a starting point, explain verbally, (1) the interpretation and (2) how elements of music have been manipulated, (3) how personal voice has been developed.
Learning sequence
Week 1
  • Identify performance pieces in consultation with instrumental teacher.
  • Initial ideas for Statement of Intention.
Week 2
  • One period per week to work on performance repertoire, analysis, exercises. Teacher observation and regular assessment. Last 10 mins of each performance practise lesson is spent adding to Practice Journal including identifying next step / setting goals.
Week 3
  • One period per week to work on performance repertoire, analysis, exercises. Teacher observation and regular assessment. Last 10 mins of each performance practise lesson is spent adding to Practice Journal including identifying next step / setting goals.
  • Identify key and tonality of performance piece(s).
  • Write (any suitable approach to documentation, for example notation, tab or letter names) and play one octave of scale ascending.
Week 4
  • One period per week to work on solo repertoire, analysis, exercises. Teacher observation and regular assessment. Last 10mins of each performance practise lesson is spent adding to Practice Journal including identifying next step / setting goals.
  • Write (any suitable approach to documentation, for example - notation, tab or letter names) and play minimum one exercise based on this scale, for example - scales in 3rds: 1 3 2 4 3 5 etc.
Week 5
  • Practice performance of performance repertoire. Have students identified repertoire? If not, allocate them a piece of suitable teacher-chosen repertoire for their instrument and / or group.
  • Draft Statement of Intention.
  • Highlight one rhythm from this piece.
  • Using the rhythm write (any suitable approach to documentation, for example - notation, tab or letter names) and play an exercise based on the tonic key scale.
Week 6

Teacher determined activities

Week 7
  • Music Exercises test and presentation / discussion: work-in-progress assessment.
Week 8
  • Music Exercises test and presentation / discussion: work-in-progress assessment.
Week 9

Teacher determined activities

Week 10

Teacher determined activities

Week 11

Teacher determined activities

Week 12

Teacher determined activities

Week 13

Teacher determined activities

Week 14

Teacher determined activities

Week 15

  • Music Exercises test and presentation/discussion and demonstration / discussion of reimagined work(s).
Week 16

Teacher determined activities

Week 17
  • End of semester performance and presentation of Statement of Intention.
Week 18

Teacher determined activities

 

Possible timeline

  • First week in March: Practice ‘work in progress’ performance of performance repertoire.
  • Second week in March: Draft of technique and exercise(s) including progress report on how it’s helping development.
  • Last week April: Present technique and discussion / presentation.
  • Last week May: Demonstration and discussion of reimagined work(s).

Units 3 and 4 Music repertoire performance

This study is designed for students whose musical interests are grounded in the recreation and interpretation of notated musical works, and who wish to gain and share knowledge of musical styles and performance practices. Unit 4 builds on Unit 3 in preparation for the final performance and assessment tasks.

Repertoire

See Choosing Repertoire.

Detailed example 1: Sample approach to Unit 3

Area of Study 1: Performing and Area of Study 2: Analysing for performance

Focus

This learning sequence focuses specifically on students developing instrumental skills on their chosen instrument. As stated in the VCE Music Study Design, students perform as a soloist and present at least one ensemble work. This is a specialist performing unit and assumes previous musical experience to access the full range of marks in the final recital and external examination. It is recommended that students undertaking this specialist option should be taking instrumental lessons with an instrumental teacher who has the capacity to teach to VCE level and has an understanding of the current VCE Music Study Design. Musical knowledge (elements, concepts, language, compositional devices) will be drawn from students’ performing repertoire.

Area of Study 1 Performing

Key knowledge

  • the artistic and practical considerations of selecting a program of works appropriate to the chosen instrument / ensemble
  • the possibilities for recreating works in performance through decisions made about:
    • techniques and conventions relevant to a variety of musical contexts and physical spaces
    • musicianship skills used by performers to realise works and to create character in performance
    • approaches to communicating interpretations and artistic intentions in live performance of music works to an audience
    • the equipment and technologies used in performance, as applicable.

Key skills

  • explain the artistic and practical considerations used to select a program of works for performance
  • prepare and present a program of works that demonstrates a wide range of music styles and characters
  • use research to make decisions about how selected works can be interpreted and presented in performance
  • perform selections from their performance program of solo and ensemble works that show control and variation of:
    • duration (tempo, beat, metre and rhythm) to render pulse and metre
    • tone production (pitch, dynamics, tone colour and articulation) to produce appropriate pitch, timbre and articulation
    • ensemble skills to align live performance with one or more other musicians to achieve balance, as well as providing and responding to real-time musical cues
    • interpretation to demonstrate an understanding of style with evidence of personal interpretative ideas.

Area of Study 2 Analysing for performance

Key knowledge

  • the use of musical elements, concepts and compositional devices in selected works
  • the musical scores being prepared for the Outcome 1 recital
  • interpretations of selected works (or similar, related works) by other performers in recordings and / or edited scores
  • the styles and contexts of works studied and ways a performer’s interpretation can be shaped by this knowledge
  • effective solo instrumental practise routines including, as appropriate, ways of incorporating the use of digital tools and other music equipment
  • effective approaches to ensemble rehearsal
  • strategies used by other performers to optimise performance outcomes
  • ways of improving personal performance including goal-setting, reflection, evaluation and performance psychology.

Key skills

  • describe the use of the music elements, concepts and compositional devices in works being prepared for performance
  • identify the expressive and technical challenges in selected works
  • research, plan and implement approaches to practice and rehearsal that address identified performance challenges and develop instrumental and presentation techniques
  • demonstrate and discuss these strategies in the context of a discussion.

Assessment

  1. Performance (end-of-semester performance evening and mid-semester work-in-progress performance(s) during class time 
    • Perform program of works including works intended for performance in Unit 4 
  2. Listening Journal (also used for Area of Study 3)
    Analysis of works for performance assessed through Listening Journal for each piece using the given template: 
    • Elements of music and concepts and compositional devices
    • Ways in which performers manipulate elements of music and concepts in performance
  1. Music Exercises (practical demonstration and presentation)
    Students create exercises specific to their solo piece and devise a practice plan (documented in their Practice Diary, see below); devise exercise
    Assessed at Music Exercises test and presentation / discussion: work-in-progress mid semester and end of semester
  2. Demonstration / presentation (written, oral, multimedia, and / or practical demonstration)
    1. Explain process used to select performance program
    2. Discussion of how music exercises assisted with developing technical aspects and challenges
    3. Discussion of approach taken to develop expressive aspects and interpretation of selected work(s)
  3. Practice Journal
    Solo performance: Minimum of one period per week to work on performing repertoire, analysis, exercises. Teacher observation and regular assessment on at least two occasions. Last 10 minutes of each performance practice lesson is spent filling in Practice Journal , including identifying next step / setting goals.
    Ensemble performance: This could be a whole-class ensemble and integrated as a part of regular class work. Teacher observation and regular assessment on at least two occasions in class and regular review of Practice Journal. Other options include assessed student being an accompanist for another student, a duet (or larger chamber music group) with another student or a teacher (minimum of two independent parts and not with the student being a soloist with an accompanist as this is a solo).

Example of Music Exercises 

  • Identify solo performance piece. 
  • Identify key and tonality. 
  • Write (staff notation or other suitable form of documentation) and play one or two octaves of scale ascending and descending.
  • Write (staff notation or other suitable form of documentation) and play a minimum of one exercise based on this scale; for example scales in 3rds: 1 3 2 4 3 5 etc.
  • Highlight one rhythm from this piece. 
  • Using the rhythm, write (staff notation or other suitable form of documentation) and play an exercise based on the tonic key scale. 
  • Identify, practise and present an etude or study to address specific technical challenges in performance work.

Example of Demonstration/Discussion 

  • Identify one or two technical challenges in this piece.
  • Identify one or two expressive challenges in this piece and the approach taken to interpretation.
  • Demonstrate technical work and / or exercises to address these challenges. 
  • Discuss / explain why these exercises were developed and the approach taken to interpretation.
  • Discuss how the chosen piece and exercises help to develop individual instrumental techniques.

 

Learning sequence

Week 1

  • Identify performance program in consultation with instrumental teacher.
  • Note initial ideas for process used to develop performance program.

Week 2

  • One period per week to work on performance repertoire, analysis, exercises. Teacher observation and regular assessment. Last 10 minutes of each performance practice lesson is spent filling in Practice Journal including identifying next step / setting goals.
  • Identify one or two technical challenges in a solo performance piece.

Week 3

  • One period per week to work on performance repertoire, analysis, exercises. Teacher observation and regular assessment. Last 10 minutes of each performance practice lesson is spent filling in Practice Journal , including identifying next step / setting goals.
  • Identify key and tonality solo piece, write one or two octaves of scale ascending and descending.
  • Identify and practise an etude or study to address specific technical challenges in performance work.
  • Identify one or two expressive challenges in this piece and the approach taken to interpretation.

Week 4

  • One period per week to work on performance repertoire, analysis, exercises. Teacher observation and regular assessment. Last 10 minutes of each performance practice lesson is spent filling in Practice Journal , including identifying next step / setting goals.
  • Identify key and tonality solo piece, write one or two octaves of scale ascending and descending.
  • Identify and practise an etude or study to address specific technical challenges in performance work.
  • Identify one or two expressive challenges in this piece and the approach taken to interpretation.

Week 5

  • A practice performance of solo repertoire. Have students identified repertoire? If not, allocate them a piece of suitable teacher-chosen repertoire for their instrument.
  • Highlight one rhythm from this piece and using the rhythm, write (staff notation or other suitable form of documentation) and play an exercise based on the tonic key scale. 
  • Draft discussion / explanation as to why these exercises were developed and the approach taken to interpretation.

Week 6

Teacher determined activities

Week 7

  • Music Exercises test and presentation / discussion / demonstration, including aspects of interpretation: work-in-progress assessment.

Week 8

Teacher determined activities

Week 9

Teacher determined activities

Week 10

Teacher determined activities

Week 11

Teacher determined activities

Week 12

Teacher determined activities

Week 13

Teacher determined activities

Week 14

Teacher determined activities

Week 15

  • Music Exercises test and presentation / discussion demonstration including aspects of interpretation.

Week 16

Teacher determined activities

Week 17

  • End-of-semester performance.

Week 18

Teacher determined activities

 

Detailed example 2: Sample approach to Unit 3

Area of Study 1: Performing and Area of Study 2: Analysing for performance with some elements of Area of Study 3 (Responding)

Focus

This is a specialist performing unit and assumes previous musical experience to access the full range of marks in the final recital and external examination. It is encouraged that students undertaking this specialist option are having instrumental lessons with an instrumental teacher who has the capacity to teach to VCE level and has an understanding of the current VCE Study Design. Musical knowledge (elements, concepts, language, compositional devices) will be drawn from works students are preparing for performance, and instrumental teachers can make very valuable contributions to this work.

This approach could sit comfortably in the same classroom as Music contemporary performance, and while there are some differences in the key knowledge and how it is expressed in the key skills, many aspects of Performing, Analysing and Responding can be valuably encountered together.

Focusing on Area of Study 1 (Performing), these activities also embrace all Area of Study 2 (Analysing) key knowledge and key skills, and the following from Area of Study 3 (Responding).

Key knowledge

  • treatment of music elements and concepts, and the use of compositional devices in excerpts drawn from a wide range of notated styles including styles reflected in students’ programs
  • ways in which performers interpret and manipulate music elements and concepts in performance

Key skills

  • respond to interpretation in performances and recordings:
    • identifying, describing and comparing ways in which performers, composers, arrangers, producers and / or conductors shape interpretations through their approach to (and manipulation of) the elements of music
    • comparing the treatment of elements and concepts in contrasting versions of the same musical work
    • discussing the ways in which musical character results from interpretative decisions

Class activities and formative assessment opportunities forming preparation for the School-assessed Coursework

  1. Performance (end of semester performance evening and mid-semester work-in-progress performance(s) during class time, and at assemblies or other whole school occasions).
    • Perform program of works including works intended for performance in Unit 4.
  2. Listening Journal (also used for Area of Study 3)
    Analysis of works for performance (listen to a range of recordings where possible) assessed through Listening Journal for each piece using the given template:
    • Elements of music and concepts and compositional devices - see definitions of compositional devices and music elements, and many suggested concepts on pages 16–19 of the study design.
    • Ways in which performers manipulate elements of music and concepts in performance.

    3. Students could share their analysis of one of their works, and set a short comparison or listening task for the class to complete.

  1. Effective practice routines: (practical demonstration and presentation)
    Students create routines and exercises specific to their solo piece or own part in an ensemble, and they devise a practice plan (documented in their practice journal, see below).
    Students devise ways of incorporating digital tools and other music equipment (including metronomes) into their regular practice.
    They explore ways of making the best use of rehearsal times with accompanists or in ensembles and make checklists to use when rehearsing.
    Formative assessment through classwork and presentation / discussion: work-in-progress mid semester. School-assessed Coursework task formally assesses the key knowledge and key skills.
  2. Demonstration / presentation (many ways possible to present this – oral, multimedia, and / or practical demonstration)
    • Investigate the Assessment Criteria for Area of Study 1 (Performing), and develop a process to select a suitable performance program.
    • Discuss how the selection of a program has been made.
  3. Practice Journal
    Performance: Designated periods each week to work on performing repertoire, analysis, exercises. Teacher observation and regular assessment on at least 2 occasions. Last 10 minutes of each performance practice lesson is spent filling in (or recording a short audio / video) Practice Journal including identifying next step / setting goals.
    Ensemble performance: this could be a whole class ensemble and integrated as a part of regular class work. Teacher observation and regular assessment on at least two occasions in class and regular review of Practice Journal. Other options include assessed student being an accompanist for another student, a duet (or larger chamber music group) with another student or a teacher (minimum of two independent parts and not with the student being substantially a soloist)

Example of ways to use works being prepared for performance as the basis for Areas of Study 2 (analysing) and 3 (responding).

  • Identify performance piece.
  • Identify key and tonality.
  • Write (staff notation or other suitable form of documentation) and play one – two octaves of scale ascending and descending.
  • Write (staff notation or other suitable form of documentation) and play minimum one exercise based on this scale, for example – scales in 3rds: 1 3 2 4 3 5 etc.
  • Highlight one or two significant rhythms from this piece.
  • Using the rhythm write (staff notation or other suitable form of documentation) and play an exercise based on the tonic key scale.
  • Identify, practise and present an etude or study to address specific technical challenges in performance work. Articulate the reason for the choice.
  • Identify challenges when working with another musician in an ensemble, and develop strategies for managing them.

Example of demonstration / discussion

  • Identify 1–2 technical challenges in this piece. 
  • Identify 1–2 expressive challenges in this piece, the approach taken to interpretation and what influenced these interpretative choices.
  • Demonstrate technical work and / or exercises to address these challenges. 
  • Discuss / explain why these exercises were developed and the approach taken to interpretation.
  • Discuss how the chosen piece and exercises help to develop individual instrumental techniques.
  • Discuss approaches to working with other musician(s) when preparing an ensemble work, and describe ways that particular challenges have been approached in rehearsal.

 

Sample learning sequence

Week 1

  • Identify potential performance pieces in consultation with instrumental teacher, and informed by the Assessment Criteria.
  • Note initial ideas for process used to develop performance program.

Week 2

  • One period per week to work on performance repertoire, analysis, exercises. Teacher observation and regular assessment. Last 10mins of each performance practise lesson is spent adding to Practice Journal including identifying next step / setting goals.
  • Identify 1–2 technical challenges in a solo performance piece.

Week 3

  • One period per week to work on performance repertoire, analysis, exercises. Teacher observation and regular assessment. Last 10mins of each performance practise lesson is spent adding to Practice Journal including identifying next step / setting goals.
  • Identify key and tonality solo piece, write 1–2 octaves of scale ascending and descending.
  • Identify and practise an etude or study to address specific technical challenges in performance work.
  • Identify 1–2 expressive challenges in this piece and approach taken to interpretation.

Week 4

  • One period per week to work on solo repertoire, analysis, exercises. Teacher observation and regular assessment. Last 10mins of each performance practice lesson is spent adding to Practice Journal including identifying next step / setting goals.
  • Write (staff notation or other suitable form of documentation)  and play minimum one exercise based on this scale, for example a scale in 3rds: 1 3 2 4 3 5 etc.

Week 5

  • A practice ‘work in progress’ performance of solo repertoire. Have students identified repertoire? If not, allocate them a piece of suitable teacher-chosen repertoire for their instrument.
  • Highlight one rhythm from this piece, using the rhythm write (staff notation or other suitable form of documentation) and play an exercise based on the tonic key scale.
  • Draft discussion / explanation as to why these exercises were developed and the approach taken to interpretation.

Week 6

Teacher determined activities

Week 7

Teacher determined activities

  • Music techniques presentation / discussion / demonstration: work-in-progress assessment.

Week 8

Teacher determined activities

Week 9

Teacher determined activities

Week 10

Teacher determined activities

Week 11

Teacher determined activities

Week 12

Teacher determined activities

Week 13

Teacher determined activities

Week 14

Teacher determined activities

Week 15

  • Music Exercises test and presentation / discussion demonstration.

Week 16

Teacher determined activities

Week 17

  • End of semester performance.

Week 18

Teacher determined activities

 

Possible timeline

  • First week in March: Practice ‘work in progress’ performance of performance repertoire.
  • Second week in March: Draft of technique and exercise(s) including progress report on how it’s helping development.
  • Last week April: Present technique and discussion / presentation.
  • Last week May: Demonstration and discussion of selection of performance program.

Units 3 and 4 Music composition

This study allows students to explore the organisation of sound in music to create expressive outcomes. Through critical listening, analysis and composition in notated and / or digital media, students develop understanding of the ways music is organised, created and performed in a range of styles and traditions. Study of music works in diverse styles and traditions involves aural and visual analysis and consideration of the organisation of each work. Students’ analysis and knowledge of how composers use ideas, stimuli and creative processes becomes a starting point for creating their own music. Unit 4 builds on Unit 3 in preparation for the final submission and assessment tasks

Detailed example

Focus

In this learning sequence, composing skills are carefully scaffolded and students develop their understanding of minimalist composition techniques through integrated performing, composing and listening activities, using a range of minimalist music examples as stimuli. Students explore minimalist composing through the elements of texture, timbre and rhythm and composition skills are carefully scaffolded. Compositions use real-world musical examples as starting points for students’ own creations. This unit includes compositional techniques such as: repetition, layering, metamorphosis, additive melody.

Repertoire selected for this unit comprises a range of examples by composers such as Steve Reich. The selected work for deeper study is Elena Kats-Chernin’s ‘Dance of the Paper Umbrellas’, an Australian work composed in 2013 which addresses the requirement for an Australian work since 1990.

The sequence takes an integrated approach to developing students’ aural awareness and experiential understanding of minimalist approaches to composition and makes links with other musics, including film music, Balinese Gamelan, West African drumming and contemporary popular styles such as electronic dance music. This sequence has integrates digital music technologies.

Students will focus on the following musical knowledge: elements, concepts, music language, compositional devices.

Element: pitch

Concept: Minimal melodic material, additive melody, E minor pentatonic scale, non-functional and consonant harmony, motif

Element: duration / rhythm

Concept: Syncopation, rhythmic complexity, 6/4 time signature

Element: structure / form

Concept: Accumulative structure, repetition, metamorphosis, motifs, phase shifting, 8-bar phrases

Element: dynamics

Concept:

Element: tone colour

Concept: Minimal timbral variation, multiples of same / similar timbre

Element: dynamics / articulation / expression

Concept:

Element: texture

Concept: Layering, texture as a structural device, two- three- four-part textures, doubling, octaves

Compositional devices used in this example: repetition, variation, contrast and transition.

Assumed knowledge and skills

This learning sequence is conceived for Unit 3 to develop specialist composition skills. It aims to be accessible to all learners from a range of previous musical backgrounds while providing opportunities to challenge learners who might pursue composition at tertiary level.

Area of Study 1 Creating

Key knowledge

  • ways that music elements and concepts may be treated in making a creative response
  • ways compositional devices including repetition, variation and / or contrast can be used to develop music ideas
  • the music characteristics of studied works that have inspired and / or influenced creative responses
  • the technical and / or practical factors that influence creative responses
  • systems of recording and preserving music, as appropriate to the work(s)
  • music terminology and language.

Key skills

  • create music based on the music characteristics of studied work(s)
  • use elements and concepts of music based on the music characteristics of studied work(s)
  • use compositional devices including repetition, variation and / or contrast to develop music ideas in the creative responses
  • describe technical and / or practical factors that influenced the creative responses
  • document processes used to make the creative responses, including ways in which characteristics of the work(s) selected for study inspired and / or influenced the creative responses
  • create the responses in an appropriate digital audio format, with appropriate notation / documentation
  • use appropriate music terminology to document their responses.

Area of Study 2 Analysing for composition

Key knowledge

  • the treatment of the elements of music and concepts in each of the selected works
  • the use of compositional devices including repetition, variation and contrast, in each of the selected works
  • the development of musical material in the works
  • ways unity and diversity can be achieved in a coherent music work
  • characteristics of the music style of the each of the selected works
  • ways that appropriate terminology, language and music examples can be used to support analysis and discussion
  • ways that compositional devices and elements and other relevant techniques/influences can be incorporated into the development of a folio design brief.

Key skills

  • identify, describe and discuss treatment of elements of music and use of compositional devices in works selected for study
  • describe ways in which works selected for study are representative of particular music styles
  • describe how musical material is developed within the works to create a coherent work
  • reflect on how the studied works may affect their own creative process
  • use appropriate terminology and music examples to support analysis, description and discussion
  • describe ways that compositional devices, elements and other relevant techniques / influences can be incorporated into the development of a folio design brief.

Area of Study 3 Responding

Key knowledge

  • the characteristics of elements of music
  • the characteristics of compositional devices used to create unity and diversity
  • ways in which manipulation of elements of music contributes to creating character and elicits subjective responses
  • ways in which manipulation of compositional devices contributes to creating character and elicits subjective responses
  • approaches to aural analysis of the use of compositional devices in short music excerpts
  • ways of forming and presenting critical responses
  • music terminology appropriate to describing characteristics of music.

Key skills

  • listen and respond to music from a range of music styles and traditions
  • identify and annotate the use of compositional devices of repetition, variation and contrast in short music excerpts
  • use appropriate music terminology and language to:
  • identify, describe and explain the treatment of elements of music in selected excerpts
  • identify, describe and explain the use of compositional devices in selected excerpts
  • formulate critical responses that include subjective responses substantiated by objective and analytical information evident in the music

Assessment

Outcome 1

Develop creative responses to works studied and document the creative process.

Outcome 2

Analyse the use of the elements of music, concepts and compositional devices in music works, explain how musical material is developed within the works, and formulate a Folio design brief.

Analysis of selected works in any one, or a combination of, the following formats:

  • a written report; written responses to structured questions; a multimedia report

Learning sequence

Lessons 1–2: Clapping Music

  • Teach students the motif from Steve Reich’s ‘Clapping Music’ using echo; once it is secure, clap it 8 times without stopping.
  • Split the class in half and bring the second half of the class in on beat 2 (original shifts half a beat), while the first half of the class keeps going. After eight more repeats, shift group 2 to clap 2 beats later.AoS1 Creating
  • Composing: working in groups of four, students compose a pattern using the same process: everyone clap a pattern eight times, then half the group starts shifting the pattern one beat later.AoS1 Creating
  • Options for presenting work and feedback: each group performs live; they video-record compositions (these can be uploaded to form a portfolio of creative exercises); they use a DAW to sequence composition either individually or in pairs.AoS2 Analysing for composition
  • Listening: listen to ‘Clapping Music’ and point out that the first pattern stays the same and then the second person keeps shifting the pattern half a beat later. This is an example of minimalist music. While students are listening, they see if they can identify some features: repetition, minimal material in terms of resources (1 instrument), rhythm (1 motif).
  • Introduce free Clapping Music app so that students can practise performing themselves.AoS2 Analysing for composition
  • The above app also provides notation, which is suitable for a VCE class performance. Pedagogical principle: integrating conventional staff notation so that there is always a musical context and an aural reference point.

Lessons 3: Music for Pieces of Wood –Steve Reich

  • Performing: watch Steve Reich performing Music for Pieces of Wood – Visualisation. Divide the class into three groups to have a go at playing along with the visual representation. This could even be done in small groups if students have laptops or iPads.
  • Watch another video of Steve Reich's Music for a Piece of Wood and identify minimalist features: additive melody, repetition, metamorphosis.AoS2 Analysing for composition
  • Discuss: how is ‘Pieces of Wood’ different to clapping music? (Response: variations of the same timbre, more parts, additive melody rather than phase shifting, gradual metamorphosis.)AoS3 Responding
  • Creating: students use the same structure to create their own piece of music: one person plays on every beat, one person creates a different rhythm, one person creates an additive rhythm that very gradually increases the amount of musical material.AoS1 Creating, AoS2 Analysing for composition
  • Options for presenting work and feedback are as for lesson 2: live performance; video-recorded composition for portfolio of creative exercises; sequenced composition using a DAW either individually or in small groups (pairs or threes).AoS3 RespondingCreating

Lesson 4: Nagoya Marimbas – Steve Reich

  • Listening: listen to the Meehan Perkins Duo play ‘Nagoya Marimbas’ by Steve Reich. identify minimalist features. What are some differences between this piece and the two previous pieces? (Response: fewer repetitions before each change, much more difficult to play, pentatonic melody. Begins in E minor pentatonic, there is an F natural later.)
  • Score reading: follow the score.
  • Composition task: in pairs using the E minor pentatonic scale and melodic instruments with same or similar timbre, create a short piece with two parts using repetition and very gradual metamorphosis. Sequence your composition using a DAW. Document your exercise; for example by exporting your audio to a notation program, annotating the track listing.

Lessons 5–6: Time Lapse – Michael Nyman

  • Listening: listen to 'Time Lapse' by Michael Nyman. This was originally written as a piece of film music in 1985 for A Zed and Two Noughts.
  • It is organised in 8-bar phrases (a bit like sentences) and there are four beats in each bar.
  • With everyone doing a 4/4 conducting pattern and counting 1 2 3 4, 2 2 3 4, 3 2 3 4 etc., use conducting batons if available, and count on your fingers how many repeats you can hear. Discuss: why is conducting useful? Give students something to focus on while they are listening because the piece is quite long. Students aim to get a sense of beat and phrases before they have a go at playing it themselves. This deepens listening by responding bodily to the music.
  • Discuss: how many 8-bar phrases are there? (Response: eight (1: bass / chords 2: saxes 3: strings 4: trombones 5: flutes and trumpets 6: violin melody 4 x 3.)
  • Discuss: how has the composer made the bass / chords sound different each time they are repeated? (Response: he changed rhythm (added off beats / syncopation), different octaves, doubling with different timbres.)
  • Arranging task: ‘Time Lapse’ was originally written for a film in 1985 and your task is to reimagine it for current times. Choose one of three film clips provided for the arrangement. You can work alone or collaborate with up to three others using a DAW to develop your composition. Be as creative as possible, using the layers in ‘Time Lapse’ as a starting point. You can add new material and modify existing ideas. Exploit the elements of music to enhance the on-screen action and atmosphere (for example, structure, tempo, rhythm, timbre, texture). Consider how you will layer parts. Watch the trailer for the original film. Midnight Music has videos for film score projects.

Lessons 7–8: Time Lapse – Michael Nyman

  • Listen to ‘Dance of the Paper Umbrellas’ by the Tasmanian Symphony Orchestra and conduct an aural analysis noting first impressions.
  • Class performance: arrange a string quartet version for a classroom ensemble.
  • Visual analysis of piano duo (2 pianos) version: What minimalist techniques can you hear? Complete listening template.
  • Introduce composition task: create a 1-minute piece for three parts using the following musical features of ‘Dance of the Paper Umbrellas’: begin with an ostinato, E natural minor, metamorphosis.
  • Listening and analysing: listen to different arrangements of ‘Dance of the Paper Umbrellas’. How have different instruments been exploited? How has the composer used timbre differently in these different versions? Which do you prefer? Why?

Assessment

Assessment tasks:

Folio of short exercises
Extended composition (1–2 minutes): audio file and documentation
Aural and visual analysis of selected work – ‘Dance of the Paper Umbrellas’
Aural and visual analysis of own composition

Assessment criteria

  • exploit elements of music for expressive effect: structure, texture, tempo, timbre
  • demonstrate greater awareness of developmental possibilities, make subtle adjustments and use musical devices to refine, and use contrast in their creative exercises and more develop composition
  • analyse and describe musical elements and concepts using the appropriate technical terms and vocabulary

Resources

Recorded music:

Steve Reich’s music performed:
Animation:Clapping music notation
Music for Pieces of Wood animation
Music for Pieces of Wood
Nagoya marimbas
Dance of the Paper Umbrellas (orchestra)
Dance of the Paper Umbrellas (piano quartet)
Dance of the Paper Umbrellas (piano duo)

Other:

References

Blom, D 2003, Engaging students with a contemporary music–minimalism–through composing activities: Teachers’ Approaches, Strategies and Roles, International Journal of Music Education (1), pp. 81–99.

Dunbar-Hall, P 2005, Colliding perspectives? Music curriculum as cultural studies, Music Educators Journal 91(4), pp. 33–37.

Mackrill, D with Daubney, A 2016, ‘Framing conceptions of technology for learning in music – implications for pedagogy’ in C Cooke, K Evans, C Philpott and G Spruce (Eds) Learning to Teach Music in the Secondary School (3rd edn), pp. 157–172, Abingdon: Routledge. 

Philpott, C with Evans, K 2016, ‘Creativity and music education’ in C Cooke, K Evans, C Philpott and G Spruce (Eds) Learning to Teach Music in the Secondary School (3rd edn), pp. 109–128, Abingdon: Routledge.

Spruce, G 2016, ‘An integrated approach to lesson planning’ in C Cooke, K Evans, C Philpott and G Spruce (Eds) Learning to Teach Music in the Secondary School (3rd edn), pp. 80–93, Abingdon: Routledge.

Included external links are for teacher reference purposes. They do not constitute VCAA endorsement of the views or materials contained on these sites and teachers need to ensure that any information or activities are appropriately adapted to meet the requirements of the VCE Music Study Design.