Music Investigation

1
Music Investigation

• Outcome 3 Performance (including Technical Work)
• On completion of this unit the student should be
  able to present a performance of music works that
  communicates understanding of the Focus Area.
• Key Knowledge includes
• Strategies for planning a performance program
  that communicates understanding of a selected
  Focus Area
• Strategies for developing and refining accuracy,
  control, fluency, flexibility, dexterity,
  security, coordination and clarity in performance
  as relevant to the selected works and instruments
• Idiomatic instrumental tone qualities and
  variation of tone relevant to the selected
  repertoire
• Stylistic characteristics, musical structures and
  textures, and use of other elements of music in
  selected works as they relate to the Focus Area
• Ways of achieving purposeful shape in music
  through artistic variation of expressive elements
  of music, including tone quality, tempo,
  phrasing, articulation, dynamics and texture

2
Cont. Outcome 3

• Strategies for developing expressively shaped,
  informed interpretations of works that
  demonstrate understanding of relevant historical
  and contemporary performance practices,
  conventions and artistic balance between relevant
  personal, stylistic, practical, technological,
  historical and cultural influences
• Roles of, and relationships between, instrumental
  voices in selected group works, or parts within
  the texture of solo works in achieving artistic
  balance, blend and variation of texture

3
Outcome 3

• Key skills include the ability to
• Prepare and perform a program of group or solo
  works that communicates understanding of a
  selected Focus Area
• Demonstrate accuracy, control, fluency,
  flexibility, dexterity, security, coordination
  and clarity in the performance of selected works
• Control idiomatic tone quality, and artistic
  variation of tone in the performance of selected
  works
• Demonstrate artistic intent
• Create shape in performance of selected works
  through artistic variation of expressive elements
  of music
• Communicate direction in performance through
  considered, expressive contrasts between
  structural and textural sections of each work and
  across the program of selected works
• Demonstrate developing mastery of historical and
  contemporary performance conventions in
  interpreting and performing selected works

4
Outcome 3

• Perform informed interpretations of selected
  works that demonstrate understanding of artistic
  balance between relevant personal, stylistic,
  practical, technological, historical and cultural
  influences
• Demonstrate understanding of the roles of, and
  relationships between, instrumental voices in
  selected group work/s, or parts within the
  texture of solo work/s, to achieve artistic
  balance, blend and variation of tone.
• Demonstrate communication, interaction,
  cooperation and empathy with other musicians and
  audience as appropriate to the performance of
  selected works
• Reflect on and evaluate development of a
  performance program

5
Music Investigation

• Elements of Music

6
Focus Area
7
Variety of Focus Areas

• The development of Nocturnes (for Solo Piano)
  beginning with the styles origin with John Field
  (Nocturne in C minor) and then looking at
  innovations made by other composers such as
  Chopin and Faure as well as the different
  approach of C20 composers.
• The stylistic characteristics used by Guitarists
  Jeff Beck, Mark Knopfler and Albert King, and the
  use of different variations of a finger-picking
  method to achieve the style.

8
Class Time Structure

• Listening Journal Elements of Music
• Aural Training Intervals, Chords and
  progressions, rhythmic and melodic dictation as
  appropriate
• Theory select one piece from program, specify
  the tonic key, find the modulations and how they
  relate to the tonic or chord progression within a
  phrase/section
• Technical work or exercises designed and
  practical work on exercises OR
• Investigation research question OR
• Composing/Arranging/Improvisation exercises
  linked to the above

9
Unit 3 Timeline

• Week of March 12 Trial performance of Focus Area
  works, (at least 15 minutes of contrasting
  works), and technical work and exercises
• Week of March 19 Submit draft of how technical
  work and exercises is assisting your development
  and understanding in preparing your Outcome 3
  pieces submit draft of progressive analysis and
  research discussing characteristics, techniques
  and performance practices of your Focus Area
  works
• Week of April 19 Submit draft of
  composition/improvisation/arrangement and how
  this
• relates to your Focus Area

10
Unit 3 Timeline cont.

• Week of May 2 Presentation of technical work and
  exercises explaining how they have improved your
  instrumental skills and understanding of the
  Focus Area
• Week of May 10 Report Presentation - (performance
  and commentary or multimedia or written or a
  combination) discussing characteristics,
  techniques and performance
• practice of works representative of your Focus
  Area- SAC
• Week of May 18 Technical work and exercises SAC
• (including a written description of how
  selected performance techniques, technical work
  and exercises have supported the student as an
  instrumentalist, and in their preparation of
  works for Outcome 3)

11
Unit 3 Timeline cont.

• Week of May 25 Performance of at least a 15
  minute program of
  Focus Area works
• Week of May 25 Submit and perform
  composition/improvisation/arrangement and
  outline how your created work relates to your
  Focus Area
• Weekly Aural and Theory exercises relevant to
• Focus Area analysis
• Weekly Progress report and plan for next week
• Focus Area Research

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Listening Journal
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Listening Journal

• Name the instruments
• Detail the Form/structure
• Rhythm
• Melody
• Harmony
• Tone Colour
• Texture
• Instrument techniques
• Style?

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Key Words

• Melody
• Ascending, descending, repetitive, short, long,
  high, low, wide range, small range,
  stepwise/smooth, based on a scale, based on a
  triad, jagged, made up of phrases, uses
• sequences, tonality scale forms, modal,
  contour, draw a line-graph of the phrase shape,
  upbeat, anacrusis, angular contour (leaps),
  motive, register, unison, chromaticism
• Rhythm
• Riff, straight, shuffle, jazz, swing, latin,
  describe note values within a phrase, short
  rhythmic patterns, call and response, ostinatos,
  off beat, notation, time signatures, mixed
  metres, polyrhythms, dotted rhythms, even,
  syncopation, tacet, duration, note values, pulse,
  regular, irregular, repetitive, hemiola,
  isometric
• Used as to maintain momentum, as part of the
  structure/form, ostinato, to provide pulse/beat,
  to create unity, to create contrast
•  
• Harmony
• Chord progression, tonality, primary triads,
  7ths, altered chords, describe the chords within
  a phrase, modulation, consonance, dissonance,
  resolution
•  

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Key Words

• Dynamics
• Loud, soft, crescendo, decrescendo, diminuendo,
  fade-out, fade-in, moderately loud, moderately
  soft, sforzando, smorzando
•  
• Tone Colour
• Timbre, warm, cold, shrill, mellow, woody,
  bright, bleak, dark, light, heavy, percussive,
  Guitar amp effects, effects units, Powerchords,
  mute
•  
• Texture
• Monophonic, homophonic, polyphonic
•  
• Interpretation
• Rubato, rallentando, register, Piano pedalling,
  vibrato, change of register,
• Recording techniques effects, reverberation,
  mutlitracking,
• Ornamentation trills, mordents, drops offs,
  smears, pause, harmonics, melismas, scat,
• Articulation legato smooth, semi-legato,
  staccato, mezzo-staccato, marcato, accents,
  tenuto, slides, bends, hammer ons, pull offs,
  damping, pizzicato, double stop, mute
• Tempo slow, fast, broadly, lively, accelerando,
  rallentando, ritenuto, ritardando,

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Listening Journal

• Describe the different rhythms heard in excerpt 1
• Write the different rhythms heard in excerpt 1
  that you have described 
• Describe the shape of the melody in excerpt 2 
• Draw the shape of the melody in excerpt 2
• Describe the variations in tone colour throughout
  the excerpt
• Describe the structural and expressive role of
  each instrument in excerpt 2

17
Listening Journal

• Select one instrument, and detail the use of
  articulation throughout the excerpt
•  
• Write the rhythm of 2 instruments/voices that
  performed in excerpt 1, include the articulations
•  
• Identify and describe the interpretative
  decisions you believe is evident in the
  pre-recorded work
•  
• What expressive elements have been used in the
  excerpt and what effect do they have?

18
Listening Journal

• What style is this piece of Music? Describe why
  you think it is this style.
•  
• Discuss how the performers approached performing
  the melody and rhythm to highlight the style.
•  
• Discuss how the performers approached performing
  the melody and rhythm to demonstrate variety
  within the style.
•  

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Listening Journal

• Describe the similarities and differences between
  how the different instruments are being played.
•  
• Describe the similarities and differences between
  excerpt 1 2
•  
• Describe the similarities and differences with
  the rhythms being performed.
•  
• Describe the similarities and differences with
  the expressive elements used.

20
Music Language

• Highlight the use of key words to extend student
  language

21
Technical Work Exercises

• Students specify one piece of Music from their
  program
• Students state what the key of the Music is
• Students write the scale one octave ascending
• Students write three technical work scales
  related to the
• tonic key
• Students highlight one rhythm in this piece
• Students write an exercise using the tonic key
  scale, and the rhythm
• Students design three exercises using the rhythm
  and combinations from the scale

22
Exercises

• Exercises are directly related to their piece of
  Music
• All technical work and exercises are used in
  practical sessions
• Exercises are designed to enhance the knowledge
  of the elements of Music
• Students keep a weekly journal of technical work
  and exercises
• Student knowledge and technical skill is
  progressively developed

23
Assessment Tasks
24
Unit 3 Assessment Tasks Outcome 3

• Weekly Listening Journal Elements of Music and
  stylistic characteristics
• Weekly technical work and exercises documented
  and rehearsed
• Trial performances and feedback
• Discussion and report of characteristics and
  practices and other issues that influence
  interpretation of Focus Area works

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Unit 3 4 Outcome 3 SAC

• 1. Focus Area statement
• 2. Performance Program outline
• 3. Outcome 3 Performance of technical work and
  exercises relevant to the Focus Area and
  description of how this technical work is
  informing development of the performance program.
• MARKS /5 

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Unit 4 Music InvestigationTimeline
27
Unit 4 Timeline

• Week of July 12 Trial performance of Focus Area
  works, (at least 10 minutes of contrasting
  works), and technical work and exercises
• Week of July 19 Submit draft of
  composition/improvisation/arrangement and how
  this relates to your Focus Area
• Week of August 2 Presentation of technical work
  and exercises explaining how they have improved
  your instrumental skills and understanding of the
  Focus Area

28
Unit 4 Timeline cont.

• Week of August 10 Creative Work Presentation SAC
  - Outcome 2 Present and perform a composition,
  improvisation or arrangement of a music work that
  uses characteristics, performance techniques and
  other conventions relevant to the Focus Area AND
  an explanation of how the work is representative
  of the Focus Area (written or multimedia or oral)
• Week of September 18 Technical work and exercises
  SAC (including a written description of how
  selected performance techniques, technical work
  and exercises have supported the student as an
  instrumentalist, and in their preparation of
  works for Outcome 3)

29
Unit 4 Timeline cont.

• Week of September 25 Performance of at least a 10
  minute program of Focus Area works
• Week of September 25 Performance of created work,
  with explanation on how this relates to Focus
  Area
• Weekly Aural and Theory exercises relevant to
• Focus Area analysis
• Weekly Progress report and plan for next week
• Focus Area Research

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eMail Address

• morton.lynne.d_at_edumail.vic.gov.au