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Music Investigation

Music Investigation. Outcome 1 Investigation

judah-santana
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Music Investigation

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  1. Music Investigation Outcome 1 Investigation • The combined class approach using a Listening Journal highlights the elements of Music in a progressive pedagogy to develop greater depth of understanding in the elements of Music. Previous and current examiners reports, detail the lack of understanding by many students of the elements of Music eg. melody – students discuss rhythm, dynamics etc but not the characteristics of the melody! This workshop aims to give teachers a Listening Journal approach that highlights a variety of Musical elements and builds on student knowledge progressively throughout the year, to bring depth of understanding to the Focus Area. • 2011 VCE Study Design . . . “On completion of this unit the student should be able to demonstrate understanding of performance practices, context/s and influences on music works. Key Knowledge includes: • Aural and theoretical concepts that underpin ways in which elements of music, including structure, melody, harmony, rhythm, tone colour, texture, dynamics, tempo, articulation and instrumentation, are characteristically treated within a sample of works representative of the Focus Area Strategies for preparing performances of selected group and solo works • Idiomatic instrumental techniques associated with the sample of works • Performance practices and conventions associated with the Focus Area and sample of works • Leading composers/performers associated with the selected Focus Area and sample of works • Social, cultural, personal, historical, geographical and commercial influences that impact on the selected Focus Area and sample of works • Ways in which works chosen for performance are representative of the Focus Area • Issues that impact on interpretation of works selected for performance • Music terminology and language appropriate to identification, description and discussion of characteristic features of the sample of works and works selected for performance Lynne Morton Belmont High School

  2. Music Investigation Elements of Music Lynne Morton Belmont High School

  3. Music Investigation Key Skills includes the ability to: • Describe the Focus Area • Aurally and visually analyse a sample of music works that are representative of the Focus Area, including works that are selected for performance in Area of Study 3 • Apply aural and theoretical Knowledge to identify, describe and discuss • Ways in which elements of music are characteristically treated in the sample of works • Idiomatic instrumental techniques associated with the selected Focus Area and ways in which they are applied within the sample of works, including works chosen for performance • Social, cultural, personal, historical, geographical and commercial influences that have had an impact on both the Focus Area and the sample of works • Performance practices and conventions associated with the Focus Area and ways in which these might be applied in performance of the selected program of works • Issues that influence interpretation of works selected for performance • Use appropriate music terminology and language Lynne Morton Belmont High School

  4. Focus Area Lynne Morton Belmont High School

  5. Variety of Focus Areas • The development of Nocturnes (for Solo Piano) beginning with the style’s 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. Lynne Morton Belmont High School

  6. 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 Lynne Morton Belmont High School

  7. 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 Lynne Morton Belmont High School

  8. 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) Lynne Morton Belmont High School

  9. 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 Lynne Morton Belmont High School

  10. Listening Journal Lynne Morton Belmont High School

  11. Listening Journal • Name the instruments • Detail the Form/structure • Rhythm • Melody • Harmony • Tone Colour • Texture • Instrument techniques • Style? Lynne Morton Belmont High School

  12. 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 Lynne Morton Belmont High School

  13. 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, Lynne Morton Belmont High School

  14. 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 Lynne Morton Belmont High School

  15. 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? Lynne Morton Belmont High School

  16. Listening Journal • What style is this piece of Music? Describe why you think it is this style. • Discuss how the performer’s approached performing the melody and rhythm to highlight the style. • Discuss how the performer’s approached performing the melody and rhythm to demonstrate variety within the style. Lynne Morton Belmont High School

  17. Music Language Highlight the use of key words to extend student language Lynne Morton Belmont High School

  18. 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 • 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 Lynne Morton Belmont High School

  19. 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 Lynne Morton Belmont High School

  20. 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 Lynne Morton Belmont High School

  21. Assessment Tasks Lynne Morton Belmont High School

  22. Unit 3 Assessment Tasks Outcome 1 • Weekly Listening Journal – Elements of Music and stylistic characteristics • Weekly research documented –to include over the Semester characteristics, techniques and performance practices of the Focus Area • Analysis of a sample of works (at least two) from the Focus Area program that highlight the Elements of Music • Audio/video excerpts to support analysis • Discussion of characteristics and practices and other issues that influence interpretation of Focus Area works Lynne Morton Belmont High School

  23. Unit 3 Outcome 1 SAC • Present a report (performance and commentary or multimedia or written or a combination of these formats) that discusses characteristics, techniques and performance practices of works representative of a Focus Area. The report will need to define the Focus Area and include: • Analysis of a sample of works • Audio/video excerpt to support analysis • Discussion of characteristics and practices and other issues that influence interpretation of works Lynne Morton Belmont High School

  24. Unit 3 Outcome 1 SAC • 1. Focus Area statement • 2. Detail the stylistic characteristics of the pieces in your performance program • 3. Audio/Visual excerpts to support your analysis • 4. What techniques and performance practices are representative of your Focus Area? • 5. What has been the most interesting thing you have discovered from your research to date? • 6. Present your performance/commentary of the above Lynne Morton Belmont High School

  25. Unit 4Assessment tasks Outcome 1 • Weekly research to reflect on and evaluate their interpretative approaches to the music works being prepared for performance - balance relevant personal, stylistic, practical, technological, historical and cultural influences. • Prepare (drafts and refine) program notes based on the Focus Area research and evaluation, that may be used to introduce the Outcome 3 performance program. These notes will inform the Focus Statement provided by the student for the end-of-year performance examination Lynne Morton Belmont High School

  26. Unit 4 Outcome 1 Assessment Task – Class Presentation of Program Notes • Evaluateand present your interpretative approach to your Focus Area program of Music works. Lynne Morton Belmont High School

  27. Unit 4 Music InvestigationTimeline Lynne Morton Belmont High School

  28. Unit 4 Timeline • Week of July 12 Trial performance of Focus Area works, (at least 10 minutes ofcontrasting 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 haveimproved your instrumental skills and understanding of the Focus Area Lynne Morton Belmont High School

  29. 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) Lynne Morton Belmont High School

  30. 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 Lynne Morton Belmont High School

  31. eMail Address morton.lynne.@edumail.vic.gov.au Lynne Morton Belmont High School

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