1 Diploma of Music Industry BSBCRT501 Originate and Develop Concepts 1 Evaluate and explore needs and opportunities 2 Develop a range of creative approaches 1.1 Research and evaluate existing information that informs new concept development. 1.2 Where appropriate, identify and use gaps in current range of products, programs, processes or services as the catalyst for generating new ideas or concepts. 1.3 Expand the potential of new ideas through exploration of opportunities beyond the obvious. 1.4 Identify factors that could have an impact on ideas or concepts to be developed, including potential for commercialisation. 1.5 Determine whether other players are filling identified gaps or investigating similar opportunities. 1.6 Develop preliminary ideas on innovative and different ways to address needs and opportunities. 1.7 In consultation with relevant stakeholders, agree on broad parameters for developing ideas and concepts to meet market requirements. 2.1 Use a range of creative thinking techniques to generate innovative and creative concepts to address identified needs. 2.2 Challenge, test and experiment with different concepts and ideas as part of a collaborative process. 2.3 Evaluate concepts in terms of their suitability for the target audience or purpose, their feasibility and their commercial potential. 2.4 Take account of social, ethical and environmental issues as concepts and ideas are generated and discussed. 2.5 Identify resources required to achieve desired creative and innovative outcomes. 2.6 Evaluate the effectiveness of different strategies for achieving desired outcomes. 2.7 Select concepts or approaches that achieve required outcomes in an innovative and feasible way. 2.8 Present proposed concepts or approaches in an appropriate format. 3 Refine concepts 3.1 Ensure concept development process is open to ongoing refinement and testing. 3.2 Seek input and feedback on concepts from relevant stakeholders. 3.3 Seek specialist advice on creative and technical aspects of proposals as required. 3.4 Compare concepts with best practice examples of similar products, programs, processes or services. 3.5 Use a range of creative and practical criteria to determine the advantages and disadvantages of different concepts. 3.6 Evaluate constraints on the realisation of concepts or ideas. 3.7 Refine proposals based on analysis and feedback. 4 Develop concepts to an operational level 4.1 Use refined concepts as the basis for developing detailed implementation specifications.
3 CUAIND402 Provide Freelance Services 1 Promote self to potential clients 2 Negotiate work arrangements 3 Manage financial and business aspects of service 1.1 Establish, follow up and regularly maintain industry contacts. 1.2 Participate in and maintain relevant industry, employer and other networks. 1.3 Identify and implement strategies to enhance a professional reputation. 1.4 Produce material about the services provided and promote across a range of media outlets and platforms. 2.1 Establish clear project outcomes with client and agree on fees, schedules and expenses. 2.2 Confirm contracts or agreements contain payment terms and conditions that provide a viable cash flow. 2.3 Confirm contracts or agreements include obligations of all parties and include a process for varying terms and conditions. 2.4 Seek specialist advice to review contracts or agreements before signing, if appropriate. 2.5 Store signed contracts or agreements securely for future reference. 2.6 Adapt to client work demands without comprising ethics or reputation. 2.7 Negotiate contract or agreement variations as required. 3.1 Set up and use effective systems for managing budgets, finance, taxation and project documents, seeking expert advice and support where necessary. 3.2 Set a realistic fee structure for services provided. 3.3 Plan and maintain a viable work schedule and cash flow outlined in a business plan. 3.4 Send invoices in line with payment terms and conditions and promptly follow up any non-payments. 3.5 Keep accurate and up-to-date financial accounts and records. 3.6 Submit all taxation documents, using an accountant if necessary. 3.7 Comply with business regulations, taxation and insurance requirements.
4 CUALED501 Provide Instrumental or Vocal Tuition 1 Plan and implement individual and small group tuition programs 2 Teach performance skills 3 Provide effective career advice 4 Evaluate own and learners performance 1.1 Develop learning programs that incorporate sound educational principles. 1.2 Assist learners to develop music knowledge appropriate to their level of musical development and to their area of specialisation. 1.3 Assist learners to develop memory and aural skills. 1.4 Assist learners to develop technical skills in performance. 1.5 Assist learners to develop techniques in the care and maintenance of equipment, instruments and accessories. 2.1 Assist learners to develop expressive skills. 2.2 Allow time for learners to evaluate and perform music of their own choice, where possible. 2.3 Encourage learners to experiment with technology to enhance performance outcomes, where appropriate. 2.4 Assist learners to develop performance presentation skills. 2.5 Assist learners to develop work health and safety (WHS) techniques relating to safe rehearsal practices. 2.6 Assist learners to develop WHS techniques relating to their area of specialisation. 3.1 Provide career counselling to learners. 3.2 Advise learners on future artistic directions, including courses suited to their specific needs. 3.3 Advise learners on how to prepare and present an appropriate and effective audition program. 3.4 Advise learners on how to prepare audition recordings, as required. 3.5 Assist learners to become self-directed, lifelong learners. 4.1 Develop evaluation plan and indicators appropriate to teaching practice and context, and use it to continuously evaluate own performance. 4.2 Seek learner input into evaluation plan, where appropriate. 4.3 Evaluate individual learners against appropriate, fair and consistent criteria. 4.4 Encourage learners to participate in self-assessment and peer assessment, where appropriate.
5 CUALED502 Provide Tuition for Composition 1 Plan and implement individual and small group tuition programs 2 Assist learners to explore electronic methods of composition 3 Facilitate learners professional development 1.1 Develop learning programs that incorporate sound educational principles. 1.2 Assist learners to develop listening skills. 1.3 Assist learners to develop skills in the craft of music composition. 1.4 Assist learners to develop confidence in applying their music knowledge to the process of composition. 1.5 Assist learners to develop creative potential. 2.1 Encourage learners to use industry current hardware and software as compositional tools. 2.2 Confirm learners have access to electronic media and studios when composing. 2.3 Encourage learners to participate in electronic media and technology forums and organisations. 2.4 Provide learners with mentoring or other opportunities that will allow them to develop skills in composition using electronic media. 3.1 Advise learners on how to record and present creative ideas through performance. 3.2 Assist learners to develop critical self-reflection skills, and advise them on how to develop realistic career plans. 3.3 Assist learners to understand the function and context in which work is being created. 3.4 Provide learners with opportunities to consider audience needs and tastes. 3.5 Advise learners on the typical requirements of a compositional brief, and how to respond to these requirements.
6 CUAMCP401 Develop Techniques for Arranging Music 1 Explore ways of arranging music 2 Generate ideas for musical arrangements 1.1 Consult with people with appropriate expertise to identify factors that may impact on approach to arranging of music. 1.2 Experiment with ways that musical elements could be reworked for different types of compositions. 2.1 Clarify scope of music arrangement brief with client. 2.2 Prepare a plan for completing work in line with the requirements of the brief, and negotiate a contract as required. 2.3 Brief others involved in the music arrangement project as required. 2.4 Research arranging conventions of musical style as required. 2.5 Generate a range of musical ideas or starting points for arrangements and experiment with options for realising them. 2.6 Discuss options with appropriate people and refine ideas as required. 3 Arrange music 3.1 Develop and apply a range of techniques to adapt and organise musical elements into working versions of arrangements. 3.2 Obtain copyright clearances and address issues regarding intellectual property rights as required. 3.3 Listen to work in progress with client and people with appropriate expertise and seek feedback on creative and technical aspects of arrangements. 3.4 Incorporate ideas and suggestions into final arrangements. 3.5 Use appropriate music technology as required. 3.6 Attend rehearsals or performance workshops where arrangements are being played, and make required adjustments. 3.7 Present all arrangements in required format by agreed deadline. 4 Evaluate own music arrangements 4.1 Identify criteria to measure the success of own arrangements. 4.2 Compare work against previous arrangements to assess development of techniques and ideas. 4.3 Discuss strengths and weaknesses of arrangements with appropriate people, and identify strategies for improving own arranging techniques.
7 CUAMCP402 Develop Techniques for Composing Music 1 Explore ways of expressing ideas musically 2 Generate ideas for musical pieces 3 Create musical pieces 4 Evaluate own musical compositions 1.1 Consult personnel with appropriate expertise to identify factors that may impact on approach to the composition of music. 1.2 Experiment with ways musical elements could be organised for different purposes and types of musical pieces. 2.1 Clarify scope of composition brief with client. 2.2 Prepare a plan for completing work in line with the requirements of the brief, and negotiate a contract as required. 2.3 Brief other people involved in the composition project as required. 2.4 Generate a range of musical ideas or starting points, and experiment with options for realising them. 2.5 Investigate the potential of basic structural elements for achieving the desired effect. 2.6 Discuss options with appropriate people and refine ideas as required Develop and apply a range of compositional techniques to organise musical elements into working versions of musical pieces. 3.2 Listen to work in progress with appropriate people, and seek feedback on creative and technical aspects of compositions. 3.3 Incorporate ideas and suggestions into final compositions. 3.4 Attend rehearsals or performance workshops where compositions are being played, and make any required adjustments. 3.5 Use appropriate music technology as required. 3.6 Apply copyright notice to the composition, and present all compositions in required format by agreed deadline. 4.1 Identify criteria to measure the success of own compositions. 4.2 Compare work against previous compositions to assess development of techniques and ideas. 4.3 Discuss strengths and weaknesses of compositions with appropriate people, and identify strategies for improving own compositional techniques.
8 CUAMCP502 Compose Music for Screen 1 Participate in preproduction phase of screen productions 2 Generate ideas for screen music 3 Create and orchestrate theme and incidental music 1.1 Consult with appropriate personnel to clarify screen music composition briefs, including production values. 1.2 Research the style and other aspects of music appropriate to the content or storyline of the screen production as required. 1.3 Use a shot list to map musical events and durations to film shots. 1.4 Consult with director to determine which moving image sequences require theme and incidental music. 1.5 Organise resources required for composing music in line with production requirements. 1.6 Prepare a plan for completing work in line with the requirements of the brief, and negotiate a contract and any copyright, royalty and licensing issues as required. 2.1 Establish a routine with the director and film editor to view shots and evaluate implications for the composition of music. 2.2 Brief other people involved in the composition project as required. 2.3 Generate a range of musical ideas or starting points and experiment with options for realising them. 2.4 Investigate the potential of basic structural elements for achieving desired effects. 2.5 Discuss options with appropriate personnel on the compilation of the final music soundtrack. 3.1 Apply a range of compositional techniques to organise musical elements into working versions of theme and incidental music. 3.2 Orchestrate sound and themes appropriately for the context of each sequence, and to maintain musical continuity through the whole soundtrack. 3.3 Ensure that parts are available to appropriate personnel where live music is to be used. 3.4 Listen to work in progress with appropriate personnel, and seek feedback on creative and technical aspects of compositions. 3.5 Incorporate ideas and suggestions into final compositions. 3.6 Collaborate with appropriate personnel on the compilation of the final music soundtrack. 4 Evaluate work 4.1 Consult with appropriate personnel to identify aspects of the composition and soundtrack compilation process that worked well and those that could be improved. 4.2 Evaluate the music soundtrack in meeting production requirements and planned outcomes. 4.3 Provide feedback to team members on their performance as required. 4.4 Evaluate own role in operations and note areas for improvement.
9 CUAMLT401 Notate Music for Performance 1 Prepare to notate music 2 Develop music notation 3 Present written music for performance 4 Review effectiveness of music writing 1.1 Confirm with appropriate people purpose, style, structure and instrumentation of musical pieces to be notated. 1.2 Identify appropriate musical elements and forms/structures to suit the purpose of the songs or musical pieces. 1.3 Determine the need for fully notated or abbreviated music conventions in consultation with the personnel who will be realising the music. 1.4 Investigate computer and paper based notation methods, and determine tools for notation. 1.5 Anticipate problems that might arise during the process of notating music, and plan accordingly. 2.1 Use aural perception skills to identify and write rhythmic, melodic and harmonic structures. 2.2 Ensure appropriate use of form and music structures. 2.3 Apply dynamics and expression marks. 2.4 Notate music within the required stylistic conventions. 3.1 Prepare final manuscript in a suitable format for end users. 3.2 Provide music for reading purposes to appropriate people. 3.3 Seek feedback on notation from appropriate people, and adjust as required. 3.4 Complete all work within agreed timeframes. 4.1 Seek feedback from appropriate people on the process used to analyse and notate music. 4.2 Use feedback and own evaluation of notated music to identify areas for future improvement.
10 CUAMLT501 Refine Aural Perception Skills 1 Set personal goals for extending own aural perception skills 2 Expand methods for the aural recognition and transcription of music 3 Apply improved aural perception skills 4 Evaluate own skill development 1.1 Identify the applications of aural perception skills most relevant to own music practice in consultation with appropriate people. 1.2 Determine appropriate practice techniques and tools for improving own mastery of aural skills for rhythmic, melodic and harmonic music structures. 1.3 Identify the genres and styles in own music practice that need attention in the context of refining aural perception skills. 1.4 Prepare a plan for own skill development, including a timeline and criteria for measuring improvements. 1.5 Discuss plan with appropriate personnel, and incorporate feedback as required. 2.1 Analyse terminology and conventions of music forms, music notation and music structures, and apply to improving own aural perception skills. 2.2 Develop ways of hearing music and techniques to improve aural identification and memory, and apply to recognition and reproduction of relevant music structures. 2.3 Develop skills in music writing connected with aural transcription skills. 2.4 Explore more advanced rhythmic, melodic and harmonic structures connected with aural recognition and transcription skill development. 2.5 Develop aural identification of instrumental timbres, textures, formal structural elements and other aspects of musical expression. 3.1 Extend aural recognition of pitch to a wider repertoire of intervals, scales and longer, more complex melodic phrases. 3.2 Extend aural recognition of rhythm to more complex time signatures and rhythmic phrases, including syncopation. 3.3 Extend aural recognition of harmony to a wider repertoire of chords, extended chords and more complex progressions. 3.4 Discuss application of advanced aural perception skills with peers, and incorporate new ideas and techniques into own music practice. 4.1 Monitor own progress against personal goals and skill development plan. 4.2 Discuss progress of skill development with appropriate people, and act on feedback as required. 4.3 Identify personal strengths and weaknesses as a means of improving own work. 4.4 Evaluate overall effectiveness of learning methods in the expansion of aural perception skills.
11 CUAMPF401 Rehearse Music for Group Performance 1 Prepare for rehearsals 2 Prepare own performance for rehearsal in private practice 3 Participate in rehearsals 4 Perform to the required standard in rehearsal 5 Contribute to a rehearsal culture 1.1 Confirm rehearsal requirements and performance outcomes with relevant people. 1.2 Confirm performance repertoire, materials and equipment required at rehearsals. 1.3 Confirm that duration of rehearsals and planned breaks allow for the health and safety needs of performers. 1.4 Check that venue facilities and equipment provide an environment that is safe and conducive to performance. 1.5 Discuss and negotiate changes to rehearsal arrangements with relevant people as required. 2.1 Identify and implement strategies for developing mastery of technical and musical demands of own parts of selected music. 2.2 Allocate sufficient private practice time to prepare individual performance to the required standard. 2.3 Employ practice drills to develop proficient sight reading skills to the required standard where required. 2.4 Identify and remedy areas of deficiency in the performance repertoire. 3.1 Attend rehearsals punctually with required materials. 3.2 Respond promptly and accurately to directions as required. 3.3 Maintain eye contact with the director and/or other ensemble players to take and give cues. 3.4 Discuss stylistic and interpretive questions at appropriate times and in an appropriate manner so as to maintain the flow of the rehearsal and quality of performance. 3.5 Raise and resolve technical or other problems relevant to achievement of rehearsal outcomes with appropriate people. 3.6 Incorporate relevant advice about own playing as required to advance quality in performance. 4.1 Interpret and integrate own part within overall presentation to achieve appropriate balance and musical performance outcomes in rehearsals. 4.2 Contribute to a shared response to work, and adjust playing to the performing group style. 4.3 Apply listening skills to evaluate and adjust own playing or singing and contribution to the performing group and context as required. 4.4 Respect the working methods, personalities and special needs and contribution of other performers. 4.5 Use energy during the rehearsal to enable sustained input and consistent performance quality. 4.6 Apply music knowledge to enhance own performance and that of the group. 5.1 Prepare own instrument or voice, including warm up routines, music and equipment in time to meet the demands of the rehearsal schedule. 5.2 Establish and maintain empathy and rapport in performance with all members of the group to advance performance outcomes.
12 CUAMPF404 Perform Music as Part of a Group 1 Perform warmup routine 2 Apply technical and musicianship skills in performance 3 Interact with group members 4 Evaluate performance 5.3 Refine own interpretation through appropriate interaction with other performance participants. 5.4 Contribute to group discussions and evaluations to encourage artistic commitment. 1.1 Check instrument or voice and other equipment required for the performance to ensure their reliability in performance. 1.2 Tune instrument, liaising with other group members to ensure required pitch. 1.3 Warm up to ensure that sound production is secure before beginning the performance. 1.4 Use relaxation techniques to overcome performance anxiety as required. 2.1 Maintain concentration and focus throughout the performance. 2.2 Meet the technical and interpretive requirements of the music and staging requirements of the performance. 2.3 Apply music knowledge of genres, styles, musical elements, solo and ensemble practices, and music literacy to enhance interpretive aspects of performance. 2.4 Use stagecraft skills and performing style appropriate to the context of the music and the performance. 2.5 Respond to the contingencies to maintain the integrity of the performance. 2.6 Interact with stage management and other artistic, venue, studio and organisational staff as required. 3.1 Respond to musical, stage or studio directions, and give cues to contribute to a cohesive performance. 3.2 Sustain the musical line and/or harmony in ensemble as required by the style and context of the performance. 3.3 Listen critically and adjust playing and volume to achieve balance in dynamics and style with other players. 3.4 Maintain responsiveness to other performers and to the musicmaking process throughout the performance. 3.5 Synchronise own playing with that of other performers, and make music entries and exits consistent with the style of music and as agreed with other players. 3.6 Demonstrate respect for other performers work, using appropriate communication in verbal and body language. 3.7 Contribute to the dynamics of the group to ensure best performance outcome. 4.1 Discuss performance against previous work with group members to assess technical and artistic development. 4.2 Identify weaknesses and errors in the performance and collaboratively suggest remedies. 4.3 Evaluate repertoire choice and programming to determine suitability for the group s technical standard and style, as well as the overall musical balance in the program.
13 CUAMPF504 Perform Improvisation for Audiences 1 Prepare for ensemble improvisation 2 Contribute to ensemble 3 Contribute solo improvisation 4 Evaluate improvisation 4.4 Assess the role of individual performers for ensemble balance and for future performance possibilities. 4.5 Evaluate the group s stage presentation, posture, dress and movement, and determine possible improvements. 4.6 Analyse audience reaction to determine ways in which communication with the audience can be improved or special audience needs can be met. 4.7 Collaboratively develop strategies for refining group performance and technical skills based on outcome of evaluations. 1.1 Confirm improvisation requirements in consultation with relevant people. 1.2 Agree on communication strategies within the group to facilitate a seamless performance, moving between ensemble and improvisation sections. 1.3 Listen to live or recorded improvisations by professional musicians to provide ideas. 1.4 Rehearse technical, musical, structural, segue and improvisation aspects of the performance as required, both in private and with the ensemble rehearsal. 2.1 Ensure that own contribution extends and enhances the overall piece. 2.2 Support and enhance the contribution of others to achieve best performance outcomes. 2.3 Make improvisation sensitive to the needs of individual performers to stimulate the whole ensemble. 3.1 Respond accurately to starting cues. 3.2 Sustain musical impetus in the solo improvisation through dynamic use of musical elements. 3.3 Maintain stylistic cohesion in the realisation of harmony, melody and/or rhythm, form, style and musical expression. 3.4 Listen carefully to other performers, responding musically to their work and adjusting own performance appropriately. 3.5 Provide a clear cue to the ensemble to finish the solo section. 3.6 Ensure that the duration of the solo section accords with the custom and practice of the group and/or musical style. 3.7 Observe work health and safety (WHS) principles during performance. 3.8 Acknowledge applause according to the custom and practice of the group and/or musical style. 4.1 Discuss and assess with appropriate people the extent to which the improvisation has explored its potential in terms of content, style and structure of the improvisation. 4.2 Record performances where possible for evaluation purposes. 4.3 Review current performance against previous performances to assess development of self and ensemble. 4.4 Use own analysis and feedback from others to inform future performances.
14 CUAMPF505 Develop Technical Skills and Expand Repertoire 1 Apply technical control in performing music 2 Maintain and care for the instrument 3 Develop techniques and expand repertoire 4 Apply refined skills to perform a wider range of pieces 1.1 Use control of the physical characteristics of chosen instrument to perform music. 1.2 Exploit the expressive qualities of chosen instrument using technical control in performance. 1.3 Control sound production to achieve consistency and reliability in performance across a wide range of repertoire in selected musical style. 2.1 Use appropriate methods to care for, move, use and store the instrument securely. 2.2 Set up and/or warm up the instrument in preparation for practice or performance. 2.3 Use instrumental accessories, fittings, maintenance and cleaning products to care for the instrument and enhance performance outcomes. 2.4 Tune the instrument appropriately to the required standard and tuning conventions. 3.1 Plan practice sessions, strategies and exercises aimed at extending techniques and expanding repertoire in consultation with appropriate people. 3.2 Practice technical exercises and/or studies as applicable to instrument to address specific technical needs. 3.3 Cultivate individual style, and extend musical expression in selected repertoire, using the physical and acoustic capabilities of the selected instrument. 3.4 Listen to own work critically to produce accurate intonation and tone colour across a wide dynamic range. 3.5 Maintain correct posture and appropriate finger, hand and/or body positions to perfect technical facility and to protect against overuse injury in line with work health and safety (WHS) principles. 3.6 Monitor progress in skill development against personal goals, and adjust practice sessions accordingly. 4.1 Interpret music to play a range of repertoire for a solo and/or ensemble performance program in the selected area of music specialisation. 4.2 Use a variety of instrumental techniques in performance, demonstrating fluency, individual style and appropriate musical expression. 4.3 Control intonation, rhythm, tempo, expression, phrasing and nuance appropriate to the instrument or voice, repertoire and musical style. 4.4 Evaluate own performances, and note areas for future improvement. 4.5 Seek feedback on own performance from appropriate people, and incorporate their suggestions into strategies for improving own skills and knowledge.
15 CUAMPF507 Provide Musical Leadership in Performance 1 Extend music techniques 2 Facilitate the expression of ideas and concepts in performance 3 Evaluate performances 4 Enhance professional practice 1.1 Adapt acquired techniques and technical skills to the context of the chosen style of playing environment to achieve best outcomes for self and others. 1.2 Establish and undertake regular music practice session to maintain and develop techniques to meet musical leadership requirements. 1.3 Develop intellectual and emotional response to, and understanding of music through exposure to a wide range of stimuli. 1.4 Focus listening skills in all musical experiences and use analysis of content and musical intent to enhance musical knowledge. 1.5 Develop aural memory and exercise consistently in all musical experiences. 1.6 Analyse a range of works to develop broad and specialised repertoire knowledge for self and others. 2.1 Adapt, combine and integrate techniques, disciplines and skills to enable the appropriate physical expression of concepts during performance. 2.2 Focus and project interpretive response to relevant performers. 2.3 Demonstrate spatial awareness in a range of playing areas, and give directions to achieve best performance outcomes for self and others. 2.4 Observe work health and safety (WHS) principles in rehearsals and performances. 2.5 Develop stagecraft skills evaluating and using the physical components of performance. 3.1 Participate in debriefing sessions with relevant personnel to identify strengths and weaknesses of performances. 3.2 Document the outcome of debriefing sessions. 3.3 Reflect on own performance, and note areas for improvement. 3.4 Incorporate audience responses and peer feedback on performances into evaluations. 4.1 Identify professional development opportunities in consultation with relevant people. 4.2 Participate in professional development activities to improve work performance and maintain currency of industry knowledge. 4.3 Use industry affiliations and strategic alliances to support and maintain professional practice. 4.4 Seek and apply feedback from others to improve own technical and conceptual skills.
16 CUAMPPR505 Establish and Maintain Safe Creative Practice 1 Determine work health and safety requirements for professional practice 2 Identify hazards and assess and manage risks 3 Monitor and enhance safety of the practice 1.1 Research key features of legislation that apply to professional practice. 1.2 Source and evaluate practice-specific codes, standards and guideline that affect the management of safety in the relevant work environment. 1.3 Develop systems and procedures that respond to work health and safety (WHS) requirements and effectively integrate those responses into practice management. 1.4 Evaluate the role of others in practice safety and involve them as appropriate. 2.1 Identify existing and potential hazards specific to the area of practice using relevant methods, templates and tools. 2.2 Assess and manage risks associated with those hazards in line with established processes and according to WHS legislation and codes of practice. 2.3 Implement and monitor developed systems and procedures in response to identified requirements for hazard control measures and risk assessment in the workplace. 2.4 Develop and maintain current and accurate documentation to support hazard identification and risk management in workplace practices. 2.5 Address hazard identification and risk assessment and management at the planning, design and evaluation stages of any change in the workplace to ensure that new hazards are not created. 3.1 Maintain currency of WHS knowledge relevant to own area of practice. 3.2 Seek feedback of colleagues on workplace safety practices and potential issues and integrate improvements into systems and procedures as appropriate. 3.3 Proactively identify other sources of information and professional development opportunities relating to safety. 3.4 Integrate current and emerging ideas and technologies that support workplace safety into own practice.
17 CUASOU405 Record Sound 1 Prepare for sound recording operations 2 Place microphones and test record lineup 3 Make sound recordings 4 Finalise sound recording operations 1.1 Interpret production documentation to identify recording requirements, and confirm with relevant people. 1.2 Prepare a recording plan as required and brief people accordingly, including work health and safety (WHS) procedures and safe work practices. 1.3 Confirm sound equipment and accessories are in working order. 1.4 Confirm sound equipment and accessories are set up, connected and aligned according to safety, technical and production requirements. 1.5 Confirm selected sound equipment and accessories meet required standards. 1.6 Confirm recording media have sufficient capacity for expected duration of sound recording. 1.7 Check that other consumables required are available for duration of sound recording. 1.8 Anticipate problems that may arise during sound recording and plan accordingly. 2.1 Select microphones to suit the sound source and give the desired tonal and dynamic quality to the recording. 2.2 Place and move microphones to capture the sound with the desired quality and to reject unwanted sounds. 2.3 Confirm microphone placement is safe and unobtrusive, and avoids extraneous and unwanted noise. 2.4 Check that microphones and other equipment in the signal path are operating correctly. 2.5 Conduct a check with artists to ensure that the sound will be recorded with sufficient level and signal-to-noise ratio and the desired quality. 2.6 Listen critically to the acoustic characteristics of the recording environment, and adjust microphone position as required. 3.1 Apply signal processing for optimal sound quality, and make test recordings to ensure no audible defects are present. 3.2 Continuously monitor sound recording for quality, audible defects and extraneous background sound. 3.3 Confirm recorded sound supports and enhance production requirements. 3.4 Complete recording sessions in line with production timelines. 4.1 Label and log sound recording according to production requirements. 4.2 Produce master and backup copies of sound recording in required format. 4.3 Prepare set-up report according to production requirements. 4.4 Confirm sound equipment and accessories are de-rigged, checked and cleaned according to safety and production requirements. 4.5 Confirm work environment is cleaned and restored to pre-recording condition. 4.6 Provide feedback to production team members as required. 4.7 Evaluate own performance against production requirements, and note areas for improvement.
18 CUASOU409 Mix recorded music 1 Prepare for music mix 2 Mix music elements 3 Finalise mixing operations 1.1 Consult with relevant people to clarify mixing requirements with reference to documentation from recording sessions. 1.2 Allocate sufficient time to complete the mix and organise required facilities and equipment. 1.3 Anticipate problems that may arise during the mixing process, and plan accordingly. 2.1 Confirm that headphones and studio monitors are set at appropriate levels. 2.2 Follow work health and safety (WHS) procedures and use safe work practices when using sound mixing software and equipment. 2.3 Balance instruments and vocals. 2.4 Apply appropriate effects to enhance the music mix. 2.5 Apply understanding of music genre mix styles to enhance the sound of the mix. 2.6 Consider client preferences when determining how the mix should sound. 2.7 Remove unwanted sound from each recorded track in the mix. 2.8 Seek feedback on draft mix from relevant people, and adjust as required. 3.1 Save and deliver final mix in the required format for mastering. 3.2 Complete relevant documentation on the final mix, and confirm adequate information is provided for mastering and other relevant people. 3.3 Confirm work environment is cleaned after use and restored to pre-mixing condition. 3.4 Evaluate own performance, and note areas for improvement.
19 CUAWRT503 Write About Music 1 Prepare to write material 1.1 Interpret writing brief and confirm type of material required in consultation with relevant people. 1.2 Identify factors that may impact writing assignment and plan accordingly. 1.3 Determine style and tone appropriate to publication for which material is being written. 1.4 Discuss plans or preliminary ideas with relevant people as required. 2 Research topic 2.1 Use appropriate information sources to gather background material. 2.2 Conduct interviews with people to gather information as required. 2.3 Review gathered information to determine approach to writing assignment. 2.4 Discuss results of research, ideas and proposed approach with relevant people as required. 3 Write material 3.1 Work in accordance with work health and safety (WHS) and copyright legislation. 3.2 Confirm language and writing style are suited to target audience and publication. 3.3 Confirm specialised vocabulary is appropriate to writing brief and subject matter. 3.4 Proofread and edit material to required standard and check that it meets requirements of writing brief. 3.5 Present draft to relevant people for review. 3.6 Adjust material as required and present final copy in agreed format and timeframe. 3.7 Evaluate writing process, assess own performance and note areas for improvement.
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Grade 4 General Music Description Music integrates cognitive learning with the affective and psychomotor development of every child. This program is designed to include an active musicmaking approach to
Content Area Standard Strand By the end of grade P 2 New Jersey Core Curriculum Content Standards for Visual and Performing Arts INTRODUCTION Visual and Performing Arts 1.3 Performance: All students will
Audio Recording Engineering Program 1933 N. 10 th St. Kansas City, KS 66104 (913) 621-2300 www.recordinged.com www.brcaudio.com *Revised November 2010, effective Spring 2011 term INTRODUCTION This information
Third Grade Music Curriculum 3 rd Grade Music Overview Course Description The third-grade music course introduces students to elements of harmony, traditional music notation, and instrument families. The
BEGINNING PIANO / KEYBOARD CLASS This class is open to all students in grades 9-12 who wish to acquire basic piano skills. It is appropriate for students in band, orchestra, and chorus as well as the non-performing
COURSE TITLE Intermediate Chorus (Grades 9-12) Intermediate Choral Ensemble CONTENT AREA: MUSIC EDUCATION GRADE/LEVEL: 9-12 COURSE TITLE: INTERMEDIATE CHORUS I, II, III, IV Intermediate Choral Ensemble
Music-Instrumental Program Description Students may select from three music programs Instrumental, Theory-Composition, or Vocal. Music majors are urged to take class lessons or private instruction in their
Middle School, Adopted 2013 117.B. Chapter 117. Texas Essential Knowledge and Skills for Fine Arts Subchapter B. Middle School, Adopted 2013 Statutory Authority: The provisions of this Subchapter B issued
Soloist / Advanced Postgraduate Diploma in Music Teaching and examination regulations August 2011 Foreword... 3 Schema (ECTS and the study programme)... 4 Principal study... 5 Aim and content of the programme...
Accreditation Period 2017 2021 Victorian Certificate of Education MUSIC STUDY DESIGN www.vcaa.vic.edu.au VICTORIAN CURRICULUM AND ASSESSMENT AUTHORITY Authorised and published by the Victorian Curriculum
Grade-Level Academic Standards for General Music KINDERGARTEN Music Performance Standard 1 The student will sing and perform on instruments, alone and with others, a variety of music. Students should develop
MUSIC MMM 100 MARCHING BAND 1 The Siena Heights Marching Band is open to all students including woodwind, brass, percussion, and auxiliary members. In addition to performing at all home football games,
Associate in Arts in Music for Transfer (ADT: A.A.-T) Program Description The Associate in Arts in Music for Transfer degree provides students with the foundations for a broad range of musical specializations
FOLK MUSIC BACHELOR OF MUSIC, MAJOR SUBJECT Courses in the Folk Music Degree Program can also be offered via the Open University, except for courses including individual instruction. All but the following
Bachelor i musik (BMus) / Bachelor of Music (BMus) Teaching and examination regulations August 2011, rev. 2017 Preface... 3 Sheet (ECTS and tuition)... 4 1. Principal study... 5 Composition... 5 AIM AND
Kansas State Music Standards Standard 1: Creating Conceiving and developing new artistic ideas and work. Process Component Cr.1: Imagine Generate musical ideas for various purposes and contexts. Process
BMUS(HONS) Programme at a glance Updated 9 January 2018 BMus(Hons) Students All the information in this document is relevant to students on the BMus(Hons) programme. Prospective applicants are encouraged
Curriculum Foundations Important Ideas & Understandings Significant Strands Significant Skills to be Learned & Practiced Nature of the Human Experience Making connections creating meaning and understanding
2006-2007 Learning Technologies Grants Proposal (COVER PAGE) Project Information Interactive MIDI Workstations for Class Piano and Music Technology Instruction Project Title Dr. Peter Jutras Project Director
CURRICULUM FOR INTRODUCTORY PIANO LAB GRADES 9-12 This curriculum is part of the Educational Program of Studies of the Rahway Public Schools. ACKNOWLEDGMENTS Frank G. Mauriello, Interim Assistant Superintendent
HSC Music 2 Marking Guidelines Practical tasks and submitted works The Music 2 examination consists of a written paper worth 35 marks, a practical examination worth 20 marks, a core composition worth 15
Associate Degree The program offers courses in both traditional and commercial music for students who plan on transferring as music majors to four-year institutions, for those who need to satisfy general
Curriculum Development In the Fairfield Public Schools FAIRFIELD PUBLIC SCHOOLS FAIRFIELD, CONNECTICUT MUSIC THEORY I Board of Education Approved 04/24/2007 MUSIC THEORY I Statement of Purpose Music is
Unit 41: Working With Music Notation Packages Unit code: QCF Level 3: Credit value: 10 Guided learning hours: 60 Aim and purpose R/600/6897 BTEC National The aim of this unit is to develop learners knowledge
HIGH SCHOOL Rhythm/Meter Major Scales/Key Signatures Intervals Minor Scales/Key Signatures Triads, Chord Inversions and Chord Symbols STRATFORD PUBLIC SCHOOLS Perform rhythmic patterns and phrases. Compose
FINE ARTS PERFORMING ARTS Percussion Ensemble This is a yearlong course designed for students who have had previous instrumental music instruction in the area of percussion. Students will perform a variety
ICOMOS ENAME CHARTER For the Interpretation of Cultural Heritage Sites FOURTH DRAFT Revised under the Auspices of the ICOMOS International Scientific Committee on Interpretation and Presentation 31 July
Improvising with The Blues Lesson 3 Critical Learning What improvisation is. How improvisation is used in music. Grade 7 Music Guiding Questions Do you feel the same way about improvisation when you re
Guitar/Keyboard/Harmonizing Instruments Harmonizing a Melody Proficient for Creating Intent of the Model Cornerstone Assessments Model Cornerstone Assessments (MCAs) in music assessment frameworks to be
The School Music Program: A New Vision K-12 Standards, and What They Mean to Music Educators GRADES K-4 Performing, creating, and responding to music are the fundamental music processes in which humans
Music Composition and Self-Evaluation Assessment Task Grade 5 Revised Version 5/19/10 Connecticut Common Arts Assessment Initiative Connecticut State Department of Education Contacts Scott C. Shuler, Ph.D.
Drama & Theater Colorado Sample Graduation Competencies and Evidence Outcomes Drama & Theater Graduation Competency 1 Create drama and theatre by applying a variety of methods, media, research, and technology
GCSE Music First teaching: 2016 First assessment: 2018 Specification overview Unit 1: Performing (35% of qualification) Internally assessed, externally moderated. Minimum of 4 minutes for all performances
Grade Instructional Unit Advancing String Ensemble Techniques -tuning The students will be -Set-up, tune, and organize -preparation for 9.1.8ABCDGH -warm-ups that include a able to demonstrate the rehearsal
FINE ARTS STANDARDS FRAMEWORK STATE GOALS 25-27 2 STATE GOAL 25 STATE GOAL 25: Students will know the Language of the Arts Why Goal 25 is important: Through observation, discussion, interpretation, and
Music Curriculum Unit: Disciplinary Literacy MLR Span: 6-8 MLR Content Standard: A: Disciplinary Literacy Music Students show literacy in the discipline by understanding and demonstrating concepts, skills,
Music (504) NES, the NES logo, Pearson, the Pearson logo, and National Evaluation Series are trademarks in the U.S. and/or other countries of Pearson Education, Inc. or its affiliate(s). NES Profile: Music
Section 1111: SIGHT-READING ORGANIZATION CONTEST AND MUSIC READING EVALUATION PERFORMANCE REGULATIONS. (1) Requirement. All organizations which perform in concert contests are required to enter a sight-reading
Technology Proficient for Creating Intent of the Model Cornerstone Assessments Model Cornerstone Assessments (MCAs) in music assessment frameworks to be used by music teachers within their school s curriculum
MUSIC KEY STAGE 3 The music syllabus is designed to provide a course of study which will allow every child to develop a greater understanding of music through direct experience and participation in performing
College of William and Mary W&M Publish School of Education Publications School of Education 11-2012 Grounded Tech Integration Using K-12 Music Learning Activity Types William I. Bauer Case Western Reserve
Collaborative Composition Lesson 8 Critical Learning Composing requires making personal and collaborative connections. Being aware of the Creative Process enables us to leverage it in many areas of our
PRESCHOOL (THREE AND FOUR YEAR-OLDS) (Page 1 of 2) Music is a channel for creative expression in two ways. One is the manner in which sounds are communicated by the music-maker. The other is the emotional
CERTIFICATION EXAMINATIONS FOR OKLAHOMA EDUCATORS (CEOE ) OKLAHOMA SUBJECT AREA TESTS (OSAT ) FIELD 001: INSTRUMENTAL/GENERAL MUSIC September 2010 Subarea Range of Competencies I. Listening Skills 0001
Music 2 and Music Extension Stage 6 Syllabuses Original published version updated: April 2000 Board Bulletin/Offical Notices Vol 9 No 2 (BOS 13/00) The Board of Studies owns the copyright on all syllabuses.
Springwood Road State School INSTRUMENTAL MUSIC HANDBOOK AIMS The aims of the instrumental music program are: 1. To provide an opportunity for the musical development of students through instrumental instruction
UNIVERSITY COLLEGE DUBLIN NATIONAL UNIVERSITY OF IRELAND, DUBLIN MUSIC SESSION 2000/2001 University College Dublin NOTE: All students intending to apply for entry to the BMus Degree at University College
6-12 th Grade Level Instrumental Music Band The Madison Metropolitan School District does not discriminate in its education programs, related activities (including School-Community Recreation) and employment
STUDENT LEARNING OBJECTIVE (SLO) PROCESS TEMPLATE SLO is a process to document a measure of educator effectiveness based on student achievement of content standards. SLOs are a part of Pennsylvania s multiple-measure,
MMSD 5 th Grade Level Instrumental Music Orchestra Standards and Grading The Madison Metropolitan School District does not discriminate in its education programs, related activities (including School-Community
Rehearsal Philosophy and Techniques for Aspiring Chamber Music Groups Effective Chamber Music rehearsal is a uniquely democratic group effort requiring a delicate balance of shared values. In a high functioning
The KING S Medium Term Plan - MUSIC Y8 LC3 Programme Module Salsa Building on prior learning Using the understanding of rhythm, sense of line, composition, performance, melody and harmony, learners will
CERTIFICATION EXAMINATIONS FOR OKLAHOMA EDUCATORS (CEOE ) OKLAHOMA SUBJECT AREA TESTS (OSAT ) FIELD 003: VOCAL/GENERAL MUSIC September 2010 Subarea Range of Competencies I. Listening Skills 0001 0003 II.
ICOMOS Ename Charter for the Interpretation of Cultural Heritage Sites Revised Third Draft, 5 July 2005 Preamble Just as the Venice Charter established the principle that the protection of the extant fabric
Standards 1st Quarter CAD.1 The student will demonstrate proper vocal technique as applied to advanced literature. CAD.2 The student will consistently perform with accurate intonation in solo and ensemble
Arrangements for: Professional Development Award (PDA) in Scottish Bagpipe Qualifications at SCQF level 7 Group Award Code: G9JG 47 and at SCQF level 8 Group Award Code: G9JH 48 Validation date: February
Grade 3 General Music Music integrates cognitive learning and creativity to contribute to the holistic development of every child. This program is designed to include an active music making approach to
SCHOOL OF MUSIC The School of Music will consider each applicant s musical training and performance standard as indicated in his/her application form, and will invite selected candidates to attend a preliminary
Page 1 of 26 Chapter 117. Texas Essential Knowledge and Skills for Fine Arts Subchapter A. Elementary Statutory Authority: The provisions of this Subchapter A issued under the Texas Education Code, 28.002,
Music Model Cornerstone Assessment Artistic Process: Creating-Improvisation Ensembles Intent of the Model Cornerstone Assessment Model Cornerstone Assessments (MCAs) in music are tasks that provide formative
Arrangements for: National Progression Award in Music Business (SCQF level 6) Group Award Code: G9KN 46 Validation date: November 2009 Date of original publication: January 2010 Version: 03 (August 2011)