Music. Secondary Music Curriculum Statement

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1 Music Secondary Music Curriculum Statement 1

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3 Music Years 9 13 SÄMOA SECONDARY SCHOOL CURRICULUM Curriculum Materials and Assessment Division Ministry of Education, Sports and Culture This curriculum statement was prepared by the Music Subject Committee: Lealofisa Mataafa Fa'aeaMulitalo Ieti Paleaae June Ryan Seiuli Titi Sapolu Seutatia Solomona Fiapopo Taulogo Leitu To'ia Agafili Tolova'a Seigafo Tupai Vaitaua Anise was the Subject Adviser in the development of the initial draft. Funding provided by the New Zealand Ministry of Foreign Affairs and Trade under the Sämoa Overseas Development Assistance Programme. Managing Contractor: Auckland UniServices Ltd. May 2004 Secondary Music Curriculum Statement 3

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5 CONTENTS INTRODUCTION Curriculum Principles 7 Scope of the Curriculum 7 Structure of the Arts Curriculum 9 General Aims in the Arts 10 Strands and Specific Aims 10 Achievement Objectives in the Arts 10 Learning Experiences in the Arts 11 Approaches to Learning in the Arts 11 Language and Learning in the Arts 13 Gender 14 Assessment and Evaluation 14 Characteristic of Assessment in Music 15 THE MUSIC CURRICULUM Music in the Sämoan Curriculum 16 Strands for Music 17 Specific Aims for the Discipline of Music 18 ACHIEVEMENT OBJECTIVES Overview of Achievement Objectives 19 MUSIC STRANDS General Knowledge 25 Composition 31 Performance 37 History and Research 45 GLOSSARY A Music Glossary 53 Secondary Music Curriculum Statement 5

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7 INTRODUCTION CURRICULUM PRINCIPLES The Arts curriculum is based on the Principles of the Sämoa Secondary School Curriculum stated in the Sämoan Secondary school Curriculum Overview Document. The Principles are that the curriculum: provides a challenge for all students and allows for individual differences, fosters and enhances the self-concept of all learners, and encourages them to be self-directed in their learning, provides all learners with a broad and balanced general education, will be based on what is best in fa'asämoa, will be responsive to change so that it is relevant to needs of the individual learner, to the well-being of the community, and ultimately to national development, provides for flexibility taking into account the context in which schools operate and the resources available to them, establishes a direction for learning and ensures each learner's school experience progresses in a systematic and coherent way, promotes the presentation of essential knowledge by means of a systematic bilingual methodology, promotes language learning in all areas of the curriculum, encourages the use of good assessment practice, reflects the need to be inclusive. SCOPE OF THE CURRICULUM: The national curriculum is made up of: the Sämoa Secondary Curriculum Overview Document, which outlines the framework of underpinning principles and required learning areas, and a set of subject curriculum statements which define the learning principles and achievement aims and objectives which all Sämoan schools are required to follow. Secondary Music Curriculum Statement 7

8 The Arts curriculum sets out progressions of skills, knowledge and attitudes for students in secondary schools in Sämoa. This curriculum statement applies to: all secondary schools in Sämoa, all students, irrespective of ethnicity, gender, religious persuasion, social or cultural background, the education of the gifted and talented as well as those students with learning difficulties, socio-economically disadvantaged and isolated students, Years 9-13 of secondary school education. Each school provides programmes of learning based on the national curriculum in response to local needs, priorities, and resources. The learning programmes developed by schools must provide the experiences and opportunities for students to achieve the standards that are included in the national curriculum. The curriculum statement provides information for teachers, students, parents, family and the wider community, on what students are expected to be able to do in each year of secondary schooling. All national subject curriculum statements are constructed to show the: 1. General Aims of the subject curriculum, 2. Organising Strands of the subject curriculum, 3. Specific Aims that focus learning within the strands, 4. Achievement Objectives at each year level. The Arts curriculum statement is published in three booklets: Music Performing Arts and Visual Arts. The guiding principles are common for each however the separate booklets establish individual reference areas to maintain the independent nature and content of each discipline. 8 Secondary Music Curriculum Statement

9 STRUCTURE OF THE ARTS CURRICULUM General Aims Strands Specific Aims Achievement Objectives Years 9 13 developing knowledge creativity and skills, developing ideas and concepts through works and performances, communicating and interpreting ideas, understanding and examining the Arts social and cultural importance. Secondary Music Curriculum Statement 9

10 GENERAL AIMS IN THE ARTS The general aims link all the Arts disciplines. Students will develop a broad range of skills as they create, make, perform, present, interpret and appreciate the arts within their school and local community. From their study in the Arts students will: Develop knowledge, creativity and skills in the arts using appropriate terminology, practices, processes and techniques. Develop ideas and investigate concepts in the Arts by exploring, observing, reflecting and conceptualising works from a wide range of sources. Communicate and interpret meaning in the Arts by exploring different ways of conveying ideas and analysing works in response to a wide range of works and performances. Understand and examine the functions and values of the Arts in past and present societies and analyse how cultures express themselves through the Arts. STRANDS AND SPECIFIC AIMS The Strands of each discipline are ongoing concepts which provide continuity across the curriculum. Each strand has a specific aim which links to the organised sequence of achievement objectives. ACHIEVEMENT OBJECTIVES IN THE ARTS The achievement objectives are linked to the four main aims which are threaded through each learning strand. The achievement objectives outline the knowledge and techniques which students will develop as they progress from one level to the next. In planning the Arts programme teachers link achievement objectives from different strands to provide integrated learning experiences. 10 Secondary Music Curriculum Statement

11 LEARNING EXPERIENCES IN THE ARTS Students need to participate in a variety of activities to enable them to develop the skills, creativity, knowledge, attitudes and concepts in the Arts as set out in the achievement objectives. It is important that students' experiences of the Arts is stimulating, creative, motivating, engaging, enriching and challenging. To provide some initial ideas a range of possible learning experiences have been designed for each strand for the different levels. Learning experiences guide teachers as to concepts, language, skills, techniques and materials which are appropriate at each level. Teachers should incorporate the learning experiences in their lesson plans in order to achieve a balanced programme. The learning experiences offered will depend on a number of important variables such as: availability of teaching materials, availability of basic texts, sufficient hours in the timetable, suitably motivated teachers, school support, community awareness of the need for students to have the Arts as part of the curriculum. APPROACHES TO LEARNING IN THE ARTS Programme planning for the Arts will focus on: Integrated Thematic Learning: Strands within the Arts are interrelated and learning experiences follow the integrated thematic tradition. Within each discipline there is an integration of methodology and content building on the students' experiences. This allows skills to develop through the exploration of materials, methods and techniques in an imaginative way. Developing Literacy in the Arts: The Arts programme provides progressive learning opportunities from years Concepts, processes, skills and understandings progress from the simple, to the complex. Literacy in The Arts involves making meaning from symbols, images, and sounds. Students will develop their literacy skills through each of the learning experiences, under each strand. This progress develops from a variety of simple to complex verbal and non-verbal communications. Verbal and non-verbal literacy will be encouraged through oral and written analyses of works. Visual literacy will develop as students explore visual ways of communicating. Secondary Music Curriculum Statement 11

12 Developing Students Creativity: The development of student creativity will be a primary focus for the Arts courses. Teachers plan a wide range of activities that encourage students to investigate ideas and concepts as they respond to learning modules in a creative and imaginative way. Students perceptual, conceptual, and evaluative skills develop as they broaden their understandings of the arts. Developing an Understanding of the Social and Cultural Contexts of the Arts: Students will be encouraged to interpret how meaning is being conveyed while developing an understanding of the social and cultural contexts of each discipline. Encouraging an Interactive Learning Environment: Teaching practices must aim for effective learning. Students are more likely to be engaged in effective learning if teachers use interactive activities designed to encourage students to explore different kinds of subject matter and broaden their understanding of the world around them and beyond. Students learn best when they take action themselves to generate and create meaning, and to apply the new knowledge in meaningful situations. Developing Artistic Awareness: This is achieved through planned integration of content and language learning in interesting contexts. Students will be given opportunities to communicate in a meaningful way; ideas, feelings, experiences and beliefs related to their society and culture. Dance, drama, music and art making will be developed as personal and cultural expressions. Students will evaluate and recognise social and cultural practices outside their own. As well students will analyse and evaluate the different roles artists, musicians, dancers and actors play in society. 12 Secondary Music Curriculum Statement

13 LANGUAGE AND LEARNING IN THE ARTS Developing Language Skills: All students must develop the language associated with learning in each of the Arts disciplines. The language of the arts should be identified and taught together with the appropriate content. The language of each of the Arts discipline must be developed in relevant and meaningful contexts. Students will have to know when to apply the correct terminology for each of the four disciplines. Communication Skills In The Arts: Communication skills are essential for all students in the Arts, as students develop visual, auditory, and kinaesthetic [movement, gestures, body language] forms of communication. Students need to be able to interpret and critically evaluate information that is received, either by listening, reading, performing, creating works or viewing. Students need to be able to communicate clearly, confidently, and appropriately through speaking and writing, imagery, dance, drama and music, drawing on varied forms of communication and technologies. Language And Communication Objectives In The Arts: Students will extend their oral and written skills as they analyse, create, describe, and interpret visual works, productions and performances. Students will develop ideas for choreography, drama, sound and image making as they respond to written and oral language, expressing in the process an understanding of appropriate terminology in the given media. Teachers in the Arts must plan ways in which students develop skills in these essential learning areas. Secondary Music Curriculum Statement 13

14 GENDER The Sämoa Secondary School Curriculum: Curriculum Overview requires education to be gender-inclusive. This means that students should not be excluded from developing good self-esteem or from participating fully and successfully in learning because of traditional gender stereotypes. An example of a traditional gender stereotype that is beginning to change is "only women can become pre-school teachers." Materials used with this curriculum must give learners the opportunities to understand how men and women and girls and boys can have a wide range of occupations tasks and responsibilities. Materials must also use gender-neutral language where possible. School programmes and classroom learning tasks should reflect the diversity of roles available to women and men and girls and boys. Teachers need to ensure that gender is not an obstacle to learning, success, or individual value. To ensure this the Arts programmes will: include the interests, perspectives, and contributions of both females and males in programme content, resources and methods of teaching, ensure that both females and males use the Arts equipment and take part in investigations and practical work, ensure that both females and males take active and valued leadership roles in activities, ensure females and males have equitable access to resources, including teachers' time, learning assistance and technological equipment. ASSESSMENT AND EVALUATION Assessment is the process of gathering meaningful information upon which judgements are made on learners' performance. The primary purpose of assessment is to improve students' learning and the quality of learning programmes. Assessment information is also used for reporting students' progress at certain points in time. In this way assessment information provides assurance about the quality of education. The real power of assessment in improving learning relates to the feedback dimension - providing information how and why a student understands and misunderstands, and what direction the student must take to improve. Descriptive feedback gives students information about their achievement in relation to criteria, and it looks towards improvement. It tells a student what they have or have not achieved, tells a student that they are right or wrong, and why, and specifies or implies a better way of doing something - by demonstrating or explanation. 14 Secondary Music Curriculum Statement

15 Evaluation is the process of collecting information to judge the effectiveness and value of a programme. Sources of evaluation information can be teachers themselves carrying out self- evaluation, other teachers observing and making judgements, or students. Assessment in the Arts should be: reflective of curriculum policy, consistent with the aims, objectives and outcomes of the curriculum, actively involve students in the reviewing and reflecting on assessment information that relates to them, largely based on continuous internal assessment, emphasise the art processes as much as the final product, based on a variety of on going assessment strategies, presented in a meaningful and supportive way, while providing feedback to students. CHARACTERISTICS OF ASSESSMENT IN MUSIC Assessment in Music: Will be gathered from a variety of sources including: ongoing assessment of students' works, students' compositions, students' performances, critical studies - discussions, essays, presentations, projects, assignments and reports, historical studies such as essays, project presentations, assignments. Secondary Music Curriculum Statement 15

16 THE MUSIC CURRICULUM MUSIC IN THE SÄMOAN CURRICULUM Music education provides students with many opportunities not only for self and group expression but also assists them to develop their full potential socially, culturally, neurologically, spiritually, emotionally, physically and mentally. Music helps students to appreciate aesthetic qualities. Students also learn unique approaches to problem solving through the active and reflective processes of both listening to and the making of music. It allows the student to transfer musical skills to other subject areas. Literacy in music involves the development of knowledge and skills relating to style, genres, technologies, history, and musical structures. It implies an appreciation of the conventions that relate to creating, to performing and to critically evaluating musical composition and performances. These skills are again transferable to other situations. The development of aural skills is intrinsic to almost all music learning. As students listen to music, they can develop understanding about music, history and theory. They actively develop aural sensitivity while composing and performing. They enhance their cultures and the world, by exposure to diverse musical and cultural contexts. Music in the Sämoan Curriculum promotes the history and genealogy of the diversity of Sämoan culture. In particular, students should have opportunities to learn about the genres and styles of traditional and contemporary world music and be critically aware of them. Music education enables all students to contribute to the cultural life of their schools, families and communities through the making and sharing music. It also makes available to students a wide range of future opportunities in arts related employment. The social and intellectual skills acquired through music enhance the students' general education and ability to adapt. 16 Secondary Music Curriculum Statement

17 STRANDS FOR MUSIC Learning in The Arts occurs within each of four general aims. From these aims, the Music Curriculum has been organised into four strands. Developing knowledge and skills in The Arts using appropriate terminology, practices, processes and techniques. GENERAL KNOWLEDGE Developing ideas and investigating concepts in The Arts by exploring, observing, reflecting, negotiating and conceptualising works from a wide range of sources. COMPOSITION Communicating and interpreting meaning in Expressive Arts by exploring different ways of conveying ideas and analysing works in response to a wide range of works and performances. PERFORMANCE Understanding and examining the function and value of Expressive Arts in past and present societies and analysing how cultures express themselves through Expressive Arts. HISTORY AND RESEARCH Secondary Music Curriculum Statement 17

18 SPECIFIC AIMS FOR THE DISCIPLINE OF MUSIC STRAND 1: GENERAL KNOWLEDGE Developing knowledge and skills in Music using appropriate terminology, practices, processes and techniques. Specific Aim for General Knowledge Students will explore and expand on their understanding about what makes music through listening, observing, moving, singing, writing and performing. Students will develop an understanding of music symbols and language and use knowledge gained to further interpret the elements of music. STRAND 2: COMPOSITION Developing ideas and investigating concepts in Music by exploring, observing, reflecting, negotiating and conceptualising works from a wide range of sources. Specific Aim for Composition. Students will use known compositional devices to define, develop and refine their musical ideas. They will learn to arrange, improvise and compose by using creative and aural skills and the knowledge of instrumentation and technology. STRAND 3: PERFORMANCE Communicating and interpreting meaning in Music by exploring different ways of conveying ideas and analysing works in response to a wide range of works and performances. Specific Aim for Performance Students will develop competency in performance through practical presentation and evaluation of individual and/or group performances. STRAND 4: HISTORY AND RESEARCH Understanding and examining the function and value of music in past and present societies and analysing how cultures express themselves through Music. Specific Aim for History and Research Students will research to develop their understanding of music's historical contribution and its significance from past to present day. They will investigate traditional and contemporary music to develop a deeper understanding of society and their own community. 18 Secondary Music Curriculum Statement

19 Music Overview of Achievement Objectives Each of the strands has achievement objectives which outline the expected knowledge, skills and attitudes to be achieved at each year level. Years 9-11 have been written as whole year studies in Music. Years have been written as electives for each of the strands. Students at the end of Year 13 will meet the prerequisites required for entrance into a course of study in music to equal the level of Grade 6 Trinity College of London or AMEB theory and Grade 8 practical. An overview of the achievement objectives shows the overall progression of achievement across year levels for each of the strands. This is followed by the achievement objectives for each year level in all the strands. Possible learning experiences are suggested to facilitate the achievement of the objectives. Secondary Music Curriculum Statement 19

20 OVERVIEW: MUSIC ACHIEVEMENT Year 9 Year 10 Year 11 General Knowledge Students will be introduced to the music elements of rhythm, pitch, tempo and simple transcription. Students will be able to identify, respond and appreciate a range of genres, through listening and writing notation. Students will develop their knowledge and understanding of music elements including tone colour and notation. Composition Students will develop their understanding of simple compositional devices, and experiment with various combinations to create simple compositions. Students will create and develop musical ideas in response to an occasion, an event, or cultural and environmental influences. Students will use musical devices and cultural influences to compose works demonstrating their understanding of musical composition. Performance Students will experience creating music through performance using instrumental skills and technique. Students will prepare, rehearse and perform in solo and group situations. Students will develop their performance ability and self-evaluation through indepth, focused study of an instrument. History and Research Students will understand the significance and influence of music to everyday life, events and cultural heritage of specific periods. Students will investigate characteristic of music that eventuated in everyday life, events and cultural heritage of specific periods. Students will recognise music's historic contribution and the significance of traditional and contemporary music. 20 Secondary Music Curriculum Statement

21 OBJECTIVES Year 12 Year 13 General Knowledge Students will be able to experiment, transcribe and create within a range of genres. Students will analyse and describe music structures and devices, transcribe, transpose, and evaluate music through focused listening, practical exercises, instruments and technologies. Composition Students will independently compose specific musical works. Students will compose and arrange music for specific purposes in particular forms, styles and genres. Performance Students will, through contrasting works, demonstrate leadership and competency in performance. Students will prepare, present, record and evaluate individual and group performances of extended pieces in contrasting styles. History and Research Students will explore traditional and contemporary music to develop a deeper understanding of society and their own community. Students will investigate the production and performance of music in contemporary contexts. Secondary Music Curriculum Statement 21

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23 Music Strands by Year Level 9-13 Secondary Music Curriculum Statement 23

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25 Strand 1 General Knowledge AIM Students will explore and expand on their understanding about what makes music through listening, observing, moving, singing andwriting. Students will develop an understanding using symbols and language representing music and use knowledge gained to further interpret the elements of music. Secondary Music Curriculum Statement 25

26 Year Year9 Strand 1 General Knowledge ACHIEVEMENT OBJECTIVES Students will be introduced to the music elements of rhythm, pitch, tempo and simple transcription. POSSIBLE LEARNING EXPERIENCES: Identify staff and staves, bar lines and measures. Identify lines and space notes, leger lines and notes. Name notes on staff as either treble or bass clef. Listen and identify duration of notes. Understand simple time signatures. Identify tones and semitones, sharps, flats, and key signatures. Demonstrate understanding by singing the tonic solfa, clapping or beating for rhythm etc. Know musical terms and symbols for this level. 26 Secondary Music Curriculum Statement

27 Year Year10 Strand 1 General Knowledge ACHIEVEMENT OBJECTIVES Students will be able to identify, respond and appreciate a range of genres, through listening and writing notation. POSSIBLE LEARNING EXPERIENCES: Know and understand the construction of major and minor keys, their scales (harmonic and melodic for minor, degrees of scales, key signatures and intervals and chords). Introduce compound time. Know and develop the ability to record rhythmic and melodic dictation (aural skills). Know basic ornamentation at this level. Know musical terms and symbols for this level. Secondary Music Curriculum Statement 27

28 Year Year11 Strand 1 General Knowledge ACHIEVEMENT OBJECTIVES Students will develop their knowledge and understanding of music elements including tone colour and notation. POSSIBLE LEARNING EXPERIENCES: Introduce cadences and be able to identify chordal progression (harmony). Know primary and secondary chords. Listen and identify the chords of simple musical pieces. Know the diminished and augumented intervals. Identify the transposition of musical pieces. Know transposing clefs (single instruments). Know ornamentation for music selected at this level. Know music terms and signs for music selected. 28 Secondary Music Curriculum Statement

29 Year Year12 Strand 1 General Knowledge ACHIEVEMENT OBJECTIVES Students will be able to experiment, transcribe and create within a range of genres. POSSIBLE LEARNING EXPERIENCES: Know the diminished seventh chord. Analyse the progression of musical scores. Understand the form of selected genres e.g. pese lotu, pese fa'asämoa, pop music (binary as in pese lotu, ternary-sonata). Secondary Music Curriculum Statement 29

30 Year Year13 Strand 1 General Knowledge ACHIEVEMENT OBJECTIVES Students will analyse and describe music structures and devices, transcribe, transpose, and evaluate music through focused listening, practical exercises, instruments and technologies. POSSIBLE LEARNING EXPERIENCES: Harmonise a given melody or bass in three or four parts. Familiarise with reading scores of music for orchestra, ensemble and other group of instruments. Know how to write music using harmony. Study and evaluate other forms of music as in late nineteenth, twentieth, and twenty first century (includes Jazz, Sämoan music, radio music etc). Know musical terms and symbols for this level. 30 Secondary Music Curriculum Statement

31 Strand 2 Composition AIM Students will use known compositional devices to define, develop and refine their musical ideas. They will learn to arrange, improvise and compose by using creative and aural skills and the knowledge of instrumentation and technology. Secondary Music Curriculum Statement 31

32 Year Year9 Strand 2 Composition ACHIEVEMENT OBJECTIVES Students will develop their understanding of simple compositional devices, and experiment with various combinations to create simple compositions. POSSIBLE LEARNING EXPERIENCES: Use musical instruments and body to respond to selected sources of motivation e.g. pätë, mats, drums. Respond to rhythmic patterns with an answering rhythmic pattern e.g. listen and repeat a pattern, listen and respond with an answering pattern, listen and create their own response. Rearrange melodies to meet purpose and audience. Apply dynamics and tempo to suit selected mood. Write rhythmic patterns derived from word syllables, form sequences from short patterns to complete a rhythmic composition (paraphrase, phrase, section of a composition). Explore features of Sämoan compositional devices in selected Sämoan songs (pese o ta'aloga as in nonuatogi). Select one food preparation task (e.g. faiga o le palusami, taufolo, unafi i'a, vavalu talo...), describe the task, sounds, rhythms associated with it, create a simple composition to represent it. 32 Secondary Music Curriculum Statement

33 Year Year10 Strand 2 Composition ACHIEVEMENT OBJECTIVES Students will create and develop musical ideas in response to an occasion, an event, or cultural and environmental influences. POSSIBLE LEARNING EXPERIENCES: Students to compose a rhythmic composition motivated by poetry or lyrics. Compose short melodies. Compose short pieces using simple harmony and counterpoint. Compose a melody in the authentic Sämoan modes e.g. chants, tagi a le fagogo, solo o le va, lullabies, ailaoina o fa'aaloaloga, sula toga, fa'asoaina o le 'ava. Secondary Music Curriculum Statement 33

34 Year Year11 Strand 2 Composition ACHIEVEMENT OBJECTIVES Students will use musical devices and cultural influences to compose works demonstrating their understanding of musical composition. POSSIBLE LEARNING EXPERIENCES: Compose a short piece of music for no less than 2 parts for group performance. Compose a melody and counter melody in authentic Sämoan mode or contemporary Sämoan style e.g. fagogo, chants. Know conducting procedures and practise their application. Write a short piece of music for piano or guitar. Write a hymn in 4 parts to include verse and stanza. Illustrate by example the application of primary chords in traditional Sämoan songs, pop songs. Describe their importance in the melody. 34 Secondary Music Curriculum Statement

35 Year Year12 Strand 2 Composition ACHIEVEMENT OBJECTIVES ELECTIVE Students will independently compose specific musical works. POSSIBLE LEARNING EXPERIENCES: Compose a piece of music for your instrument of study. Compose a piece of music for a single instrument (trumpet, clarinet, recorder). Compose a piece of music for ensemble. Compose a melody and two counter-melodies to include ' faasala' in authentic Sämoan mode. Create a simple melody with harmony as an example of a genre studied. Secondary Music Curriculum Statement 35

36 Year Year13 Strand 2 Composition ACHIEVEMENT OBJECTIVES ELECTIVE Students will compose and arrange music for specific purposes in particular forms, styles, and genres. POSSIBLE LEARNING EXPERIENCES: Select a theme and: (i) Compose a piece of music for your instrument of study. (ii) Compose a piece of music for a single instrument. (iii) Compose a piece of music for ensemble. (iv) Compose a melody and two counter-melodies including 'fa asala' in authentic Sämoa mode. Compose a suite of no less than 3 short contrasting pieces in traditional Sämoan style including fa'asala. (Suite is a selection of pieces that are put together for particular purpose). Compose a short piece in the fashion of traditional Sämoan pese including fa'asala but in contemporary setting or devices (a tonal, 12th tone technic etc.). Compose a short piece in the style of 'folk' or 'modern' music often heard on the radio. 36 Secondary Music Curriculum Statement

37 Strand 3 Performance AIM Students will develop competency in performing through practical presentation and evaluation of Individual and / or group performances. Secondary Music Curriculum Statement 37

38 Year Year9 Strand 3 Performance ACHIEVEMENT OBJECTIVES Students will experience creating create music through performance using instrumental skills and technique. POSSIBLE LEARNING EXPERIENCES: Study how sound is produced by instruments e.g. blowing, hitting, vibration. Selection and introduction to a performance instrument: Keyboard Voice Brass Percussion Strings Wind etc. Introduce basics of: Techniques Score reading Interpretation Practise traditional Sämoan rhythms for different performances, tasks e.g. sasä, fa'ataupati, aloga fautasi, etc. Rehearse and present a simple instrumental piece. Identify the performance skills required and comment on how they met these skills. 38 Secondary Music Curriculum Statement

39 Year Year10 Strand 3 Performance ACHIEVEMENT OBJECTIVES Students will prepare, rehearse and perform in solo and group situations. POSSIBLE LEARNING EXPERIENCES: Students will perform their chosen instrument as part of a group or solo. Develop performance techniques for the selected musical pieces (repertoire). Develop a progressive repertoire to include traditional, church, contemporary, pop etc. Prepare, rehearse and perform a simple presentation for a specific purpose e.g. a competition piece, a school production, tala fa'atino. Express their interpretation of different types of music e.g. traditional, church, contemporary, pop music. Complete self-assessment and peer review of a performance. Secondary Music Curriculum Statement 39

40 Year Year11 Strand 3 Performance ACHIEVEMENT OBJECTIVES Students will develop their performance ability and self evaluation through in-depth, focussed study of an instrument. POSSIBLE LEARNING EXPERIENCES: Complete: one solo performance of their chosen instrument. one group performance e.g. a choir, stage band, quartet, production, 'au siva. Introduction to conducting and directing of a musical performance. Develop performance technique for a progressive repertoire. Using these contexts: Listen, view the performance of musical pieces for different purposes (e.g. a musical or play, a commercial advertisement, a public notice such as the Health Department publicity, Ministry of Police campaign for road safety, a cheer for a school during a sports event, antismoking campaign). Describe how it matches the audience and purpose. Develop a list of criteria for the use of music for specific purposes such as a musical, a play, a theme, background to a notice e.g. funeral, features of a prelude, postlude, a wedding, a march. Develop and present a musical piece for an identified purpose (e.g. advertisement, jingles, notice of an event, a team or class cheer...). Evaluate the musical piece against purpose and audience. Observe and practice models of conducting different styles of music. Discuss the effects of different techniques used. (e.g. conducting a traditional Sämoan song, an orchestral piece, a hymn, military style, brass band, marching band). 40 Secondary Music Curriculum Statement

41 POSSIBLE LEARNING EXPERIENCES (cont): View and analyse elements of a musical production. Discuss the effectiveness of roles of participants in a musical production e.g. director, stage manager, props team, the music team. Find examples of recorded music or other people's performances and compare their techniques with their own performances. Assist the management and direction of a musical production through selected roles. Secondary Music Curriculum Statement 41

42 Year Year12 Strand 3 Performance ACHIEVEMENT OBJECTIVES ELECTIVE Students will demonstrate through contrasting works leadership and competency in performance. POSSIBLE LEARNING EXPERIENCES: Student will perform in a solo with or without accompaniment, promote and manage the performance. Students will lead, teach and organise the performance of a group whether formal or informal. Students will conduct and direct an informal performance. Students will perform a Sämoan instrument in a group performance of either a Sämoan song or other musical production.(e.g. fala, pätë, ipu popo, wooden bells, selo apa.) Students will choose one stage work and produce a working strategy from the planning to the performance e.g. a cultural day, tala fa'atino, a concert. Perform as a solo or in twos, threes, or fours a simple melody before a group/ class. Respond to a performance by another group identifying musical elements, strengths and suggestions on how it could be improved. 42 Secondary Music Curriculum Statement

43 Year Year13 Strand 3 Performance ACHIEVEMENT OBJECTIVES ELECTIVE Students will prepare, present, record and evaluate individual and group performances of extended pieces in contrasting styles. POSSIBLE LEARNING EXPERIENCES: Perform in a solo without accompaniment a piece of a level no less than Grade 6 or 7. Lead, teach and organise a performance of a group. Conduct and direct the performance. Generate the criteria for the evaluation of the performance and complete a group evaluation. Compare different performances paying particular attention to trueness to composers intent, understanding score (specifically where editions differ), impact on audience. Experiment with the use of contemporary technologies to present and record a performance. Compare individual and group performances of extended pieces against any existing original performances. Secondary Music Curriculum Statement 43

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45 Strand 4 History and Research AIM Students will research to develop their understanding of music's historical contribution and its significance from past to present day. They will investigate traditional and contemporary music to develop a deeper understanding of society and their own community. Secondary Music Curriculum Statement 45

46 Year Year9 Strand 4 History and Research ACHIEVEMENT OBJECTIVES Students will understand the significance and influence of music to everyday life, events and cultural heritage of specific periods in Sämoa's history and selected periods of Western Music. POSSIBLE LEARNING EXPERIENCES: Find examples of Sämoan music that is about daily chores associated with gathering food, food preparation or a type of food (e.g. gasesega o taumafa : koko Sämoa, palolo, taufolo, vaisalo). Identify and discuss their particular characteristics e.g rhythmic patterns, instruments, purposes, call and response or ask and answer. Investigate how the food is prepared, describe the links between the music, actual tasks, importance of the food. Investigate Sämoan music of the pre-missionary era e.g. the music associated with fagogo and talatu'u paying particular attention to purpose and structure. Prepare, present and evaluate a presentation of a fagogo or talatu'u. Discuss how the music illustrates the moods or feelings expressed in the fagogo or talatu'u. Describe the characteristics of the music of fagogo, talatu'u. (e.g. Laumei faiaga..) Investigate music associated with other daily tasks: aloga va'a, figota (O le 'ali'ao..) Listen to examples of Western Music: Classical (tonal system) 20th Century (Rhythm) Impressionist (Abstract) Pop music Identify their particular characteristics e.g rhythmic patterns, instruments, voices used, purposes. Discuss differences with Sämoan music studied at this year level. Study and appreciate the components of classical music originating from their composers e.g. Mozart, Beethoven etc. Describe the demands of the patronage system on the music. Explain the living conditions of this period and their impact on the music. 46 Secondary Music Curriculum Statement

47 Year Year10 Strand 4 History and Research ACHIEVEMENT OBJECTIVES Students will investigate characteristics of music that eventuated in everyday life, events and cultural heritage of specific periods. POSSIBLE LEARNING EXPERIENCES: Identify one significant event in Sämoa's history of occupance and find examples of music and performances created for this event. Study the context of the event, and describe your interpretation of the lyrics and music. Learn and present a song from this period as it was performed then. Discuss how this song might be performed now outlining the changes and reasons for this. Find examples of Sämoan music that is about traditional and contemporary games (e.g. traditional togiga nonu, taga ti'a, tolotolo uga, taulafoga; contemporary: Manu Sämoa songs and chants). Identify and discuss their particular characteristics e.g rhythmic patterns, instruments, purposes, the storyline, links to actual tasks. Perform the song and its actions in its context e.g play the game togiga nonu, or taga ti'a. Comment on the role of the song in the game. Describe the links of the melody and pitch to the patterns of the words (e.g. Minoi Minoi). Investigate the concept of tapua'iga in games, and the role of music in this. (e.g. faiä'oga o le lape o le kilikiti, faiä'oga o le talitua'ä, pese mo le Manu Sämoa - examine the lyrics, the rhythm, actions in relation to the concept). Investigate music created out of so'otaga i ta'aloga (e.g. So'o a Palauli ma Falealupo fatupese: Toleafoa Talitimu. Examine the origins of the song, the lyrics: meaning, symbols, characteristics as sung traditionally (aufaipese fa'asämoa) and characteristics as sung with contemporary instruments. Describe the significance and impact of the music on the concept so'otaga. Secondary Music Curriculum Statement 47

48 POSSIBLE LEARNING EXPERIENCES (cont): Observe and critically comment on the influences of the occupancy period on the music presentation in a performance e.g. Lotu Tamaiti, Fa'atinoga o se fagogo, talatu'u, cultural day item, an advertisement, tala fa'atino, paying particular attention to tone colour. Select one period for Western Music - Romantic - 20th Century (tone colors and programme music). - Pop Music Listen to a range of songs from this period and identify and discuss their particular characteristics. Study and appreciate the components of Romantic music originating from their composers e.g. Strauss, Tchaikovsky, Schubert, Schumann. Discover and describe the drama and passion of melody transposition and usage of keys in the Romantic period. 48 Secondary Music Curriculum Statement

49 Year Year11 Strand 4 History and Research ACHIEVEMENT OBJECTIVES Students will recognise music's historic contribution and the significance of traditional and contemporary music. POSSIBLE LEARNING EXPERIENCES: Investigate Sämoan church music as it was recorded in the hymn books, how it might have been sung in its early years without contemporary musical instruments. (e.g. in the context of lotu o le taeao/ lotu fa'ale'äiga, lotu o le Aso Sa). Learn and perform a church song as it might have been sung originally. Compare with how this is sung today commenting on voice, parts, si'uleo, lagona. Investigate and discuss the influence of traditional Sämoan beliefs, values, customs on the song's lyrics and presentation. Investigate contemporary influences on the way the song is presented today. Investigate and appreciate the psalms and church music as created by Sämoan composers (e.g. Mata'utia Solomona, I'iga Sauni, Pouesi). Comment on the influences on their creations. Find examples of Sämoan music that are about daily chores associated with crafts - faiva alofilima (e.g. siapo, ietoga). Identify and discuss their particular characteristics e.g rhythmic patterns, instruments, purposes, the storyline, links to actual tasks. Investigate the process for the selected craft understanding technological approaches, instruments, technical language. Learn and perform the music actions. Discuss the importance of the song as part of oral history. Find other examples of music developed for commercial advertising and publicity purposes, describe the context within which the music is being used, and the impact of the music. Listen to a specific form, style or genre of music (e.g. national anthem, songs of particular events e.g. Pese o le afi, songs originating from fagogo, pese o le laumei, and talatu'u) in their original style and a contemporary style of performance. Describe the change of the musical elements, and respond to these changes. Secondary Music Curriculum Statement 49

50 POSSIBLE LEARNING EXPERIENCES (cont): Investigate characteristics of other Polynesian and Melanesian music. Analyse structures and use of musical devices. Describe the influence of their styles on Sämoan music today through performing an example (e.g. Tokelau, Tuvalu, Cook Island, Fiji, Maori, Hawaii, Aborigines, Solomons). Find the uses of these in advertisements and contemporary Sämoan songs. Listen to songs from a period of Western music and describe their characteristics and historical development. (Baroque, 20th Century, Medieval, Neo-classical, Pop music). Study and appreciate the components of Baroque music originating from their composers e.g. Bach, Handel. Discover the establishment of harmony by the Baroque composers. 50 Secondary Music Curriculum Statement

51 Year Year12 Strand 4 History and Research ACHIEVEMENT OBJECTIVES ELECTIVE Students will explore traditional and contemporary music to develop a deeper understanding of society and their own community. POSSIBLE LEARNING EXPERIENCES: Learn and present a song of a significant event in Sämoa's preindependence history (e.g. Mau). Investigate its origins, its contribution to understanding the struggle for independence. Discuss how it may have been performed at the period of its creation and how it is performed now. Describe the characteristics of the music, the lyrics, contribution to the mood of the song and the significance of the event. Find examples of Sämoan music that is associated with fa'atufugaga (e.g. tatau, fale, va'a), and faiva o le vao ma le sami (e.g. seuga, tiuga malie). Identify and discuss their particular characteristics e.g. rhythmic patterns, instruments, purposes, the storyline, links to actual tasks. Perform the song. Comment on the role of the song in oral history. Make a study of traditional chants (e.g. creation stories, solo o le va) describing their particularly characteristics e.g. rhythmic patterns, purposes, storyline. Discuss the significance of the chant to purpose and oral history. Make a study of contemporary Sämoan musical styles. Listen to a range of examples within it, analyse its structures and use of musical devices, and describe the influence of other styles on it (e.g. regional and international such as Polynesian, Melanesian rhythms, South American and African). Select a composer. Write a profile of the composer outlining his/her achievement and contribution to music in general. Include discussion of influences on his/her music (examples of Sämoan composers are: Toleafoa Talitimu, I'iga Pisa. Gatoloai Pesetä, Afamasaga Kalapu, Fa'anana Henry Gray, Pouesi, I'iga Sauni). Study and appreciate the components of Impressionist music originating from their composers e.g. Bussy, Brahms, Berlioz. Discover how sounds act as colours in their tonal and chordal context. Secondary Music Curriculum Statement 51

52 Year Year13 Strand 4 History and Research ACHIEVEMENT OBJECTIVES ELECTIVE Students will investigate the production and performance of music in contemporary contexts. POSSIBLE LEARNING EXPERIENCES: Select a composer. Write a profile of the composer outlining his/her achievement and contribution to music in general. Include influences on his/her music. Investigate the origin of a specific piece of Sämoan music. Describe its social and cultural context, its significance for the intended audience (e.g. vi'i, pese fa'amatala, pese aualofa, talatu'ufa'asolo, fa'aliliuga o le Tusi Pa'ia, pese o vi'ivi'iga o le laufanua etc.). Make a study of contemporary Sämoan musical styles. Listen to a range of examples within it, analyse its structures and use of musical devices and describe the influence of other styles on it (e.g. regional and international influences such as Polynesian, Melanesian rhythms, South American, African, rap music). Compare the presentation and recordings of an earlier Sämoan music by different contemporary music singers, groups. Identify technologies used, discuss their impact on the music, sound, lyrics. (e.g. National Anthem by Lapi Mariner, Ave Lo'u Ola as an opera by Lapi Mariner, Faliu le La...) Study and appreciate the components of early twentieth century music e.g. the colours and rhythm of Stravinsky, prepared instruments of Charles Ives and Penderecky. Explore how Sämoan music utilises their concepts.. 52 Secondary Music Curriculum Statement

53 GLOSSARY A Music Glossary Body percussion Sounds made using parts of the body ( e.g. Foot stamping, thigh slapping). Call and response Chord A structural device where a soloist sings or plays and a group or second soloist replies. Two or more notes sounding simultaneously in harmony. Chord Progression The procedure of moving from one chord to another. Compositional devices Culture Dynamics Devices used in composing a piece of music (e.g. motif, phrase, sequence, repetition, variation). Understandings, patterns of behaviour, practices, values and symbol system transmitted by a group of people. Varying levels of loudness and softness of music. Elements of music Form Genre The components of music, e.g. rhythm, pitch, tempo, tone colour or timbre, dynamics. Structure of a musical work. A category of music or a particular type of music that has a tradition or history. Graphic notation Harmony Notation in which sound or music is represented by shapes and lines. Progression of chords and the setting of the notes of the chords into parts. Improvisation Spontaneous variation of music. Interpretation Expression of dynamics and markings of a musical work. Secondary Music Curriculum Statement 53

54 Intonation Motif Reproduction of a sound heard. A brief, identifiable musical idea that is usually repeated or developed. Musical devices Notation Phrase Pitch Sequence Style See compositional devices. The writing down of a piece of music. A musical sentence; a group of bars ending with a cadence. The degree of highness or lowness of a note. The repetition of a musical phrase at a higher or lower pitch. Style determines how a work is performed or interpreted; it can relate to a historical period, (e.g. baroque, bebop) or composer ( e.g. in the style of Mozart). Technologies Tempo Texture Equipment used to help create, present, explain, listen to or view, analyse or learn about musical works including electronic media, (e.g. video, computers, mixers, recording equipment). The speed of the music. Density of sound which may range from thin ( a single strand or instrumental line) to thick (several strands or instrumental lines). Transposition Notation or playing a melody in a different key of that of the original. Tuned percussion Unison Percussion instruments on which sounds of different pitch can be played e.g. the kettle drums and the xylophone. Singing or playing in the same pitch or exactly an octave apart of a melody. Untuned percussion Percussion instruments in which sounds of indefinite pitch can be played,(e.g. the drums, the woodblock etc.). 54 Secondary Music Curriculum Statement