SAMPLE COURSE OUTLINE MUSIC WESTERN ART MUSIC ATAR YEAR 11

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1 SAMPLE COURSE OUTLINE MUSIC WESTERN ART MUSIC ATAR YEAR 11

2 Copyright School Curriculum and Standards Authority, 2014 This document apart from any third party copyright material contained in it may be freely copied, or communicated on an intranet, for noncommercial purposes in educational institutions, provided that the School Curriculum and Standards Authority is acknowledged as the copyright owner, and that the Authority s moral rights are not infringed. Copying or communication for any other purpose can be done only within the terms of the Copyright Act 1968 or with prior written permission of the School Curriculum and Standards Authority. Copying or communication of any third party copyright material can be done only within the terms of the Copyright Act 1968 or with permission of the copyright owners. Any content in this document that has been derived from the Australian Curriculum may be used under the terms of the Creative Commons Attribution NonCommercial 3.0 Australia licence Disclaimer Any resources such as texts, websites and so on that may be referred to in this document are provided as examples of resources that teachers can use to support their learning programs. Their inclusion does not imply that they are mandatory or that they are the only resources relevant to the course. 2014/13516v4

3 1 Sample course outline Music WAM ATAR Year 11 Unit 1 Development of the symphony Sight singing: to be continued consistently throughout the semester. Examples in both treble and bass clef based on scales and intervals stipulated Scales: Major/do pentatonic, minor/la pentatonic, Major Intervals: m2, M2, m3, M3, P4, P5, m6, M6, m7, M7, P8ve (melodic only) Harmony: I, IV and V, perfect and plagal cadences in Major keys Rhythmic dictation: simple metre rhythms including, Melodic dictation: 4 bars, treble and bass clef, up to one sharp and one flat, based on scales covered. Rhythm and some pitch provided Scales: natural and harmonic minor Intervals: add harmonic intervals: P4, P5, P8 Harmony: add V 7, i, iv and V, perfect and plagal cadences in minor keys Modulation: relative major/minor Rhythmic dictation: simple time,, and compound time basic rhythms and rests Melodic dictation: 4 8 bars, minor keys Identify and write intervals, scales, perfect and plagal cadences in treble and bass clef, Major keys, up to two sharps and flats Harmonisation Analyse a given score (up to four parts) using primary triads in root position Provide chords to a given melody Harmonise given melodies at cadence points/phrase endings Melody writing Examine and analyse given melodies, discussing structure, balance, composer and era related features and suitability for instrument/voice Write a 4 bar melody to a given rhythmic pattern, and perform to the class Identify and write natural and harmonic minor scales, related intervals and perfect and plagal cadences in minor keys Identify modulations to the relative minor and major in melodic excerpts Rhythm exercises in compound time Development of the symphony Examine and discuss the development of the symphony over at least two eras, noting changes in form, instrumentation and orchestration Introduction to the Classical era (architecture, art, literature and social/ political features) Aural and visual/score analysis Comparative listening exercises using excerpts from works over different eras to show the development of the genre Analyse sonata form in different examples, beginning with simple piano sonatas Task 5: Due Term 2, 14 Write a 1000 word essay discussing the development of the symphony based on a summary table which is to be submitted with your essay Overview of composer of first designated work and his contribution to the development of the symphony Listen to selected excerpts from other symphonies by the same composer and compare and contrast Designated work: detailed analysis of the first movement sonata form and third movement minuet and trio form Distribute technical lists and recommended repertoire from the Music: Resource package for the practical component. Outline assessment requirements for the semester in consultation with instrumental teachers and/or composition portfolio supervisors.

4 Discrepancies: treble/bass clef, 4 bars, 4 discrepancies in either pitch or rhythm Aural analysis: recognition of music elements in short extracts (form, metre, dynamics/expressive devices, tempo, instrumentation) Skeleton Score: 2 4 parts, 4 8 bars Harmonisation Identify and write major, minor, augmented and diminished triads and first inversions of major and minor chords Analyse chords in given scores up to 4 parts Recognise unaccented passing notes/appoggiaturas Melody writing Analyse given melodies, identifying phrase structure, motivic development, sequence, scale patterns and form Continue a given motif to compose an 8 16 bar melody Listen to excerpts from representative works, noting significant contributions made by other composers, comparing and contrasting the symphonies of Haydn, Mozart and Beethoven noting differences in instrumentation, orchestration, form, texture, thematic material and use of music elements. Task 1: Aural test (3%) Task 2: test (2%) Review of the development of the symphony from Rococo to Beethoven, focusing on the designated works. Comparative aural and visual analysis of familiar and unfamiliar symphonic works. Scales: melodic minor Intervals: A4/D5 melodic and harmonic Harmony Recognition of major, minor, augmented and diminished triads in isolation vi in Major keys Interrupted cadences, Major keys V vi, V 7 vi (keyboard and vocal style) Rhythmic dictation: 8 bars, simple metre rhythms for dictations, compound:,, Identify and write all minor scale forms, focussing on melodic minor Identify and write interrupted cadences in major keys, using appropriate voice leading principles in both keyboard and vocal style alto and tenor clef transposition Harmonisation Identify and write first and second inversions of major and minor chords Harmonic analysis of given scores up to 4 parts using root position, first and second inversion chords in major and minor keys Short harmonisation exercises given the bass or soprano line, using I, IV, V, V 7 and vi in major keys and i, iv, V and V 7 in minor keys 9: Task 3 Development of the symphony and designated works (3%) Development of the Romantic symphony: listen to a selection of examples from the following composers: Berlioz, Mahler, Tchaikovsky, Brahms and Schubert. Note significant features e.g. form and structure, use of thematic material, instrumentation and orchestration, texture, dynamics, rhythmic, melodic and harmonic elements. Revision of relevant symphonic forms in familiar and unfamiliar examples. Performance Task 1 Prepared repertoire (2%) Task 1 Composition assessment (5%) 10: Performance Task 2 Sight reading or Improvisation (3%)

5 Melodic dictation: 8 bars, treble and bass clef, up to two sharps and two flats, based on scales covered Discrepancies: treble/bass clef, 4 bars, 4 discrepancies in either pitch or rhythm Aural analysis: recognition of music elements, form, compositional devices, instrumentation, instrumental techniques 13: Task 4 Aural analysis (2%) Scales: chromatic Intervals: all intervals in isolation or part of a melodic excerpt Harmonic intervals: m6, M6, m7, M7 Harmony ii in Major keys, VI in minor keys interrupted cadences in minor keys V VI, V 7 VI (keyboard and vocal style) Rhythmic dictation Simple time signatures Compound:, Melodic dictation: chromatic passing notes Discrepancies: treble/bass clef, 4 8 bars, 4 discrepancies in both pitch and rhythm Skeleton score: compositional devices, dictations, chords, cadences Piano accompaniment Analyse a range of piano examples with different accompaniment patterns from a variety of eras and genres Melody writing Write a melody in ternary or rondo form, incorporating use of sequence, cadence points and phrasing. Identify and write chromatic scales Transposition exercises for alto and tenor clef Harmony Harmonic analysis and harmonisation exercises using I, ii, IV, V, V 7 and vi and i, iv, V, V 7 and VI in minor keys Identify and write interrupted cadences in minor keys, using appropriate voice leading principles in both keyboard and vocal style Piano accompaniment Harmonise given melodies, analyse style and melodic structure and write suitable accompaniment patterns using alberti bass, arpeggiated chords or vamping bass Continue a given accompaniment pattern in a similar style Modulation: relative major/relative minor, using choral and orchestral examples Development of the symphony in the 20 th century. Listen to excerpts and discuss significant features e.g. form and structure, use of thematic material, instrumentation and orchestration, texture, dynamics, rhythmic, melodic and harmonic elements. Listen to excerpts from representative composers such as; Shostakovich, Sibelius, Vaughan Williams, Stravinsky, Schoenberg, Webern, Glass, Penderecki. Introduction to Neo classicism. Correlate musical features with characteristics of Neo Classicism in art (Cubism), literature, dance/choreography and film. Listen to and study representative Neo Classical works and composers; Stravinsky, Satie, Poulenc, Hindemith. Listen to and begin analysis of designated work.

6 Revise all scales, intervals and chords Harmony: revise all cadence types and chords in major and minor keys Modulation: relative major/relative minor, using a range of examples Rhythmic dictation Simple metres: 8 bars, including syncopation and anacrusis Compound metres: 8 bars Melodic dictation: 8 bars, chromatic passing notes Discrepancies: treble/bass clef, 4 8 bars, 4 discrepancies in both pitch and rhythm Skeleton score: compositional devices, dictations, chords Revision of Semester 1 work for exams Task 6: Formal assessment Score analysis and melody writing (2%) Harmony Harmonic analysis and harmonisation exercises using first and second inversion chords in major and minor keys Identify and write imperfect cadences in major and minor keys in keyboard and vocal style Piano accompaniment Harmonise given melodies, analyse melodic structure and style and write suitable accompaniment patterns using alberti bass, arpeggiated chords or vamping bass Melody writing Compose an 8 16 bar melody from a given motif or chord progression, incorporating sequence and modulation to the relative major or minor Revision of Semester 1 work for exams Task 5: submit summary table and 1000 word essay (2%) Complete analysis of final designated work. Revision of Semester 1: the development of the symphony, using familiar and unfamiliar excerpts, focussing on the designated works. 14: Performance Task 3 Recital practice (3%) 15: Performance Task 4 Instrumental teacher report (2%) 15: Task 2 supervisor report (5%) Task 7: Semester 1 examination Task 7: Semester 1 examination Task 7: Semester 1 examination Performance Task 5 Semester 1 performance examination (15%) Task 3 submission of composition portfolio (15%)

7 5 Unit 2 Opera 1 3 Sight singing: to be continued consistently throughout the semester. Examples in both treble and bass clef based on scales and intervals stipulated Scales: revise Major/do pentatonic, minor/la pentatonic, Major Intervals: revise all intervals in isolation and as part of a melodic line Harmony: chord progressions 4 to 8 bars, key signatures up to 2 sharps and 2 flats major: I, ii, IV, V, V 7 and vi revise perfect and plagal cadences in major keys Rhythmic dictation: simple time including Melodic dictation: 8 bars, treble and bass clef, up to two sharps and flats, based on scales stipulated. (Some pitch and/or rhythm provided provided.) Discrepancies: treble/bass clef, 4 bars, 4 discrepancies in either pitch or rhythm Identify and write intervals, scales, perfect and plagal cadences in treble and bass clef, Major keys, up to two sharps and flats Harmonisation Analyse chords in given 4 8 bar extracts Harmonise given melodies at cadence points/phrase endings Identify and incorporate harmonic devices: accented and unaccented passing notes and appoggiaturas in analysis and harmonisation tasks Melody writing Complete a word scansion task, providing an appropriate rhythm for given lyrics, and then compose a suitable 8 bar melody Incorporate word painting and a sequence Compose an 8 16 bar melody from a given motif or chord progression, incorporating sequence and modulation to the relative major or minor Development of opera Baroque Period Introduction to the Baroque period (architecture, art, literature, social, political and cultural features) Listen to a selection of representative works noting Baroque musical features Development of opera Discuss the role of opera in Baroque society, contributions of different composers and their influence on the development of opera Discuss the rise of the castrati. Watch excerpts from the film Faranelli (1994) Discuss the development of opera and associated forms: Recitative, Aria and Chorus, listening to Baroque examples: Purcell: Dido and Aeneas Sorceress Chorus/Witches Chorus, With Drooping Wings; Thy hand Belinda, Dido s Lament Handel: excerpts from operas, such as Rinaldo (Lascia ch'io pianga), Alcina, Guilio Cesare, Serse, Acis and Galatea Begin analysis of designated work Visual and aural analysis of set sections, identifying forms, musical features, use of instrumentation and orchestration, word painting, vocal techniques and compositional devices Identify salient characteristics of composer s writing style and era specific stylistic features Outline assessment requirements for the semester in consultation with instrumental teachers and/or composition portfolio supervisors.

8 Scales: revise natural, harmonic and melodic minor Intervals: revise all harmonic intervals Harmony: chord progressions 4 to 8 bars, key signatures up to 2 sharps and 2 flats minor: i, iv, V, V 7 and VI revise perfect and plagal cadences in minor keys Modulation: relative major/minor and dominant Rhythmic dictation: simple time compound time, Melodic dictation: 4 8 bars, minor keys Aural analysis: recognition of music elements in short extracts (form, metre, dynamics/expressive devices, tempo, instrumentation). Skeleton Score: 2 4 parts, 4 8 bars Task 8: Formal assessment Aural test (3%) Identify and write natural and harmonic minor scales, related intervals and perfect and plagal cadences in minor keys Harmonisation Continue harmonic analysis and harmonisation tasks in major and minor keys up to 2 sharps and flats Accompaniment writing Harmonise a given 4 8 bar melody and compose a suitable accompaniment pattern Compose a melody to a given accompaniment pattern Modulation Identify modulations to the dominant and relative major/minor a range of examples Compose an 8 12 bar melody that includes a modulation Orchestration Transposition exercises from key to key and clef to clef, using treble, bass alto and tenor clefs Review of string instruments: instrument ranges, idiomatic writing and playing techniques, bowings. Aural and visual analysis of given excerpts Arrange a given piano excerpt for string ensemble, incorporating bowings and string playing techniques Complete analysis of designated work Overview of the development of Opera Seria and Opera Buffa. Discuss Mozart s contribution to the development of opera in the Classical period and listen to selections from key operas such as: Don Giovanni, Marriage of Figaro, Magic Flute, Così fan tutte. Complete analysis of comparative examples of recitative, aria and chorus, to demonstrate development of form, vocal style and techniques, instrumentation and orchestration across eras. Discuss the development of opéra comique, noting the influence of vaudeville and the French Revolution Outline the main features of verismo opera, listening to and examining representative scores (Leoncavallo, Puccini) Discuss the role of Carmen as a bridge between opera comique and verismo Outline contributing characteristics of the period (architecture, art, literature, social, political and cultural features) 5: Performance Task 6 Prepared repertoire (2%) Task 4 Composition assessment (5%)

9 Scales: chromatic Harmony: Recognition of major, minor, augmented and diminished triads in isolation Interrupted cadences, Major keys V vi, V 7 vi (keyboard and vocal style) Rhythmic dictation: 8 bars, include anacrusis and some syncopation Simple metre rhythms for dictations: Compound:, Melodic dictation: 8 bars, treble and bass clef, up to two sharps and two flats, based on scales covered. Incorporate at least two challenging sections rhythms/ties/larger intervals Discrepancies: treble/bass clef, 4 discrepancies in either pitch or rhythm Aural analysis: recognition of music elements, form, compositional devices, instrumentation, instrumental techniques Harmony: revise all chords in major and minor keys Imperfect cadences in keyboard and vocal style major keys: I V, I V 7 minor keys i V, i V7 Modulation: relative major/minor and dominant in a range of examples 8: Task 9 test (2%) Visual identification, reading and writing of all intervals, scales in key signatures up to and including 6 sharps and 6 flats, including chromatic scale Identify and write major, minor, augmented and diminished triads and first inversions of major and minor chords Melody and accompaniment writing Provide a Piano accompaniment to a given melody Compose a melody form a given motif, harmonise and write a suitable Piano accompaniment Orchestration Review of woodwind instruments: ranges, transposition, timbral features 2 4 bar arrangement of a piano score for three or four woodwind instruments (including one Bb, and a non transposing woodwind instrument) Identifying, analysing and realising instrumental devices and techniques for up to four instruments/voices Harmony Identify and write all cadence types in major and minor keys, using appropriate voice leading principles in both keyboard and vocal style Harmonic analysis of given scores up to 4 parts using root position, first and second inversion chords in major and minor keys 8: Task 10 Aural and visual analysis test (2%) Begin analysis of designated work Watch DVD of performances of designated sections, or whole opera if time, in class or as an out of class activity Visual and aural analysis of set sections identifying forms, musical features, use of instrumentation and orchestration, word painting, vocal techniques and compositional devices Identify salient characteristics of composer s writing syle and opéra comique and verismo stylistic features Brief discussion about the development of Romantic opera, importance of leitmotif, thematic transformation: Verdi, Wagner. Unseen analysis of opera excerpts across different eras. Analysis of opera type, section (aria, recitative, chorus, ensemble), use of the orchestra and features/characteristics of different composers. 9: Performance Task 7 Technical work (2%)

10 Rhythmic dictation: 8 bars, simple time continued, include syncopation Compound:, Melodic dictation: 8 bars, treble and bass clef, based on scales covered, including chromatic passing notes Discrepancies: treble/bass clef, 4 8 bars, 4 discrepancies in both pitch and rhythm Skeleton score: compositional devices, dictations, chords, cadences 12: Task 12 Aural test (4%) Revise all scales, intervals and chords Harmony: revise all cadence types in major and minor keys Modulation: relative major/relative minor and dominant, using a range of examples Rhythmic dictation Simple metres: 8 bars, including syncopation and anacrusis Compound time:, Melodic dictation: 8 bars, chromatic passing notes Discrepancies: treble/bass clef, 4 8 bars, 4 discrepancies in both pitch and rhythm. Skeleton score: compositional devices, dictations, chords Revision of year s work Harmonic analysis and harmonisation exercises given bass or soprano part, using I, ii, IV, V, V 7 and vi in major keys and i, iv, V, V 7 and VI in minor keys Orchestration Review of brass instruments: ranges, transposition, timbral features and effects Transcribing 4 bar excerpt for piano from a brass ensemble up to four parts 12: Task 11 Melody and accompaniment writing (2%) Orchestration Arrangement tasks for mixed ensembles (strings, wind, brass) including at least two transposing instruments. Review year s work Complete analysis of final designated work Revision of Semester 1: the development of the symphony, using familiar and unfamiliar excerpts, focussing on the designated works. 14: Task 13 Development of the symphony and opera (3%) Revision of Semester 2: the development of opera, using familiar and unfamiliar excerpts, focussing on the designated works 14: Performance Task 8 Recital practice (3%) 15: Performance Task 9 Instrumental teacher report (3%) 15: Composition Task 5 supervisor report (5%) Task 14: Semester 2 examination Task 14: Semester 2 examination Task 14: Semester 2 examination Performance Task 10 Semester 2 performance examination (15%) Task 6 submission of final composition portfolio (15%)

SAMPLE COURSE OUTLINE MUSIC WESTERN ART MUSIC ATAR YEAR 12

SAMPLE COURSE OUTLINE MUSIC WESTERN ART MUSIC ATAR YEAR 12 Copyright School Curriculum and Standards Authority, 2015 This document apart from any third party copyright material contained in it may be freely