You are on page 1of 24

18036116: Jasmine Breeze

Understanding Game Music involves the development of a musical understanding that

allows students to interact with sounds that are produced to particular moments, events or

associated with social functions within society through the experience of augmented reality.

Educators must be aware of the importance of music and what we can do to create student

self-efficacy and development in personal awareness of one’s individual identity to

encourage students’ direction within their individual learning.

As a selected choice for study, game music provides the opportunity for students to both

visualise and involve themselves within an augmented reality that allows for creation of a

‘perceived’ world. In further research, game music provides an outlet for students to

explore multiple social identities through gameplay that engages our minds though

cognitive approaches. Some approaches I would like to identify as important when exploring

game music are the following ideologies; Music Learning Theory (Gordon, 1997),

Differentiated Instruction and Universal Design for Learning (Loreman, Deppeler & Harvey,

2011), Cognitive Behavioural Theory (Kaplan & Carter, 1995), and Social Cognitive Theory

(Albert Bandura, 1986).

Gordon (1997) explores through the Music Learning Theory [MLT] ‘the sequential and

comprehensive method for teaching musicianship through audiation’. This is demonstrated

through the implementation of various learning activities that interact with the NSW music

curriculum learning experiences such as listening, composing and performing (‘Music 1

Stage 6 Syllabus’, 2009); to engage deeper meaning of music through tonal and rhythmic

audiation that encourages ‘student direction’ (‘Quality teaching in NSW Public Schools:

Discussion Paper’, 2003) through independent musical understanding.


18036116: Jasmine Breeze

In composing music for game, educators need to position their methodology around the

specific application of instruction. For example; Differentiated Instruction could allow for

musical aptitude and audiation to engage students within the compositional techniques

involved when composing for game music. Munday (2007) states that game music involves

three perspectives; environment, immersion and diegetic. These perspectives shape the

intention of music for games by creating natural soundtracks to computer-generated

environments deriving focus through cognitive immersion; e.g., the interaction of brain

signals to prevent outside distractions from entering the gaming situation thus creating “a

wall of sound”. Educators should consider compositional techniques like “leitmotifs”

(Munday, 2007) to create a correlation between the narrative content, visual cues and

several other qualities explored by Pichlmair and Kayali (2007). The purpose of game music

is to captivate the player to stay within the augmented experience and to interact with the

game on a sensory level. Therefore, supporting the notion of two labels for game music that

incorporate ‘tonality of instruments’ and ‘rhythmic repetition’ as engaging stimuli for player

motivation. (Pichlmair & Kayali, 2007)

Albert Bandura (1986) explores the notion of “why individuals behave the way they do”

through ‘Social Cognitive Theory’ (De Nobile, Lyons & Arthur-Kelly, 2017). Furthermore,

Lave and Wenger (1991) states that “learning transforms who we are and what we can do

through the ‘peripheral participation”. (Partti & Karlsen, 2010) Taking a cognitive social and

behavioural approach, educators need to ‘reprogram the way students perceive and

interpret their experiences’ (De Nobile, Lyons & Arthur-Kelly, 2017) to ensure the

importance of student participation in engaging stimuli like composing for game music to
18036116: Jasmine Breeze

guide the students to ‘socially construct their own musical identity’ (Burnard, 2000) through

the creativity and reflection of compositional tasks in the classroom.

References

Bandura, A. (1986). Social Foundation of Thought and Action: A Social Cognitive Theory.
US: Prentice-Hall.
Burnard, P. (2000). How Children Ascribe Meaning to Improvisation and Composition:
Rethinking pedagogy in music education. Music Education Research, 2(1), 22.
http://dx.doi.org/10.1080/14613800050004404
De Nobile, J., Lyons, G., & Arthur-Kelly, M. (2017). Positive learning environments (1st ed.,
pp. 169-205). Melbourne, Australia: Cengage Learning.
Gordon, E. (1997). Learning sequences in Music: Skill, Content, and Patterns. Chicago: GIA.
Kaplan, J., & Carter, J. (1995). Beyond Behaviour Modification: A Cognitive-Behavioural
Approach to Behaviour Management (3rd ed.). Austin; TX: Pro-Ed.
Loreman, T., Deppeler, J., & Harvey, D. (2011). Inclusive education: Supporting diversity in
the classroom (2nd ed., pp. 140-145). Crows Nest, N.S.W.: Allen & Unwin.
Munday, R. (2007). Music in Video Games. In J. Sexton, Music, Sound and Multimedia:
From the Live to the Virtual. (pp. 51-67). Edinburgh: Edinburgh University press.
Music 1 Stage 6 Syllabus. (2009) (p. 10). Sydney. Retrieved from
http://educationstandards.nsw.edu.au/wps/portal/nesa/11-12/stage-6-learning-
areas/stage-6-creative-arts/music-1-syllabus
Partti, H., & Karlsen, S. (2010). Reconceptualising musical learning: new media, identity and
community in music education. Music Education Research, 12(4), 369-382.
http://dx.doi.org/10.1080/14613808.2010.519381
Pichlmair, M., & Kayali, F. (2007). Level of Sound: On the Principles of Interactivity in
Music Video Games. In Digital Games Research Association. Austria: DiGRA.
Quality teaching in NSW Public schools: Discussion Paper. (2003) (p. 13). Sydney.
Retrieved from http://www.darcymoore.net/wp-
content/uploads/2012/02/qt_EPSColor.pdf
Music 1: Unit Program

Topic: Music for Small Ensembles


Focus: Rock/ Pop Groups

This unit is designed for a class undertaking Music 1 completing the HSC course in Music.

The focus will be on small ensemble rock and popular groups drawing particular attention to the stylistic features of the genres; rock and pop
music. The unit will also focus on the development of understanding the roles of each instrument within a group setting.

A selection of musical excerpts has been chosen for study including examples of music that fall under more than one genre, style and culture,
and will be used to engage and stimulate student understanding and knowledge of music for small ensembles. The repertoire selected for the
study of this unit will help to define and develop student’s skills, knowledge and understanding in presenting the HSC practical examination for
this selected unit of study.

Assessment will consist of the combination of a composition for a duo or trio followed by a small ensemble performance to be performed within
class. The assessment will consist of peer reflection for both tasks and a compositional portfolio.

Unit Duration
This unit will consist of six weeks of teaching time with 4 lessons x 45 minutes per week.

Resources
- YouTube
- Score and recording of selected repertoire.
- Teacher devised worksheets for structured aural, improvisation and musicology activities.
- Music Stage 6 Support Document.
Course Music 1 – HSC
SYLLABUS CONTEXT: Music for Small Ensemble TOPIC: Rock/ Pop Ensembles
SYLLABUS OUTCOMES Performance FOCUS ASSESSMENT
H1: performs stylistically, music that is Students in this unit will: • Present a small group
characteristic of topics studied, both as a • Perform compositions and excerpts from selected repertoire for performance of a
soloist and as a member of an ensemble. study. selected arranged
H2: reads, interprets, discusses and • Rehearse and perform HSC repertoire with others in small groups. composition.
analyses simple musical scores that are • Perform excerpts specific to aural understanding using technology.
characteristic of the topics studied. Composition
H3: improvises and composes music Students in this unit will: • Arrange their own
using the range of concepts for familiar • Experiment communicating ideas for small ensemble duo/trio
sound sources reflecting the cultural and arrangements. compositional work
historical contexts studied. • Arrange music excerpts provided through musicology and aural that represents the
H4: articulates an aural understanding of activities. stylistic features of
musical concepts and their relationships rock or popular
• Compose a compositional work for a small ensemble.
in a wide variety of musical styles. music.
Musicology
H5: critically evaluates and discusses
Students in this unit will:
performances and compositions. • Critically reflect
H6: critically evaluates and discusses • Study the various styles of pop and rock, and their influences on
small ensemble music. among their
the concepts of music in works composition within
representative of the topics studied and • Read, Interpret and discuss selected scores for analysis.
their composition
through wide listening. • Critically reflect and compare the styles of rock and pop music in
portfolio.
H8: identifies, recognises, experiments discussion of composing and performing in small ensembles.
with, and discusses the use and effects of Aural
technology in music. Students in this unit will:
• Provide a supporting
H9: performs as a means of self- • Listen to a variety of musical excerpts from rock and pop peer evaluation on
expression and communication. ensembles; including arrangements and compositions of selected one of the group
H10: demonstrates a willingness to songs. performances
participate in performance, composition, • Listen to a broad selection of small ensemble music: focusing on presented in class.
musicology and aural activities. the variation of stylistic context and use of technology.
• Aurally compare and contrast selected excerpts: drawn focus on
musical concepts.
Concept Focus Focus Repertoire Resources
Duration: Regular/ Irregular metres, rests, syncopation, Run to You – Pentatonix - Musical Concept Analysis Worksheet
traditional and graphic ways of notating duration. Activities
Can’t help Falling in Love – Elvis - YouTube
Dynamics and Expressive Techniques: Stylistic Presley (Small Ensemble - Selected Repertoire Sheet Music
indications, articulations and dynamic contrasts. Arrangements) - Finale
- Performance Tip Readings
Pitch: definite and indefinite pitch, pitch direction and Can’t Help falling in Love Cover – - Technological device
melodic contour, pitch patterns, pitch range and register, Pentatonix LIVE (recording+ playback purposes)
harmony, various ways of organising pitch.

Structure: structures used in pop and rock music, Thunderstruck – ACDC (Various
repetitive patterns, phrasing, multi-movement structures, Small Ensemble Arrangements)
techniques of call and response.

Texture: roles of the instruments and voices, layers of


sound and their function.

Tone Colour: combination of voices and instruments,


acoustic, electronic and synthesised sounds, sound
production methods and traditional and non-traditional
ways of using sound sources.
Week C A M P Sequence Chart D D/E P S T TC
1 x x x x - Explore the stylistic features between rock and pop genres through the listening of x x x x
short musical excerpts and the activity of characteristic identification with some
reference to the musical concept of structure. E.g. Rock music: motifs, call &
response; Pop Music: phrasing, repetitive patterns.
- Demonstrate current understanding and knowledge of small ensembles through
interactive activity that explores various rock and pop composers, artists, bands and
ensembles.
- Analyse the score of “Can’t help falling in love” by Elvis Presley and critically
discuss as a class the contributing factors that detail the composition. E.g. Musical
roles of the instruments, stylistic features conveyed through instrumental parts, any
techniques or characteristics of either the pop or rock genre.
- Perform the bars 1-16 on the instruments available in the room within small groups.
Students are to devise a structure that allows for improvisation and the addition of
texture to the existing score through the use of dynamics and expressive techniques.

Hand out and explain the composition and performance assessment task due in week
5 and 6.
2 x x x - Explore numerous small ensembles listening examples of the song “Can’t help x x x x
Falling in Love” by Elvis Presley. Students will commence completing a worksheet
activity that organises the various sounds and instruments of each excerpt through the
identification of the pitch and tone colour observed in each cover song.
- Analyse as a class the innovate ideas of each cover and how the group has created
music for small ensemble through manipulation of the existing song. (e.g. Musical
interest and expression)
- Independent rehearsal to identify the specific role their instrument plays within the
piece. Focus will need to be drawn to instrument specific techniques and genre
characteristics to determine an effective rehearsal.
(An example of focus points for rehearsal are melodic contour, phrasing, timing,
dynamic contrast and expressive techniques.)
- Class discussion on the influence of technology in particular the change from acoustic
to amplified instruments and traditional to synthesised sounds, and how this affects
small ensembles in pop and rock music.
- Group Rehearsal that experiments with technology to create contrast and musical
interest. This can be through the effect of a loop, electronic instrument backing track
or the addition of rhythmic patterns.

Home work: Research multiple pop and rock songs and have a look at how they are
scored. Think about how you could arrange a score for a popular or rock piece of
your choice.
3 x x x - Class performance of ‘Thunderstruck’ by ACDC using human actions and percussive x x x x
instruments.
- Class discussion on performance. Questions to focus on the build of texture, layers of
instruments and stylistic features of Rock music. How could we arrange this piece for
a small ensemble?
- Observe various arrangements of ‘Thunderstruck’. Draw focus to the instruments
tone colour and sound created. Identify the different tone colours in each piece.
- Organise small groups for the performance assessment task and provide students with
the time to familiarise and rehearse their selected repertoire pieces.
- Encourage students to use technology to record their group progress for further
practice at home. Students should graphically notate the structure of the arrangement
to reflect on in future group rehearsals. Students should also listen to their group
recordings of their practice before leaving and each determine an individual learning
goal to aim for next group rehearsal.
(E.g. To practice getting the lyrics right within my practice at home so next group
rehearsal I’m prepared.)

Home work: Read the following article on “Tips for performing as part of a band”
by Finley Roach (2017) * Find and print the sheet music for the selected piece of pop
or rock music that you are planning to arrange. Analyse the score to provide you with
focus areas for manipulation and modification.
Week C A M P Sequence Chart D D/E P S T TC
4 x x x x - List as a class the multiple small ensembles groups (e.g. bands, duos, trio, string x x x x x x
quartets, jazz bands, vocal groups, instrumental groups) as well as any ‘names’ of
these groups that come to mind. (2Cellos, UstheDuo, Angus and Julia Stone, John
Butler Trio, Vitamin C String Quartet)
- Observe, Listen and analyse the score ‘Run to You’ by Pentatonix. Draw particular
focus to the melodic contour, harmony, multi-movement structure, phrasing, rests,
dynamic contrasts, layers of sound and combination of voices.
- Through analysis highlight the ways you could manipulate the song ‘Run to You’ by
Pentatonix and consider the techniques used within the selected repertoire for your
own creation of a notated score.
- Open Finale and start arranging a piece of repertoire for music for small ensemble.
Ensure that you draft on paper your structure of the piece and the role of each
instrument within the piece. This draft can be added to your composition portfolio to
show your ideas towards the final composition.
- Use your instrument to explore themes, ideas and melodies for contribution to your
score.
- Identify any inspiration or sound sources that influence your composition and add this
content to your portfolio.
- Investigate ways of notating in both traditional and non-traditional methods.

Home work: Practice your individual part in your group performance, record
yourself and analyse your own performance in terms of areas for improvement and
what you played well.
5 x x x - Listen to “Can’t Help Falling in Love Cover” by Pentatonix and analyse on how they x x x x x X
have created musical interest. What musical concepts are in place within this cover?
- Evaluate the live performance of “Can’t help falling in love” cover. What could they
improve on? What did you really like about their performance? What did you feel
was missing?
- Final group performance rehearsals before presentation of HSC repertoire.
- Perform the selected piece in groups for repertoire: music for small ensembles.
- Provide a peer evaluation of another group performance discussing the following
aspects; improvement, positives, could benefit from and overall group performance
persona.

Home work: Combine all documents to do with your composition and file them in
accordance to a content page which should be provided after the composition title
page. For support in creating a composition portfolio refer to Music Stage 6 Support
Document: Chapter 9 Composition and Musicology Portfolio in Stage 6 Music
(pg.39) Link provided below. *

Submission of Performance and Peer Reflection due in lesson as allocated this


week.
6 x x x - Complete, prepare and present your compositional arrangement on a piece of x x x x
repertoire that represents popular or rock music for small ensemble.
- Provide a musical excerpt of your composition to be played to the class as
anonymous listening content.
- Using a formatted reflection sheet. Complete a positive and supporting reflection on
each listening. For example; What did you like about the piece, how would you build
on the piece and what mark would you give the composition out of 15.
- Recap on the unit: What are small ensembles, what are the characteristics of pop and
rock and how can this be conveyed in a group setting. What is important when
working in a group setting? How can we accommodate for everyone in our group?
When performing how do we convey a musical identity? How can we create musical
interest and expression through the way we present ourselves as musicians?

Submission of Composition Assessment due last lesson this week.


Assessment Tasks

1. Performance Assessment Task (Due in class during Week 5)

Perform an arrangement from the repertoire of pop and rock music for small ensembles and reflect on a peer group performance. You will need
to:

- Perform a song of rock /pop genre within a group setting.


- Watch, support and positively reflect on fellow peer’s performance.
- Rehearse your individual role at home and participate within group performance rehearsals.

Outcomes Assessed: H1, H3, H8, H9, H10

2. Composition Assessment Task (DUE last class in Week 6)

Students are to arrange a piece of music from either pop or rock genre and generate a finalised piece for small ensemble through a compositional
portfolio. This portfolio shows the progress of decision making and problem solving that the composer undertook in arranging for small
ensemble. You will need to:

- Arrange a piece of music from either pop or rock genre for small ensemble. (duo, trio or any group bigger)
- Experiment and improvise using previous experiences and materials used in class to provide inspiration towards your arrangement.
- Represent a particular style, showing characteristics of either rock or pop music.
- Accurately notate the composition for small ensemble including traditional or/and non-traditional notation.
- Presents the composition neatly and professionally in a portfolio that clearly identifies the title, composer and contents within the
compositional portfolio.

Outcomes Assessed: H3, H4, H6, H8, H10


Assessment Criteria
1. Performance Assessment Task

- Performing as part of ensemble.


- Development of performance skills representative through studied of pop or rock music for small ensembles.
- Ability to positively reflect on fellow peer group performances.
- Musical Identity: means of self-expression.

2. Composition Assessment Task

- Arrange a piece of music from either pop or rock genre for small ensemble.
- Show inspiration of previous experiences and materials used in class towards your arrangement.
- Shows understanding of musical concepts and the relationship between them.
- Provide representation of the characteristics of either style of pop/ rock music.
- Accurately notate the composition for small ensemble including traditional or/and non-traditional notation.
- Present the composition neatly and professionally in a portfolio that clearly identifies the title, composer and contents within the
compositional portfolio.

Resources
“Tips for Performing as part of a band” (2017) Finley Roach. Retrieved from the National Music Academy on the 26th of April 2018,
https://www.nationalmusicacademy.com.au/tips-performing-part-band/

“Music Stage 6 Support Document: Chapter 9 Composition and Musicology Portfolios in Stage 6” (2009) Retrieved from NESA on 26th April
2018, http://educationstandards.nsw.edu.au/wps/wcm/connect/aa250846-3002-4a8a-
a1d94718f788efb8/music12_support.pdf?MOD=AJPERES&CVID=

“From Potential to Performance” (2017) Retrieved on the 26th of April 2018,


http://web.uniarts.fi/practicingtipsformusicians/performance/index.html
Selected Repertoire
1. ‘Run to You’ – Pentatonix (2014) Retrieved from YouTube on the 26th of April 2018, https://youtu.be/sp7PS_UN8Lo

- Run to You - The MadHatters (Pentatonix Cover) (2016) Retrieved from YouTube on the 26 th of April 2018,
https://youtu.be/vgSBsG7QNNA
- Run to you (Pentatonix) – Vital Signs A Capella (2017) Retrieved from YouTube on the 26th of April 2018, https://youtu.be/5Cac-
XL66FU

2. Elvis Presley - Can’t Help Falling in Love 1961 (High Quality) (2017) NoMadU55555. Retrieved from YouTube on the 26 th of April 2018,
https://youtu.be/pXhKWWCCdk8

- Can’t Help Falling in Love by Elvis Presley – Stringspace – String Quartet cover (2017) StringspaceLive. Retrieved from YouTube on
the 26th of April 2018, https://youtu.be/J7S5viqJT9o
- Elvis Presley – Can’t Help Falling in Love – 7th Ave A Capella cover. (2016) 7thAve Band. Retrieved from YouTube on the 26 th of April
2018, https://youtu.be/zp28RylttZ0
- UB40 – (I Can’t Help) Falling In Love with You. (2009) UB40VEVO. Retrieved from YouTube on the 26 th of April 2018,
https://youtu.be/vUdloUqZa7w
- Meghan Trainor – Can’t Help Falling in Love (by Elvis Presley). (2016) Fe Shannen Cinco. Retrieved from YouTube on the 26th of April
2018, https://youtu.be/6VJfq0jb_tc

3. AC/DC – Thunderstruck (Official Video). (2012) acdcVEVO. Retrieved from YouTube on the 26 th of April 2018,
https://youtu.be/v2AC41dglnM

- Thunderstruck by Steve’n’Seagulls (LIVE). (2014) Steve Seagulls. Retrieved from YouTube on the 26 th of April 2018,
https://youtu.be/e4Ao-iNPPUc
- AC DC – Thunderstruck (Crookers Remix). (2009) Technologicalsound. Retrieved from YouTube on the 26 th of April 2018,
https://youtu.be/VXhryz5DAzg
- Thunderstruck for Percussion Ensemble Alumnado PercuFest 2014 dirigido por Rafa Navarro. (2014) PercuFest International Percussion
Festival. Retrieved from YouTube on the 26th of April 2018, https://youtu.be/SYSxOj6W7IQ?t=3m47s
- 2CELLOS – Thunderstruck [Official Video]. (2014) 2CELLOS. Retrieved from YouTube on the 26th of April 2018,
https://youtu.be/uT3SBzmDxGk?t=38s
Music 2: Unit Program

Topic: Music of the Last 25 Years


Focus: Music for Small Ensembles (Pop/ Rock)

This unit of work is designed for students undertaking Music 2 within their HSC course of Music. The unit fulfils the mandatory requirement of
the topic, ‘Music of the last 25 years (Australian Focus)’ and revisits the study of the preliminary topic Music 1945 to music 25 years ago with a
focus in a range of styles and genres.

This unit considers the current practices in music of particular styles or genres with focus on Australian music of both art music and music of
other genres. The unit is performance based and provides a variety of selected works for students to express their skills on their chosen
instruments in either small groups or as a soloist. Activities provided in this unit focus highly on the skills of the three listening experiences;
performance, listening and composition. The purpose of this unit is to explore the characteristics of rock and pop ensembles in Australia, which
may provide inspiration and influence to the preparation for the Core Composition component of the Higher School Certificate external
examination. The repertoire played, heard and discussed in this unit could serve as preparation towards compositional influences, selected
repertoire performances or topic specific musicology essays.

The assessment will consist of the presentation of a viva voce, a 1500-word written analysis of the selected repertoire piece that will be spoken
about and a 500-word reflection on the importance of musical identity within performance.

Unit Duration
This unit is designed for a six week program consisting of 4 lessons x 45 mins per week.

Resources
- YouTube
- Score and recording of selected repertoire.
- Teacher devised worksheets for structured aural, improvisation and musicology activities.
- Google Drive, Documents and Classroom
Course Music 2 – HSC
SYLLABUS CONTEXT: Music of the Last 25 Years (Australian Focus) TOPIC: Music for Small Ensembles (Pop/Rock)
SYLLABUS OUTCOMES Performance FOCUS ASSESSMENT
H1: performs repertoire that Within this unit students will: • 500-word contribution
reflects the mandatory and • Perform melodic phrases from the selected repertoire scores. on performance
additional topics and addresses • Improvise through the rehearsal of performative activities by using identity and the means
the stylistic and technical adaptive technologies in conveying stylistic features of pop or rock music. of self-expression.
demands of the music as a soloist • Perform a simple score utilising the existing materials and manipulating
and as a member of an ensemble. and experimenting with other modern musical creations and technologies.
H2: demonstrates an Composition
understanding of the Within this unit students will:
relationships between • Improvise melodies to create musical interest and expression among their • Explain through a
combinations of the concepts of own instrument and may use technological devices as a method of descriptive statement
music, by interpreting, notating, modification. the effects of stylistic
analysing, discussing, composing • Identify and compose their own musical identity through the compositional features and
and evaluating combinations of activities that allow for freedom of modern musical ideas in pop and rock improvisation on
musical symbols reflecting those genre music. existing composer and
characteristics used in the performers work and
• Use a variety of compositional devices to arrange and develop new motifs
mandatory and additional topics. how it shapes their
for existing materials with focus on the relationship between musical
H3: composes works focusing on performance identity.
concepts.
a range of concepts, for familiar
• Compose their own graphically notated score through the representation of
and unfamiliar sound sources,
a simple lead sheet for small ensembles groups and independent musicians
solo, small and large ensembles,
to perform.
or using a variety of musical
Musicology
structures. • Discussion of a
H4: stylistically creates, Within this unit students will:
particular style with
improvises, arranges and notates • Identify and describe the musical features and characteristics represented
reference to selected
music which is representative of through the selected repertoire.
repertoire to support
the mandatory and additional • Explore the depth of rock music in Australia using selected repertoire as a
the use of musical
topics and demonstrates different starting focus on popular small ensembles within Australia.
concepts and
• Critically analyse various techniques explored through the written scores of compositional
selected repertoires.
social, cultural and historical • Demonstrate an understanding of the role of improvisation within rock and techniques in creating
contexts. popular music as conveyed through the various instrumental roles. music for a specific
H6: discusses, constructively • Demonstrate a knowledge in composing scores that consist of non- genre.
criticises and evaluates traditional and traditional notation and other compositional notating
performances and compositions techniques as explored in modern pop and rock scores.
of others and self with particular Aural
reference to stylistic features of Within this unit students will:
the context. • Aurally identify the characteristics of selected repertoire and similar scores • Analysis of selected
H7: critically evaluates and based around the genres of rock and pop music. repertoire in
discusses in detail the concepts of • Critically analyse various compositional works to develop an preparation for the
music in works representative of understanding of the use of musical concepts. vice voce.
the mandatory and additional • Explore through comparison the differences between rock and popular
topics. genres with the incorporation of cross-genre listening.
H9: identifies, recognises, • Identify how musical interest is obtained and explore their own
experiments with, and discusses performance identity through the interaction and understanding of various
the uses and effects of
performance repertoire allocated.
technology in music.
H10: performs as a means of
self-expression and
communication.
Concept Focus Focus Repertoire Resources
Duration: new methods of rhythmic notation, simple, Run to You – Pentatonix - Teacher generated activity worksheets
compound and mixed metre, syncopation, diminution & - YouTube
augmentation, silence and rests. Can’t help Falling in Love – Elvis - Selected Repertoire Sheet Music
Presley (Small Ensemble - Technology Devices
Dynamics and Expressive Techniques: Stylistic Arrangements) - Google Drive
indications including commonly used markings for - Google Classroom
expression, articulations and dynamic contrasts including - Google Documents
gradations, ornamentation, electronic manipulation of Thunderstruck – ACDC (Various - Internet Browser
sounds. Small Ensemble Arrangements)

Pitch: new methods of pitch notation, modulation &


tonicisation, cadences, modal harmony, chromaticism,
diatonic harmony, pitch direction and melody contour,
variety of clefs, various notation systems, definite and
indefinite pitch.

Structure: unity and contrast, use of standard patterns and


patterns that don’t conform to standard patterns, multi-
movement structures and structures used in different
cultures like pop and rock genre.

Texture: linear and vertical arrangement of music,


thematic material, terms used to describe texture, harmony
and voicing, register, range and roles of instruments and
voices.

Tone Colour: recognition of tone colour, individual voices


and instruments, techniques used to manipulate tone
colour, electronic and synthesised sounds, commonly used
directions for instrumental and vocal techniques, methods
of sound production.
Week C A M P Sequence Chart D D/E P S T TC
1 x x x x - Explore the stylistic features between rock and pop genres through the listening of x x x
short musical excerpts and the activity of characteristic identification with some
reference to the musical concept of structure. E.g. Unity and contrast, standardised
patterns, particular structures found in pop and rock genres.
- Introduce “Thunderstruck” by ACDC. Complete a listening analysis of the use of
musical concepts within this piece and draw on existing characteristics presented
within the listening.
- Complete various activities that will explore the linear and vertical arrangement of
the piece, the individual voices and instruments; their roles and any manipulation of
these instruments to create interest and expression.
- Score Performance of “Thunderstruck” as a class through performance activity using
human actions and movements to convey the meaning of the song to the group.
- “Thunderstruck” Music Clip Reflection on the performance aspects like identity,
persona and setting.

Introduce the assessment task.


Provide time for students to plan how they will approach the task. Allow students to
research on the following points that will assist in the completion of the assessment.
(performance identity, compositional techniques of rock/ pop music, influence of
technology, further research into selected repertoire piece).
2 x x x x - Explore Australian Rock Music through a timeline presentation of bands and small x x x x
groups that were important in defining Australia’s Rock History.
Identify what characteristics were most present at the time and how technology has
affected the sound production of rock music.
- In small groups, students will listen to various covers of the song ‘thunderstruck’
before commencing practice on the first verse and chorus of ‘Thunderstruck’. They
are to manipulate either the style of the song to one of another genre, the selection of
instruments or whether the sound aesthetic is natural or amplified.
- In rehearsal students are to think about the importance of structure and texture within
small ensembles and performance to ensure the piece is unified and provides contrast
to maintain the audience’s attention.
- Students are advised to some form of technology within rehearsal as a tool for
preparing for performance. (e.g. tuner, loop pedal system, recording and playback
device)
- Practice your selected repertoire piece for the HSC performance examination.

Home work: Write a page of personal reflection on your performance identity.


How do you identify yourself as a performer? What is your musical identity that you
want to or are trying to achieve? What purpose are you on the stage for?
3 x x x x - Group performance of “Run to You” by Pentatonix to be either sung or played on x x x x
instruments of the same tone colour. Be sure to record performance to listen back and
critically analysis.
- Listen to performance. Identity what musical concepts are used within this musical
piece and how is this piece creating interest.
(modulation, pitch melody and contour, harmony, dynamic contrasts, voicing and
roles of each instrument).
- Brainstorm the ways you could modify this song without changing the musical score
written. (Multiple parts for bigger ensemble, dynamic of the instruments, add rhythm,
tempo and beat).
Listen to variations of the musical examples of “run to you”.
- Explore the multiple ways of notating through many visual representations from
multimedia sources like videos, scores, apps and software.
- Score Notation: Create interest to the existing “run to you” score by exploring the
possible variations to tone colour, and dynamics and expressive techniques. Use your
instrument to understand the contrast between existing materials and your creation.

Solo Research Task/Homework: What Expressive Techniques are available for


your selected instrument? How are they played/ performed? Find a link that provides
detail showing how to convey an expressive technique on your instrument. Submit
this link within the class google document for future resources in your own
independent study.
Week C A M P Sequence Chart D D/E P S T TC
4 x x x - Explore Musical Identity: the means of performance for self-expression. Brainstorm x x x x x
what is music? And why do we play music?
- Class discussion on What is a performer? How do we create a performer within
ourselves?
- Research task in pairs: tips for rehearsing for performance. Download the template
on performance tips from google drive and list the important tips for performing that
you gathered from your research. Find some articles on performing in groups to see if
there is different advice.
- Look into your specific instrument: techniques, associated characteristics and
different ways of playing (amplified, percussive, electronic). Explore how you would
as a performer convey expressive techniques, expression of setting, performance
persona and identity. Think about how music interest is obtained and kept.
- Critically analyse the performance identity of multiple performances. Is there
anything you would take from these artists as a contribution to your own musical
identity.
- Composing as a composer-performer: considering the stylistic features of a particular
style, genre or culture. Creating achievable goals and understanding creativity as a
mean of expressing yourself to the audience.
- Compose a song. Create lyrical content around an issue that is present and prominent
in your life. Create music that accompanies the lyrics through setting, mood and
theme. Think about how you would present emotions through music.
- Practice the song and share through performance to another student/s in the class.
- Practice your selected repertoire piece for the HSC performance examination.

Homework: Write 250 words on a composer/ performer that you wish/aim/could be?
5 x x x x - Provide the score for “Can’t Help falling in love” by Elvis Presley. Students will x x x x x x
need to listen and prepare a score analysis of the song’s musical direction. Students
will then be provided with 3 musical excerpt listening’s where they will be asked to
describe and sight read parts of the score.
- Students will listen to multiple playing of the song “Can’t help falling in love” and
will discuss as a class how musical interest is shown in each piece and will complete
the activity with a comparison report on how each piece is different from another and
what musical qualities and characteristics are shown.
- Students will be provided viva voce analysis sheet to complete and fill out. It will be
expected that students have decided what selected piece of repertoire to talk about
and have started writing notes on the musical concepts, expression and musical
interest of the piece; as well as the composer’s musical performance, identity, intent
of the piece and further details regarding the question. “How does the composer
maintain musical interest?”

Submission of Assessment Part A due the last lesson this week.


6 x x x - Explore how technology effects the way that we identify music and contributes to x x x x x x
music within small ensembles.
- Recap on the musical qualities and characteristics of rock/pop music and how the
addition of technology has assisting in the shaping of the music culture over the past
25 years.
- Discuss the student views on Performer Identity, use of compositional techniques and
stylistic features shown from other artists.
- Students will present their viva voce in small groups, whilst the remainder of the
class practices their selected piece of repertoire for their HSC performance.

Submission of Assessment Part B due the first lesson this week.


Submission of Assessment Part C during allocated lesson this week.
Assessment Task
1. Viva Voce Assessment Task

This assessment task consists of three parts.

A: 500-word contribution on performance identity and the means of self-expression.

• Explain through a descriptive statement the effects of stylistic features and improvisation on existing composer and performers work and
how it shapes their performance identity.
• Discuss the importance of performance identity as a mean of expressing beliefs, ideas and styles that associate to culture, genres and your
performative self.

B: Analysis of selected repertoire in preparation for the viva voce. (Form of a 1500-word essay)

• Demonstrates understanding and knowledge of musical concepts displayed through the selected repertoire chosen for analysis.
• Shows understanding of musical knowledge consisting of the composer’s intention, compositional techniques and personal identity.

C: Viva Voce on selected piece of repertoire from pop/rock genre regarding the question: “How does the composer maintain musical interest?”

• Discussion with reference to selected repertoire to support the use of musical concepts and compositional techniques in creating music
for the genre of rock/pop.
• Explanation of understanding of musical qualities and characteristics conveyed by the composer and explains in relevance to how
musical interest is presented throughout the repertoire provided.

Outcomes Assessed: H2, H6, H7, H9


Due Dates:
A: Week 5 Last Lesson
B: Week 6 First Lesson
C: Week 6 Allocated Lesson

Assessment Criteria
1. Viva Voce Assessment Task

Part A
- Shows understanding and knowledge of musical identity involving the means of performance as an expressive reflection of the
individual’s persona.
- Discusses the influence of supporting factors such as culture, genre and styles and their contribution towards compositional works and
musical persona.

Part B and C
- Application of skills o in-depth analysis
- Understanding of musical concepts and the relationships between them within the relevant context supported by relevant musical
examples and quotations drawn from primary sources.
- Organisation, development and expression of ideas.

Resources
“Tips for Performing as part of a band” (2017) Finley Roach. Retrieved from the National Music Academy on the 26 th of April 2018,
https://www.nationalmusicacademy.com.au/tips-performing-part-band/

“From Potential to Performance” (2017) Retrieved on the 26th of April 2018,


http://web.uniarts.fi/practicingtipsformusicians/performance/index.html
Selected Repertoire
1. ‘Run to You’ – Pentatonix (2014) Retrieved from YouTube on the 26th of April 2018, https://youtu.be/sp7PS_UN8Lo

- Run to You - The MadHatters (Pentatonix Cover) (2016) Retrieved from YouTube on the 26 th of April 2018,
https://youtu.be/vgSBsG7QNNA
- Run to you (Pentatonix) – Vital Signs A Capella (2017) Retrieved from YouTube on the 26th of April 2018, https://youtu.be/5Cac-
XL66FU

2. Elvis Presley - Can’t Help Falling in Love 1961 (High Quality) (2017) NoMadU55555. Retrieved from YouTube on the 26 th of April 2018,
https://youtu.be/pXhKWWCCdk8

- Can’t Help Falling in Love by Elvis Presley – Stringspace – String Quartet cover (2017) StringspaceLive. Retrieved from YouTube on
the 26th of April 2018, https://youtu.be/J7S5viqJT9o
- Elvis Presley – Can’t Help Falling in Love – 7th Ave A Capella cover. (2016) 7thAve Band. Retrieved from YouTube on the 26 th of April
2018, https://youtu.be/zp28RylttZ0
- UB40 – (I Can’t Help) Falling In Love with You. (2009) UB40VEVO. Retrieved from YouTube on the 26th of April 2018,
https://youtu.be/vUdloUqZa7w
- Meghan Trainor – Can’t Help Falling in Love (by Elvis Presley). (2016) Fe Shannen Cinco. Retrieved from YouTube on the 26th of April
2018, https://youtu.be/6VJfq0jb_tc

3. AC/DC – Thunderstruck (Official Video). (2012) acdcVEVO. Retrieved from YouTube on the 26th of April 2018,
https://youtu.be/v2AC41dglnM

- Thunderstruck by Steve’n’Seagulls (LIVE). (2014) Steve Seagulls. Retrieved from YouTube on the 26 th of April 2018,
https://youtu.be/e4Ao-iNPPUc
- AC DC – Thunderstruck (Crookers Remix). (2009) Technologicalsound. Retrieved from YouTube on the 26 th of April 2018,
https://youtu.be/VXhryz5DAzg
- Thunderstruck for Percussion Ensemble Alumnado PercuFest 2014 dirigido por Rafa Navarro. (2014) PercuFest International Percussion
Festival. Retrieved from YouTube on the 26th of April 2018, https://youtu.be/SYSxOj6W7IQ?t=3m47s
- 2CELLOS – Thunderstruck [Official Video]. (2014) 2CELLOS. Retrieved from YouTube on the 26th of April 2018,
https://youtu.be/uT3SBzmDxGk?t=38s

You might also like