Sample Senior Music work program High School Music

Transcription

Music
Work program sample
Sample Senior Music work program
Reproduced with the permission of Sunshine Beach State
High School
September 2008
A work program is the school’s plan of how the course will be delivered and
assessed, based on the school’s interpretation of the syllabus. The school’s work
program must meet syllabus requirements, and indicate that there will be sufficient
scope and depth of student learning to reflect the general objectives and meet the
exit criteria and standards.
This sample demonstrates one approach, and should be used as a guide only to help
teachers plan and develop school work programs.
PLEASE NOTE: This is a sample provided by a school. It is not an official publication of the QSA.
Queensland Studies Authority
Ground floor, 295 Ann Street, Brisbane. PO Box 307, Spring Hill Queensland 4004
Phone: (07) 3864 0299; Fax: (07) 3221 2553; Email: [email protected]; Website: www.qsa.qld.edu.au
SUNSHINE BEACH STATE HIGH SCHOOL
SENIOR
MUSIC
WORK PROGRAM
July 2005
SUBJECT 091
PANEL B26
SCHOOL CODE 220
For Syllabus 2004
TABLE OF CONTENTS
Course Organisation
3
Time Allocation
3
Outline of Intended Student Learning
- Music’s Greatest Hits
4
- Heroes & Villains
5
- Jazz
6
- Big Bangs
7
- Film Music
8
- My Island Home
9
Assessment Plan
- Year A
10
- Year B
11
Sample Profile
12
Course Overview
Sunshine Beach State High School’s Music course is structured to allow
implementation in either separate Year 11&12 classes or in a combined 11/12 class.
To this effect, therefore, the years have been notated as Year A and Year B.
Combined Class Scenario
A student entering year 11 in 2006 will study Year A then Year B; and a student
entering Year 11 in 2007 will study Year B then Year A.
example
Year 11 student
Year 12 student
2006
Year A
2007
Year B
Year B
2008
Year A
Year A
Separate Classes Scenario
Students will study Year A in Year 11 and Year B in Year 12.
Time Allocation & Course Outline
Sunshine Beach SHS allocates 220minutes per week for senior Music. This exceeds
the minimum stated requirement of 220 hours over the course of study.
The Course outline below uses a combination of thematic and genre-based
approaches.
Year A
Time Allocation
Unit/Topic
Term 1
Music’s Greatest Hits (Thematic)
Terms 2 & 3
Heroes & Villains (Thematic)
Term 4
Jazz Styles
(Genre)
Year B
Time Allocation
Unit/Topic
Weeks 1-15
Big Bangs
(Thematic)
Weeks 16-30
Film Music
(Thematic)
Term 4
My Island Home (Thematic)
Outline of Intended Student Learning
Music’s Greatest Hits (Year A Term 1)
Focus -
An exploration of a broad range of musical styles, genres and contexts through the study of specific works (or composers’ bodies of work) that have become
recognised as frequently performed and widely admired. This unit has an instrumental focus, including:
•
•
•
Music through the ages (baroque, classical, romantic and contemporary)
Music of famous well known composers and artists
Yr 11 only – foundational musical concepts and skills
Suggested assessment: The assessment during this unit could be selected from:
•
Formal test covering the styles studied in class, using both studied and
unstudied repertoire, requiring (yr11 some) extended analytical responses to
aural and/or visual sources.
•
An analysis of an unstudied work from one of the studied genres, contexts or
composers. May be presented electronically with visual and audio additions.
•
Composition (either as recorded sound or written score) reflecting a particular
genre, context or composer
•
Arrangement of a theme from the repertoire (either as recorded sound or written
score)
•
Performance of music from a studied genre, context or composer (may be as
conductor)
Conditions of implementation are given in the Assessment Outline (p.10)
Suggested repertoire:
•
Music from the Baroque period including: Bach Brandenburg Concertos;
Handel Water Music; Vivaldi The Four Seasons
•
Music from the Classical Period including: Mozart Symphony 40, Eine Kleine
Nachtmusik; Beethoven Symphonies 5 & 9, Fur Elise;
•
Music from the Romantic Period including: Tchaikovsky Nutcracker, Grieg Peer
Gynt, Piano Concerto in Amin; Mussorgsky Pictures at an Exhibition, Smetana
The Moldau, Dukas The Sorcerers Apprentice
•
Contemporary Music (post 1900) including Orff Carmina Burana, the music of
Gershwin, Porter, Glenn Miller, The Beatles, Queen, Tommy Emmanuel, James
Morrison, John Farnham, Yothu Yindi
Suggested learning experiences:
•
Exploring (yr11 and developing an understanding of) aspects of duration,
dynamics, harmony, melody, structure, texture and timbre within selected
repertoire.
•
Identifying musical elements and compositional devices in heard and
unheard music and how they are used within the structure of the whole, or
section of, a piece
•
Listening to recordings and reading the scores from a wide range of music
contexts, genres and styles
•
Deconstructing the notation of a piece to understand more fully the use of
musical elements in a wide variety of repertoire.
•
Attending live performances (when available), watching videos
•
Comparing musical works
•
Investigating musical contexts, genres and styles with reference to related
historical, social, cultural and philosophical backgrounds
•
Determining the style of a composition and evaluating stylistic consistency
•
Creating and notating rhythms, melodies and harmonic progressions
•
Representing musical compositions in score format
•
Evaluating and editing composition using audiation, drafting and peer review
•
Writing idiomatically for specific instruments, voices and other sound sources
•
Creating and arranging music relating to performed and analysed repertoire.
•
Singing, playing or conducting a variety of music
•
Making adjustments to the sound during performance to enhance its quality
•
Rehearsing to improve accuracy, technique, ensemble skills, style and
presence
Heroes and Villains (Year A Terms 2 & 3)
Focus An exploration of how composers have portrayed heroes and villains or a related moods (eg triumphant, sinister) in a variety of musical works. Students develop knowledge and
understanding of a range of musical styles and genres which highlight the dichotomous character traits of heroes and villains. By investigating and analysing, students develop an
awareness of the features, characteristics and nuances inherent in particular works and genres and the role of musical elements in character portrayal. This unit has a vocal focus.
•
•
Analysis task involving comparing and contrasting two works of the same
genre (eg opera) but from different historical or social contexts.
•
Rehearse and perform a piece from the studied repertoire, as performer or
conductor
•
Accompany a performance
•
Year 12 – composition for 2-4 voices a capella or accompanied.
•
Year 11 – arrangement of a given melody for 2-4 voices a capella or
accompanied.
Conditions of implementation are given in the Assessment Outline (p.10)
•
•
•
•
•
•
•
Gilbert & Sullivan Pirates of Penzance, The Mikado
Mozart Don Giovanni
Rodgers & Hammerstein South Pacific; Bernstein West Side Story; Sondheim
Sweeney Todd, Kander & Ebb Cabaret
Lloyd-Webber Cats, JC Superstar, Gershwin Porgy & Bess, Schonberg Les
Miserables
Schubert Erlkonig
Handel Hallelujah Chorus, St Matthew’s Passion
Amorosi Heroes Live Forever; and other contemporary music portraying
elements of heroes/villains.
•
Identifying musical elements and compositional devices in heard and unheard
music and how they are used within the structure of the whole, or section of, a
piece
•
Listening to recordings and reading the scores from a wide range of music
contexts, genres and styles
•
Deconstructing the notation of a piece to understand more fully the use of
musical elements in a wide variety of repertoire.
•
Attending live performances and theatrical productions(when available),
watching videos
•
•
•
•
•
Writing accompaniments
•
•
•
•
Creating music for a specific purpose, relative to context, genre, style and
mood
•
•
•
presence
•
Playing and singing at sight
Jazz Styles (Year A Term 4)
Focus An investigation and study of a range of repertoire and styles of jazz music.
•
•
•
•
•
•
Composition in a jazz style
Arrangement of a melody in a jazz style
Rehearse and perform a piece from the jazz repertoire, as performer or
conductor
Improvising
Yr 12s only - Formal test covering the styles studied in class, using both
studied and unstudied repertoire, requiring (yr11 some) extended
analytical responses to aural and/or visual sources.
Yr 12s only - An analysis of an unstudied work from one of the studied
genres, contexts or composers. May be presented electronically with
visual and audio additions.
•
•
•
•
•
•
•
•
•
•
•
•
•
Bessie Smith – Backwater Blues
Bille Holiday – Billie’s Blues
Louis Armstrong – West End Blues, Ory’s Creole Trombone
Weill – Mack the Knife
Glenn Miller – In the Mood, Little Brown Jug, Tuxedo Junction,
Ellington – It Don’t Mean a Thing, Ko-Ko, Take the A-Train
Weather Report - Birdland
Porter - Delovely
Gershwin – Piano Concerto in F, Piano Prelude #1
Joplin – Pineapple Rag
Charlie Parker – Au Privave, A Night in Tunisia
Ed Wilson – 12 metre boogie, Recycled Blues (aka song for Sarah)
Artisans Workshop - Ridiculous
•
Identifying musical elements and compositional devices in heard and
unheard music and how they are used within the structure of the whole,
or section of, a piece
•
Listening to recordings and reading the scores from a wide range of
music contexts, genres and styles
•
Deconstructing the notation of a piece to understand more fully the use
of musical elements in a wide variety of repertoire.
•
•
•
Exploring the music conventions in different cultures
•
Investigating musical contexts, genres and styles with reference to
related historical, social, cultural and philosophical backgrounds
•
Determining the style of a composition and evaluating stylistic
consistency
•
•
•
Arranging music from one context, genre or style to another
•
Evaluating and editing composition using audiation, drafting and peer
review
•
Writing idiomatically for specific instruments, voices and other sound
sources
•
Creating music for a specific purpose, relative to context, genre, style
and mood
•
•
Making adjustments to the sound during performance to enhance its
quality
•
presence
•
Presenting analyses in a variety of media
•
Improvising
Big Bangs (Year B Weeks 1-15)
Focus An investigation and exploration of some significant breakthroughs in western music that have contributed to its development over the past two millennia.
•
•
•
•
Big Bangs in Compositional Technique
Big Bangs in Instruments
Big Bangs in Music Technology
Yr 11 only – Foundation music concepts & skills
•
•
An analysis of an unstudied work from one of the studied “bangs” or
composers. May be presented electronically with visual and audio
enhancements.
•
Performance of music from a studied genre, context or composer (may be as
conductor)
•
(yr 12 only) Composition in a particular style studied in class
•
•
•
• Plainsong, organum
• Bach – Well Tempered Klavier ; Little Fugue in Gm, Toccata & Fugue in Dm
• Bull – The Kings Hunt
• Mozart – Piano Concerto, Symphony #40 in Gm, Eine Kleine, Le Nozze di
Figaro
• Chopin – Fantasie-Impromptu
• Rossini – William Tell Overture
• Purcell – Dido & Aeneas
• Oldfield – Tubular Bells
• Fanshawe – African Sanctus
• Crumb - The Ancient Voices of Children
• Reich – Its Gonna Rain, New York Counterpoint
• Boulez – Hammer without a Master
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
Studying the way music and its development have been shaped by revolutions in
areas such as instruments, composition and technology. These revolutions may
include:
o
Music notation
o
Harmony
o
Polyphony
o
Equal temperament
o
The piano
o
Valves
o
Opera
o
Music printing
o
Music recording
o
Synthesis, sequencing
o
Computer notation and scoring
o
Sonata form
o
Avant Garde (minimalism, aleatory, graphic notation etc)
Exploring (yr11 and developing an understanding of) aspects of duration, dynamics,
harmony, melody, structure, texture and timbre within selected repertoire.
Identifying musical elements and compositional devices in heard and unheard
music and how they are used within the structure of the whole, or section of, a
piece
Listening to recordings and reading the scores from a wide range of music contexts,
genres and styles
Deconstructing the notation of a piece to understand more fully the use of musical
elements in a wide variety of repertoire.
Arranging music from one context, genre or style to another
Creating music for a specific purpose, relative to context, genre, style and mood
Rehearsing to improve accuracy, technique, ensemble skills, style and presence
Film Music (Year B Weeks 16-30)
Focus Throughout this unit, students examine the musical score as an integral structural element of cinema, and explore the role of music in films through analysing
repertoire, composing and performing. A variety of genre and styles could be studied, including pop, jazz, folk; music from other countries and selected orchestral
works.
Suggested Assessment:
•
Analysing repertoire: Extended written task
- Analytical essay discussing the manipulation of music elements and
compositional devices used in a chosen excerpt from film and the
relationship between the scene/action and the music (Year11)
•
•
•
- Analytical comparative essay discussing two or more excerpts from the
one film, or two or more films from the one composer and the
manipulation of music elements and compositional devices used
Formal Test
Composition underscoring a film excerpt
Performance of piece of music from a film
•
•
•
•
•
Suggested Repertoire (based on composers):
•
•
•
•
•
•
•
•
John Williams - ‘Jaws’, ‘Starwars Trilogy’; ‘Schindler’s List’; ‘Far & Away’; the
‘Superman’ series I, II, III & IV; ‘E.T.’; the ‘Indiana Jones’ movies; ‘Close
Encounters of the Third Kind’; ‘J.F.K’; ‘Home Alone’; ‘Empire of the Sun’;
‘Minority Report’; ‘Hook’; ‘Harry Potter and the Philosopher’s Stone’; ‘War of
the Worlds’; ‘The Terminal’;
Danny Elfman – ‘Beetlejuice’; ‘Edward Scissorhands’; ‘Dick Tracy’; ‘Midnight
Run’; ‘Men In Black’; ‘To Die For’; ‘Red Dragon’; ‘Spiderman I & 2’; ‘Hulk’;
Bernard Herrmann – ‘Citizen Kane’; ‘The Day the Earth Stood Still’; ‘Psycho’;
‘Cape Fear’
John Barry - Goldfinger’; ‘Born Free’; ‘A View to a Kill’; ‘Dances with
Wolves’;
Jerry Goldsmith - ‘Planet of the Apes’; ‘Chinatown’; ‘Star Trek – the Motion
Picture’; ‘Psycho II’; ‘Gremlins I & 2’; ‘Rambo series’; ‘The Burbs’; ‘First
Knight’; ‘Mulan’; ‘The Omen’; ‘The Mummy’;
Hans Zimmer - ‘Rain Man’; ‘Never Ending Story II’; ‘Driving Miss Daisy’; ‘The
Power of One’; ‘The Prince of Egypt’; ‘Gladiator’; ‘Mission Impossible II’;
‘King Arthur’; ‘Batman Begins’; ‘The Lion King’; ‘Spanglish’;
Howard Shore – ‘Mrs Doubtfire’; ‘Analyse This’; ‘Silence of the Lambs’; ‘The
Lord of the Rings’ series; ‘The Aviator’
Harry Gregson-Williams – ‘Antz’; ‘Chicken Run’; ‘Spy Kids’; ‘Shrek’; ‘Sinbad,
Legend of the Seven Seas’; ‘Shrek 2’; ‘Bridget Jones: The Age of Reason’;
‘The Chronicles of Narnia – The Lion, The Witch and The Wardrobe’
•
•
•
•
•
•
•
•
•
Identifying and analysing musical elements and their manipulation while analysing
repertoire, composing and performing
Analysing repertoire to discover how composers use music to underscore the action
in a film (through the manipulation of musical elements)
Deconstructing repertoire to more fully understand compositional devices and
techniques
Discussing the roles that music plays in films (including setting the scene;
underscoring the action; portraying characters, source music), listening and viewing
appropriate examples; discussion of how the musical elements are used to achieve
the desired result
Viewing excerpts from films and analysing each in terms of the role the music plays
in the sequence, the relationship between the scene/action and the music and the
use of musical elements and compositional devices and their relationship to the
music’s role in the film sequence
Comparing film scores and composers
Identify and discuss elements of music and compositional devices in a range of
genres and styles
Identify types of sound used in specific film sequences, and ways music is used in
selected excerpts from films
Experimenting with sounds, instruments, styles to portray character themes
Compose short music work’s using available sound sources (vocal, instrumental,
found sounds) to underscore film excerpts, to create a time or place and/or to create
a character themes
Performing extracts of a variety of works from films, both vocal and instrumental
Developing effective rehearsals skills
Rehearsing to improve accuracy, technique, ensemble skills, style and presence
My Island Home (Year B Term 4)
Focus The study of a range of repertoire, styles and composers of Australian music, including:
•
•
•
Australian Art Music
Australian Popular/Rock Music
Australian Indigenous Music
Suggested Assessment:
•
Formal test
•
Arrangement of Australian melody for 2-4 voices, a capella or
accompanied.
•
Composition reflecting the style of an Australian composer/performer.
•
Performance of a piece from the Australian music repertoire.
•
Research task, analysing the body of work of an Australian
composer/performer.
Suggested Repertoire:
•
“Boinko & Billio and other children’s Pieces for Piano” – Whiticker
•
Dragonflies – Miriam Hyde
•
Knips Suite – Carl Vine
•
Russian Rag – Elena Kats-Chernin
•
Earth Spirit – Betty Beath
•
Dance Gundah – Philip Bracanin
•
Seven Ages of Man; Festival Overture – Colin Brumby
•
Voices of Gondwana; Once on a Mountain – Stephen Leek
•
Past Life Melodies – Sarah Hopkins
•
Playback; Four Miniatures for Piano– Mary Mageau
•
Fandango – Ann Carr-Boyd
•
White Knight and Beaver – Martin Wesley-Smith
•
Works of Australian popular artists, including Barnes, Farnham,
Williamson, Morrison, Wilson, Yothu Yindi, Anu, and others
•
Traditional indigenous music
•
Identifying musical elements and compositional devices
•
Reading a score to correlate sound & notation
•
Deconstructing notation
•
Listening to recordings from a wide range of contexts, genres and styles
•
Attending concerts, viewing videos
•
Exploring innovative music-making techniques
•
•
Exploring music conventions in different cultures
•
Determining how mood and character is achieved through use of musical
elements
•
Creating compositions
•
Representing compositions in score format
•
Creating and notation rhythms, melodies and harmonies
•
Creating music for a variety of sound sources
•
Writing accompaniments
•
Creating and arranging music relating to performed and analysed repertoire
•
Singing/playing/conducting a variety of music
•
Realising a score
•
Practising individual parts
•
Interpreting notation within context, style and genre
•
presence in performance.
Suggested Assessment Plan
Assessment tasks should be chosen from the lists provided in the unit overviews, and should
demonstrate a balance across the three general objectives.
The student’s best achievement in each criterion will be selected and used for summative purposes (in
addition to the one task in term 4 year 12). Only these items will appear on the profile, and the items
chosen may differ from student to student.
Year A
Year 11
Unit
Analysing Repertoire
Composing
Music’s Greatest
Hits
Formal test covering the
styles studied in class, using
both studied and unstudied
repertoire, requiring some
extended analytical
responses to aural and/or
visual sources.
Approximately 1.5 hours,
300 word minimum
Arrangement of a
theme from the
repertoire (either as
recorded sound or
written score)
(Term 1)
Heroes & Villains
(Terms 2&3)
Jazz Styles
(Term 4)
Performing
16 bars minimum
Extended written analysis
task involving comparing and
contrasting two works of the
same genre (eg opera) but
from different historical or
social contexts. 600-800
words.
Rehearse and perform
a piece from the
musical theatre
repertoire, as
performer, conductor
or accompanist. May
be from the vocal
/instrumental music
program. At least 3
minutes in length.
Arrangement of a
melody in a jazz style.
16 bars minimum
a piece from the jazz
repertoire, as
performer or
conductor. May be
from the vocal/
instrumental music
program. Alternatively,
piece may be
improvised to a specific
jazz style. At least 3
minutes in length.
Year 12
Unit
Composing
Performing
Music’s Greatest
Hits
repertoire, requiring
extended analytical
visual sources.
Approximately 1.5 to 2
hours. 500-600 words
minimum.
Composition (either as
recorded sound or
written score) reflecting
a particular genre,
context or composer.
32 bars minimum.
Performance of music
from a studied genre,
context or composer
(may be as conductor
or accompanist). May
be from the vocal/
instrumental music
program.
Extended written analysis
task involving at leat two
works to support or refute a
given contention. 800 – 1000
words
Composition for
(recommended 2-4)
voices acapella or
accompanied that
portrays either “good”
or “evil” or describes
an interplay between
the two. 32 bars
minimum.
a piece from the
musical theatre
repertoire, as
or accompanist. May
be from the vocal
/instrumental music
program. At least 3
minutes in length.
An analysis of an unstudied
work from one of the studied
genres, contexts or
composers. May be
presented electronically with
visual and audio
enhancements.
Approximately 1000 words
for extended written
response, or 4 minutes of
presentation.
Composition (vocal,
instrumental or mixed)
in a jazz style. 32 bars
minimum.
a piece from the jazz
repertoire, as
performer or
conductor. May be
from the vocal/
instrumental music
program. Alternatively,
piece may be
improvised to a
specific jazz style. At
least 3 minutes in
length.
(Term 1)
Heroes & Villains
(Terms 2&3)
Jazz Styles
(Term 4)
one task is to be
completed in any one
of the criteria, following
student/teacher
negotiation
At least 3 minutes in
length.
Year B
Year 11
Unit
Big Bangs
Extended written task,
investigating one or more of
the musical “big bangs” that
have shaped the
development of western
music. Approximately 600800 words.
(Weeks 1-15)
Composing
Performing
context or composer
or accompanist). May
be from the
vocal/instrumental
music program.
length.
Composition (may be
vocal, instrumental or
mixed) of a piece to
accompany a given
section of film. Work
may be dramatic or
mood underscore. 30
seconds in duration.
Music of Film
(Weeks 16-30)
My Island Home
(Term 4)
repertoire, requiring some
extended analytical
visual sources.
Approximately 1.5 hours,
300 word minimum
a piece from a film
score as performer,
conductor or
accompanist. May be
from the vocal/
instrumental music
program. At least 3
minutes in length.
Arrangement of a given
Australian melody for
(recommended 2-4
voices) acapella or
accompanied. 16 bars
minimum.
Year 12
Unit
Composing
Performing
Big Bangs
Extended written task,
investigating one or more of
the musical “big bangs” that
have shaped the
development of western
music. Approximately 1000
words.
Composition
(instrumental, vocal or
mixed) in a particular
style studied in class or
in students own style.
32 bars minimum.
context or composer
or accompanist) May
be from the vocal/
instrumental music
program.
(Weeks 1-15)
length.
Music of Film
(Weeks 16-30)
My Island Home
(Term 4)
one task is to be
completed in any one
of the criteria,
following
student/teacher
negotiation
Extended analysis task,
comparing and contrasting
two works from the same
film music composer (eg
Williams, Goldberg,
Faltermeyer) May be
presented electronically with
visual and audio
enhancements.
Approximately 1000 words
for extended written
response, or 4 minutes of
presentation.
Composition (may be
mixed) of a piece to
accompany a given
section of film. Work
may be dramatic or
mood underscore. 1
minute in duration.
a piece from a film
score as performer,
conductor or
accompanist. May be
from the vocal/
instrumental music
program. At least 3
minutes in length.
styles/composers studied in
class, using both studied
and unstudied repertoire,
requiring extended analytical
visual sources.
Approximately 1.5 to 2
hours. 500-600 words
minimum.
Composition (may be
mixed) in a style that
reflects a studied
Australian
composer/performer.
32 bars/ 1 minute
minimum.
a piece from the
Australian music
repertoire (popular or
art music), as
or accompanist. May
be from the vocal/
instrumental music
program. At least 3
minutes in length.
Sample Student Profile
Sunshine Beach SHS
Profile for Senior Music
SUNSHINE BEACH SHS - MUSIC
Name:
Yr 11 ASSESSMENT ITEM
ANALYSING
REPERTOIRE
Yr 12 COMPOSING
YEAR 11 (all formative)
1. ANALYSING REPERTOIRE
2. COMPOSITION
3. PERFORMANCE
INTERIM LEVEL OF ACHIEVEMENT
AT MONITORING
YEAR 12 (all summative)
4. ANALYSING REPERTOIRE
5. COMPOSITION
6. PERFORMANCE
INTERIM LEVEL OF ACHIEVEMENT
AT VERIFICATION
7. POST VERIFICATION TASK
EXIT LEVEL OF ACHIEVEMENT
PERFORMING

Sample Senior Music work program High School Music

Transcription

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