Transcript Listening Journal - Association of Music Educators

Music Investigation
Outcome 3 Performance (including Technical Work)
• On completion of this unit the student should be able to present a
performance of music works that communicates understanding of the
Focus Area.
Key Knowledge includes:
• Strategies for planning a performance program that communicates
understanding of a selected Focus Area
• Strategies for developing and refining accuracy, control, fluency, flexibility,
dexterity, security, coordination and clarity in performance as relevant to
the selected works and instruments
• Idiomatic instrumental tone qualities and variation of tone relevant to the
selected repertoire
• Stylistic characteristics, musical structures and textures, and use of other
elements of music in selected works as they relate to the Focus Area
• Ways of achieving purposeful shape in music through artistic variation of
expressive elements of music, including tone quality, tempo, phrasing,
articulation, dynamics and texture
Lynne Morton
Belmont High School
Cont. Outcome 3
• Strategies for developing expressively shaped, informed
interpretations of works that demonstrate understanding of
relevant historical and contemporary performance practices,
conventions and artistic balance between relevant personal,
stylistic, practical, technological, historical and cultural
influences
• Roles of, and relationships between, instrumental voices in
selected group works, or parts within the texture of solo
works in achieving artistic balance, blend and variation of
texture
Lynne Morton
Belmont High School
Outcome 3
Key skills include the ability to:
• Prepare and perform a program of group or solo works that communicates
understanding of a selected Focus Area
• Demonstrate accuracy, control, fluency, flexibility, dexterity, security, coordination
and clarity in the performance of selected works
• Control idiomatic tone quality, and artistic variation of tone in the performance of
selected works
• Demonstrate artistic intent
• Create shape in performance of selected works through artistic variation of
expressive elements of music
• Communicate direction in performance through considered, expressive contrasts
between structural and textural sections of each work and across the program of
selected works
• Demonstrate developing mastery of historical and contemporary performance
conventions in interpreting and performing selected works
Lynne Morton
Belmont High School
Outcome 3
• Perform informed interpretations of selected works that demonstrate
understanding of artistic balance between relevant personal, stylistic,
practical, technological, historical and cultural influences
• Demonstrate understanding of the roles of, and relationships between,
instrumental voices in selected group work/s, or parts within the texture
of solo work/s, to achieve artistic balance, blend and variation of tone.
• Demonstrate communication, interaction, cooperation and empathy with
other musicians and audience as appropriate to the performance of
selected works
• Reflect on and evaluate development of a performance program
Lynne Morton
Belmont High School
Music Investigation
Elements of Music
Lynne Morton
Belmont High School
Focus Area
Lynne Morton
Belmont High School
Variety of Focus Areas
• The development of Nocturnes (for Solo Piano) beginning
with the style’s origin with John Field (Nocturne in C minor)
and then looking at innovations made by other composers
such as Chopin and Faure as well as the different approach of
C20 composers.
• The stylistic characteristics used by Guitarists Jeff Beck, Mark
Knopfler and Albert King, and the use of different variations of
a finger-picking method to achieve the style.
Lynne Morton
Belmont High School
Class Time Structure
• Listening Journal – Elements of Music
• Aural Training – Intervals, Chords and progressions, rhythmic
and melodic dictation as appropriate
• Theory – select one piece from program, specify the tonic key,
find the modulations and how they relate to the tonic or
chord progression within a phrase/section
• Technical work or exercises designed and practical work on
exercises OR
• Investigation research question OR
• Composing/Arranging/Improvisation exercises linked to the
above
Lynne Morton
Belmont High School
Unit 3 Timeline
• Week of March 12 Trial performance of Focus Area works, (at
least 15 minutes of contrasting works), and technical work
and exercises
• Week of March 19 Submit draft of how technical work and
exercises is assisting your development and understanding in
preparing your Outcome 3 pieces & submit draft of
progressive analysis and research discussing characteristics,
techniques and performance practices of your Focus Area
works
• Week of April 19 Submit draft of
composition/improvisation/arrangement and how this
relates to your Focus Area
Lynne Morton
Belmont High School
Unit 3 Timeline cont.
• Week of May 2
Presentation of technical work and
exercises explaining how they have improved your
instrumental skills and understanding of the Focus Area
• Week of May 10 Report Presentation - (performance and
commentary or multimedia or written or a combination)
discussing characteristics, techniques and performance
practice of works representative of your Focus Area- SAC
• Week of May 18 Technical work and exercises SAC
(including a written description of how selected performance
techniques, technical work and exercises have supported the
student as an instrumentalist, and in their preparation of
works for Outcome 3)
Lynne Morton
Belmont High School
Unit 3 Timeline cont.
• Week of May 25
Performance of at least a 15 minute
program of Focus Area works
• Week of May 25 Submit and perform
composition/improvisation/arrangement and outline how
your created work relates to your Focus Area
• Weekly
• Weekly
Aural and Theory exercises relevant to
Focus Area analysis
Progress report and plan for next week
Focus Area Research
Lynne Morton
Belmont High School
Listening Journal
Lynne Morton
Belmont High School
Listening Journal
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Name the instruments
Detail the Form/structure
Rhythm
Melody
Harmony
Tone Colour
Texture
Instrument techniques
Style?
Lynne Morton
Belmont High School
Key Words
Melody
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Ascending, descending, repetitive, short, long, high, low, wide range, small range,
stepwise/smooth, based on a scale, based on a triad, jagged, made up of phrases, uses
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sequences, tonality – scale forms, modal, contour, draw a line-graph of the phrase shape,
upbeat, anacrusis, angular contour (leaps), motive, register, unison, chromaticism
Rhythm
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Riff, straight, shuffle, jazz, swing, latin, describe note values within a phrase, short rhythmic
patterns, call and response, ostinatos, off beat, notation, time signatures, mixed metres,
polyrhythms, dotted rhythms, even, syncopation, tacet, duration, note values, pulse, regular,
irregular, repetitive, hemiola, isometric
Used as – to maintain momentum, as part of the structure/form, ostinato, to provide
pulse/beat, to create unity, to create contrast
Harmony
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Chord progression, tonality, primary triads, 7ths, altered chords, describe the chords within a
phrase, modulation, consonance, dissonance, resolution
Lynne Morton
Belmont High School
Key Words
Dynamics
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Loud, soft, crescendo, decrescendo, diminuendo, fade-out, fade-in, moderately loud, moderately
soft, sforzando, smorzando
Tone Colour
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Timbre, warm, cold, shrill, mellow, woody, bright, bleak, dark, light, heavy, percussive, Guitar amp
effects, effects units, Powerchords, mute
Texture
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Monophonic, homophonic, polyphonic
Interpretation
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Rubato, rallentando, register, Piano pedalling, vibrato, change of register,
Recording techniques – effects, reverberation, mutlitracking,
Ornamentation – trills, mordents, drops offs, smears, pause, harmonics, melismas, scat,
Articulation – legato smooth, semi-legato, staccato, mezzo-staccato, marcato, accents, tenuto,
slides, bends, hammer ons, pull offs, damping, pizzicato, double stop, mute
Tempo – slow, fast, broadly, lively, accelerando, rallentando, ritenuto, ritardando,
Lynne Morton
Belmont High School
Listening Journal
• Describe the different rhythms heard in excerpt 1
• Write the different rhythms heard in excerpt 1 that
you have described
• Describe the shape of the melody in excerpt 2
• Draw the shape of the melody in excerpt 2
• Describe the variations in tone colour throughout the
excerpt
• Describe the structural and expressive role of each
instrument in excerpt 2
Lynne Morton
Belmont High School
Listening Journal
• Select one instrument, and detail the use of
articulation throughout the excerpt
• Write the rhythm of 2 instruments/voices that
performed in excerpt 1, include the articulations
• Identify and describe the interpretative decisions you
believe is evident in the pre-recorded work
• What expressive elements have been used in the
excerpt and what effect do they have?
Lynne Morton
Belmont High School
Listening Journal
• What style is this piece of Music? Describe why you
think it is this style.
• Discuss how the performer’s approached performing
the melody and rhythm to highlight the style.
• Discuss how the performer’s approached performing
the melody and rhythm to demonstrate variety within
the style.
Lynne Morton
Belmont High School
Listening Journal
• Describe the similarities and differences between how
the different instruments are being played.
• Describe the similarities and differences between
excerpt 1 & 2
• Describe the similarities and differences with the
rhythms being performed.
• Describe the similarities and differences with the
expressive elements used.
Lynne Morton
Belmont High School
Music Language
Highlight the use of key words to extend student language
Lynne Morton
Belmont High School
Technical Work & Exercises
• Students specify one piece of Music from their program
• Students state what the key of the Music is
• Students write the scale one octave ascending
• Students write three technical work scales related to the
tonic key
• Students highlight one rhythm in this piece
• Students write an exercise using the tonic key scale, and the
rhythm
• Students design three exercises using the rhythm and
combinations from the scale
Lynne Morton
Belmont High School
Exercises
• Exercises are directly related to their piece of Music
• All technical work and exercises are used in practical
sessions
• Exercises are designed to enhance the knowledge of
the elements of Music
• Students keep a weekly journal of technical work and
exercises
• Student knowledge and technical skill is progressively
developed
Lynne Morton
Belmont High School
Assessment Tasks
Lynne Morton
Belmont High School
Unit 3
Assessment Tasks Outcome 3
• Weekly Listening Journal – Elements of Music and stylistic
characteristics
• Weekly technical work and exercises documented and
rehearsed
• Trial performances and feedback
• Discussion and report of characteristics and practices and
other issues that influence interpretation of Focus Area works
Lynne Morton
Belmont High School
Unit 3 & 4 Outcome 3 SAC
• 1. Focus Area statement
• 2. Performance Program outline
• 3. Outcome 3: Performance of technical work and
exercises relevant to the Focus Area and description
of how this technical work is informing development
of the performance program.
MARKS /5
Lynne Morton
Belmont High School
Unit 4 Music InvestigationTimeline
Lynne Morton
Belmont High School
Unit 4 Timeline
• Week of July 12 Trial performance of Focus Area works,
(at least 10 minutes of contrasting works), and technical
work and exercises
• Week of July 19 Submit draft of
composition/improvisation/arrangement and how this
relates to your Focus Area
• Week of August 2 Presentation of technical work and
exercises explaining how they have improved your
instrumental skills and understanding of the Focus Area
Lynne Morton
Belmont High School
Unit 4 Timeline cont.
• Week of August 10Creative Work
Presentation SAC Outcome 2: Present and perform a composition,
improvisation or arrangement of a music work that uses
characteristics, performance techniques and other
conventions relevant to the Focus Area AND an explanation
of how the work is representative of the Focus Area (written
or multimedia or oral)
• Week of September 18 Technical work and exercises SAC
(including a written description of how selected
performance techniques, technical work and exercises have
supported the student as an instrumentalist, and in their
preparation of works for Outcome 3)
Lynne Morton
Belmont High School
Unit 4 Timeline cont.
• Week of September 25 Performance of at least a 10
minute program of Focus Area works
• Week of September 25 Performance of created work, with
explanation on how this relates to Focus Area
• Weekly
• Weekly
Aural and Theory exercises relevant to
Focus Area analysis
Progress report and plan for next week
Focus Area Research
Lynne Morton
Belmont High School
eMail Address
[email protected]
Lynne Morton
Belmont High School