Music Extension 2020 v1 · keys create a seamless effect, evoking imagery of space and time....
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Assessment objectives This assessment instrument is used to determine student achievement in the following objectives: 1. apply literacy skills using terminology relevant to genre/style, and use referencing and language conventions 2. evaluate two techniques and/or strategies of best practice 3. examine the music elements, concepts and compositional devices in composition 4. express the meaning communicated through the composition 5. apply compositional devices in the creation of their own work 6. manipulate music elements and concepts in composition specific to style and genre 7. resolve music ideas to communicate meaning and intent in composition. Music Extension 2020 v1.1 IA3 high-level annotated sample response July 2018 Composition project (35%) This sample has been compiled by the QCAA to assist and support teachers to match evidence in student responses to the characteristics described in the instrument-specific marking guide (ISMG).
Music Extension 2020 v1 · keys create a seamless effect, evoking imagery of space and time. Manipulating music elements and concepts [8] ... In stories that involve time travel on
Music Extension 2020 v1.1 IA3 high-level annotated sample
responseAssessment objectives This assessment instrument is used to
determine student achievement in the following objectives:
1. apply literacy skills using terminology relevant to genre/style,
and use referencing and language conventions
2. evaluate two techniques and/or strategies of best practice
3. examine the music elements, concepts and compositional devices
in composition
4. express the meaning communicated through the composition
5. apply compositional devices in the creation of their own
work
6. manipulate music elements and concepts in composition specific
to style and genre
7. resolve music ideas to communicate meaning and intent in
composition.
Music Extension 2020 v1.1 IA3 high-level annotated sample response
July 2018
Composition project (35%) This sample has been compiled by the QCAA
to assist and support teachers to match evidence in student
responses to the characteristics described in the
instrument-specific marking guide (ISMG).
The student work has the following characteristics: Marks
application of compositional devices integral to the work showing
understanding and command 10
application of compositional devices to create a unified and
cohesive work 9
application of idiomatic compositional devices that develop the
work 7–8
application of compositional devices in the creation of their own
work 5–6
application of a selection of compositional devices 3–4
evidence of a compositional device 1–2
• does not satisfy any of the descriptors above. 0
Instrument-specific marking guide (ISMG)
The student work has the following characteristics: Marks
manipulation of music elements and concepts is consistent and
embodies compositional practices 8
manipulation of music elements and concepts makes the chosen style
and genre explicit through the synthesis of compositional
practices
7
manipulation of music elements and concepts are integrated to
enhance the chosen style and genre 5–6
manipulation of music elements and concepts in composition specific
to style and genre 3–4
use of a selection of music elements and concepts 2
evidence of music elements 1
does not satisfy any of the descriptors above. 0
Criterion: Manipulating music elements and concepts Assessment
objective 6. manipulate music elements and concepts in composition
specific to style and genre
The student work has the following characteristics: Marks
• resolution of the composition through the sustained use of music
ideas that communicate subtleties of meaning 11–12
• resolution of the composition shows a synthesis of complex music
ideas that communicate meaning and intent with sensitivity
9–10
• resolution of music ideas that are integral to the communication
of meaning and intent 7–8
examination of the music elements, concepts and compositional
devices in composition expression of the meaning communicated
through the composition resolution of music ideas to communicate
meaning and intent in composition
5–6
simple statements made about the music demonstration of music ideas
reflects meaning
3–4
1–2
4. express the meaning communicated through the composition
7. resolve music ideas to communicate meaning and intent in
composition
The student work has the following characteristics: Marks
evaluation provides evidence of metacognition that informs
independent best practice 4–5
application of literacy skills through articulated ideas,
controlled structure and the sequencing of information
evaluation examines the logic of the two selected techniques and/or
strategies
3
application of literacy skills using terminology relevant to
genre/style, and use of referencing and language conventions
evaluation of two techniques and/or strategies of best
practice
2
identification of techniques or strategies of best practice
1
Criterion: Evaluating best practice Assessment objective 1. apply
literacy skills using terminology relevant to genre/style, and use
referencing and language conventions
2. evaluate two techniques and/or strategies of best practice
Task
Compose one complete work or significant section/movement of a much
larger work. You may compose or arrange in any established context,
genre and/or style. You may compose for any sound source/s
including instrument/s, voice/s and contemporary technologies.
Complete a statement of compositional intent that examines the
music elements, concepts and compositional devices, and expresses
the meaning communicated through the composition. You will also
complete a reflective statement that evaluates at least two
techniques and/or strategies of best practice that influenced the
composition.
Sample response
The annotations show the match to the instrument-specific marking
guide (ISMG) performance-level descriptors.
Criterion Marks allocated Result
10 10
8 8
12 12
5 5
Total 35 35
Click the image for audio. This audio can also be accessed at
https://www.qcaa.qld.edu.au/downloads/portal/media/snr_music_ext_20_ia1_ia3_asr_comp.mp3
Applying techniques and processes [10] application of compositional
devices integral to the work showing understanding and command
Repetition of motif creates a sense of movement and time travel.
Subtle modulations between relative keys create a seamless effect,
evoking imagery of space and time. Manipulating music elements and
concepts [8]
manipulation of music elements and concepts is consistent and
embodies compositional practices
Use of triple metre captures the forward movement of time. The
notion of openness and wonderment of space is conveyed through the
timbre and pitch of the synthesised strings. Mystery is created
through the subtle changes in dynamics. Communicating meaning [12]
resolution of the composition through the sustained use of music
ideas that communicate subtleties of meaning Synthesis of melodic
and rhythmic motifs capture the traveler’s feelings of awe and
wonder and the notion of space-time continuum. Timbral choices
convey the future of time travel, and subtle shifts in texture
create moments of seamless tension and resolution.
The Traveler
Statement of compositional intent The Traveler
This composition explores the concept of time travel. My original
inspiration came from the characters and experiences of Dr Who, and
the characters Marty McFly and Doc Brown from the movie series Back
to the Future. As such, it was important to capture the transition
between moments in time and the environments and experiences that
accompany them.
The ‘space-time continuum’ is a phrase used by Doc Brown and refers
to a four dimensional understanding of the universe. It is
understood as a continuum because there are no missing points in
space or instants in time. As such, it was important that the music
elements captured this understanding of the time travel
continuum.
To capture this theme, there are notable manipulations of the music
elements and concepts. Use of melodic ostinatos capture the forward
movement of time. Likewise, the momentum of the waltz inspired the
use of triple time. Smooth transitions between traditional and
synthesized timbres captured changing environments without
disrupting this notion of a space-time continuum. Dynamic shifts
were subtle but mostly created by experimenting with texture. As
the tempo remains constant throughout, different environments and
experiences were captured with a combination of sudden and gradual
textural and timbral shifts.
Harmonically, there is no use of dissonance within this
composition. This choice was made specifically to maintain the
notion of a continuum. Subtle moves through relative keys enhance
the imagery of changing spaces and time.
Finally, the use of a simple legato melodic motif played over the
top of the ostinato, captures the character of ‘the traveler’;
specifically, his feelings of awe and wonder as he journeys through
time. The motif is repeated with subtle variations throughout the
entirety of the composition.
Communicating meaning [12] resolution of the composition through
the sustained use of music ideas that communicate subtleties of
meaning The use of music terminology is relevant to the style.
Grammar, paragraphing and sentence structure are clear and ideas
are well articulated. The notion of changing environments is
clearly expressed through the explanation of the use of timbre. The
use of music terminology is relevant to the style. Grammar,
paragraphing and sentence structure are clear and ideas are well
articulated. The expression of awe and wonder is clearly expressed
and the explanation of the motif and ostinato supports the
composer’s intent.
Reflective statement
The process of creating a unique composition that captured the
subject of time travel challenged me to understand how music
elements could be manipulated to portray story and characters in
different environments across space and time.
Originally inspired by the Back to the Future series, it seemed
logical that a better understanding of the notion of a space-time
continuum would provide the foundation upon which I would structure
a believable programmatic composition. After exploring many
resources, the definition that determined the musical form was that
space-time ‘is believed to be a “continuum” because so far as we
know, there are no missing points in space or instants in time’
(Ostenwald, 2017) Whilst I admit that this understanding of such a
complex phenomenon is somewhat limited and narrow, this
understanding enabled me to experiment by blending rondo form with
theme and variation and through-composed structures to capture the
paradox of continuity and change.
Next, I immersed myself in the following films and television
series:
Back to the Future series
Doctor Who – both the original series that ran from 1963-1989 and
the new series beginning 2005, and
The Time Machine – the 1960 and 2002 adaptation of the original
novel by H.G. Wells.
Whilst watching these films and television episodes, I was
concerned that this exploration might be detrimental to my own
ability to create a new and original programmatic composition.
Hence I was careful to focus my attention on understanding the
consistent themes across different stories:
Although characters travel through time and space, their physical
form (appearance) and personality remains the same.
Evaluating best practice [5]
Three key strategies are evidenced and evaluated in the
statement:
Strategy 1 — Using the ‘continuum’ idea to experiment with
structure, particularly through-composed and blended forms.
Strategy 2 — Exploring other works in order to understand the
consistent themes found in time-travel compositions.
Evaluating best practice [5]
evaluation provides evidence of metacognition that informs
independent best practice
Strategy 1 has been evaluated as successful, identifying
‘continuum’ as the music idea to explore further with various
forms.
Re-evaluation of strategy 1 and its potential concerns led to a
re-formulated strategy that focused thinking around consistent
themes across different stories.
Reflective statement In stories that involve time travel on Earth,
technological changes, methods of travel and increased use of
computer-like devices in daily life typically indicate the
future.
Time travel inevitably involves personal and cultural conflict,
fear of the unknown and catastrophic consequences for environments
and societies both past and present.
This discovery became the foundation upon which I based my
experimentations and ultimately the final composition.
During my initial brainstorming, I concluded that there were a
number of significant music elements needed in order to capture the
contrast, continuity and tension associated with time travel. These
included repetition of thematic elements, leitmotif, variation, use
of ostinati, sequences, and modulation. In addition, synthesized
timbres typically indicated the future and textural shifts, both
sudden and gradual generally indicated either rising tension,
conflict and/or resolution. I acknowledge that I couldn’t help but
hear these elements as I watched time-travel films. As such, it was
in the best interest of my composition to put them away entirely;
after all, I had already identified the programmatic themes and
some manipulations of the music elements. This logical step,
assured me that my final product would be original and not clouded
by melodies from other composers. A significant portion of my
reflective practice documentation then became dedicated to my
experiments using these elements as I looked for ways to create my
own unique interpretation of this popular storytelling idea.
It was through this understanding of the space-time continuum and
the identification of thematic content within contrasting
storylines, I was able to choose and manipulate music elements that
captured the juxtaposition of continuity and difference.
References
Evaluating best practice [5]
evaluation provides evidence of metacognition that informs
independent best practice
Strategy 3 — Reflection — having already identified themes and some
manipulations of music elements integral to the genre, the
reflective documentation was used to create an original work.
Evaluating best practice [5]
Strategy 2 provides evidence of metacognition through the discovery
of consistent themes to inform the final composition.
Strategy 3 was evaluated as successful and the statement evidences
the notion of separating and creating space between all previous
ideas and influences while experimenting in order to produce
original work.
Instrument-specific marking guide (ISMG)
Criterion: Manipulating music elements and concepts
Criterion: Communicating meaning
Reflective statement
Reflective statement