Unit 1 – Development of the symphony Web viewWrite a 1000 word essay discussing the ... compound time–basic rhythms and rests. ... Analyse a range of piano examples with different

SAMPLE COURSE OUTLINE

MUSIC – WESTERN ART MUSICATAR YEAR 11

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1

Sample course outlineMusic – WAM – ATAR Year 11Unit 1 – Development of the symphony

WeekWritten component – Key teaching points Practical component

Aural Theory and Composition Cultural and historical analysis Performance orComposition portfolio

1–3

Sight singing: to be continued consistently throughout the semester. Examples in both treble and bass clef based on scales and intervals stipulatedScales: Major/do pentatonic, minor/la pentatonic, MajorIntervals: m2, M2, m3, M3, P4, P5, m6, M6, m7, M7, P8ve (melodic only)Harmony: I, IV and V, perfect and plagal cadences in Major keysRhythmic dictation: simple metre rhythms

including , Melodic dictation: 4 bars, treble and bass clef, up to one sharp and one flat, based on scales covered. Rhythm and some pitch provided

Theory Identify and write intervals, scales, perfect

and plagal cadences in treble and bass clef, Major keys, up to two sharps and flats

Harmonisation Analyse a given score (up to four parts) using

primary triads in root position Provide chords to a given melody Harmonise given melodies at cadence

points/phrase endingsMelody writing Examine and analyse given melodies,

discussing structure, balance, composer and era related features and suitability for instrument/voice

Write a 4 bar melody to a given rhythmic pattern, and perform to the class

Development of the symphony Examine and discuss the development of the

symphony over at least two eras, noting changes in form, instrumentation and orchestration

Introduction to the Classical era (architecture, art, literature and social/ political features)

Aural and visual/score analysis Comparative listening exercises using

excerpts from works over different eras to show the development of the genre

Analyse sonata form in different examples, beginning with simple piano sonatas

Task 5: Due Term 2, Week 14Write a 1000 word essay discussing the development of the symphony based on a summary table which is to be submitted with your essay

Distribute technical lists and recommended repertoire from the Music: Resource package for the practical component.

Outline assessment requirements for the semester in consultation with instrumental teachers and/or composition portfolio supervisors.

4–6

Scales: natural and harmonic minorIntervals: add harmonic intervals: P4, P5, P8Harmony: add V7, i, iv and V, perfect and plagal cadences in minor keysModulation: relative major/minor

Rhythmic dictation: simple time ,

, , , andcompound time–basic rhythms and restsMelodic dictation: 4–8 bars, minor keys

Theory Identify and write natural and harmonic

minor scales, related intervals and perfect and plagal cadences in minor keys

Identify modulations to the relative minor and major in melodic excerpts

Rhythm exercises in compound time

Overview of composer of first designated work and his contribution to the development of the symphony

Listen to selected excerpts from other symphonies by the same composer and compare and contrast

Designated work: detailed analysis of the first movement – sonata form and third movement – minuet and trio form

Sample course outline | Music – WAM | ATAR Year 11

2



Discrepancies: treble/bass clef, 4 bars, 4 discrepancies in either pitch or rhythmAural analysis: recognition of music elements in short extracts (form, metre, dynamics/expressive devices, tempo, instrumentation)Skeleton Score: 2–4 parts, 4–8 bars

Harmonisation Identify and write major, minor, augmented

and diminished triads and first inversions of major and minor chords

Analyse chords in given scores up to 4 parts Recognise unaccented passing

notes/appoggiaturasMelody writing Analyse given melodies, identifying phrase

structure, motivic development, sequence, scale patterns and form

Continue a given motif to compose an 8–16 bar melody

Listen to excerpts from representative works, noting significant contributions made by other composers, comparing and contrasting the symphonies of Haydn, Mozart and Beethoven noting differences in instrumentation, orchestration, form, texture, thematic material and use of music elements.

7

Task 1: Aural test (3%) Task 2: Theory test (2%) Review of the development of the symphony from Rococo to Beethoven, focusing on the designated works.Comparative aural and visual analysis of familiar and unfamiliar symphonic works.

Performance Task 1 – Prepared repertoire (2%)

Composition portfolio Task 1 – Composition assessment (5%)

8–10

Scales: melodic minorIntervals: A4/D5 melodic and harmonicHarmony Recognition of major, minor, augmented and

diminished triads in isolation vi in Major keys Interrupted cadences, Major keys V–vi, V7–vi

(keyboard and vocal style)Rhythmic dictation: 8 bars, simple metre

rhythms for dictations ,

compound: ,

, ,

,

Theory Identify and write all minor scale forms,

focussing on melodic minor Identify and write interrupted cadences in

major keys, using appropriate voice leading principles in both keyboard and vocal style

alto and tenor clef transpositionHarmonisation Identify and write first and second inversions

of major and minor chords Harmonic analysis of given scores up to

4 parts using root position, first and second inversion chords in major and minor keys

Short harmonisation exercises given the bass or soprano line, using I, IV, V, V7 and vi in major keys and i, iv, V and V7 in minor keys

Week 9: Task 3 – Development of the symphony and designated works (3%)Development of the Romantic symphony: listen to a selection of examples from the following composers: Berlioz, Mahler, Tchaikovsky, Brahms and Schubert.Note significant features e.g. form and structure, use of thematic material, instrumentation and orchestration, texture, dynamics, rhythmic, melodic and harmonic elements.

Revision of relevant symphonic forms in familiar and unfamiliar examples.

Week 10: Performance Task 2 – Sight reading or Improvisation (3%)


3



Melodic dictation: 8 bars, treble and bass clef, up to two sharps and two flats, based on scales coveredDiscrepancies: treble/bass clef, 4 bars, 4 discrepancies in either pitch or rhythmAural analysis: recognition of music elements, form, compositional devices, instrumentation, instrumental techniques

Piano accompaniment Analyse a range of piano examples with

different accompaniment patterns from a variety of eras and genres

Melody writingWrite a melody in ternary or rondo form, incorporating use of sequence, cadence points and phrasing.

11–13

Week 13: Task 4 – Aural analysis (2%)Scales: chromaticIntervals: all intervals in isolation or part of a melodic excerptHarmonic intervals: m6, M6, m7, M7Harmony ii in Major keys, VI in minor keys interrupted cadences in minor keys V–VI, V7–VI (keyboard and vocal style)Rhythmic dictationSimple time signatures

Compound: ,

, , Melodic dictation: chromatic passing notesDiscrepancies: treble/bass clef, 4–8 bars,4 discrepancies in both pitch and rhythmSkeleton score: compositional devices, dictations, chords, cadences

Theory Identify and write chromatic scales Transposition exercises for alto and tenor clefHarmony Harmonic analysis and harmonisation

exercises using I, ii, IV, V, V7 and vi and i, iv, V, V7 and VI in minor keys

Identify and write interrupted cadences in minor keys, using appropriate voice leading principles in both keyboard and vocal style

Piano accompaniment Harmonise given melodies, analyse style and

melodic structure and write suitable accompaniment patterns using alberti bass, arpeggiated chords or vamping bass

Continue a given accompaniment pattern in a similar style

Modulation: relative major/relative minor, using choral and orchestral examples

Development of the symphony in the20th century. Listen to excerpts and discuss significant features e.g. form and structure, use of thematic material, instrumentation and orchestration, texture, dynamics, rhythmic, melodic and harmonic elements.Listen to excerpts from representative composers such as; Shostakovich, Sibelius, Vaughan-Williams, Stravinsky, Schoenberg, Webern, Glass, Penderecki.

Introduction to Neo-classicism. Correlate musical features with characteristics of Neo-Classicism in art (Cubism), literature, dance/choreography and film.

Listen to and study representative Neo-Classical works and composers; Stravinsky, Satie, Poulenc, Hindemith.

Listen to and begin analysis of designated work.


4



14–15

Revise all scales, intervals and chordsHarmony: revise all cadence types and chords in major and minor keysModulation: relative major/relative minor, using a range of examplesRhythmic dictationSimple metres: 8 bars, including syncopation and anacrusisCompound metres: 8 bars

, ,

Melodic dictation: 8 bars, chromatic passing notesDiscrepancies: treble/bass clef, 4–8 bars,4 discrepancies in both pitch and rhythmSkeleton score: compositional devices, dictations, chordsRevision of Semester 1 work for exams

Task 6: Formal assessment– Score analysis and melody writing (2%)Harmony Harmonic analysis and harmonisation

exercises using first and second inversion chords in major and minor keys

Identify and write imperfect cadences in major and minor keys in keyboard and vocal style

Piano accompaniment Harmonise given melodies, analyse melodic

structure and style and write suitable accompaniment patterns using alberti bass, arpeggiated chords or vamping bass

Melody writing Compose an 8–16 bar melody from a given

motif or chord progression, incorporating sequence and modulation to the relative major or minor

Revision of Semester 1 work for exams

Task 5: submit summary table and 1000 word essay (2%)Complete analysis of final designated work.

Revision of Semester 1: the development of the symphony, using familiar and unfamiliar excerpts, focussing on the designated works.

Week 14: Performance Task 3 – Recital practice (3%)

Week 15: Performance Task 4 –Instrumental teacher report (2%)

Week 15: Composition portfolio Task 2 – Composition portfolio supervisor report (5%)

16

Task 7: Semester 1 examination Task 7: Semester 1 examination Task 7: Semester 1 examination Performance Task 5 Semester 1 –performance examination (15%)

Composition portfolio Task 3 – submission of composition portfolio (15%)


5Unit 2 – Opera



1–3

Sight singing: to be continued consistently throughout the semester. Examples in both treble and bass clef based on scales and intervals stipulatedScales: revise Major/do pentatonic, minor/la pentatonic, MajorIntervals: revise all intervals in isolation and as part of a melodic lineHarmony: chord progressions 4 to 8 bars, key signatures up to 2 sharps and

2 flats major: I, ii, IV, V, V7 and vi

revise perfect and plagal cadences in major keys

Rhythmic dictation: simple time including

, , Melodic dictation: 8 bars, treble and bass clef, up to two sharps and flats, based on scales stipulated. (Some pitch and/or rhythm provided provided.)Discrepancies: treble/bass clef, 4 bars, 4 discrepancies in either pitch or rhythm

Theory Identify and write intervals, scales, perfect

and plagal cadences in treble and bass clef, Major keys, up to two sharps and flats

Harmonisation Analyse chords in given 4–8 bar extracts Harmonise given melodies at cadence

points/phrase endings Identify and incorporate harmonic devices:

accented and unaccented passing notes and appoggiaturas in analysis and harmonisation tasks

Melody writing Complete a word scansion task, providing an

appropriate rhythm for given lyrics, and then compose a suitable 8 bar melody

Incorporate word painting and a sequence Compose an 8–16 bar melody from a given

motif or chord progression, incorporating sequence and modulation to the relative major or minor

Development of operaBaroque Period Introduction to the Baroque period

(architecture, art, literature, social, political and cultural features)

Listen to a selection of representative works noting Baroque musical features

Development of opera Discuss the role of opera in Baroque society,

contributions of different composers and their influence on the development of opera

Discuss the rise of the castrati. Watch excerpts from the film Faranelli (1994)

Discuss the development of opera and associated forms: Recitative, Aria and Chorus, listening to Baroque examples:Purcell: Dido and Aeneas–Sorceress Chorus/Witches Chorus, With Drooping Wings; Thy hand Belinda, Dido’s LamentHandel: excerpts from operas, such as Rinaldo (Lascia ch'io pianga), Alcina, Guilio Cesare, Serse, Acis and Galatea

Begin analysis of designated work Visual and aural analysis of set sections,

identifying forms, musical features, use of instrumentation and orchestration, word painting, vocal techniques and compositional devices

Identify salient characteristics of composer’s writing style and era specific stylistic features

Outline assessment requirements for the semester in consultation with instrumental teachers and/or composition portfolio supervisors.


6



4–6

Scales: revise natural, harmonic and melodic minorIntervals: revise all harmonic intervalsHarmony: chord progressions 4 to 8 bars, key signatures up to 2 sharps and

2 flats minor: i, iv, V, V7 and VI

revise perfect and plagal cadences in minor keys

Modulation: relative major/minor and dominant

Rhythmic dictation: simple time

compound time ,

, ,Melodic dictation: 4–8 bars, minor keysAural analysis: recognition of music elements in short extracts (form, metre, dynamics/expressive devices, tempo, instrumentation).Skeleton Score: 2–4 parts, 4–8 bars

Theory Identify and write natural and harmonic

minor scales, related intervals and perfect and plagal cadences in minor keys

Harmonisation Continue harmonic analysis and

harmonisation tasks in major and minor keys up to 2 sharps and flats

Accompaniment writing Harmonise a given 4–8 bar melody and

compose a suitable accompaniment pattern Compose a melody to a given

accompaniment patternModulation Identify modulations to the dominant and

relative major/minor a range of examples Compose an 8–12 bar melody that includes a

modulation

Complete analysis of designated workOverview of the development of Opera Seria and Opera Buffa. Discuss Mozart’s contribution to the development of opera in the Classical period and listen to selections from key operas such as: Don Giovanni, Marriage of Figaro, Magic Flute, Così fan tutte.

Complete analysis of comparative examples of recitative, aria and chorus, to demonstrate development of form, vocal style and techniques, instrumentation and orchestration across eras.

Week 5: Performance Task 6 –Prepared repertoire (2%)

7

Task 8: Formal assessment – Aural test (3%) Orchestration Transposition exercises from key to key and

clef to clef, using treble, bass alto and tenor clefs

Review of string instruments: instrument ranges, idiomatic writing and playing techniques, bowings. Aural and visual analysis of given excerpts

Arrange a given piano excerpt for string ensemble, incorporating bowings and string playing techniques

Discuss the development of opéra comique, noting the influence of vaudeville and the French Revolution

Outline the main features of verismo opera, listening to and examining representative scores (Leoncavallo, Puccini)

Discuss the role of Carmen as a bridge between opera comique and verismo

Outline contributing characteristics of the period (architecture, art, literature, social, political and cultural features)

Composition portfolio Task 4 – Composition assessment (5%)


7



8–10

Scales: chromaticHarmony: Recognition of major, minor, augmented and

diminished triads in isolation Interrupted cadences, Major keys V-vi, V7-vi

(keyboard and vocal style)Rhythmic dictation: 8 bars, include anacrusis and some syncopationSimple metre rhythms for dictations:

Compound: ,

, ,

, , Melodic dictation: 8 bars, treble and bass clef, up to two sharps and two flats, based on scales covered. Incorporate at least two challenging sections – rhythms/ties/larger intervalsDiscrepancies: treble/bass clef, 4 discrepancies in either pitch or rhythmAural analysis: recognition of music elements, form, compositional devices, instrumentation, instrumental techniques

Week 8: Task 9 – Theory test (2%)

Theory Visual identification, reading and writing of

all intervals, scales in key signatures up to and including 6 sharps and 6 flats, including chromatic scale

Identify and write major, minor, augmented and diminished triads and first inversions of major and minor chords

Melody and accompaniment writing Provide a Piano accompaniment to a given

melody Compose a melody form a given motif,

harmonise and write a suitable Piano accompaniment

Orchestration Review of woodwind instruments: ranges,

transposition, timbral features 2–4 bar arrangement of a piano score for

three or four woodwind instruments (including one Bb, and a non-transposing woodwind instrument)

Identifying, analysing and realising instrumental devices and techniques for up to four instruments/voices

Week 8: Task 10 – Aural and visual analysis test (2%)Begin analysis of designated work Watch DVD of performances of designated

sections, or whole opera if time, in class or as an out of class activity

Visual and aural analysis of set sections identifying forms, musical features, use of instrumentation and orchestration, word painting, vocal techniques and compositional devices

Identify salient characteristics of composer’s writing syle and opéra comique and verismo stylistic features

Week 9: Performance Task 7 – Technical work (2%)

11–13

Harmony: revise all chords in major and minor keys Imperfect cadences in keyboard and vocal

style major keys: I–V, I–V7

minor keys i–V, i–V7Modulation: relative major/minor and dominant in a range of examples

Harmony Identify and write all cadence types in major

and minor keys, using appropriate voice leading principles in both keyboard and vocal style

Harmonic analysis of given scores up to 4 parts using root position, first and second inversion chords in major and minor keys

Brief discussion about the development of Romantic opera, importance of leitmotif, thematic transformation: Verdi, Wagner.

Unseen analysis of opera excerpts across different eras. Analysis of opera type, section (aria, recitative, chorus, ensemble), use of the orchestra and features/characteristics of different composers.


8



Rhythmic dictation: 8 bars, simple time continued, include syncopation

Compound: ,

, ,Melodic dictation: 8 bars, treble and bass clef, based on scales covered, including chromatic passing notesDiscrepancies: treble/bass clef, 4–8 bars,4 discrepancies in both pitch and rhythmSkeleton score: compositional devices, dictations, chords, cadencesWeek 12: Task 12 – Aural test (4%)

Harmonic analysis and harmonisation exercises given bass or soprano part, using I, ii, IV, V, V7 and vi in major keys and i, iv, V, V7 and VI in minor keys

Orchestration Review of brass instruments: ranges,

transposition, timbral features and effects Transcribing 4 bar excerpt for piano from a

brass ensemble up to four parts

Week 12: Task 11 – Melody and accompaniment writing (2%)

Complete analysis of final designated work

Revision of Semester 1: the development of the symphony, using familiar and unfamiliar excerpts, focussing on the designated works.

14–15

Revise all scales, intervals and chordsHarmony: revise all cadence types in major and minor keysModulation: relative major/relative minor and dominant, using a range of examplesRhythmic dictationSimple metres: 8 bars, including syncopation and anacrusis

Compound time: , , ,Melodic dictation: 8 bars, chromatic passing notesDiscrepancies: treble/bass clef, 4–8 bars,4 discrepancies in both pitch and rhythm.Skeleton score: compositional devices, dictations, chordsRevision of year’s work

OrchestrationArrangement tasks for mixed ensembles (strings, wind, brass) including at least two transposing instruments.Review year’s work

Week 14: Task 13 –Development of the symphony and opera (3%)

Revision of Semester 2: the development of opera, using familiar and unfamiliar excerpts, focussing on the designated works

Week 14: Performance Task 8 – Recital practice (3%)

Week 15: Performance Task 9 – Instrumental teacher report (3%)

Week 15: Composition Task 5 – Composition portfolio supervisor report (5%)

16

Task 14: Semester 2 examination Task 14: Semester 2 examination Task 14: Semester 2 examination Performance Task 10 – Semester 2 performance examination (15%)

Composition portfolio Task 6 – submission of final composition portfolio (15%)


Documents

Unit 1 – Development of the symphony Web viewWrite a 1000 word essay discussing the ... compound time–basic rhythms and rests. ... Analyse a range of piano examples with different