Music: Victorian Certificate of Education Study Design

Music
Victorian Certificate of Education Study Design
Victorian Curriculum and Assessment Authority

2010
VICTORIAN CURRICULUM
AND ASSESSMENT AUTHORITY
Updated November 2014
COVER ARTWORK WAS SELECTED FROM THE TOP ARTS EXHIBITION. COPYRIGHT REMAINS THE PROPERTY OF THE ARTIST.
Latoya BARTON
The sunset (detail)
from a series of twenty-four
9.0 x 9.0 cm each, oil on board
Tarkan ERTURK
Visage (detail)
201.0 x 170.0 cm
synthetic polymer paint, on cotton duck
Liana RASCHILLA
Teapot from the Crazy Alice set
19.0 x 22.0 x 22.0 cm
earthenware, clear glaze. lustres
Nigel BROWN
Untitled physics (detail)
90.0 x 440.0 x 70.0 cm
composition board, steel, loudspeakers,
CD player, amplifier, glass
Kate WOOLLEY
Sarah (detail)
76.0 x 101.5 cm, oil on canvas
Chris ELLIS
Tranquility (detail)
35.0 x 22.5 cm
gelatin silver photograph
Christian HART
Within without (detail)
digital film, 6 minutes
Kristian LUCAS
Me, myself, I and you (detail)
56.0 x 102.0 cm
oil on canvas
Merryn ALLEN
Japanese illusions (detail)
centre back: 74.0 cm, waist (flat): 42.0 cm
polyester cotton
Ping (Irene VINCENT)

Boxes (detail)
colour photograph
James ATKINS
Light cascades (detail)
three works, 32.0 x 32.0 x 5.0 cm each
glass, flourescent light, metal
Tim JOINER
14 seconds (detail)
digital film, 1.30 minutes
Lucy McNAMARA
Precariously (detail)
156.0 x 61.0 x 61.0 cm
painted wood, oil paint, egg shells, glue, stainless steel wire
Accredited by the Victorian Registration and Qualifications Authority

Level 5, 35 Spring Street, Melbourne, Victoria 3000
Developed and published by the Victorian Curriculum and Assessment Authority
41 St Andrews Place, East Melbourne, Victoria 3002
This completely revised and accredited edition published 2010.
Victorian Curriculum and Assessment Authority 2010
No part of this publication may be reproduced except as specified under the
Copyright Act 1968 or by permission from the VCAA. For more information go to:
www.vcaa.vic.edu.au/aboutus/policies/policy-copyright.html
The VCAA provides the only official, up-to-date versions of VCAA publications.
Details of updates can be found on the VCAA website: www.vcaa.vic.edu.au
This publication may contain copyright material belonging to a third-party. Every
effort has been made to contact all copyright owners. If you believe that material
in this publication is an infringement of your copyright please email the Copyright
Officer: vcaa.copyright@edumail.vic.gov.au
Edited by Ruth Learner
Cover designed by Chris Waldron of BrandHouse
Desktop published by Julie Coleman
Music
ISBN 978-1-921702-11-2
Contents
5
Important information
7 Introduction
Rationale
Aims
8 Structure
Entry
Duration

Changes to the study design
Monitoring for quality
9
Safety

Use of information and communications technology

Employability skills

Legislative compliance
10
Assessment and reporting

Satisfactory completion
Authentication

Levels of achievement
12
Units 14: Music Performance
13
Unit 1: Music Performance

Areas of study and Outcomes
18 Assessment
19

26 Assessment
28

35 Assessment
37

44 Assessment
47
Advice for teachers: Music Performance Units 14

51

52
53
77
Developing a course
Suitable resources
Victorian Essential Learning Standards (VELS)
Learning activities
School-assessed Coursework
79
Units 3 and 4: Music Investigation
81
Unit 3: Music Investigation

85 Assessment
88

92 Assessment
95
Advice for teachers: Music Investigation Units 3 and 4

98

99
100
110
Developing a course
Suitable resources
Learning activities
111
Units 14: Music Style and Composition
112
Unit 1: Music Style and Composition

113 Assessment
117

120 Assessment
122

125 Assessment
127

130 Assessment
134
Advice for teachers: Music Style and Composition Units 14

138

139
140
161
Developing a course
Suitable resources
Learning activities
IMPORTANT INFORMATION
Accreditation period
Units 14: 20112016
The accreditation period commences on 1 January 2011.

Other sources of information
The VCAA Bulletin VCE, VCAL and VET is the only official source of changes to regulations and
accredited studies. The VCAA Bulletin VCE, VCAL and VET, including supplements, also regularly
includes advice on VCE studies. It is the responsibility of each VCE teacher to refer to each issue of
the VCAA Bulletin VCE, VCAL and VET. The VCAA Bulletin VCE, VCAL and VET is sent in hard
copy to all VCE providers. It is also available as an e-newsletter via free subscription on the Victorian
Curriculum and Assessment Authoritys website at www.vcaa.vic.edu.au
To assist teachers in assessing School-assessed Coursework in Units 3 and 4, the Victorian Curriculum
and Assessment Authority publishes online an assessment handbook that includes advice on the
assessment tasks and performance descriptors for assessment.
The current VCE and VCAL Administrative Handbook contains essential information on assessment
processes and other procedures.
VCE providers
Throughout this study design the term school is intended to include both schools and other VCE
providers.
Photocopying
VCE schools only may photocopy parts of this study design for use by teachers.
5
Introduction
Rationale
Music is an integral part of all cultures and societies, both contemporary and historical. The study of
music develops students understanding of artistic processes and contributes to the development of
the aesthetic, cognitive, psychomotor and affective domains.
VCE Music offers students opportunities to engage in the practice of performing, creating and studying
music that is representative of diverse genres, styles and cultures. Students can specialise in one or
more approaches to the study of music, depending on their VCE program overall and the post-VCE
pathways they may be interested in following.
Students develop knowledge of stylistic, aesthetic and expressive qualities and characteristics of music
and develop their ability to communicate their understanding through music making: performing,
composing, arranging and/or improvising; and musicianship: aural perception, analysis and music
language.
VCE Music offers students opportunities for personal development and to make an ongoing contribution
to the culture of their community through participation in life-long music making.
Aims
This study enables students to:

perform, compose, arrange and/or improvise music from diverse styles and traditions
demonstrate musicianship
engage with diverse music genres, styles, contexts and practices
communicate understanding of cultural, stylistic, aesthetic and expressive qualities and characteristics
of music
use electronic and digital technologies in making and sharing music and communicating ideas
about music
explore and expand personal music interests, knowledge and experiences
use imagination, creativity and personal and social skills in music making
access pathways for further education, training and employment in music
participate in life-long learning in music and involvement in the musical life of their community.
7
Introduction MUSIC 20112016
Structure
The study is made up of ten units. Each unit deals with specific content contained in areas of study and
is designed to enable students to achieve a set of outcomes for that unit. Each outcome is described
in terms of key knowledge and key skills.
The study structure is
Music Performance
Units 12
Music Performance
Units 34
Music Style and Composition

Units 12
Music Investigation
Units 34
Music Style and Composition

Units 34
The units in the study are:

Music Performance Units 1, 2, 3 and 4
Music Investigation Units 3 and 4
Music Style and Composition Units 1, 2, 3 and 4
Students may enrol in all units or select specific combinations of units that cater for their interests
and intended pathways. Examples of combinations of units are provided on page 50 of the Advice
for Teachers Music Performance.
Students may also enrol in one or more units in the VCE VET Music program. Details of these units
are provided in the VCE VET Music program booklet which can be downloaded from www.vcaa.vic.
edu.au. A table showing examples of ways units drawn from VCE VET could be incorporated into a
VCE program is provided on page 51 of the Advice for Teachers Music Performance.
Entry
There are no prerequisites for entry to Units 1, 2 and 3 for Music Performance or Music Style and
Composition, or for entry to Unit 3 of Music Investigation. Students must undertake Unit 3 prior to
undertaking Unit 4 in these studies. Students are strongly recommended to undertake Units 3 and 4
Music Performance before or in the same year that they undertake Units 3 and 4 Music Investigation.
Music Performance Units 1 to 4 and Music Style and Composition Units 1 to 4 are designed to a
standard equivalent to the final two years of secondary education. Music Investigation Units 3 and 4
are designed for students with considerable music experience.
Duration
Each unit involves at least 50 hours of scheduled classroom instruction. In this study, scheduled classroom
instruction might involve classroom music, instrumental lessons and/or ensemble rehearsals.
Changes to the Study design
During its period of accreditation minor changes to the study will be announced in the VCAA Bulletin
VCE, VCAL and VET. The VCAA Bulletin VCE, VCAL and VET is the only source of changes to
regulations and accredited studies and it is the responsibility of each VCE teacher to monitor changes
or advice about VCE studies published in the VCAA Bulletin VCE, VCAL and VET.

vce study design
MUSIC 20112016
Introduction
MONITORING FOR Quality
As part of ongoing monitoring and quality assurance, the Victorian Curriculum and Assessment
Authority will periodically undertake an audit of VCE Music to ensure the study is being taught and
assessed as accredited. The details of the audit procedures and requirements are published annually in
the VCE and VCAL Administrative Handbook. Schools will be notified if they are required to submit
material to be audited.
Safety
It is the responsibility of the school to ensure that duty of care is exercised in relation to the health
and safety of all students undertaking the study, including the use of electronic and electrical music
performance equipment. Students should develop an understanding of safe lifting techniques,
particularly when moving amplifiers, percussion instruments, large brass, woodwind or string
instruments, and travel cases on and off shelves, up and down stairs, to and from buildings and in
loading bays.
Performance students need to practise and perform on their instrument and/or voice for sustained
periods of time and should be mindful of overuse injury at all times. Care should be taken to develop
safe approaches when using music instruments or their voice, including, as appropriate, posture, hand/
arm positions and breathing techniques.
Care should be taken in regard to safe levels of sound at all times, particularly when using music
technology such as amplifiers and PA systems, or in ensemble seating positions. Information about
appropriate sound levels can be obtained from the Victorian WorkCover Authority website. Students
listening to music need to be mindful of damage resulting from listening to sounds through speakers
and head/earphones at sustained high volume levels.
USE OF INFORMATION AND COMMUNICATIONS TECHNOLOGY
In designing courses for this study teachers should incorporate information and communications
technology (ICT) where appropriate and applicable to the teaching and learning activities.
EMPLOYABILITY SKILLS
This study offers a number of opportunities for students to develop employability skills. The Advice
for teachers sections provide specific examples of how students can develop employability skills
during learning activities and assessment tasks.
LEGISLATIVE COMPLIANCE
When collecting and using information, the provisions of privacy and copyright legislation, such as
the Victorian Information Privacy Act 2000 and Health Records Act 2001, and the federal Privacy
Act 1988 and Copyright Act 1968, must be met.
vce study design
9
Assessment and reporting
SATISFACTORY COMPLETION
The award of satisfactory completion for a unit is based on a decision that the student has demonstrated
achievement of the set of outcomes specified for the unit. This decision will be based on the teachers
assessment of the students performance on assessment tasks designated for the unit. Designated
assessment tasks are provided in the details for each unit. The Victorian Curriculum and Assessment
Authority publishes online an assessment handbook that includes advice on the assessment tasks and
performance descriptors for assessment for Units 3 and 4.
Teachers must develop courses that provide opportunities for students to demonstrate achievement of
outcomes. Examples of learning activities are provided in the Advice for teachers sections.
Schools will report a result for each unit to the Victorian Curriculum and Assessment Authority as
S (Satisfactory) or N (Not Satisfactory).
Completion of a unit will be reported on the Statement of Results issued by the Victorian Curriculum
and Assessment Authority as S (Satisfactory) or N (Not Satisfactory). Schools may report additional
information on levels of achievement.
Authentication
Work related to the outcomes of each unit will be accepted only if the teacher can attest that, to the
best of their knowledge, all unacknowledged work is the students own. Teachers need to refer to the
current VCE and VCAL Administrative Handbook for authentication procedures.
LEVELS OF ACHIEVEMENT
Units 1 and 2
Procedures for the assessment of levels of achievement in Units 1 and 2 are a matter for school decision.
Assessment of levels of achievement for these units will not be reported to the Victorian Curriculum and
Assessment Authority. Schools may choose to report levels of achievement using grades, descriptive
statements or other indicators.
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MUSIC 20112016
Assessment
and reporting
Units 3 and 4
The Victorian Curriculum and Assessment Authority will supervise the assessment of all students
undertaking Units 3 and 4.
In the study of VCE Music Performance students level of achievement will be determined by Schoolassessed Coursework, an end-of-year performance examination and an end-of-year aural and written
examination. In VCE Music Investigation students level of achievement will be determined by
School-assessed Coursework and an end-of-year performance examination. In VCE Music Style and
Composition students level of achievement will be determined by School-assessed Coursework, an
Externally-assessed Task and an end-of-year examination.
The Victorian Curriculum and Assessment Authority will report students level of performance on each
assessment component as a grade from A+ to E or UG (ungraded). To receive a study score, students
must achieve two or more graded assessments and receive S for both Units 3 and 4. The study score is
reported on a scale of 050; it is a measure of how well the student performed in relation to all others
who took the study. Teachers should refer to the current VCE and VCAL Administrative Handbook
for details on graded assessment and calculation of the study score. Percentage contributions to the
study score in VCE Music are as follows:
VCE Music Performance Units 3 and 4
Units 3 and 4 School-assessed Coursework: 30 per cent
External end-of-year performance examination: 50 per cent
External end-of-year aural and written examination: 20 per cent
VCE Music Investigation Units 3 and 4
Unit 3 School-assessed Coursework: 25 per cent
Unit 4 School-assessed Coursework: 25 per cent
External end-of-year performance examination: 50 per cent
VCE Music Style and Composition Units 3 and 4
Units 3 and 4 School-assessed Coursework: 30 per cent
Units 3 and 4 Externally-assessed Task: 30 per cent
External end-of-year aural and written examination: 40 per cent
Details of the assessment program are described in the sections on Units 3 and 4 in this study
design.
vce study design
11
Units 14: Music Performance
12

This unit focuses on building performance and musicianship skills. Students present performances
of selected group and solo music works using one or more instruments. They study the work of other
performers and explore strategies to optimise their own approach to performance. They identify
technical, expressive and stylistic challenges relevant to works they are preparing for performance and
practise technical work to address these challenges. They also develop skills in performing previously
unseen music. Students study aural, theory and analysis concepts to develop their musicianship skills
and apply this knowledge when preparing and presenting performances.
SELECTION OF INSTRUMENT OR VOICE
In this study design, the term instrument includes voice.

The choice of instrument may vary within a unit or between units. Students who work with more than
one instrument should select a main instrument for solo performance.
WORKS SELECTED FOR STUDY
In Unit 1 students select a program of group and solo works by a range of composers and/or performers
that are representative of a range of styles and diversity of character. Students are able to select these
works from a range of sources. The program should allow the student to meet a range of technical,
stylistic and interpretative demands and should be appropriate to their level of technical expertise.
Works chosen for group performance may, but are not required to, be selected from the Units 3 and 4
Prescribed List of Group Works. Works chosen for solo performance may, but are not required to,
be selected from the Units 3 and 4 Prescribed List of Notated Solo Works. The prescribed lists are
published annually on the Victorian Curriculum and Assessment Authority website.
Throughout the study the term program refers to one or more programs, and the term style refers
to one or more styles.
13
Music Performance Unit 1
MUSIC 20112016
Area of study 1
Performance
This area of study focuses on knowledge and skills that students use to present musically engaging
performances. Students prepare and present performances in a variety of contexts. They use regular
performances to explore ways of expressively shaping their chosen works and communicating their
artistic intentions to an audience. They develop their instrumental skills through regular individual
practice and develop ensemble skills through rehearsal with other musicians.
Outcome 1
On completion of this unit the student should be able to prepare and perform a practised program of
group and solo works.
To achieve this outcome the student will draw on key knowledge and key skills outlined in Area of
Study 1.
Key knowledge
This knowledge includes:
ways to practise and perform a program of group and solo works

tone qualities that are characteristic of the instrument and ways to achieve variation of tone
strategies for developing flexibility, dexterity and security in performance
the structure of works being prepared for performance and how elements of music contribute to
the character of the works
ways of shaping music performance through interpretation of expressive elements of music such
as tempo, dynamics, phrasing, articulation, groove, feel, intonation, and balance and blend of
instrumental voices and parts/lines in the texture as appropriate to the works
historical and contemporary conventions and contextual influences relevant to the performance of
selected works
ways of using recordings, scores and transcriptions to make decisions when shaping
performances
presentation techniques, including conventions of performance that are appropriate to the
instrument/s, ensemble/s, works, styles and performance space/s.
Key skills
These skills include the ability to:
practise and perform a program of group and solo works that are representative of a range of styles
and diversity of character
demonstrate control of tone qualities characteristic of the instrument and variation of tone
demonstrate flexibility, dexterity and security in performance
demonstrate understanding of structure of works being performed
create shape in the performance of selected works through appropriate interpretation of expressive
elements of music
use knowledge of performance conventions to present historically informed and contemporary
interpretations of selected works
demonstrate communication, interaction, cooperation and empathy with other musicians as
appropriate to the performance of selected works
demonstrate presentation techniques and conventions of performance that are appropriate to the

14
vce study design
MUSIC 20112016 Music
Performance Unit 1
AREA OF STUDY 2
Performance technique
This area of study focuses on the development of techniques for group and/or solo performance.
Students systematically identify instrumental techniques required to perform selected group and/or
solo works and practise relevant technical work and other exercises to support their performance.
Students investigate influences relevant to the interpretation and performance of the selected group
and/or solo works. They research and trial a range of performance and interpretation strategies used
by other performers to identify approaches to developing their own skills as a solo performer and as a
member of a group. They investigate and practise approaches to unprepared performance.
Outcome 2
On completion of this unit the student should be able to demonstrate instrumental techniques used in
performance of selected works, demonstrate unprepared performance skills and describe influences
on their approach to performance.
Study 2.
Key knowledge
strategies for developing effective instrumental practice routines

strategies for developing effective rehearsals with other musicians
strategies for developing instrumental techniques
strategies for developing instrumental techniques required to meet specific technical, expressive
and stylistic challenges in selected group and/or solo works
strategies for practising technical work and exercises for development of flexibility, dexterity and
control across the range of styles represented in selected group and/or solo works
links between technical work and exercises and achieving flexibility, dexterity and control when
performing selected group and/or solo works
strategies used by other performers to optimise performance outcomes
ways of improving identified aspects of performance ability
strategies for achieving systematic development of unprepared performance skills, including, as
appropriate, sight reading and/or improvisation.
Key skills
implement instrumental practice routines

rehearse with other musicians
prepare and perform a program of technical work and exercises relevant to achieving flexibility,
dexterity and control when performing selected group and/or solo works
describe the impact of studying selected technical work on performance outcomes for selected
group and/or solo works
identify and describe strategies used by other performers to optimise performance outcomes
reflect on processes used to improve aspects of performance practice
vce study design
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MUSIC 20112016
systematically develop unprepared performance skills, including, as appropriate, sight reading and/
or improvisation skills
present an unprepared performance by either sight reading previously unseen music, spontaneously
imitating within a set style, or spontaneously improvising within a set style.
AREA OF STUDY 3
Musicianship
This area of study focuses on aural perception, music theory and analysis. Students study concepts in
isolation and in the contexts of performing and listening. This approach develops students general
musicianship ability and enables them to apply their learning to rehearsal and performance. Students
develop their ability to sing intervals, scales, triads and short melodic phrases from sight and memory.
They are introduced to strategies for identifying, recognising, notating and transcribing short music
excerpts. They also practise and refine their ability to notate music by hand. Students use knowledge
developed across this area of study to explore characteristics of works being prepared for performance
and make decisions about approaches to interpretation.
Outcome 3
On completion of this unit the student should be able to identify, re-create, notate and transcribe elements
of music, and describe ways in which expressive elements of music may be interpreted.
Study 3.
Key knowledge
a system to assist the singing of scales, intervals, chords, melodic phrases, rhythmic phrases and
diatonic chord progressions
music notation conventions including:
pitch identification in treble and/or bass clefs, key signatures, accidentals and chord symbols
rhythmic notation of semibreve, minim, crotchet, quaver, semi-quaver and associated rests,
simple and compound time signatures, bar lines, rhythmic grouping and beaming
music terminology and language to identify and describe the interpretation of expressive elements
of music
Pitch (melody and harmony)
scales/modes:
naming conventions used to identify scale degrees
concepts of tonality and key
sound and intervallic structure of ascending and descending forms of the major, natural minor,
harmonic minor, melodic minor and chromatic scales
intervals:
naming conventions used to identify size and quality of intervals
sound and structure of ascending and descending major, minor and perfect intervals within the
compass of one octave
chords:
sound and intervallic structure of major and minor triads
16
vce study design
Performance Unit 1
diatonic harmony:
naming conventions used to identify quality and diatonic function of chords within a key
sound, structure and function of the primary triads I, i, IV, iv, V in major keys and in minor
keys where the basis for chord building is the harmonic minor scale
strategies to identify and notate diatonic, root position chord progressions in major keys and
in minor keys where the basis for chord building is the harmonic minor scale
Duration (pulse, beat, meter, rhythm)
naming conventions used to identify rhythmic values
conventions of rhythmic notation including grouping and beaming
organisation, value and subdivision of beat and pulse in simple duple, triple and quadruple meters
and compound duple meter
strategies to identify and notate simple and compound rhythm patterns
Interpretation
structural aspects of works chosen for performance, including melodic, harmonic and/or rhythmic
organisation, form/sections, use of patterns and textural characteristics
ways that expressive outcomes in the performance of music works may be developed by exploring
the idiomatic qualities and variations of instrumental tone colour, such as ways in which instrumental
voices may blend to create tone colour, the relative balance of different music parts/lines or the
structural and expressive roles of instrumental voices within the texture of the work
strategies to identify use of articulation patterns, ornamentation/embellishment (melodic, harmonic
and rhythmic), dynamic range and shape, phrase shaping and tempo choices.
Key skills
identify the size and quality of intervals that are presented either aurally or in writing, in treble
and/or bass clef and in isolated and melodic contexts
identify ascending and descending major, natural minor, harmonic minor, melodic minor and
chromatic scales that are presented either aurally or in writing, and in treble and/or bass clef
recognise and identify the tonality of a melody that is based on a major or melodic minor scale
and which is presented either aurally or in writing, and in treble and/or bass clef
use conventional music notation to write intervals, scales and chords in treble and/or bass clef
use a system to sing intervals, scales, short melodic phrases and chord-tone arpeggios
use a process to imitate and/or improvise on three or four note melodic motifs by singing, humming
or playing
use a process to imitate and/or improvise on one bar rhythmic patterns by clapping, tapping or
playing
identify and use conventional music notation to transcribe missing notes in a short melody
identify major and minor triads presented aurally in block harmony or as arpeggios
identify diatonic progressions of up to three chords in major keys or in minor keys where the basis
for chord building is the harmonic minor scale; that are in keys that use up to one sharp or one flat;
that use root position primary triads only; that are presented homophonically; and that conclude
with common cadences ending on the tonic chord
aurally recognise, and identify from a series of written alternatives, one bar of rhythm from a
four-bar phrase presented by non-pitched percussion instruments in two parts and in simple duple,
simple triple, simple quadruple or compound duple meter
vce study design
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MUSIC 20112016
identify and use conventional music notation to transcribe missing notes and/or rests in a short
rhythm exercise
listen analytically to excerpts of pre-recorded works and identify ways in which expressive
elements of music, including tone colour, blend of instrumental voices, balance of music parts/
lines, articulation, ornamentation/embellishment, tempo choices, dynamics, and phrase length and
shape, have been interpreted to achieve expressive outcomes
use appropriate music terminology and language to identify ways in which expressive elements
of music may be interpreted to achieve expressive outcomes in works selected for performance.
ASSESSMENT
assessment of the students overall performance on assessment tasks designated for the unit.
The key knowledge and key skills listed for each outcome should be used as a guide to course design and
the development of learning activities. The key knowledge and key skills do not constitute a checklist
and such an approach is not necessary or desirable for determining the achievement of outcomes. The
elements of key knowledge and key skills should not be assessed separately.
Assessment tasks must be a part of the regular teaching and learning program and must not unduly add
to the workload associated with that program. They must be completed mainly in class and within a
limited timeframe. Teachers should select a variety of assessment tasks for their assessment program to
reflect the key knowledge and key skills being assessed and to provide for different learning styles.
For this unit students are required to demonstrate achievement of three outcomes. As a set these
outcomes encompass all areas of study.
Demonstration of achievement of Outcomes 1, 2 and 3 must be based on the students performance
on a selection of assessment tasks. Where teachers allow students to choose between tasks they must
ensure that the tasks they set are of comparable scope and demand.
Assessment tasks for this unit are:
Performances of three works including at least one group work and one solo work with
accompaniment as appropriate. The duration of the performances will vary depending on the works
selected.
A demonstration of technical work and exercises, for example an assessment task that includes a
test or other performance context.
An explanation of how selected technical work and exercises support the students development
as an instrumentalist and their preparation of works performed for Outcome 1. The explanation
may be presented in one or more of the following formats
oral
multimedia
written.
A performance of unprepared material in a test or other performance context.
Aural, written and practical tasks, for example
a folio of exercises
or
a test
a workbook of class activities.
18
vce study design

In this unit students build their performance and musicianship skills. They present performances of
selected group and solo music works using one or more instruments. Students study the work of other
performers through listening and analysis and use specific strategies to optimise their own approach to
performance. They also study strategies for developing technical and expressive performance skills.
They identify technical, expressive and stylistic challenges relevant to works they are preparing for
performance and practise related technical work. They develop skills in performing previously unseen
music and study specific concepts to build their musicianship knowledge and skills. Students also
devise an original composition or improvisation.
SELECTION OF INSTRUMENT OR VOICE
In this study design, the term instrument includes voice.

The choice of instrument may vary within a unit or between units. Students who work with more than
one instrument should select a main instrument for solo performance.
WORKS SELECTED FOR STUDY
In Unit 2 students select a program of group and solo works. Students are free to select these works
from a range of sources. The program should allow the student to demonstrate a range of technical,
stylistic and interpretative demands and should be appropriate to their level of technical expertise.
Works chosen for group performance may, but are not required to, be selected from the Units 3 and 4
Prescribed List of Group Works. Works chosen for solo performance may, but are not required to,
be selected from the Units 3 and 4 Prescribed List of Notated Solo Works. The prescribed lists are
Throughout the study the term program refers to one or more programs, and the term style refers
to one or more styles.
19
MUSIC 20112016
Area of study 1
Performance
In this area of study students develop knowledge and skills that are required to present music
performances in a group and as a soloist. They develop their ability to present musically engaging
performances in a variety of performance contexts. Through regular performance they explore ways
to expressively shape their chosen works and build on their ability to communicate artistic intentions
convincingly to an audience. Students develop their instrumental skills through regular individual
practice and develop ensemble skills through rehearsal with other musicians.
Outcome 1
On completion of this unit the student should be able to prepare and perform a musically engaging
program of group and solo works.
Study 1.
Key knowledge
strategies for optimising effective performance practice routines relevant to selected group and
solo works that are representative of a range of styles and diversity of character
strategies for optimising effectiveness of rehearsals with other musicians
idiomatic tone qualities and ways to achieve expressiveness, clarity and artistic variation of tone
strategies for developing fluency and control in group and solo performance
strategies for developing expressively shaped, cohesive interpretations of works that demonstrate
appropriate balance between relevant personal, ensemble, stylistic, practical, technological,
historical and cultural influences
ways of achieving shape in music through artistic variation of expressive elements of music
historical and contemporary conventions and contextual influences relevant to interpretation and
performance of selected works
strategies for developing communication, interaction, cooperation and empathy with other musicians
as appropriate to performance of selected works
stylistic characteristics, musical structures and textures in works being prepared for performance
and how elements of music can be interpreted to realise the character of the work
roles of, and relationships between, instrumental voices in selected group works, or parts within
the texture of solo works
instrument/s, ensemble/s, works, styles and performance space.
Key skills
implement effective performance practice routines

rehearse effectively with other musicians
prepare and perform a program of group and solo works that demonstrates a range of music styles
demonstrate fluency and control in the performance of selected works
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Music Performance
Unit 2
demonstrate idiomatic tone quality and artistic variation of tone in the performance of selected
works
expressively and cohesively perform selected works demonstrating appropriate balance between
personal, stylistic, practical, technological, historical and cultural influences
vary expressive elements of music to shape the performance of selected works and achieve artistic
intentions
present historically informed and contemporary interpretations of selected works using appropriate
performance conventions
appropriate to the performance of selected work/s
demonstrate understanding stylistic characteristics in selected works
communicate awareness of musical structures and textures in the performance of selected works
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
AREA OF STUDY 2
This area of study focuses on continuous development of techniques for group and solo performance.
Students systematically practise technical work and exercises to enhance their ability to realise the
character and style of selected group and solo works. They trial different rehearsal strategies and
identify those that achieve the most effective outcomes. Students research and trial performance
and interpretation strategies used by other performers and apply approaches to optimise their own
performances. They build their skills in unprepared performance and apply these when learning and
rehearsing group and solo works.
Outcome 2
On completion of this unit the student should be able to demonstrate instrumental techniques used in
performance of selected works, demonstrate unprepared performance skills and describe influences
on their approach to performance.
Study 2.
Key knowledge
strategies for developing effective instrumental practice routines, including ways of incorporating
use of ICT
strategies for developing effective rehearsals with other musicians
strategies for developing instrumental techniques relevant to specific technical, expressive and/or
stylistic challenges in selected group and/or solo works
strategies for developing control of instrumental techniques
strategies for practising exercises and technical work for development and maintenance of fluency
and control across the range of styles represented in selected group and/or solo works
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links between selected technical work and exercises and achieving fluency and control in the
performance of selected group and/or solo works
strategies to research interpretations of selected works by other performers
strategies for incorporating research findings from recordings, scores and/or transcription into
preparing performance of works
strategies used by other performers to optimise performance outcomes
ways of improving identified aspects of own performance ability, including reflection and
evaluation
appropriate, sight reading, imitation and/or improvisation.
Key skills
These skills include the ability to
implement effective instrumental practice routines

rehearse effectively with other musicians
prepare and perform a program of technical work and exercises relevant to achieving fluency and
control when performing selected group and/or solo works
describe the impact of studying selected technical work and exercises on performance outcomes
for selected group and/or solo works
identify, describe and evaluate strategies used by other performers to optimise performance outcomes
describe how use of selected strategies to develop technical skill has improved identified aspects
of own performance ability
present a fluent unprepared performance by either sight reading previously unseen music or imitating
within a set style or spontaneously improvising within a set style.
AREA OF STUDY 3
Musicianship
In this area of study students build their knowledge and skills in music theory, aural comprehension
and music analysis. Students build on their knowledge and skills through systematic study of aural
and theoretical concepts in isolation and in the context of performing or listening. They develop their
ability to sing intervals, scales, triads and short melodic phrases from sight and memory, and they
extend their ability to identify, recognise, notate and transcribe short music excerpts. Students practise
and refine their ability to notate music by hand. They investigate and comment on a variety of ways
in which elements of music can be interpreted to achieve expressive outcomes in the performance of
music works.
Outcome 3
On completion of this unit the student should be able to identify, re-create, notate and transcribe elements
of music, and describe how selected elements of music have been interpreted in performance.
Study 3.
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Music Performance
Unit 2
Key knowledge
music notation conventions, including:
pitch identification in treble and/or bass clefs, key signatures, accidentals and chord symbols
music terminology and language to identify and describe the interpretation of elements of music
scales/modes:
concepts of tonality and key
harmonic minor, melodic minor, major (do) pentatonic, minor (la) pentatonic and blues (minor
pentatonic plus flat 5) scales
intervals:
sound and structure of ascending and descending major, minor, perfect, diminished and
augmented intervals within the compass of one octave, presented aurally, in isolation and in
melodic contexts
chords:
sound and intervallic structure of major, minor, augmented and diminished triads and dominant
7th chords
diatonic harmony:
sound, structure and function of
tonic (I major), supertonic (ii minor), mediant (iii minor), sub-dominant (IV major), dominant
(V major) and sub-mediant (vi minor) triads in a major key
tonic (i minor), supertonic (ii diminished), sub-dominant (iv minor), dominant (V major)
and sub-mediant (VI major) triads in a minor key where the basis for chord building is the
harmonic minor scale
dominant 7th chord in major keys and minor keys where the basis for chord building is the
harmonic minor scale
strategies to identify and notate diatonic, root position chord progressions in major keys and minor
keys where the basis for chord building is the harmonic minor scale
conventions of rhythmic notation, including grouping and beaming
organisation, value and subdivision of beat and pulse in simple duple, triple and quadruple meters
and compound duple meter
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Interpretation
structural aspects of works chosen for performance, including melodic, harmonic and/or rhythmic
organisation, form/sections, use of patterns and textural characteristics
ways that expressive outcomes in the performance of music works may be developed by
exploring
idiomatic qualities and variations of instrumental tone colour, including ways in which
instrumental voices blend to create tone colour
the relative balance of different music parts/lines
the structural and expressive roles of instrumental voices within the texture of the work
use of articulation, ornamentation/embellishment (melodic, harmonic and rhythmic), dynamic
range and shape, phrase shaping and tempo choices
strategies to identify and describe ways in which performers interpret expressive elements of
music, including tone color, blend of instrumental voices, balance of music parts/lines, articulation
patterns, ornamentation/embellishment (melodic, harmonic and rhythmic), dynamic range and
shape, phrase shaping and tempo choices in order to achieve expressive outcomes.
Key skills
identify the size and quality of intervals that are presented either aurally or in writing, in treble
and/or bass clef and in isolated and melodic contexts
identify ascending and descending major, natural minor, harmonic minor, melodic minor, major
(do) and minor (la) pentatonic and blues (minor pentatonic plus flat 5) scales that are presented
either aurally or in writing in treble and/or bass clef
recognise and identify the tonality of a melody that is based on a major, melodic minor, major
pentatonic or minor pentatonic scale, and presented aurally or in writing in treble and/or bass
clef
use conventional music notation to write intervals, scales and chords in treble and/or bass clef
use a process to imitate and/or improvise on three- or four-note melodic motifs by singing, humming
or playing
use a process to imitate and/or improvise on one- or two-bar rhythmic patterns by clapping, tapping
or playing
use conventional music notation to transcribe up to two bars of a two-bar diatonic melody that is
based on a major or melodic minor scale, in keys that use up to two sharps or two flats, presented
in treble clef, in simple duple, simple triple, simple quadruple or compound duple meter and where
the pitch of the first note and the rhythm of the melody are given
identify major, minor, augmented and diminished triads, and dominant 7th chords presented aurally
in block harmony and as arpeggios
identify diatonic progressions of up to three chords in major keys or in minor keys where the basis
for chord building is the harmonic minor scale, that are in keys that use up to two sharps or two
flats, that use combinations of root position triads and dominant 7th chords, that are presented
homophonically, and that conclude with common cadences that end on either the tonic, dominant
or submediant chords
aurally recognise, and identify from a series of written alternatives, two bars of rhythm from a
four-bar phrase presented by non-pitched percussion instruments in two parts and in simple duple,
simple triple, simple quadruple or compound duple meter
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Music Performance
Unit 2
transcribe rhythms of up to two bars from an excerpt that is no longer than four bars, and that is
in simple duple, simple triple, simple quadruple or compound duple meter
listen analytically to excerpts of pre-recorded works and identify ways in which expressive
elements of music, including tone colour, blend of instrumental voices, balance of music parts/lines,
articulation, ornamentation/embellishment (melodic, harmonic and rhythmic), dynamic range and
shape, phrase shaping and tempo choices, have been interpreted to achieve expressive outcomes
use appropriate music terminology and language to describe ways in which expressive elements
of music may be interpreted to achieve expressive outcomes in works selected for performance.
AREA OF STUDY 4
Organisation of sound
This area of study focuses on devising original work as a composition or an improvisation, inspired
by analysis of music in selected works being prepared for performance.
The creative process is individual and has many starting points for inspiration. Students study and
listen to a wide variety of music. They explore a range of strategies to generate and extend music
ideas, for example improvisation. Students are encouraged to use a broad structural element to focus
their creative work, for example a key, chord progression, instrument and/or mood.
As part of the process of generating music ideas, students analyse works they are preparing for
performance. They identify characteristics that can be used in their composition or improvisation and
relevant influences on composers/performers. Students use various strategies to experiment with,
develop and refine the musical ideas.
Aspects of music language used in devising original work include range and characteristics of selected
instruments; use of instruments in combination, including balance of dynamics and tones, and blend
of tones; music forms and structures, such as binary, ternary and popular song; conventions in staff
notation, including shape of music notes, groupings, phrase marks, treble and bass clefs, relevant key
signatures and time signatures. Where possible, students should practise notating music on manuscript
to develop their skill in writing notation.
Information and communications technology tools should be used for keying-in (sequencing), review,
playback and refinement, as appropriate.
Outcome 4
On completion of this unit the student should be able to devise a composition or an improvisation that
uses music language evident in work/s being prepared for performance.
To achieve this outcome the student will draw on knowledge and related skills outlined in Area of
Study 4.
Key knowledge
This knowledge includes
melodic, harmonic, rhythmic, structural and expressive aspects of music language used in work/s
being prepared for performance
AND
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MUSIC 20112016
For composition
techniques for composing melodies
techniques for composing harmonic parts that can be performed in combination with a melody
techniques for harmonising a given melody using appropriate chords
conventions in notation, including shape of music notes, grouping, phrase marks, treble and bass
clefs, relevant key signatures and time signatures
techniques to input and edit work, including transposition as appropriate, using appropriate ICT
OR
For improvisation
techniques for improvising using a given structure or source material such as motif/s, patterns or
a chord progression
techniques for improvising over progressions that feature a range of triads and seventh chords and
their associated scale patterns
techniques for improvising on selected memorised structures using spontaneously created rhythmic
and/or melodic motifs or patterns
techniques to record the improvised performance and edit by, for example, using appropriate
ICT hardware and software such as a computer, digital keyboard and a sequencing software
application.
Key skills
These skills include the ability to
aurally and/or visually analyse music language of work/s being prepared for performance
AND
For composition
use composition and part-writing techniques to compose and notate a short, original work based
on analysis of works being prepared for performance
input and edit work using ICT
OR
For improvisation
improvise using given source material
improvise over a range of triads and seventh chords and their associated scale patterns
improvise on selected structures that are memorised, spontaneously creating rhythmic and/or
melodic motifs or patterns
record the improvised performance and edit using appropriate ICT.
assessment
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Music Performance
Unit 2
For this unit students are required to demonstrate achievement of four outcomes. As a set these outcomes
encompass all areas of study.
Demonstration of achievement of Outcomes 1, 2, 3 and 4 must be based on the students performance
Performances of three works including at least one group work and one solo work with
accompaniment as appropriate. The duration of the performances will vary depending on the works
selected.
A demonstration of technical work and exercises, for example an assessment task that includes a
test or other performance context.
An explanation of how selected technical work and exercises support the students development
as an instrumentalist and their preparation of works performed for Outcome 1. The explanation
may be presented in one or more of the following formats
oral
multimedia
written.
A performance of unprepared material.
Aural, written and practical tasks, for example
a folio of exercises
or
a test
a workbook of class activities.
Composition and/or improvisation exercises and accompanying documentation that describes use
of music language in the exercise/s. The documentation may be presented in one or more of the
following formats
multimedia
written.
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This unit prepares students to present convincing performances of group and solo works. In this unit
students select a program of group and solo works representing a range of styles and diversity of
character for performance. They develop instrumental techniques that enable them to interpret the
works and expressively shape their performances. They also develop an understanding of performance
conventions they can use to enhance their performances. Students develop skills in unprepared
performance, aural perception and comprehension, transcription, music theory and analysis.
The focus for analysis in Area of Study 3 is works and performances by Australian musicians.
Performance examination
Students choose whether they will present their external end-of-year performance examination program
as a member of a group OR as a soloist.
Instruments selected for study
Students who elect to present their end-of-year performance examination as a soloist must select an
instrument from the Units 3 and 4 Prescribed List of Notated Solo Works. Students wishing to perform
on an instrument not included in this list, and use a suitable program of works for that alternative
instrument, must receive prior approval from the Victorian Curriculum and Assessment Authority
before commencing the study.
Students who elect to present their end-of-year performance examination as a member of a group may
select any instrument and do not require approval for their choice.
In this study design the term instrument includes voice.
Students may use a different instrument for study and performance for each of the group and solo
works.
Works selected for study
In Unit 3 the program should include contrasting works representing a range of musical styles
and diversity of character, including music composed since 1910. The program must be based on
requirements for the end-of-year performance examination for group and solo contexts, in the Prescribed
List of Group Works or the Prescribed List of Notated Solo Works for the selected instrument as
The Unit 3 school-based performance program presented for assessment of Outcome 1 will be about
15 minutes in duration for soloists and groups of 13 assessed performers. For groups of 4 or more
assessed performers the program should be about 2025 minutes in duration.
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Music Performance
Unit 3
For students who have elected to perform their end-of-year performance examination as a member
of a group, solo work/s for Outcome 1 may, but are not required to, be selected from the Prescribed
List of Notated Solo Works. For students who have elected to perform their end-of-year performance
examination as a soloist, group works for Outcome 1 may, but are not required to, be selected from
the Prescribed List of Group Works.
Area of study 1
Performance
In this area of study students develop knowledge and skills required to present musically engaging
performances of music works. Students select a program of contrasting group and solo works that
demonstrate a range of music styles, diversity of character and a range of technical, stylistic and
interpretative demands.
Students develop their ability to present performances of group and solo works in a variety of
performance contexts. They develop effective ensemble performance skills through rehearsal with
other musicians. They present performances throughout the unit to develop their ability to communicate
their artistic intentions to an audience.
Students investigate relevant stylistic characteristics, performance techniques and performance
conventions. They analyse the structural characteristics and use of the elements of music in the works,
investigate relevant contextual issues and research a range of existing interpretations. They decide
how to interpret and expressively shape each work based on their investigation, analysis and trialling
of different approaches.
Through these activities, students develop awareness of the need for appropriate balance between
relevant personal, ensemble, stylistic, practical, technological, historical and cultural influences in
shaping interpretations of their chosen group and solo works. They also develop awareness of relevant
performance conventions.
Outcome 1
On completion of this unit the student should be able to present an informed, accurate and expressive
performance of a program of group and solo works.
Study 1.
Key knowledge
a program of group and solo works that represents a range of music styles and diversity of character,
including a work/s composed since 1910 and accompanied/unaccompanied works as appropriate
to the instrument/group
strategies for preparing performances of selected group and solo works
strategies for developing accuracy, fluency and control in group and solo performance
idiomatic instrumental tone qualities and ways to achieve clarity and variation of tone
ways of achieving shape in music through control and variation of expressive elements of music
strategies for developing informed interpretations of works that demonstrate appropriate balance
between relevant personal, ensemble, stylistic, practical, technological, historical and cultural
influences
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MUSIC 20112016
as appropriate to performance of selected works
stylistic characteristics, musical structures and use of other elements of music in selected works
roles of and relationships between instrumental voices in selected group works or parts within the
texture of solo works
a variety of approaches to interpretation of selected works by other performers
Key skills
prepare and present performance/s of a program of group and solo works that demonstrates a range
of music styles and diversity of character
demonstrate accuracy, fluency and control in the performance of selected group and solo works
demonstrate idiomatic tone quality, clarity and variation of tone in the performance of selected
group and solo works
shape the performance of selected group and solo works through control and variation of expressive
elements of music
present informed interpretations of selected group and solo works that demonstrate balance between
relevant personal, stylistic, practical, technological, historical and cultural influences
use relevant historical and contemporary performance conventions to interpret and perform selected
demonstrate stylistic characteristics and communicate awareness of musical structures in the
performance of selected group and solo works
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
instrument/s, ensemble/s, works, styles and performance space/s
perform using effective sound production and/or sound reinforcement techniques as appropriate to
acoustic properties of performance venues, style and character of selected works and performance
contexts.
AREA OF STUDY 2
In this area of study students develop knowledge and skills to achieve consistency and control of
idiomatic instrumental and performance techniques in group and solo performances. Students practise
a range of technical work and exercises selected to extend and improve command of instrumental
and performance techniques. They develop an understanding of the relevance of technique to their
performance of selected group and solo works. Students also systematically develop skills in unprepared
performance, including improvisation and/or sight reading.
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Music Performance
Unit 3
Outcome 2
On completion of this unit the student should be able to demonstrate performance techniques, technical
work and exercises, and describe their relevance to the performance of selected group and/or solo
works, and present an unprepared performance.
Study 2.
Key knowledge
strategies for developing effective technical practice routines, including ways of incorporating use
of ICT
idiomatic instrumental techniques to develop accuracy, control, fluency, flexibility, dexterity,
security, coordination and tone
performance techniques relevant to technical, expressive and/or stylistic challenges in selected
strategies for optimising group rehearsals and presenting group performances, including rehearsal
time management, and ways of communicating within the group and with the audience
performance techniques associated with developing ways of achieving appropriate blend, balance,
intonation, tempo, dynamics, articulation, leading and following in performance of selected group
and/or solo works
strategies related to physical and psychological wellbeing that improve performance outcomes
strategies for reflecting on and evaluating personal development as an instrumentalist and ability
to perform technical, expressive and/or stylistic aspects of selected group and solo works
appropriate, sight reading and/or improvisation as relevant to selected performance contexts
technical considerations relevant to sound production and/or sound reinforcement as appropriate to
context.
Key skills
implement effective technical practice routines

develop and demonstrate instrumental and performance techniques to achieve accuracy, control,
fluency, flexibility, dexterity, security, coordination, tone and other relevant idiomatic instrumental
techniques in group and/or solo works selected for performance
develop and demonstrate instrumental and performance techniques relevant to technical, expressive
and/or stylistic challenges in selected group and/or solo works
prepare and present technical work that demonstrates a variety of idiomatic instrumental techniques
at appropriate tempi, with appropriate expressive shape and characteristic tone
implement strategies to optimise effectiveness of group rehearsals and present effective group
performances
demonstrate effective ways of achieving appropriate blend, balance, intonation, tempi, dynamics
and articulation, and of leading and following in the performance of selected group and/or solo
works
describe links between the selected technical work and improved outcomes in the performance of
selected group and/or solo works
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MUSIC 20112016
reflect on and evaluate strategies used to build personal development as an instrumentalist, including
physical and psychological wellbeing and ability to perform technical, expressive and/or stylistic
aspects of selected works
present a fluent and expressive unprepared performance by either sight reading previously unseen
music or spontaneously improvising within a set style.
AREA OF STUDY 3
Musicianship
In this area of study students systematically develop music theory knowledge and skills in aural
comprehension and analysis. They develop and refine their ability to identify, recognise, notate and
transcribe short music excerpts, as well as to re-create short sections of music by singing, humming
and/or playing. Students practise and refine their ability to notate music by hand. They develop an
understanding of ways expressive elements of music can be interpreted in the performance of music
works. They apply this knowledge to their analysis of ways in which Australian performers have
interpreted a variety of works by Australian composers/songwriters that have been created after
1910.
Outcome 3
On completion of this unit the student should be able to identify, re-create, notate and transcribe short
excerpts of music, and discuss the interpretation of expressive elements of music in pre-recorded
works.
Study 3.
Key knowledge
pitch identification in treble and bass clefs, key signatures, accidentals and chord symbols
music terminology and language to identify, describe and discuss the interpretation of expressive
elements of music
scales/modes:
concepts of tonality, key and modality
harmonic minor, melodic minor, major (do) pentatonic, minor (la) pentatonic, blues (minor
pentatonic plus flat 5) scales, and dorian and mixolydian modes
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Music Performance
Unit 3
intervals:
melodic contexts
chords:
sound and intervallic structure of major, minor, augmented and diminished triads, suspended
4th chords, major 7th, minor 7th, dominant 7th, half diminished/minor 7 flat 5 and diminished
7th chords
diatonic harmony:
tonic (I major), supertonic (ii minor), mediant (iii minor), sub-dominant (IV major),
dominant (V major), sub-mediant (vi minor) and leading note (vii diminished) triads in a
major key
tonic (i minor), supertonic (ii diminished), mediant (III augmented), sub-dominant (iv
minor), dominant (V major), sub-mediant (VI major) and leading note (vii diminished)
triads in a minor key where the basis for chord building is the harmonic minor scale
scale tone 7th chords in major keys (I major 7th, ii minor 7th, iii minor 7th, IV major 7th,
V dominant 7th, vi minor 7th, vii half-diminished/minor 7 flat 5)
scale tone 7th chords in minor keys where the basis for chord building is the harmonic
minor scale, excluding 7th chords built on the first and third degrees (ii half-diminished/
minor 7 flat 5, iv minor 7th, V dominant 7th, VI major 7th, vii diminished 7th)
minor keys where the basis for chord building is the harmonic minor scale
organisation, value and subdivision of beat and pulse in simple and compound duple, triple and
quadruple meters and asymmetric meters with 5 pulses per bar
Interpretation
strategies to identify ways that expressive outcomes in the performance of music works are realised
including
idiomatic qualities and variations of instrumental tone colour
ways in which instrumental voices blend to create tone colour
range and shape, phrasing and tempo choices
strategies to identify and analyse interpretive decisions that are evident in pre-recorded performances
by Australians of works created after 1910 by Australian composers/ songwriters.
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MUSIC 20112016
Key skills
identify the size and quality of isolated intervals that are presented either aurally or in writing in
both treble and bass clefs
(do) and minor (la) pentatonic and blues (minor pentatonic plus flat 5) scales, and dorian and
mixolydian modes that are presented either aurally or in writing in both treble and bass clef
recognise and identify the tonality of a melody that is based on a major, melodic minor, major
pentatonic or minor pentatonic scale, or a dorian or mixolydian mode presented aurally
identify the size and quality of the opening and closing intervals of a melody that is based on a
major, melodic minor, major pentatonic or minor pentatonic scale, or a dorian or mixolydian mode
presented aurally or in writing in either treble or bass clef
use conventional music notation to write intervals, scales, modes and chords in treble and bass
clef
use a process to improvise on three- to four-note melodic motifs by singing, humming or
playing
use a process to imitate by singing, humming or playing, a two-bar diatonic or modal melodic phrase
that is presented as either a recording or as a live performance, accurately reproducing intervallic
and rhythmic characteristics
use a process to improvise on two- or three-bar rhythmic patterns by clapping, tapping or
playing
use a process to imitate by clapping, tapping or playing, regular and syncopated rhythm patterns
of two- to four-bars in simple, compound and/or asymmetric meters
aurally recognise and identify from a series of written alternatives, two bars from a four-bar melody
in treble clef presented without a key signature, with an accompanying bass line and where the
melody is based on a major, melodic minor, major pentatonic or minor pentatonic scale, or a dorian
or mixolydian mode
use conventional music notation to transcribe, in the treble clef, up to two bars of a four-bar diatonic
melody based on a major or melodic minor scale, in keys that use up to three sharps or three flats,
in simple duple, simple triple, simple quadruple or compound duple meter, where the pitch of the
first note and the rhythm of the melody are given and which is presented with a bass line and a
chordal and/or rhythmic accompaniment
identify major, minor, augmented and diminished triads, suspended 4th and 7th chord types presented
aurally in block harmony and as arpeggios, and in writing in both treble and bass clef
aurally recognise and identify from a series of written alternatives, up to three chords from a fourchord, diatonic progression that is in a major key or a minor key where the basis for chord building
is the harmonic minor scale, uses up to three sharps or three flats, is presented homophonically,
uses combinations of root position triads and 7th chords and begins on the tonic chord
identify in writing, diatonic progressions of up to four chords in major keys or minor keys where
the basis for chord building is the harmonic minor scale, that are in keys that use up to three sharps
or three flats, that are presented homophonically using combinations of root position triads and 7th
chords, beginning on the tonic chord and concluding with common cadences that end on either the
tonic, dominant or submediant chords
aurally recognise and identify from a series of written alternatives, two bars of rhythm from a twopart eight bar phrase presented by non-pitched percussion instruments, in simple or compound
duple, triple and quadruple meters
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Music Performance
Unit 3
transcribe rhythms of up to two bars from an excerpt that is no longer than eight bars, presented
with up to four single-line parts in simple duple, simple triple, simple quadruple or compound
duple meter
listen analytically to pre-recorded performances by Australians of works that were created after
1910 by Australian composers/songwriters, and identify and discuss ways in which expressive
elements of music, including tone colour, blend of instrumental voices, balance of music parts/lines,
articulation, tempo choices, ornamentation/embellishment, dynamic range and shape and phrasing,
have been interpreted to achieve expressive outcomes and create character in performance
use appropriate music terminology and language to discuss interpretive decisions that are evident
in pre-recorded excerpts of music performances.
Assessment
assessment of the students overall performance on assessment tasks designated for the unit. The
Victorian Curriculum and Assessment Authority publishes online an assessment handbook for this
study that includes advice on the assessment tasks and performance descriptors for assessment.
Assessment of levels of achievement
The students level of achievement in Unit 3 will be determined by School-assessed Coursework and
two end-of-year examinations.
Contribution to final assessment
School-assessed Coursework for Unit 3 will contribute 20 per cent.
Teachers will provide to the Victorian Curriculum and Assessment Authority a score representing an
assessment of the students level of achievement.
The score must be based on the teachers rating of performance of each student on the tasks set out
in the following table and in accordance with the assessment handbook published online by the
Victorian Curriculum and Assessment Authority. The assessment handbook also includes advice on
the assessment tasks and performance descriptors for assessment.
Assessment tasks must be a part of the regular teaching and learning program and must not unduly
add to the workload associated with that program. They must be completed mainly in class and within
a limited timeframe. Where teachers provide a range of options for the same assessment task, they
should ensure that the options are of comparable scope and demand. Teachers should select a variety
of assessment tasks for their program to reflect the key knowledge and key skills being assessed and
to provide for different learning styles.
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Outcomes
Marks allocated*
Assessment tasks
10
A demonstration of performance techniques,

technical work and exercises.
And
A description of how selected performance
techniques, technical work and exercises support the
students development as an instrumentalist and their
preparation of works for Outcome 1. The description
may be presented in one or more of the following
formats:
oral
multimedia
written.
And
A performance of unprepared material sight reading
or improvisation.
10
A test that includes aural, written and practical

components.
Outcome 2
Demonstrate performance techniques, technical work
and exercises, and describe their relevance to the
performance of selected group and/or solo works,
and present an unprepared performance.
Outcome 3
Identify, re-create, notate and transcribe short
excerpts of music, and discuss the interpretation of
expressive elements of music in pre-recorded works.
Total marks
MUSIC 20112016
20
*School-assessed Coursework for Unit 3 contributes 20 per cent.
End-of-year examination
Description
The level of achievement for Units 3 and 4 is also assessed by an end-of-year performance examination,
which will contribute 50 per cent, and an end-of-year aural and written examination, which will
contribute 20 per cent.
Further advice
The Victorian Curriculum and Assessment Authority publishes specifications for all VCE examinations
on the Victorian Curriculum and Assessment Authority website. Examination specifications include
details about the sections of the examination, their weighting, the question format/s and any other
essential information. The specifications are published in the first year of implementation of the revised
Units 3 and 4 sequence together with any sample material.
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vce study design

In this unit students refine their ability to present convincing performances of group and solo works.
Students select group and solo works that complement works selected in Unit 3. They further develop
and refine instrumental and performance techniques that enable them to expressively shape their
performance and communicate their understanding of the music style of each work. Students continue
to develop skills in aural perception and comprehension, transcription, theory, analysis and unprepared
performance. Students continue to study ways in which Australian performers interpret works that
have been created since 1910 by Australian composers/songwriters.
Students continue preparation to complete the end-of-year performance examination as a member of
a group OR as a soloist.
Students who elect to present their end-of-year performance examination as a soloist must select an
instrument from the Units 3 and 4 Prescribed List of Notated Solo Works. Students wishing to perform
on an instrument not included in this list, and use a suitable program of works for that alternative
instrument, must receive prior approval from the Victorian Curriculum and Assessment Authority
before commencing the study.
In this study design the term instrument includes voice.
Students may use a different instrument for study and performance for each of group and solo works.
In Unit 4 the program should include contrasting works representing a range of musical styles
and diversity of character, including music composed since 1910. The program must be based on
requirements for the end-of-year performance examination for group and solo contexts, in the Prescribed
List of Group Works or the Prescribed List of Notated Solo Works for the selected instrument as published
annually on the Victorian Curriculum and Assessment Authority website.
10 minutes in duration for soloists and groups of 13 assessed performers. For groups of 4 or more
assessed performers the program should be about 1015 minutes in duration.
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For students who have elected to perform their end-of-year performance examination as a member
of a group, solo work/s for Outcome 1 may, but are not required to, be selected from the Prescribed
List of Notated Solo Works. For students who have elected to perform their end-of-year performance
examination as a soloist, group works for Outcome 1 may, but are not required to, be selected from
the Prescribed List of Group Works.
Area of study 1
Performance
In this area of study students prepare a program of works and refine their ability to present musically
engaging performances to an audience. They select a program of contrasting group and solo works
that represent a range of styles and diversity of character and complement works selected for Unit 3. The
works should allow students to demonstrate a range of technical, stylistic and interpretative demands
in performance.
Students refine their ability to present performances in a variety of contexts. Through regular
performance they consolidate their ability to expressively shape their interpretation of each work,
and communicate informed interpretations of the works to an audience. They extend and refine their
instrumental skills relevant to group and solo performance through regular practice, and consolidate
effective ensemble skills through rehearsal with other musicians.
Students build on their understanding of relevant stylistic characteristics, performance techniques
and performance conventions, and refine their ability to apply this understanding in performance.
They analyse the structural characteristics and use of elements of music in works being prepared for
performance in this unit. They investigate relevant contextual issues and research existing interpretations.
They develop awareness of the style and characteristics of, and contrast between, each work in their
program. They consider how to demonstrate these understandings through performance.
Students enhance their understanding of the need for appropriate balance between relevant personal,
ensemble, stylistic, practical, technological, historical and cultural influences in shaping interpretations
of their chosen group and solo works. They apply this understanding along with their understanding
of relevant performance conventions to present informed interpretations.
Outcome 1
On completion of this unit the student should be able to prepare and present accurate and expressive
performances of informed interpretations of a program/s of group and solo works.
Study 1.
Key knowledge
a program of works that represents a range of music styles and diversity of character, including
a work/s composed since 1910 and accompanied/unaccompanied works as appropriate to the
instrument/group
strategies for preparing and refining performances of selected group and solo works
strategies for refining accuracy, fluency and control in group and solo performance
idiomatic instrumental tone qualities and ways to achieve clarity and variation of tone
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MUSIC 20112016
Music Performance
Unit 4
ways of achieving shape in music through control and variation of expressive elements of music
strategies for developing and refining informed interpretations of works that demonstrate appropriate
balance between relevant personal, ensemble, stylistic, practical, technological, historical and
cultural influences
strategies for developing and refining communication, interaction, cooperation and empathy with
other musicians as appropriate to performance of selected works
stylistic characteristics, musical structures and use of other elements of music in selected works
the texture of solo works
a variety of approaches to interpretation of selected works by other performers
Key skills
prepare, refine and present performances of a program of group and solo works that demonstrates
a range of music styles and diversity of character
demonstrate accuracy, fluency and control in the performance of selected group and solo works
demonstrate idiomatic tone quality, clarity and variation of tone in the performance of selected
shape the performance of selected group and solo works through control and variation of expressive
elements of music
present informed interpretations of selected group and solo works that demonstrate balance between
relevant personal, stylistic, practical, technological, historical and cultural influences
use relevant historical and contemporary performance conventions to interpret and perform selected
demonstrate stylistic characteristics and refine ability to communicate awareness of musical
structures in the performance of selected group and solo works
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
instrument/s, ensemble/s, works, styles and performance space/s
perform using effective sound production and/or sound reinforcement techniques as appropriate to
contexts.
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AREA OF STUDY 2
In this area of study students refine their ability to consistently control use of idiomatic instrumental
and performance techniques. Students practise a range of technical work and exercises chosen to
consolidate and refine command of instrumental and performance techniques as relevant to selected
group and solo works. They build and refine their understanding of the relevance of technique to their
performance of selected group and solo works. Students continue to systematically develop skills in
unprepared performance.
Outcome 2
On completion of this unit the student should be able to demonstrate performance techniques, and
technical work and exercises, and discuss their relevance to the performance of selected group and/
or solo works, and present an unprepared performance.
Study 2.
Key knowledge
strategies for developing effective technical practice routines, including ways of incorporating use
of ICT
idiomatic instrumental techniques to achieve accuracy, control, fluency, flexibility, dexterity,
security, coordination and tone
performance techniques relevant to technical, expressive and/or stylistic challenges in selected
strategies for optimising group rehearsals and presenting effective group performances, including
rehearsal time management and ways of communicating within the group and with the audience
performance techniques associated with developing ways of achieving appropriate blend, balance,
intonation, tempo, dynamics, articulation, leading and following in performance of selected group
and/or solo works
strategies related to physical and psychological wellbeing that improve performance outcomes
strategies for reflecting on and evaluating personal development as an instrumentalist and ability
to communicate musical intentions in performance of selected works
appropriate, sight reading and/or improvisation as relevant to selected performance contexts
technical considerations relevant to effective sound production and/or sound reinforcement as
appropriate to acoustic properties of performance venues, style and character of selected works
and performance context.
Key skills
implement effective technical practice routines

develop and demonstrate instrumental and performance techniques to achieve accuracy, control,
fluency, flexibility, dexterity, security, coordination, tone and other relevant idiomatic instrumental
techniques in group and/or solo works selected for performance
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MUSIC 20112016
Music Performance
Unit 4
apply and demonstrate instrumental and performance techniques for mastering relevant technical,
expressive and stylistic challenges in selected group and/or solo works
implement strategies to optimise effectiveness of group rehearsals and present effective group
performances
refine and demonstrate effective ways of achieving appropriate blend, balance, intonation, tempi,
dynamics and articulation, and of leading and following, in the performance of selected group and/
or solo works
discuss links between the study of selected technical work and improved outcomes in the
performance of selected group and/or solo works
reflect on and evaluate strategies used to build personal ability to communicate musical intentions
in performance
present a fluent and expressive unprepared performance by either sight reading previously unseen
music or spontaneously improvising within a set style.
AREA OF STUDY 3
Musicianship
In this area of study students consolidate knowledge and skills developed in Unit 3 Outcome 3. Students
continue systematic work to develop skills in theory, aural comprehension and analysis. They further
develop and refine their ability to identify, recognise, notate and transcribe short music excerpts, as
well as to re-create short sections of music by singing, humming and/or playing. Students practise and
refine skills in notating music by hand. They develop a more sophisticated understanding of ways in
which expressive elements of music can be interpreted in music works. They apply this knowledge to
their analysis of ways in which Australian performers have interpreted works by Australian composers/
songwriters created after 1910.
Outcome 3
On completion of this unit the student should be able to identify, re-create, notate and transcribe short
excerpts of music, and analyse the interpretation of expressive elements of music in pre-recorded
works.
Study 3.
Key knowledge
pitch identification in treble and bass clefs, key signatures, accidentals and chord symbols
music terminology and language to identify, describe and discuss the interpretation of expressive
elements of music
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MUSIC 20112016

scales/modes:
concepts of tonality, key and modality
harmonic minor, melodic minor, major (do) pentatonic, minor (la) pentatonic, blues (minor
pentatonic plus flat 5) scales, and dorian and mixolydian modes
intervals:
melodic contexts
chords:
sound and intervallic structure of major, minor, augmented and diminished triads, suspended
4th chords, major 7th, minor 7th, dominant 7th, half diminished/minor 7 flat 5 and diminished
7th chords
diatonic harmony:
tonic (I major), supertonic (ii minor), mediant (iii minor), sub-dominant (IV major), dominant
(V major), sub-mediant (vi minor) and leading note (vii diminished) triads in a major key
tonic (i minor), supertonic (ii diminished), mediant (III augmented), sub-dominant (iv minor),
dominant (V major), sub-mediant (VI major) and leading note (vii diminished) triads in a
minor key where the basis for chord building is the harmonic minor scale
scale tone 7th chords in major keys (I major 7th, ii minor 7th, iii minor 7th, IV major 7th,
V dominant 7th, vi minor 7th, vii half-diminished/minor 7 flat 5)
scale tone 7th chords in minor keys where the basis for chord building is the harmonic minor
scale, excluding 7th chords built on the first and third degrees, (ii half-diminished/minor 7
flat 5, iv minor 7th, V dominant 7th, VI major 7th, vii diminished 7th)
minor keys where the basis for chord building is the harmonic minor scale
organisation, value and subdivision of beat and pulse in simple and compound duple, triple and
quadruple meters and asymmetric meters with 5 pulses per bar
Interpretation
strategies to analyse ways that expressive outcomes in the performance of music works are realised
including:
idiomatic qualities and variations of instrumental tone colour
ways in which instrumental voices blend to create tone colour
range and shape, phrasing and tempo choices

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MUSIC 20112016
Music Performance
Unit 4
strategies to identify and analyse interpretive decisions that are evident in pre-recorded performances
by Australians of works created after 1910 by Australian composers/songwriters.
Key skills
identify the size and quality of isolated intervals that are presented either aurally or in writing in
both treble and bass clefs
(do) and minor (la) pentatonic and blues (minor pentatonic plus flat 5) scales, and dorian and
mixolydian modes, presented either aurally or in writing in both treble and bass clef
recognise, and identify, the tonality of a melody that is based on a major, melodic minor, major
pentatonic or minor pentatonic scale, or a dorian or mixolydian mode, presented aurally
identify the size and quality of the opening and closing intervals of a melody that is based on a
major, melodic minor, major pentatonic or minor pentatonic scale, or a dorian or mixolydian mode,
presented either aurally or in writing in either treble or bass clef
use music notation conventions to clearly and unambiguously write intervals, scales, modes and
chords in treble and bass clef
use a process to improvise on five- to six-note melodic motifs by singing, humming or playing
use a process to imitate by singing, humming or playing, a two-bar diatonic or modal melodic phrase
that is presented as either a recording or as a live performance, accurately reproducing intervallic
and rhythmic characteristics
use a process to improvise on three or four bar rhythmic patterns by clapping, tapping or playing
use a process to imitate by clapping, tapping or playing regular and syncopated rhythm patterns
of four bars in simple, compound and/or asymmetric meters
aurally recognise, and identify, from a series of written alternatives four bars from an eight-bar
melody in treble clef, presented without a key signature, with an accompanying bass line and where
the melody is based on a major, melodic minor, major pentatonic or minor pentatonic scale, or a
dorian or mixolydian mode
use conventional music notation to transcribe, in the treble clef, a diatonic melody of no more than
four bars, based on a major or melodic minor scale, in keys that use up to three sharps or three
flats, in simple duple, simple triple, simple quadruple or compound duple meter, where the pitch
of the first note and the rhythm of the melody are given and which is presented with a bass line
and a chordal and/or rhythmic accompaniment
identify major, minor, augmented and diminished triads, suspended 4ths and 7th chord types
presented aurally and in writing as block harmony and as arpeggios, in both treble and bass clef
aurally recognise, and identify, from a series of written alternatives, up to four chords from an
eight-chord diatonic progression that is in a major key or a minor key where the basis for chord
building is the harmonic minor scale, that is in a key that uses up to three sharps or three flats, that
is presented homophonically, that uses combinations of root position triads and 7th chords and
that begins on the tonic chord
identify in writing, diatonic progressions of up to six chords in major keys or minor keys where the
basis for chord building is the harmonic minor scale, that are in keys that use up to three sharps or
three flats, that are presented homophonically, using combinations of root position triads and 7th
chords, that begin on the tonic chord and conclude with common cadences ending on either the
tonic, dominant or submediant chords
vce study design
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MUSIC 20112016
aurally recognise, and identify, from a series of written alternatives, four bars of rhythm from a
two-part eight-bar phrase presented by non-pitched percussion instruments in simple or compound
duple, triple and quadruple meter
transcribe rhythms of up to four bars from an excerpt that is no longer than eight bars, presented
with up to four single-line parts in simple duple, simple triple, simple quadruple or compound
duple meter
listen to pre-recorded performances by Australians of works that were created after 1910 by
Australian composers/songwriters and analyse ways in which expressive elements of music,
including tone colour, blend of instrumental voices, balance of music parts/lines, articulation,
tempo choices, ornamentation/embellishment, dynamic range and shape and phrasing, have been
interpreted to achieve expressive outcomes and create character in performance
use appropriate music terminology and language to analyse interpretive decisions that are evident
in pre-recorded excerpts of music performances, and discuss ways in which these contribute to
the character of the performance.
assessment
The students level of achievement for Unit 4 will be determined by School-assessed Coursework and
two end-of-year examinations.
Assessment tasks must be a part of the regular teaching and learning program and must not unduly
add to the workload associated with that program. They must be completed mainly in class and within
a limited timeframe. Where teachers provide a range of options for the same assessment task, they
should ensure that the options are of comparable scope and demand. Teachers should select a variety
of assessment tasks for their program to reflect the key knowledge and key skills being assessed and
to provide for different learning styles.
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Music Performance
Outcomes
Unit 4
Marks allocated*
Assessment tasks
10
A demonstration of performance techniques,

technical work and exercises.
And
A description of how selected performance
techniques, technical work and exercises support the
students development as an instrumentalist and their
preparation of works for Outcome 1. The description
may be presented in one or more of the following
formats:
oral
multimedia
written.
And
A performance of unprepared material sight reading
or improvisation.
Outcome 2
Demonstrate performance techniques, and technical
work and exercises, and discuss their relevance
to the performance of selected group and/or solo
works, and present an unprepared performance.
10
End-of-year examinations
The level of achievement for Units 3 and 4 is also assessed by an end-of-year performance examination that
contributes 50 per cent, and an end-of-year aural and written examination that contributes 20 per cent.
End-of-year performance examination
Description
The student will give a live performance in only one of the following contexts:
as a member of a group OR
as a soloist.
The live performance will draw on knowledge and skills from Unit 3 Outcome 1 and Unit 4 Outcome 1.
The examination will be assessed by a panel of examiners using criteria published annually by the
Victorian Curriculum and Assessment Authority.
An examination is defined as a single assessment period.
Group performance examination
Students will present a live performance of at least four contrasting works that represent a range of
styles and diversity of character. At least two works in the program must be selected from the Units 3
and 4 Prescribed List of Group Works published annually on the Victorian Curriculum and Assessment
Authority website. Details of examination and program requirements are published in the prescribed
list.
Solo performance examination
Students will present a live performance of works selected from the Units 3 and 4 Prescribed List of
Notated Solo Works published annually on the Victorian Curriculum and Assessment Authority website.
Details of examination and program requirements specific to each instrument including the number
of works to be performed are published in the prescribed list.
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MUSIC 20112016

The performance examination will contribute 50 per cent.
Conditions
The following conditions will apply for all examinations:
Date and time: to be notified by Victorian Curriculum and Assessment Authority through the
school.
Victorian Curriculum and Assessment Authority examination rules will apply as published annually
in the VCE and VCAL Administrative Handbook.
The performance will be assessed by a panel of examiners using criteria published annually by
the Victorian Curriculum and Assessment Authority.
Students presenting for assessment may be assessed in only one examination.
Duration of examination
One assessed performer 25 minutes
Two or three assessed performers 30 minutes
Four assessed performers 35 minutes
Five or six assessed performers 40 minutes.
End-of-year aural and written examination
Description
Students will answer a series of questions set by an examination panel based on Unit 3 Outcome 3 and
Unit 4 Outcome 3. Students will respond to aural and written stimulus material.
Conditions
The examination will be completed under the following conditions:
Duration: one and a half hours.

Date: end-of-year, on a date to be published annually by the Victorian Curriculum and Assessment
Authority.
Victorian Curriculum and Assessment Authority examination rules will apply. Details of these
rules are published annually in the VCE and VCAL Administrative Handbook.
The examination will be marked by a panel appointed by the by the Victorian Curriculum and
Assessment Authority.
The aural and written examination will contribute 20 per cent.
Further advice
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vce study design
Advice for teachers: Music Performance

Units 14
DEVELOPING A COURSE
A course outlines the nature and sequence of teaching and learning necessary for students to
demonstrate achievement of the set of outcomes for a unit. The areas of study broadly describe the
learning context and the knowledge required for the demonstration of each outcome. Outcomes are
introduced by summary statements and are followed by the key knowledge and key skills which relate
to the outcomes.
Teachers must develop courses that include appropriate learning activities to enable students to develop
the key knowledge and key skills identified in the outcome statements in each unit.
For Units 1 and 2, teachers must select assessment tasks from the list provided. Tasks should provide a
variety and the mix of tasks should reflect the fact that different types of tasks suit different knowledge
and skills and different learning styles. Tasks do not have to be lengthy to make a decision about student
demonstration of achievement of an outcome.
In Units 3 and 4, assessment is more structured. For some outcomes, or aspects of an outcome, the
assessment tasks are prescribed. The contribution that each outcome makes to the total score for
School-assessed Coursework is also stipulated.
Developing a VCE Music Performance course
Students enrol in VCE Music Units 1, 2 and 3 with varied music interests, musicianship and performance
knowledge and skills. Some students will have an extensive background. Others will have limited
experience. Courses need to allow students with differing musical interests equal opportunity to achieve
the outcomes. As they develop the course of study teachers should consider each students needs in
relation to their level of experience. When designing Units 1 and 2 courses, teachers should consider
the Units 34 sequence or sequences students are likely to undertake. Student learning plans are a
useful tool to align course requirements and individual student needs. Where possible students should
be directly involved in developing their learning plan for VCE Music Performance. For example,
students might use a graphic organiser or a series of questions to identify their learning needs and
goals within a broad course.
Additionally, advice including sound and notation files is provided via the Music study page on the
Victorian Curriculum and Assessment Authority website.
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Music Performance Advice for teachers
MUSIC 20112016
Group and solo performance

In Music Performance Units 1 to 4 students perform group and solo repertoire. In Units 1 and 2 the
balance between group and solo work will vary between students in the class, depending on students
prior music experience and the context they are likely to select for Music Performance Units 3 and 4
and/or Music Investigation Units 3 and 4.
For all students, work undertaken on an individual basis to develop technical expertise and facility
challenges them to develop a range of music performance skills they can use when performing group
or solo repertoire. Each student should have a technical work program designed to meet their needs
as an instrumentalist and to support their learning and performance of repertoire. Students may use
different instruments for the solo and group components of their program in all units. Students who
complete Units 3 and 4 as a member of a group may use more than one instrument to perform group
works for Outcome 1 and the end-of-year performance examination. All students should complete
all or at least a substantial majority of technical work and exercises for Outcome 2 using their main
instrument.
Group work allows all students to experience the complexity of music produced by an ensemble, and
to develop an ability to work collaboratively with others to achieve musical outcomes. Structured
rehearsals should be a part of each students VCE Music Performance program. These rehearsals are
also an opportunity for students to apply aural perception skills, for example by listening to all parts
being performed and refining intonation to accurately perform specific chords across a music texture.
To complete requirements for Outcome 1, students may perform in an existing ensemble such as the
school choir or concert band or in an ensemble specifically formed for the completion of these sections
of the study. In planning students involvement in the selected ensemble, consideration should be given
to the requirements outlined in the areas of study, and key knowledge and skills.
Practical and analytical work
Each area of study combines practical and analytical, theoretical and aural work. This enhances
students ability to control and own their learning and consequently improves their presentation of
the performance program/s. Opportunities for students to reflect on connections between practical and
other learning should be embedded throughout the course. For example, students might use a journal
or blog or respond at intervals to structured questions that link aspects of different outcomes.
Teaching roles
Planning should consider how relationships between areas of study will be developed, particularly
where there is more than one teacher involved in teaching the course. Communication between student
and teacher/s should also be planned and monitored. Ideally instrumental and classroom music teachers
will combine their specialist skills and knowledge to deliver a course that meets the needs of individual
students. Whilst the starting point for each student will vary within general guidelines, courses
developed for Units 2, 3 and 4 should reflect development in work undertaken in earlier units.
Teachers who may be involved in the teaching and learning program and the assessment process for
these units include:
Instrumental music teachers employed by the school or private studio teachers
Classroom teacher/s
Ensemble directors of school or community ensembles
Director of Music
Teachers specific roles will vary from school to school and in some cases from student to student within
a school. The following table outlines ways that different teachers may be involved in implementing
the study design.
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Music Performance Advice
Responsibility for teaching and

learning program
Assessment responsibilities
Performance
Instrumental music teacher

and/or ensemble conductor/director
(school or community based)
and/or classroom teacher
and/or a teaching team.
Instrumental music teacher who

taught the student or classroom
teacher or director of music or two
or more of these teachers acting as
a panel.
Instrumental music teacher

and/or ensemble director
and/or classroom master classes
focusing on presenting works in
performance.
Instrumental music teacher or

classroom teacher or director of
music or two or more of these
teachers acting as a panel: ensemble
directors/conductors of community
ensembles can be involved in the
assessment process at the invitation
of the school.
Musicianship and creative

organisation of sound
Classroom teacher and/or

instrumental teacher/s or other
specialists.
Classroom teacher or instrumental

teacher or other specialist teacher/s
or two or more of these teachers
acting as a panel.
Area/s of study
for teachers
It is recommended that one teacher, usually a teacher based full time in the school, oversee all assessment
tasks with reference to input from studio/specialist teachers and ensemble directors. Often this teacher
will be a classroom music teacher, but the role can be undertaken successfully by an instrumental music
teacher. Every effort should be made to develop students awareness of the relationship between work
undertaken in the classroom, in rehearsals, and work undertaken as part of private instrumental tuition,
through regular communication between the student and all teachers involved in study delivery. This
might occur through meetings, or an online information sharing tool like a wiki or blog.
Selecting a program
In addition to specific requirements such as inclusion of group and solo works in each students
performance program, program choice should be underpinned by:
the students knowledge of and ability in technical, expressive and/or stylistic performance
techniques in potential performance repertoire
the students interest/preferences
genuine variety; the program for these units should include works with a wide range of styles,
characters and performance techniques
future programs works presented for assessment in one unit cannot be presented for assessment
in another unit. Works presented for assessment in any unit can be presented for an externally
assessed performance examination as long as they meet other requirements; for example, are on
the relevant Prescribed List.
For Units 3 and 4 the Prescribed List of Group Works or the Prescribed List of Notated Solo Works
should be used to plan performance programs for Outcome 1 and the end-of-year performance
examination.
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Performance techniques, technical work and exercises

Throughout the study the term performance technique refers to methods and processes applied to
realise technical, expressive and/or stylistic aspects of selected music works. A significant part of
student learning in these units focuses on application of performance techniques required to realise
selected works in performance. Practice strategies and material to support technical development should
be selected on the basis of the students needs in terms of general development as an instrumentalist,
relevant key knowledge and skills, and performance techniques required to perform each work in the
program. The overall aim of Outcome 2, Performance skill development, in these units is to enhance
the students ability to interpret and perform music in a range of styles and contexts. For example,
subtleties of interpretation in performance are not going to be evident if technical issues limit the
students ability to realise an element of interpretation relating to expression or style.
Teachers and students should together identify aspects of the works that present challenges for
the student, and devise practice strategies to implement a technical work program to address each
challenge.
Musicianship
In Music Performance Units 1 to 3, Area of Study 3, Musicianship, includes content designed to build
students aural, theoretical and analytical knowledge and skills. All concepts and skills included in
this area of study should be studied in isolation and in the context/s of performing and/or listening.
Connections between this area of study and other aspects of each unit should be made in planned,
systematic and ongoing ways. Information about aural and music theory definitions and conventions
used in the study is provided online.
Program choices
Students may enrol in all units or select specific combinations of units that cater for their interests
and intended pathways. Examples of combinations of units appropriate for specific groups of students
include:
Focus
Units
Composing, arranging or improvising
Music Style and Composition Units 14 or

Music Style and Composition Units 1 and 2 and Music Investigation
Units 3 and 4
General including some group and solo

performance
Music Performance Units 1 and 2, and Music Style and Composition

Units 14
General with an emphasis on group

performance
Music Style and Composition Units 1 and 2, and Music Performance

Units 3 and 4 and/or Music Investigation Units 3 and 4
General with an emphasis on solo

performance
Music Style and Composition Units 1 and 2, and Music Performance

Units 3 and 4 and/or Music Investigation Unit 3
Performance of music works and creative

practices from different times and places
Music Performance Units 14, Music Investigation Units 3 and 4;

and Music Style and Composition Units 14
Students may also enrol in one or more units in the VCE VET Music program. Details of these units
are provided in the VCE VET Music program booklet which can be downloaded from www.vcaa.vic.
edu.au. The table below shows examples of ways units drawn from VCE VET could be incorporated
into a VCE program.
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Focus
Units
Composing, arranging or improvising
Music Style and Composition Units 1 and 2, and/or Music Style and
Composition Units 3 and 4, and/or Music Investigation Units 3 and 4
and VCE VET Music (Technical Production)
General with an emphasis on group

performance
VCE VET Music and Music Style and Composition Units 1 and 2 and/or
3 and 4, or VCE VET Music and Music Performance Units 3 and 4
General with an emphasis on solo

performance
VCE VET Music and Music Style and Composition Units 1 and 2 and/or
3 and 4 or VCE VET Music and Music Performance Units 3 and 4
for teachers
SUITABLE RESOURCES
Courses must be developed within the framework of the study design: the areas of study, outcome
statements, and key knowledge and key skills.
A list of suitable resources for this study has been compiled and is available via the Music study page
on the Victorian Curriculum and Assessment Authority website: www.vcaa.vic.edu.au/vce/studies/
index.html
VICTORIAN ESSENTIAL LEARNING STANDARDS (VELS)
VCE Music Performance builds on the skills and knowledge developed in a number of domains within
each of the three strands of the Victorian Essential Learning Standards (VELS).
Knowledge, skills and behaviours fostered through learning in The Arts domain in the Disciplinebased learning strand of VELS directly prepare students for all aspects of VCE Music Performance.
The Creating and making dimension in The Arts domain prepares students for the performance
and composition/improvisation/arrangement aspects of the study through focus on development of
a personal style, development and refinement of interpretations and aesthetic qualities of students
performances, and exploration of personal interests when creating new work. This dimension also
develops students ability to use a range of skills, techniques and processes to investigate, learn and
refine performances of existing repertoire, develop general musicianship and create original works.
In the Exploring and responding dimension students focus on critical analysis and interpretation of
the stylistic, technical, expressive and aesthetic features of works they are preparing for performance.
The knowledge, skills and behaviours that students develop through learning in this dimension also
informs the analytical component of work undertaken in the Musicianship outcomes.
The interdependent nature of the two dimensions in The Arts is reflected throughout VCE Music
Performance, where students performance work is informed by study of the works and interpretations
by other musicians.
The Personal Learning domain in the Physical, Personal and Social Learning strand of the VELS
develops knowledge and skills required to be an autonomous learner. These are crucial to successful
learning in VCE Music Performance, where students are required to develop performance programs
over an extended period of time. This requires goal setting, time and resource management skills
as well as the ability to monitor and reflect on development and refinement of interpretations, and
development of performance techniques through seeking and responding to feedback from teachers
and others. Learning from the Interpersonal Development domain prepares students for the group
performance aspects of Music Performance. Students use knowledge, skills and behaviours from the
Working in teams dimension to work collaboratively, negotiate roles, respect and build on ideas from
each member of the group when developing and refining performances that showcase the strengths of
the group and are fully prepared within agreed timelines.
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Three domains in the Interdisciplinary learning strand in the VELS provide connections to VCE Music
Performance Communication, Thinking processes and Information and Communications Technology.
Aspects of learning from the Presenting dimension in the Communication domain support students
ability to complete analytical and reflective tasks for Outcome 2, Performance technique.
In the Thinking processes domain, knowledge, skills and behaviours relating to critical thinking, inquiry,
analysis and evaluation, using imagination to generate possibilities, risk-taking and reflection, prepare
students for learning in all outcomes of VCE Music Performance.
Throughout the study there are opportunities for students to use and extend their learning from the
Information and Communications Technology domain. For example, students might use hardware
and software tools to record works they are preparing for performance and seek feedback from peers
or other performers through the Internet. They might also use tools that facilitate visual thinking to
analyse music works or use aural comprehension software to support their learning in Outcome 3,
Musicianship.
Units 1 to 4 of the Music Performance study provide students with the opportunity to engage in a range of
learning activities. In addition to demonstrating their understanding and mastery of the content and skills
specific to the study, students may also develop employability skills through their learning activities.
The nationally agreed employability skills* are: Communication; Planning and organising; Teamwork;
Problem solving; Self-management; Initiative and enterprise; Technology; and Learning.
Each employability skill contains a number of facets that have a broad coverage of all employment
contexts and are designed to describe all employees. The table below links those facets that may be
understood and applied in a school or non-employment related setting, to the types of assessment
commonly undertaken within the VCE study.
Assessment task
Employability skills: selected facets
Performance
Initiative and enterprise (generating a range of options; initiating innovative

solutions; being creative)
Planning and organising (planning the use of resources including time
management; managing time and priorities setting time lines, coordinating
tasks for self and with others)
Problem solving (developing practical solutions; testing assumptions taking
the context of data and circumstances into account)
Self management (evaluating and monitoring own performance)
Team work (working as an individual and as a member of a team; knowing
how to define a role as part of the team)
Multimedia presentation
Communication (sharing information; speaking clearly and directly)

Technology (having a range of basic IT skills; using IT to organise data;
being willing to learn new IT skills)
Report (oral/written/visual)
Communication (sharing information; speaking clearly and directly; writing

to the needs of the audience)
Planning and organising (collecting, analysing and organising information)
Technology (using IT to organise data)
*The employability skills are derived from the Employability Skills Framework (Employability Skills for the Future, 2002),
developed by the Australian Chamber of Commerce and Industry and the Business Council of Australia, and published by
the (former) Commonwealth Department of Education, Science and Training.
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Assessment task
Composition and/or improvisation

folio

management)
Problem solving (developing practical solutions; testing assumptions,
taking the context of data and circumstances into account)
Test
Communication (writing to the needs of the audience)

Problem solving (using mathematics to solve problems)
for teachers
LEARNING ACTIVITIES
Examples of learning activities for each unit are provided in the following sections. Shaded examples
are explained in detail in accompanying shaded boxes.

Area of study 1: Performance
Outcome 1
Examples of learning activities
Prepare and perform

a practised program
of group and solo
works.
identify personal and group/ensemble performance goals for the semester; use
this information to shape practice and rehearsal plans
Interview other students and musicians about their approach to performance
preparation and rehearsal; identify similarities and differences with personal
approach; use a journal to reflect on possible approaches for personal/group
performance
research characteristic tone qualities for selected instrument/s and ways of
varying tone; create a podcast to report findings
use examples from recordings from sources such as CD, DVD, YouTube, radio/TV,
podcasts to define terms such as dexterity, flexibility and security for specific
instrument, group, music style and/or works
identify a range of solo and group works that could be included in a performance
program; chart composer/performer, music style and character of each work; use
this information to select a performance program that includes a range of styles
explore ways of conveying emotional meaning and expression appropriate to the
selected repertoire and within stylistic conventions of the music; consider the
mood or atmosphere intended by the composer, energy levels, dramatic intent,
characterisation, use of stillness or silence, imagining a scene or colour that helps
to convey intended emotion or expression
prepare a selection of solo works that represent a range of styles and are diverse
in character to present in a performance of about three to five minutes
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rehearse and perform work/s with an accompanist, rhythm section or other

members of an ensemble
set up and record performances of selected group and solo works for peer review
and discussion of effectiveness of the performances
devise questionnaire to seek audience feedback about presentations of workin-progress; include questions to check on audience perception of attempts to
shape expressive elements or use specific conventions; use information to update
practice plan
Detailed example
REHEARSE AND PERFORM WITH AN ACCOMPANIST, RHYTHM SECTION OR OTHER MEMBERS OF
AN ENSEMBLE
Students establish a rehearsal schedule taking into
account number and complexity of works being
prepared for performance, performance goals and
performance date/s.
Students then trial, discuss and refine approaches
to rehearsal.
Individually, they listen to live performances or
recordings of work/s and follow score/chart. They
listen to accompaniment/other lines whilst following
score or chart, inner hearing their part, noting:
the relationship between their part and the other
parts
unison melodic /rhythmic passages and
performance techniques used to achieve unison
similarities or differences in performance
of expressive elements such as phrasing,
articulation and dynamics between parts
technical matters such as breathing points,
bowing, pedalling, choice of specific equipment,
for example (drum) sticks, effects pedals.
Repeat as pair/group activity and discuss/trial
possible approaches to performance.
Students prepare/annotate rehearsal sheet music,
score or chart; for example, notate rhythmic cues
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from other part/s onto their part to aid accurate

entries and ensemble playing; identify (for example,
draw a pair of glasses) where it is necessary to
have eye contact with the accompanist or other
ensemble members.
Trial approaches to setting and maintaining tempo;
for example, giving clear tempo indications,
upbeats and cut-offs; rehearse preferred option.
Trial possibilities for optimal placement of
performers, instruments and other equipment
in performance space. Rehearse beginning
and ending performance of each work and, as
appropriate, rehearse transition between works
in the program. Memorise sections where it is
necessary to communicate visually or via clear body
language with the accompanist or other members
of the group.
Record a rehearsal or performance and listen
back, checking for accuracy of intonation, balance,
dynamic variation and tempo, in addition to the
accuracy, clarity and fluency of notes and rhythms.
Present a work-in-progress performance. Seek
audience feedback, discuss responses, and revise
rehearsal plan.
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Area of study 2: Performance technique
Outcome 2
Demonstrate
instrumental
techniques used
in performance of
selected works,
demonstrate
unprepared
performance skills
and describe
influences on
their approach to
performance.
keep a journal to identify practice and rehearsal habits and routine; identify
personal and group/ensemble performance goals for the semester; devise an
individual practice plan; maintain a record of progress and reflections throughout
the semester
interview other students and musicians about their approach to practice and, as
appropriate, links between personal practice and rehearsal; identify similarities
and differences with personal approach; use a journal to reflect on possible
approaches for personal/group performance
identify performance techniques used in each work in performance program;
choose technical work to meet the technical and musical challenges, for example
published studies, self or teacher devised exercises
devise a technical work program to develop overall instrumental technique,
including scales, arpeggios, and exercises to develop expressive performance
techniques such as phrasing, articulation, shaping dynamics
practise scales, arpeggios and exercises with a variety of articulation patterns and
long note or tone exercises
prepare a checklist of strategies to promote fluency and accuracy in unprepared
performance
use the Internet to research and communicate with performers; discuss strategies
they use to optimise performance outcomes, their use of performance techniques
and their interpretive approach to works being prepared for performance
research selected solo or group works: when was the work written, why it was
written, who by and for whom?; investigate the intended performance context
for the work, for example private home or court, concert hall, church service,
commercial radio/record/CD release, pub/club setting, film music; consider ways
that the context might influence the style of performance
develop skills in organisation, planning and goal-setting to improve identified
aspects of solo and group performances
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Detailed example
ORGANISATION, PLANNING AND GOAL-SETTING
Students set a date for a work-in-progress
performance of a new work/s (68 weeks ahead).
They:
Choose a program (at least two works).
Analyse the music to identify technical and
expressive challenges and devise strategies/
exercises to overcome these problems.
Research approaches used by other performers
to perform selected works and/or present
performances of works in similar style/s.
Devise a timeline for learning, rehearsing and
refining the performance of the work/s by the
set date.
Maintain a regular practice schedule in the

weeks leading up to the performance.
Keep a record of progress made in learning the
work/s, noting when and how various sections
were practised, and with what success.
Seek feedback from teacher/s and peers; reflect
on the feedback in relation to practice program
and evaluate progress towards meeting
identified challenges.
Students record their performance and review and
evaluate its success or otherwise. They then set
goals for the next performance of the work/s.
Area of study 3: Musicianship
Outcome 3
Identify, re-create,
notate and transcribe
elements of music,
and describe ways
in which expressive
elements of music
may be interpreted.
research, share and discuss information about formal and informal systems for
singing scales, intervals, chords, melodic phrases, rhythmic phrases and diatonic
chord progressions
discuss the meaning, implications and relationships between the terms diatonic,
scale, key, tonality, interval
practice using naming conventions to identify ascending and descending intervals
by size and quality in written and spoken contexts
investigate and learn the intervallic structure of major, harmonic minor, melodic
minor and chromatic scales
investigate and discuss formal and informal counting systems; experiment with
different systems to find one that is suitable and the music styles of works being
prepared for performance
identify use of conventions of music notation on manuscript (stave or tablature)
by annotating sheet music of works being prepared for performance; investigate
particular conventions such as rhythmic grouping by referring to appropriate texts;
create a reference list of conventions used in works being studied for performance
and those used in class activities
compile a list of terms and definitions of musical terminology or descriptive words
useful for discussing ways expressive elements of music can be interpreted to
achieve expressive outcomes
compile a workbook of writing, recognition and practical activities undertaken in
class
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Detailed example
WORKBOOK OF WRITING, RECOGNITION AND PRACTICAL AURAL AND THEORY ACTIVITIES
Task 1
Students compare the interval structure of each
type of scale listed for study, notating all scaletypes from the same tonic and labelling the intervals
between successive notes. They complete this
exercise in various keys using treble and bass clef
notation.
Students:
Practise singing (and/or playing) any given
interval from a selected note, ascending and/or
descending.
Identify the opening interval of various four-bar
diatonic melodies aurally and/or in writing.
Use a system to sing scales set for study
beginning on tonic notes of works being
prepared for performance.
Compose and sing two-bar melodies which
begin and end on the tonic note; use major and
melodic minor scales.
Visually recognise each interval found in short
melodic excerpts, canons or folk songs; practise
singing these melodies with accurate intonation.
Listen to short melodies and aurally identify the
opening and closing intervals.
Listen to a short melodic phrase, sing the
phrase and then transcribe missing note/s.
Learn to write on the stave, to aurally recognise,
to play from memory on the instrument selected
for solo performance and to sing in letter names
major, harmonic minor, melodic minor and
chromatic scales.
Use graphic symbols or coloured brackets to
represent the different intervals found in scales
set for study.
Learn to play the primary triads (I, IV, V) in keys
of works being prepared for performance on a
keyboard instrument.
Create ten different chord progressions of
three to five successive chords using primary
triads, beginning and ending on the tonic chord;
play these for the class as a chord recognition
activity.
Notate the progressions using a software
program and playback and listen.
Using an instrument or singing, practise echoing
short (unseen) melodic phrases played or sung
by another student or a teacher.
Use a counting system to practise reading and
accurately performing (clapping/saying/playing
on an instrument) short rhythms in simple duple,
vce study design
simple triple, simple quadruple and compound

duple meter that use various combinations of
notes and rests of crotchet, minim, quaver and
semiquaver value.
Create a series of one-bar rhythms in two
parts use simple duple, simple triple, simple
quadruple and compound duple meters. Use
body percussion and/or a verbal counting
system to perform the rhythms.
Identify rhythmic patterns performed by other
class members.
Add time-signatures to written rhythmic
patterns.
Identify meter of rhythmic patterns in
performance.
Listen to a short rhythmic phrase, re-create the
phrase and then transcribe the missing note/s.
Task 2
Students listen to examples of music written and/
or arranged for various types of musical ensemble;
using a listening diary format, they identify the
composer/arranger of each piece, the title of the
piece and the type of ensemble performing it. They
then list the instruments that they hear in each
piece; describe the way in which texture, duration,
scale forms and harmony are used in each piece;
use diagrams to graphically describe the texture
where possible.
Students select one piece being performed by a
student group and annotate a score/chart to show
the composers/performers use of expressive
elements tone colour, blend of instrumental
voices, balance of music parts/lines, articulation,
ornamentation/embellishment (melodic, harmonic
and rhythmic), dynamic range and shape, phrasing
and tempo choices
Students keep a listening diary noting use of
expressive elements in works being prepared for
performance and other works in similar music
styles, for the same instrument or instrumental
combination.
They study examples of printed sheet music to
ascertain conventions of musical notation for treble
and bass clef such as size, placement and grouping
of notes, beam and stems; placement of clef, key
signature and time signature; use of bar-lines,
double bar-lines and repeat signs; use of 1st and
2nd time bars; use of DC, DS and coda directions;
dynamic indications and tempo indications; practise
accurately hand-writing musical notation in bass
and treble clefs (using a sharp pencil!).
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Outcome 1
Prepare and perform

a musically engaging
program of group and
solo works.
review performance goals from Unit 1; identify goals for Unit 2 focusing on
developing fluency and control in performance
plan a series of practice or work-in-progress performances; chart goals for each,
plan a way to monitor and reflect on progress towards goals
participate in a master class focusing on experimentation with a variety of
interpretations that draw on different articulations, dynamics, and/or tempi
use recordings/performances of selected works by other performers/groups to
identify approaches to shaping expressive elements of the works; chart use of
historical, contemporary conventions and presentation techniques; trial and reflect
on possible approaches taking personal skill as a performer into account
research contextual influences on works being prepared for performance; use
a journal to record reflections about impact of this research on approach to
performing the works; share reflections with teacher/peers
record a group rehearsal and review to identify strategies being used to foster
communication, interaction, cooperation and empathy between members of the
group; discuss observations and develop an action plan to address identified
issues and problems
research strategies used by other performers to foster communication, interaction,
cooperation and empathy between members of the group; evaluate findings and
refine rehearsal, performance practice
use a graphic organiser or other drawing software to visually show roles and
relationships between instrumental voices in group works being prepared for
performance or parts within the texture of solo works
investigate video/DVD recordings of works chosen for group and solo
performance, or other works of the same composers or works in a similar style;
use as starting points for discussion about possibilities for using performance
conventions to present performances that are musically engaging
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Detailed example
MASTER CLASS FOCUSING ON EXPERIMENTATION wiTH A VARIETY OF INTERPRETATIONS
Over 3 to 4 weeks, students in a group or as a
soloist select:
Using the work being prepared for performance,

students:
a well-known melody such as an advertising

jingle, childrens song or folk song
apply research findings
a style being prepared for performance.

Research performance conventions relevant to
interpreting specific elements of music in the
selected style, for example interpreting rhythms
using conventions such as swing or doubledotting, applying terrace dynamics or specific
articulations.
Present a research report that demonstrates
findings through performance of the well-known
melody supported by examples from other
performances.
develop different interpretations of specific

sections of the work, present options to class
and provide rationale for each interpretation
based on an understanding of stylistic
characteristics and how each interpretation
communicates the character of the work
use a questionnaire to obtain feedback from
the class; evaluate responses; select preferred
approach to interpretation of specific elements
of music and/or sections of the work; refine
performance of the work
present performance of the work to the class
and explain approach to interpretation.
Note: a similar approach can be used to focus
on development of idiomatic tone qualities and
achieving expressiveness, clarity and artistic
variation of tone.
Outcome 2
Demonstrate
instrumental techniques
used in performance
of selected works,
demonstrate unprepared
performance skills and
describe influences
on their approach to
performance.

devise and practise selected exercises to develop technique appropriate to
the instrument and level of facility; choose material relevant to the technical,
expressive and/or stylistic challenges of the group and/or solo performance
program
draw a diagram, chart or table that outlines the structure and features of the
elements of music for two works selected for performance; or where no score
exists for a work (such as a contemporary song learnt aurally), create a graphic or
musical score indicating bars, key, chords, drum part, rhythm and lyrics, bass line
and melody line; annotate the score, indicating features of the musical style; draw
a graphic representation showing the structure of the work, clearly indicating each
different section; then listen to two or more interpretations of the work and note
similarities and differences on the diagram; use information to discuss approaches
to interpretation in instrumental lessons, rehearsals, class discussions
contact other musicians who have performed work/s in the performance program;
discuss approaches to interpretation and strategies used to optimise performance
outcomes
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research the background of composers/performers and select two contrasting

works in different styles; looking at the historical and social context, geographical,
musical, technological, economic and/or political influences; use the Internet,
reference texts, CD notes and compile a multimedia report to present to the class
use the strategy checklist prepared in Unit 1 to practise an unprepared
performance on an ongoing basis in weekly instrumental lessons and/or ensemble
rehearsals
Detailed example
DEVISING A TECHNICAL WORK PROGRAM
The purpose of the technical program is to support
the student in the learning and skill development
required for the performance of their solo and group
program, in addition to developing their vocal or
instrumental facility.
Tasks
Using articulation/bowing patterns found in

the selected works, for example all slurred,
staccato, two slurred two staccato.
Using accent patterns found in the selected
works and using rhythmic patterns or devise
own rhythmic patterns.
Analyse the selected solo/group repertoire to

determine keys, dynamic range, pitch range,
articulation patterns, length of phrases, use of
thematic material and rhythmic features.
Establish a journal format paper or online to
record aims, intentions and progress, for example a
podcast, blog, practice diary.
Identify specific challenges in works and areas for
overall development as a solo instrumentalist and
as a member of a group.
Select material for a technical work program such
as scales, arpeggios, exercises, studies, and record
each item in a journal. Note links between each item
and specific works or challenges.
Develop a practice plan to address challenges, and
maintain and develop fluency and control. The plan
might include, for example:
Practising long notes over the pitch range
required in the selected works, at varying
dynamic levels, and with or without dynamic
changes. Use a tuning machine to check
consistency of pitch. Aim for an excellent tonal
quality over the whole range of the instrument/
voice.
Practising scales, arpeggios, broken arpeggios,

interrupted scales, etc. in the keys and related
keys of the selected solo/group repertoire.
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Isolating difficult intervals within melodic

phrases and devising repetitive drills to improve
performance of these.
Memorise all technical work associated with the
selected repertoire.
Memorise main melodic themes or chord
progressions from selected repertoire and
transpose these to new keys.
Use a metronome when practicing all technical
work. Aim for evenness and fluency in tone and
rhythm. As vocal or finger technique improves,
gradually increase the speed of the metronome.
Maintain journal, for example recording exercises,
studies, scales etc practised in a session, indicating
the metronome marking, articulation pattern and
rhythmic pattern. Include comments about progress
towards goals.
Use information from journal in discussion about
specific challenges during instrumental lessons,
master classes, rehearsals, and class discussions.
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Outcome 3
elements of music,
and describe how
selected elements
of music have
been interpreted in
performance.
compile and maintain a workbook of theoretical principles, including conventions

in traditional Western notation and practical activities undertaken in class, such
as melodic and rhythmic transcription exercises, interval and chord recognition
exercises and harmonic progression exercises
practise using a system when singing scales, intervals, chords, melodic phrases,
rhythmic phrases and diatonic chord progressions
sing a variety of melodies based on tonalities drawn from the scales listed for
study; analyse the melodies, noting common melodic patterns and cadences
create short melodic motifs diatonic to scales set for study; perform for class, lead
process of imitation and improvisation on the motifs
from a series of given alternatives (two or more of scales set for study), identify
the tonality of various short melodies; repeat over time, gradually increasing the
number of alternatives
find examples of major, minor, augmented and diminished triads and dominant 7th
chords in works being prepared for performance
create a chart showing intervallic structure of major, minor, augmented and
diminished triads and dominant 7th chords
sing and analyse scale tone triads on I, ii, iii, IV, V, V7 and vi degrees in major
scales
sing and analyse scale tone triads on i, iidim, iv, V, V7, VI in minor keys where the
basis for chord building is the harmonic minor scale
build a taxonomy of naming conventions used to identify quality and diatonic
function of chords within a key
research and share approaches to identifying and notating diatonic, root position
chord progressions
use a system to sight read rhythmic exercises in simple duple, triple and quadruple
and compound duple time; analyse these, noting the use of common rhythmic
patterns
create a list of all possible rhythmic groupings (not exceeding four subdivisions per
beat) relevant to simple duple, triple and quadruple time-signatures and compound
duple time-signatures
create two-bar rhythms in meters set for study using a limited range of note
values, for example dotted crotchets, crotchets, quavers and semiquavers;
perform these with accuracy while maintaining a steady tempo
combine two-bar rhythms to create four-bar phrases; perform and transcribe
imitate two-bar rhythms performed by other class members; use a process to
improvise on the rhythms; transcribe resulting extended rhythms
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compose four-bar sight-singing melodies for performance in class; analyse these

in terms of ease/difficulty of performance and underlying harmonic structure;
comment on refinements that could be made; explore ways of interpreting
melodies using a range of expressive elements; repeat focusing on rhythm
listen to a variety of group and solo works and analyse (either aurally or using a
score) the treatment and interpretation of expressive characteristics, including
idiomatic qualities and variations of instrumental tone colour, ways instrumental
voices blend and resulting tone colours, balance between different parts/lines, use
of articulation, ornamentation/embellishment (melodic, harmonic and rhythmic),
and dynamic range and shape, use a chart to record interpretation of selected
elements and resulting effects
experiment with phrase shaping, articulation, dynamics, blend of tone colour and
balance of musical lines/parts through performance of a homophonic work or
excerpt using conventional and non-conventional combinations of instruments;
repeat this activity using a music technology, for example a sequencing program
Detailed example
COMPOSE SIGHT-SINGING MELODIES
Students select a series of folk songs or sightsinging exercises.
Tasks
Prior to singing, analyse the melodies looking for
common melodic patterns and aural reference
points (for example tonic, dominant).
Sight sing these melodies, providing guidance
where necessary with the piano. Sing as many
times as is necessary in order to ensure good
intonation and maintenance of tonality.
Analyse the intervals, phrasing and rhythmic
patterns of melodies.
Compose a four-bar melody based on a tonality
selected from those listed for study. Begin and
end on the tonic note and use a variety of rhythmic
values (no longer than a dotted crotchet).
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Compile these melodies onto one sheet for

distribution among the class. Sing each melody and
analyse it for relative ease/difficulty of performance.
This analysis should focus on issues such as
the quality and accuracy of the notation, logical
progression of the melody, security of tonality and
rhythmic aspects.
Experiment with different ways of interpreting
each melody, for example compile a list of styles
from works being prepared for performance, list
characteristic uses of expressive elements of
music (tempo, tone colour, dynamics, articulation,
phrasing, ornamentation, individually and
in combination) in those styles and apply to
performance of the melodies; discuss expressive
outcome of each interpretation.
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Area of study 4: Organisation of sound
Outcome 4
Devise a composition
or an improvisation
that uses music
language evident
in work/s being
prepared for
performance.
Composition
aurally and visually analyse the development of melody and the harmonic
implications of melody in a work being prepared for performance; create a diagram
showing use of melodic patterns, relationship of melody to underlying chords and
relationship of melody to tonal centre
investigate the use of common compositional devices such as augmentation,
diminution, inversion, retrograde, repetition, sequence, etc. and apply these to a
given (or an original) melody
take an existing melody and chord progression and reharmonise it using substitute
chords and/or chord extensions
arrange a given melody in four-part vocal style, pianoforte style or write another
part of equal importance to be performed in combination using part-writing
techniques; use a music notation software program to present the arrangement
complete exercises to improve facility in using available sequencing software to
input and edit, including transposing parts, adding markings relevant to expressive
elements
Improvisation
listen to various examples of music featuring a range of improvisation techniques;
analyse the improvisation techniques used by the musicians on these recordings
transcribe and/or imitate from recordings various styles of improvised solos or
sections of improvised solos
visually study transcribed improvisations analysing factors such as relationships
between note choice and harmonic progression, melodic development, rhythmic
development, use of motifs, riffs or licks, stylistic characteristics, use of tone
colour
investigate the relationship between chords and associated scales, for example
use of mixolydian mode in conjunction with dominant 7 chords, use of dorian
mode as an alternative to natural minor
investigate common forms used in mainstream improvisational styles, for example
12-bar blues, 32-bar popular song form, AABB
undertake improvisation exercises which focus specifically on one aspect at a
time, for example melody, rhythm, harmony, tone, colour
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Detailed example 1
COMPOSITION
Students choose a work that is being prepared for
performance and analyse the musical language.
analyse the notes of each chord and the

relationship between the chords
Identify various musical ideas used within the work

and undertake a study of one or more of these in
theoretical terms, for example:
observe the structural characteristics of the

progression
particular chords and chord progressions

a rhythmic motif/s
idiomatic for an instrument/s
the relationship between rhythm and melody in
one phrase or section.
Analyse the musical idea in order to understand
how it is constructed.
Select one idea to experiment with ways of shaping
it into a new structure or form, for example take a
chord progression and:
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analyse the relationship between the chords

and the associated melody
play the chord progression several times,
experimenting with different voicing, compose
a melody using a complementary scale.
Begin by playing/singing the idea then input and
edit options using sequencing software.
Use one of the options as the basis for a short
composition.
Create a podcast commenting on ways that the
composition uses music language from a work
being prepared for performance.
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Detailed example 2
IMPROVISATION
Pitched instruments
Students learn the chord progression and melody
(head) of a standard within the jazz repertoire
and experiment with improvisational techniques
focusing on melody, rhythm and tone colour.
Create variations of the melody by experimenting
with different aspects in each improvised chorus,
for example:
vary the rhythm of the original melody
Create a podcast commenting on ways that

selected exercises use music language from a work
Non-pitched instruments
Students learn the chord progression and melody
(head) of a standard within the jazz repertoire
and experiment with improvisational techniques
focusing on relative pitch, rhythm and tone colour.
vary the phrasing of the original melody
Create variations of the rhythmic accompaniment

for the head by exploring:
add ornaments and/or passing notes to the

melody.
different rhythmic feels
Analyse the harmonic progression and identify key

areas and modulations. Investigate scales that may
be utilised in each key area. Play scales/arpeggios
over chord progression, experimenting with
rhythmic patterns.
rhythmic interplay between drums and chordal

instruments.
Restrict the notes available for use to the TONIC

ONLY of each key area and improvise rhythmic
patterns over one complete chorus using this note
only. Extend this exercise gradually by exploring
dynamic variations, by exploring the tone colour
possibilities that are available on the one note, and
by increasing the number of available notes.
For chordal instruments, explore variations in chord
voicing and rhythmic performance of chords.
Record each exercise and edit using appropriate ICT.
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use of different drums to outline/accent melodic

phrases and/or harmonic progression
Restrict the sounds available for use to one

drum only and create rhythmic patterns over one
complete chorus using this drum only. Extend this
exercise gradually by exploring dynamic variations
and the tone colour possibilities that are available
on the one drum, and by increasing the number of
drums available for use.
Explore melodic possibilities by creating melodies
using variously pitched drums.
Record each exercise and edit using appropriate ICT.
Create a podcast commenting on ways that
selected exercises use music language from a work
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Many activities described below can be used or adapted to support preparation of group and/or solo works for performance. Students
who elect to perform as a member of a group for the end-of-year performance examination might form a group with other members
of the class or use a group they already perform with to complete study requirements. Further advice is provided online.
Students who elect to perform as a soloist for the end-of-year examination might form a group specifically for Units 3 and 4
Outcome 1, but might also participate in an existing ensemble such as a school chamber choir or stage band. Where possible, the
group/ensemble used for this work should be one player per part. If not, then assessment should be undertaken with a cut-down
ensemble where there is one player per part.
Outcome 1
Present an
informed, accurate
and expressive
performance of a
program of group and
solo works.

select, research and prepare performances of works in a range of music styles
and with diversity of character from the Prescribed List of Group Works or the
relevant instrument list in the Prescribed list of Notated Solo Works
use a journal paper or digital to record aims for the performance program;
research findings and options for interpreting works; monitor progress and reflect
on strategies used in lessons, practice and rehearsals, timeline for learning,
rehearsing, trialling performance of work/s prior to assessment performance
listen to different interpretations of group and solo works, compare and appraise
the interpretations, experimenting with selected ideas in practice and performance
re-arrange an existing musical work to suit the instrumentation of the performance
group in a way that preserves the essential elements of style; discuss and
workshop the merits of differing arrangement strategies and instrumental
combinations
analyse works being prepared for performance; identify structure, including
overall form and formal features within the work or movement such as harmonic
progression, use of rhythmic or melodic motifs, melodic structure; identify
characteristics of the work that place it within a particular style
develop informed interpretations of works in the performance program; identify
different past performance practice compared with today, including differences
between original instruments the work was written for at the time and todays
instruments; develop knowledge of ways the work was originally thought to
be performed, the individual composers style and the original artists style of
performing as relevant to selected works
use IT to chart characteristics of the music style of each work in the program;
identify music style and describe character of each work; note performance
techniques that can be used to communicate character and style of each work
use sectional rehearsals as a means for developing accuracy within the ensemble,
for example rhythm section, acoustic, and vocal rehearsals
perform on a regular basis to the rest of the class (with accompanist where
appropriate); discuss and evaluate each others performances, identifying
strengths and weaknesses and commenting on ways one can perform to an
audience with particular consideration to continuity and presentation of the
program; seek and evaluate feedback from the audience; adjust organisation of
performance in response
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Detailed example 1
RESEARCH MUSIC STYLES
Students select and listen to a work from the
Prescribed List of Group Works or the relevant
instrument list from the Prescribed List of Notated
Solo Works.
As appropriate, locate sheet music, backing tracks,
published scores, TAB charts and transcribe as
necessary, for example solos, ornamentation/
embellishment.
Listen to alternative interpretations of the work
and a range of other works in the selected style,
note characteristic use of elements of music in a
journal, and discuss the defining elements of the
chosen style. Create a folio that comprises recorded
examples of the style and commentary, identifying
the relevant stylistic conventions and relevant
performance techniques, particularly techniques
used to realise expressive elements of music. For
group works, particular attention should be placed
on the individual role of each instrument and/or

voice in the arrangement.
Students undertake the following tasks as
appropriate to the work, context (group or solo) and
style:
Identify timbral/tonal characteristics relevant to
the style for each instrument.
Establish articulation and phrasing in melodic
lines to realise the conventions of the style.
Identify structural elements relevant to style.
Determine appropriate beat patterns and fills for
style.
Determine chord progression and chord voicing
commonly used in the styles.
Establish possible scales to be used in
improvisations over chord progression/s.
Repeat as appropriate for other works in the program.
Detailed example 2
STUDY OF DIFFERENT INTERPRETATIONS OF WORKS
Baroque work
Students choose a work in Baroque style, for example
one of the preludes from the J.S. Bach Well Tempered
Clavier. Research the nature of the instrument/s used,
in this case, harpsichord its construction, method
of sound production, acoustic properties, use in
performance and performance venues.
Listen to a number of recordings of the prelude
under study as performed on the harpsichord.
Make notes on:
articulation and phrasing
tempo
length of detached notes
projection to listener of thematic material and/or
particular notes and/or harmonies
dynamic effect created through changes in
texture, register and rhythmic complexity
use of rubato and flexibility of phrasing to give
importance to beginnings of sections, cadence
points, modulations.
Study the introduction to an edition or a recording
of the selected work, for example the Alfred edition
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of the Well Tempered Clavier which gives the

performance practice of a range of famous pianists
who have performed these works on piano.
Listen to, compare and appraise a variety of
recordings of the work, for example listen to a prelude
from the Well Tempered Clavier as performed on
piano using the above list as the basis for comparison.
Take note of:
the use of the sustaining and soft pedals
means by which the performers explore the
dynamic and tonal capabilities of the modern
piano in their performance
projection of thematic material and/or particular
notes and/or harmonies that cannot be achieved
in performance on harpsichord.
Draw conclusions about the success of each
performance on piano in realising an authentic
performance on a modern instrument.
Develop strategies for informed personal
interpretation based on the knowledge and insight
gained through the above research.
Note: this activity can be adapted for other music
styles.
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Outcome 2
Demonstrate
performance techniques,
technical work and
exercises, and describe
their relevance to the
performance of selected
group and/or solo
works, and present an

identify performance goals; select group and/or solo works being prepared for
performance; identify technical challenges in works and performance techniques
relevant to works; devise and/or collect a series of exercises that can be used
to progressively address each challenge; focus on meeting technical challenges
related to interpreting expressive qualities
brainstorm strategies for optimising effectiveness of group rehearsals or rehearsals
with accompanists; research strategies used by similar ensembles; evaluate
possibilities, use ICT to develop a rehearsal plan and collaborative journal (WIKI,
podcast) to monitor progress against performance goals and specific technical,
expressive and/or stylistic challenges; use the plan to develop an individual
practice routine; monitor and adjust throughout semester
establish ways of monitoring progress, including seeking and responding to
feedback from teachers, peers, other performers
use ICT to develop a practice plan and journal to monitor progress against
performance goals and specific technical, expressive and/or stylistic challenges;
use the plan to develop a practice routine; monitor and adjust throughout semester
select and practice a study or work with a technical focus that supports overall
development as an instrumentalist and/or focuses on a specific performance
technique used in one or more works in the selected performance program
identify and analyse technical requirements necessary for the realisation of the
works selected for performance; develop personal performance strategies to
improve technical control
devise a plan to develop facility in unprepared performance on an ongoing basis;
include in weekly instrumental lessons or ensemble rehearsals
investigate and compare a variety of music styles being prepared for performance
from a study of their stylistic elements such as rhythm, accent and tempo,
instrumentation, quality of timbre, use of harmony and melody, structure/form
discuss and note procedures and techniques used by performers in a particular
ensemble to perform convincingly in a variety of styles
discuss ideas and methods the group has used to maximise the impact of their
performances, and to minimise performance problems
prepare a demonstration of the acoustic qualities of the rehearsal area, and show
how these can be used or manipulated to obtain the desired acoustic effect
discuss strategies for practice and rehearsal using excerpts from texts as starting
points, such as Musical Excellence: Strategies and Techniques to Enhance
Performance edited by Aaron Williamson
demonstrate ways technology can be used in performance presentation, and show
how it can be used to maximise performance impact
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Detailed example 1
technical work and exercises to prepare for performance of danse de la chVRE
Instrument: Flute
Composer: Alfred Honegger
Category: Unaccompanied solo work
Individual performance techniques:
Slurring
Chromatic slides
Single tonguing
Harmonics
Bent notes
Technical challenges:
Accuracy combining scale passage and other
melodic motifs
Rapid articulation of scale passages
Fluency across variety of rhythmic patterns,
changing meter, changing tempo
Expressive challenges:
Sense of lightness and playfulness
Stylistic challenges:
Impact of jazz influence
Resources:
http://en.wikipedia.org/wiki/File:Arthur_Honegger_-_
Danse_de_la_Ch%C3%A8vre.ogg
performance by Sarah Bassingthwaite
Developing a practice routine:
analyse work to identify performance techniques
and technical, expressive, stylistic challenges, ask
questions such as:
What sort of music did Arthur Honegger write?
... he wrote music ranging from satire to
intensely religious works that are marked by
incisive rhythms and sharp dissonances, often
the result of his use of polytonality.
Which of these features are evident in this work?
Identify examples.
How can the dance qualities of this work be
communicated?
What tone quality is most suited to performance of
this work? What techniques are needed to achieve
expressive variation of tone when performing this
work?
Using information from the analysis, complete a
chart that documents techniques, resources, and
exercises to develop technical knowledge and skill
AND monitor progress in learning and interpreting
this work.
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Sample exercises:
Technical
Slurred exercises using intervals of 4ths and 5ths
over two octave range ascending and descending,
beginning on different starting notes. Perform at
a slow tempo and concentrate on developing a
smooth changeover from one note to another.
Chromatic exercise from The Flute Players Book
by Vernon Hill (p.131). Concentrate on short
sections at a time and practise with a variety of
rhythmic patterns. (Effective for achieving a smooth
chromatic slide.)
Chromatic scale, ascending and descending,
between lowest and highest notes in the work
use rhythm and articulation patterns found in the
work, practice at a variety of tempi.
Five-note exercises in semiquavers ascending and
descending using pitch material from the piece.
(This will help students familiarise themselves with
fingering patterns based on non-traditional scale
patterns.)
Single tonguing exercises from Practise Book
for the Flute Vol. 3, Articulation by Trevor Wye.
(Effective for developing a light clear tonguing
technique.)
Harmonics exercise from Practise Book for the
Flute Vol. 1, Tone by Trevor Wye (p.6) and The
Flute Players Book by Vernon Hill (p.33). (Effective
for developing ease in playing 3rd register notes
and the ability to play the last note of the piece
correctly.)
Expressive
Bending note exercise. On the same note, adjust
the pitch above and below the note in order to
increase awareness of and control of pitch.
Long note exercises held for a minimum of ten
seconds with a well-measured crescendo and
diminuendo throughout.
Stylistic
Develop approach to communicating expressive
qualities of each section of the work slow,
dreamlike introduction, dance-like main section,
focus on breathing, articulation and using silence
effectively.
Study
Study no. 6 from 24 Caprices op.26 by Boehm.
This study will help develop rapid articulation.
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Detailed example 2
DEVELOPING PERFORMANCE TECHNIQUE
Work: Schism by Tool
Instrument: bass
Style: metal
reflect on how knowledge/skill level relating to

this technique fits with overall development as
an instrumentalist
Individual performance techniques:

Chordal playing (double triple stops), hammer on
and hammer offs, changing positions, drop D
tuning, finger plucking muting, plectrum playing
range of techniques holding, using.
Ensemble performance techniques:
Maintaining groove through metre changes,
balancing effect pedals, placing instrumental line
within music texture.
For each individual technique:
Use key questions to identify and reflect on
instrumental knowledge about the technique and
skill in using it.
Students:
collect and/or devise resources such exercises,
or tutorials designed to explain and/or develop
facility in using the technique
develop a practice routine that incorporates

development of the technique over time, focus
on development of accuracy, control, fluency,
flexibility, dexterity, security, coordination and
tone when using each performance technique.
Analyse relationship between a particular technique
and other technical and expressive elements of the
work.
Use a journal to monitor progress in using the
technique, in isolation and in the context of the
song.
For each ensemble technique:
Discuss and evaluate groups ability to realise the
technique in this work.
Investigate and adopt rehearsal strategies to
systematically improve use of performance
techniques over time.
Detailed example 3
DEMONSTRATE THE ACOUSTIC QUALITIES OF THE REHEARSAL AREA
Tasks
Draw a plan of a room used in performance using
graphic or CAD software.
Label the drawing with particular attention to the
rooms acoustic features. Use vector lines and
arrows to show the direction and behaviour of
sounds in the room.
Demonstrate the way sound behaves in the room
through performance of work/s from performance
program.
Explore, demonstrate and list practical strategies
to maximise positive acoustic properties of the
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room when performing these works and to minimise

acoustic problems (for example, re-positioning of
amplifiers, drum kit).
Use graphics or CAD software to draw another
labelled plan of the room, showing the optimum
performance set-up. Use vector lines and arrows
to show the direction and behaviour of sounds in
the room.
Prepare an oral report explaining how sound
behaves in the room, and how it can be controlled.
Include checklist of relevant rehearsal and
performance strategies.
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Outcome 3
short excerpts of
music, and discuss
the interpretation of
expressive elements
of music in prerecorded works.
investigate and evaluate systems to assist singing of scales, intervals, chords,

melodic phrases, diatonic chord progressions and re-creating rhythms using
singing/vocal sounds and body percussion; identify systems that work in particular
contexts; build regular use of these systems into a range of learning and practice
activities, for example in class, rehearsal, instrumental lessons, individual practice
create a taxonomy for this area of study, include definitions and examples relating
to terminology, theoretical concepts, notation conventions, sound and structure
of intervals, scales, modes and chords, set for study, rhythmic organisation in
relevant meters and time-signatures, as well as related naming conventions
and language to identify, describe and discuss the interpretation of expressive
elements of music
create a bank of diatonic chord progressions; use software to re-arrange
voicings within each chord; print and distribute arrangements to class
evaluate ability to demonstrate key skills required to meet this outcome; develop a
personal learning plan to address specific challenges; apply knowledge to specific
tasks and develop general musicianship throughout semester; work collaboratively
with peers and teachers to implement learning plan through class and individual
activities
complete activities of aural comprehension and music notation using appropriate
software; keep a log/journal to record progress and questions on specific content,
use of strategies
compile and maintain a workbook of notes on excerpts of Australian music
created post 1910 and performed by Australian performers, for example:
use appropriate language and terminology to identify and describe melodic,
harmonic, rhythmic, expressive and structural characteristics
transcribe short, significant melodic, harmonic and rhythmic themes/motifs
create charts showing use of dynamics over the duration of the excerpt, texture
and changes in texture, tone colour and variation of tone colour, tempo and
variation of tempo, phrasing
describe use of expressive elements of music such as articulation,
ornamentation/embellishment
describe the character of the excerpt using examples from notes about
treatment of specific elements of music to support description
use notes to plan and write responses to structured questions about the
excerpts
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Detailed example
sing chord progressions in four-part harmony
As a class, create a bank of diatonic chord
progressions that use triads and 7th notes. Each
progression should begin on the tonic chord. The
progressions might, but do not have to end with a
cadence. The progressions should be presented
with close position voicings.
Using sequencing software, re-arrange voicings
within each chord. Chords should always remain in
root position; however, SAT voices may be voiced
openly. While it may also be useful to study the
principles of four-part harmony writing and to follow
these in re-arranging the progressions, students
should also be encouraged to try individual
approaches.
Assign parts and sing each progression. Where

written ranges are beyond student vocal ranges,
they should be encouraged to transpose the part by
an octave in order to sing it.
All students should sing all parts.
Discuss strategies maintaining tuning and intonation
while singing progressions.
Listen to other progressions from the bank and
learn aurally. Discuss strategies for identifying notes
to be sung by specific parts, for example the bass
note, the next highest note, the second highest
note, the highest note or, the root, the third, the fifth,
the seventh, the doubled note.
Print some of these arrangements and distribute to

the class.

Outcome 1
Prepare and present

accurate and expressive
performances of
informed interpretations
of a program/s of group
and solo works.
review performance goals, recordings of previous performances and other

interpretations of works being prepared for performance; establish process for
monitoring progress towards goals
evaluate potential strategies for preparing and refining performance of selected
works, particularly in relation to accuracy, fluency and control
create a podcast using excerpts from the works (performed by student or other
performers) and commentary explaining aims for achieving shape in music through
interpretation of expressive elements of the music
evaluate other musicians use of idiomatic tone qualities in performances of
selected work/s; consider implications for own performance
analyse interpretation of stylistic characteristics of each work, and document
interpretive approach focusing on how balance between personal, ensemble,
stylistic, practical, technological, historical and/or cultural influences is achieved
across the program
work with accompanist (where appropriate) on a regular basis; discuss, experiment
and refine dynamics, balance, tempi, phrasing and other aspects of interpretation
perform on a regular basis to the rest of the class with accompanist, where
appropriate; discuss and evaluate each others performances, identifying
strengths and weaknesses and commenting on improvement on past
performances
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monitor technical requirements necessary for the realisation of the works selected
for performance; use personal performance and practice strategies to improve
technical control and stylistic understanding
investigate presentation techniques and performance conventions that define the
stylistic roles of each instrument in the ensemble for a chosen work
utilise a range of performing opportunities such as concerts, battle of the bands,
eisteddfods/competitions, school assemblies to perform a variety of works
record and evaluate a performance of a program of group works
Detailed example 1
SOLO PERFORMANCE
Students schedule regular performances with
accompanist where appropriate. Establish routine
for rehearsal and preparation prior to each
performance.
Reflect on each performance using a structured

format paper or digital. Use excerpts from
recordings of the performances and accompanist,
and gain audience feedback where possible.
Participate in ongoing discussion about strategies

for communicating /interacting with accompanist,
presentation techniques.
Observe and perform in master classes organised

by various instrument associations.
Seek feedback about each performance, for

example through an audience questionnaire.
Focus on response to presentation techniques,
communication, how the audience perceived the
range of styles and characters across the program.
Organise guest performer to evaluate performances

in a master class situation.
Organise guest performer to give written evaluations
of each performance of a whole program at a
scheduled evening concert.
Detailed example 2
RECORD AND EVALUATE A PERFORMANCE BY A GROUP
Students select an appropriate venue, paying
particular attention to the acoustic properties
of the performance space and the nature of the
performing ensemble and works selected for
performance.
Organise appropriate technology to undertake a live
recording (4/8 track, amplifiers, microphones etc.).
The use of multi-track recording is optimal.
Individually sound check the recorded sound of
each instrument in the group.
Record the performance.
Establish criteria for evaluating the performance
including, for example:
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Evidence of accuracy, fluency and control as

appropriate to the style and character of each
work in the program.
Success of strategies for communication,
cooperation, empathy between members of the
group.
Use of idiomatic tone quality and variation of
expressive elements of music.
Each member of the group and selected others
(peers, teachers, audience) reviews the recording
and also adds any comments about aspects of the
performance not evident in the recording.
Discuss feedback, noting performance aims that
were achieved. Develop strategies for maintenance
or further development of individual and ensemble
skills.
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Outcome 2
Demonstrate
performance
techniques, and
technical work
and exercises,
and discuss their
relevance to the
performance of
selected group
and/or solo works,
and present
an unprepared
performance.
use activities in Unit 3 Outcome 2 in relation to learning additional works for the
end-of-year performance program
maintain and develop ability to use performance techniques, and technical,
expressive and stylistic skills to refine performance of work learnt in Unit 3, for
example,
create a chart to document techniques, resources, knowledge and skill level
progression/development for each work in performance program; develop
evaluation criteria to monitor progress; make adjustments to practice plan in
response to monitoring
create a bank of listening examples that demonstrate performance techniques
used to interpret and realise works in program; analyse relevance of approach
taken in examples in relation to own interpretive approach; use analysis to
refine application of specific techniques
analyse use of specific performance techniques in practice performances;
evaluate which techniques were secure, which require further development and/
or modification as well as how the techniques contributed to communicating style
and character of the work; use information to refine practice plan
analyse performance techniques used in improvised solos and use as a basis for
developing own solo
review and refine use of specific strategies for unprepared performance, for
example use of a checklist of information such as clef, time-signature, keysignature, rhythmic, melodic, phrasing, articulation, dynamic patterns, using a
sight-singing system to memorise melody, analysing chord progression to identify
primary triads, cadences, 7th chords etc, using a counting system to interpret
rhythms accurately and maintain regular beat/pulse/meter
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Detailed example
DEVELOPING AN IMPROVISED SOLO IN A SPECIFIC MUSIC STYLE
Using recorded examples, students undertake a
series of listening tasks which seek to identify and
investigate characteristics of improvised solos in
the style of work being prepared for performance.
Record characteristics in a listening diary paper
or digital.
Students:
Learn the chord progression and melody and
develop the ability to freely perform all chords
included in the work in scale and arpeggio
forms (ascending and descending across the
entire practical range of the instrument).
Investigate the various tonal possibilities for
each chord/key area by learning the various
scales/modes that might be utilised in an
improvisation over the given chord progression.
Investigate specific performance techniques
used to communicate characteristics of the
music style.
Transcribe a selected improvised solo within
the work (or at least sections of a selected
improvised solo). This will require multiple
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listenings in order to achieve accuracy of pitch

and rhythm as well as to take note of expressive
nuances such as dynamic contrast and use of
accent.
Learn to play this selected solo with the aim of
memorising it.
Analyse the solo and identify significant melodic
and/or rhythmic motifs. Develop new improvised
choruses which explore these motifs and create
personalised licks/motifs/phrases that can be
freely quoted during actual performance.
Create a midi backing track incorporating other
parts of the arrangement and use it during individual
practice to explore and develop improvised
choruses which incorporate characteristics of, and
ideas developed from, the transcribed solo.
Trial possible solos during group rehearsals. Seek
and evaluate feedback focusing on how consistent
the group is in realising specific characteristics of
the style, as well as developing the relationship
between this and other solos/ in the arrangement.
Refine solo in response.
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Outcome 3
short excerpts of
music, and analyse
the interpretation of
expressive elements
of music in prerecorded works.
review preferred system for singing of scales, intervals, chords, melodic phrases,
diatonic chord progressions and re-creating rhythms using singing/vocal sounds
and body percussion in different contexts or for completing specific tasks; refine
and practise use of system/s
review and refine taxonomy for this area of study
evaluate ability to demonstrate key skills required to meet this outcome; develop a
personal learning plan to address specific challenges; apply knowledge to specific
tasks and develop general musicianship throughout semester; work collaboratively
with peers and teachers to implement learning plan through class and individual
activities
complete activities of aural comprehension and music notation using appropriate
software; keep a log/journal to record progress and questions re specific content,
use of strategies and so on.
create and improvise on five or six note melodic motifs and three or four bar
rhythmic patterns
analyse ways that expressive outcomes are realised in performance, focusing
on idiomatic tone qualities and variations of tone colour, ways instrumental
voices blend to create tone colour, relative balance between music parts/lines,
structural and expressive roles of instrumental voices within a music texture, use
of articulation, different forms of ornamentation/embellishment, dynamic range and
shape, phrasing, tempo and variation of tempo; share and discuss analysis during
class discussion or through a WIKI; use appropriate language and terminology to
describe specific examples from the music that support analysis
Detailed example
IMPROVISE USING MELODIC MOTIFS AND RHYTHMIC PATTERNS
Each student creates two or three melodic motifs
and two or three rhythmic patterns. Each melodic
motif should be five or six notes and be built on a
scale or mode set for study; each rhythmic pattern
should be three or four bars in length and use a
meter set for study; at least one pattern should
feature syncopation.
Use IT to prepare notation for each motif and
pattern.
Students select one or more motifs and patterns

and improvise by:
extending using repetition and varying one or
more aspect of the material
combining motifs and patterns to create specific
textures
In pairs, students perform the motifs and patterns

they have created and learn the complete set
through imitation, this step can be also be
undertaken as a whole class activity, perhaps using
a small selection of the material.
Print/display a random subset of notation files then

ask students to identify motifs or patterns from the
series of alternatives.
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performing in a different scale, mode or meter

harmonising using root notes of appropriate
triads
using expressive elements to refine phrasing,
articulation, dynamics in response to specific
instructions.
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MUSIC 20112016
for teachers
School-assessed coursework
In Units 3 and 4 teachers must select appropriate tasks from the assessment table provided for each unit. Advice
on the assessment tasks and performance descriptors to assist teachers in designing and marking assessment tasks
will be published online by the Victorian Curriculum and Assessment Authority in an assessment handbook. The
following is an example of a teachers assessment program using a selection of the tasks from the Units 3 and 4
assessment tables.
Outcomes
Marks allocated
Assessment tasks
10
A performance/s that demonstrates:

application of individual and, as appropriate,
ensemble, technical, stylistic and expressive
techniques used in performance of works
a study or work with a technical focus chosen to
develop specific aspects of overall ability as an
instrumentalist
technical work and exercises selected to develop
skills required to meet specific technical, expressive
and stylistic challenges in works selected for
performance
unprepared performance skills, for example sight
reading or improvisation
And
A podcast or other multimedia report that describes
how performance techniques, technical work and
exercises demonstrated in the performance link to
informed, accurate and expressive performance of
works being prepared for Outcome 1.
10
A test that includes:

questions requiring identification and writing
of intervals, scale/modal forms, tonality, chord
progressions, rhythmic patterns and rhythms,
melodic patterns and melodies presented aurally and
in writing and transcription of melodic and rhythmic
excerpts
use of music notation conventions
improvisation on given three or four note melodic
patterns and two or three bar rhythmic patterns
imitation of melodic and rhythm patterns by singing,
humming or playing
discussion of interpretive decisions relating to
expressive elements of music evident in prerecorded excerpts of performances by Australians of
works created after 1910 by Australian composers/
songwriters.
Unit 3
Outcome 2
Demonstrate performance techniques,

technical work and exercises, and describe
their relevance to the performance of selected
group and/or solo works, and present an
Outcome 3
Identify, re-create, notate and transcribe

short excerpts of music, and discuss the
interpretation of expressive elements of music
in pre-recorded works.
Total marks for Unit 3
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20
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Outcomes
Marks allocated
Assessment tasks
10

techniques used in performance of works
skills required to meet specific technical, expressive
and stylistic challenges in works selected for
performance
unprepared performance skills, for example sight
reading or improvisation
And
An oral report accompanied by music examples (live or
recorded) that discusses how performance techniques,
technical work and exercises demonstrated in the
performance link to work undertaken to prepare and
refine informed interpretations of performance of works
for Outcome 1.
Unit 4
Outcome 2
Demonstrate performance techniques, and

technical work and exercises, and discuss their
relevance to the performance of selected group
and/or solo works, and present an unprepared
performance.
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10
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Units 3 and 4: Music Investigation

Music Investigation Units 3 and 4 involves both performance research in a Focus Area selected by
the student and performance of works that are representative of that Focus Area. Students research
of music characteristics and performance practices representative of the Focus Area underpins the
Investigation, Composition/arrangement/improvisation and Performance areas of study. Aural and
theoretical musicianship skills are developed across all areas of study.
Students use a work they have selected from a prescribed list as a starting point, and design an
investigation into a specific area of music which becomes their Focus Area. This Focus Area is the
basis for study of repertoire, performance, technique and general musicianship. Students should select
a Focus Area that is of particular interest to them and that complements their experience and abilities
as a performer. The Focus Area should also provide scope for students to develop their performance
expertise and musicianship. The repertoire associated with the Focus Area needs to be broad enough
for the student to build a performance program that meets the requirements of Unit 3 Outcome 3 and
Unit 4 Outcome 3. Works selected for the performance program should allow students to demonstrate
interpretive mastery of the repertoire as well as highly developed technical skills on their chosen
instrument/s.
Students interpretation of works in the performance program for these units is informed by:
study of repertoire that is representative of the Focus Area yet diverse in character
research into and application of performance practices relevant to the Focus Area
investigation and analysis of characteristics of a range of works that are representative of the Focus
Area
insights from composing/improvising/arranging and performing an original work that incorporates
music characteristics typical of the Focus Area
These units build on knowledge and skills developed over Music Performance Units 1 to 4.
Students electing to undertake this study choose whether they will present their end-of-year performance
examination program as a member of a group OR as a soloist.
All students will complete a Focus Statement outlining their Focus Area and the relationship of the
selected performance program to this area. At least one work in the program must be selected from
either the Prescribed List of Group Works or the Prescribed List of Notated Solo Works as published
on the Victorian Curriculum and Assessment Authority website.
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MUSIC 20112016
Students who choose to present their program as a soloist must:

select an instrument from the Prescribed List of Notated Solo Works and a work from that list
or a work from Section A of the Prescribed List of Group Works. This work is the basis for the
program and Focus Area. Students wishing to perform on an instrument not included in this list
must receive prior approval for the instrument and at least ONE work from the Victorian Curriculum
and Assessment Authority before commencing the study
present all works on this instrument
base their Investigation and Composition/improvisation/arrangement study around the selected
work and the Focus Area they have chosen.
Students who choose to present their end-of-year examination program as a member of a group
must:
select any instrument or instruments (no approval is required)
select a work from either Section A or Section B of the Prescribed List of Group Works. This
work is the basis for the program and Focus Area. Students wishing to perform a work that is not
on a prescribed list must receive prior approval from the Victorian Curriculum and Assessment
Authority before commencing the study
base their Investigation and Composition/improvisation/arrangement study around the selected
work and the Focus Area they have chosen.
Examples of Focus Areas and their associated programs are:
The influence of baroque keyboard works on 20th century composition
Instrument: Pianoforte (soloist)
Works selected from a prescribed list: Suite Opus 25 (Arnold Schoenberg)
Other works: Fantasia in c minor BWV 906 (J S Bach); Air with Five Variations Harmonious
Blacksmith from Suite no. 5 in E major (G F Handel;) Toccata (Aram Khachaturian), or other
contemporary works that pay homage to Baroque style.
Creating mood and character in music theatre
Instrument: Voice Classical or Voice Contemporary popular or Group performance
Works from prescribed lists
Group list of arrangements Section B Tonight from West Side Story (Leonard Bernstein)
Voice Classical Since I Reached from Kiss Me Kate (Cole Porter)
Voice Contemporary popular Popular from Wicked (Stephen Schwartz)
Other works: selected as appropriate to voice type.
Virtuosity in improvised guitar solos: 1965 to the present day
Instrument: Electric guitar (solo or group)
Works selected from a prescribed list:
Guitar Contemporary popular For the Love of God (Steve Vai)
Group list of arrangements Section A The Thrill is Gone from The Definitive Greatest Hits
(BB King)
Other works: solo or group compositions by guitarists such as:
Jimi Hendrix, Eric Clapton, Larry Carlton, John Williams and Tommy Emmanuel
Jeff Beck, Van Halen, Joni Mitchell, Frank Zappa and David Gilmore
Mark Knopfler, Stevie Ray Vaughan, Keith Richards, Leo Kottke and Eric Johnston
Robert Fripp, BB King, Ralph Towner, Carlos Santana and John McLaughlin
Kirk Hammet, Joe Pass, Emily Remler, George Benson and Robben Ford
John Schofield, Jimmy Page, Pat Metheny, Yngwie Malmstee and Tuck Andress
Jim Hall, Marc Ribot, Joe Satriani, Gary Moore and Angus Young.
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In this unit students select a work from a prescribed list as the basis for an investigation of a Focus Area.
They explore the Focus Area through three complementary areas of study: Investigation, Composition/
arrangement/improvisation and Performance. Area of Study 1, Investigation involves research into
background contextual issues relevant to performance practice, critical listening to recordings of
performances and examination of texts including musical scores. Area of Study 2, Composition/
arrangement/improvisation involves applying these research findings to create a folio of exercises,
sketches or recorded improvisations that demonstrate understanding of the characteristics of the Focus
Area. Students plan, rehearse and perform a program of works that are representative of the Focus Area
and in doing so develop relevant instrumental and performance techniques and apply performance
practices. Together, these areas of study require students to apply extensive skills in performance,
aural awareness, transcription, music theory and analysis.
Students choose whether they will present their end-of-year performance examination program as a
soloist OR as a member of a group.
An instrument/s is selected for study in this unit. If students elect to present their external end-ofyear performance examination as a soloist, they must select an instrument from the Prescribed List
of Notated Solo Works. Students wishing to perform as a soloist on an instrument not included in
this list must receive prior approval for the instrument and one work from the Victorian Curriculum
and Assessment Authority before commencing the study. Students who elect to present their end-ofyear performance examination as a member of a group may select any instrument and do not require
approval for their choice of instrument.
In Unit 3 the performance program must consist of at least two works including the work selected from
the appropriate prescribed list. All works in the program must relate to the Focus Area. The number of
works will be dependent upon the length and complexity of typical works in the selected Focus Area.
In addition to relating to the selected Focus Area, the program should represent a diversity of character
and allow students to demonstrate a range of technical skills and artistic knowledge. The works may
be in different music styles and/or from different cultures, eras and geographical locations.
15 minutes duration for soloists and groups of 13 assessed performers.
For groups of 4 or more assessed performers the program should be about 2025 minutes duration.
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AREA OF STUDY 1
Investigation
In this area of study, students select and describe a Focus Area and research issues relevant to
performance practice in that Focus Area. They use aural comprehension, music theory and general
musicianship knowledge and skills as they listen critically to recordings of performances and examine
relevant texts including musical scores. Students research and analyse, aurally and visually, a sample of
music works that includes works selected for performance, as well as other works that are representative
of the Focus Area, to gain a broad understanding of stylistic and structural characteristics. They develop
knowledge of performance practices used by leading practitioners associated with the Focus Area.
They also develop knowledge of relevant influences on the works that are representative of the Focus
Area. Students use appropriate music terminology and language to describe and discuss characteristics
of selected works.
Outcome 1
On completion of this unit the student should be able to demonstrate understanding of performance
practices, context/s and influences on music works.
Study 1.
Key knowledge
aural and theoretical concepts that underpin ways in which elements of music, including structure,
melody, harmony, rhythm, tone colour, texture, dynamics, tempo, articulation and instrumentation,
are characteristically treated within a sample of works representative of the Focus Area
idiomatic instrumental techniques associated with the sample of works
performance practices and conventions associated with the Focus Area and sample of works
leading composers/performers associated with the selected Focus Area and sample of works
social, cultural, personal, historical, geographical and commercial influences that impact on the
selected Focus Area and sample of works
ways in which works chosen for performance are representative of the Focus Area
issues that impact on interpretation of works selected for performance
music terminology and language appropriate to the identification, description and discussion of
characteristic features of the sample of works and works selected for performance.
Key skills
describe the Focus Area

aurally and visually analyse a sample of music works that are representative of the Focus Area,
including works selected for performance in Area of Study 3
apply aural and theoretical knowledge to identify, describe and discuss
ways in which elements of music are characteristically treated in the sample of works
ways in which works selected for performance are representative of the Focus Area
idiomatic instrumental techniques associated with the selected Focus Area and ways in which
they are applied within the sample of works, including works chosen for performance
social, cultural, personal, historical, geographical and commercial influences that have had an
impact on both the Focus Area and the sample of works
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Music Investigation
Unit 3
performance practices and conventions associated with the Focus Area and ways in which these
might be applied in performance of the selected program of works
issues that influence interpretation of works selected for performance
use appropriate music terminology and language.
AREA OF STUDY 2
Composition/improvisation/arrangement
In this area of study students apply research findings from Outcome 1. They create a folio of composition
or arrangement exercises, sketches, or recorded improvisations that demonstrate understanding of
the Focus Area. They undertake a variety of composition/improvising/arranging tasks to explore
characteristics typical of the sample of works studied in Outcome 1 and works selected for performance.
They also develop an understanding of the influence of idiomatic instrumental techniques, performance
conventions, the skill levels of performers and other practical considerations that may have an impact on
the compositional process. Students create a score or recording that can be used to prepare and present
a performance of selected exercises. They also discuss characteristics of their completed exercises in
relation to research findings from Outcome 1.
Outcome 2
On completion of this unit the student should be able to compose, improvise and/or arrange and discuss
music characteristics and performance practices.
Study 2.
Key knowledge
strategies for completing composition, improvisation and/or arrangement exercises

aural and theoretical concepts that underpin ways in which elements of music, including structure,
melody, harmony, rhythm, tone colour, texture, dynamics, tempo, articulation and instrumentation,
are characteristically treated within the sample of works analysed in Area of Study 1
practical factors that influence the preparation for performance of the composition, arrangement
and/or improvisation exercises, including idiomatic writing for instruments, accommodating the
skill levels of performers and refining exercises through rehearsal
ways of keeping a record of written and practical exercises, including relevant notation/scoring
conventions and use of ICT
music language and terminology appropriate to the identification, description and discussion of
characteristic features of exercises.
Key skills
create short composition, improvisation and /or arrangement exercises that demonstrate understanding
of the characteristic use of elements of music and performance practices representative of the Focus
Area
notate or record the exercises in a form that can be used to prepare for a performance
perform selected exercises
use music language and terminology to identify, describe and discuss how characteristic features
and performance practices relevant to the Focus Area are evident in the exercises.
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MUSIC 20112016
AREA OF STUDY 3
Performance
In this area of study students plan, rehearse and perform a program of works representative of the
selected Focus Area. They develop relevant instrumental and performance techniques and apply
performance practices to build their expertise as performers.
Students consolidate their ability to present musically engaging performances using the performance
practices and conventions relevant to their selected Focus Area. Through regular performance in a
variety of contexts, they explore ways of expressively shaping their chosen works and develop their
ability to communicate their artistic intentions to an audience. They extend their instrumental skills
through regular practice and explore ways to develop empathy and other ensemble skills though
rehearsal with other musicians, as appropriate.
Students refine their understanding of ways to expressively shape their chosen works by applying
research findings from Outcome 1 regarding stylistic characteristics, performance techniques, practices
and conventions, and approaches to interpretation.
Based on their research findings, students explore possibilities for performance of each work in the
program. They develop interpretations that balance relevant personal, stylistic, practical, technological,
historical and cultural influences.
Study of technical work and exercises supports students as they develop their performance program and
their overall ability as performers. Students who select a group performance context study individual
and ensemble performance techniques. Depending on the instrument, students who select a solo
performance context study individual and ensemble (accompaniment) techniques.
Outcome 3
On completion of this unit the student should be able to present a performance of music works that
communicates understanding of the Focus Area.
Study 3.
Key knowledge
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 instrument/s
idiomatic 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
strategies for developing expressively shaped, informed interpretations of works that demonstrate
understanding of relevant historical and contemporary performance practices, conventions and an
artistic balance between relevant personal, stylistic, practical, technological, historical and cultural
influences
the texture of solo works in achieving artistic balance, blend and variation of texture
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Music Investigation
Unit 3
strategies for communicating artistic intent and direction in performance

and an audience as appropriate to performance of selected works
strategies for reflecting on and evaluating development of a performance program
presentation techniques, including specialist knowledge of performance practices that are appropriate
to the instrument/s, ensemble/s, repertoire, style or genre and the performance space.
Key skills
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
perform informed interpretations of selected works that demonstrate understanding of artistic balance
between relevant personal, stylistic, practical, technological, historical and cultural influences
selected group work/s, or parts within the texture of solo work/s to achieve artistic balance, blend
and variation of texture
demonstrate communication, interaction, cooperation and empathy with other musicians and
audience as appropriate to the performance of selected work/s
reflect on and evaluate development of a performance program.
ASSESSMENT
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MUSIC 20112016

The students level of achievement in Unit 3 will be determined by School-assessed Coursework and
an end-of-year performance examination.
The score must be based on the teachers rating of performance of each student on the tasks set out in
the following table and in accordance with the assessment handbook published online by the Victorian
Curriculum and Assessment Authority. The assessment handbook also includes advice on the assessment
tasks and performance descriptors for assessment.
Assessment tasks must be a part of the regular teaching and learning program and must not unduly add to
the workload associated with that program. They must be completed mainly in class and within a limited
timeframe. Where optional assessment tasks are used, teachers must ensure that they are comparable
in scope and demand. Teachers should select a variety of assessment tasks for their program to reflect
the key knowledge and key skills being assessed and to provide for different learning styles.
Outcomes
Marks allocated*
Assessment tasks
60
Present a report that discusses characteristics,

techniques and performance practices of works
representative of a Focus Area. The report should
define the Focus Area and include:
analysis of a sample of works
audio/video excerpts to support analysis
discussion of characteristics and practices and
other issues that influence interpretation of works.
Outcome 1
Demonstrate understanding of performance
practices, context/s and influences on music works.
The report may be presented in one of the following

formats:
performance and commentary
multimedia
written
a combination of the formats listed above.
Outcome 3
Present a performance of music works that
communicates understanding of the Focus Area.
Total marks
15
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.
75
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Music Investigation
Unit 3
The level of achievement for Units 3 and 4 is also assessed by an end-of-year performance examination,
which will contribute 50 per cent.
Further advice
details about the sections of the examination, their weighting, the format/s and any other essential
information. The specifications are published in the first year of implementation of the revised Units
3 and 4 sequence together with any sample material.
vce study design
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In this unit students continue the exploration within the Focus Area they began in Unit 3. In Unit 4 the
Investigation involves the preparation of program notes to accompany their end-of-year performance
program. In Area of Study 2, the Composition/improvisation/arrangement involves creating and
performing a composition, improvisation or arrangement that draws on musical characteristics of the
Focus Area. This composition, arrangement or improvisation builds on and extends exercises completed
in Unit 3. Students rehearse and perform works for inclusion in a performance program of works that
relates to the Focus Area. They develop mastery of relevant instrumental techniques and apply advanced
performance conventions to realise their intended interpretations of each work. They continue to use
skills in aural awareness, transcription, music theory and music analysis to support their work.
Students choose whether they will present their end-of-year performance examination program as a
member of a group OR as a soloist.
An instrument/s is selected for study in this unit. If students elect to present their end-of-year
performance examination as a soloist, they must select an instrument from the Prescribed List of Notated
Solo Works. Students wishing to perform on an instrument not included in this list and use a suitable
program of works for that alternative instrument, must receive prior approval for the instrument and
one work from the Victorian Curriculum and Assessment Authority before commencing the study.
Focus Area
Students continue to concentrate their study in this unit on the Focus Area selected for study in Unit 3.
In Unit 4 the performance program consists of at least two works that relate to the Focus Area. All
works in the program should represent a diversity of character and allow students to demonstrate a
range of technical skills and artistic knowledge. The works may be from different music styles and/
or from different cultures, eras and geographical locations.
The Unit 4 performance program presented for assessment of Outcome 3 will be about 10 minutes
duration for soloists and groups of 13 assessed performers.
For groups of 4 or more assessed performers, the program should be about 1015 minutes duration.
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Music Investigation
Unit 4
AREA OF STUDY 1
Investigation
In this area of study students use their learning from Unit 3 Outcome 1 and further research to reflect
on and evaluate their interpretive approaches to the music works being prepared for performance. This
research extends students understanding of the possibilities for performance that balance relevant
personal, stylistic, practical, technological, historical and cultural influences. They prepare program
notes based on their research and evaluation that may be used to introduce the Outcome 3 performance
program. These notes will inform the Focus Statement provided by the student for the end-of-year
performance examination.
Outcome 1
On completion of this unit the student should be able to evaluate and present their interpretive approach
to a program of music works.
Study 1.
Key knowledge
musical characteristics of the works

idiomatic instrumental techniques evident in the works
relevant influences on the composers musical intentions for the work
performance practices and conventions relevant to the works
ways in which works chosen for performance are representative of the Focus Area
music terminology and language appropriate to the identification, description and discussion of
characteristic features of the works
strategies for reflecting on and evaluating interpretive approaches to the selected works.

Key skills
aurally and visually analyse the program of music selected for performance
apply aural and theoretical knowledge to identify, describe and discuss
ways in which selected works are representative of the Focus Area
musical characteristics of selected works
idiomatic instrumental techniques used to perform the works
relevant influences on the composers musical intentions for the selected works
performance practices and conventions associated with the Focus Area and ways in which these
might be applied in performance of the works
artistic intentions in performing the selected works
prepare and present program notes that evaluate interpretive approaches to selected works
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AREA OF STUDY 2
Composition/improvisation/arrangement
This area of study builds on the knowledge and skills developed by students in completing composition,
improvisation and/or arranging tasks in Unit 3. Students complete an original composition, improvisation
and/or arrangement that demonstrates music characteristics of the Focus Area and works selected for
performance. Students apply their understanding of idiomatic instrumental techniques, performance
conventions, performer abilities and other practical considerations as they create and refine the work
for performance. They create a score or recording that is used to prepare the work for performance.
Students perform the work and explain its context in relation to the Focus Area.
Outcome 2
On completion of this unit the student should be able to compose/improvise/arrange and perform
a music work and discuss the use of music characteristics, instrumental techniques, performance
techniques and conventions in the work.
Study 2.
Key knowledge
strategies for creating compositions, improvisations and/or arrangements

aural and theoretical concepts that underpin ways in which the elements of music, including
structure, melody, harmony, rhythm, tone colour, texture, dynamics, tempo, articulation and
instrumentation, are characteristically treated within a sample of works that are representative of
the Focus Area
practical factors that influence performance techniques and conventions relevant to the Focus Area
generally and in relation to the instrument/s and performers who will perform the work
ways of keeping a record of the work and work-in-progress to communicate performance intentions
including use of ICT and relevant notation/scoring conventions
ways of refining the work in preparation for a live performance
music terminology and language appropriate to the explanation of music characteristics, instrumental
techniques, performance techniques/conventions and the context of the work in relation to the
Focus Area.
Key skills
create a composition, improvisation or arrangement

demonstrate, through performance, ways in which elements of music, compositional devices and
performance techniques have been used in the work, including understanding of relevant idiomatic
instrumental characteristics, technical ability of performer/s and performance conventions
keep a record of the work-in-progress through video, notation, chart and/or journal
reflect on and evaluate work-in-progress to inform refinement of the work and preparation for
performance
notate or record the work
rehearse and refine the work for performance
perform the work
use music terminology and language to discuss use of music characteristics, instrumental techniques,
performance techniques and conventions of the work in relation to the Focus Area.

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Music Investigation
Unit 4
AREA OF STUDY 3
Performance
In this area of study students prepare and present a program of works of diverse character that are
relevant to their selected Focus Area. The selected program supports students in strengthening their
expertise as instrumentalists and performers, and further develops their knowledge of relevant
performance practices and conventions.
Students refine their ability to present musically engaging performances using the performance
practices and conventions relevant to their selected Focus Area. Through regular performance in a
variety of contexts, they explore ways of expressively shaping their chosen works and consolidate
their ability to communicate their artistic intentions convincingly to an audience. They analyse the
structural characteristics and use of the elements of music in the works, investigate relevant contextual
issues and explore the relationship between these and performance techniques associated with the
style of the works. They also research and evaluate a range of existing interpretations to enhance their
awareness of the variety of possible approaches and apply this awareness to their own interpretations.
They continue to extend their instrumental skills through regular practice and consolidate effective
ensemble skills though rehearsal with other musicians, as appropriate.
Through their research, students enhance their understanding of the possibilities for performance of the
selected works. They consider how to achieve balance between relevant personal, stylistic, practical,
technological, historical and cultural influences in shaping interpretations of chosen works. They also
study ways of applying performance conventions relevant to the Focus Area. They demonstrate this
understanding through their performances.
Students continue to study technical work and exercises to support preparation of the performance
program and develop their ability as performers. Depending on the instrument and performance
context students select technical work and exercises to develop performance stamina, achieve unified
interpretation within a group or with an accompanist, and/or extend and refine mastery of performance
techniques associated with particular works.
Outcome 3
On completion of this unit the student should be able to demonstrate artistic intent and understanding
of the Focus Area in a cohesive and engaging performance of music works.
Study 3.
Key knowledge
strategies for planning a cohesive 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 instrument/s
idiomatic 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
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MUSIC 20112016
strategies for developing expressively shaped, informed interpretations of works that demonstrate
understanding of historical and/or contemporary performance practices, conventions and an
artistic balance between relevant personal, stylistic, practical, technological, historical and cultural
influences
the texture of solo works to achieve artistic balance, blend and variation of texture
strategies for communicating artistic intent and direction in performance
and audience as appropriate to performance of selected works
strategies for reflecting on and evaluating development of a performance program
presentation techniques, including specialist knowledge of performance practices that are appropriate
to the instrument/s, ensemble/s, repertoire, style or genre and the performance space.
Key skills
prepare and perform a cohesive program of group or solo works that demonstrates artistic intent
and understanding of characteristics of selected works and the 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
create shape in performance of selected works through artistic variation of expressive elements of
music
communicate direction in performance through cohesive, expressive contrasts between structural
and textural sections of each work and across the program of selected works
demonstrate mastery of historical and contemporary performance conventions in interpreting and
performing selected works
perform expressively shaped, cohesive and informed interpretations of selected works that
demonstrate understanding of artistic balance between relevant personal, stylistic, practical,
technological, historical and cultural influences
selected group work/s, or parts within the texture of solo work/s to achieve artistic balance, blend
and variation of texture
demonstrate communication, interaction, cooperation and empathy with other musicians and an
audience as appropriate to the performance of selected work/s
demonstrate presentation techniques, stagecraft and conventions of performance that are appropriate
to the instrument/s, ensemble/s, works, styles and performance space/s
reflect on and evaluate effective communication of artistic intent and musical understanding in a
performance.
ASSESSMENT
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Music Investigation
Unit 4
The students level of achievement for Unit 4 will be determined by School-assessed Coursework and
an end-of-year performance examination.
The score must be based on the teachers rating of performance of each student on the tasks set out in
the following table and in accordance with the assessment handbook published online by the Victorian
Curriculum and Assessment Authority. The assessment handbook also includes advice on the assessment
tasks and performance descriptors for assessment.
Outcomes
Marks allocated*
Outcome 2
Compose/improvise/arrange and perform a music
work and discuss the use of music characteristics,
instrumental techniques, performance techniques
and conventions in the work.
Present a composition, improvisation or arrangement

of a music work that uses characteristics,
performance techniques and other conventions
relevant to the Focus Area.
And
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Outcome 3
Demonstrate artistic intent and understanding of the
Focus Area in a cohesive and engaging performance
of music works.
Total marks
Assessment tasks
15
An explanation of how the work is representative of

the Focus Area. The explanation may be in one or
more of the following formats:
written
oral
multimedia.
Demonstration of performance techniques, technical
work and exercises relevant to preparing for
performance of a program of works that relate to the
Focus Area, and discussion of how this technical
work relates to the Focus Area.
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The level of achievement for Units 3 and 4 is also assessed by an end-of-year performance examination
which will contribute 50 per cent.
End-of-year performance examination
Description
The student will give a live performance in one only of the following contexts:
as a member of a group OR
as a soloist.
The live performance will draw on knowledge and skills from Unit 3, Outcome 3, and Unit 4,
Outcome 3.
Students will present a live performance of at least four contrasting works that relate to the Focus
Area which underpinned their study in Units 3 and 4. All students will complete a Focus Statement
outlining their Focus Area and the relationship of the selected performance program to this area. At
least one work in the program must be selected from either the Prescribed List of Group Works or
the Prescribed List of Notated Solo Works as published on the Victorian Curriculum and Assessment
Authority website.
The student, in consultation with the school, will select the instrument/s and performance program in
accordance with the requirements of the examination.
The examination will be assessed by a panel of examiners using criteria published annually by the
Victorian Curriculum and Assessment Authority.
An examination is defined as a single assessment period.
The performance examination will contribute 50 per cent.
Duration of examination
One assessed performer 25 minutes
Two or three assessed performers 30 minutes
Four assessed performers 35 minutes
Five or six assessed performers 40 minutes.
Conditions
The following conditions will apply for all examinations:
Date and time: to be notified by the Victorian Curriculum and Assessment Authority through the
school.
Victorian Curriculum and Assessment Authority examination rules will apply as published annually
in the VCE and VCAL Administrative Handbook.
The performance will be assessed by a panel of examiners using criteria published annually by
the Victorian Curriculum and Assessment Authority.
Further advice
details about the sections of the examination, their weighting, the format/s and any other essential
information. The specifications are published in the first year of implementation of the revised Units 3
and 4 sequence together with any sample material.
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Advice for teachers: Music Investigation

Units 3 and 4
DEVELOPING A COURSE
to the outcomes.
In Units 3 and 4, assessment is structured. For some outcomes, or aspects of an outcome, the assessment
tasks are prescribed. The contribution that each outcome makes to the total score for School-assessed
Coursework is also stipulated.
Developing a VCE Music Investigation course
Students enrol in VCE Music Investigation Units 3 and 4 with varied but extensive music interests,
musicianship knowledge and performance skills. Many students will have completed VCE Music
Performance Units 1 and 2 and/or Music Performance Units 3 and 4. Courses need to allow students
with differing musical interests equal opportunities to achieve the outcomes. As they develop the
course of study for Music Investigation Units 3 and 4, teachers should consider each students needs
in the Focus Area the student has selected for study. Student learning plans are a useful tool to align
course requirements and individual student needs. In these units students must be directly involved
in developing and documenting their learning plan. Examples of appropriate focus statements and
learning plans are included in the learning activities section of this advice.
Additionally, advice including sound and notation files is provided via the Music study page on the
Victorian Curriculum and Assessment Authority website.
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Selecting a Focus Area

When they select these units, students first task is to nominate a Focus Area and a work from a
prescribed list that is representative of the Focus Area. Students must choose a Focus Area in which
they have a particular interest and that will allow them to complete study requirements at the highest
level. The Focus Area should also complement the students experience and abilities as a performer
and challenge them to develop their knowledge and expertise. The repertoire associated with the
Focus Area needs to be broad enough for the student to build a performance program of works that
are diverse in character and that meets study design requirements.
Students who are undertaking these units as a member of a group are most likely to select a Focus
Area that is different from, but complementary to, Focus Areas selected by other group members, for
example bass solos in jazz fusion.
Linking areas of study
These units use the pedagogy of Performance Research which connects theoretical and experiential
learning. The three areas of study in these units are interrelated and interdependent, linked by study
of a sample of works selected to represent the Focus Area. Opportunities for students to reflect
on connections between theoretical and experiential learning and performance practice should be
embedded throughout the course. Students might use a journal or blog or respond at intervals to a
series of questions designed to reinforce these connections.
Selecting a sample of works
For Unit 3, Outcomes 1 and 2, students study a group of works that are representative of the Focus
Area through listening, analysis and creative work. The sample of works should include at least one
work selected for performance and must include works that are not part of the performance program.
The number of works in the sample will vary according to the Focus Area. Most students will study
5 to 8 works or sections of works.
In Unit 4, students apply this learning in Outcome 1 as they prepare program notes for each work
being prepared for Outcome 3. This learning is also applied to complete the Focus Statement students
provide to assessors before the end-of-year performance examination.
Teaching roles
Schools should determine whether these units will be delivered primarily through the instrumental
program or the classroom music program or whether instrumental and classroom teachers will work
collaboratively to deliver the study. The roles of each teacher must be clear to the teacher/s and the
student. Where a students instrumental music teacher is not on the school staff, establishing expectations
about delivery of specific aspects of these units will be crucial. In this situation a plan that outlines how
information and requirements will be communicated, including expectations regarding monitoring of
teaching and learning and assessment requirements, should be used. Decisions about teaching roles
should reflect the complex interrelationships between the areas of study, and planning should consider
how this relationship will be developed, particularly where there is more than one teacher involved
in teaching the course. While the starting point for each student will vary within general guidelines,
courses developed for Units 3 and 4 should reflect development across the units.
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Music Investigation Advice
for teachers
The following models are provided as a guide for delivery of these units:
Learning approach
Description
Teacher/s
Self-directed learning using a

negotiated learning plan
Students would undertake sequential

and developmental activities for
Outcomes 1 and 2 in addition to
study of performance repertoire.
The learning will be supported by
questioning and feedback from
the teacher/s. This approach is
most appropriate for students who
will complete the performance
examination as a soloist. There
are strong similarities between this
approach and the approach used in
visual arts education.
Instrumental music teacher based

at school.
Class approach
Students will individually respond to

a general learning outline provided
by a teacher. This approach is
most appropriate for students who
will complete the performance
examination as a member of a group.
Or
Classroom and instrumental music
teacher based at school.
Or
Classroom and instrumental music
teacher not based at school.
Classroom teacher (where student
does not have an IM teacher will
require student to identify and
access resources and mentors who
guide performance study).
Classroom music teacher takes
responsibility for Outcomes 1 and 2
and instrumental music teacher/s
has responsibility for Outcome 3.
Classroom teacher may deliver all
outcomes acting as performance
coach or mentor for a group/s.
Specific examples of each learning approach are provided in the learning activities section of this
advice.
Irrespective of the teaching model used, assessment can be undertaken by one or more teachers. For
example, where an instrumental music teacher has led delivery of Outcomes 1 and 2, School-assessed
Coursework tasks might be assessed by the instrumental music teacher and a classroom teacher. The
classroom teacher might also contribute to an on-balance decision regarding achievement of Outcome 3.
However it is advised that one teacher, usually a teacher who works at the school for a significant time
each week, oversee all assessment tasks with reference to the learning plan and Victorian Curriculum
and Assessment Authority assessment advice. Every effort should be made to develop awareness of
the relationship between work undertaken for each outcome. This might occur through student-teacher
conferences, meetings of teachers, or an online information sharing tool like a wiki or blog.
Selecting a performance program
Students begin the process of developing a performance program while selecting and developing
a Focus Area. For example, as part of a schools subject selection process, students could be asked
to nominate a Focus Area and select a work that is representative of the area from a prescribed list.
Ideas for developing Focus Areas are included in the learning activities. The following considerations
should influence program choice:
connection to the Focus Area, that is the work is representative of the Focus Area
students knowledge of and ability in technical, expressive and/or stylistic performance techniques
in potential performance repertoire
diversity of character and range of performance techniques required to interpret the works within
the scope of the Focus Area.
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For each work in the program students should also develop a practice plan to ensure that they develop
technical and expressive skills to realise their intended interpretation of the work. The practice plan
should include technical work and exercises and might also include sight reading and improvisation/
imitation exercises.
Technical work and exercises might include scales and arpeggios, studies and/or short works that
focus on particular technical challenges. This material might be drawn from commercial sources or
written specifically for the student.
Suitable Resources
A list of suitable resources for this study has been compiled and will be available via the Music study
page on the Victorian Curriculum and Assessment Authority website: www.vcaa.vic.edu.au/vce/
studies/index.html
VCE Music Investigation builds on the skills and knowledge developed in a number of domains within
each of the three strands of the Victorian Essential Learning Standards (VELS).
Knowledge, skills and behaviours fostered through learning in The Arts domain in the Disciplinebased learning strand of VELS directly prepare students for all aspects of VCE Music Performance.
The Creating and making dimension in The Arts domain prepares students for the performance
and composition/improvisation/arrangement aspects of the study through focus on development of
a personal style, development and refinement of interpretations and aesthetic qualities of students
performances and exploration of personal interests when creating new work. This dimension also
develops students ability to use a range of skills, techniques and processes to investigate, learn and refine
performances of existing repertoire, develop general musicianship and to create original works.
In the Exploring and responding dimension students focus on critical analysis and interpretation of
the stylistic, technical, expressive and aesthetic features of works they are preparing for performance.
The knowledge, skills and behaviours that students develop through learning in this dimension also
informs the analytical component of work undertaken in the Musicianship outcomes.
The interdependent nature of the two dimensions in The Arts is reflected throughout VCE Music
Investigation where students performance work is informed by study of the works and interpretations
by other musicians.
learning in VCE Music Investigation, where students are required to select a Focus Area for investigation
and develop performance programs over an extended period of time. This requires goal setting, time
and resource management skills as well as the ability to monitor and reflect on development and
refinement of interpretations, development of performance techniques through seeking and responding
to feedback from teachers and others.
Investigation Communication, Thinking processes and Information and Communications Technology.
Aspects of learning from the Presenting dimension in the Communication domain support students
ability to complete analytical and reflective tasks for Outcome 1, Investigation.

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analysis and evaluation, using imagination to generate possibilities, risk-taking and reflection, prepare
students for learning in all outcomes of VCE Music Investigation.
Information and Communications Technology domain. For example, students might use hardware
and software tools to record works they are preparing for performance and seek feedback from peers
or other performers through the Internet. They might also use tools that facilitate visual thinking to
analyse music works or present multimedia reports.
Units 3 and 4 of the VCE Music Investigation study provide students with the opportunity to engage
in a range of learning activities. In addition to demonstrating their understanding and mastery of the
content and skills specific to the study, students may also develop employability skills through their
learning activities.
Assessment task
Performance
Self management (having knowledge and confidence in own ideas and

visions; evaluating and monitoring own performance; taking responsibility;
articulating own ideas and visions)
Planning and organising (managing time and priorities setting timelines,
coordinating tasks for self and with others; establishing clear project goals
and deliverables; planning the use of resources including time management;
collecting, analysing and organising information)
Teamwork (working as an individual and as a member of a team; knowing
how to define a role as part of the team; identifying the strengths of the
team members; coaching and monitoring skills including giving feedback)
Learning (managing own learning; having enthusiasm for ongoing learning;
being open to new ideas and techniques; acknowledging the need to learn
in order to accommodate change)
Composition, improvisation and/or

arrangement
Self management (having knowledge and confidence in own ideas and

visions; evaluating and monitoring own performance; taking responsibility;
articulating own ideas and visions)
Learning (managing own learning; having enthusiasm for ongoing learning;
being open to new ideas and techniques; acknowledging the need to learn
in order to accommodate change)
Technology (having a range of basic IT skills; being willing to learn new IT
skills)
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Assessment task
Multimedia presentation

Communication (sharing information; persuading effectively)
Problem solving (developing creative, innovative solutions; developing
practical solutions)
Technology (having a range of basic IT skills; using IT to organise data)
Report (oral/written)
Communication (sharing information; speaking clearly and directly; writing

to the needs of the audience; using numeracy)
Student-designed investigation

management; establishing clear project goals and deliverables)
LEARNING ACTIVITIES
Most learning activities provided here are not linked to specific Focus Areas. Some modifications may
be needed depending on the selected Focus Area.
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Unit 3: Music investigation

Area of study 1: Investigation
Outcome 1
Demonstrate
understanding
of performance
practices, context/s
and influences on
music works.
define area of investigation and write a statement that outlines Focus Area and
scope of investigation
compile a journal of characteristics of music style/s relevant to the Focus Area;
include examples from listening, practice, performance, analysis, concert
attendance activities
complete detailed aural and/or visual analysis of the work selected from a
prescribed list as the basis of the investigation
attend/view a performance of works that are representative of the area
create a playlist/discography of works that are representative/considered
important in the style
identify leading composers/performers associated with the area of investigation
create a chart that compares two works that are representative of the area; identify
similarities and differences
create listening taxonomy for use of elements of music in style/s that are
representative of the area being investigated
create a list of performance techniques/practices/conventions central to the
style/s represented in the area of investigation; define key characteristics of each
technique and how they connect to the conventions of the style
research the historical and cultural context of a range of works and its impact on
performance practice
research performance practices relevant to the area of investigation
investigate influences on the area of investigation: earlier styles, related styles,
trends, changes in the styles over time, historical positioning and/or commercial
influences; chart connections to works that are representative
make a list of literature available for research performance in this area of investigation
identify where the area of investigation sits within the wider musical spectrum
identify significant works that are precursors to the area of investigation and later
works that can be said to have been influenced by the area
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Detailed example
DETAILED AURAL AND/OR VISUAL ANALYSIS OF THE WORK SELECTED
FROM A PRESCRIBED LIST
Tasks
Students gather a comprehensive collection of
source material scores, sheet music (one or more
editions), chart, recordings (CD, DVD, different
performers, same performer on different occasions),
commentaries such as recording notes.
If no score, sheet music or chart is available, create
a chart or diagram showing structure of the work.
Listen to the work and note on sheet music, score,
chart or create a diagram to show treatment of
elements of music, for example:
Structure macro and micro form
Melody main, motifs, accompanying
Harmony and tonality key, modulations, chord
progression
Rhythm harmonic rhythm, motifs, patterns
Texture, dynamics, articulation, instrumentation,
tone colour, tempo, ornamentation/
embellishment, improvisation.
Use a checklist of characteristic treatment of
elements of music in this music style, tradition, and/
or genre and compare which aspects of the work
are characteristic.
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Identify examples of idiomatic writing for the

instrument/s, and annotate score to indicate nature
of idiomaticity (how is this writing idiomatic?).
Identify evidence of influences on the work social,
cultural, personal, historical, geographical and/or
commercial.
Identify aspects of work open to interpretation by
the performer. Note variations between sheet music/
score and specific recordings and consider how
interpretative decisions evident in the recordings
fit with the checklist of characteristics. Identify
examples of use of performance conventions.
Review commentaries about the work and
consider the extent to which the author supports
the students own analysis of the work. Consider
reasons for different views.
Record findings in a multimedia journal, including
examples from score/sheet music, recordings and
commentaries,
Report on extent to which this work can be
categorised as representative of selected Focus
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Area of study 2: Composition/improvisation/arrangement
Outcome 2
Compose, improvise
and/or arrange
and discuss music
characteristics
and performance
practices.
compose exercises to assist technical development for a work in a performance

program
create a chord progression that is typical; improvise over the progression; re-write
varying the voicings
transcribe a typical melodic or rhythmic motif and extend through composition or
improvisation
analyse a typical chord progression and improvise/compose and use a scale or
mode/chord tones
create a series of short sections that are typical of the part an instrument will play
in each section of a work in a characteristic structure
improvise a melody over a chord progression; begin with the first two bars of
a melody from a work in the performance program and create three to four
alternative extensions of the melody
improvise a second verse for a short Baroque work that has a decorated repeat
for a chamber group, expand short passages of piano works for the area of
investigation for the ensemble
create a two-stave reduction of an orchestral, a chamber or a small ensemble work
take a piano score and revoice for an ensemble
for a popular/jazz drummer, write a series of short rhythmic studies that explore
the feel typical of works in a performance program
create a melodic or rhythmic phrase and use a set of articulations that are typical
of the area to create a set of variations to establish the style or feel
compose/arrange/improvise a walking bass line from a chord sequence
write lyrics and devise rhythmic structure for a melody
rework a phrase into a different metrical feel
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Detailed example
CREATE A SERIES OF SHORT SECTIONS FOR A WORK IN A CHARACTERISTIC STRUCTURE
Students select a form that is typical/representative
of works selected for performance.
Identify sections of the form include main and
connecting or subsidiary sections.
Make decisions about aspects of the work such as
instrumentation, tonality, time-signature.
Trial options for adding other elements of music

to complete each section. Seek feedback,
compare possibilities with sample of works
studied in Outcome 1 and/or works being
prepared for performance.
Using a notation system appropriate to the music

work and, as appropriate, ICT:
Select preferred option and develop further, for

example adding further expressive elements,
refining to enhance idiomatic writing or
extending music ideas.
Create a required set of music ideas, for

example melody, harmonic progression, key
rhythmic motifs.
Rehearse each section and review/refine as

needed to address technical issues and/or
further enhance expressive qualities.
Apply relevant material to form an outline for

each section of the work.
Outcome 3
Present a performance
of music works that
communicates
understanding of the
Focus Area.
sing selected parts of each work in the performance program to develop

possibilities for phrasing, articulation, intonation, rhythmic feel and understand
different roles/parts
transcribe/annotate score for short excerpts showing use of melodic motifs,
harmonic rhythm, rhythmic patterns, dynamics, phrasing, pedalling, bowing
rehearse unplugged
rehearse selected instrument lines within an ensemble, for example without drums
or just rhythm section or just melody parts
undertake performance research: listen, observe, analyse, consult with experts to
understand or comprehend conventions of performance appropriate to each work
in the program
experiment with performance conventions to achieve a creative and engaging
interpretation of each work in the program
explore possible repertoire to identify works that offer options for a thorough and
comprehensive exploration of the Focus Area
create a flow chart that shows a purposeful relationship between each work in
the program; justify how each work relates to the Focus Area and how the works
relate to each other
articulate connections between research findings from Outcome 1 and the
performance program
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at regular intervals during the semester analyse strengths and weaknesses in the
performance of each work; identify technical, expressive goals and plan approach
to further refinement or addressing issues relating to control fluency and clarity
and tone production
investigate performance etiquette and stagecraft relevant to the Focus Area
establish a mentor relationship with performers who work in this Focus Area;
evaluate use of performance conventions, rehearsal strategies, ways of
communicating within the group
experiment with different acoustic environments; evaluate changes to performance
techniques to communicate effectively in each space
devise a practice program to achieve performance aims include technical and
expressive components; demonstrate a typical practice session and describe role/
function of each activity in relation to overall performance aims
Detailed example
flow chart showing relationship between works in program
Students write a performers focus statement
outlining the focus of studies for Music Investigation
Units 3 and 4.
how specific elements of music are realised in the

performance and how this relates to the area of
investigation.
Make a recording of each work in the program.

Analyse and note how each is representative of
the Focus Area. Identify similarities and differences
between character and, as appropriate, music
style/s of the works. Include information about
Use ICT to build a flow chart showing this

information. Include annotations to highlight how
specific aims of the investigation are demonstrated
in the performance of each work.
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Area of study 1: Investigation
Outcome 1
Evaluate and present

their interpretive
approach to a program
of music works.
create a chart showing characteristics of each work in the program; focus on use
of elements of music
use a description of the Focus Area from Unit 3 as the basis for creating a list of
similarities and differences between works in the program
prepare a two-minute introduction to each work in the program, outlining its
connection to the Focus Area
prepare a podcast highlighting examples of idiomatic writing and/or use of
performance techniques/conventions that are characteristic of the Focus Area
debate a rationale for selection of a work/s in the program as representative of the
Focus Area with another musician (student, teacher, mentor)
Detailed example
INTRODUCING WORKS IN THE PERFORMANCE PROGRAM
Resources/materials needed:
Analysis of works in the program, analysis of
how works are representative of the Focus Area,
recordings self and others used as reference in
preparing the program; glossary of terms/language
relevant to the Focus Area, information about
context of each work.
Instructions to students
Format for introducing the works:
Printed? Online? Spoken? Multimedia? Consider
audience, venue and nature of information; for
example, is there a particular work/performance that
is the inspiration for the work being discussed? Do
the audience need to hear that work to understand
the work to be performed?
Draft of the introduction:
Consider the interpretive decisions made about this

work and how these relate to the Focus Area. Which
decisions do you wish to highlight for the audience?
What is the best way to do this by informing? By
giving a listening cue?
Review notes and synthesise to create an
introduction of about two minutes for each work.
Seek feedback:
Develop questions for reviewer/s to check if
key messages about the works have been
communicated.
As necessary, rehearse spoken presentation and/or
prepare multimedia presentation.
Using available source material, write 50100

words describing the Focus Area that is the
basis for study. Identify 3 to 4 key points that
highlight characteristics of each work. Analyse

information about the context for each work and
write a paragraph about contextual issues that the
audience needs to know about to understand the
nature of the work.
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Area of study 2: Composition/improvisation/arrangement
Outcome 2
Compose/improvise/
arrange and perform
a music work and
discuss the use of
music characteristics,
instrumental
techniques and
conventions in the
work.
select an exercise created in Unit 3 and add other aspects such as harmony and
texture to create a complete work
combine a number of exercises created in Unit 3 to create a complete work
improvise/compose/arrange a piece of music that extends and combines one or
more exercises created in Unit 3
annotate a score or chart to show examples of where/how specific conventions,
techniques are used in the created work
compare examples from created work with excerpts from works by other
composers that are representative of the Focus Area
map development of music ideas from Unit 3 exercises to completed work through
versions/work-in-progress scores
create a commentary about how development of the work has refined and
strengthened connection to the Focus Area
observe effect of refinements to work during rehearsal and make adjustments, for
example to phrasing, dynamics, articulation, voicings, register
critique the work against research findings from Outcome 1; identify examples
from the created work of specific conventions, techniques and so on
analyse the appropriateness of parts for each group member: playability, use of
idiomatic techniques and so on
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Detailed example
CREATING A COMMENTARY ABOUT AN ORIGINAL MUSIC WORK
Students select a format for documenting
development of the work such as a journal,
hard-copy or digital, podcast, visual diary, slide
presentation or a combination of formats. Consider
how to include relevant examples from the score
and audio material.
Create a checklist of issues and requirements for
the work: What is your aim in creating this work?
Which aspects of the Focus Area is the work based
on? Describe your intention for the work.
As the work is developed, using notation, audio
recording, writing, and/or diagrams:
record initial music ideas melodies, chord
progression, motifs, textural design
track development, for example through
trialling or exploration and refinement of ideas;
show iteration of specific music ideas such as
treatment of an element of music, development
of voicings, creating accompanying parts,
shaping music phrases through use of
expressive elements and performance
techniques articulation, dynamics, bowing,

pedalling, use of effects.
document process used to compose/improvise/
arrange, for example use of works studied/being
prepared for performance as stimulus material,
process for trialling ideas through playing/
improvising
describe reasons for decisions, for example
refining a section to enhance use of a
performance technique in a manner that is
typical of works studied or in performance
program, or to manipulate an element of music
to achieve a particular stylistic effect
document changes made so that the work can
be performed accurately, expressively and in a
way that reflects style appropriate to the Focus
Area.
For group works, include commentary about
consultation with other performers, for example
researching specific performance techniques or
other idiomatic issues.
Outcome 3
Demonstrate
artistic intent and
understanding of
the Focus Area
in a cohesive
and engaging
performance of music
works.
evaluate merits of different program orders

perform the program at different times and in different venues for different
audiences and evaluate
evaluate how research is informing performance; identify specific examples
over the semester, document and evaluate refinements to the way each work
is being performed
justify the approach to performing each work in relation to the Focus Statement
prepare notes for an introduction or a narration for practice performance
experiment with presentation techniques typically associated with the Focus Area
to develop and rehearse appropriate stagecraft to communicate artistic intent of
the program
create a stage plan showing placement of performer, instrument, equipment
refine practice program to reflect changes in ability to use performance
conventions relevant to the works
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record and critique performance of each work and performance of complete

program; send recording to musicians who work in this area and seek specific
feedback
rotate different members of the ensemble to lead rehearsal during a single session
and provide feedback about balance, intonation, consistency, arrangement,
stylistic interpretation, interaction of parts relevant to performance aims; at the end
of the session, evaluate approaches that worked, did not work, are worth refining
Detailed example
EVALUATING PERFORMANCE OF WORKS
For students in a group, this activity will include
individual reflection and evaluation relating to
personal contribution to the performance. Students
look at performance of own part and approach
to realising group intentions for each work in the
program.
Depending on the instrument, students performing
as soloists might incorporate aspects of
discussions with their accompanists into their
evaluation, for example how interactions such as
establishing, maintaining and varying tempo or
cueing are managed.
For each work, describe aims and intentions for the
performance. Link the description to an analysis of
how the work is representative of the Focus Area,
and similarities and differences in the character and/
or style of each work in the program.
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Create a series of questions based on the aims

for the performance, for example questions about
interpretation of expressive elements of music such
as phrasing, the nature of specific instrumental
parts within the overall texture, use of performance
conventions, realisation of idiomatic writing.
Include questions relating to individual works and
the program as a whole. Present a performance
of the works. Ask the audience to respond to the
questions. Record the performance and complete
feedback questionnaire personally.
Evaluate feedback responses and identify aspects
of the performance for change and/or refinement.
Consider the extent to which the audience
responses are driven by knowledge of the Focus
Area. Compare the rationale for refinement in the
context of the initial intention for the performance,
and the decisions made about how to communicate
understanding of the Focus Area through the
performance.
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assessment tables.
Outcomes
Marks allocated
Assessment tasks
Unit 3
Outcome 1
Demonstrate understanding of performance

practices, context/s and influences on music
works.
A multimedia report that uses examples from a

representative sample of works to define characteristics
and context/s of works that are representative of a
selected Focus Area.
60
Outcome 3

techniques used in performance of works to
communicate understanding of the Focus Area
skills to communicate technical, expressive and
stylistic characteristics of works being prepared for
performance.
Present a performance of music works that

communicates understanding of the Focus
Area.
15
75
Unit 4
Outcome 2
Compose/improvise/arrange and perform

a music work and discuss the use of music
characteristics, instrumental techniques,
performance techniques and conventions in
the work.
An oral report that discusses how a composition/

improvisation/arrangement created and performed by
the student is representative of the Focus Area. The
report should draw on examples from a score/chart of
the work and a recording of a performance.
60
Outcome 3

techniques and performance conventions to
communicate artistic intent in performance of works
that are representative of a Focus Area
technical work and exercises selected to refine
skills and performance practices required to
communicate technical, expressive and stylistic
characteristics of works being prepared for
performance.
Demonstrate artistic intent and understanding

of the Focus Area in a cohesive and engaging
performance of music works.
15
75
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Units 14: Music Style and Composition

In Music Style and Composition Units 1 to 4 students explore the ways sound can be organised in
music. As they develop an understanding of ways music is designed, created and performed in a
range of styles and traditions, they create their own music.
Students listen and respond to a wide variety of music excerpts and develop skills in aural analysis by
focusing on how the elements of music are treated and the way compositional devices are used.
In each unit students undertake focused aural and/or visual analysis of selected works. They uncover
the music characteristics of the works and their associated styles, the context from which the works
emerged and the processes composers/creators used to create the finished works.
Students create their own music in direct response to the music and the creative processes they
have studied.
Music style
For the purposes of this study and associated assessment, music style is defined by the way in which
the elements of music are treated. Works within an identifiable style should exhibit similar treatment
of the elements of music.
A style may encompass music of:

an era/period (for example, contemporary popular, bebop jazz, grunge, baroque, romantic,
nationalist, impressionist, neoclassical)
a geographical area (for example, Indonesian gamelan music, Australian Aboriginal music)
a composer (for example, Lennon/McCartney, Arcadelt, Beethoven, Carl Vine)
a performer/s (for example, Aretha Franklin, U2, Louis Armstrong, Jimi Hendrix, Paganini).
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This unit involves an exploration of a wide range of music styles. Students listen to music excerpts
from different styles, traditions, times and places. They analyse specific works from three distinct
music styles including music from a non-western style or tradition. They become familiar with the
elements of music and consider the various ways composers/music creators treat these elements and
use compositional devices to create music works. Students compose and/or arrange brief creative
exercises in response to the practices of other composers/creators.
Works selected for study in this unit should be different from those selected for study in Units 2, 3
and 4.
AREA OF STUDY 1
Responses to music
This area of study examines characteristics of music in different styles and traditions. Students develop
skills in aural analysis to explore ways that composers and performers use elements of music and
compositional devices. Students undertake a brief visual analysis of some excerpts as appropriate to
the selected music style/s. Development of skills in forming and presenting critical responses underpins
this area of study. Students use appropriate music terminology to describe what they hear in the music
and communicate their responses.
Selection of works
A wide range of excerpts of varying duration in differing styles and traditions should be selected.
Study of the excerpts focuses on the use of specific elements of music and/or compositional devices.
Music selected for study should include excerpts:
from styles and traditions that are familiar and unfamiliar to students
that use a range of instrumental and vocal combinations
from a non-western music style/s.
Outcome 1
On completion of this unit the student should be able to aurally analyse characteristics of music and
describe their responses to music.
To achieve this outcome the student will draw on key knowledge and related skills outlined in Area
of Study 1.
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Key knowledge
treatment of elements of music such as structure/form, instrumentation, tone colour, texture, tonality,
time/rhythm, melody, harmony, dynamics/volume and articulation
use of compositional devices such as imitation, modulation and re-orchestration
ways music can be categorised, including historical, for example Mediaeval ballad, and/or
geographical, for example music of North India, and/or stylistically, for example grunge
music terminology and language appropriate to different music styles and/or traditions.
Key skills
aurally analyse music from a range of music styles and traditions

describe treatment of elements of music and use of compositional devices in selected music
excerpts
categorise music excerpts on the basis of musical, historical and/or contextual evidence
AREA OF STUDY 2
Organisation and context

This area of study focuses on the technical and aesthetic organisation of selected music works
representative of three music styles and/or traditions. Students investigate the treatment of elements
of music and use of compositional devices in the works. They consider the context/s of the works and
interrelationships between the music and other aspects of a culture.
Selection of works
At least three short works, single movements and/or small collection/s of minor works should be
studied for Outcome 2, each from a different style or tradition. Works selected for study do not need
to be major works although they should be representative of an identifiable music style or tradition.
Outcome 2
On completion of this unit the student should be able to identify and describe the music characteristics
and the contexts of selected works.
Study 2.
Key knowledge
treatment of the elements of music in selected works from three different music styles such as
music structures/forms
instrumentation/sound sources
rhythm/time and its organisation in music
characteristics and structures of melody
tonal organisation and harmony
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texture
tone colour
expressive elements including dynamics and articulation
use of compositional devices to develop music material in selected works such as the use of
sequence, modulation, re-orchestration, addition/subtraction or imitation
the ways music relates to other aspects of a culture, for example its connection with other art forms
or its place in relevant social, political, religious, economic and aesthetic contexts
appropriate music terminology and language
ways music examples can be used to support discussion.
Key skills
describe treatment of elements of music and use of compositional devices

describe the relationship between music and other aspects of a culture
use appropriate music terminology and language
use music examples such as audio files, score extracts and/or live performances to support analysis
and description.
AREA OF STUDY 3
Creative responses
In this area of study, students make creative responses to music by composing and/or arranging a folio
of short creative exercises. Students complete two brief creative responses that each focus on a different
element of music and/or compositional device. For example, creative responses focusing on melody
might involve varying or arranging an existing melody. Alternatively, a response could use a standard
chord progression as a starting point for creating a new melody. Students may use improvisation as
part of the composition or arrangement process.
Students investigate ways other music creators, for example composers/creators of works they are
studying in Outcome 1 or 2, have used elements of music and compositional devices. By using these
creators approaches as a starting point, students find potential directions and solutions for their
own work. They become aware of technical factors such as idiomatic writing for instruments and/or
sound balance considerations involved in the composing and/or arranging process. They also develop
appropriate methods of recording and preserving their music. Students reflect on creative processes
they have used by documenting the use of elements of music and compositional devices in their
creative responses.
Outcome 3
On completion of this unit the student should be able to compose and/or arrange music exercises and
describe creative process/es used.
Study 3.
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Key knowledge
ways other music creators use elements of music and compositional devices
technical/practical factors involved in composing and/or arranging, for example the range of
specific instruments, a performers vocal style and/or performance conventions associated with a
specific style such as soloing, accompaniment, comping and fills in a jazz trio performance
ways of recording and preserving music such as using music technology to develop and refine
ideas or the processes used to prepare a score and/or parts for use by performers.
Key skills
compose and/or arrange creative responses based on specific ways of using elements of music and
compositional devices
document use of elements of music and compositional devices in creative responses
reflect on how works studied have influenced creative response/s
use an appropriate method to record and preserve the music.
ASSESSMENT
A folio of four to eight responses based on aural analysis of excerpts of music from a range of
styles and/or traditions, including a non-western style or tradition. Responses may be:
written
oral
in a multimedia format including a written component.
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A selection from the following:

a report
short-answer responses
a test
a multimedia presentation
an annotated visual report
an oral presentation.
A folio that includes at least two creative responses and accompanying documentation.
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This unit explores how composers and/or creators use music to create effects and elicit responses in
multi-disciplinary forms.
Students listen to music excerpts from diverse styles and respond to the ways elements of music and
compositional devices are used to create specific effects. Students study multi-disciplinary works that
combine music and non-musical elements, and investigate how music is used in combination with
these other elements. Students also consider the role and function of music in the complete work, for
example ways it advances a narrative, provides commentary on a narrative or communicates a mood
or feeling.
Students create music for a multi-disciplinary work in a form of their choice.
Works and their associated styles selected for study in this unit should be different from those selected
for study in Units 1, 3 and 4.
AREA OF STUDY 1
Responses to music
This area of study focuses on use of elements of music and compositional devices to create effects
and elicit responses. Students develop aural analysis skills and use appropriate music terminology
and language. They begin to link subjective responses with objective analytical information evident
in the music to present written critical responses.
Selection of works
Music excerpts of varying duration in a range of styles and traditions, including some multi-disciplinary
works, should be selected for Outcome 1. Music selected for study should include excerpts:
in styles and traditions that are familiar and unfamiliar to students

that use a range of instrumental and/or vocal combinations
from works that combine music and non-musical elements.
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Outcome 1
On completion of this unit the student should be able to analyse ways in which elements of music and
compositional devices are used to create effects and elicit responses.
Study 1.
Key knowledge
ways elements of music such as structure/form, instrumentation, tone colour, texture, tonality, time/
rhythm, melody, harmony, dynamics/volume and articulation can be used to create specific effects
and elicit responses
how compositional devices such as imitation, modulation, re-orchestration are used to create specific
effects and elicit responses
ways of forming and presenting critical responses that include subjective responses to music justified
by objective analytical information evident in the music
appropriate music terminology and language.
Key skills
aurally analyse music in selected excerpts

describe treatment of elements of music
describe use of compositional devices
critically respond to selected excerpts
use appropriate musical terminology and language.
AREA OF STUDY 2
Music created for multi-disciplinary forms

In this area of study students focus on the ways the music interrelates with the non-musical features in
two works, each in a different multi-disciplinary form. Appropriate works may include music theatre
works, multimedia works such as installations, dance works, operas, and incidental music for theatre
works and films. Students undertake aural and/or visual analysis of the treatment of elements of music
and compositional devices. They also investigate processes used to create music for the selected forms
and contextual issues associated with the music, including the role and function of the music in the
complete work.
Selection of works
The music in the works selected for study must have been specifically composed for that work. Works
such as songs, program music or soundtrack compilations are not within the scope of this area of
study.
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Outcome 2
On completion of this unit the student should be able to describe characteristics of music in two
works that combine music and non-musical features, and discuss the context and processes used to
create the music.
Study 2.
Key knowledge
treatment of elements of music in selected works, including structure/form, instrumentation, tone

colour, texture, tonality, harmony, melody, rhythm/time, dynamics/volume, articulation
ways compositional devices are used to create music in selected works
processes used to create music for selected forms
ways music interrelates with other features of selected works
contextual issues associated with the music, including the role and function of music in the complete
selected work, and other relevant issues such as social and commercial considerations
appropriate music terminology and language
ways music examples can be used to support discussion.
Key skills
describe treatment of elements of music in selected works

describe use of compositional devices in selected works
describe processes used in creating music for the selected multi-disciplinary works
identify and discuss ways in which the music interrelates with other features of the selected
works
use appropriate music terminology and language
use music examples from the selected works such as audio and audio-visual files, score extracts
and live performances to support descriptions and discussion.
AREA OF STUDY 3
Creative processes in music for multi-disciplinary forms

In this area of study students create music for a multi-disciplinary work, for example music for a
short, real or imagined visual sequence or song/s for performance in a dramatic stage work. As they
compose and/or arrange music for the work, students develop understanding of the creative processes
that can be used to create music in multi-disciplinary works.
Students explore and experiment with uses of elements of music and compositional devices to create
specific effects and responses. Students also address practical considerations that arise when working
with other forms, for example synchronising music with film or choreography. Students use ICT to
assist or inform their creative process.
As well as using an appropriate system to record and preserve their music, students document their
creative process and describe the practical considerations that influenced their work.
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Outcome 3
On completion of this unit the student should be able to create music for a work that combines music
and non-musical features, and describe the creative process/es used.
Study 3.
Key knowledge
creative processes used in creating music for a multi-disciplinary work

ways of using elements of music and compositional devices to create music for use in a multidisciplinary work
technical/practical considerations influencing the creation of music for multi-disciplinary works
ways ICT can be used to create music in multi-disciplinary works.
Key skills
compose music for use in a multi-disciplinary work

use elements of music and compositional devices to create specific effects and elicit responses
document creative processes used to compose music for a multi-disciplinary work
describe technical/practical considerations that influence the creative process/es used
evaluate the effectiveness of the music in relation to other aspects of the work
use an appropriate system of recording and preserving the music, for example a music notation or
sequencing software application.
ASSESSMENT
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A folio of four to eight written responses based on aural analysis of excerpts of music from works
that combine music and non-musical features.
A selection from the following:
a report
short-answer responses
a test
a multimedia presentation
an annotated visual report
an oral presentation.
Creation of music for use in a work that combines music and non-musical features and accompanying
documentation, including a record of the music. Students are not required to create the non-musical
features of the work.
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In this unit students develop an understanding of the diverse practice of music creators working in
different times, places and stylistic traditions.
Students develop skills in making critical responses to music excerpts. They analyse ways the
compositional devices of contrast, repetition and variation are used in the excerpts.
Students develop knowledge about the music characteristics and style of two selected works or
collections of minor works, one of which must be by an Australian composer/creator. They develop
an understanding of the way contextual issues can influence works. Contextual issues may include
cultural influences, social issues, practical issues, musical influences, commercial considerations and
issues relating to the performer/s of the work.
Students create music in response to the music characteristics and creative approaches evident in the
music studied.
Works and their associated styles selected for study in this unit should be different from those selected
in Units 1, 2 and 4.
AREA OF STUDY 1
Responses to music
This area of study focuses on listening, aural analysis and making critical responses. Students develop
their skills in critical response by analysing the use of the elements of music and compositional devices
in a wide range of music excerpts. By focusing on contrast, repetition and variation, students develop
an understanding of various ways music creators use these compositional devices to achieve their
creative aims.
Selection of works
Music excerpts of varying duration in a range of styles and traditions should be selected for Outcome 1.
in styles and traditions which are familiar and unfamiliar to students

that use a range of instrumental and/or vocal combinations.
Collectively, excerpts selected for study should demonstrate different approaches to the treatment of
specific elements of music and ways of using particular compositional devices. A number of excerpts
selected for study should focus on the use of the compositional devices of contrast, repetition and
variation.
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Outcome 1
On completion of this unit the student should be able to aurally analyse music and make critical
responses to music.
Study 1.
Key knowledge
strategies for aurally analysing music

how the elements of music, including structure/form, instrumentation, tone colour, texture, tonality,
harmony, melody, rhythm/time, dynamics/volume and articulation, may be treated across a range
of music styles
ways compositional devices, including contrast, repetition and variation, are used
ways of forming and presenting critical responses that include subjective responses to music
justified by objective analytical information evident in the music
Key skills
aurally analyse music in a range of styles and instrumental and vocal combinations
discuss treatment of the elements of music
discuss ways compositional devices, including contrast, repetition and variation, are used
formulate and present critical responses
AREA OF STUDY 2

In this area of study, students explore two short works, movements and/or collection/s of minor works
in differing styles. They investigate how the music is organised through aural and/or visual analysis of
the treatment of elements of music and compositional devices, including contrast. Students develop
knowledge of the characteristics of the style of the selected works. They also develop their ability to
identify and discuss relevant contextual issues. They use appropriate music terminology, language
and specific music examples to support description, discussion and analysis.
Selection of works
For Outcome 2, two short works, single movements and/or small collection/s of minor works in different
styles should be studied, including one work or collection of minor works by an Australian creator/
composer. In the works studied, the compositional device of contrast should be a major feature.
Outcome 2
On completion of this unit the student should be able to analyse and describe the use of the elements
of music and compositional devices in music works, and discuss the style and the context from which
the works emerged.
Study 2.
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Key knowledge
the way the elements of music are treated within the works
the ways compositional devices, including contrast, are used within the works
characteristics of the music style of each work
contextual issues associated with each work
ways of using appropriate music terminology, language and music examples to support analysis
and discussion.
Key skills
analyse and describe the treatment of elements of music in the works

analyse and describe the use of compositional devices including contrast in the works
describe ways in which works are representative of particular music styles
discuss relevant contextual issues and how these influence the works
use appropriate music terminology, language and music examples to support analysis and
discussion.
AREA OF STUDY 3
Creative responses
In this area of study students develop creative exercises in response to characteristics of music studied
in this unit. These composition and/or arrangement exercises explore ways of treating the elements of
music and using compositional devices, including at least one of contrast, repetition and/or variation.
Students investigate technical factors that influence the composing and/or arranging process/es they
are using. They develop appropriate methods to record and preserve their music.
Students document the relationship between music studied in this unit and the treatment of elements
of music and compositional devices in their exercises.
The creative responses completed in this area of study may be used as preparatory material for Unit 4,
Area of Study 3.
Outcome 3
On completion of this unit the student should be able to create original music exercises and discuss
influences on their creative processes and responses.
Study 3.
Key knowledge
ways the elements of music may be treated in making a creative response

ways compositional devices, including at least one of contrast, repetition and/or variation, can be
used to develop music ideas
relevant music characteristics of studied works that may inspire and influence creative responses
relevant technical/practical factors
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the system/s of recording and preserving the music as appropriate to the work/s that have influenced
the creative response
appropriate music terminology and language to document creative processes and describe music
ideas.
Key skills
create music based on the music characteristics of studied work/s

use elements of music based on the music characteristics of studied work/s
use compositional devices, including at least one of contrast, repetition and/or variation, to develop
music ideas in the creative responses
describe technical/practical factors that influenced the creative responses
document processes used to make the creative responses, including the relationship between the
creative responses and the works studied that have influenced the creative responses
notate the response in an appropriate format
preserve each creative response in audio format
use appropriate music terminology and language to document creative processes and describe
music ideas.
ASSESSMENT
The students level of achievement in Unit 3 will be determined by School-assessed Coursework, an
An Externally-assessed Task for Units 3 and 4 will contribute 30 per cent.

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Outcomes
Outcome 1
Aurally analyse music and make critical responses
to music.
Outcome 2
Analyse and describe the use of the elements of
music and compositional devices in music works,
and discuss the style and the context from which
the works emerged.
Total marks
Marks allocated*
Assessment tasks
15
Aural analysis of and written critical responses to four

previously unheard excerpts of music in any one or a
combination of the following formats:
a test
responses to structured questions.
15
Analysis and discussion of selected works in any one

or a combination of the following formats:
a report
a test
responses to structured questions
a multimedia presentation.
30
Externally-assessed Task
Assessment for Music Style and Composition includes an Externally-assessed Task to assess Unit 3
Outcome 3 and Unit 4 Outcome 3. For this assessment students will submit a folio that contains
exercises, an original work, audio recordings and documentation. The task will be assessed by a panel
appointed by the Victorian Curriculum and Assessment Authority. Criteria published annually by the
Victorian Curriculum and Assessment Authority will be used to assess the task.
Details of the Externally-assessed Task are provided on page 132.

The level of achievement for Units 3 and 4 is also assessed by an end-of-year aural and written
examination which will contribute 40 per cent.
The examination will be set by a panel appointed by the Victorian Curriculum and Assessment Authority.
All the key knowledge and skills that underpin Outcomes 1 and 2 in Units 3 and 4 are examinable.
Further advice
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In this unit students create an original music work inspired by the study of music from different styles
and traditions. They document their creative process/es from initial intention. Students develop skills in
forming and presenting critical responses to music excerpts. They also analyse use of the compositional
devices of contrast, repetition and variation.
Students investigate the music characteristics and style of two selected works or collections of minor
works, one of which was created after 1910. They develop an understanding of the process/es used to
create the works and how contextual issues may have influenced the creative process.
Works and their styles selected for study in this unit should be different from those selected in Units
1, 2 and 3.
AREA OF STUDY 1
Responses to music
In this area of study, students listen to and aurally analyse music. Students develop their skills in
critical response by analysing treatment of the elements of music and use of compositional devices in
a wide range of music excerpts. Students extend their understanding of ways contrast, repetition and
variation are used by music creators to achieve their compositional aims.
Selection of works
Music excerpts of varying duration in a range of styles and traditions should be selected for Outcome 1.
in styles and traditions which are familiar and unfamiliar to students

that use a range of instrumental and/or vocal combinations.
Collectively, excerpts selected for study should demonstrate different approaches to the treatment of
specific elements of music and ways of using particular compositional devices. A number of excerpts
selected for study should focus on the use of the compositional devices of contrast, repetition and
variation.
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Outcome 1
On completion of this unit the student should be able to aurally analyse music excerpts, and form and
present critical responses to the music.
Study 1.
Key knowledge
strategies for aurally analysing music

how the elements of music, including structure/form, instrumentation, tone colour, texture, tonality,
harmony, melody, rhythm/time, dynamics/volume and articulation, may be treated across a range
of music styles
how compositional devices, including contrast, repetition and variation, can be used
ways of forming and presenting critical responses that include subjective responses to music
justified by objective analytical information evident in the music
Key skills
aurally analyse music

discuss the treatment of the elements of music
discuss use of compositional devices, including contrast, repetition and variation
form and present critical responses
AREA OF STUDY 2

In this area of study students analyse and evaluate how the music is organised in two short works,
movements and/or collection/s of minor works in differing styles, and study the context of each work.
One work must have been created after 1910.
Students extend their understanding of ways music is organised through aural and/or visual analysis
of the treatment of elements of music within the selected works. They also investigate ways the
compositional devices of repetition and variation are used to develop music ideas in the works.
Students examine the works in relation to their associated styles and investigate the influence of
contextual issues on the works.
Students use appropriate music terminology and language as well as specific music examples to support
their description, discussion and analysis.
Selection of works
For Outcome 2, two short works, single movements and/or small collection/s of minor works in
different styles should be studied, including one work or collection of minor works created since 1910.
Both of the works/movements/sections/collections of minor works selected for study should use the
compositional devices of variation and repetition in significant ways.
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Outcome 2
On completion of this unit the student should be able to analyse and discuss the use of the elements
of music and compositional devices in the selected works, and discuss the style of the works and
relevant contextual issues.
Study 2.
Key knowledge
ways the elements of music are treated within the selected works
ways compositional devices, including repetition and variation, are used to develop music ideas
in the selected works
characteristics of the music style of each work
contextual issues relevant to each work
appropriate music terminology, language and music examples
Key skills
analyse and discuss the treatment of elements of music in the selected works
analyse and discuss how compositional devices, including repetition and variation, are used to
develop music ideas within the selected works
describe ways in which selected works are representative of particular music styles
discuss relevant contextual issues and how these influence the works
use appropriate music terminology, language and music examples to support analysis and
discussion.
AREA OF STUDY 3
Creative processes
In this area of study students compose and/or arrange a short work. Students develop a creative
intention and manipulate the elements of music to achieve their aims. They employ contrast, variation
and repetition as well as other compositional devices to develop their music ideas. They document
the creative process/es they use, from original intention, through development and refinement, to final
realisation, including decisions made and the technical and practical factors that had an impact on the
work. They record and preserve the work in notated and audio formats.
The music work may build on the exercises completed in Unit 3 Outcome 3, or use ideas inspired by
works studied in Unit 3 and/or Unit 4 Outcome 1 and/or Outcome 2. The work could be the result of
the students artistic goals and interests, a work created for a specific purpose, a response to an abstract
technical challenge, a work in a specific historical style, or a more subjective work exploring an idea,
issue or feeling of interest to the student.
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Outcome 3
On completion of this unit the student should be able to create an original work and evaluate the
creative processes used to develop the work.
Study 3.
Key knowledge
processes used to compose and/or arrange music works from starting point/s to final realisation
how the elements of music may be treated to fulfil creative intentions in a music work
how compositional devices, including contrast, repetition and variation, can be used to develop
music ideas
ways in which creative intention may shape decision making at different stages through the creative
processes
technical/practical factors that influence creative processes, including issues of instrumental/
technical capabilities, sound balance and blend, and performance context
ways of notating a music work appropriate to the style/context
ways of preserving a music work in audio format
appropriate music terminology and language to document creative processes and describe music
ideas.
Key skills
employ a creative process/es to create an original music work that includes contrast, repetition and
variation
manipulate the elements of music to fulfil creative intentions in a completed music work
use appropriate compositional devices, including contrast, repetition and variation, to develop
music ideas
describe technical/practical considerations that influence the creative process/es
document the creative process/es from original intention through development and refinement, to
final realisation, and evaluate decisions made at different stages in the creative process/es
notate the work in an appropriate format
preserve the work in an audio format
use appropriate music terminology and language to evaluate creative processes and music ideas.
ASSESSMENT

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The students level of achievement for Unit 4 will be determined by School-assessed Coursework, an
An Externally-assessed Task for Units 3 and 4 will contribute 30 per cent.

The level of achievement for Units 3 and 4 is also assessed by an end-of-year aural and written
examination, which will contribute 40 per cent.
Outcomes
Outcome 1
Aurally analyse music excerpts, and form and present
critical responses to the music.
Outcome 2
Analyse and discuss the use of the elements of music
and compositional devices in the selected works, and
discuss the style of the works and relevant contextual
issues.
Total marks
Marks allocated*
Assessment tasks
15
Aural analysis of and written critical responses to four

excerpts of music in any one, or a combination of,
the following formats:
a test
responses to structured questions.
15
Analysis of selected works in any one, or a

combination of, the following formats:
a written report
a test
written responses to structured questions
an annotated visual report.
30
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Externally-assessed Task
Assessment for Music Style and Composition includes an Externally-assessed Task to assess Unit 3
Outcome 3 and Unit 4 Outcome 3. For this assessment students will submit a folio that contains
exercises, an original work, audio recordings and documentation as outlined below. The task will be
assessed by a panel appointed by the Victorian Curriculum and Assessment Authority. Criteria published
annually by the Victorian Curriculum and Assessment Authority will be used to assess the task.
Format
A folio that contains:
two creative exercises in notated and audio form that were completed in response to studied
music
description and/or annotation of the relationship between the creative exercises and the music
studied, including the treatment of relevant elements of music and the use of at least one
compositional device of contrast, repetition and/or variation
AND
a statement of intention for a complete work
evidence of the development and refinement of the work from starting point to final realisation
explanation of decisions made at stages of the creative process
explanation of technical and practical factors that influenced the creative process
description and/or annotation of the treatment of the elements of music to achieve the stated aim
in the final work
description and/or annotation of the use of compositional devices, including contrast, repetition
and variation, in the final work
AND
A music work of 24 minutes presented in notated and audio form.
The Externally-assessed Task will contribute 30 per cent.
End-of-year aural and written examination
Description
The examination will be set by a panel appointed by the Victorian Curriculum and Assessment Authority.
All the key knowledge and skills that underpin Outcomes 1 and 2 in Units 3 and 4 are examinable.
Conditions
The examination will be completed under the following conditions:
Duration: two hours.

Date: end-of-year, on a date to be published annually by the Victorian Curriculum and Assessment
Authority.
Victorian Curriculum and Assessment Authority examination rules will apply. Details of these
rules are published annually in the VCE and VCAL Administrative Handbook.
The examination will be marked by a panel appointed by the Victorian Curriculum and Assessment
Authority.
The aural and written examination will contribute 40 per cent.
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Further advice
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Advice for teachers: Music Style and

Composition Units 14
DEVELOPING A COURSE
to the outcomes.
For Units 1 and 2, teachers must select assessment tasks from the list provided. Tasks should provide a
variety and the mix of tasks should reflect the fact that different types of tasks suit different knowledge
and skills and different learning styles. Tasks do not have to be lengthy to make a decision about student
demonstration of achievement of an outcome.
In Units 3 and 4, assessment is more structured. For some outcomes, or aspects of an outcome, the
assessment tasks are prescribed. The contribution that each outcome makes to the total score for
School-assessed Coursework is also stipulated.
The central focus of Music Style and Composition Units 1 to 4 is the exploration of the way sound
can be organised in music. Students are asked to examine specific works in different styles, explore
and respond to a wide range of other music via aural analysis, and create music in response to their
study of the work of music creators across time and place. Three broad areas are covered across all
four units:
Responding to music: where students experience a wide range of music works in different styles
and build skills in aural analysis and critical response.
Organisation and context: where there is a focused study of specific works, which are analysed in
terms of their musical characteristics and stylistic context.
Creative responses/processes: where students create music in response to the musical ideas
uncovered in the music they have studied and document the processes used.
The basis of all analysis of musical characteristics throughout the four units is a development of
understanding about the treatment of the elements of music and the use of compositional devices.
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Music Style and Composition Advice
for teachers
It is essential that both teachers and students have a firm understanding of the nature of these two
fundamentals.
In Units 1, 3 and 4, the works selected for Area of Study 2 should be short works, single movements
and/or small collection/s of minor works, for example a movement of a symphonic work or two to
three songs from the same artist or two to three pieces from a geographical location. Students should
focus on the musical characteristics of the work rather than undertaking any comprehensive analysis
of the style from which it comes.
In Unit 2, works from two different multidisciplinary forms must be used in Area of Study 2. The
music selected for study should be small selections of music from each form, for example two to three
pieces of underscore from a film or an aria, a recitative and a chorus from an opera or two to three
songs from a musical.
In Unit 3, one work must be Australian. In Unit 4, one work must have been created after 1910.
For Area of Study 3 in Units 1 and 3, students make creative responses which may be defined as short
musical exercises created in response to a given musical idea or task, for example exploring an idea
from a work studied in Areas of Study 1 and 2. They also need to document the links between their
music and the music studied.
For Area of Study 3 in Units 2 and 4 students are required to take part in a creative process that will
lead to a completed short work. They are also required to document the processes used to arrive at
the end result.
Assessment requirements for the Externally-assessed Task must be considered when planning teaching
and learning activities for Outcome 3 in Unit 3 and Outcome 3 in Unit 4.
Elements of music
The elements of music are the components or building blocks used to create music works. Characteristic
use or treatment of the elements of music is the key identifier of music style for the purposes of this
study. Different music styles typically emphasise different elements of music and use them in different
combinations. The elements of music, depending on the style being studied, may be analysed with
reference to:
structure/form; for example, large-scale structures such as symphonies, dance suites, and operas;
medium-scale structures such as twelve-bar blues, sixteen and thirty-two bar song form, verse/
chorus, strophic, sonata form, binary, ternary, rondo, theme and variations, through-composed,
fugue, round, canon, cantus firmus, metrical and/or harmonic cycles; small-scale structures such
as motives and motivic development, phrasing, chord patterns, textural components, modulatory
systems
instrumentation; for example, the list of instruments/sound sources used
tone colour; for example, the effect of the way in which the instruments/sound sources are used
and the effect of techniques employed; combinations of instruments used at various stages in the
work or excerpt; particular instrumental techniques employed such as muting, pizzicato, glissandi,
flutter tonguing; production techniques such as reverb, chorus, distortion
texture; for example, layers of sound (contrapuntal, polyphonic, chordal, homophonic, monophonic,
heterophonic, pointillistic, unison); the density of sound (from light/thin to heavy/thick); tessitura
(effect of pitch height on texture)
tonality; for example, modal, diatonic (major/minor functional), pentatonic, polytonal, whole
tone, chromatic, atonal, serial
harmony; for example, triads, triadic extensions, cluster chords, organum, vertical pitch combinations
and the interrelationship of chords (functional or non-functional), modulation, ostinato, harmonic
rhythm (rate of harmonic change per bar), pitch centres
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melody; for example, the tune, tone rows, themes, horizontal pitch patterns and the characteristics
of a melody such as intervals, phrasing, tessitura, shape, motives and, where appropriate, influence
of text
rhythm/time; for example, metre/time signature, pulse, length of notes, tempo, rhythmic motives
and rhythmic devices such as syncopation, ostinato, augmentation/diminution, polymetres and
cross rhythms
dynamics/volume
articulation; for example, the attack, release and decay of the sound; staccato; marcato; legato.
Compositional devices
Compositional devices are inextricably linked to the treatment of the elements of music and represent
the means by which a music work is developed.
These may be seen at the:

micro level; for example, ornamentation, inversion, augmentation, diminution, fragmentation
medium level; for example, imitation, use of sequence, modulation, re-orchestration, re-harmonising,
addition/subtraction of melodic lines, rhythmic accompaniment, instruments or layers of sound
global level; for example, contrast, repetition, variation.
Compositional devices at the global level may occur in relation to the treatment of all the elements of
music, individually and in combination. They may also involve specific devices at the lower level/s.
Contrast
Contrast may be achieved via changes to the treatment of dynamics, orchestration, melodic shapes and
registers, rhythms, metres, harmonies, textures, articulation and forms. This may include such devices
as modulation, re-orchestration and the addition or subtraction of layers of texture.
Repetition
Repetition can be seen in repeating such things as entire formal sections, melodic lines or phrases,
rhythms, intervals, melodic shapes, harmonic patterns, timbres, riffs, ostinati.
Variation
Variation includes any change to an established pattern when heard again. This might include such
things as shifting a melodic pattern to a new starting pitch, adding ornaments, expanding or contracting
intervals in a melody, retaining melodic contour but changing pitches, changing to a new key area,
tempo changes (gradual or sudden), adding or removing rubato or metrical changes, using a rhythmic
figure in different places within the bar, adding harmonic accompaniment, changing harmony, adding or
subtracting melodic lines or layers of sound, re-orchestration, changing register, changing articulation
and sound effects.
Conventions
Common practices within music styles in the creation and performance of music. For example,
improvisation in jazz styles, figured bass in Baroque works, lead drum calls in the music of Ghana,
guitar effects and distortion in rock styles, sampling and editing techniques in techno music.
Performance conventions may also include expected behaviours of both performers and audience;
for example, the formality and silence within a concert hall setting, applause at the end of solos in
many jazz styles, dramatic flair and aggression within heavy metal, the structure of a North Indian
raga performance in three parts.
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Context
The context of any music should involve a study of influences on works and music styles, including
cultural influences, social issues, practical issues, musical influences, practical and commercial
considerations, and issues relating to the likely performer/s of the work.
Some examples might be:

the geographical move of blues-based music from a southern rural context (Mississippi delta) to
urban centres (Chicago) resulting in new instrumentation, stricter rhythms and expanded band
arrangements
the technological advances in the pianoforte from the eighteenth century through the nineteenth
century, resulting in works exploiting the instruments range and dynamic capabilities
the influence of Asian music on Debussy, The Beatles, John Coltrane, or Phillip Glass; the rise
of computer-based music and sound production techniques resulting in new and sampled sound
sources used in hip-hop, house and techno music
the role of the French Revolution on social thinking and structure in Europe, and its effect on the
music of the nineteenth century
the early twentieth century recording industry which allowed for only three- to four-minute
recordings and its effect on the structures of popular music of the time
the cultural integration of music in the North Indian classical tradition resulting in the religious/
mood/temporal qualities of the Indian raga
the systems of patronage, commissions, dedications and contracts in different periods and their
effect on music created.
Critical response
Critical responses link a subjective response/s to music justified by objective analytical information
evident in the music. Following are some examples of critical responses:
The driving, energetic feeling evoked in the Police song Synchronicity is created by the rapid,
consistent regular rhythms of the hi-hat and kick drum aligned with the unison rhythm of the
bass.
The lush, rich and lyrical atmosphere of the final theme of Gershwins Rhapsody in Blue is
achieved by the use of unison, legato full string orchestration.
The adjectives in these two examples driving, energetic and lush, rich and lyrical are subjective
responses to music. The analytical information is given in the statements the rapid, consistent regular
rhythms of the hi-hat and kick drum aligned with the unison rhythm of the bass and unison, legato
full string orchestration.
Integrating content
While the three areas of study in each unit are presented separately and all aspects must be covered
in developing a course, the design of Music Style and Composition is most suited to an integration of
content across areas of study in each unit.
For example, a work chosen for focused study for Area of Study 2 Organisation and context, may
lead to further listening activities using excerpts from other works that use similar (or contrasting)
treatment of music elements or devices. These listening activities may then form part of Area of Study 1
Responses to music. Essential musical features uncovered in both these areas of study may then
become the focus of a creative response in Area of Study 3.
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In developing any unit, teachers should approach the selection of works for focused study in terms of
how their characteristics may lead to further listening and creative activities. In Unit 1, for example,
Area of Study 2 Organisation and context might focus on study of a Mozart Piano Sonata first
movement (for example, K545 or K257) involving:
analysis of characteristics, including sonata form structure, nature of contrasting melodic material,
harmonic progressions of main themes and overall modulation system, use of imitation, overall
clarity of sectional design (contextualised by an outline of features of Classical and eighteenth
century architecture).
Area of Study 1 Responses to music might include listening to:
a Beethoven sonata movement in the same form
an excerpt to hear the contrast in two themes from a Mozart symphonic movement in sonata
form
excerpts/performances of simple nursery rhymes using primary triadic harmony
a country song using the same three chords
a gospel choir excerpt using call and response imitation
an excerpt from a Bach invention focusing on the imitation between parts.
Area of Study 3 Creative responses might involve:
creating a contrasting melody to a given one via contrasting contour, dynamics, articulation, key
and register
creating three separate melodies over the same primary triad harmonic progression
creating a 30-second piece to be performed by the class, built on one melodic idea and which must
include imitation and contrast.
Suitable Resources
A list of suitable resources for this study has been compiled and will be available via the Music study
page on the Victorian Curriculum and Assessment Authority website: www.vcaa.vic.edu.au/vce/
studies/index.html
VCE Music Style and Composition builds on the skills and knowledge developed in a number of
domains within each of the three strands of the Victorian Essential Learning Standards (VELS).
The most direct connection is with The Arts domain in the Discipline-based learning strand of VELS.
The Creating and making dimension in The Arts domain prepares students for the creative aspects of
Music Style and Composition through focus on areas of specialisation, development of a personal style,
justification and refinement of the content and aesthetic qualities of students own works and exploration
of personal interests when creating new work. This dimension also develops students ability to use a
range of skills, techniques and processes to generate ideas, develop and refine music works.
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In the Exploring and responding dimension students focus on critical analysis, interpretation and
description of the stylistic, technical, expressive and aesthetic features of their own works and works
created by a range of other composers, improvisers, arrangers and performers. The knowledge, skills
and behaviours that students develop through learning in this dimension informs the analytical and
reflective aspects of the work they undertake in each unit of VCE Music Style and Composition.
The interdependent nature of the two dimensions in The Arts is reflected in VCE Music Style and
Composition, where students composition, improvisation and/or arrangement work is informed by
study of the works and practice/working methods of other musicians.
learning in VCE Music Style and Composition, where students are required to complete extended
creative tasks requiring use of goal setting, time and resource management skills, monitoring and
reflecting on development and refinement of ideas and seeking and responding to feedback.
Style and Composition Communication, Thinking processes and Information and Communications
Technology. Aspects of learning from the Presenting dimension in the Communication domain support
students ability to complete analytical and reflective tasks for each area of study in Music Style and
Composition. In particular, students draw on knowledge and skills about ways to effectively present
information, ideas and opinions in forms that are relevant to the purpose and audience.
analysis and evaluation, using imagination to generate possibilities, risk-taking and reflection prepare
students for learning in VCE Music Style and Composition.
Information and Communications Technology domain. For example, students might use hardware and
software tools to create music works, use tools that facilitate visual thinking when analysing music
works or use ICT to seek and discuss alternative views about a music work, and plan and monitor the
progress of extended tasks or document thinking and working practices.
Units 1 to 4 of the VCE Music Style and Composition study provide students with the opportunity to
engage in a range of learning activities. In addition to demonstrating their understanding and mastery
of the content and skills specific to the study, students may also develop employability skills through
their learning activities.
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Assessment task
Report (oral, written, visual)

Short-answer response/responses to
structured questions

Presentation (oral, multimedia)
Communication (sharing information; speaking clearly and directly)

Technology (having a range of basic IT skills; using IT to organise data;
being willing to learn new IT skills)
Folio (creative exercises, music works

and accompanying documentation)

management)
Test

Problem solving (applying a range of strategies to problem solving)
LEARNING ACTIVITIES
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for teachers
Unit 1
Area of study 1: Responses to music
Outcome 1
Aurally analyse
characteristics of
music and describe
their responses to
music.
provide a multiple-choice checklist of the treatment of elements of music using

terminology appropriate to the style/tradition; tick which set of boxes fit the
musical excerpts heard
build a glossary of appropriate music terminology and descriptive words that
can be used in written responses to a wide range of music; for example, present
a series of activities focusing on use of a single element of music in selected
excerpts; build a glossary of terms and descriptors relevant to the element
build a journal of listening experiences, noting the treatment of elements of music
and compositional devices
model a focused listening strategy and process, for example jottings, identifying
instrument/sound source roles, identifying sectional changes; breaking down
treatment of individual elements of music, identifying ways elements of music are
used in combination; apply the strategy when listening to excerpts of music from
different times, places, styles, genres and/or traditions
complete aural analysis charts showing the use of elements of music in selected
excerpts
visit a number of music websites and download music files such as midi, mp3;
listen to the files to examine the ways the files are grouped in categories according
to style, genre and tradition
compare the use of elements and devices in three songs in the same tradition
(for example, soul, rap, blues) from three different decades
compare similarities and differences in the treatment of the music elements in
three short works for the same instrumentation, from three different styles and/or
eras
provide guided listening charts which use tick boxes to identify specific
characteristics of selected excerpts
prepare guided listening activities for the rest of the class when using an excerpt
of each students choice
use the Internet to research reviews of music from different styles; discuss the
language used; write reviews of concerts or of new CDs
use the website www.thepuredrop.com.au to investigate and listen to the different
instruments used around the world; complete class worksheets or use existing
worksheets from the website
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Detailed example
AURAL ANALYSIS CHARTS SHOWING USE OF ELEMENTS OF MUSIC
Selected excerpt: Constant Craving (kd Lang)
By focusing on two music elements, form and instrumentation, students learn a simple strategy for focused
listening, in which they jot down observations under two headings. This activity could first be done with the
teacher and whole class, over a number of listenings, using this song as a model. Below is an example of a
completed aural analysis chart for this song. Students can then apply this strategy to other popular songs. Other
columns can then be added to charts, such as texture, rhythm, melody, harmony.
Form
Instrumentation
Introduction
Piano, with soft hi-hat, for first half of this section;

then accordion, acoustic guitar, drum kit (emphasis
on beats 2 and 4), percussion (with swish on beat 3)
added
Verse 1
Solo voice and electric bass guitar added
Chorus (new melody and chord pattern)
Backing vocals added (on off-beats)
Verse 2
As for Verse 1, vibraphone fill added
Chorus (only half the chorus is used)
As for chorus above; accordion adds short driving

chords on every beat
Chorus variation (new melody; includes A-HA

section)
Solo voice and backing vocals now the focus; thinner

sound, some instruments drop out
Instrumental break (verse)
Drum fill leads into instrumental section; distorted

electronic keyboard added and has focus; much fuller
sound, with all instruments
Chorus (last line sung on higher pitch)
As for chorus above
Bridge (very short)
Drum kit alone (hi-hat only at first)
Chorus variation
As for chorus variation above
Chorus (with repeats of final line, more harmonies

added, and fade out)
All instruments and voices
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Area of study 2: Organisation and context
Outcome 2
Identify and
describe the music
characteristics and
contexts of selected
works.
develop diagrams or charts outlining the main formal sections of a musical work
studied
analyse the harmonic make up of chords and their progression in one piece;
analyse a melodic line with reference to the underlying chords
provide a graphic representation of a work showing analysis of texture,
instrumentation, tone colour, articulation and dynamics
select an element of music (for example, rhythm), and provide a graphic that
focuses on the variety of its treatment within the work
discuss any differences between the three styles studied when the music is
performed from sheet music/notations and when it is performed from an aural
tradition, for example jazz or folk tradition
complete an aural analysis and discussion of a short excerpt from a work focusing
on instrument roles, interaction and playing techniques; use this as a basis for an
analytical chart
annotate a section of a score highlighting relevant treatment of one or two
elements of music
select an identifiable motive from a work and chart its progress and development
find examples of the same compositional device across the three works studied
explore the use and meaning of the music works being studied within the
traditional culture in which they were created
use the Internet and other sources to research the cultural background of a music
work being studied; consider the relationship of the work to other parts of the
culture
produce an overall chart that lists the main characteristics of the treatment of
elements of music across the three music works studied
create a multimedia presentation about similarities and differences between the
organisation and context of the three chosen works
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Detailed example
A graphic focusing on one musicAL element
Selected work (style West African): Agbadza
from CD Adzohu, by Melbourne-based African
ensemble of the same name.
Listen to Agbadza, focusing on:

the unchanging time-keeper part (played on
an iron bell) that provides a rhythmic reference
point for the players
Selected element: rhythm

Students attend a concert or workshop on
African music presented by local ensembles.
other ostinato patterns that interlock with this.

Over repeated listenings, track the progress of each
instrument (time-keeper bell, shaker, low drum,
higher drums, flute).
Listen to examples of drumming music, and

other pieces that demonstrate the distinctive
treatment of rhythm in much African music.
Identify and discuss:
Explore short, simple examples of African

cross-rhythms and polyrhythms using body
percussion and voices to learn and play 2-part
or 3-part patterns in class.
the variety and interest when patterns change

use of improvisation, freer solo flute part.
Introduce the concept of a rhythm matrix as a way
of notating these complex patterns. Use the plan
below as an example.
Investigate the importance of repetition within

the music, and the momentum created by
complex patterns of repeating and changing
rhythms.
Bars
10
11
12
13
14
15
16
Time-keeper
Rhythm 1
Rhythm 2
Students either continue to work with Agbadza, or choose a simpler piece of polyrhythmic African music. They:
study the piece aurally to discover the instrumentation, and rhythmic patterns played by each instrument
draw up a table for a rhythm matrix
fill in the instrumentation, and the actual rhythmic patterns found in time-keeper and one other part in a short
section of the piece.
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Area of study 3: Creative responses
Outcome 3
Compose and/
or arrange music
exercises and
describe creative
process/es used.
create three melodies that have similar descriptive characteristics as those found
in music studied (for example, soaring, lyrical, circular, repetitive); describe how
each melody is similar to a melody in a studied work
construct a series of short melodic ideas with specified characteristics that are
the opposite of ideas contained in music studied (for example, symmetrical/
asymmetrical, arched/angular, diatonic/modal)
add a repetitive bass line beneath a series of chords; describe the process used
construct a simple melody over a chordal accompaniment similar to music
studied; create a flow-chart to document the process/es used
add layers of rhythm to a given rhythmic pattern taken from a studied work; create
a podcast that documents the process/es used and reflects on how the studied
work has influenced the creative response
use a sequencing program to experiment with different instrumental
combinations to explore tone colour possibilities of a given melody and harmonic
accompaniment
use a sequencing program to experiment with different drum patterns to change
rhythmic feel of a given melody and harmonic accompaniment
use a given music excerpt and arrange/transform it into an arrangement based
on characteristic treatment of the elements of music in a work/style studied; use
ICT to document the process/es used
complete a series of exercises focusing on building up to a musical setting of text
(for example, melody, a chord structure, bass line, rhythmic accompaniment)
use music notation software to change a simple melody into a specific style by
altering such aspects as rhythm, instrumentation, ornamentations, scale according
to the chosen style; reflect on how the work studied influenced the creative
response
create an audio/visual timeline of the creative process used to alter a given motif
according to a chosen style
create a bass line which follows a 12-bar blues form
create lyrics and a melody in a blues style, based on a blues scale
use music notation software to arrange a melody from a style studied in Area
of Study 2 for three instruments, adding a percussion line, a harmony part and
a counter-melody or ostinato part as appropriate to the style; document the
intended and resultant effects of choices made
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Detailed example
ADD LAYERS OF RHYTHM TO A GIVEN RHYTHMIC PATTERN
This example focuses on musical ideas identified
through an initial study of the track Agbadza
introduced in the detailed example for Area of
Study 2. Agbadza, like most of the percussive
music of West Ghana, features one to two
constant rhythmic patterns that remain unchanged
throughout and act as a form of time-keeping. The
activity could begin as a whole class activity to
explore possibilities before students make individual
creative responses.
Transcribe then record or sequence the constant
pattern (this is a 12-beat recurring motive).
Students play the pattern together. One student
taps out the basic underlying pulse in the smallest
division. Students experiment with accents within
this rhythm.
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Individual students improvise and notate their own

rhythm patterns that repeat across the required
number of pulses. The class plays each students
pattern. Combine patterns, adding one at a time.
Discuss the way any repeated pattern may be
varied by adding an extra accent or two, or
shifting the position of one beat only.
Set the creative task of producing three distinct
patterns and two variations of each to be notated
over a piece of up to 64 bars. Students notate their
ideas and use ICT, for example a graphic organiser,
to document the process/es they have used and
reflect on how the studied work influenced their
creative response.
Completed responses are recorded with the class
as performers or by utilising sequencing technology.
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Unit 2
Outcome 1
Analyse ways in which

elements of music
and compositional
devices are used to
create effects and
elicit responses.
write personal responses to excerpts noting mood/mood changes; analyse the

same excerpts noting element treatment and compositional devices that may have
elicited these responses
find two works known to relate to the same non-musical source (for example, the
sea, the desert) and discuss musical means the composers/creators have chosen
to reflect the source
listen to a song from a musical (for example, Tradition from Fiddler on the Roof
or the first scene from Into the Woods) in which many characters are introduced;
create a chart of the form of the song showing how the composer treats musical
elements to establish each character in music
listen to excerpts from a multidisciplinary work in which the same thematic
material is repeated and varied in different contexts to create different moods,
different aspects of one character; track changes across the work
listen to an excerpt of film music that creates a distinctive and unusual soundworld for the story (for example, Lisa Gerrards score for Whale Rider); present an
oral report on how and why this is achieved
listen to two examples of orchestral music: an extract from a symphony, an extract
from music for Looney Tunes cartoons; compare the rate of change of musical
ideas between the works; discuss reasons for differences observed
select two short excerpts in different styles that have the same overall mood and
analyse how the mood is created in the different styles, noting similarities and
differences
listen to a dramatic scene from an opera or a musical and describe how the
composer has used musical resources to create and enhance drama and
character
analyse a scene from a film; for example, the chase scene from Man from Snowy
River II to examine how different themes and instruments are used to tell the story
and convey information about the characters
listen to a song from a musical, for example, West Side Story, and create a chart
to analyse the treatment of the elements of music in creating effects and telling the
story
create a PowerPoint presentation on the different ways music can be used in films;
visual and aural material from the film can be embedded in the presentation
investigate Impressionism and early 20th century music and analyse the treatment
of two specifically 20th century elements such as tone colour and rhythm, and
how they are used to create an effect and convey the extra-musical meaning in
works such as La Mer, Prelude to the Afternoon of a Faun and Rite of Spring
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Detailed example
how the mood is created
Students select two short excerpts in different
styles that have the same overall mood and analyse
how the mood is created in the different styles,
noting similarities and differences.
Mood: Relaxed and melancholic
Works:
Eric Satie: Gymnopedie No. 1 (solo piano
1888)
Miles Davis Group: Intro and Davis solo of
Flamenco Sketches (from CD Kind of Blue
1959).
Listen to each piece and discuss the overall mood
are they in any way similar?
Discuss the tempo of each piece and its effect.
Aurally analyse the Satie work and discuss the
opening four bars (it uses repetitive one-note-perbar left-hand bass on GD which is continued
throughout the first section. Right-hand chords
repeat also, using major 7th structure).
Do the same for the opening of Davis work (uses a
falling two-note bass part which is repeated, piano
plays basic two-chord motive, with variations, in
answer).
Discuss the use of repetition in each work.
Focus on the melodies in each piece noting:
the rhythms employed, for example Saties is
simple and crotchet based on-the-beat; Davis
is freer, using slightly swung jazz syncopation,
but generally hitting a sustained tone at the
beginning of each bar
use of Flamenco mode.
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Discuss:
these features in relation to changes in mood
throughout
the differences between the written Satie music
and the largely improvised and swung feel of the
Davis piece
any other musical ideas that might contribute to
the overall moods, for example the breathy tone
of Davis muted trumpet and his general laying
back on the pulse.
Write two responses to the pieces concentrating on
the overall mood and how it is achieved in each.
Note:
the contours of phrases in each, for example
Satie follows step-based arches and final fall;
Davis employs variations on a falling 5th, the
first three phrases coming to rest on the same
note
the tonal implications of each melody in
relation to the accompaniment, for example
Satie employs extensive use of 7th and 9th of
underlying chords; Davis rarely uses the root,
and also employs 7th and 9th over basic
C Major accompaniment.
From the above, discuss the effects of repetitive
or regular melodic rhythms, the use of grounding
pitches, the effect of melodic material outside
expected chord tones.
Analyse the tonal make up of the pieces in different
sections, for example Satie employs a shifting major
to minor idea in sections ending in minor; Davis
employs different modal bases for four or eight bar
sections, including a Flamenco mode.
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Area of study 2: Music created for multi-disciplinary forms
Outcome 2
Describe
characteristics of
music in two works
that combine music
and non-musical
features, and discuss
the context and
processes used to
create the music.
watch video/performances of the works selected for study

investigate the relationship between the composer and other artists involved in
the creation of the works, for example film director, choreographer, librettist, stage
director, graphic artist
use the Internet to find and review articles by composers who work in a
multidisciplinary form and discuss their ways of working
examine the use of music in a multidisciplinary form being studied (for example,
animation) and create a chart of its function in this work (for example, reinforcing
a characters emotions, source music, providing geographical location, building
tension, mimicking action/movement)
annotate a written score using the elements of music and comment on the
intended effects of the music; identify at least three different effects and/or
emotions created by the music
identify use of music in a short video or animation, and create a cue sheet outlining
timing, description of action, music function, effect on audience and music
element use
using one multidisciplinary form (for example, the musical), analyse musical
selections using the elements of instrumentation, texture, rhythm and harmony
and the effect of their use
Detailed example
musical: west side story by leonard bernstein
Students select three excerpts from the musical
West Side Story.
the high tessitura and major tonality of I Feel

Pretty.
For each excerpt:
Note also the change in tonality, the use of even

rhythms and Latin ornamentation in the middle
section, sung by Marias friends.
Describe the instruments used (including

voices), their role and how they are combined
in each excerpt. Examine the different effects
achieved by the various combinations
throughout the music.
Describe how particular instruments are
featured and note any special effects achieved.
Examples may include the clicking fingers and
muted trumpets in Cool and the trombone
glissandi and vocal sound effects in America.
Describe the accompaniment in each excerpt,

considering time, rhythms, riffs, articulation, tempo
and volume, and its relationship to the melody.
For example A Boy Like That/I Have a Love uses
two contrasting songs and moods that are first
juxtaposed then superimposed. Consider the final
bars where the two characters sing in harmony
(representing Anitas acquiescence).
Analyse the melodies used in terms of range,

phrasing, articulation, compositional ideas
and changes made to the basic melody by the
performer/s during the course of America.
Analyse the harmonic structure and tonality and

discuss their effects. Examples may include the
use of blues scales and chords contributing to the
harmonic structure of Cool.
Note the relationship between the words and the

melody, for example the light, short, staccato
rhythmic motives, the emphasised waltz rhythms,
Note: Only one form is used in this example. Two

forms should be studied for Outcome 2.
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Area of study 3: Creative processes in music for multi-disciplinary forms
Outcome 3
Create music for a

work that combines
music and nonmusical features, and
describe the creative
process/es used.
create a storyboard for a film and then create a cue sheet for the storyboard noting
where music will be used and for what function
provide the musical underscore for a storyboarded film
create a 30-second radio advertisement that combines music, voiceover and
effects for a specific purpose
select a text to be performed and underscore a reading with music after noting
moods/emotions that music should portray
create two different soundtracks to be used for the same short digital video
excerpt; test the result with an audience noting if the intentional mood/effect
was created
create two short dramatic songs using the same text as lyrics, but portraying
different emotions
compose a piece to a set brief, for example a fanfare for a sports event; a school
song; advertising jingle
use one musical idea such as a melodic motive or a rhythmic pattern and use it to
create different effects, for example horror, melancholy, suspense, joy; document
the reasons for choices made
chart three moods that need to be conveyed for a dance piece using a constant
tempo and pulse
create a folio of short soundtracks behind short digital videos using Garage Band
and Sibelius to identify hit points in the videos, adding sound effects and backing
tracks to enhance the videos and to help to tell stories; document the creative
processes used, including the treatment of elements of music and compositional
devices
record an interview with students before and after composing a soundtrack for
a given short film scene; document the process used and test whether intended
effects were realised in the final compositions
select a scene from a favourite computer game and sequence music to the action,
matching timings and mood
create music for a dance video selected from youtube
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Detailed example
PROVIDE THE MUSICAL UNDERSCORE FOR A STORYBOARDED FILM
Students choose or write a storyline for a twominute film.
Experiment with tempo and metre to accommodate

the timing.
Steps include:
Use the created rhythmic, harmonic and melodic

ideas to create a short musical sequence. Record
the music and play it to others to ascertain their
responses does it work the way it should?
Storyboarding the shots and dialogue for the

film, including precise timing.
Discussing the type of effects that need to be
created for sequences in the film.
Writing a rhythmic motive.
Putting chords to the rhythm.
Writing a short melodic motive.
Students experiment with different orchestration for
the above.
Plan the timings for three short musical sequences
to be used in the film.
Use the created sequence and vary it for

other sequences for the film depending on the
effect needed, for example change harmony/
instrumentation, augment the melody, use rhythmic
motive as ostinato building to a climax, introduce
new sound sources.
Complete the sequences, noting the changes and
effects.
Unit 3
Outcome 1
Aurally analyse music

and make critical
responses to music.
listen to extracts in which repetition plays an important structural role (for example,
minimalist music, African drumming music, Maninyas, gamelan music, techno/
house); note where repetition is exact; track how and where subtle/major changes
occur
listen to excerpts from works in established forms that use contrast as a
fundamental structural device (for example, sonata form, rondo)
listen to three improvised solos in a standard jazz performance; compare different
treatments of musical elements and compositional devices that are used over the
recurring harmonic pattern
listen to an excerpt that provides a clearly audible example of one compositional
device; build a library of such excerpts, covering many devices; use as reference
points for aural recognition of these devices in unfamiliar works
listen to short works with clearly defined sections (for example, overtures to operas
and musicals; songs with contrasting sections); note musical characteristics of
each section; create an audio/visual presentation to describe this formal analysis
find two works in different styles that use contrast as a fundamental structural
device; analyse musical means by which contrast is achieved in both works
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use guiding questions to focus listening on use of a particular element or

compositional device in an excerpt; play the excerpt again, focusing on a
different element; then repeat with another element
compare two excerpts in different styles that use repetition and variation as
fundamental structural devices; analyse musical means by which musical interest
is maintained in both works
respond to aural excerpts by completing a guided listening sheet which focuses
on two elements and one compositional device
Detailed example
GUIDED LISTENING
Provide students with a series of guiding questions that focus their listening on use of a particular element or
compositional device in an excerpt. Then play the excerpt again focusing on a different element.
Excerpt: Bambi Said (music of Egyptian Gypsies), on CD from film Latcho Drom; first 1.5 minutes
Students draw up an analysis chart (as below), and over three listenings fill in their chart.
This excerpt falls into two clear sections, with the second section beginning with the entry of the percussion.
Using the chart below, list the musical characteristics of each section using the nominated elements of music.
Following is an example of how such a chart might be completed.
PART 2
PART 1
INSTRUMENTATION AND TEXTURE
MELODY
RHYTHM
Clear three-part layering: string

instrument playing constant drone;
two wind (oboe-like) instruments,
one of which is the lead melody
instrument; the two melody
instruments interweave with each
other at the start, then the lead
instrument continues on its own.
Freely and constantly changing,

over unchanging drone;
improvisatory melodic lines;
varying phrases of repeated
notes, repeated scalar fragments,
fast alternations between two
notes, circling round limited pitch
range; builds to climax with use
of ornamentation, shorter note
values, fast virtuosic flurries,
expressive slide up to a high note
and down again.
No sense of regular pulse, free

and improvisatory, long and
irregular phrases, mainly short
note values.
More complex texture; added layers:

regular hand-clapping on the beat,
drums with repeated pattern, voices
singing along in background, more
wind instruments (of same type)
playing melody line in unison, highpitched small bells shaken rhythmically
(near end).
Wind instruments play bouncy

melody with dance-like feel;
distinctive dotted figure at start,
then descends and ascends back
to starting note, regular phrase
lengths, simple rhythm, same
melody is repeated many times
with no apparent variation.
Very strong, steady sense of pulse;

regular phrase lengths, settled
tempo, driving rhythmic momentum
in all layers, simple and repetitive
rhythmic patterns.
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Outcome 2
Analyse and describe

the use of the
elements of music
and compositional
devices in music
works, and discuss
the style and the
context from which
the works emerged.
annotate excerpts of a visual score with reference to element treatment and use of
compositional devices, especially contrast
build a library of musical motives (for example, melodic, rhythmic) from a work
studied; chart their occurrences, and discuss the way they are used within the
work
analyse the harmonic and tonal organisation of the works studied
research how and why the works being studied were written; investigate the time
and/or place from which the represented style arose and create a PowerPoint
presentation of results
use the web to research other forms common at the time and/or place and note
similarities to the music styles studied
investigate the instrumental/technological capabilities at the time and place of the
styles studied and identify musical outcomes
select a work in which contrasting moods are an important feature; devise a
chart outlining formal sections of the piece, showing musical means by which
these contrasts are created
work in a small group to create a wiki that records ideas and discussion of the
key knowledge on the work studied; include a page for each of: the treatment
of the elements of music, contextual issues, characteristics of the music style,
appropriate music terminology
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Detailed example
HOW CONTRAST IS CREATED
Selected work:
Earth Cry by Peter Sculthorpe (1988)
rhythm; simple, clear texture; yearning legato

melody on trombones and violas.
Background information:
Central fast section bars (21166)
the fast section of Earth Cry draws upon the earlier

work Song of Tailitnama (1974), which features an
Aboriginal chant. In Earth Cry Sculthorpe wanted
to write a quick and joyous response to the
Australian landscape, but felt that the piece must
also reflect his distress at the self-interest of our
culture, and his belief that we should be listening to
the cry of the Earth, as the Aborigines have done
for many thousands of years. These contrasting
moods of joy and pain are central to the structure
of the work.
Bars 2172 (first part); Bars 7388 (transition); Bars

89140 (second part); Bars 141148 (transition);
Bars 149166 (slower climactic section)
Students explore this contrast via visual and aural

analysis of the score. They track how contrast is
achieved musically via the use of different material,
and different treatment of elements, between the
three main sections (what the composer calls
quick ritualistic music framed by slower music of
a supplicatory nature). Below are summaries of
what students might find initially. This could then
be organised into a complete chart with much more
musical detail, categorised according to treatment
of music elements, including descriptions of each
sub-section, musical examples.
Slow introduction (bars 120)
Bars 112 (slow melodic section); Bars 1320 (slow
chordal section)
Extremely slow tempo; restrained dynamics with
occasional dramatic outbursts; open spacey
chords with many open 5ths, 4ths; low Db drone
throughout; powerful timpani triplet figure initiates
phrases; occasional low gong sets a timeless feel;
many long, sustained notes; simple, slow-moving
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Fast tempo; new key; loud throughout; violins

play fast, frequently syncopated, accented,
highly-rhythmic melodic chant material with
short repeated notes and limited melodic range;
repeated driving accompaniment figures on
percussion and strings; complex texture full of
changing cross-rhythms/polyrhythms; busy,
rippling accompaniment figures in woodwinds;
transition sections break the melodic flow, but
maintain rhythmic tension, with stabbing chords
and pounding percussion; addition of a contrasting
counter-melody with wide-range and long note
values; texture becomes increasingly complex, and
excitement builds, until ecstatic harmonic shift and
sense of resolution in climactic section.
Slow final section (bars 167210)
Bars 167182 (modified introduction); Bars 183210
(extended coda)
Repetition and variation occurs: returns to key,
tempo, mood, and material of introduction with
modifications (melodic and rhythmic) and some
re-orchestration; added coda in which material
from the melodic and chordal sections of
introduction is combined and expanded; tension
in occasional accented brass/woodwind figures,
and dissonances; drone returns in coda; varying
dynamics with occasional outbursts; gradual
wind-down to quiet and consonant resolution with
spacey open 5th in whole orchestra.
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Area of study 3: Creative responses
Outcome 3
Create original music

exercises and discuss
influences on their
creative processes
and responses.
take a given melody and experiment with different accompaniment styles similar to
those used in the music studied
use a given harmonic pattern typical of the work/style studied in Area of Study 2
and compose a new melody over it, focusing on contrast as a main feature
between sections
use a sequencing program to experiment with different voicings and sounds;
create a podcast to document creative processes
create a melodic motive and use it in different ways to create variations of the
motive, for example changing range, tessitura, instrumentation, rhythmic patterns,
harmonic accompaniment
use one small idea (rhythmic, melodic or harmonic) and set up a loop so that it is
repeated constantly; attempt to keep musical interest by focusing on new ideas
being added on top of the repeated idea
experiment with creating music from different starting points, for example a given
melody, a given rhythmic figure, a given harmonic outline; discuss techniques and
problems raised; use a graphic organiser to show influence of works studied in
Outcomes 1 and 2
identify compositional devices within the music studied (for example, imitation,
ostinato, octave doubling, forms) and use these devices in short exercises
create or use a given melodic motive to then create three exercises, each lasting
for one minute and exploring one of the given compositional devices (contrast,
repetition and variation); describe the process of altering the melodic idea by
completing a Statement of Intention sheet
repeat these activities using a given rhythmic motive
use music notation software to create a verse in a similar style to a Rhythm and
Blues song studied, then create a contrasting chorus
use music notation software to create a chord based on twentieth century
concepts of harmony; create a rhythm for the chord and arrange it for different
instruments; use it to create a rhythmic motive; document processes used and
reflect on connections with works studied in Outcomes 1 and 2 in a composers
journal
create a contrasting section by experimenting with different harmony,
instrumentation and texture; describe influence of works studied in Outcomes 1
and 2 on decisions made about how to create contrast
create an audio/visual presentation comparing a studied musical work with an
original music exercise created as a response to that chosen piece
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Detailed example
composing a new melody using a given harmonic pattern
Work: Mozart Clarinet Quintet, Final movement
Create a melodic pattern over the first two bars.
Students study the main theme of the movement,

noting the general treatment of melody (for
example, even phrase lengths, question and answer
structures, contrasting/balancing ideas, diatonic
tonality, repetition).
Use the same rhythmic pattern of the above

to create the second two bars, including pitch
changes to accommodate harmony.
Provide a similar sixteen-bar harmonic outline using

four bar sections as a basis. For example:

I V II V
I II V I
V VI II V
I II V I
Play the chord progression on available instruments.

Note the repetition and variety within the even fourbar sections the repetition of sections 2 and 4, the
introduction of a new starting point and new chord
in section 3.
Discuss the above in terms of balance and contrast
within the structure, and how it might relate to
a melodic line written above it, for example the
chances for repetition of motives, contrasting ideas,
the return of original ideas.
Use the same four-bar melody over the second

four-bar section this time changing pitches to
accommodate the final cadence.
Review the above in terms of question and answer
conventions, and adjust eight bars accordingly with
attention to finishing pitches, melodic shapes and
rhythmic motives.
When satisfied, use the second four bars in direct
repetition over the last four bars of the sequence.
Turn to the third four-bar section, noting again the
new starting point and harmony.
Provide a melody over these four bars that uses
different rhythmic ideas, melodic shape and note
values to the other phrases. Note especially where
the melody must head in terms of the return of the
first idea. Attempt to include a musical sequence in
this section.
Complete the full sixteen-bar melody.
Write out or record (sequence) the harmonic pattern

in basic form, noting the chordal tones for each bar.
Record or play the melody over the given harmonic

progression.
Experiment with short melodic motives that fit

within the harmonic make up of bars.
Write out the melody, and include phrase,

articulation and dynamic markings.
Discuss and experiment with means of creating

melodic contrast, for example staccato vs legato,
leaps vs steps, chordal outlines vs scales, even
rhythms vs dotted rhythms, sustained notes vs
short note values.
Write out a brief description of each four-bar

phrase, noting the main characteristics of each, and
its place in the whole sixteen bars, with reference to
the contrast between A and B sections.
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Unit 4
Outcome 1
Aurally analyse music

excerpts, and form
and present critical
responses to the music.
listen to extracts from same era, style, location, or composer/creator as the work
being studied in Outcome 2; discuss similarities of approach
listen to a virtuoso improviser from a non-Western tradition (for example, Pakistani
singer Nusrat Fateh Ali Khan); list ways soloist achieves variety and interest within
repetitive structure, such as ornamentation, augmentation/diminution, wide vocal
range
after listening to examples of various compositional devices in a range of different
styles, find examples of this device in selected music and share it with the class in
a PowerPoint presentation
apply focused listening skills to music heard outside the classroom (for example,
on the radio or from a CD); share the results with class
continue compiling a vocabulary of objective music terminology, and descriptive
words, to use in critical responses; practise using vocabulary
create a graphic representation of a piece of dance music, to be used by a
choreographer who needs a plan of the form and musical content of the piece
find two works in different styles that use repetition as a fundamental structural
device; analyse musical means by which repetition is used, and how musical
interest is maintained, in both works
practise efficient aural analysis strategy in responses to music under time limit and
test conditions
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Detailed example
COMPARING USE OF REPETITION IN TWO EXCERPTS
Excerpt: Zefiro Torna by Claudio Monteverdi;
from Madrigals, Book 9
Provide students with a brief background to this
work: it is a madrigal for two tenors and basso
continuo and comes from seventeenth-century
Italy. It uses the popular Baroque device of ground
bass, providing a unifying foundation for varying
melodic line/s flowing over the top. In Zefiro Torna
the ground bass is short (2 bars), and is repeated
61 times. This piece was considered a particularly
ingenious example of the use of ground bass in its
time.
Students listen to a short section, and identify the
unchanging ground bass, and the other layers
within this texture (two voices and harpsichord).
Discuss how the composer creates and maintains
interest amidst all this repetition. Why do you think
it was called ingenious?
Note that the vocal lines consist of constantly
changing melodic fragments (rather than a firmlyestablished and repeated melody).
Students then list the wide range of melodic ideas
and textures that Monteverdi creates over the top of
the ground bass. The list could include:
one voice announces a melodic idea
other voice answers with exact imitation
same, but second voice varies idea slightly;
staggered entries; voices weave in and out
contrapuntally
voices present a theme in rhythmic unison,
harmonising in 3rds and 6ths
Excerpt: Day is done by Charlie Hunter, featuring

Norah Jones; from CD Songs from the Analog
Playground.
Day is done was recorded in 2002; like the
Monteverdi work, it uses a bass line repeated
throughout the song.
Students listen to an excerpt of the song, identify
the repeating bass line, and describe the distinctive
nature of this bass line (for example, 8-bars long,
simple rhythm with first-beat and off-beat emphasis,
chromatic descending line with an upward flick at
the end, bass player occasionally varies rhythm and
ending slightly).
On repeated listenings, students note that the
method of achieving variety and interest amidst this
repetition is different from that used in the previous
excerpt. Through this comparison they may note:
8-bar melody in solo voice is firmly established
(unlike Monteverdi work), and is repeated a
number of times
interest is achieved by expanding
instrumentation, adding textural layers of
musical ideas, adding descending chord
progression, singer and other players adding
ornamentation/variation/improvisation around
basic melody, fragmentation of melody,
instrumental break, varying use of drum kit.
Students complete an aural analysis chart showing
form and instrumentation (see Unit 1 Outcome 1) to
describe the song, noting all the changes that occur
over the repeating bass line.
voices sustain long notes and suspensions;

ornamentation; legato and staccato melodic
ideas; varying phrase lengths
some sections use both voices in their lowest
register, other sections use higher register.
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Outcome 2
Analyse and discuss

the use of the
elements of music
and compositional
devices in the
selected works, and
discuss the style
of the works and
relevant contextual
issues.
annotate scores of two works studied, focusing on use of compositional devices,

especially repetition and variation; discuss how unity and variety are achieved
select an identifiable motive/theme/idea in one work and create a list of how the
idea is varied
chart the formal design of the two works
chart the harmonic patterns used in the two works
select one element (for example, melody or rhythm) and write a brief description of
its treatment in various sections of the works
compare the use of repetition and variation in two different styles, as seen in the
two works studied
use the Internet and print sources to research how and why the works were
written; investigate other forms at the time and/or place of the style studied and
note similarities/influences
investigate outside musical influences on the works and discuss how the work
may reflect these influences
create a flow chart to show how repetition and variation create the structure of the
work studied
work in a small group to create a wiki that records ideas and discussion of the
key knowledge on the work studied; include a page for each of: the treatment
of the elements of music, contextual issues, characteristics of the music style,
appropriate music terminology
Detailed example
LIST OF HOW THE IDEA IS VARIED
Selected work: Music for Strings, Percussion and
Celeste, Movement 1 by Bartok
different starting note, slight change in length/

shape.
Brief students on the work, describing how the first

movement of this work is a masterful exploration
of one melodic idea. The formal design not only
follows some traditional fugal structures, but there
is also ample evidence of variation of one idea
across a large number of elements. The following
approaches might be taken.
Chart the pitches of subsequent entries as the

movement builds, noting the variation in pitch
areas (akin to a Baroque fugue).
Explore the character of the main theme by

examining the way subsequent phrases build on
the chromatic arch shape established in the first
bars.
Look at the repetition of a grounding home
note despite the themes intense chromaticism.
List the changes that occur with the second
entry of the theme different instrumentation,
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Search for and annotate fragmentation of the

theme on the score.
Describe traditional devices such as inversion,
imitation and stretto.
Explore the dynamic changes that occur to the
theme.
Construct a chart using the variation of the
theme as a central focus, including examples of
changes in pitch levels, instrumentation, dynamic,
register and textural settings, as well as the use of
fragmentation, inversion, imitation.
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Area of study 3: Creative processes
Outcome 3
Create an original
work and evaluate the
creative processes
used to develop the
work.
take a very short melodic fragment and create another three fragments by
changing intervallic range, but keeping the same shape; use these in a short piece
that follows the same shape dynamically
using a given harmonic pattern, vary the chords, but keep the same overall sense
of tension and resolution (for example, changing to minor/major /modal key;
experimenting with substitutes chords)
set up a repetitive harmonic cycle record/notate five separate melodic lines on
top of the pattern
using a given melodic line, create at least three different settings with a focus on
creating different textures
construct a percussive piece by adding, subtracting and then changing rhythmic
patterns, leaving one pattern unchanged
construct a form based on mood contrast; note aspects of music element
treatment that could be used to create the contrasting moods
keep a diary of the changes that occur in the process of completing a piece
use music notation software to create a melody based on a melodic idea from
a work studied; experiment with different ways of varying the melody such as
chordal harmony, adding an ostinato, varying the pitch, instrumentation
create a head based on a jazz style; experiment with different improvisations on
the head, then transcribe the versions that you have decided to use
create an audio/visual timeline of the creative process used to develop and refine
ideas to create an original work
Detailed example
CREATING AT LEAST THREE DIFFERENT SETTINGS FROM A GIVEN MELODIC LINE
Allow the students to use their own or a given
melodic line. Their task is to generate ideas to
extend the existing melodic line so that it repeats
three times in a continuous section/excerpt/short
work. Contrast can occur only in the textures
created around the melodic line.
Students trial different melodic ideas, for example:
providing counter-melodies above/below the
main line
including sustained sounds in the highest
register as an accompaniment
providing a low shimmering pad as a backdrop
including distinctive rhythmic accompaniment
using exact rhythmic unison to the main melody
providing a series of arpeggiated chords as
accompaniment
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using silence and short flurries of sound

setting the sounds around the line in distinctive
tone colours (for example, low brass, high
strings, electronic loops)
using a drone
using an ostinato.
After experimenting with different possibilities,
students make decisions as to the three textural
settings that they will use. They refine initial work to
connect ideas and emphasise different textures of
each section. They also document the reasons for
deciding by examining the nature of the original
unchanging melodic idea as well as their intention
in the piece.
From this task, students would then be free to flesh
these ideas out into a completed work.
vce study design
MUSIC 20112016
for teachers
assessment tables.
Outcomes
Marks allocated
Unit 3
A listening test requiring critical responses to four

excerpts of music each in a different music style. The
test should include structured questions focusing
on treatment of elements of music, individually and
in combination, and use of compositional devices
including contrast, repetition and/or variation.
Outcome 1
Aurally analyse music and make critical

responses to music.
Assessment tasks
15
Outcome 2
Analyse and describe the use of the elements

of music and compositional devices in music
works, and discuss the style and the context
from which the works emerged.
A multimedia presentation in response to structured

questions about Earth Cry and Appalachian Spring
Suite (Part 7: Variations on a Shaker Hymn) including
questions requiring aural and visual analysis.
15
30
Unit 4
15
A listening test requiring critical responses to four

excerpts of music each in a different music style. The
test should include structured questions focusing
on treatment of elements of music, individually and
in combination, and use of compositional devices
including contrast, repetition and/or variation.
15
A written report that:

analyses and discusses treatment of elements of
music and use of compositional devices in Music
for Strings, Percussion and Celeste, and a work
from the Baroque era that features an antiphonal
structure
discusses contextual issues relevant to each work
and the influence of the issues on the works
compares the use of repetition and variation in the
two works.
Outcome 1
Aurally analyse music excerpts, and form and

present critical responses to the music.
Outcome 2
Analyse and discuss the use of the elements

of music and compositional devices in the
selected works, and discuss the style of the
works and relevant contextual issues.
vce study design
30
161

Music: Victorian Certificate of Education Study Design

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Music

Victorian Certificate of Education Study Design

Victorian Curriculum and Assessment Authority

Updated November 2014

Ping (Irene VINCENT)

Accredited by the Victorian Registration and Qualifications Authority

Assessment and reporting

Units 14: Music Performance

Unit 1: Music Performance

Unit 2: Music Performance

Unit 3: Music Performance

Unit 4: Music Performance

Advice for teachers: Music Performance Units 14

Updated November 2014

Units 3 and 4: Music Investigation

Unit 3: Music Investigation

Unit 4: Music Investigation

Advice for teachers: Music Investigation Units 3 and 4

Units 14: Music Style and Composition

Unit 1: Music Style and Composition

Unit 2: Music Style and Composition

Unit 3: Music Style and Composition

Unit 4: Music Style and Composition

Advice for teachers: Music Style and Composition Units 14

Updated November 2014

The accreditation period commences on 1 January 2011.

This study enables students to:

Introduction MUSIC 20112016

Music Style and Composition

Music Style and Composition

The units in the study are:

Changes to the Study design

vce study design

Updated November 2014

MONITORING FOR Quality

USE OF INFORMATION AND COMMUNICATIONS TECHNOLOGY

vce study design

Assessment and reporting

vce study design

Units 14: Music Performance

Unit 1: Music Performance

SELECTION OF INSTRUMENT OR VOICE

In this study design, the term instrument includes voice.

WORKS SELECTED FOR STUDY

Music Performance Unit 1

ways to practise and perform a program of group and solo works

vce study design

Updated November 2014

MUSIC 20112016 Music

strategies for developing effective instrumental practice routines

implement instrumental practice routines

vce study design

Music Performance Unit 1

vce study design

Updated November 2014

MUSIC 20112016 Music

vce study design

Music Performance Unit 1

vce study design

Updated November 2014

Unit 2: Music Performance

SELECTION OF INSTRUMENT OR VOICE

In this study design, the term instrument includes voice.