Secondary Curriculum 2A – Assignment 1

Western Sydney University

Assignment 1 – Secondary Curriculum 2A

Music 11-12
Brooke Grech – 18893641

Contents
Question 1 – Marking Guideline ............................................................................................................ 2
Question 2 – Marking Guideline ............................................................................................................ 3
Student Marks ......................................................................................................................................... 4
Student 1 ................................................................................................................................................ 4
Student 2 ................................................................................................................................................ 7
Student 3 .............................................................................................................................................. 10
Student 4 .............................................................................................................................................. 13
Student 5 .............................................................................................................................................. 16
Student 6 .............................................................................................................................................. 19
Student 7 .............................................................................................................................................. 22
Student 8 .............................................................................................................................................. 25
Student 9 .............................................................................................................................................. 28
Student 10 ............................................................................................................................................ 31
Student Ranks ....................................................................................................................................... 34
Statement ............................................................................................................................................. 35
References ............................................................................................................................................ 38

Brooke Grech – 18893641

 Secondary Curriculum 2A – Assignment 1

Question 1 – Marking Guideline

Q1. Discuss the phrasing and texture of excerpt (a).

Criteria Marks
● Describes in detail the use of phrasing and texture in this 6
excerpt
● Demonstrates a developed aural understanding
● Describes in some detail the use of phrasing and texture in 4-5
this excerpt
● Demonstrates a competent aural understanding
● Describes some of the uses of phrasing and texture in this 2-3
excerpt
● Demonstrates a basic aural understanding
● Demonstrates a limited aural understanding 1

Marking was based on the guidelines above and student responses were
allocated according to the corresponding band.

Brooke Grech – 18893641

Question 2 – Marking Guideline
With reference to the musical concepts, discuss the contrasts between
excerpts (a) & (b).

Criteria Marks
● Explains in detail how the musical concepts are contrasted in 8
these excerpts
● Demonstrates a highly developed aural understanding, using
well supported observations and appropriate examples
● Explains in some detail how the musical concepts are 6-7
contrasted in these excerpts
● Demonstrates a developed aural understanding, using
appropriate observations and examples
● Explains how the musical concepts are contrasted in these 4-5
excerpts
● Demonstrates a competent aural understanding, using
observations and examples
● Demonstrates a basic understanding of how the musical 2-3
concepts are contrasted in these excerpts
● Demonstrates a basic aural understanding
● Demonstrates a limited aural understanding 1

Marking was based on the guidelines above and student responses were
allocated according to the corresponding band.
Student Marks:
STUDENT 1:
Question 1 Answer:

● Stick with cowbell for one bar – phrases 2 bars – Answer is contradictory – one bar, 2 bars?
● Monophonic – soprano voice female – mostly repeated – Great analysis of texture!
● Homophonic – harmony singers 3rd lower
● Polyphonic - sustains the notes, then singer – Slightly inaccurate – this is a counter melody,
but it is still homophonic.
● Female singer – strong. How does this refer to texture and phrasing?
● Added texture throughout the song – How and what? Needs to be more specific.
● Little contrast in notes; mostly in steps. Good reference to phrasing
● Cowbell is throughout the song. Good observation - texture
● There was 2 phrases both repeated 4 times each with added texture - Excellent observation

Question 2 Answer:
● Opened with female singing then added texture – By ‘texture’, I think you meant the
underlying accompaniment? Needs to be more specific.
● Bongos are being used, more beats per bar – Good that you noticed a new percussion
instrument. Yes there are more beats per bar being played by bongo compared to agogo
instrument – but you need to make this more specific.
● Singer is singing higher and stronger – Good, but needs more elaboration
● The back-up singers 5th lower, shortens note value – Good observation on the backup
singers, but not sure what you meant by shortens note value.
● Main singer sustains her notes – longer note values than previous (Very good - contrast)
● The texture at the beginning was\monophonic when only the soprano was singing (True) but
when drums and harmony singers came in it changed to polyphonic (Good!). Unlike the first
part that kept on adding new texture. (Very good comparison)
● Dynamics – decrescendo and crescendo used (Good, but be more specific)
● Melisma is used and other decorations are added each time she repeats the same words -
use of chromaticism (Good attempt at explaining expressive techniques)
● More use of notes – range, more variety of pitch, note values and dynamics (Very Good
comparison – but be specific about who does this)
● Higher key – It is in the same key
● Crescendos are used for last note of back-up singers; also note has added note value – need
to be more specific, which part are you talking about here?
Student 1 - Question 1: Mark = 5/6 – Rank: 3 (Overall Rank: 2)

Criteria Marks
● Describes in detail the use of phrasing and texture in this 6
excerpt
● Demonstrates a developed aural understanding
● Describes in some detail the use of phrasing and texture in 4-5
this excerpt
● Demonstrates a competent aural understanding
● Describes some of the uses of phrasing and texture in this 2-3
excerpt
● Demonstrates a basic aural understanding
● Demonstrates a limited aural understanding 1

Strengths:
Your response highlighted the main textural and phrasing ideas shown in the excerpt. You
were able to determine the instruments accurately and had a relatively good understanding
of what they were doing in the song. Specifically, the build from monophonic to
homophonic texture with the vocal parts. You were also able to accurately use appropriate
music terminology. Observations on the amount of phrasing and repetitions were especially
notable. Well done!

Comments for Improvement:

Your answer could be improved by elaborating on the main ideas you suggested. Most of
the time your answers were short or needed further explanation to unpack the smaller
details. For example, your answer about the female singer being ‘strong’, needed to be
elaborated on how this shows texture or phrasing. Also, to support and strengthen your
answer, “Added texture throughout the song”, you could make a small graph or table, then
list the order of layers you hear throughout the song and how they add to the overall
texture.
Student 1 - Question 2: Mark = 7/8 – Rank 3 (Overall Rank: 2)
Criteria Marks
● Explains in detail how the musical concepts are contrasted in 8
these excerpts
● Demonstrates a highly developed aural understanding, using well
supported observations and appropriate examples
● Explains in some detail how the musical concepts are contrasted 6-7
in these excerpts
● Demonstrates a developed aural understanding, using
appropriate observations and examples
● Explains how the musical concepts are contrasted in these 4-5
excerpts
● Demonstrates a competent aural understanding, using
observations and examples
● Demonstrates a basic understanding of how the musical concepts 2-3
are contrasted in these excerpts
● Demonstrates a basic aural understanding
● Demonstrates a limited aural understanding 1

Strengths:
You were able to identify a few key elements from the concepts of music and compare them
with excerpt a). You made really great observations on how the main singer sings differently
compared to the first excerpt and gave appropriate examples on how she achieved this.
Great comparison of the texture between the two excerpts, specifically, your point on the
first excerpt adding more new textures. Well done for pointing out the use of melisma as an
expressive technique and chromatic scale as part of pitch. Great job on identifying the range
of notes used, variety of pitch, note values and dynamics compared to the first excerpt.
Good job!

Comments for Improvement:

To receive higher marks, you needed to add more comparison. That is, make sure that you
don’t just discuss excerpt b), but also compare it to what excerpt a) was doing by using
comparing adjectives. A lot of the time you mentioned some good points, but you needed to
expand or be more specific with what you meant. To strengthen your answer a little more,
you could also mention a few more concepts, like, structure: excerpt b) had two sections
and excerpt a) had multiple sections. You could also mention contrasts in tone colour:
excerpt b’s main vocalist – royal and deep tone, whereas, excerpt a’s main vocalists were
bright and mellow in tone.
STUDENT 2:
Question 1 Answer:

● Starts off with acapella solo voice, with drums (description needs to be more specific)
● As the music progresses, more voices are put in giving texture, singing the same phrase over
and over against or with one another (Observation is accurate, but music terms are lacking –
better use would be: as voices enter, texture thickens from monophonic to homophonic.
There is repetition of these phrases – or write number of phrases)
● Towards the end you get this rich effect when the lower register voices are added giving a
padding effect and filling out the sound, adding texture as well (Good observation).
● The drums accompaniment with the voices is wooden in tone colour and provides an
ostinato throughout (Good observation of ostinato). With the extra voices, it also provides
harmony
● Voices singing sustained notes underneath or on top of the phrases gives it, again more
texture. – Good, but could be more technical – homophonic texture.

Question 2 Answer:

In this excerpt:

● There is a female solo vocalist accompanied by several female voices (Good). These voices
underneath provide long, sustained chords, providing harmony and added texture (Good,
but specify which part).
● The female solo vocalist improvises the main phrase sung in the first excerpt (Very good
point). She uses scatting and extends the pitch range (great!). She also uses glissandos (Very
good, but maybe specify when this happens)
● The bongo drums provide rhythm without being too piercing (good observation - tone
colour) – again an ostinato
● This excerpt is different because you don’t get the gradual giving of texture (good
comparison), it stays the same the whole way through (there are only slight changes in
texture – like the added shaker in the 2nd section)
● Lots of dynamic contrast in the female vocalist and accompaniment voices (good). As the
soloist gets louder the pitch becomes higher. This give a suspenseful
Student 2 - Question 1: Mark = 3.5/6 – Rank: 8 (Overall Rank: 8)
Criteria Marks
● Describes in detail the use of phrasing and texture in this 6
excerpt
● Demonstrates a developed aural understanding
● Describes in some detail the use of phrasing and texture in 4-5
this excerpt
● Demonstrates a competent aural understanding
● Describes some of the uses of phrasing and texture in this 2-3
excerpt
● Demonstrates a basic aural understanding
● Demonstrates a limited aural understanding 1

Strengths:
You make some good observations about the instruments and what they are doing.
Specifically, by stating instruments one by one as they add to the texture. You made a good
point on how the vocals sing the same phrase repeatedly. Good attempt on explaining how
the lower register voices add texture by creating a pad effect. You mentioned some really
great points like the percussive instrument providing an ostinato throughout the piece and
the voices singing sustained notes underneath. Well done!

Comments for Improvement:

Although you made an effort to explain some textural and phrasing ideas in the excerpt,
your answers were a little vague at times. Your answer also did not always refer to the
question topics: texture and phrasing. For example, you made some good points about tone
colour, however this was not part of the question. Mentioning other concepts is fine, but
you needed to link them back to texture and phrasing. For example, how did the “wooden”
tone colour of the percussive instrument add to the texture or effect phrasing? Your
answers could be strengthened by using more appropriate music terminology or language.
For example, to explain “more voices are put in giving texture” in musical terms: ‘as a vocal
harmony and accompaniment were added, it created a homophonic texture.’
Student 2 - Question 2: Mark = 6/8 – Rank: 6 (Overall Rank: 8)
Criteria Marks
● Explains in detail how the musical concepts are contrasted in 8
these excerpts
● Demonstrates a highly developed aural understanding, using well
supported observations and appropriate examples
● Explains in some detail how the musical concepts are contrasted 6-7
in these excerpts
● Demonstrates a developed aural understanding, using
appropriate observations and examples
● Explains how the musical concepts are contrasted in these 4-5
excerpts
● Demonstrates a competent aural understanding, using
observations and examples
● Demonstrates a basic understanding of how the musical concepts 2-3
are contrasted in these excerpts
● Demonstrates a basic aural understanding
● Demonstrates a limited aural understanding 1

Strengths:
Well done at highlighting some main elements of the concepts of music in this excerpt and
attempting at contrasting them with excerpt a). You did very well at identifying good points
from excerpt b). Good point on the tone colour of the drum – “without being too piercing”.
Your observation on the female soloist improvising the main phrase sung in the first excerpt,
was especially notable! Great observation on the differences in dynamics and pitch. You
were also able to point out some great expressive techniques used by the vocalist. Overall,
well done!

Comments for Improvement:

Overall, your answer showed a great understanding of music terminology and most of the
time went into detail of what was happening in excerpt b). To receive higher marks, you
needed to add more detail regarding comparison, especially, in the first few sentences.
Most of the time you were able to note what was happening in the excerpt, however, you
needed to make sure you were linking back to the question, which meant ‘contrasting’ the
two excerpts. For example, your answer “She uses scatting and extends the pitch range. She
also uses glissandos”, could be strengthened by adding ‘…differing from the first excerpt’s
strict melody, which is repeated with no improvisation’. Your answer could also be
strengthened by contrasting more of the concepts of music, such as: structure, duration,
and tone colour.
STUDENT 3:

Question 1 Answer:

Texture gradually builds, beginning with only a xylophone keeping the beat and solo female lead
(Great!). Then a 2nd voice enters and a 3rd in harmony. As more vocals enters a 3rd texture
becomes more defined with vocals singing lead and accompaniment – different parts but still
homophonic. (Great!) Phrasing is in question and answer form, the same phrase is repeated 4 times
(Very good).

Question 2 Answer:

● Female lead vocal singing improv/ scatting over other voices and instruments (Good point)
● Bongo drum is keeping beat instead of xylophone (Good comparson)
● Texture has more layers and is slightly polyphonic – What are the layers?
● Clapping is also keeping beat with bongo – Clapping only at start
● In different form: lead and back-up vocals (Good comparison)
● More use of expressive techniques such as scatting and melismas and glissandos and vibrato
(Great comparison!)
● Lead gives wider range, reaching lower note (Yes)
● Duration is shorter, giving a more upbeat feeling – How and when?
● Tonality is in a similar major key
● Xylophone also enters adding another layer of texture – No xylophone
● Texture builds very quickly with only clapping to begin with, then most layers enter together
at once (Good!)
Student 3 - Question 1: Mark = 4/6 – Rank: 5 (Overall Rank: 6)
Criteria Marks
● Describes in detail the use of phrasing and texture in this 6
excerpt
● Demonstrates a developed aural understanding
● Describes in some detail the use of phrasing and texture in 4-5
this excerpt
● Demonstrates a competent aural understanding
● Describes some of the uses of phrasing and texture in this 2-3
excerpt
● Demonstrates a basic aural understanding
● Demonstrates a limited aural understanding 1

Strengths:
You did very well at structuring your answer by stating the texture and phrasing of the
different instruments as they entered the piece and separating your answers on texture
from phrasing. You also didn’t just list instruments but tried to explain how the instruments
were adding to the texture of the piece, with an attempt to match these with adjectives like:
“defined” and “homophonic”. Your answer regarding phrasing: question and answer form
(or call and response) and amount of repetition, was specifically outstanding. Overall, great
job!

Comments for Improvement:

Your answer overall, was quite short. To boost your marks, your answer needed to be more
detailed. For example, you could have explained how many beats/bars the ‘xylophone’
played before the female vocal entered. Although phrasing comments were great, this also
could have been elaborated to strengthen your answer.
Student 3 - Question 2: Mark = 6/8 – Rank: 7 (Overall Rank: 6)
Criteria Marks
● Explains in detail how the musical concepts are contrasted in 8
these excerpts
● Demonstrates a highly developed aural understanding, using well
supported observations and appropriate examples
● Explains in some detail how the musical concepts are contrasted 6-7
in these excerpts
● Demonstrates a developed aural understanding, using
appropriate observations and examples
● Explains how the musical concepts are contrasted in these 4-5
excerpts
● Demonstrates a competent aural understanding, using
observations and examples
● Demonstrates a basic understanding of how the musical concepts 2-3
are contrasted in these excerpts
● Demonstrates a basic aural understanding
● Demonstrates a limited aural understanding 1

Strengths:
You did a great job at identifying some key elements from the concepts of music in the
excerpt and comparing them to excerpt a). Well done specifically, on the comparisons of the
drum instead of the xylophone, different form: lead and back-up vocals, and expressive
techniques. Overall, good effort!

Comments for Improvement:

You did well at contrasting the ideas between the two excerpts, although, you could have
compared the two a bit more. That is, you were able to list some great examples of
concepts related to excerpt b), but you forgot to compare it to what was happening in
excerpt a). For example: “Texture builds very quickly with only clapping to begin with, then
most layers enter together at once”. This was a very strong point, but you needed to
compare it with excerpt a). An example of this could be: “…when compared with excerpt a),
which builds in texture gradually”. Some observations were also slightly vague and needed
to be unpacked a little more, such as, “duration is shorter…”. More reference to appropriate
music terminology would also help improve your answer.
STUDENT 4:

Question 1 Answer:

There is a cowbell that starts and does a constant beat throughout whole extract, rhythmic
accompaniment, monophonic (excellent!)
There is a lead vocalist that comes in; polyphonic texture is added when other voices start singing
underneath (Good job, but texture is homophonic)
There is a repeated phrase throughout the whole song
Breaking that phrase into little phrase
Unison with other singing, staccato with voices – Good!
Texture starts simple, more harmonic layers build up (voices) Long sustained notes are sung in first
part, 2nd part of phrase is short – Very good!
This is drumbeat

Question 2 Answer:

● There is more of lead vocals being heard, group of voices singing a high pitch, repeated
phrase (Attempt of comparison)
● Long sustained notes over 2 bars scatting – Slightly correct. Over 2x main phrase (section 1),
not bars.
● Louder dynamics, improvisation, melisma used by lead vocalist (Good comparison)
● Lead vocalist slides her voice
● More percussion, 2 drums. (Good comparison) Adding layers of sound, shorter duration of
lead vocalist notes (Good, but when does this happen?)
● Rhythmic accompaniment has extra layers of drum added, bongos – Good rhythmic
comparison
● Dynamics become softer in back-up singing, then near end of extract it becomes louder at
very end. As the choir becomes softer, so does lead vocalists (Good points!)
● Throughout, group singing repeat a phrase, with third part harmony
● Pitch has become higher in this extract than other (Attempt at comparison – but what
pitch?)
● Women’s voices melt together
Student 4 - Question 1: Mark = 6/6 – Rank: 2 (Overall Rank: 4)
Criteria Marks
● Describes in detail the use of phrasing and texture in this 6
excerpt
● Demonstrates a developed aural understanding
● Describes in some detail the use of phrasing and texture in 4-5
this excerpt
● Demonstrates a competent aural understanding
● Describes some of the uses of phrasing and texture in this 2-3
excerpt
● Demonstrates a basic aural understanding
● Demonstrates a limited aural understanding 1

Strengths:
You did very well at going into detail with your explanations on phrasing and texture. You
were able to clearly identify key instruments and what they were doing in the song. You also
used suitable music terminology, which helped strengthen your answer. Your observations
on the long phrases and short phrases were especially notable! Overall, very good work!

Comments for Improvement:

To support your answers a little more, your explanations could include more of ‘when’ parts
happen. That is, in bars or amount of beats or counts. For example, ‘there is a cow bell that
plays for 6 beats or one bar before the female vocals enter’.
Student 4 - Question 2: Mark = 5.5/8 – Rank: 8 (Overall Rank: 4)
Criteria Marks
● Explains in detail how the musical concepts are contrasted in 8
these excerpts
● Demonstrates a highly developed aural understanding, using well
supported observations and appropriate examples
● Explains in some detail how the musical concepts are contrasted 6-7
in these excerpts
● Demonstrates a developed aural understanding, using
appropriate observations and examples
● Explains how the musical concepts are contrasted in these 4-5
excerpts
● Demonstrates a competent aural understanding, using
observations and examples
● Demonstrates a basic understanding of how the musical concepts 2-3
are contrasted in these excerpts
● Demonstrates a basic aural understanding
● Demonstrates a limited aural understanding 1

Strengths:
You did especially well on identifying differences in dynamics and expressive techniques
between the two excerpts. Well done for pointing out the new instruments and textures
used in excerpt b). Great observation of the back-up singers softening in dynamics as the
lead vocalist soften. Great observations on phrasing. Good effort!

Comments for Improvement:

Your answer provided some detail regarding contrast; however, more comparisons would
have improved your answer. That is, you made some great points about excerpt b), but
forgot to compare it with excerpt a). Example, your answer “lead vocalist slides her voice”
could add: “compared to the strict vocal contour of excerpt a”. Some observations were
slightly inaccurate or unclear. For example, “Pitch has become higher in this extract than
other”, was a good attempt to contrast the excerpts, however, it is unclear whether you
mean the overall key or range of pitch by the main vocalist. At times you would mention a
point, but were not specific enough, such as, “shorter duration of lead vocalist notes”. To
strengthen this answer, you needed to specify when this occurs.
STUDENT 5:

Question 1 Answer:

The texture used gradually builds up, it starts with one musical instrument, like a tin can or
xylophone, with a voice coming in (Great). Then a second one making the harmony, till finally a third
male voice comes in and the texture is more defined and louder (tried to explain how texture
thickens, but could use a more appropriate adjective. No male voice, just low female voices). First
the vocals are women’s leads, then an accompaniment. Still homophonic (Very good). Phrasing –
question/answer, then repeats building up with extra vocals (Good!). And it is all smoother and
flowing. Rhythmic bass doesn’t change. The same phrase is repeated 4 times (Great!) It’s in 4/4
(inaccurate).

Question 2 Answer:

● All three voices are singing at once (Which voices? Specify)

● The female lead breaks off and sings above the other two making harmony (Good)
● There are bongo drums keeping the beat (Good)
● The form is different with lead and back-up vocals (Good comparison)
● Texture is more layered (how?) and a little bit polyphonic – Good!
● There’s clapping (When?)
● Expressive techniques used like glissandos, vibrato (Good)
● Shorter length of notes (When and what?)
● Dynamics pretty much stay the same throughout (Dynamics change a little – main vocalist
slightly softens when lowers in pitch and then gradually gets louder again with higher pitch)
● Texture builds quickly with only one then layers come in together (correct)
● A lot of things happen – be more specific
● Texture stays the same – be more specific – how?
● One of the voices are lower compared to the first time, so one higher, two lower – attempt
at comparison
Student 5 - Question 1: Mark = 4.5/6 – Rank: 4 (Overall Rank: 9)
Criteria Marks
● Describes in detail the use of phrasing and texture in this 6
excerpt
● Demonstrates a developed aural understanding
● Describes in some detail the use of phrasing and texture in 4-5
this excerpt
● Demonstrates a competent aural understanding
● Describes some of the uses of phrasing and texture in this 2-3
excerpt
● Demonstrates a basic aural understanding
● Demonstrates a limited aural understanding 1

Strengths:
Well done for attempting to discuss phrasing and texture in detail. You were able to identify
key instruments and what they were doing in the song. You were able to suggest the order
of instruments as they appear in the song and how this builds texture. Although some of
your observations were slightly inaccurate, most of the time you managed to get your main
ideas across, especially regarding phrasing. Well done!

Comments for Improvement:

Although your explanations were thorough, at times your terminology or observations were
slightly inaccurate. For example, there were no male vocals, but a lower register female
vocal. To increase your marks slightly, you needed to be more specific – give examples to
help support and strengthen your argument.
Student 5 - Question 2: Mark = 4/8 – Rank: 9 (Overall Rank: 9)
Criteria Marks
● Explains in detail how the musical concepts are contrasted in 8
these excerpts
● Demonstrates a highly developed aural understanding, using well
supported observations and appropriate examples
● Explains in some detail how the musical concepts are contrasted 6-7
in these excerpts
● Demonstrates a developed aural understanding, using
appropriate observations and examples
● Explains how the musical concepts are contrasted in these 4-5
excerpts
● Demonstrates a competent aural understanding, using
observations and examples
● Demonstrates a basic understanding of how the musical concepts 2-3
are contrasted in these excerpts
● Demonstrates a basic aural understanding
● Demonstrates a limited aural understanding 1

Strengths:
Well done for attempting to suggest some main elements from excerpt b). You were able to
make some decent points regarding what the vocals and drums were doing in excerpt b).
You made a good point about how “the form is different with lead and back-up vocals”. You
observed the clapping, which was a good point, but you also needed to mention when it
occurred. Well done at attempting!

Comments for Improvement:

To receive higher marks, you needed to make sure you were contrasting the two excerpts,
and not just discussing and giving examples from excerpt b). For example: “The female lead
breaks off and sings above the other two making harmony”, could be strengthened by
adding, ‘which is different to excerpt a), because the main vocalist sings a strict melody’.
Some of your observations were either inaccurate, vague or incomplete. For example,
“texture stays the same” – the texture does change in excerpt b) when comparing the two
sections in that excerpt – drum pattern fastens and there is an added shaker in section 2.
Texture is also different compared to excerpt a), because in excerpt a) the texture gradually
builds, whereas, excerpt b’s) texture enters almost instantly.
STUDENT 6:

Question 1 Answer:

Gradual build up of texture, begins with one traditional instrument; syncopation – Great!

Then single female voice joined with second, third in harmony, 4th in harmony making up a chord
like structure. RICH HARMONY. RICH TEXTURE. – Great!

Phrasing for the accompaniment are quite different; the traditional instrument is quite short/
staccato while the voice has a smooth line followed by an uneven – Very good!

Question 2 Answer:

● The texture has been further built with more accompanying instruments and a lead vocal
over the original harmony (great comparison)
● The melody for the lead vocal seems very improvised with a lot of chromaticism and slides
from one note to the next (good observation)
● The harmony changes to a single rhythmic pattern in harmony (chord like) while lead vocal
explore vocal range (I sort of understand what you mean, but specify the section you’re
referring to)
● Expressive techniques – slides, melismas, explores vocal range unlike the first section which
was very set (very good comparison)
● The tone colour is very dense, with rounded percussion notes and nasally lead vocal (good!)
● A LOT of syncopation throughout with a new percussion instrument – There is slightly less
syncopation in excerpt b than excerpt a. Good try though, and good point of new percussion
instrument.
● The texture has been built and doesn’t change throughout (Slightly inaccurate – added
shaker in section 2, quicker beats played by drum)
● Dynamics are used by accompanying and lead vocal. A lot louder when she is in the higher
register but quiet in lower register – Great point
Student 6 - Question 1: Mark = 4/6 – Rank: 7 (Overall Rank: 5)
Criteria Marks
● Describes in detail the use of phrasing and texture in this 6
excerpt
● Demonstrates a developed aural understanding
● Describes in some detail the use of phrasing and texture in 4-5
this excerpt
● Demonstrates a competent aural understanding
● Describes some of the uses of phrasing and texture in this 2-3
excerpt
● Demonstrates a basic aural understanding
● Demonstrates a limited aural understanding 1

Strengths:
You did very well at structuring your answer by stating the texture and phrasing of the
different instruments as they entered the piece. You also didn’t just list instruments but
tried to explain how the instruments were adding to the texture of the piece with
appropriate adjectives like: “rich” or “chord-like”. Good attempt at contrasting the
differences in phrasing for the traditional instrument and voices! Well done!

Comments for Improvement:

Although you were able to use a number of appropriate adjectives to support your answer,
using more musical terminology would help boost your mark. For example: ‘the traditional
instrument was monophonic in texture’. Your explanations also could have been elaborated
and you could have mentioned a couple more points on phrasing to strengthen your
answer. For example, in your answer for phrasing, you could have suggested what the
singers were singing when the phrasing was ‘smooth’, then ‘uneven’.
Student 6 - Question 2: Mark = 6.5/8 – Rank: 4 (Overall Rank: 5)
Criteria Marks
● Explains in detail how the musical concepts are contrasted in 8
these excerpts
● Demonstrates a highly developed aural understanding, using well
supported observations and appropriate examples
● Explains in some detail how the musical concepts are contrasted 6-7
in these excerpts
● Demonstrates a developed aural understanding, using
appropriate observations and examples
● Explains how the musical concepts are contrasted in these 4-5
excerpts
● Demonstrates a competent aural understanding, using
observations and examples
● Demonstrates a basic understanding of how the musical concepts 2-3
are contrasted in these excerpts
● Demonstrates a basic aural understanding
● Demonstrates a limited aural understanding 1

Strengths:
Great comparisons on the new added instruments and lead vocal. You made great
observations on excerpt b) that were mostly accurate. Excellent observations regarding the
lead vocal and the expressive techniques used in excerpt b) compared to the set vocal in
excerpt a). Overall, well done!

Comments for Improvement:

To achieve a few more marks, you needed to make some more comparisons between
excerpt b) and a). Most of the time you made great points on excerpt b) but did not
compare them to what was happening in excerpt a). Although your answers were mostly
accurate, your answers on certain concepts of music were vague. These needed to be more
detailed to achieve higher marks. For example, for texture, you could mention what the
underlying vocal parts are doing, and what the percussion instruments are doing. A few
more mentions of other concepts of music (like structure, pitch or duration) would also help
strengthen your answer.
STUDENT 7:

Question 1 Answer:

● The texture started with a solo percussion instrument (Good), then voice then became solo
and choir – Sentence is hard to understand
● Beat on cowbell, solo soprano female voice then harmony; alto voices sing in harmony, male
tenor also singing harmony – No male tenor, however, yes to alto female
● the phrases (of what?) are long and the solo alto sings the same two bar phrase over with
the other vocals building texture (good but how?) and harmony around with a harmony line
– A little repetitive here
● the cowbell pattern keeps going throughout the piece (good)
● ostinato is used throughout the piece on the cowbell and the main melody (very good!)
● 4/4 (inaccurate) the phrases are 4 bars each (Great observation!) There is much syncopation
in both the rhythmic accompaniment and the main melody (very good observation)

Question 2 Answer:

● Soprano, choir – more rhythmic accompaniment (Good), phrases changed (Ok, but how?)
● Pitch – now an alto with an extended range (Good point and comparison)
● The piece is in the same key (Great!). There is still a melody and accompaniment (Yes); no
chromaticism – Lead vocal sometimes sings in slight chromatic
● The piece starts with the soprano upbeat – (is it the singer that makes the piece upbeat?);
then the rest of the rhythmic accompaniment and vocal harmony comes in (Good attempt at
texture). The duration is very similar for the harmony vocals but the soprano has extended
the duration of the notes and added more melismas and things – expressive techniques
(Good comparison – but be a little more specific on where this happens)
● structure is different in this piece as all the instruments and vocals begin at the same time
whereas in the first piece there was a gradual introduction of the different layers of sound
(GREAT comparison!)
● the phrasing of the main melody has also changed with shorter phrases (in which part
though?); while the phrasing of the backing vocals remains the same (Good comparison, but
be more specific)
● the tone colour in the second excerpt is different; there is use of a lower female voice and
there is also different rhythmic instruments (Good attempt, however, you need to mention
tone colour words when referring to tone colour – e.g. deep, majestic, dry etc), causing a
shift in the overall piece
● Dynamics and expressive techniques: the dynamics in the first part were a crescendo
throughout the piece, but little change in the second – good comparison; in the second part
the main female lead is adding many vibratos and falls off notes as expressive techniques
(very good!), as well as many melismas for effect.
Student 7 - Question 1: Mark = 4/6 – Rank: 6 (Overall Rank: 3)
Criteria Marks
● Describes in detail the use of phrasing and texture in this 6
excerpt
● Demonstrates a developed aural understanding
● Describes in some detail the use of phrasing and texture in 4-5
this excerpt
● Demonstrates a competent aural understanding
● Describes some of the uses of phrasing and texture in this 2-3
excerpt
● Demonstrates a basic aural understanding
● Demonstrates a limited aural understanding 1

Strengths:
Great attempt at discussing phrasing and texture for this excerpt. You made a good attempt
to highlight what instruments were doing as they entered the piece. Well done for pointing
out the ostinato of the cowbell and main melody throughout the piece. Great observation
on the number of phrases per bar. Your comment on the syncopation in the rhythmic
accompaniment and vocals was also an excellent observation!

Comments for Improvement:

Just be careful when writing your sentences, making sure they are clear. At times it was a
little hard to follow what you were trying to say, especially, in the first few dot points. You
received marks for mentioning some key musical ideas of phrasing. However, your answers
for texture needed more elaboration and use of music terminology. For example, you
mentioned how “the phrases are long”, but did not mention the instrument or when this
occurs. A fuller answer could be: ‘The phrases of the main vocal melody were long when
singing, “mamaaa”’. Your answer for “the phrases are 4 bars each” was also a good point,
but you do not mention what phrases (that is, the melody or percussion?) It is assumed here
that you are referring to the main vocal melody.
Student 7 - Question 2: Mark = 8/8 – Rank: 1 (Overall Rank: 3)
Criteria Marks
● Explains in detail how the musical concepts are contrasted in 8
these excerpts
● Demonstrates a highly developed aural understanding, using well
supported observations and appropriate examples
● Explains in some detail how the musical concepts are contrasted 6-7
in these excerpts
● Demonstrates a developed aural understanding, using
appropriate observations and examples
● Explains how the musical concepts are contrasted in these 4-5
excerpts
● Demonstrates a competent aural understanding, using
observations and examples
● Demonstrates a basic understanding of how the musical concepts 2-3
are contrasted in these excerpts
● Demonstrates a basic aural understanding
● Demonstrates a limited aural understanding 1

Strengths:
You did very well at comparing the concepts of music between the two excerpts.
Particularly, your answers on differences and similarities in pitch, duration, dynamics and
expressive techniques, structure and tone colour. Your answer and comparison for structure
was very well observed! The way you structured your answers was also done very well.
Excellent!

Comments for Improvement:

The only suggestion for improvement would be, to be careful you’re not contradicting
yourself in your answers or be a little more specific about what you mean. For example, you
mentioned how the pitch of the vocalist was now an alto, but with an extended range, but
then a couple of times you mentioned how the main vocalist was a soprano. Be careful not
to get confused between higher and lower registers and alto and soprano. Alto or soprano
describes the singer’s range (that is, a singer can’t be both alto and soprano), but both types
of singers can sing in a higher or lower part of their register. Hence, your answer on the
main vocalist being an alto which sings an extended range is correct, however, when she
sings higher in pitch, she does not turn into a soprano.
STUDENT 8:

Question 1 Answer:

The phrasing is expressed every time the repeated sentence is said (A little unclear and vague)

Texture varies throughout the piece, starting off with just a continual beat, (Good!) sounding
metallic. Then gradually one voice is added and the piece continues building up voice texture with
multiple harmonies and back-up vocals (Great!) The layers of texture finish with the addition of a
round. The phrase finishes every time the voice says “Mama” (Good point! This is correct but does
not include the first time mama is sung at the beginning of phrase 1). The phrase lasts for 6 bars,
adding texture every time it is repeated. The beat is synchronised (maybe you meant syncopated?).

Question 2 Answer:

● In the second\excerpt, the soloist sings an alternate melody above the original melody
(Good comparison). The soloist sings with an almost scatting effect (Good point). It explores
her range over the harmonic vocal accompaniment (Great).
● There is also a tag where a section of the original phrase is extracted and repeated until the
end of the piece of music (I get what you’re trying to say here, but you need to be more
specific as to what section you’re talking about – try give an example of the lyrics).
● There is more rhythmic accompaniment in the second excerpt with the additional drums
(Good comparison – perhaps try discussing what they do different to the first excerpt)
● The harmony still exists underneath the solo voice (Good). There is no suggestion of a round
● The second excerpt emphasizes the soloist more than the first (Great comparison!)
● There are more crescendos in the solo voice
● There is no evident texture variations in the 2nd excerpt (The texture variations are very
slight – added shaker in section 2, fuller drums).
Student 8 - Question 1: Mark = 3/6 – Rank: 9 (Overall Rank: 7)
Criteria Marks
● Describes in detail the use of phrasing and texture in this 6
excerpt
● Demonstrates a developed aural understanding
● Describes in some detail the use of phrasing and texture in 4-5
this excerpt
● Demonstrates a competent aural understanding
● Describes some of the uses of phrasing and texture in this 2-3
excerpt
● Demonstrates a basic aural understanding
● Demonstrates a limited aural understanding 1

Strengths:
You are able to identify a few key changes in texture and explain how these changes occur.
Well done for pointing out how the multiple harmonies and back-up vocals build the
texture. Good attempt at trying to count the number of bars of the vocal phrases. Although
this was slightly inaccurate, you still managed to point out that this itself was a phrase. Good
try for describing the beat, which you might have meant, ‘syncopated’, not ‘synchronised’.
Good job!

Comments for Improvement:

At times your sentences were a little unclear, short or unfinished. For example: “The
phrasing is expressed every time the repeated sentence is said”. This answer could be
strengthened by noting what instrumental part was doing this and exactly what they were
singing/doing. For example, ‘The phrasing of the main female vocal: “mama” and “thu le le”
was repeated frequently’ or ‘the main female vocal sang 2 main phrases, which repeated
throughout the song’. You made a good attempt to do this in your answer “the phrase
finishes every time the voice says, ‘mama’”. However, this still could have been more
specific. Make sure that you do not forget to be specific when stating a point, for example:
“The phrase lasts for 6 bars”, did not specify what instrument you were referring to.
Student 8 - Question 2: Mark = 6.5/8 – Rank: 5 (Overall Rank: 7)
Criteria Marks
● Explains in detail how the musical concepts are contrasted in 8
these excerpts
● Demonstrates a highly developed aural understanding, using well
supported observations and appropriate examples
● Explains in some detail how the musical concepts are contrasted 6-7
in these excerpts
● Demonstrates a developed aural understanding, using
appropriate observations and examples
● Explains how the musical concepts are contrasted in these 4-5
excerpts
● Demonstrates a competent aural understanding, using
observations and examples
● Demonstrates a basic understanding of how the musical concepts 2-3
are contrasted in these excerpts
● Demonstrates a basic aural understanding
● Demonstrates a limited aural understanding 1

Strengths:
You did very well at contrasting the concepts of music between the two excerpts. Most of
the time you were able to explain these contrasts in detail. You usually stayed on topic and
referred to what the question asked. Great comparisons on the additional drums in excerpt
b), and how the soloist vocal sings an alternate melody above the original melody. Well
done!

Comments for Improvement:

To improve and strengthen your answers, you needed to discuss a few more concepts of
music and add more music terminology. Example: mentions of pitch, duration, tone colour
etc. Most of the time, you referred to a concept, for example: “scatting effect”, which falls
under expressive techniques, but you did not mention that it was this concept. You need to
specify these to clarify that you understand what you’re discussing. Terminology to include
could be: number of counts/bars/beats/phrases, homophonic, polyphonic,
dry/majestic/deep tone colour etc.
STUDENT 9:

Question 1 Answer:

● Texture: cowbell syncopated. (Good) Wooden sticks. Voice. Harmony

● Voice + 1 layer. 1st giving the rhythmic accompaniment; female voice comes in singing the
main melody. Then a second voice comes in to harmonise with the first voice. Another voice
comes in providing extra harmony. (Great observations! However, the second voice comes
in and sings melody with first voice, not harmony)
● Phrasing: the main melody is sung in 2 phrases which are repeated. (Correct!) The rhythmic
accompaniment is one phrase repeated over and over again (Great!). The second harmonic
line has longer phrases which extend over the main melody. (Good, perhaps give an example
of lyric) Echo voice
● Bass voice underneath
- rhythmic 1 phrase

- main melody ¾ time, 4 bars 1, 4 bars phrase 2 – Very good!

- same phrase but in harmony (3rds)

- echo voice adding syncopated sections in breaks from melody (Great outline and
structure of phrasing)

Question 2 Answer:

Pitch – higher improvised section above melody (Good comparison – but who is singing it and which
melody?)
Echos in harmony with main/ harmonized melody. Wider vocal range explored than in excerpt 1
(Great comparison! But by who?)
Duration – more notes sung adding a thicker layer, increasing texture (Who sings more notes and
how does this create thicker texture?)
Echo voice from extract 1 gone (Needs to be more specific – I can guess which part you’re talking
about, but not sure – second section, where ‘thulele’ is taken out?) and section put on top increasing
pitch – Not sure what you mean here.
Texture – more percussion added, bongo drums still in syncopation – Great!
The main melody from excerpt 1 was softened and seemed to be vocal accompaniment for
improvised/higher voice on top – Good comparison!
Dynamics, Exp techniques – louder dynamics, thicker tone colour. Melismas used, repetition. Wider
range explored than in excerpt 1 – Good comparisons and points. ‘Thicker’ as a tone colour word is
probably unsuitable here, thicker – refers more to texture. Try using words like dry, majestic, deep
tone colour.
Form – she sings in many different phrases and repeats lots of them changing them each time with
differing dynamics and expressive techniques – Great! Could also mention the two different sections
Texture – remains the same the whole way. No instruments or voices added this time. (Slightly
inaccurate – shaker is added in second section)
Student 9 - Question 1: Mark = 6/6 – Rank: 1 (Overall Rank: 1)
Criteria Marks
● Describes in detail the use of phrasing and texture in this 6
excerpt
● Demonstrates a developed aural understanding
● Describes in some detail the use of phrasing and texture in 4-5
this excerpt
● Demonstrates a competent aural understanding
● Describes some of the uses of phrasing and texture in this 2-3
excerpt
● Demonstrates a basic aural understanding
● Demonstrates a limited aural understanding 1

Strengths:
Your answers were very detailed and organised exceptionally. You were able to distinguish
the different instrumental parts and explain in detail what they were doing and when they
did it. You provided equal explanations for both texture and phrasing that were mostly
accurate. Your explanations of phrasing and detailed analysis of the vocal parts were
specifically outstanding! Well done!

Comments for Improvement:

To further strengthen your answer, use more musical terminology related to texture, like,
‘monophonic or polyphonic’. There were only minor sections that were slightly inaccurate
such as: “second voice comes in to harmonise with the first voice” – the second voice sung
the same melody as the first female vocal.
Student 9 - Question 2: Mark = 7.5/8 – Rank: 2 (Overall Rank: 1)
Criteria Marks
● Explains in detail how the musical concepts are contrasted in 8
these excerpts
● Demonstrates a highly developed aural understanding, using well
supported observations and appropriate examples
● Explains in some detail how the musical concepts are contrasted 6-7
in these excerpts
● Demonstrates a developed aural understanding, using
appropriate observations and examples
● Explains how the musical concepts are contrasted in these 4-5
excerpts
● Demonstrates a competent aural understanding, using
observations and examples
● Demonstrates a basic understanding of how the musical concepts 2-3
are contrasted in these excerpts
● Demonstrates a basic aural understanding
● Demonstrates a limited aural understanding 1

Strengths:
You did a very great job at structuring your answer so that it flowed. It was great that you
listed the concepts of music and attempted to provide an answer for each concept. You
were able to point out some good points regarding the differences in vocals between the
excerpts like: “Wider vocal range explored than in excerpt 1” and the use of expressive
techniques. Well done!

Comments for Improvement:

Although you mentioned many concepts of music, you needed to elaborate on some of the
points you made to make your answer clearer. For example, “higher improvised section
above melody”; who is singing it and which melody are you talking about here? A stronger
answer may look like: “The lead female vocal improvises over the main melody from excerpt
a), which now sings as the accompaniment in excerpt b)”. There were some slightly
inaccurate observations/answers, however, you were able to get the main idea across most
of the time.
STUDENT 10:

Question 1 Answer:

Voice creates harmony and also contrast against drums (Good, but how?). Bongo drums keep
rhythm – Great!
Phrasing – lasts for 2 or 3 bars after the word mama (What do you mean?). It changes slightly (How?)
Starts with 3 taps of drum
3 types of voices – female alto, female soprano, male tenor (Good try at naming the parts, although
there is no male vocal)

Question 2 Answer:

Starts with 3 claps then voices in harmony (Slightly correct). Female alto main part singing extended
version of what soprano sang (Good try at comparison)
Range is higher (Good, but who?)
Use of bongos as soon as voice comes, creating rhythm again – Good!
About 3 bar phrasing like first

3 beats of bass drum then use of stick (shaky thing) for 3 times – Good that you noticed the adding
of the shaker!
Having a light drum but in between each one creating a rhythm of only 5 beats – I think you are
referring to section two, where the drum plays quaver beats, then suddenly semi quaver beats.
Good try for explaining it.
Texture stays same the whole way by repeating the rhythm
Student 10 - Question 1: Mark = 1.5/6 – Rank: 10 (Overall Rank: 10)
Criteria Marks
● Describes in detail the use of phrasing and texture in this 6
excerpt
● Demonstrates a developed aural understanding
● Describes in some detail the use of phrasing and texture in 4-5
this excerpt
● Demonstrates a competent aural understanding
● Describes some of the uses of phrasing and texture in this 2-3
excerpt
● Demonstrates a basic aural understanding
● Demonstrates a limited aural understanding 1

Strengths:
Good job for mentioning the vocal harmonies and attempting to name the vocal parts. Well
done for trying to explain some phrasing elements. Good job for trying!

Comments for Improvement:

Well done for trying to answer the question. However, your answers were generally short or
incomplete. Your answer also needed to discuss texture and phrasing in more detail. You
mentioned some good points on its own, but it needed to tie back to how it shows texture
and phrasing. For example, “voice creates harmony and also contrast against drums” could
be strengthened like this: ‘Firstly, the drum beat plays a consistent beat which creates a
monophonic texture. The main female vocal enters next, contrasting the beat by singing a
melody – another monophonic texture. When the backing vocals enter with harmonies, this
also thickens the texture to homophonic, creating more contrast between parts’.
Student 10 - Question 2: Mark = 2/8 – Rank: 10 (Overall Rank: 10)
Criteria Marks
● Explains in detail how the musical concepts are contrasted in 8
these excerpts
● Demonstrates a highly developed aural understanding, using well
supported observations and appropriate examples
● Explains in some detail how the musical concepts are contrasted 6-7
in these excerpts
● Demonstrates a developed aural understanding, using
appropriate observations and examples
● Explains how the musical concepts are contrasted in these 4-5
excerpts
● Demonstrates a competent aural understanding, using
observations and examples
● Demonstrates a basic understanding of how the musical concepts 2-3
are contrasted in these excerpts
● Demonstrates a basic aural understanding
● Demonstrates a limited aural understanding 1

Strengths:
Well done for pointing out a few instruments such as: ‘clap’, ‘bongo’ and ‘female alto vocal’.
You made a few comparisons on pitch, “range is higher” and how the “female alto main part
singing extended version of what soprano sang”, where I assume that the soprano you talk
about here is the main vocalist from excerpt a). Well done for trying to explain the
complicated drum patterns in the second section of the excerpt. Well done for trying!

Comments for Improvement:

An area to improve on regarding your aural writing is extending and going into more detail
with your answers. To do this, try list and structure the concepts of music you can
remember first. For example, duration, texture, pitch etc. If you can only remember two,
focus on the comparisons between the two excerpts just for those two concepts. For
example, Duration: In excerpt a) – “mama” was sung with long note values and “Thu le le”
was sung with short note values. In excerpt b), this was similarly done with the
accompaniment vocal, however, the lead vocal improvised the main melody, and the note
values varied in her improvisation.” Texture: In excerpt a) the texture gradually builds,
whereas in excerpt b) the instruments enter together, with little build in texture throughout
the piece.
Student Ranking Table:
Question 1 Ranking:

Rank Student number Mark

1 Student 9 6/6
2 Student 4 6/6
3 Student 1 5/6
4 Student 5 4.5/6
5 Student 3 4/6
6 Student 7 4/6
7 Student 6 4/6
8 Student 2 3.5/6
9 Student 8 3/6
10 Student 10 1.5/6

Question 2 Ranking:

Rank Student number Mark

1 Student 7 8/8
2 Student 9 7.5/8
3 Student 1 7/8
4 Student 6 6.5/8
5 Student 8 6.5/8
6 Student 2 6/8
7 Student 3 6/8
8 Student 4 5.5/8
9 Student 5 4/8
10 Student 10 2/8

Overall Ranking:

Rank Student number Mark

1 Student 9 13.5/14
2 Student 1 12/14
3 Student 7 12/14
4 Student 4 11.5/14
5 Student 6 10.5/14
6 Student 3 10/14
7 Student 8 9.5/14
8 Student 2 9.5/14
9 Student 5 8.5/14
10 Student 10 3.5/14
Assessment Statement:

For many years, assessment in education has stirred a controversial discourse amongst

political and educational groups. Specifically, when considering how students should be

assessed and for what purpose. For Australia, the Australian Curriculum and Assessment

Authority states three main purposes of assessment; to assess ‘of’, ‘for’ and ‘as’ learning

(Fletcher & Shaw, 2012). This statement will discuss theories and views on the three

purposes of assessment, with how they may contribute to ranking and feedback, and how this

may affect overall views on assessment.

Assessment ‘of’ learning is usually related to summative assessment, of which data is

collected and generally, ranked, to inform the level of students’ knowledge and skills (NESA,

2017; Dixson & Worrell, 2016). A common example of assessment ‘of’ learning, where

assessments are ranked on a larger scale, is, the National Assessment Program – Literacy and

Numeracy (NAPLAN) (Fletcher & Shaw, 2012). The NAPLAN’s primary aim is to give

parents and teachers an indication of a student’s numeracy and literacy skill level, and areas

needing improvement (McGaw, 2012). Despite these goals being predominantly valuable, a

heavy focus on high-stake tests like the NAPLAN can have negative effects on the

educational community. For example, the public ranking of the NAPLAN tends to be used as

a guide for allocating educational funding; that is, higher NAPLAN scores generally correlate

with increased government funding and resources (Perry & McConney, 2010). Furthermore,

with these high-stakes, teachers start to teach to the test, rather than focus on students’

journeys as learners (Fletcher & Shaw, 2012). A great amount of pressure is placed on

students, parents, teachers and stakeholders to uphold the high standards of assessment

protocols (Dixson & Worrell, 2016). However, despite the rigorous discourse of assessment

‘of’ learning, there are also benefits that are frequently overlooked (Taras, 2008). That is,
initially, assessment ‘of’ learning was designed to help determine whether implemented

curriculum and pedagogical methods are effective in practice (Ladwig & Gore, 2006). When

perceived through the lens of feedback and progress, teachers and schools can use assessment

‘of’ learning to reflect on their current practices. Furthermore, this may help lay a foundation

for assessment ‘for’ learning and ‘as’ learning, when seen as separate entities needed for

assessment to be complete (Taras, 2008).

Assessment ‘for’ learning focuses on activities that provide feedback, assisting in the

continuous improvement of students’ learning development (NESA, 2017; Dixson & Worrell,

2016). Many studies suggest that when used appropriately, students seem to significantly gain

the learning benefits of this type of assessment in classrooms (Dixson & Worrell, 2016;

Fletcher & Shaw, 2012). Assessment ‘as’ learning, provides a similar feedback approach,

however, focuses on the students as their own assessors and monitors of learning (NESA,

2017). Feedback can be applied across assessment ‘for’ and ‘as’ learning in two ways:

feedback from teacher to pupil (TTP) and feedback from pupil to teacher (PTT) (Ndisang &

Benson, 2014). A theory that can define what feedback from TTP might include is the

cognitivist perspective, consisting of a corrective approach, where the professional participant

directs the passive recipient in expert instruction (Evans, 2013). A theory defining what

feedback from PTT might include is the co-constructivist perspective, which provides the

teacher with opportunities to learn from students through shared learning experience (Evans,

2013). One theory that encompasses both TTP and PTT feedback methods, is the socio-

constructivist perspective, where the teacher is seen as a facilitator, providing feedback

through comments and suggestions that assist students in new understandings and the

opportunity to make their own revisions; this further allows teachers to reflect on their own

teaching practices (Evans, 2013). The socio-constructivist perspective is a mutual feedback

approach that may be the most effective, as it encompasses both assessment ‘for’ and ‘as’

learning (NESA, 2017).

When feedback is the pinnacle of assessment, the three aspects of assessment: ‘of’,

‘for’, and ‘as’ work together to continually improve and enhance the learning experience for

students, teachers and schools. Taras (2008) suggests that “in all cases, pertinent feedback has

been the essential element to promote learning” (p. 173), also expressed by Ndisang and

Benson (2014) who propose that “feedback is among the most powerful influences on

achievement” (p. 1-2). These perspectives may assist the educational community on

perceiving assessment as essential and beneficial when seen as a journey, facilitated by

feedback, rather than a competition governed by ranking. Hence, when large-based

summative assessments like the Higher School Certificate (HSC) take place, instead of

teaching to the test with a focus on students achieving higher ranks, teachers and schools

should strive to implement socio-constructivist feedback strategies, which may make the

HSC learning experience less pressuring for students, and more progressive, building

personal achievement.

Feedback is an essential part of assessment, which helps students and teachers focus

on the achievements in the process of learning, rather than achievements in short-term ranks

or marks. Assessment ‘of’ learning, despite its negative discourse, when seen as informative,

can be helpful in distinguishing effective curriculum and pedagogical approaches, which in-

turn provide a foundation for teachers to provide students with feedback and vice versa,

encompassing both assessment ‘for’ and ‘as’ learning. All three aspects of assessment play a

role in assessment as a whole. The individual must decide whether they will focus on

assessment as a competitive ranking or feedback administered learning process.

 References:

Dixson, D., & Worrell, F. (2016). Formative and Summative Assessment in the
Classroom. Theory Into Practice, 55(2), 153-159. doi: 10.1080/00405841.2016.1148989

Evans, C. (2013). Making Sense of Assessment Feedback in Higher Education. Review Of

Educational Research, 83(1), 70-120. doi: 10.3102/0034654312474350

Fletcher, A., & Shaw, G. (2012). How does student-directed assessment affect learning?
using assessment as a learning process. International Journal of Multiple Research
Approaches, 6(3), 245-263. Retrieved from https://search-proquest-
com.ezproxy.uws.edu.au/docview/1470806236?accountid=36155

Ladwig, J., & Gore, J. (2006). Quality teaching in NSW public schools: An assessment
practice guide (2nd ed., pp. 1-56). Sydney, Australia: NSW Department of Education
and Training.

McGaw, B. (2012). NAPLAN myths: it's not a high-stakes test. The Conversation. Retrieved
23 March 2017, from http://theconversation.com/naplan-myths-its-not-a-high-stakes-
test-11057

Ndisang, D., & Benson, A. (2014). The Effect of Feedback from Pupil to Teacher on
Assessment for Leaning and Visible Learning: An Ethnographic Case Study in a
Community School in England and the Outcome in a State High School in Queensland,
Australia. Education Research International, 2014, 1-14. doi: 10.1155/2014/526438

NESA. (2017). Principles of Assessment for Stage 6. NSW Education Standards Authority, 1-
11. Retrieved from https://syllabus.nesa.nsw.edu.au/assets/global/files/years-11-12-
assessment-advice.pdf

Perry, L., & McConney, A. (2010). School Socio-Economic Composition and Student
Outcomes in Australia: Implications for Educational Policy. Australian Journal Of
Education, 54(1), 72-85. http://dx.doi.org/10.1177/000494411005400106

Taras, M. (2008). Summative and formative assessment. Active Learning In Higher

Education, 9(2), 172-192. doi: 10.1177/1469787408091655