zilongwang/ReadingBank huggingface dataset:
Student: / / Marker: TOTAL COMPOSITION PORTFOLIO MARK PORTFOLIO MARKING PROCESS Average composition mark /36 Portfolio requirements Total Use criteria 1-7 to assess each of the submitted pieces individually Calculate the average total mark across all the pieces Divide by 36 and multiply by 40 to calculate the converted mark Add the converted mark to the portfolio requirements for the total mark Converted mark /40 /10 /50 COMPOSITION PORTFOLIO REQUIREMENTS /10 GENERAL COMMENT: Criterion 8: genre and instrumentation requirements 2 Criterion 9: Presentation 2 Criterion 10: Composition requirements 1 Criterion 11: Time requirements 1 Criterion 12: Rationale 2 Criterion 13: Recording requirements 2 PIECE ONE: TOTAL /36 COMPOSITIONAL PROCESS CONCEPTUAL AND STYLISTIC CONSIDERATIONS NOTATION/ORCHESTRATION Criterion 1: Use and application of music elements 6 Criterion 4: Personal style 5 Criterion 6: Score presentation 4 Criterion 2: Creativity 5 Criterion 5: Contextual application 6 Criterion 7: Instrumentation/orchestration 4 Criterion 3: Balance, structure and use of expressive elements 6 COMMENT:
PIECE FOUR: TOTAL /36 COMPOSITIONAL PROCESS CONCEPTUAL AND STYLISTIC CONSIDERATIONS NOTATION/ORCHESTRATION Criterion 1: Use and application of music elements 6 Criterion 4: Personal style 5 Criterion 6: Score presentation 4 Criterion 2: Creativity 5 Criterion 5: Contextual application 6 Criterion 7: Instrumentation/orchestration 4 Criterion 3: Balance, structure and use of expressive elements 6 COMMENT: PIECE FIVE: TOTAL /36 COMPOSITIONAL PROCESS CONCEPTUAL AND STYLISTIC CONSIDERATIONS NOTATION/ORCHESTRATION Criterion 1: Use and application of music elements 6 Criterion 4: Personal style 5 Criterion 6: Score presentation 4 Criterion 2: Creativity 5 Criterion 5: Contextual application 6 Criterion 7: Instrumentation/orchestration 4 Criterion 3: Balance, structure and use of expressive elements 6 COMMENT: SIX: TOTAL /36 COMPOSITIONAL PROCESS CONCEPTUAL AND STYLISTIC CONSIDERATIONS NOTATION/ORCHESTRATION Criterion 1: Use and application of elements 6 Criterion 4: Personal style 5 Criterion 6: Score presentation 4 Criterion 2: Creativity 5 Criterion 5: Contextual application 6 Criterion 7: Instrumentation/orchestration 4
Student: / / Context: Instrument: Final mark /40 TECHNIQUE STYLE/EXPRESSION PROGRAM REQUIREMENTS Criterion 1: Rhythm 6 Criterion 4: Style and expression 5 Criterion 9: Standard of repertoire 3 Criterion 2: Technical skills 6 Criterion 5: Musical interaction 4 Criterion 10: Performing 2 Criterion 3: Pitch and tone 6 Criterion 6: Stylistic interpretation 9 Technique /18 total /18 Program requirements total /5 Divide by 18 then multiply by 16 for converted mark Divide by 18 then multiply by 20 for converted mark Divide by 1.25 for converted mark Converted mark /16 Converted mark /20 Converted mark /4 COMMENT: MARKER: ______________________________
Bramall Performance Scholarships and Music Department Scholarships Application form 2015-2016 Completed applications should be submitted as e-mail attachments to: no later than 4pm Friday 12 June 2015 1: Personal Details Title Forename Middle name(s) Surname Previous Name (if any) Male/Female Date of (dd/mm/yyyy) e-mail address Telephone Number Please indicate Home/EU or Overseas Home/EU Overseas 2. Address CORRESPONDENCE ADDRESS Address Address Town County Postcode Country from/to 3. Relevant professional experience
Melbourne, taking into consideration current resources available to the industry. Ensure all music related information is located in a central point on the City of Melbourne’s website. 11 Create more awareness of the City of Melbourne’s existing funding programs within the music industry. Work with the Music Advisory Committee and across Council to develop a marketing strategy for Council small business, arts and culture and other grants to better communicate to musicians and music businesses what funding options are available through the City of Melbourne existing grants programs. 13 Continue to monitor the regulatory framework governing live venues. Continue to work with the Environmental Protection Agency (EPA) with regards to State Environment Protection Policy No.2 (SEPP-N2 - of Music Noise from Public Places) review, which includes better incorporating the principle of agent of change into SEPP N2. Continue to work with Department of Transport, Planning and Local Infrastructure (DTPLI) on the proposed changes to State planning provisions, which includes implementing the principle of agent of change into Victoria’s planning system. Continue to investigate whether any amendments to the Melbourne Planning Scheme are needed in of the review work of the EPA in relation to noise legislation and the DTPLI in relation to Live Music Venues. Seek City of Melbourne representation on the Live Music Roundtable. 17
School-based assessment The Western Australian Certificate of Education (WACE) Manual contains essential information on principles, policies and procedures for school-based assessment that needs to be read in conjunction with this syllabus. Teachers design school-based assessment tasks to meet the needs of students. The tables below provide details of the assessment types for the Music ATAR Year 11 syllabus and the weighting for each assessment type. Assessment table – practical component The practical component can be undertaken in a context which is independent of the written component. Type of assessment Weighting Performance Prepared repertoire Students perform with technical skills and stylistic interpretation appropriate to the selected repertoire and context. Performance assessment can be demonstrated as a soloist and/or as part of an ensemble. Assessment can be completed by the classroom teacher and/or instrumental teacher. 10% 50% Other performance activities Performance must be assessed at least two of the following: technical work, sight-reading, improvisation, playing/singing by ear, playing/singing from memory, performing as part of an ensemble. Assessment can be completed by the classroom teacher, instrumental teacher and/or ensemble director. 10% Performance examination Typically conducted at the end of semester and/or unit. The examination consists of one of a performance examination (recital only) and/or submission of a composition portfolio. 30% OR Type of assessment Weighting Composition portfolio Students submit a portion (one or two compositions) of their portfolio for marking by the class teacher, composition tutor/supervisor, external marker or a panel of markers. 10% 50% Other composition activities Composition must be assessed on at least two occasions, selecting from the following: presentation, interview, portfolio proposal and performance. 10% Submission of composition portfolio The complete portfolio is to be submitted for marking as part of the practical examination process. This is typically conducted at the end of semester and/or unit and reflects the 30%
Announcements (2 min) Next session – Wednesday April 13, 2016 – Friendship? Future topics? Closing Reading/ Extinguish Chalice (1 min) To worship is to work with dedication and with It is to pause from work and listen to a strain of music. To worship is to sing with the singing beauty of the earth; It is to listen through a storm to the still small voice within. Jacob Trapp, Unitarian Universalist Minister
CURRICULUM GRID 2: Student book Workbook NelsonNet resources Music making and Music responding Explore the elements of music, apply aural skills and experiment with texture and timbre using a range of sound sources The musical elements of teen pop, pp. 21–22 The musical elements of teen pop, pp. 16–18 Minor chord progressions, pp. 21–22 Teen pop chord progression variations, p. 22 Develop musical ideas by improvising, combining and manipulating the elements of music when composing and performing The musical elements of teen pop, pp. 16–18 Performing teen pop, p. 19 Minor chord progressions, pp. 21–22 Practise & rehearse a variety of music, including Australian music by Aboriginal and Torres Strait Islanders artists to develop technical and expressive skills Performing teen pop, p. 19 Minor chord progressions, pp. 21–22 Teen pop chord progression variations, p. 22 Structure compositions by combining and manipulating the elements of music, and recording ideas using notation Performing teen pop, p. 19 Minor chord progressions, pp. 21–22 Teen pop chord progression variations, p. 22 Perform and present a range of music, using techniques and expression appropriate to style Performing teen pop, p. 19 Minor chord progressions, pp. 21–22 Teen pop chord progression variations, p. 22 Analyse composer’s use of the elements of music and stylistic features when listening to an interpreting music ‘Good Vibrations’, pp. Doo-wop style, p. 22 ‘Hangin’ Five’, pp. 22–23 Performing teen pop, p. 19 Doo-wop style, p. 18 Comparative listening – teen pop, pp. 20–21 20
CURRICULUM GRID 4: Student book Workbook NelsonNet resources Music making and Music responding Explore the elements of music, apply aural skills and experiment with texture and timbre using a range of sound sources The musical elements of folk protest music, p. 47 The musical elements of folk protest music, pp. 40–42 Chord charts, pp. 44–45 Develop musical ideas by improvising, combining and manipulating the elements of music when composing and performing The musical elements of folk protest music, pp. 40–42 Playing the acoustic guitar, pp. 42–43 Creating a folk protest song, pp. 43–44 Chord charts, pp. 44–45 Practise & rehearse a variety of music, including Australian music by Aboriginal and Torres Strait Islanders artists to develop technical and expressive skills Playing the acoustic guitar, pp. 42–43 Creating a folk protest song, pp. 43–44 Chord charts, pp. 44–45 Structure compositions by combining and manipulating the elements of music, and recording ideas using notation Playing the acoustic guitar, pp. 42–43 Creating a folk protest song, pp. 43–44 Chord charts, pp. 44–45 Perform and present a of music, using techniques and expression appropriate to style Playing the acoustic guitar, pp. 42–43 Creating a folk protest song, pp. 43–44 Chord charts, pp. 44–45 Analyse composer’s use of the elements of music and stylistic features when listening to an interpreting music ‘Blowin’ in the Wind’, pp. 45–46 ‘Scarborough Fair/ Canticle’, pp. 47–48 ‘American Pie’, pp. 49–51 ‘I Was Only Nineteen’, pp. 51–53 ‘Bridal pp. 53–54 ‘Blowin’ in the Wind’, pp. 39–41 Interpreting lyrics, pp. 45–46 Comparative listening – folk protest music, p. 47 ‘Bridal Train’, pp. 47–48 Identify and connect specific features of music from contemporary and past times to explore viewpoints The musical elements of folk protest music, p. 47 The musical elements of folk protest music, pp. 40–42 Rock Book self test – chapters 3 & 4
General capabilities Literacy Complete chapter pp. 131–142 Punk and new wave revision, pp. 117–118 Research projects in punk and new wave, p. 119 Rock Book self test – chapters 9 & 10 Critical and creative thinking Discussion topics in punk and new wave, pp. Comparative listening - punk, pp. 113–114 Research projects in punk and new wave, p. 119 Numeracy The musical elements of punk, pp. 134–135 The musical elements of punk, pp. 111–113 ICT competence Research projects in punk and new wave, p. 119 Intercultural understanding Background and history, pp. 131–132 Star spot – the Sex Pistols, pp. 132–133 Punk Culture, pp. Australian punk, p. 137 Post punk, p. Comparative listening - punk, pp. 113–114 Research projects in punk and new wave, p. 119 Rock Book self test – chapters 9 & 10 Personal and social competence Discussion topics in punk and new wave, pp. The musical elements of punk, pp. 111–113 Performing punk, pp. 114–116 Ethical behaviour Discussion topics in punk and new wave, pp. Research projects in punk and new wave, p. 119
CURRICULUM GRID 16: Student book Workbook NelsonNet resources Music making and Music responding Explore the elements of apply aural skills and experiment with texture and timbre using a range of sound sources The musical techniques of electronic dance music, pp. 207–208 The musical elements of electronic dance music, pp. 173–175 Compositional approaches, pp. 175–176 Develop musical ideas by improvising, combining and manipulating the elements of music when composing and performing The musical elements of electronic dance music, pp. 173–175 Compositional approaches, pp. 175–176 Practise & rehearse a variety of music, including Australian music by Aboriginal and Torres Strait Islanders artists to develop technical and expressive skills The musical elements of electronic dance music, pp. 173–175 Compositional approaches, pp. 175–176 Structure compositions by combining and manipulating the elements of music, and recording ideas using notation The musical elements of electronic dance music, pp. 173–175 Compositional approaches, pp. 175–176 Perform and present a range of music, using techniques and expression appropriate to style The musical elements of electronic dance music, pp. 173–175 Compositional approaches, pp. 175–176 Analyse composer’s use of the elements of music and stylistic features when listening to an interpreting music ‘Blue Monday’, pp. ‘Techno City’, pp. ‘Technologic’, pp. ‘Adagio for Strings’, pp. 209–210 ‘Blue Monday’, pp. ‘Techno City’, pp. Comparative listening – electronic dance music, pp. 176–177 Adagio for Strings, pp. 177–178
Identify and connect specific features of music from contemporary and past times to explore viewpoints The musical techniques of electronic dance music, pp. 207–208 The musical elements of electronic dance music, pp. 173–175 Compositional approaches, pp. 175–176 Rock Book self test – chapters 15 & 16 Sustainability Aboriginal and Torres Strait Islanders histories and cultures General capabilities Literacy Complete chapter, pp. 201–212 Electronic music revision, pp. 178–179 Rock Book self test – chapters 15 & 16 Critical and creative thinking Discussion topics in electronic dance music, pp. 211–212 Comparative listening – electronic dance music, pp. 176–177 Research projects in electronic dance music, p. 179 Numeracy The musical techniques of electronic music, pp. 207–208 The musical elements of electronic dance music, pp. 173–175 Compositional approaches, pp. 175–176 ICT competence Compositional approaches, pp. 175–176 Research projects in electronic dance music, p. 179 Intercultural understanding Background and history, pp. 201 Classical music in electronic dance music, pp. 209–210 Comparative listening – electronic dance music, pp. 176–177 Research projects in electronic music, p. 179 Rock Book self test – chapters 15 & 16 Personal and social competence Discussion topics in electronic dance music, pp. 211–212 The musical elements of electronic dance music, pp. 173–175 Compositional approaches, pp. 175–176 Research projects in electronic music, p. 179 Ethical behaviour Discussion topics in electronic dance music, pp. 211–212 Research projects in electronic dance music, p. 179
CURRICULUM GRID 17: Student book Workbook NelsonNet resources Music making and Music responding Explore the elements of music, apply aural skills and experiment with texture and timbre using a range of sound sources The musical elements of grunge, p. 217 The musical elements of grunge, pp. 182–186 Develop musical ideas by improvising, combining and manipulating the elements of music when composing and performing The musical elements of grunge, pp. 182–186 Practise & rehearse a variety of music, including Australian music by Aboriginal and Torres Strait Islanders artists to develop technical and expressive skills The musical elements of grunge, pp. 182–186 Structure compositions by combining and manipulating the elements of and recording ideas using notation The musical elements of grunge, pp. 182–186 Perform and present a range of music, using techniques and expression appropriate to style The musical elements of grunge, pp. 182–186 Analyse composer’s use of the elements of music and stylistic features when listening to an interpreting music ‘Smells Like Teen Spirit’, pp. 215–217 ‘Basket Case’, pp. ‘Karma Police’, pp. ‘Are You Gonna Be My Girl’, pp. 222–223 ‘Smells Like Teen Spirit’, pp. 180–182 ‘Karma Police’, pp. Comparative listening – grunge, pop-punk and the 1990s, pp. 187–188 ‘Are You Gonna Be My Girl’, p. 188 Identify and connect specific features of music from contemporary and past times to explore viewpoints The musical elements of grunge, p. 217 The musical elements of grunge, pp. 182–186 Rock Book self test – chapters 17 & 18 Sustainability Aboriginal and Torres Strait Islanders histories and cultures 219
General capabilities Literacy Complete chapter, pp. 213–224 Grunge, pop-punk and the revision, pp. 189–190 Rock Book self test – chapters 17 & 18 Critical and creative thinking Discussion topics in grunge, p. 224 Comparative listening – grunge, pop-punk and the 1990s, pp. 187–188 Research projects in grunge, pop-punk and the 1990s, pp. 190–191 Numeracy The musical elements of grunge, p. 217 The musical elements of grunge, pp. 182–186 ICT competence Research projects in grunge, pop-punk and the pp. 190–191 Intercultural understanding Background and history, pp. 213–214 Star spot – Nirvana, pp. 214–215 Alternative/Indie rock defined, pp. 217–218 The festival decade, p. Australian 1990s alternative rock, pp. The Riot Grrrl movement, p. 223 Comparative listening – grunge, pop-punk and the 1990s, pp. 187–188 Research projects in grunge, pop-punk and the 1990s, pp. 190–191 Rock Book self test – chapters 17 & 18 Personal and social competence Discussion topics in grunge, pop-punk and the p.224 The musical elements of grunge, pp. 182–186 Research projects in grunge, pop-punk and the 1990s, pp. 190–191 Ethical behaviour Discussion topics in grunge, pop-punk and the 1990s, p.224 Research projects in grunge, pop-punk and the 1990s, pp. 190–191
Action required___________________________________________________
Musical Theatre Mash-up Scene Brainstorm Sheet Partner Names: ____________________________________________________________________________ Scene (Play title, Act/Scene):___________________________________________________________________ PART 1 INSTRUCTIONS: Read through your scene one time as a partnership. This reading is just to help you get a sense for the story. Read through your scene a second time, this time answer the following questions together. Be detailed in your responses. 1-WHO are the characters in this scene? (what are their names, character traits, and what is their relationship?) 2-WHAT is going on in this scene? (What actually happens? What is the main conflict?) 3-WHAT emotions, ideas, or attitudes do the characters experience in the scene? (List as many as possible!!!)
Developing 1-4 Accomplished 5-8 Proficient 9-10 Objective Objective is unclear. Objective is clearly communicated. Objective is communicated highly effectively in song and scene. x2 Tactics Demonstrated 1 or less tactics. Execution was less than effective. Demonstrated 2-3 tactics. Execution was effective. Demonstrated 3 or more tactics with highly effective execution. x2 Blocking & Business Blocking and Business was unmotivated or not present. Blocking & Business was present but not always enhancing to performance. Has motivated, purposeful blocking that enhances the song and scene. x2 Characterization Character was underdeveloped or not strongly portrayed. Character choices were present and clear. Could be more motivated. Demonstrates strong character choices that are engaging and motivated. Relationships Relationships were unclear or underdeveloped. Relationships were present. Could be strengthened or more clear. Portrays dynamic, strong relationships between characters. Projection & Diction was soft. Projection & Diction was present. Demonstrates clear Projection & Diction. Professionalism Slate and performance behavior was unprofessional. and performance behavior was acceptable. Professional slate and performance behavior.
TBMH Vocal Ensembles: The Young Singers AKA Singers Tri-borough Chamber Choir 80 students 70 students 30 students 180 *Primary Massed Singers: Hammersmith & Fulham Kensington & Chelsea Westminster *Years 5/6 160 *performers / 8 schools 160 *performers / 8 schools 160 *performers / 8 schools *each school brings 18 pupils plus 2 performing adults 480 *SEN/D Massed Singers: Hammersmith & Fulham Kensington & Chelsea Westminster *Years Group as appropriate, guided by schools 31 *performers / 2 schools 31 *performers / 2 schools 31 *performers / 2 schools *pupil/adult ratio to be agreed with each school but with no more than 16 performers per school 94 *Secondary Massed Singers: Hammersmith & Fulham Kensington & Chelsea Westminster *Years 7/8 100 *performers / 5 schools 100 *performers / 5 schools 100 *performers / 5 schools *each school brings 18 pupils plus 2 performing adults 300 Totals Total Primary Schools = 24 schools Total SEN/D Schools = 6 schools Total Secondary Schools = 15 schools TOTAL SCHOOLS = 45 SCHOOLS 1175 Please note the following: The Primary/Secondary above refers to phase groups, not just mainstream schools, (i.e. this opportunity is also open to Alternative Provision settings). Pupils who are members of the one of the five Tri-borough Music Hub Ensembles/Choirs will be involved in Convo in these groups and not with their school. Therefore, those pupils should not be counted as one of your school’s selected pupils to be in the massed choir. School Timeline, Milestone Dates and Date Commitments ALREADY HAPPENED Summer term 2017: May 2017: TBMH releases details of how 7 schools can be involved in the Research and Development of the project June 2017: TBMH confirms the 7 schools (Westminster Special Schools-College Park & QEII; Chelsea Academy; Greycoat; Hammersmith Academy; St. Mary Abbots; St. Charles; St. John Walham Green) Autumn term 2017: September-December 2017: Charlotte Harding works with R&D schools, supported by team of RCM students and TBMH colleagues Spring term 2018: January – March 2018: Charlotte Harding works with R&D schools February 2018: TBMH releases details of launch event in summer term to all schools PLANNED ACTIVITY TO COME Summer term 2018: Wednesday 18 April 2018: schools launch event for Convo project. This will outline how all the massed schools can access the project, followed by Expressions of Interest open for schools to register
1.2 TC designs, selects, or modifies assessments that are aligned with lesson objectives. InTASC 6, 7; CAEP 1.2 SCTS 4.0 – Planning (Instructional Plans; Assessment) Assessments do not align with lesson objectives, or no assessments are identified. Lesson assessments with lesson objectives and occur at least once during the lesson. Informal and formal lesson assessments are appropriate (for age and knowledge level), align with lesson objectives, and occur at various points during the lesson. 1.3 TC uses data from formative, diagnostic, and summative assessments to guide instructional planning. InTASC 6, 7; CAEP 1.2 SCTS 4.0 – Planning (Instructional Assessment) TC does not gather or examine student performance data or does not use data appropriately in the planning process. TC uses student performance data (from previous assessments or to guide instructional strategies. TC gathers and uses learner performance data from a variety of assessments to modify lesson objectives and instructional plans. 1.4 TC plans differentiated instruction to address diverse learning needs. InTASC 1, 7 CAEP 1.4 SCTS 4.0 – Planning (Instructional Plans) Lesson plans do not include strategies for differentiation or meet requirements identified in IEPs and/or 504 plans. Lesson plans include general strategies for addressing diverse learning needs. Plans meet requirements identified in IEPs and/or 504 plans, as applicable. Lesson plans include specific strategies for differentiation of teaching procedures/pacing to address diverse learning needs. Plans meet requirements identified in IEPs and/or 504 plans, as applicable. DOMAIN 2: INSTRUCTION Expectations Meets Expectations Exceeds Expectations 2.1 TC effectively communicates appropriately challenging expectations to learners. CAEP 1.4 SCTS 4.0- Instruction (Standards and Objectives; Activities and Materials); Environment (Expectations) TC does not communicate expectations for what students will know and be able to by the end of the lesson. TC communicates appropriately challenging expectations for what students will know and be able to do by the end of the lesson. TC communicates appropriately challenging expectations for what learners will know and be able to do by the end of the lesson (or lesson series), while explaining the purpose and relevance of the content.
MRA is unaware of any instance when the procedures set out in Part 3A of the Copyright Regulations 1969 have been used by copyright owners or exclusive licensees of copyright in Australia. To the extent that the Regulations implement the operational procedures set out in the current Regulations, MRA makes no objection to the introduction of the draft Regulations. In the absence of examples of how the procedures in the current Regulations operate, MRA is unable to comment on whether the draft Regulations are fit for purpose or need to be simplified or modernised. MRA is unaware of any actions by either carriage service providers or copyright owners or exclusive licensees of copyright to put in place an Industry Code in accordance with Regulation 20B. MRA is concerned section 18(a) replicates Regulation 20B. MRA’s experience in the discussions to develop the Copyright Notice Scheme and the fact that, to its knowledge, at no time since Regulation 20B was introduced has any party instigated discussions to develop an Industry Code are strong indicators that the process set out in section 18(a) will not result in an Industry Code. If it is the Department’s goals to implement regulations which are fit for purpose it may wish to consider introducing a procedure to develop an Industry Code absent consensus by the parties. Question 5 The Department may wish to consider introducing regulations which prescribe a process that, absent consensus, the Minister appoints an independent chairperson to work with the parties to develop an Industry Code. The Department may wish to consider prescribing a timeframe for the discussions. 4. TPM and fair dealing MRA supports the Australian Copyright Council’s submission with respect to the draft TPM Regulations. MRA opposes the inclusion s40 (2) (a) in the draft TPM Regulations. It is overly broad and contrary to Australia’s obligations under Article 17.4.10(a) of the Australia US Free Trade Agreement (AUSFTA). Students should not be granted power to self- determine when they can circumvent TPMs. It is inappropriate to grant this power to an individual or class of individuals without adequate controls to protect copyright owners’ rights. This grant has the very real possibility of conflicting with the normal exploitation of the copyright owners’ works.
Outcome 2 analyse and describe the use of the elements of and compositional devices in music works, and discuss the style and the context from which the works emerged. Outcome 3 Create original music exercises and discuss influences on their creative processes and responses 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 Outcome 3 Create two original music exercises and describe the relationship between the exercises and music studied in Outcomes 1 and 2. responses to four previously unheard excerpts of music The student’s performance on Outcome 2 should be assessed on analysis and discussion of selected works in any one or a combination of the following formats a report a test responses to structured questions Outcome 3 is assessed via an Externally-assessed task. Unit 4 Outcome Statements Current Outcome Statements Consultation Draft Outcome Statements Assessment tasks 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 Outcome 3 Create an original work and evaluate the creative processes used to develop the work Outcome 1 Aurally analyse music and form and present critical responses to music Outcome 2 Analyse and describe the use of the elements of music and compositional devices in a music work, and discuss the style and context from which the work emerged Outcome 3 Create, document and evaluate an original work The student’s performance on Outcome 1 should be assessed on aural analysis of and critical responses to four previously unheard excerpts of music The student’s performance on Outcome 2 should be assessed on analysis and discussion of a selected work in any one of the following formats a report a test responses to structured questions Outcome 3 is assessed via an externally assessed task.
(1 mark) Write Roman numerals for the chords indicated by a line beneath the stave indicating inversions where necessary. (8 marks) (c) Complete this SATB setting with appropriate cadences at the phrase endings. (8 marks) Question 3: Melody writing (13 marks) Continue one of the following motifs to complete an 8 bar melody for an instrument of your choice. You must address each of the parts below. Name the instrument for the melody is written. (a) Ensure that the melody is within the instrument’s range and technical capabilities. (1 mark) (b) Indicate an appropriate (1 mark) (c) Use appropriate dynamics and bowings/articulation indications (3 marks) (d) Ensure consistent stylistic and motivic continuity (melodic and rhythmic) (2 marks) (e) Incorporate effective melodic contour with a climax (3 marks) (f) Include a melodic sequence and mark it clearly on the score (2 marks) (g) Present a neat and accurate score. (1 mark) Marking key for sample assessment task 6 – Unit 1
16 Task 7: Semester 1 examination Task 7: Semester 1 examination Task 7: Semester 1 examination Performance Task 5 Semester 1 examination (15%) Composition portfolio Task 3 – submission of composition portfolio (15%) Unit 2 – Opera Week Written component – Key teaching points Practical component Aural Theory and Composition Cultural and historical analysis Performance or Composition portfolio 1–3 singing: to be continued consistently throughout the semester. Examples in both treble and bass clef based on scales and intervals stipulated Scales: revise Major/do pentatonic, minor/la pentatonic, Major Intervals: revise all intervals in isolation and as part of a melodic line Harmony: progressions 4 to 8 bars, key signatures up to 2 sharps and 2 flats major: I, ii, IV, V, V7 and vi revise perfect and plagal cadences in major keys Rhythmic dictation: simple time including ,, Melodic dictation: 8 bars, treble and bass clef, up to two sharps and flats, based on scales stipulated. (Some pitch and/or rhythm provided provided.) Theory Identify and write intervals, scales, perfect and plagal cadences in treble and bass clef, Major keys, up to two sharps and flats Harmonisation Analyse chords in given 4–8 bar extracts Harmonise given melodies at cadence points/phrase endings Identify and incorporate harmonic devices: accented and unaccented passing notes and appoggiaturas in analysis and harmonisation tasks Melody writing Complete a word scansion task, providing an appropriate rhythm for given lyrics, and then compose a suitable 8 bar melody Incorporate word painting and a sequence Compose an 8–16 bar melody from a given motif or chord progression, incorporating Development of Baroque Period Introduction to the Baroque period (architecture, art, literature, social, political and cultural features) Listen to a selection of representative works noting Baroque musical features Development of opera Discuss the role of opera in Baroque society, contributions of different composers and their influence on the development of opera Discuss the rise of the castrati. Watch excerpts from the film Faranelli (1994) Discuss the development of opera and associated forms: Recitative, Aria and Chorus, listening to Baroque examples: Purcell: Dido and Aeneas–Sorceress Chorus/Witches Chorus, With Drooping Wings; Thy hand Belinda, Dido’s Lament Outline assessment requirements for the semester in consultation with instrumental teachers and/or composition portfolio supervisors. performance
Subject DANCE MUSIC VISUAL ARTS Unit Title: Stomp Prep Yr 1 Yr 2 Yr 3 Yr 4 Yr 5 Yr 6 Achievement Standard By the end of Year 4, students describe and discuss similarities and differences between music they listen to, compose and perform. They discuss how they and others use the in performance and . Students collaborate to improvise compose and arrange sound, silence, tempo and volume in music that communicates ideas. They demonstrate by singing playing instruments with accurate , and expression. Learning Intention Students explore , , and expression, form and structure, and texture through listening, creating and performing on percussive instruments and objects. Learning Framework Community Contributor Leader and Collaborator Active Investigator Effective Communicator Designer and Creator Quality Producer Cross Curricular Priorities Catholic Ethos Aboriginal and Torres Strait Islander Histories and Cultures Social Emotional Learning Asia and Australia’s Engagement with Asia Inclusive Education Sustainability Education General Capabilities Literacy Critical and Creative Thinking Numeracy Ethical Behaviour Information and Communication Technology Personal and Social Competence
Progressive Assessment Grid MAKING RESPONDING Read rhythmic patterns containing ta, ti-ti, za and tika-tika Echo clap rhythmic patterns containing ta, za and tika-tika Improvise rhythmic patterns containing ta, za and tika-tika Write rhythmic dictations containing ta, ti-ti, za and tika-tika Perform songs and rhymes with 4 beat rhythmic/body ostinato Sing song and play melodic ostinato on glockenspiel Perform bars 11-21 of Orff body ostinato with a partner Perform bars 11-21 of Orff body ostinato individually Identify intended purposes and meanings of the music of Aboriginal and Torres Strait Islander Peoples Identify intended purposes and meanings of music to make comparisons, between the music of Aboriginal and Torres Strait Islander Peoples and Stomp D ND D ND D ND D ND D ND D ND D ND D ND D ND D ND Name Planning for Differently Abled Students
Week 3 Learn about dynamics in music Learn about graphic scores as a way of representing different sounds using symbols Follow and perform from a graphic using dynamics Literacy – reading a graphic score from left to right like reading a book Numeracy – Shapes and Symbols to represent sound All – Level 3 (working towards) All Pupils: Recognise dynamics as volume in music using basic musical vocabulary (loud, soft, getting louder, getting softer) Follow and perform from a graphic scor as part of a group Most – Level 4 (working at) Most Pupils: Use correct musical vocabulary to describe dynamics (piano, forte, mezzo) Follow and perform from a graphic score using dynamics Level 5/6 (working Some – beyond/GAT) Some Pupils: Use correct musical vocabulary (crescendo, diminuendo) to describe gradations of dynamics Comment on how dynamics and other elements of music have been used in a piece of music to create an intended effect
Week 4 Investigate how composers have used the elements of to create the feeling of morning in their music. To use the elements of music in a structured All – Level 3 (working towards) All Pupils: Listen to and identify some of the elements in music in different pieces of programme music describing the morning and sunrise Compose a piece of descriptive music as
group composition describing morning and sunrise Evaluate “Morning Mood” pieces in terms of the elements of music Literacy – reading a graphic score from left to right like reading a book Numeracy – Shapes and Symbols to represent sound ICT – Some pupils could use computer software or a sequencer to compose and record their morning mood pieces experimenting with layering and looping. Literacy – Subject specific vocabulary relating to the elements of music is used throughout this unit building a foundation for all music work at KS3. Literacy – Pupils justify their evaluations of “Morning Mood” compositions using subject specific vocabulary. part of a group describing morning and sunrise with some awareness of how the elements of music are used to create an intended effect Most – Level 4 (working at) Most Pupils: Listen to and identify the expressive use of elements in a variety of programme music describing the morning and sunrise Compose a piece of descriptive music in three separate sections showing clear awareness of how the elements of music have been used to create musical contrasts between each section Some – Level 5/6 (working beyond/GAT) Some Pupils : Comment of the effectiveness of the elements and instrumentation in different pieces of programme music describing morning and sunrise Take on a leading role in group compositions using ideas from listening activity in own morning mood compositions selecting appropriate sound sources and manipulating the elements of music to create an intended effect
Week 6 Sing and perform melodic parts from different songs to do with morning Revise all learning regarding sounds and the elements of music All – Level 3 (working towards) All Pupils : Sing unison songs with a morning theme as part of the class and perform simple melodic parts from these songs Identify the elements of in a variety of
adoption of law and aesthetics analysis is key and it points to a vital question, namely, the capacity of the law to create affective justice. The answer to ‘what’s in a face?’ is that Musine’s face is the story of many ‘Musine’s’. REFERENCE LIST Archival materials Albanian Ministry of the Interior archives in Tirana and are denoted by Dosje Gjyqësor (Judicial File), file [number], item [number], microfilm Albanian National Archives Albanian Telegraphic Agency Journal articles Eamonn Carrabine, ‘Just Images: Aesthetics, Ethics and Visual Criminology’, British Journal of Criminology 52 (3) (2012), pp. 463-489 Robert M. Cover, ‘The Supreme Court, 1982 Term—Foreword: Nomos and Narrative’, Harvard Law Review, 97 (1) (1983), pp. 4-68 Peter Goodrich, ‘Judging Pictures: A Case Study of Portraits of the Chief Justices, Supreme Court of New South Wales’, International Journal of Law in Context, 5 (3) (2009), pp. 295-314 Les Gary Watt, Linda Mulcahy, and David Isaac, ‘Four Reflections on the Art of Justice: the Judge’s Perspective’, Law and Humanities, 7 (1) (2013), pp. 113-128 Eugene McNamee, ‘Eye Witness – Memorialising Humanity in McQueen’s Hunger’, International Journal of Law in Context, 5 (3) (2009), pp. 281-294 Austin Sarat, ‘Rhetoric and Remembrance: Trials, Transcription, and the Politics of Critical Reading’, Legal Studies, 23 (1999), pp. 355-378 Rodrigo Ferrada Stoehrel, ‘The Legal Image’s Forgotten Aesthetic’, International Journal of the Semiotics of Law, 26 (3) (2013), pp. 555-577
Gilles de Rapper and Anouk Durand, ‘Family Photographs in Socialist Albania: State Photography and the Private Sphere’, in Eckehard Pistrick, Nicola Scaldaferri and Gretel Schwörer, eds., Audiovisual Media and Identity Issues in Southeastern Europe (Cambridge: Cambridge Scholars Publishing, 2011), pp. 210-229 Maria Elander, ‘Education and Photography at Tuol Sleng Genocide Museum’, in O. Simić and P.D. Rush, eds., The Arts of Transitional Justice (Springer, 2012), pp. Kathryn A. ‘Unframing the Death Penalty’, in Austin Sarat and Jürgen Martschukat, eds., Is the Death Penalty Dying?: European and American Perspectives (Cambridge: Cambridge University Press, 2011), pp. 126-149 Evi Girling, ‘The Witnessing of Judgment: Between Error, Mercy and Vindictiveness’, in Austin Sarat and Jürgen Martschukat, eds., Is the Death Penalty Dying?: European and American Perspectives (Cambridge: Cambridge University Press, 2011), pp. Peter Rush, ‘Introduction’, in Olivera Simić and Peter D. Rush, eds., the Arts of Transitional Justice (Springer, 2012), pp. v-xi Lindsay Smith, ‘The Wont of Photography, or the Pleasure of Mimesis’ in Luisa Calè and Patrizia Di Bello, eds., Illustrations, Optics, and Objects in Nineteenth-Century Literary and Visual Cultures, (Basingstoke: Palgrave, 2010), pp. 65-86 Ruti Teitel, Transitional Justice (New York: Oxford University Press, 2000) Malcolm Turvey, ‘Wittgenstein’, in Paisely Livingston and Carl Plantinga, eds., The Routledge Companion to Philosophy and Film (London: Routledge, 2009), pp. 470-480 The Martyrs (dir. Saimir Kumbaro, 2012) Sophie Scholl: the Final Days (dir. Marc Rothemund, 2005)
approach the Lord with sincerity and listen carefully, there may well be times when we hear his reproach: ‘Should not you have had mercy on your fellow servant, as I had mercy on you?’ (Mt 18:33)” (GE, 82). Further on, he states: “Similarly, the best way to discern if our prayer is authentic is to judge to what extent our life is being transformed in the light of mercy. For ‘mercy is not only an action of the Father; it becomes a criterion for ascertaining who his true children are’.88 Mercy ‘is the very foundation of the Church’s life’.89 In this regard, I would like to reiterate that mercy does not exclude justice and truth; indeed, ‘we have to say that mercy is the fullness of justice and the most radiant manifestation of God’s truth’.90 It is ‘the key to heaven’.91” (GE, 105). May we continually approach the mercy of God which is Jesus Christ—the expiation for our sins. Christ is risen, alleluia! He is truly risen, alleluia!
September 3, 2017 | 22nd Ordinary Sunday The gospel this Sunday is a continuation of what we read last Sunday. Last Sunday Simon Peter confessed Jesus as “the Christ, the Son of the living God.” Jesus changes Simon’s name to Peter and then grants him authority (the image of the giving of the keys). Yet, in the blessing given to Peter, there is already a tinge of foreboding and warning. Simon is addressed as bar Jonah. Simon is a name derived from the word shema (to hear, to listen). This is supposed to be the perennial posture of the children of the covenant, hearing and listening to. But, Simon (the one who listens) is also called bar Jonah (the son of Jonah). Jonah, as we know from his story, is the prophetic embodiment of not listening, avoidance, reluctance, disobedience. Not only that, but Jonah dares to question how God should be God. Jonah, who is only the mouthpiece, the spokesman (prophet). He can’t stand God for being who God is: merciful and magnanimous. Thus, Simon bar Jonah is a name full of irony and paradox. When he is named Peter (Petros) by Jesus, the paradox continues (and is especially made manifest in what we hear today for the 22nd Sunday in Ordinary Time). Peter’s name (Petros in Greek) is derived from the word petra, meaning rock or stone. So it is both a name denoting stability and firmness and pointing to Peter’s later and stubbornness. Exactly what type of rock is Peter? He is a rock that can crumble into pieces as well (see Peter in the passion narratives of the gospels for that).
Table 18. Comparing the wellbeing of Australian-born and migrant Muslims, by sex. Question Personal Wellbeing Index Standard of living Health Achieving Personal relationships How safe you feel Community connect Future security Australian-born Muslims Migrant Muslims Mean SD Mean SD Figure 8. Comparing personal wellbeing among categories of Muslim Australians.
JAPANESE MUSIC FILM FESTIVALS 2 DAYS IN GERMANY Here comes a new type of festival for Japanese music fans in/around Germany! Starting rather small - Seats are limited. You will get to see 5 movies of those Japanese artists and bands + 1 charity movie! Come and interact with the 2 bands, via Skype on big screens! Feb 1st in Berlin, 14:00 - 19:00 (65 seats) Ticket & Cinema: (Ticket available early January) Early bird perk & Facebook: https://www.facebook.com/events/348838335302945/
Duos – original music Bands - covers Bands – original music Open mic events Open folk or traditional music sessions Open jam sessions (other genres) DJ – modern chart/pop DJ – retro chart/pop DJ – specialist electronic dance music DJ – other genres (funk, hip-hop, jazz, eclectic) Big bands Other (please specify): …………. Your musical life How would you define yourself as a musician? Choose one. You may wish to use the Comment box to give further information. Professional – someone who earns their living substantially from music Semi-professional – someone who is paid as a musician but this is not necessarily how they earn their living Amateur – not usually paid as a musician Comments: ………………………………………………………………………………………………… At what stage in your musical career do you see yourself as an artist? Choose one. Formative years, e.g. music student Working musician – early career Working musician – mid-career Working musician – late career Retired (working) musician Not applicable - amateur musician only Don’t know On average, roughly what percentage of your week is spent working as a musician/on musical activities? 0-24% 25-49% 50-74% 75-99% 100% Not applicable Are you a member of any of the following? Tick as many as apply. [Adapt to your location.] British Academy of Songwriters, Composers and Authors (BASCA)
Outside UK Up to £5,199 £5,200 and up to £10,399 £10,400 and up to £15,599 £15,600 and up to £20,799 £20,800 and up to £25,999 £26,000 and up to £31,199 £31,200 and up to £36,399 £36,400 and up to £51,999 £52,000 and above Not applicable On average, how much do you earn PER MONTH at your live music events from selling (in £s)? Recorded music (CDs, etc.) £ ………. Merchandise (T-shirts, etc.) £ ………. Which kinds of deal have you been offered when performing live in the last twelve months? Tick all that apply. Busking – paid by donation Flat fee – you receive a guaranteed set amount of money no matter how many people attend Free – no monetary payment but you may receive expenses Guaranteed fee plus profit – you take a percentage of the profit on top of the guaranteed fee Income from collection societies, e.g. PRS for Music In-kind – you receive a non-monetary ‘payment’ Pay-to-play – you pay the promoter/venue to perform Profit minus guarantee – if no profit, you still get guaranteed fee, but if profit, then promoter deducts guarantee and pays you the balance Promoter-artist split – promoter takes door proceeds, recuperates costs of gig, splits remainder with you Salaried – e.g. as part of an ensemble Self-promotion – you sell tickets and organise the show Ticket allocation – promoter organises show and you are expected to sell tickets Not applicable Do you use an agent to get live music bookings? Choose one. More than 50% of the time – the same every time More than 50% of the time – different agents Less than 50% of the time Never Not applicable If you use an agent, do you receive your fee from the agent or from the venue? Venue only Mixture of and venue Agent only