Sample Course Outline s2

Sample Course Outline

Music – Western Art Music

ATAR Year 11

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TRIM: 2014/13516

Sample course outline

Music – WAM – ATAR Year 11

Unit 1 – Development of the symphony

Week / Written component – Key teaching points / Practical component /
Aural / Theory and Composition / Cultural and historical analysis / Performance or
Composition portfolio /
1–3 / Sight singing: to be continued consistently throughout the semester. Examples in both treble and bass clef based on scales and intervals stipulated
Scales: Major/do pentatonic, minor/la pentatonic, Major
Intervals: m2, M2, m3, M3, P4, P5, m6, M6, m7, M7, P8ve (melodic only)
Harmony: I, IV and V, perfect and plagal cadences in Major keys
Rhythmic dictation: simple metre rhythms including ,
Melodic dictation: 4 bars, treble and bass clef, up to one sharp and one flat, based on scales covered. Rhythm and some pitch provided / Theory
· Identify and write intervals, scales, perfect and plagal cadences in treble and bass clef, Major keys, up to two sharps and flats
Harmonisation
· Analyse a given score (up to four parts) using primary triads in root position
· Provide chords to a given melody
· Harmonise given melodies at cadence points/phrase endings
Melody writing
· Examine and analyse given melodies, discussing structure, balance, composer and era related features and suitability for instrument/voice
· Write a 4 bar melody to a given rhythmic pattern, and perform to the class / Development of the symphony
· Examine and discuss the development of the symphony over at least two eras, noting changes in form, instrumentation and orchestration
· Introduction to the Classical era (architecture, art, literature and social/ political features)
Aural and visual/score analysis
· Comparative listening exercises using excerpts from works over different eras to show the development of the genre
· Analyse sonata form in different examples, beginning with simple piano sonatas
Task 5: Due Term 2, Week 14
Write a 1000 word essay discussing the development of the symphony based on a summary table which is to be submitted with your essay / Distribute technical lists and recommended repertoire from the Music: Resource package for the practical component.
Outline assessment requirements for the semester in consultation with instrumental teachers and/or composition portfolio supervisors.
4–6 / Scales: natural and harmonic minor
Intervals: add harmonic intervals: P4, P5, P8
Harmony: add V7, i, iv and V, perfect and plagal cadences in minor keys
Modulation: relative major/minor
Rhythmic dictation: simple time ,, , , and
compound time–basic rhythms and rests
Melodic dictation: 4–8 bars, minor keys / Theory
· Identify and write natural and harmonic minor scales, related intervals and perfect and plagal cadences in minor keys
· Identify modulations to the relative minor and major in melodic excerpts
· Rhythm exercises in compound time / · Overview of composer of first designated work and his contribution to the development of the symphony
· Listen to selected excerpts from other symphonies by the same composer and compare and contrast
Designated work: detailed analysis of the first movement – sonata form and third movement – minuet and trio form
Discrepancies: treble/bass clef, 4 bars,
4 discrepancies in either pitch or rhythm
Aural analysis: recognition of music elements in short extracts (form, metre, dynamics/expressive devices, tempo, instrumentation)
Skeleton Score: 2–4 parts, 4–8 bars / Harmonisation
· Identify and write major, minor, augmented and diminished triads and first inversions of major and minor chords
· Analyse chords in given scores up to 4 parts
· Recognise unaccented passing notes/appoggiaturas
Melody writing
· Analyse given melodies, identifying phrase structure, motivic development, sequence, scale patterns and form
· Continue a given motif to compose an 8–16 bar melody / Listen to excerpts from representative works, noting significant contributions made by other composers, comparing and contrasting the symphonies of Haydn, Mozart and Beethoven noting differences in instrumentation, orchestration, form, texture, thematic material and use of music elements.
7 / Task 1: Aural test (3%) / Task 2: Theory test (2%) / Review of the development of the symphony from Rococo to Beethoven, focusing on the designated works.
Comparative aural and visual analysis of familiar and unfamiliar symphonic works. / Performance Task 1 – Prepared repertoire (2%)
Composition portfolio Task 1 – Composition assessment (5%)
8–10 / Scales: melodic minor
Intervals: A4/D5 melodic and harmonic
Harmony
· Recognition of major, minor, augmented and diminished triads in isolation
· vi in Major keys
· Interrupted cadences, Major keys V–vi, V7–vi (keyboard and vocal style)
Rhythmic dictation: 8 bars, simple metre rhythms for dictations , compound: ,
, , , / Theory
· Identify and write all minor scale forms, focussing on melodic minor
· Identify and write interrupted cadences in major keys, using appropriate voice leading principles in both keyboard and vocal style
· alto and tenor clef transposition
Harmonisation
· Identify and write first and second inversions of major and minor chords
· Harmonic analysis of given scores up to
4 parts using root position, first and second inversion chords in major and minor keys
· Short harmonisation exercises given the bass or soprano line, using I, IV, V, V7 and vi in major keys and i, iv, V and V7 in minor keys / Week 9: Task 3 – Development of the symphony and designated works (3%)
Development of the Romantic symphony: listen to a selection of examples from the following composers: Berlioz, Mahler, Tchaikovsky, Brahms and Schubert.
Note significant features e.g. form and structure, use of thematic material, instrumentation and orchestration, texture, dynamics, rhythmic, melodic and harmonic elements.
Revision of relevant symphonic forms in familiar and unfamiliar examples. / Week 10: Performance Task 2 – Sight reading or Improvisation (3%)
Melodic dictation: 8 bars, treble and bass clef, up to two sharps and two flats, based on scales covered
Discrepancies: treble/bass clef, 4 bars,
4 discrepancies in either pitch or rhythm
Aural analysis: recognition of music elements, form, compositional devices, instrumentation, instrumental techniques / Piano accompaniment
· Analyse a range of piano examples with different accompaniment patterns from a variety of eras and genres
Melody writing
Write a melody in ternary or rondo form, incorporating use of sequence, cadence points and phrasing.
11–13 / Week 13: Task 4 – Aural analysis (2%)
Scales: chromatic
Intervals: all intervals in isolation or part of a melodic excerpt
Harmonic intervals: m6, M6, m7, M7
Harmony
· ii in Major keys, VI in minor keys
· interrupted cadences in minor keys
· V–VI, V7–VI (keyboard and vocal style)
Rhythmic dictation
Simple time signatures
Compound: ,
, ,
Melodic dictation: chromatic passing notes
Discrepancies: treble/bass clef, 4–8 bars,
4 discrepancies in both pitch and rhythm
Skeleton score: compositional devices, dictations, chords, cadences / Theory
· Identify and write chromatic scales
· Transposition exercises for alto and tenor clef
Harmony
· Harmonic analysis and harmonisation exercises using I, ii, IV, V, V7 and vi and i, iv, V, V7 and VI in minor keys
· Identify and write interrupted cadences in minor keys, using appropriate voice leading principles in both keyboard and vocal style
Piano accompaniment
· Harmonise given melodies, analyse style and melodic structure and write suitable accompaniment patterns using alberti bass, arpeggiated chords or vamping bass
· Continue a given accompaniment pattern in a similar style
Modulation: relative major/relative minor, using choral and orchestral examples / Development of the symphony in the
20th century. Listen to excerpts and discuss significant features e.g. form and structure, use of thematic material, instrumentation and orchestration, texture, dynamics, rhythmic, melodic and harmonic elements.
Listen to excerpts from representative composers such as; Shostakovich, Sibelius, Vaughan-Williams, Stravinsky, Schoenberg, Webern, Glass, Penderecki.
Introduction to Neo-classicism. Correlate musical features with characteristics of
Neo-Classicism in art (Cubism), literature, dance/choreography and film.
Listen to and study representative Neo-Classical works and composers; Stravinsky, Satie, Poulenc, Hindemith.
Listen to and begin analysis of designated work.
14–15 / Revise all scales, intervals and chords
Harmony: revise all cadence types and chords in major and minor keys
Modulation: relative major/relative minor, using a range of examples
Rhythmic dictation
Simple metres: 8 bars, including syncopation and anacrusis
Compound metres: 8 bars
, ,
Melodic dictation: 8 bars, chromatic passing notes
Discrepancies: treble/bass clef, 4–8 bars,
4 discrepancies in both pitch and rhythm
Skeleton score: compositional devices, dictations, chords
Revision of Semester 1 work for exams / Task 6: Formal assessment– Score analysis and melody writing (2%)
Harmony
· Harmonic analysis and harmonisation exercises using first and second inversion chords in major and minor keys
· Identify and write imperfect cadences in major and minor keys in keyboard and vocal style
Piano accompaniment
· Harmonise given melodies, analyse melodic structure and style and write suitable accompaniment patterns using alberti bass, arpeggiated chords or vamping bass
Melody writing
· Compose an 8–16 bar melody from a given motif or chord progression, incorporating sequence and modulation to the relative major or minor
Revision of Semester 1 work for exams / Task 5: submit summary table and 1000 word essay (2%)
Complete analysis of final designated work.
Revision of Semester 1: the development of the symphony, using familiar and unfamiliar excerpts, focussing on the designated works. / Week 14: Performance Task 3 –
Recital practice (3%)
Week 15: Performance Task 4 –Instrumental teacher report (2%)
Week 15: Composition portfolio
Task 2 – Composition portfolio supervisor report (5%)
16 / Task 7: Semester 1 examination / Task 7: Semester 1 examination / Task 7: Semester 1 examination / Performance Task 5 Semester 1 –performance examination (15%)
Composition portfolio Task 3 – submission of composition portfolio (15%)

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 / Sight 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: chord progressions
· 4 to 8 bars, key signatures up to 2 sharps and 2 flats
§ major: I, ii, IV, V, V7 and vi
· revise perfect and plagal cadences in major keys
Rhythmic dictation: simple time including
,,
Melodic dictation: 8 bars, treble and bass clef, up to two sharps and flats, based on scales stipulated. (Some pitch and/or rhythm provided provided.)
Discrepancies: treble/bass clef, 4 bars,
4 discrepancies in either pitch or rhythm / Theory
· Identify and write intervals, scales, perfect and plagal cadences in treble and bass clef, Major keys, up to two sharps and flats
Harmonisation
· Analyse chords in given 4–8 bar extracts
· Harmonise given melodies at cadence points/phrase endings
· Identify and incorporate harmonic devices: accented and unaccented passing notes and appoggiaturas in analysis and harmonisation tasks
Melody writing
· Complete a word scansion task, providing an appropriate rhythm for given lyrics, and then compose a suitable 8 bar melody
· Incorporate word painting and a sequence
· Compose an 8–16 bar melody from a given motif or chord progression, incorporating sequence and modulation to the relative major or minor / Development of opera
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
Handel: excerpts from operas, such as Rinaldo (Lascia ch'io pianga), Alcina, Guilio Cesare, Serse, Acis and Galatea
Begin analysis of designated work
· Visual and aural analysis of set sections, identifying forms, musical features, use of instrumentation and orchestration, word painting, vocal techniques and compositional devices
· Identify salient characteristics of composer’s writing style and era specific stylistic features / Outline assessment requirements for the semester in consultation with instrumental teachers and/or composition portfolio supervisors.
4–6 / Scales: revise natural, harmonic and melodic minor
Intervals: revise all harmonic intervals
Harmony: chord progressions
· 4 to 8 bars, key signatures up to 2 sharps and 2 flats
§ minor: i, iv, V, V7 and VI
· revise perfect and plagal cadences in minor keys
Modulation: relative major/minor and dominant
Rhythmic dictation: simple time
compound time ,, ,
Melodic dictation: 4–8 bars, minor keys