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Music – Western Art Music

ATAR Year 11

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2014/xxxx

Sample assessment task

Music – WAM– ATAR Year 11

Task 1 – Unit 1

Assessment type:Aural

The paper will consist of seven questions and will cover the following concepts:

identification of scales/modes and intervals
chord progression
recognition of tonality and modulation
rhythmic and melodic dictations

Conditions

Time for the task: 60 minutes

Formal in class assessment, Week 7

Taskweighting

3% of the school mark for this pair of units

______

Name:______ Mark: / 40

Question 1(4 marks)

Interval recognition

Identify the four bracketed intervals and write your answers in the spaces underneath the score.

(i)______(ii)______

(iii) ______(iv)______

Question 2(2 marks)

Scale recognition

Identify the scale or mode that occurs in the following extracts. Tick () the correct answer.

(a)

()
Major
Harmonic minor
Chromatic
Minor pentatonic
Melodic minor

(b)

()
Major
Harmonic minor
Chromatic
Minor pentatonic
Melodic minor

Question 3(2 marks)

Tonality and modulation

(a)Identify the tonality at the beginning of this extract. Circle the correct answer.

Major pentatonic / Minor pentatonic / Major / Minor

(b)Identify the modulation (if any) that occurs in this extract. Tick the correct answer.

To the relative major
To the relative minor
To the dominant
No modulation

Question 4(8 marks)

Harmonic progression

Complete the following harmonic progression providing the Roman numerals for the missing chords.
The tonic chord will be played prior to the progression being heard.

Question 5(2 marks)

Identify two compositional devices evident in the following recording

(i)______(ii)______

Question 6

Rhythmic dictation(10 marks)

The following extract will be heard six times. Insert the time signature, bar lines and rhythm to the pitches given. There are 8 bars in total.

Question 7(12 marks)

Melodic dictation

Complete the following melodic dictationto be played six times. The tonic chord and note will be played prior to the dictation.

Marking key for sample assessment task1 – Unit 1

Question 1 (4 marks)

Interval recognition

Identify the four bracketed intervals and write your answers in the spaces underneath the score.

(i)minor 6th (ii) perfect 4th (iii) minor 7th (iv) Major 6th

Question 2(2 marks)

Scale recognition

Identify the scale or mode that occurs in the following extracts. Tick () the correct answer.

Description / Mark
Chromatic / 1
Melodic minor / 1
Total / /2

Question 3(2 marks)

Tonality and modulation

(a)Identify the tonality at the beginning of this extract. Circle the correct answer.

Major pentatonic / Minor pentatonic / Major / Minor

(b)Identify the modulation (if any) that occurs in this extract. Tick the correct answer.

 / To the relative major
To the relative minor
No modulation
Dominant

Question 4(8 marks)

Harmonic progression

Complete the following harmonic progression providing the Roman numerals for the missing chords. The tonic chord will be played prior to the progression being heard.

1 mark for each chord, 1 mark for 7th

Question 5(2 marks)

Identify two compositional devices evident in the following recording

(i)pedal/pedal point/pedal note(ii) sequence

Question 6

Rhythmic dictation(10 marks)

The following extract will be heard six times. Insert the time signature, bar lines and rhythm to the pitches given. There are 8bars in total.

1 mark for each beat, bars 1–7 and 1 mark for bar 8 = 15
1 mark for triplet
4 marks for 8 correct bar lines, 3 marks for 6–7 correct bar lines, 2 marks for 4–5 correct bar lines,1 mark for 2–3 correct bar lines and 0 marks for less than 2 correct bar lines
Divide the total mark of 20 out of 2 for a final mark out of 10

Question 7(12 marks)

Melodic dictation

Complete the following melodic dictationto be played six times. The tonic chord and note will be played prior to the dictation.

1 mark for each pitch: 20 marks, divided by 2 for a mark out of 10
1 mark for each rhythm to be completed: 8 marks, divided by 4 for a mark out of 2
Add the two marks together for a total mark out of 12.

Sample assessment task

Music – WAM – ATAR Year 11

Task 2 – Unit 1

Assessment type:Performance– Sight reading or Improvisation

Perform a sight reading task from a given excerpt, observing articulation/bowings, phrasing and dynamics
Perform an improvised solo over a given chord progression demonstrating shape, stylistically appropriate rhythmic and melodic creativity, and understanding of the chord sequence and harmonic context

Conditions

Time for the task: five minutes, including two minutes preparation

Formal in class assessment, Week 10

Taskweighting

3% of the school mark for this pair of units

______

Sight reading: You will be given two minutes to look at a short musical excerpt during which time you must not play/sing any notes. You will then be given two opportunities to perform the extract, noting articulation/bowings, phrasing and dynamics. Marks will only be awarded for your second playing if you choose to select the option of playing it twice.

Improvisation: You will be required to play an improvised solo over a given chord progression using a backing CD, backing band or instrumentalist. You will then be given two opportunities to perform the extract, demonstrating shape, stylistically appropriate rhythmic and melodic creativity and understanding of the chord sequence and harmonic context. Marks will only be awarded for your second playing if you choose to select the option of playing it twice.

Marking key for sample assessment task 2 – Unit 1

Name:______Mark: /34 (3%)

Performance – Sight reading

Description / Marks
Rhythm / /10
Performs with consistentrhythmic accuracy and tempo control / 9–10
Performs with only very slight rhythmic lapses in rhythm and/or tempo / 7–8
Performs with competent rhythmic accuracy and maintains a suitable tempo, demonstrating an ability to recover from minor inaccuracies / 5–6
Performs with several rhythmic inaccuracies yet manages to maintain a sense of metre, and/or minor fluctuations in tempo / 3–4
Performs with many rhythmic errors, displaying an inconsistent pulse and/or significant fluctuations in tempo / 1–2
Pitch and intonation / /10
Performs with consistently accurate pitch and intonation / 9–10
Performs with excellent pitch and intonation with only occasional slight lapses / 7–8
Performs with competent pitch and intonation, demonstrating an ability to recover from minor inaccuracies / 5–6
Performs with several inconsistencies in pitch and intonation, but manages to maintain a sense of tonality / 3–4
Performs with several errors in pitch and intonation, and little sense of tonality / 1–2
Tone / /6
Performs confidently, displaying excellenttonal control / 5–6
Performs with reasonable confidence, but experiences some difficulty with tonal control / 3–4
Performs with little or no confidence, and experiences great difficulty with tonal control / 1–2
Dynamics, phrasing and bowings/articulation / /8
Performs repertoire with excellent sensitivity, musically and accurately interpreting dynamics, phrasing and bowings/articulation / 7–8
Performs repertoire with generally accurate interpretation of dynamics, phrasing and bowings/articulation / 5–6
Performs repertoire with inconsistent attention and/or some errors with dynamics, phrasing, and bowings/articulation / 3–4
Performs repertoire with minimal attention and/or several errors with dynamics, phrasing, and bowings/articulation / 1–2
Total mark / /34

Note: Zero will be used when there is no evidence demonstrated relating to each criterion.

Name:______Mark: /34 (3%)

Performance – Improvisation

Description / Marks
Rhythm / /10
Performs with consistent rhythmic accuracy and tempo control / 9–10
Performs with only very slight rhythmic lapses in rhythm and/or tempo / 7–8
Performs with competent rhythmic accuracy and maintains a suitable tempo, demonstrating an ability to recover from minor inaccuracies / 5–6
Performs with several rhythmic inaccuracies yet manages to maintain a sense of metre, and/or minor fluctuations in tempo / 3–4
Performs with many rhythmic errors, displaying an inconsistent pulse and/or significant fluctuations in tempo / 1–2
Pitch and intonation / /10
Performs with consistently accurate pitch and intonation / 9–10
Performs with excellent pitch and intonation with only occasional slight lapses / 7–8
Performs with competent pitch and intonation, demonstrating an ability to recover from minor inaccuracies / 5–6
Performs with several inconsistencies in pitch and intonation, but manages to maintain a sense of tonality / 3–4
Performs with several errors in pitch and intonation, and little sense of tonality / 1–2
Tone / /6
Performs confidently, displaying excellent tonal control / 5–6
Performs with reasonable confidence, but experiences some difficulty with tonal control / 3–4
Performs with little or no confidence, and experiences great difficulty with tonal control / 1–2
Improvisatory skills / /8
Performs a well-shaped, effective and imaginative improvisation which clearly outlines the chord changes, using clear rhythmic and melodic shapes and voicings, use of repeated motives and a good understanding of the chord sequence and harmonic context / 7–8
Performs a mostly effective improvisation, demonstrating consistency with rhythmic and melodic aspects of the style and an understanding of the chord sequence and harmonic context / 5–6
Performs an improvisation, demonstratinga basic sense of shape with some rhythmic and melodic aspects of the style, and some understanding of the chord sequence and harmonic context / 3–4
Performs an inconsistent and mostly ineffective improvisation, demonstrating a limited awareness of style, inconsistent application of rhythmic and melodic ideas and a limited understanding of the chord sequence and harmonic context / 1–2
Total mark / /34

Note: Zero will be used when there is no evidence demonstrated relating to each criterion.

Sample assessment task

Music – WAM – ATAR Year 11

Task 5 – Unit 1

Assessment type:Cultural and historical analysis

This task requires the completion of a summary table outlining the development of the Symphony and a 1000 word essay based on given criteria, using the table as a starting point. You will be given eight weeks to complete the task, submitting both the in Week 14.

Conditions

Period allowed for completion of the task: 8 weeks

Completed table and essay to be submitted in Week 14

Taskweighting

2% of the school mark for this pair of units

______

The Development of the Symphony

You will be required to write a 1000 word essay discussing the development of the symphony from the Rococo period through to the twentieth century, based on the summary table: Development of the Symphony, which is to be submitted with your essay. The essay must outline the contribution made by both composers of the designated works to the development of the symphony, supported by reference to musical evidence from the designated and related works studied this semester.

Part 1: To assist in structuring and planning your essay, you are required to complete the table on the following page: Development of the symphony. This table will summarise developments and changes in instrumentation/orchestration, form, tonality/melody, rhythm, harmony, texture and other special features in the symphony from the Rococo period to the twentieth century.

Part 2: Complete the essay according to the following criteria:

Discuss the origin and development of the symphony from the Baroque, through to the twentieth century, noting changes to the number of movements, associated form and tempi and use of thematic material.
Outline the musical changes in the symphony referring to at least four music elements outlined in the table; rhythm, tonality/melody, harmony, dynamics and expression, texture.
Discuss changes made to the orchestra and how these influenced the composer’s use of instrumentation and orchestration techniques, for example, the contribution made by the Mannheim orchestra.
Outline cultural, historical and social features that contributed to the development of the symphony, noting the influence of other Arts and the changing role and status of the composer.
Outline the importance of the contribution made by the composers of the designated works to the development of the symphony, making specific reference to musical evidence from the symphonies studied throughout the semester and additional works where necessary, to support your discussion. Include at least a paragraph for each composer.
Include a bibliography which correctly references books and websites used to complete the table and the essay. Use correct referencing throughout the essay where necessary.

Development of the symphony

PRE-CLASSICAL / CLASSICAL / ROMANTIC / 20thCENTURY
Instrumentation/
orchestration
Form
Tonality/melody
Rhythm
Harmony
Texture
Dynamics and other special features

Development of the symphony

PRE-CLASSICAL / CLASSICAL / ROMANTIC / 20thCENTURY
Instrumentation/
orchestration / Dominating strings, playing most of the melody, double woodwind; 2 fl, 2 ob, 2 bsn, 2 frhrns, 2 trumpets,
2 timpani (tuned to tonic/dom), basso continuo (harpsichord and bass) / Dominating strings, playing most of the melody, double woodwind; 2 fl, 2 ob, introduced 2 cl, 2 bsn, 2 frhrns, 2 trumpets, 2 timpani (tuned to tonic/dom), no basso continuo, wider use of contrasting instrumental timbres / Increased size – technological improvements – expansion in number and variety of instruments, explored rich, lower timbres.
Added piccolo, coranglais, contra bassoon, trombone, tuba, increased percussion / Unusual instrumental combinations,extensive percussion, innovative techniques and timbres, electronic sounds
Form / 3 movements (fast,slow,fast), contrasting themes – beginning of sonata form, binary, ritornello, fugue / Standardisation of
4 movement structure (Haydn):
1 – fast – sonata
2 – slow – theme and
variations, binary
3 – moderately fast –
minuet and trio
4 – very fast – sonata,
rondo, sonata – rondo / Expansion, extra and extended movements, free use of established forms, programmatic works, one movement symphonic poem, suite, concert overture, nationalism, thematic transformation and unity / New and free forms – arch, neo-classical – return to forms of previous eras
Tonality/melody / Clear tonality-modal, major/minor, simple motivic melodies, predominantly scalic, Baroque features – ornamentation, sequential writing, mostly regular phrasing / Firmly established major/minor tonality, simple clear melodies – no excess or extravagance, thematic contrast, regular and balanced phrases / Tonality/tonal centre not always clear, frequent and often unexpected modulations,excessive dissonance, complex chords with added chromatic notes,long, lyrical and irregular phrases / Inconsistent, wide variety of melodic styles, fragmentary, pointillistic texture, modal, atonal
Rhythm / Elements of both Baroque – motivic, driving, repetitive rhythms, and rococo – simple, clear, metrical and regular, strong accents / Simple, clear metres and rhythms, rhythmic motives, some syncopation and rhythmic variety / Contrasting metres, metre changes within movements, greater variety of rhythms, complex rhythmic patterns, syncopation / Frequently changing metres, polymetric, greater variety of metres and rhythmic patterns, complex rhythms, polyrhythms, rhythmic focus, featuring percussion
Harmony / Simple, clear harmony melody in one par – usually strings, accompanied by other instruments / Predominantly clear and simple functional harmony, clear cadence points / New and complex chords and progressions, non-functional harmony, excessive chromaticism, frequent use of altered and non-tonal chords / Atonal, neo-tonal, excessive chromaticism and dissonance, twelve tone, inconsistent, non-functional harmony
Texture / Baroque – polyphonic, imitative counterpoint,
Rococo – mainly homophonic / Predominantly homophonic, with some counterpoint for contrast / Contrasting homophonic and polyphonic textures, more dense, thick textures, exploring new and innovative timbres and timbral combinations, rich complex counterpoint / Large variety of contrasting textures within movements, complex counterpoint, pointillistic/fragmentary, minimalistic, sporadic and inconsistent
Dynamics and other special features / Terraced dynamics and beginnings of gradual contrasts, alberti bass / Slow introduction, rise of inner parts, conductor, Mannheim orchestra / Extreme dynamic contrasts, gargantuan and miniature, nationalism, programmatic / New and innovative techniques and sounds, emphasis on individuality, ‘isms’ – impressionism,
neo-classicism, twelve tone, atonal, one movement symphonic works

Marking key for sample assessment task 5 – Unit 1

Description / Marks
Completes Development of the Symphony table /5
Accurately and comprehensively completes the Development of the Symphonytable / 5
Completes most points of the Development of the Symphony table in detail, with some inconsistencies / 4
Completes theDevelopment of the Symphony table, but only provides simple and sometimes inconsistent responses / 3
Provides an incomplete Development of the Symphony table with several inaccuracies / 2
Provides a mostly incomplete and inaccurate Development of the Symphony table / 1
Discusses the origin and development of the symphony /5
Provides detailed and insightful discussion about the origin and development of the symphony across all eras, accurately referring to all of the required points / 5
Provides detailed discussion about the origin and development of the symphony across most eras, accurately referring to a number of the required points / 4
Provides some discussion about the origin and development of symphony across most eras, referring to some of the required points / 3
Provides inconsistent discussion about the origin and development of symphony across most eras referring to some of the required points with several inaccuracies / 2
Provides limited discussion about the origin and development of the symphony across some eras, inaccurately or inappropriately referring to few of the required points / 1
Outlines musical changes in the symphony referring to at least four music elements outlined in the table/4
Makes specific and insightful reference to at least four music elements outlined in the table to describe musical changes to the symphony / 4
Makes some reference to at least three music elements outlined in the table to describe musical changes to the symphony / 3
Makes minimal reference to one or two music elements outlined in the table or refers to some of them incorrectly when describing musical changes to the symphony / 2
Makes limited reference, or mostly incorrect and/or inappropriate references to the music elements outlined in the table, that do not adequately describe musical changes to the symphony / 1
Discusses changes to the orchestra and resulting influences on orchestration and instrumentation techniques
/3
Provides an accurate and detailed discussion about changes to the orchestra and resulting influences on orchestration and instrumentation techniques / 3
Provides a generally accurate discussion about changes to the orchestra and outlines some resulting influences on orchestration and instrumentation techniques / 2
Provides a mostly inaccurate and incomplete discussion about changes to the orchestra and resulting influences on orchestration and instrumentation techniques / 1
Outlines cultural, historical and social features that contributed to the development of the symphony /4
Provides a detailed discussion, comprehensively outlining the cultural, historical and social features that contributed to the development of the symphony, noting the influence of other Arts and the changing role and status of the composer / 4
Provides a mostly detailed discussion, outlining several cultural, historical and social features that contributed to the development of the symphony, with reference to the influence of other Arts and the changing role and status of the composer / 3
Provides some discussion, outlining a few cultural, historical and social features that contributed to the development of the symphony, with little reference to the influence of other Arts and the changing role and status of the composer / 2
Provides limited discussion, making sporadic or no reference to the influence of other Arts and the changing role and status of the composer, with several errors / 1
Description / Marks
Outlines contributions made by the composers/arrangers of the designated works to the development of the symphony /4
Provides specific and insightful discussion outlining contributions made by bothcomposers of the designated works to the development of the symphony with specific reference to supportive works / 4
Provides discussion, outlining contributions made by both composers of the designated works to the development of the symphony, or detailed discussion outlining the contribution of only one composer with reference to supportive works / 3
Provides little discussion outlining contributions made by one or both composer/s of the designated works to the development of the symphony with insufficient reference to selected works or reference to works that are inappropriate / 2
Provides limited discussion which is mostly incorrect or inappropriate, with little or no reference to supportive works / 1
Cites musical examples from designated and additional works /4
Makes detailed reference to musical examples from each of the designated works and additional works in support of the question / 4
Makes reference to musical examples from most of the designated works and some additional works in support of the question / 3
Makes little reference to musical examples from the designated works and does not refer to additional works / 2
Makes limited reference to musical examples from the designated works and/or additional works / 1
Coherent well-structured response /3
Presents a coherent, well-structured and articulate response supporting the main aims of the question / 3
Presents an adequate response, but at times lacks clarity of meaning and/or is not of a sufficient quantity to fully express ideas or support the main aims of the question / 2
Provides a simple response offering little support for the main aims of the question / 1
Provides limited or no support to the main aims of the question / 0
Bibliography and referencing /3
Includes correct referencing in the text and a comprehensive and accurate bibliography / 3
Includes mostly correct referencing in the text and bibliography / 2
Incorrectly uses referencing in the text and Includes a limited and/or irrelevant bibliography / 1
Does not include referencing in the text and does not include a bibliography / 0
Total / /35

Sample assessment task