SAMPLE COURSE OUTLINE MUSIC – CONTEMPORARY ATAR YEAR 11 Copyright © School Curriculum and Standards Authority, 2018 This document – apart from any third party copyright material contained in it – may be freely copied, or communicated on an intranet, for non-commercial purposes in educational institutions, provided that the School Curriculum and Standards Authority is acknowledged as the copyright owner, and that the Authority’s moral rights are not infringed. Copying or communication for any other purpose can be done only within the terms of the Copyright Act 1968 or with prior written permission of the School Curriculum and Standards Authority. Copying or communication of any third party copyright material can be done only within the terms of the Copyright Act 1968 or with permission of the copyright owners. Any content in this document that has been derived from the Australian Curriculum may be used under the terms of the Creative Commons Attribution-NonCommercial 4.0 Australia licence Disclaimer Any resources such as texts, websites and so on that may be referred to in this document are provided as examples of resources that teachers can use to support their learning programs. Their inclusion does not imply that they are mandatory or that they are the only resources relevant to the course. 2014/19856v7 1 Sample course outline Music – Contemporary – ATAR Year 11 Units 1 and 2 delivered as a pair Unit 1 – Pop Written component – Key teaching points Practical component Week Performance or Aural Theory and Composition Cultural and historical analysis Composition portfolio Sight-singing: to be continued consistently Theory Include visual and aural analysis tasks and Distribute technical lists and throughout the semester. Examples in both Knowledge and function of treble and bass comparative analysis with unfamiliar works to recommended repertoire from the treble and bass clef based on scales and clefs including leger lines reinforce teaching of music styles and Music Performance Resource intervals stipulated Identify and write intervals, scales (major, associated characteristics Package Scales: Major pentatonic, minor pentatonic, major and minor pentatonic) and chords in Pop versus Rock. Play clips of Kylie Minogue Outline assessment requirements major (ionian mode) treble and bass clef, major keys, up to four and Queens of the Stone Age to identify for the semester in consultation Intervals: m2, M2, m3, M3, P4, P5, m6, M6, m7, sharps and flats similarities and differences with instrumental teachers, M7, P8ve (melodic and ascending only) Scale degree numbers and their application in Revision of music elements for analysis: ensemble directors and/or Imitation and Call and response: up to scales, intervals and chords instrumentation, timbre, texture, metre, composition portfolio supervisors 4 bars based on rhythms, scales and intervals Terminology/symbol for tempo and genre, style, tempo, dynamics, tonality, form, covered modifications of tempo rhythmic, melodic and harmonic elements, Week 3: submit proposed Chords: power chords/tonic and dominant, Additional rests for simple/compound articulations, compositional devices repertoire/draft proposal for major primary triads: I, IV and V (and V7) or Chords Analysis explosion on board – apply to Rock Practical Task 1 chord names (e.g. C, F and G). Chord recognition and analysis; major triad, and Pop and discuss definitions of each, using Major triad, dominant 7th, major 7th 1–3 I, IV, V and V7 using Roman numerals and examples such as the following to assist: Rhythmic dictation: dictations of ostinatos in chord names (Whip It, Roundabout, One Way or Another, simple time signatures: , Major triad, dominant 7th and major 7th chords Superstition, Bohemian Rhapsody) Notes, rests and subdivisions of crotchet beat: Provide chords to a given melody/song Late 1950s and early 1960s background to Rhythmic exercises pop music – the backlash to early Rock & Roll , ,, , , , , Identify and write syncopated rhythms, and the evolution and marketing of the teen focusing on the use of ties, anticipation and idol. Brill Building Pop – listen to examples , , ,, delay like Frankie Avalon, Pat Boone etc. Discuss Rhythm re-grouping exercises using the ‘good boy’ image of Boone as opposed to , , , syncopation and rests the early Elvis persona. Use these songs for Melodic dictation: simple time, 4 bars, treble Provide a rhythmic for given lyrics aural recognition of chord progressions. Note and bass clef, using major and major pentatonic Melody writing the prevalent use of the I–vi–IV–V chord scales up to three sharps and flats. Rhythm and Short melodic fragments. Writing by contour, progression some pitch provided by chord, by scale or to fit a phrase of words The Rise of the Producer – Leiber and Stoller From a given motif, 4–8 bars in major or minor and Phil Spector. Discuss the relationship Sample course outline | Music – Contemporary | ATAR Year 11 2 Written component – Key teaching points Practical component Week Performance or Aural Theory and Composition Cultural and historical analysis Composition portfolio keys, in simple and compound time, in treble between the musician and the producer. or bass clef Increased focus on the recording studio and For a given 4 bar rhythmic pattern the sounds it could produce. Look at Phil Write a lead sheet using Contemporary Spector’s ‘Wall of Sound’ approach (listen to conventions and compositional devices The Crystals and The Ronettes for Spector Arranging girl-group sound) Discuss score layout, examining sample scores British Invasion and notation (conventional, slash-rhythm Early Beatles and the British Invasion guitar, TAB, drum set, including percussion Early influences on the development of Pop clef) music – include Elvis, Little Richard and Chuck Identify the use of music elements in a blues Berry, in addition to Leiber and Stoller and melodic style analysing given melodies Phil Spector. Other influences included Beatlemania (1963–1966), British Invasion bands and groups that followed, such as Gerry and the Pacemakers, Herman’s Hermits and The Hollies Designated Work 1 I Saw Her Standing There – The Beatles Aural and visual analysis of the work Week 6: Task 1 – Aural test (4%) Week 7: Task 2 – Melody and accompaniment Motown Week 5: Performance Task 1 – writing (3%) The impact of the British Invasion and the Prepared repertoire (2%) Scales: natural minor (aeolian mode), blues demise of some African-American pop music scale Theory Week 5: Composition Task 1 – Berry Gordy, Motown and commercial Intervals: add harmonic intervals: P4, P5, P8 Identify and write natural minor (aeolian Composition proposal (5%) success – producing crossover music aimed at Chords: root position (block), arpeggio (broken). mode) and blues scales and related intervals the white teen market, modelled on the Brill Week 6: negotiate repertoire, form Minor triad, minor 7th chord in minor keys Building approach. Gordy’s control over the ensembles and begin rehearsals for add secondary triads: ii and vi in major keys Identify modulations to the relative minor and Motown artists, both musically and in their Ensemble Performance Standard blues progressions I, IV, V and V7 major in melodic excerpts public persona 4–7 Modulation: relative major/minor Rhythm exercises in compound time The Funk Brothers – studio band for most of Rhythmic dictation: simple time add Expressive devices: general dynamic the Motown hits in the 60s descriptions. Terminology/symbol for Listen to: The Temptations, The Supremes , , , , , dynamics, changes in intensity of sound and and Martha and the Vandellas accents, articulations and ornamentations Discuss common perception of Motown as Chords Correct grouping of rhythms and rests within having ‘sold out’ to White America Minor triad and minor 7th chord the bar Listen to Stevie Wonder and discuss how he 12-bar blues progression and structure Swing/shuffle feel and Marvin Gaye gained significant artistic Introduce ii, iii and vi in major keys Sample course outline | Music – Contemporary | ATAR Year 11 3 Written component – Key teaching points Practical component Week Performance or Aural Theory and Composition Cultural and historical analysis Composition portfolio Melodic dictation: simple time, 4–8 bars, minor I, vi, IV, V progression– listen to and analyse control over their music – acting as producers pentatonic and natural minor examples using this progression. Harmonise Second British Invasion, new Romantic scene Discrepancies: treble/bass clef, 4 bars, given melodies using the progression and Designated work 2 4 discrepancies in either pitch or rhythm write a melody to fit the progression Rocket Man – Elton John Aural analysis: recognition of music elements in Melody writing Aural and visual analysis of the work. short extracts (form, metre, dynamics, For a given chord structure, 4–8 bars expressive devices, tempo, instrumentation) For given lyrics, creating an appropriate Elton John rhythm, 4–8 bars Early career as a songwriter For a given scale to imitate a style or mood, Partnerships with lyricists Bernie Taupin and 4–8 bars, for a solo instrument or voice Tim Rice Arranging – Bass lines Became known for flamboyant performance Listen to and analyse bass lines – various style inspired by glam rock styles and typical pop bass lines such as Breakthrough Your Song from self-titled walking bass or country style (root/5th second album in 1970 common notes, passing notes and linking Performed at Live Aid in 1985