Download Year 10 Specialist Music Program 2017

Year 10 Specialist Music
Semester 1 Program 2017
Teaching Focus
Week
Introduction to Course

Expectations and Assessment Outline
Content Addressed
Aural & Theory & Composition

Improvise and arrange music, using aural
recognition of texture, dynamics and
expression to manipulate the elements of
music to explore personal style in composition
and performance (ACAMUM099)
1. Using aural skills and memory to identify,
sing and notate pitch and rhythm patterns,
intervals and familiar chord changes
2. Improvising
with
instrumentation,
dynamics and expressive techniques to
develop the texture of a composition
3. Experimenting with layering of sound to
develop a personal style in improvisation
and composition
4. Applying an aural understanding of key
and tonality when improvising and
composing
5. Exploring use of elements of music in
different music styles, including those
from other cultures and times, as a
stimulus for improvisation

Plan and organise compositions with an
understanding of style and convention,
including drawing upon Australian music by
Aboriginal and Torres Strait Islander artists
(ACAMUM102)
Australian Pop & Rock
T1:1


Introduction of Topic: Australian Pop & Rock 1970-2000
Discussion of existing knowledge and what they would like to know
Aural & Theory


Aural- Revise basic intervals (P4,P5,P8), rhythmic dictation (TA TITI
TICKTICKA ZA) and melodic dictation.
Theory-Revise note names & rhythm names
Australian Pop & Rock 1970




T1:2
Brainstorm
Read through 1970s Handout
Listening- Discussion
Easybeats & ACDC Activity
Aural & Theory


Aural- Revise basic intervals (P4,P5,P8), rhythmic dictation (TA TITI
TICKTICKA ZA) and melodic dictation.
Theory-Revise note names, rhythm names, how to write a C Major Scale
(Theory Book)
Australian Pop & Rock 1970/1980
T1:3




Brainstorm- Characteristics of the 1970s
Introduce 1980s and Read through 1980s Handout
Listening- Discussion
Analysis- Never Tear Us Apart- with score
Music History
 Evaluate a range of music and compositions
to inform and refine their own compositions
and performances (ACAMUR104)
1. Listening to, analysing and comparing the
performance practices of others to shape
and refine their interpretation of a piece of
music
Assessment
2. Comparing music from different styles to
identify and describe stylistic, cultural and
historical practices and inform their own
composition and performance practice
3. Investigating why and how different
traditions, styles and contexts affect the
experience and interpretation of a piece of
music and taking this into account when
interpreting and composing music
4. Considering viewpoints – societies: For
example – How is this piece typical of the
social context in which it was created?
cultures: How are the elements of music
used in this piece to convey a cultural
identity? histories: What historical forces
and influences are evident in this work?
5. Evaluating the use of the elements of
music when listening to and interpreting
music
Aural & Theory


Aural- Revise basic intervals (Major 3rd & min 3rd), rhythmic dictation (TA TITI
TICKTICKA ZA, TAAAA)
Theory-How to write a C Major Scale & C do Pentatonic (Theory Supplement)
Practise Time


Preparing first solo piece for performance
Preparing Scales for assessment
Australian Pop & Rock 1970/1980



Brainstorm- Characteristics of the 1970s vs 1980s comparison
Take notes
Pick and artist form each era to help you remember
Aural & Theory

T1:4



Aural- Revise basic intervals (M3,m3, P4,P5,P8), rhythmic dictation (TA TITI
TICKTICKA ZA, TAAAAA, TITICKA)
Theory-Tones & Semitones, the accidental
Reading a score- basics
Practise Time


Preparing first solo piece for performance
Preparing Scales for assessment
Australian Pop & Rock 1980s



Set work analysis- Men at Work “Land Down Under”
Men at Work Context Handout
Discussion
Aural & Theory


Aural- Revise basic intervals (M2, m2), and melodic dictation.
Theory- Revise Tones & Semitones, the accidental, Scale writing practise
(Theory Book)
Practise Time


Preparing first solo piece for performance
Preparing Scales for assessment
T1:5
Manipulate combinations of the elements of
music in a range of styles, using technology
and notation (ACAMUM100)
Performance

Practise and rehearse to refine a variety of
performance repertoire with increasing
technical
and
interpretative
skill
(ACAMUM101)
1. Rehearsing solo and ensemble repertoire
to develop technical skill and musical
sensitivity
2. Rehearsing and refining solo and
ensemble repertoire with an increasing
stylistic understanding
3. Recording and evaluating performances
using digital technologies, for example,
listening to a recording of their own
performances and identifying areas for
improvement
Australian Pop & Rock 1980s



Revise Set work analysis- Men at Work “Land Down Under”
Composition Task- Lead Sheet- requirements etc.
What does a lead sheet look like? Examples
Aural & Theory
T1:6


Aural- Revise basic intervals (M2, m2, M3,m3, P4,P5,P8), and melodic
dictation 4 bar.
Theory- Tonic Triads (Theory Book)
Handout
Composition Task
32 bar lead Sheet
using Kookaburra
sits in the old Gum
tree riff.
Due Week 9
Practise Time


Preparing first solo piece for performance
Preparing Scales for assessment
Australian Pop & Rock 1980s


Working on Composition Task- Lead Sheet- requirements etc.
Revise Set work analysis- Men at Work “Land Down Under”
Aural & Theory
T1:7


Aural- Revise basic intervals (M2, m2, M3,m3, P4,P5,P8), rhythmic dictation
(TA TITI TICKTICKA ZA, TAAAAA, TITICKA, TICKATI).
Theory- Revision (Supplement Sheet)
Task 2: Solo Piece
performance
Student performs a
solo piece for the
class in preparation
for their Semester
One exam.
Practise Time

Solo Piece Performances- record each performance
Australian Pop & Rock 1980s
T1:8


Working on Composition Task- Lead Sheet- requirements etc.
Revise Set work analysis- Men at Work “Land Down Under”
Aural & Theory

Aural & Theory Test
Task 3: Aural &
Theory Test
Practise Time

Watch performance videos and complete reflection
Australian Pop & Rock 1980s



T1:9

Composition Task- DUE
Set work analysis- Men at Work “Land Down Under” TEST
Aural & Theory
Aural- Revise basic intervals (M6, M2, m2, M3,m3, P4,P5,P8), and melodic
dictation 4 bar.
Theory- Key Signatures (Theory Book)
Practise Time


Preparing second piece for performance
Preparing Scales for assessment
Australian Pop & Rock 1980s

Review Set work analysis test results- Men at Work “Land Down Under”
Aural & Theory

T1:10

Aural- Revise basic intervals (M6, M2, m2, M3, m3, P4, P5, P8), and melodic
dictation 4 bar.
Theory- Key Signatures (Theory Supplement)
Practise Time


Preparing second piece for performance
Preparing Scales for assessment
Introduction to Term

Expectations and Assessment Timeline
Aural & Theory
T2:1


Aural- Revise basic intervals (M6, M2, m2, M3, m3, P4, P5, P8), and melodic
dictation 8 bar.
Theory- Transposing – New Key Signature
Practise Time
Task 1:
Composition DUE
Task 4: Set Work
Test


Preparing second piece for performance
Preparing Scales for assessment
Australian Pop & Rock 1990s




Brainstorm- Music of the 1990s
Introduce 1990s and Read through 1990s Handout
Listening- Discussion
Silver Chair questions
Aural & Theory
T2:2


Task 5: Scales
Assessment
Aural- Revise basic intervals (M6, M2, m2, M3, m3, P4, P5, P8), bar, scale
recognition major, pentatonic, harmonic minor.
Theory- Circle of Fifths
Practise Time

Scales Assessment
Australian Pop & Rock 2000s




Brainstorm- Music of the 2000s
Introduce 2000s and Read through 2000s Handout
Listening- Discussion
Handout Research Assignment
Aural & Theory
T2:3


Aural- Revise basic intervals (M6, M2, m2, M3, m3, P4, P5, P8), and melodic
dictation 4 bar, scale recognition major, pentatonic, harmonic minor.
Theory- Theory- The Harmonic Minor Scale (Theory Book)
Practise Time

Preparing first second piece for performance
Australian Pop & Rock research assignment

T2:4
Working on Research Assignment
Aural & Theory

Aural- Revise basic intervals (M6, M2, m2, M3, m3, P4, P5, P8), rhythmic
dictation (TA TITI TICKTICKA ZA, TAAAAA, TITICKA, TICKATI) and melodic
Handout Research
Assignment Due
Week 6

dictation 4 bar, scale recognition major, pentatonic, harmonic minor.
Theory- The Harmonic Minor Scale (Theory Supplement)
Practise Time


Preparing second & third piece for exam
Preparing Scales for exam
Australian Pop & Rock 2000s

Working on Research Assignment
Aural & Theory
T2:5


Aural- Melodic dictation 4 bar, scale recognition major, pentatonic, harmonic
minor.
Revision
Practise Time


Preparing second & third piece for exam
Preparing Scales for exam
Australian Pop & Rock 2000s


Research Assignment Due
Revision
Task 6: Research
Assignment Due
Aural & Theory
T2:6

Revision
Practise Time

Performance Exam
T2:7
Written Exam

Go through exam results
Aural & Theory
T2:8

Task 7:
Performance
Exam
Aural & Theory
Task 8: Written
Exam


Aural- Aural- Revise basic intervals (M6, M2, m2, M3, m3, P4, P5, P8),
rhythmic dictation (TA TITI TICKTICKA ZA, TAAAAA, TITICKA, TICKATI) and
melodic dictation 4 bar, scale recognition major, pentatonic, harmonic minor.
Theory- The minor pentatonic scale revision (Theory Book)
Practise Time

Performance requirements for Semester 2
Blues


T2:9


Introduction to the Blues
Basic History & Context
Aural & Theory
Aural- Revise basic intervals (m6, M6, M2, m2, M3, m3, P4, P5, P8), rhythmic
dictation (TA TITI TICKTICKA ZA, TAAAAA, TITICKA, TICKATI)
Theory- The Blues Scale (Theory Supplement)
Practise Time


Preparing for semester two exam
Preparing Scales for exam
Blues

Blues as African American History Handout




“Trouble So Hard” early 1900s
Skip James, “Hard Time Killin’ Floor Blues” 1930s
Muddy Waters, “Mannish Boy” 1950s
Chris Thomas King, “Da Thrill Is Gone From Here” early 2000s

Without revealing information about the songs, break students into small
groups to discuss the lyrics, sound, and feeling of each. What do the songs
suggest about the condition of the people who sang them and listened to
them? Are they happy, sad, frustrated, tired, etc.? What are the per formers’
attitudes toward the experiences they sing about? Are they resigned, angry,
skeptical, etc.? What did the singers and listeners of these songs value? One
can, after all, sing about anything; why did singers choose certain subjects
and approaches to those subjects? What does that tell you about their outlook
or perspective?
After listening and discussing, inform students of the dates that these songs
were created, without identifying which song was written in what time period.
Have student groups speculate, given the content and feel of each piece, the
time in which each song was created, and make a timeline that illustrates their
predictions. The timeline should include what these four songs indicate about
the trajectory of African American experience across the 1900s, ’30s, ’50s,
and 2000s, and a justification of their choices using particular references to
T2:10


each song.
Once students have shared their timelines, give the correct date for each
song, commenting on important historical clues in each piece. Obviously, one
song can’t possibly sum up the experiences of all African Americans in a given
time period, which is something to make clear to the students. But each song
can be used to suggest general eras in African American history and provide
a foundation for analyzing changing attitudes toward segregation and racism
over time. But each song can be used to suggest general eras in African
American history and provide a foundation for analyzing changing attitudes
toward segregation and racism over time.
Aural & Theory


Aural- Scale recognition major, pentatonic, harmonic minor, the blues scale.
Theory- 12 Bar Blues (Theory Supplement)
Practise Time


Preparing for semester two exam
Preparing Scales for exam
Study skills incorporated throughout semester:
Sight reading/singing
Score annotating
Note taking
Dictations
IT
E-lr website
Sibelius
Garage band
IMCC Year 10 Specialist Music
Semester 2 Program 2017
Teaching Focus
Week
Content Addressed
Assessment
Blues
Aural & Theory & Composition




Introduction
12 bar blues- What is it?

Blues
Aural- Revise basic intervals (M6, M2, m2, M3, m3, P4, P5, P8), rhythmic
dictation 6/8 time (TAM TI, TITITI)
Theory: 6/8 time (Theory Book)
Ensemble Task Practise
T3:1

Ensemble Performance Task: Within the 12-bar blues format, students should
write an original blues song, using a key employed in previous activities.
Direct students to begin by mapping out the chords in each measure (e.g., I–
I–IV–I), using the standard blues scale and standard harmonic progression
covered earlier in the lesson. Then using the loop pedals loop a basic 12 bar
blues rhythm and write a melody over the top that includes a 8 bar
improvisation using the blues scale. The use of bended pitch should be
encouraged and can be notated by a small “scoop” line either extending
upward toward the melodic note or downward from it, depending on the
desired sound.. Lyrics do not need to be a component of this exercise,
although an accelerated student may be encouraged to experiment on his/her
own.

Working in Ensembles on Task.

Blues


T3:2


Revise 12 bar blues
Playing the Blues- Handout & Activities
Blues
Aural- Revise basic intervals (M6, M2, m2, M3, m3, P4, P5, P8), rhythmic
dictation 6/8 time (TAM TI, TITITI)
Theory: 6/8 time (Theory Supplement
Ensemble Task Practise
Improvise and arrange music, using aural
recognition of texture, dynamics and
expression to manipulate the elements of
music to explore personal style in composition
and performance (ACAMUM099)
1. Using aural skills and memory to identify,
sing and notate pitch and rhythm patterns,
intervals and familiar chord changes
2. Improvising
with
instrumentation,
dynamics and expressive techniques to
develop the texture of a composition
3. Experimenting with layering of sound to
develop a personal style in improvisation
and composition
4. Applying an aural understanding of key
and tonality when improvising and
composing
5. Exploring use of elements of music in
different music styles, including those
from other cultures and times, as a
stimulus for improvisation
Plan and organise compositions with an
understanding of style and convention,
including drawing upon Australian music by
Aboriginal and Torres Strait Islander artists
(ACAMUM102)
Music History

Evaluate a range of music and compositions
to inform and refine their own compositions
and performances (ACAMUR104)
1. Listening to, analysing and comparing the
performance practices of others to shape
Handout Task 9Blues Performance


Explain task
Working in Ensembles on Task
2.
Blues


T3:3

3.
Playing the Blues- Handout & Activities 2
Blues
Aural- Revise basic intervals (M6, M2, m2, M3, m3, P4, P5, P8), rhythmic
dictation 6/8 time (TAM TI, TITITI)
Theory: Dotted Rhythms (Theory Book)
4.
Ensemble Task Practise

Working in Ensembles on Task
5.
and refine their interpretation of a piece of
music
Comparing music from different styles to
identify and describe stylistic, cultural and
historical practices and inform their own
composition and performance practice
Investigating why and how different
traditions, styles and contexts affect the
experience and interpretation of a piece of
music and taking this into account when
interpreting and composing music
Considering viewpoints – societies: For
example – How is this piece typical of the
social context in which it was created?
cultures: How are the elements of music
used in this piece to convey a cultural
identity? histories: What historical forces and
influences are evident in this work?
Evaluating the use of the elements of music
when listening to and interpreting music
Blues
Performance


T3:4


The Beat of the Blues- Handout & Activities
One of the identifying characteristics of the blues is the emphasis placed on
the backbeat. Play a song from the accompanying CD and ask students to
clap along to it. Ask them to describe their clapping. Did they tend to clap on
certain beats of the song? Did they clap louder on certain beats of the song?
How did they clap differently to this song then they would to, say, a classic
rock song? Suggest that blues audiences typically find themselves clapping
on the second and four the beats of a song, the backbeats.
Aural & Theory
Aural- Melodic dictation, Scale recognition major, pentatonic, harmonic minor,
the blues scale.
Theory: Dotted Rhythms (Theory Supplement)
Ensemble Task Practise

Working in Ensembles on Task
Blues
T3:5



The Blues Masters- Muddy Waters and B.B. King
Split into group to research questions
Share with other groups

Practise and rehearse to refine a variety of
performance repertoire with increasing
technical
and
interpretative
skill
(ACAMUM101)
1. Rehearsing solo and ensemble repertoire to
develop technical skill and musical
sensitivity
2. Rehearsing and refining solo and ensemble
repertoire with an increasing stylistic
understanding
3. Considering viewpoints – cultures and
histories: For example – How are the
elements of music used in this piece to
convey a cultural identity?
4. What historical forces and influences are
evident in this work? Working collaboratively
to develop ensemble skills and an
understanding of the role of each member of
the ensemble in a performance.
5. Recording and evaluating performances
using digital technologies, for example,
listening to a recording of their own
performances and identifying areas for
improvement


Blues
Aural- Intervals, Melodic dictation, Scale recognition major, pentatonic,
harmonic minor, the blues scale.
Theory: Revision

Ensemble Task Practise

Working in Ensembles on Task
Blues
T3:6


Focus Artist- Muddy Waters
Listening Analysis

Aural & Theory Test
Aural & Theory
Ensemble Task Practise


Working in Ensembles on Task
Blues


T3:7

Blues scores- analysis practise
Aural & Theory
Aural- Intervals, Melodic dictation, Scale recognition major, pentatonic,
harmonic minor, the blues scale, Melodic Dictation
Theory: Chords (Theory Book)

Perform music applying techniques and
expression to interpret the composer’s use of
elements of music (ACAMUM103)
1. Performing music from scores made by
themselves and others.
2. Considering viewpoints – evaluations: For
example – How are these two
performances different? Which one was
more successful with audiences and why?
3. Exploiting musical features of works
across a range of styles and contexts in
performance.
4. Recognising the influence of social,
cultural and historical developments and
incorporating these into their
performance.
5. Using aural skills and reading notation to
develop interpretation as they perform
known and unknown repertoire in a range
of styles
Task 10: Aural &
Theory Test
Analyse a range of music from contemporary
and past times to explore differing viewpoints
and enrich their music making, starting with
Australian music, including music of
Aboriginal and Torres Strait Islander Peoples,
and consider music in international contexts
(ACAMUR105)
Ensemble Task Practise

Working in Ensembles on Task
Blues
T3:8

Blues scores & revision


Aural & Theory
Aural- 6/8 rhythmic dictations.
Theory: Scale blues writing (Theory Supplement)
Ensemble Task Practise
Task 9: Ensemble
Performance

Ensemble Performances- video for reflection
Blues
T3:9


Introduction
Blues score analysis


Aural & Theory
Aural- Chord progression.
Theory: Writing Intervals (Theory Supplement)
Ensemble Task Practise

Performances Reflection on video
Blues

Go through Analysis Test
Aural & Theory
T3:10


Aural- 6/8 rhythmic dictations, intervals, chord progression.
Theory: Relative Minors
Practise Time

Practise for Semester 2 practical exam

Introduction to Term
What is country music? Australian traditional music
Aural & Theory
T4:1


Aural- 6/8 rhythmic dictations, intervals, chord progression.
Theory: Working out the Key of a song

Practise Time
Practise for Semester 2 practical exam
Task 11: Blues
Score analysis
T4:2

Blues/Country
Australian country music- and country music roots from blues


Aural & Theory
Aural- 6/8 rhythmic dictations, intervals, chord progression.
Theory: Syncopation

Practise Time
Practise for Semester 2 practical exam
Blues/Country
T4:3

Blues Context Test


Aural & Theory
Aural- 6/8 rhythmic dictations, intervals, chord progression.
Theory: Italian Terms
Practise Time

Practise for Semester 2 practical exam

Revision


Aural & Theory
Aural- 6/8 rhythmic dictations, intervals, chord progression.
Theory: Analysis & Revision

Practise Time
Practise for Semester 2 practical exam

Revision
Blues/Country
T4:4
Blues/Country
Aural & Theory
T4:5


Aural- 6/8 rhythmic dictations, intervals, chord progression.
Theory: Revision
Practise Time

Practise for Semester 2 practical exam
Blues Context Test
Blues/Country

Revision
T4:6
Aural & Theory

Revision
Task 12:
Performance Exam
Practical Exam
T4:7
Written Exam
T4:8
T4:9
Study skills incorporated throughout semester:
Sight reading/singing
Score annotating
Note taking
Dictations
IT
E-lr website
Sibelius
Garage band
Task 13: Written
Exam