Faculty of Arts FCP113Foundation Practical Study ......FCP113&Unit&Outline&2016& & & 4& & 3.&Music!performance!skills& Incorporating:& •&appropriatepostureandstagecraft&for&style,&attire&

FCP113 Unit Outline 2016

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Contact Details: UTAS Information Unit web site URL http://www.utas.edu.au/music/utas-college Campus Hobart, Conservatorium of Music Area Coordinator Frank Bansel E-mail [email protected] Phone UTAS – 62267336 Individual College information Teacher E-mail Phone All students are issued with a university e-mail address upon enrolment. It is important that UTAS College students become familiar with and check their UTAS e-mail on a regular basis, as it is the means through which final results are disseminated. Students who have a personal e-mail account can arrange for the university e-mail to be forwarded to their private account. NB: Students are advised that they must read the unit outline thoroughly. Ignorance of its content is not an acceptable excuse for any missed assessment, assignment, or deadline as stated in the unit outline. © The University of Tasmania, 2016 Contents Unit Description…………………………………………………......... page 2 Unit Summary…………………………………………….…..………. page 3 Learning Outcomes…………………………………………….….…..page 3 Assessment Information and Criteria……………………………..… page 3 Concert/Performance Attendance Requirements…………………. page 4 Performance Participation Requirements………………………….. page 4 Recital Preparation………………..………………………………….. page 4 Class Attendance Requirements………………………................... page 5 Requests for Extensions and Late Work penalties……................. page 5 Portfolio………………………......................................................... page 5 Assessment Details…………………….……………………............. page 6 UTAS Graduate Quality Statement…………………….….………... page 8 Moderating of Standards……………………………………………... page 8 How your final result is determined…………………………………. page 8 Review of Results…………………………………….………............ page 9 Recommended reading…………………………………….………… page 9 Academic Integrity………………………………………….…………. page 9 Further information and assistance………………………..……….. page 9 Workplace Health and Safety (WHS)……………….…..………….. page 10 Appendix A (prescribed composition tasks)……………………….. page 11

Conservatorium of Music Faculty of Arts FCP113 Foundation Practical Study - Semester 1 & 2, 2016 Frank Bansel (Area Co-ordinator) CRICOS Provider Code: 00586B


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Unit Description Unit code FCP113 Unit title Foundation Practical Study Teaching staff Mr Frank Bansel (Area Co-ordinator) Course Bachelor of Musical Arts (13N) Campus & mode

Hobart, internal

Unit weight 25% Teaching pattern

Timetabled weekly classes and regular performance classes;; weekly specialist instrumental or composition lesson (either group or 1-to-1 instruction);; ensemble rehearsals as required;; totalling the equivalent of approximately 150 hours.

Pre-requisites Performance Strand: Recommended instrumental/vocal technical standard (AMEB Grade 6), history of private instrumental tuition, college interview and acceptance. Composition Strand: Success in Music 3C Composition Unit or provision of a range of work demonstrating good music reading, score writing skills and a well developed/broad musical understanding.

Mutual exclusions

Nil

Special notes This is a ‘Full University Unit’ (see http://www.utas.edu.au/access-participation-and-partnerships/ucp for more information). When successfully completed, this unit will attract Pre-Tertiary status, ATAR and 15 TCE points. Work in this unit (for example music repertoire choice) is not permitted to be counted/used for any assessment purposes in other units or courses of study that contribute to ATAR or TCE points (for example – TASC, AMEB). If UTAS is made aware of this occurring, the student may be withdrawn from this unit. Final result/mark for study in this unit is available through the university student ‘portal’ (go to: http://www.utas.edu.au/students/estudent and click on Login to the new eStudent). You will need your university User Name and Password to do this. Students who do not meet the standard required for a pass result or higher will be withdrawn from the course without academic penalty – a failure (NN) award is not recorded on their university transcript. NB: Students should take careful note of examination dates and not involve themselves in outside activities during these periods. Permission to undertake extra-curricular activities during assessment tasks weeks will not normally be granted.

Equipment All students are encouraged to own a good metronome and a reliable tuner.

Important Dates

Portfolio Deadline for digital submission of Student Portfolios to the UTAS College Office (Conservatorium of Music): Friday September 23rd, 2016.

Further information

The Conservatorium Library is available to college students enrolled in this FCP course. For more information on Conservatorium of Music UTAS College courses see: http://www.utas.edu.au/music/utas-college


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Unit Summary This unit (FCP113) is the first of two UTAS College units for year 11/12 students aimed at providing an intensive course of study in music performance or composition designed to build skills to allow a successful audition into the Bachelor of Music Degree or the Bachelor of Musical Arts Degree. Regular, detailed feedback on the student’s work and progress is given during the student’s scheduled music classes as well as through the more formal assessment tasks. The student’s command of fundamental performance skills (see assessment criteria below) will be demonstrated in both mid-year and end of year performance assessments. Similarly, for those majoring in composition, the student’s command of compositional elements and capacity to write in an interesting, coherent manner will be demonstrated through a growing portfolio of work in both mid-year and end of year assessment procedures. Learning Outcomes 1. Students will develop high order instrumental/compositional skills leading to the development of a

significant recital/presentation of their works.

2. Students will deepen their musical understanding through developing challenging repertoire or musical composition to performance standard and engaging in classroom conversation, research and independent learning activities to develop musical ideas for interpretation through performance/presentation.

3. Students will develop significant understanding of the nature of instrumental performance or compositional development, learning reliable strategies to improve performance, in particular effective practising/compositional techniques, designed to utilize available time efficiently and communicating with and coordinating rehearsal times with associated musicians.

4. Students will develop effective communication, information, literacy and analytical skills by

engaging in specific activities to enhance the development of critical understanding of performance/composition issues (weekly instrumental/composition class, performance practice, assessment presentations, attendance at and critique of professional performances).

Assessment Information There are four assessment criteria for each of the Performance and Composition streams.

PERFORMANCE STRAND CRITERIA COMPOSITION STRAND CRITERIA 1. Technical ability Instrument mastery including: • Tone, tone choice • intonation, tuning • evenness, dexterity • endurance, stamina • breath support and control • uniformity of articulation • use of expressive techniques • microphone technique (if applicable)

1. Technical ability Particularly: • the capacity to clearly and appropriately notate and publish original works in a range of styles

• ability to write for a range of instruments and instrumentation

• understanding of instrument limitations including range, key choice, rhythmic complexity and suitability for intended instrument/ensemble and level of ability

2. Musicianship Encompassing: • accuracy (realising the score fluently as written/communicated)

• understanding/interpretation of the musical style incorporating phrasing, dynamics, rhythm and feel

• appropriateness of tone/timbre • appropriateness of articulation, vibrato • balance with other performers/accompanist, • expressive ability (mood/feeling) • effectiveness of preparation • instrument familiarity

2. Musicianship Particularly: • the use of personal experience, imagination and extant musical material to generate original works

• the ability to communicate ideas through the appropriate use of compositional skills

• ability to create mood, tell a story, communicate intent • create works that are cohesive and engaging


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3. Music performance skills Incorporating: • appropriate posture and stagecraft for style, attire • movement • presentation style • showcasing of instrument • confidence • engaging audience • effective communication (verbal and non-verbal) • program structure/order of pieces, appropriateness of pieces

3. Development and presentation of original, coherent works Particularly: • demonstration of understanding of melodic and linear motion

• the shaping force of rhythm • musical form • understanding and appropriate use of compositional techniques

• harmonic language appropriate to style • appropriate realisations/recordings/performances of works as intended

4. Communication of ideas and information Particularly the ability to: • reflect upon and appraise the quality of work and effort undertaken

• demonstrate an understanding of the importance of the rehearsal/practice process

• articulate musical preferences in style, genre, form • inform an audience about repertoire to be performed • articulate how other musicians perform and engage • demonstrate attendance at and reflection upon performances

4. Communication of ideas and information Particularly the ability to: • reflect upon and appraise the quality of work and effort undertaken

• use ICT to publish original works • engage in research to support compositional competence • articulate compositional intentions • demonstrate attendance at and reflection upon performances

There are two major formal assessment opportunities where Conservatorium staff will attend:

1. A mid-year performance or compositional presentation which is an opportunity for moderated assessment of a formative nature to take place. This provides the student with clear and immediate feedback upon their development and potential achievement against the published standards and identifies areas that may need improvement. College teachers and UTAS staff will collaboratively assess at this juncture to ensure a shared understanding of standards within the college and across the state;;

2. End of semester (year) performance or compositional presentation in an open performance

forum. The college teacher and UTAS staff will collaboratively assess at this juncture. Concert/Performance Attendance Attending a minimum of 6 *varied concert/music performances is a course requirement for all performance and composition students. Students are required to keep a record (log) of concert/performance attendances. This log must be presented as a part of the compulsory portfolio (see following). NB: If it is discovered that a student has misrepresented his or her attendance at a concert/performance as an audience member or does not meet the attendance requirement (6), the student’s final portfolio mark will drop by 10%. *Students are to be encouraged to explore a range of music ensembles and styles. ‘Concerts’ may include performances by the students’ peers, although they should also be encouraged to see performances outside of this context as well. Watching a ‘busker’ is not considered a suitable ‘concert’ attendance. Performance Participation Performance Strand students are required to keep a record (log) of performances in which they have been involved during the year. Being a ‘performance’ unit, it is obviously important to gain as much performance practice as is possible across the course of the year. There is no minimum requirement for this. Similarly, Composition Strand students are required to keep a record (log) of when their works have been performed during the year. Being a ‘composition’ unit, it is obviously important to trial, workshop and present new works whenever possible. There is no minimum requirement for this. Recital Preparation You are required to demonstrate clear and appropriate planning and preparation leading up to and including your end of course performance recital/composition presentation. A task sheet outlining requirements in more detail has been prepared for this purpose and will be made available by your teacher.


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This includes: i. Planning and organising your end of year recital/presentation, meeting rehearsal obligations,

locate, coordinate and work collaboratively with associated support musicians;; ii. Submitting scores/sheet music as required;;

iii. Developing and having available on the day, accurate and informative Program Notes. Failure to meet responsibilities as communicated will incur percentage deductions from the Criterion 4 internal award. Class Attendance Requirements You are required to attend 100% of classes. If you fall below the minimum unexplained attendance requirement of 75%, you will be automatically awarded a non-numeric NN (fail) for the unit. Absences must be supported by appropriate documentation and communicated to the classroom teacher/school. Requests for Extensions & Late Work Penalties Students seeking an extension to an in-class assignment deadline require approval from their teacher prior to the due date. Work submitted without an approved extension after the due date will incur a penalty of 20% deduction off the mark awarded (where work is up to 5 five days late). No grade will be recorded for work submitted five days or later after the due date. Portfolio All students are required to maintain a portfolio containing 6 (or more) pieces of internally assessed class work. The portfolio provides evidence against Criterion 4 and counts for 20% of the final course mark. One of the graduate skills at UTAS is communication skills and the ability to convey thoughts on paper, and to use correct and appropriate musical language is an important and desirable skill. The following four ‘core’ tasks are mandatory and once marked by the teacher, must be included in the portfolio (no clean or unmarked copies to be presented). The cumulative total of these 4 tasks will count 80% towards the final portfolio mark.

Performance Strand – Core Tasks Composition Strand – Core Tasks • Mid-year reflection • Mid-year reflection • 2 concert/performance critiques (4 critiques are recommended in order to develop writing skills and use of musical language, of which only 2 will be counted in final folio mark aggregation)

• 2 concert/performance critiques (4 critiques are recommended in order to develop writing skills and use of musical language, of which only 2 which will be counted in final folio mark aggregation)

• How to Prepare for a Performance • Composition Context statements for those works being presented in the final end of year presentation (one combined mark)

The additional two (or more) tasks for inclusion in the portfolio may be selected from the following list or be decided by the classroom teacher (no clean or unmarked copies to be presented). The cumulative total of these 2 (or more) tasks will count 20% towards the final portfolio mark. Performance Strand – Examples of Optional

Tasks Composition Strand – Examples of Optional

Tasks • Musician’s Profile • Musician’s Profile • Study of influential performer (class presentation) • Study of influential composer(s) - class presentation • Instrument Performance Techniques (class presentation)

• Instrument Performance Techniques (class presentation)

• Analysis of selected work(s) – style, form, terms/signs, recordings listened to, appropriate key (voice), interpretive options etc

• Analysis of selected work(s)

• History assignment relevant to chosen repertoire and instrument

• Listening Log and reflective comments

• Practice strategies and achieving excellence • Conservatorium Audition Preparation (Theory and Aural tests)

Conservatorium Audition Preparation (Theory and Aural tests)


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Assessment Details Task 1: Mid-year Assessment (UTAS interview and written report, year 11/12 teacher internal

reporting as required) Date: Anticipated 1st June to 1st July 2016. (a) For Performance students this assessment focuses on the student’s ability to demonstrate the development and appropriateness of their performance repertoire to date. Works “in progress” may be performed. Students are expected to be able to demonstrate their understanding of compositional intent as well as the various historical and theoretical contexts of the works they perform. This assessment is an appraisal therefore of the student’s understanding of their learning as well as a reflection of their ability to execute musical intention. Through performance of in-progress repertoire, students must be able to demonstrate the development of appropriate technical and motor skills that enable effective interpretation of the music. 30 minutes in total will be allocated for each performance assessment. During this time the student is expected to present: Criterion 1 Criterion 2 Criterion 3 Criterion 4 • A 15 minute performance (1 x copy of music scores to be supplied where available). Works in progress are acceptable.

• A portfolio of assignment work undertaken in class (to date) including concert attendance and performance participation logs.

This assessment task focuses on providing the student with immediate and useful formative feedback through a conversation with the examining panel at the conclusion of the performance. Evidence of progress must be demonstrated against each of the assessment criteria. (b) Composition students will have discussed and negotiated a sequence of compositional tasks with their teacher at the commencement of the unit. Two compulsory ‘core’ tasks have been set. These tasks are intended to develop and enhance writing technique and musical understanding (please refer to Appendix ‘A’ at the conclusion of this document for task specifics). Both of these tasks are required to be performed during the duration of the course. It is also required that at least one of these tasks be presented as a part of the Mid-year assessment presentation. If desired, one or both of these tasks can be included as a part of the final assessment Presentation. Composers must also be able to discuss compositional intent and effective strategies that demonstrate their growing awareness of craft skills and aesthetic judgements in the development of a portfolio of works. Students are encouraged to interact with and write for instruments and ensembles that are readily available to them to facilitate effective workshopping and performance/recording purposes. 30 minutes will be allocated for each composition assessment. During this time the student is expected to present: Criterion

1 Criterion

2 Criterion

3 Criterion

4 • 4-5 minutes of original composition work (including at least one of the prescribed ‘core’ tasks) presented live or via a recording of a live performance. Works in progress are acceptable.

• Clearly and appropriately notated scores and composition pro-formas for each work presented.

• A portfolio containing assignment work undertaken in class (to date) including concert attendance and performance of composition(s) logs.

This assessment task focuses on providing the student with immediate and useful formative feedback through a conversation with the examining panel throughout the presentation. Evidence of progress must be demonstrated against each of the assessment criteria. Task 2: End of Year Performance/Presentation (UTAS panel and classroom teacher) Date: October/November 2016 Description: This presentation allows the student the platform to present in a concert environment, to the best of his/her ability, the skills developed through the course.


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(a) For Performance students this assessment focuses on the student’s ability to present a polished, cohesive performance in front of an audience. 30 minutes will be allocated for each performance assessment and evidence of progress must be demonstrated against each of the four assessment criteria. During this time the student is expected to present:

Criterion 1 Criterion 2 Criterion 3 Criterion 4 • 15-17 minutes of performance/playing time (1 x copy of music scores to be presented on the day to the assessment panel). Verbal introductions and acknowledgements are additional to this time. No more than 20 minutes total ‘on stage’ time is permitted.

• Informative and accurate Program Notes for the audience and assessment panel.

• A complete portfolio of work undertaken in class throughout the year including concert attendance and performance participation logs – submitted digitally to UTAS by the advertised date.

Penalties Student recitals may not run under/overtime and will be penalized as follows:

• Recitals under 15 minutes in total on-stage performance time (including talking) will be penalized by a reduction of 20% from the final aggregated mark;;

• Recitals (including verbal introductions) running over 20 minutes may be stopped. Performance students must play a program that has been approved by their college (and by UTAS if required). Students may not play an unapproved program. At the end of course recital students may not substitute/include new material to their approved program which their class teacher has not taken into account when aggregating their final internal award. (b) For Composition students, this assessment procedure focuses upon the methods used to create music including writing musical notation, instrumentation, and handling musical ensembles. Students must be able to articulate their musical influences, intentions and challenges to the gathered audience and assessment panel. Live performances or recordings are welcomed at this presentation. MIDI/computer generated realisations are not permitted (and will not be assessed) unless this type of sound production was the intended format for the work(s) concerned. 30 minutes will be allocated for each composition assessment and evidence of progress must be demonstrated against each of the four assessment criteria. During this time the student is expected to present: Criterion 1 Criterion 2 Criterion 3 Criterion 4 • Four or more original works totalling a minimum of 10 minutes playing time, presented live or via recording of live performances. The entire presentation in total (including talking) should not exceed 20 minutes.

• Clearly and appropriately notated scores and composition pro-formas (including context statements) for each work presented for assessment. (2 copies to be presented on the day)

• A declaration that compositions presented are the students’ own work and so endorsed by the teacher (bottom of context statement proforma).

• A complete portfolio of work undertaken in class throughout the year including the two core composition tasks, concert attendance and performance of composition(s) logs – submitted digitally to UTAS by the advertised date.

This presentation will provide opportunity for the panel to examine the student’s works and engage in conversation with the student to elicit information concerning the student’s understanding of the


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composition process, the musical intentions of their works and the extent to which they can reflect upon their work and set future compositional challenges. Composition students must present works that have been approved by their college (and by UTAS if required). Students may not present an unapproved program. At the end of course presentation students may not substitute/include new material to their approved presentation which their class teacher has not taken into account when aggregating their final internal award. Penalties 1. Composition presentations may not run under/overtime and will be penalized as follows:

• Presentations under 10 minutes in total music duration will be penalized by a reduction of 20% from the final aggregated mark;;

• Presentations running over 20 minutes may be stopped. 2. If core composition tasks are not evidenced or have not been performed, students will be penalized

by a reduction of 20% from the final aggregated portfolio mark. Graduate Quality Statement Successful completion of this unit supports your development of course learning outcomes, which describe what a graduate of a course knows, understands and is able to do. Course learning outcomes are available from the Course Coordinator. Course learning outcomes are developed with reference to national discipline standards, Australian Qualifications Framework (AQF), any professional accreditation requirements and the University of Tasmania’s Graduate Quality Statement. The University of Tasmania experience unlocks the potential of individuals. Our graduates are equipped and inspired to shape and respond to the opportunities and challenges of the future as accomplished communicators, highly regarded professionals and culturally competent citizens in local, national, and global society. University of Tasmania graduates acquire subject and multidisciplinary knowledge and skills and develop creative and critical literacies and skills of inquiry. Our graduates recognise and critically evaluate issues of social responsibility, ethical conduct and sustainability. Through respect for diversity and by working in individual and collaborative ways, our graduates reflect the values of the University of Tasmania. Moderating of Standards Teachers of year 11/12 students will be able to access/engage in moderation activities with UTAS staff to ensure standards are communicated and understood by all. UTAS staff regularly visit schools and colleges throughout the course of the year. How your final result is determined • The final result in the course is determined by the UTAS examining panel and each school/college music teacher at the conclusion of the end of year performance/presentation, followed by confirmation that the student has met the: • Portfolio submission deadline;; • 6 concert/performance attendance requirement;; • Recital Preparation requirements;; • School/college attendance requirement;; • Performance recital/presentation duration requirement. This process involves:

• Internal assessment being provided by the student’s teacher (criteria 1, 2, 3 & 4);; • External review undertaken by members of the Conservatorium staff of Portfolio assessment for

purposes of corroboration (criterion 4);; • An external performance component undertaken by members of the Conservatorium staff in the

presence of the student’s school/college music teacher (criteria 1, 2 & 3).


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The final assessment (mark out of 100) is agreed upon by all assessors at the conclusion of the end of year assessment procedures, with the following weighting: Criterion 1 - 30%;; Criteria 2 & 3 – 25% each;; Criterion 4 – 20%. The AVCC percentage/grading equivalents are used by the University of Tasmania and are as follows: High Distinction 80-100% Distinction 70-79% Credit 60-69% Pass 50-59% Fail 0-49% Review of Results 1. Students who wish to query their end of course results need to follow established procedures:

You may apply for a review of the UTAS component of the final assessment up to 10 working days after the official release of results. The UTAS ‘Review of Assessment’ form can be uploaded from: http://www.utas.edu.au/exams/exam-and-results-forms (Review of Assessment (PDF 116.9 KB) http://www.utas.edu.au/__data/assets/pdf_file/0018/314622/Review-of-Assessment.pdf

2. In relation to the internal school/college component of the final assessment, students will need to

seek a review within their own school/college. Each institution will have their own review procedures of which students will be made aware. Reviews usually take place in the week leading up to the commencement of TQA written examinations.

Recommended reading

The Art & Technique of Performance by Richard Provost Paperback - 62 pages (January 1997) Music Sales Corp;; ISBN: 0962783242 The Art of Practicing: A Guide to Making Music from the Heart by Madeline Bruser, Yehudi Menuhin (Foreword) Hardcover - 288 pages (February 1997) Bell Tower;; ISBN: 0517708221 The Inner Game of Music by Barry Green, W. Timothy Gallwey (Contributor) Hardcover - 225 pages (March 1986) Doubleday;; ISBN: 0385231261 Notes from the Green Room: Coping With Stress and Anxiety in Musical Performance by Paul G. Salmon, Robert G. Meyer. Paperback - 240 pages (November 1998) Jossey-Bass;; ISBN: 0787943789

Non-text resources Students and schools/colleges are encouraged to purchase all music that will be presented or experienced during the semester – both in a written (eg. published score) form and also on a CD, DVD or video. Likewise, students should make full use of the Conservatorium library, CD and internet resources. Academic Integrity Please read the following statement on plagiarism. Plagiarism is a form of cheating. It is taking and using someone else's thoughts, writings or inventions and representing them as your own;; for example, using an author's words without putting them in quotation marks and citing the source, using an author's ideas without proper acknowledgment and citation or copying another student’s work. In fact the intentional copying and submission of someone else's work as one's own is a serious offence tantamount to academic fraud. It is a University offence punishable by a range of penalties that may range from a fine or deduction/cancellation of marks and, in the most serious of cases, exclusion from a unit, a course, or the University. When in doubt consult your lecturer or tutor. Details of penalties that can be imposed are available in the Ordinance of Student Discipline or at: http://www.utas.edu.au/plagiarism Useful resources on academic integrity, including what it is and how to maintain it, are also available at: http://www.utas.edu.au/students/plagiarism/ Further information and assistance If you are experiencing difficulties with your studies or assignments, have personal or life planning issues, disability or illness which may affect your course of study, you are advised to raise these with your internal school/ college teacher and/or UTAS liaison staff in the first instance.


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There are a range of University-wide support services available to you including Student Services, International Services and Learning Development. Please refer to the Current Students homepage at: http://www.utas.edu.au/students/ Should you require assistance in accessing the Library visit their website for more information at: http://www.utas.edu.au/library/ Workplace Health and Safety (WHS) The University is committed to providing a safe and secure teaching and learning environment. In addition to specific requirements of this unit you should refer to the University’s policy at: http://www.utas.edu.au/__data/assets/pdf_file/0003/267258/WHS-Policy.pdf


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Appendix A Prescribed Composition Strand tasks for 2016 Task 1 Requirement: To compose a two part rhythm piece (duet) using non-melodic percussion instruments (or sound generators).

Additional Information: With the absence of pitch/melody as an effective and common means of communication rhythm, timbre, varying performing techniques and textural considerations become the musical focus. Note: if desired, more than one ‘type’ of instrument can be used (multi instrument set-up is possible). The piece (of course) does not have to be limited to two people only performing the work. As an example, the work might be scored for plastic buckets being struck with drum sticks, hands and fingers. The whole music class might be involved in performing the work rather than just using two performers (playing one per part each).

Considerations (to aid coherency and interest): • Choice of ‘instrument(s)’ (choice of any non-pitched sound generator) • Form/structural elements • Repetition, variety (a range of compositional techniques are available) and interaction between

parts • Use of meter (grouping of beats/time signature choice[s]) • Use of motive (or fragmentation) • Use of space (relationship between sound and silence) • Use of expressive (accent, dynamics for example) and performing techniques (how sounds are

produced) • Texture (combination/layering of sounds)

Duration: Between 30 – 60 seconds

Additional Requirements: (i) A fully notated score is required to be completed for this task. (ii) The composition must be performed live (with musicians – No MIDI/Computer playback) See

unit outline above.

Support Materials Search for percussion duet music online and for videos on YouTube. A diverse and interesting range of examples are available. As a starting point you could try: https://www.youtube.com/watch?v=ywfW_ZL8GSg Conversation for two tambourines (Bobby Lopez) https://www.youtube.com/watch?v=rvCenlgZXWY Motion no. 1: Multi-percussion duet - Cisum Percussion (by Nicholas Hall) https://www.youtube.com/watch?v=-dbVdiYxIZ0&spfreload=10 Hip Hop Chops (Murray Houllif) is a trio, but demonstrates a range of good ideas and interaction between parts. https://www.youtube.com/watch?v=fv7DWNiYew0 Duet for Tom Toms (Charles Steele) Arguably toms are ‘tuned’, but this piece certainly focuses on rhythm. The differing pitch of each pair of toms provides contrast and textural possibilities.


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Appendix A continued Task 2 Requirement: To compose a duo for two (melodic) instruments.

Considerations (to aid coherency and interest): • Choice of instrument(s) • Form/structural elements • Repetition and variety (a variety of compositional techniques are available) • Use of meter (grouping of beats/time signature choice[s]) • Use of scale/mode, melodic range, melodic shape, phrase lengths • Interaction/relationship between parts • Use of space (relationship between sound and silence) • Use of expressive (accent, dynamics for example) and performing techniques (how sounds are


Considerations (to aid coherency and interest):

• Choice of ‘instrument(s)’ • Form/structural elements • Repetition, variety (a range of compositional techniques are available) and interaction between

parts • Use of meter (grouping of beats/time signature choice[s]) • Use of motive (or fragmentation) • Use of space (relationship between sound and silence) • Use of expressive (accent, dynamics for example) and performing techniques (how sounds are


Duration: Between 30 – 60 seconds

Additional Requirements: (i) A fully notated score is required to be completed for this task. (ii) The composition must be performed live (with musicians – No MIDI/Computer playback) See

unit outline above.

Documents

Faculty of Arts FCP113Foundation Practical Study ......FCP113&Unit&Outline&2016& & & 4& & 3.&Music!performance!skills& Incorporating:& •&appropriatepostureandstagecraft&for&style,&attire&