Music Extension (Performance) 2020 v1.1: IA3 high-level

Assessment objectives

This assessment instrument is used to determine student achievement in the following objectives:

1. apply literacy skills using terminology relevant to genre/style, and use referencing and language conventions

2. evaluate two techniques and/or strategies of best practice

3. examine the performance choices made in the work

4. express the meaning communicated through the performance

5. apply technical skills in performance specific to the instrument or sound source

6. interpret music elements and concepts in performance of music specific to style and genre

7. realise music ideas to communicate meaning in performance.

Music Extension (Performance) 2020 v1.1IA3 high-level annotated sample responseMarch 2019

Performance project (35%)This sample has been compiled by the QCAA to assist and support teachers to match evidence in student responses to the characteristics described in the instrument-specific marking guide (ISMG).

Criterion: Applying technique

Assessment objective

5. apply technical skills in performance specific to the instrument or sound source

The student work has the following characteristics: Marks

application of technical skills integral to the work showing understanding and command 10

application of technical skills that present a fluent and cohesive performance 9

application of technical skills that display accuracy and control 7–8

application of technical skills in performance specific to the instrument or sound source 5–6

use of technical skills to present sections from a music work 4–3

evidence of some technical skills 1–2

does not satisfy any of the descriptors above. 0

Instrument-specific marking guide (ISMG)


interpretation of music elements and concepts shows an individualised style 8

interpretation of music elements and concepts shows an incorporation and awareness of style characteristics and nuances 7

interpretation of music elements and concepts displays stylistic awareness 5–6

interpretation of music elements and concepts in performance of music specific to style and genre 4–3

use of music elements and concepts 1–2


Criterion: Interpreting music elements and concepts


6. interpret music elements and concepts in performance of music specific to style and genre

Criterion: Communicating meaning


3. examine the performance choices made in the work

4. express the meaning communicated through performance

7. realise music ideas to communicate meaning in performance


realisation of the performance shows a synthesis of expressive devices and performance choices that communicate subtleties ofmeaning

11–12

realisation of music through the sustained use of chosen expressive devices and performance choices 9–10

realisation of music ideas to communicate meaning through selection of expressive devices and performance choices 7–8

examination of the performance choices made in the work

expression of the meaning communicated through the performance

realisation of music ideas to communicate meaning in performance

5–6

simple statements made about the music

presentation of music ideas relevant to the performance of repertoire3–4

description of ideas

evidence of a music idea1–2


Criterion: Evaluating best practice


1. apply literacy skills using terminology relevant to genre/style, and use referencing and language conventions

2. evaluate two techniques and/or strategies of best practice


evaluation provides evidence of metacognition that informs independent best practice 4–5

application of literacy skills through articulated ideas, controlled structure and the sequencing of information

evaluation examines the logic of the two selected techniques and/or strategies3

application of literacy skills using terminology relevant to genre/style, and use of referencing and language conventions

evaluation of two techniques and/or strategies of best practice2

application of literacy skills to describe ideas

identification of techniques or strategies of best practice1


Task

Present a performance, using an instrument or sound source, in a style or genre of your choice.

Complete a performance statement that examines the performance choices made in the work and expresses the meaning communicated through the performance.

You will also complete a reflective statement that evaluates at least two techniques and/or strategies of best practice that influenced the performance.

Your performance will be audiovisually recorded to substantiate teacher judgments.

Sample response

The annotations show the match to the instrument-specific marking guide (ISMG) performance-level descriptors.

Criterion Marks allocated Result

Applying techniqueAssessment objective 5

10 10

Interpreting music elements and concepts

Assessment objective 68 8

Communicating meaning

Assessment objectives 3, 4 and 712 12

Evaluating best practice

Assessment objectives 1 and 25 5

Total 35 35

Applying technique [10]

application of technical skills integral to the work showing understanding and command

Technique is refined and secure, especially demonstrated through the polyrhythmic sections. Playing is fluent, and the capacity to shape phrases and maintain dexterity of piano technique demonstrates command throughout the performance.

Interpreting music elements and concepts [8]

interpretation of music elements and concepts shows an individualised style

The curving contour of the melodic material is enhanced by the stylistic production of glistening piano timbres favoured by the impressionists. Fluidity, flexibility and astute interpretation of rubato in shaping phrases demonstrates individualised style and is notable in this performance.

Communicating meaning [12]

realisation of the performance shows a synthesis of expressive devices and performance choices that communicate subtleties of meaning

The synthesis of expressive devices and performance choices creates an atmosphere that is reflective of the composer’s intention to weave flowing melodic contours with sweeping triplet arpeggios that curve around in ascending and descending shapes. The balance between the melodic material and accompanying figures effectively creates flexible, fluid and intertwining textures. This performance is frequently delicate, often allowing for the subtleties of timbre used in compositions by Debussy.

Click the image for video.

This video can also be viewed at www.qcaa.qld.edu.au/downloads/portal/media/snr_music_ext_20_ia1_ia3_asr_per.mp4

Performance statement

As a performer, my recital of the first of Debussy’s solo piano works entitled Two Arabesques (Deux arabesques), L. 66, is designed to reveal an authentic execution of this early impressionist work. The first of a pair of arabesques composed for piano when Debussy was still in his twenties, between the years 1888 and 1891, the piece features a polyrhythmic tension where triplet quavers are simultaneously played against regular duplet quaver groupings.

With melodic contours that are crafted to flow, Debussy describes the emotional and cognitive impact of the arabesque as the fusion of lines stirring emotions, impressing the public and filling their imagination with pictures. For him the arabesque is based on the laws of beauty inscribed by nature's movements (Rynex, pp70). In my performance, I will emphasise the curving melodic shapes, with flexible, fluid, intertwining textures, parallel and contrary movement of lines. I anticipate using the sonorous qualities of the piano to paint a flowing musical picture. My piano teacher has provided me with detailed guidance to realise this work for performance including directing my learning using a reflective practice tool to inform the content of my weekly lessons. Independently, I have listened to many performances of Debussy’s miniatures for solo piano, noting the characteristics of this very early addition to his contribution to the solo piano repertoire of the French impressionists. This performance builds on my previous experience playing other solo works for piano by Debussy.

Rynex, C.R. Arabesque and the Early Music Influence in Debussy's Trois Chansons de Charles d'Orleans. 2016 Arizona State University

Communicating meaning [12]

realisation of the performance shows a synthesis of expressive devices and performance choices that communicate subtleties of meaning

The use of music terminology is relevant to the style. Grammar, paragraphing and sentence structure are clear, and ideas are well articulated.

The examination of the performance choice to emphasise the curving melodies, and create flexible and fluid intertwining textures, clearly expresses the meaning of beauty inscribed by nature’s movements.

Evaluating best practice [5]

evaluation provides evidence of metacognition that informs independent best practice

Three key strategies are evidenced and evaluated in the statement:

Strategy 1 — Watching renowned performers play the work in order to develop an understanding of the technique required to highlight melodic contour

Strategy 2 — Reading texts about how to realise polyrhythms in the work

Reflective statementIndependently preparing a work for performance is cognitively and physically challenging. Specific rehearsal techniques have enhanced my capacity to stylistically realise Debussy’s Arabesque I.

After reading Debussy’s viewpoint (Rynex, C 2016) that Arabesques are “intertwining to produce melodic harmony" and that the contours of the music are the most striking feature, I chose to find the most effective way to highlight the contours in my performance. By watching recordings of Ciccolini (YouTube, 2017); Feurich (YouTube, 2017) and Choi (YouTube, 2017), I noted how the melodic contour was realised through rolling wrist movements rather than deliberate finger strikes. This was reinforced by the content of piano-teacher S. Kirsten’s blog (Kirsten, S. 2017) and the tuition offered by my own piano teacher. With this understanding, I rehearsed the melodic material without accompaniment and was able to concentrate on creating audible contours by increasing/decreasing dynamics, experimenting with rubato tempi, and reducing finger strikes in lieu of wrist movement.

Next, I tackled the challenge of playing duplets against triplets in contrary motion, a feature of this piece. I was pleased to find N. William’s advice about how to realise the polyrhythms helpful to me. She recommended (Grand Piano PassionTM. 2017):

1. Learn the two hands separately very well.

2. Play the right hand slowly, and in the left hand, only play those eighth notes that match up with the beginning of each triplet.

3. Again, play the right hand slowly, in perfect time, and add in the first eighth note that does not match with a triplet note in the right; play to the end of the phrase.

4. Slowly add in the few remaining left hand notes that do not coincide with a triplet, making sure to keep the right-hand timing measured. Play through to the end of the phrase.



Evidence of metacognition is shown by the observation that melodic contour is realised through rolling wrist movements.

Strategy 1 provides evidence of metacognition through the choice to rehearse various techniques that informed the final performance.



Strategy 3 — Recording video footage of my performances in the performance space for evaluation to assist in making decisions around melodic balance



Strategy 2 has been evaluated as successful by identifying repetition as an approach to developing psychomotor skills. Strategy 2 also provides evidence of metacognitionthrough the discovery of how development of muscle memory and neural pathways inform the final performance.

Strategy 3 was evaluated as successful and the statement provides evidence about the notion of consolidating identified skills, in order to make considered performance decisions to inform the final performance.

Reflective statementA significant portion of my reflective practice documentation was dedicated to this challenge. Through understanding that repetition in rehearsal is how psychomotor skills are developed, I finally comprehended that the muscle memory and neural pathways had to be developed manually. I learned that there was no magic trick to mastering this particularly challenging skill.

The final challenge was ensuring that melodic material was audible above the accompaniment on the specific piano in the specific performance space. Balancing the entwining melodic material against the often-complex accompanying figures required me to consolidate the aforementioned skills, and make considered performance decisions about the degree of dynamic variance between each hand, the placement of sustain/damper pedal so as not to overly blur or rescind the sounds. I found little helpful advice in my research, so I chose to evaluate video footage of my own performances to assist in making these recital-specific decisions, experimenting with pedalling and dynamic range. It is through this method that I made my final decisions about how to interpret Debussy’s work on this piano in this space.

References:

Grand Piano PassionTM. (2017). Debussy First Arabesque Amplified – Grand Piano PassionTM. [online] Available at: http://www.grandpianopassion.com/2013/07/23/debussy-first-arabesque-amplified/ [Accessed 30 Jun. 2017].

Kirsten, S. (2017). Piano Technique: Playing beyond the fingers to sculpt beautiful phrases (Debussy – Arabesque No.1). [online] Arioso7’s Blog (Shirley Kirsten). Available at: https://arioso7.wordpress.com/2012/04/13/piano-technique-playing-beyond-the-fingers-to-sculpt-beautiful-phrases-debussy-arabesque-no-1/ [Accessed 30 Jun. 2017].

YouTube. (2017). Debussy – Arabesque No.1 (Ciccolini). [online] Available at: https://www.youtube.com/watch?v=Yh36PaE-Pf0 [Accessed 30 Jun. 2017].

YouTube. (2017). Debussy Arabesque No.1 (Feurich). [online] Available at: https://www.youtube.com/watch?v=0tsRu5_pmVo [Accessed 30 Jun. 2017].

YouTube. (2017). Debussy – Arabesque No.1 (Choi). [online] Available at: https://www.youtube.com/watch?v=XMVmQAW0CM8), [Accessed 30 Jun. 2017].

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Music Extension (Performance) 2020 v1.1: IA3 high-level