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What is it that we want our students to know, understand, do and communicate KUDCO? Year Level: Prep Semester: ONE TWO Subject: MUSIC Team Members: Regina Tan & Matt Symmons Essential Learning What is the essential learning? Describe in student friendly vocabulary. ExampleRigor What does proficient student work look like? Provide an example and/or description. Prior Skills Needed What prior knowledge, skills and/or vocabulary are needed for a student to master this essential learning? Common Assessments What assessment/s will be used to measure student mastery? When taught? When will this essential learning be taught? Extension Skills What will we do when students have already learned this essential learning? I can hear, explore and echo music I can echo: Pitch Rhythm Beat Clapping Develop aural skills by exploring and imitating sounds, pitch and rhythm patterns using voice, movement and body percussion (ACAMUM080) ACARA Elaborations: Matching pitch to sing in tune and experimenting with speaking and singing voice to recognise the differences Imitating pitch and rhythm patterns to develop aural recognition skills, for example, echo clapping and call and response singing ∙ Move to music with increasing awareness of beat/tempo/pitch ∙ Discriminate between speaking and singing voice ∙ Develop vocal exploration of pitch through graphic notation. ∙ Develop unconscious knowledge high and low sounds ∙ Unconscious practice of beat, ta and titi Using voices and body percussion to experiment with the elements of music to identify same and different, for example, sound and silence, fast and slow, long and short, high and low, loud and soft, happy and sad The 5 L’s of Listening Ability to imitate. Vocab: Patterns, Response, Singing, Pitch, Rhythm, Clapping High/Low Tower (Pitch) Seesaw pointing (Beat) Anecdotal notes. Photos Videos Portfolio tasks Term 1 Weeks 29 Assessment Term 1 Weeks 69 Clapping the rhythm. *Working in Collaborative teams, examine all relevant documents, school scope and sequence, regional documents and AusVELS, and then apply the criteria of endurance, leverage and readiness to determine which standards are essential for all students to master. Remember, less is more. For each standard selected, complete the remaining columns. Complete the chart by the second or third week of each term/semester.

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Page 1: Recording music ideas using technologies and

What is it that we want our students to know, understand, do and communicate KUDCO?

Year Level: Prep Semester: ONE TWO

Subject: MUSIC Team Members: Regina Tan & Matt Symmons

Essential Learning What is the essential learning? Describe in student friendly vocabulary.

Example­Rigor What does proficient student work look like? Provide an example and/or description.

Prior Skills Needed What prior knowledge, skills and/or vocabulary are needed for a student to master this essential learning?

Common Assessments What assessment/s will be used to measure student mastery?

When taught? When will this essential learning be taught?

Extension Skills What will we do when students have already learned this essential learning?

I can hear, explore and echo music I can echo: ­Pitch ­Rhythm ­Beat ­Clapping Develop aural skills by exploring and imitating sounds, pitch and rhythm patterns using voice, movement and body percussion (ACAMUM080)

ACARA Elaborations: ­Matching pitch to sing in tune and experimenting with speaking and singing voice to recognise the differences ­Imitating pitch and rhythm patterns to develop aural recognition skills, for example, echo clapping and call and response singing ∙ Move to music with increasing awareness of beat/tempo/pitch ∙ Discriminate between speaking and singing voice ∙ Develop vocal exploration of pitch through graphic notation. ∙ Develop unconscious knowledge high and low sounds ∙ Unconscious practice of beat, ta and ti­ti ­Using voices and body percussion to experiment with the elements of music to identify same and different, for example, sound and silence, fast and slow, long and short, high and low, loud and soft, happy and sad

The 5 L’s of Listening Ability to imitate. Vocab: Patterns, Response, Singing, Pitch, Rhythm, Clapping

­ High/Low Tower (Pitch) ­ Seesaw pointing (Beat) Anecdotal notes. Photos Videos Portfolio tasks

Term 1 Weeks 2­9 Assessment Term 1 Weeks 6­9

Clapping the rhythm.

*Working in Collaborative teams, examine all relevant documents, school scope and sequence, regional documents and AusVELS, and then apply the criteria of endurance, leverage and readiness to determine which standards are essential for all students to master. Remember, less is more. For each standard selected, complete the remaining columns. Complete the chart by the second or third week of each term/semester.

Page 2: Recording music ideas using technologies and

­Recording music ideas using technologies and graphic notation

I can sing and play different tuned and untuned percussion instruments. Sing and play instruments to improvise, practise a repertoire of chants, songs and rhymes, including songs used by cultural groups in the community (ACAMUM081)

ACARA Elaborations: ­ practising and performing music, reading from notation (invented and learnt symbols) ­ practising techniques for singing songs and playing classroom instruments. ­ singing and playing music to explore the expressive possibilities of their voices and instruments. ∙ Pointing to pictures to the beat while singing songs. ­ Experiment with their voices, going high and low. ∙ Experiment with a range of non­tuned percussion instruments. ­ considering viewpoints ­ meaning and interpretations: For example ­ What did this music make you think about and why? ­ practising and performing music using accessible technologies ­ learning a song used by groups in the local community, such as Aboriginal songs or Torres Strait Islander songs from their community, respecting cultural protocols

Using different voices. Distinguishing between a speaking voice and a singing voice.

­ Can play a beat on an untuned percussion. ­ Identifying and writing out the rhythm of a known song.

Term 2 Weeks 1­11 Assessment: Term 2 Weeks 3­7

Play a simple rhythm on an untuned percussion. Sing with solfa with handsigns. (so and mi)

*Working in Collaborative teams, examine all relevant documents, school scope and sequence, regional documents and AusVELS, and then apply the criteria of endurance, leverage and readiness to determine which standards are essential for all students to master. Remember, less is more. For each standard selected, complete the remaining columns. Complete the chart by the second or third week of each term/semester.

Page 3: Recording music ideas using technologies and

I can make up and perform songs. Create compositions and perform music to communicate ideas to an audience (ACAMUM082)

ACARA Elaborations: ­ choosing and combining sounds to create compositions, for example, combining pitch and rhythm patterns ­ improvising patterns of body movement, such as clapping or stamping, and creating accompaniments to familiar music. ­ improvising with voices and sound sources to express actions, thoughts and feelings. ­ substituting words / creating actions (e.g. action words or names) in known songs (e.g. Bee Bee) ­ putting the beat on their bodies while singing known songs. ­ exploring their voice for high and low to familiar texts/songs. ­ Considering viewpoints ­ forms and elements: For example ­ What sounds or musical phrases are in my composition? What instruments were used in the music and how was their sound different? How was their sound made? ­ recording music using notation and technologies so others can read the notation and listen to the recording. ­ creating and improvising music using technologies.

Matching actions to words.

­ Videos of students singing/performing. ­ Anecdotal notes

Semester 1

Create own melodies.

*Working in Collaborative teams, examine all relevant documents, school scope and sequence, regional documents and AusVELS, and then apply the criteria of endurance, leverage and readiness to determine which standards are essential for all students to master. Remember, less is more. For each standard selected, complete the remaining columns. Complete the chart by the second or third week of each term/semester.

Page 4: Recording music ideas using technologies and

I can listen to and sing songs from different cultures. Respond to music and consider where and why people make music, starting with Australian music, including music of Aboriginal and Torres Strait Islander Peoples (ACAMUR083)

ACARA Elaborations: ­ identifying where they might experience music in their lives and communities, for example, considering how music sustains and communicates cultural knowledge. ­ Considering viewpoints ­ societies and cultures: For example ­ Where is this music from and why was it made? ­ Identifying the roles of an active performer and a reflective listener. ­ Sharing constructive observations about music from a range of cultures as a performer and audience member. ­ describing shapes, patterns, form or mood of pieces of music using their own words and learnt music terminology ­ listening to and talking about music and musical instruments from different contexts and cultures. ­ sing simple folk songs from different cultures and talk about them.

Awareness of the existence of different cultures and languages in the world. Personal understanding of their own culture.

Videos. Personal sharing.

Semester 2

Can sing a song from their own culture. Share background information about music in their community.

*Working in Collaborative teams, examine all relevant documents, school scope and sequence, regional documents and AusVELS, and then apply the criteria of endurance, leverage and readiness to determine which standards are essential for all students to master. Remember, less is more. For each standard selected, complete the remaining columns. Complete the chart by the second or third week of each term/semester.

Page 5: Recording music ideas using technologies and

What is it that we want our students to know, understand, do and communicate KUDCO?

Year Level: Year One and Year 2

Semester: ONE TWO

Subject: MUSIC Team Members:

Essential Learning What is the essential learning? Describe in student friendly vocabulary.

Example­Rigor What does proficient student work look like? Provide an example and/or description.

Prior Skills Needed What prior knowledge, skills and/or vocabulary are needed for a student to master this essential learning?

Common Assessments What assessment/s will be used to measure student mastery?

When taught? When will this essential learning be taught?

Extension Skills What will we do when students have already learned this essential learning?

I can hear, explore and echo music I can echo: ­Pitch ­Rhythm ­Clapping Develop aural skills by exploring and imitating sounds, pitch and rhythm patterns using voice, movement and body percussion (ACAMUM080)

ACARA Elaborations: ­Matching pitch to sing in tune and experimenting with speaking and singing voice to recognise the differences ­Imitating pitch and rhythm patterns to develop aural recognition skills, for example, echo clapping and call and response singing ∙ Move to music with increasing awareness of beat/tempo/pitch ∙ Develop vocal exploration of pitch through graphic notation. ∙ Develop knowledge high and low sounds ∙ Unconscious practice of Z, so and mi. ­Using voices and body percussion to experiment with the elements of music to identify same and different, for example, sound and silence, fast and slow, long and short, high and low, loud and soft, happy and sad ­Recording music ideas using technologies and graphic notation

The 5 L’s of Listening Ability to imitate. Awareness of high and low in pitch. Vocab: Patterns, Response, Singing, Pitch, Rhythm, Clapping …etc…

Singing and clapping the rhythm of known songs. Writing out the rhythm of known songs (See Saw). Anecdotal notes. CFA’s designed by the music team. Photos Videos Portfolio tasks

Term 1 Weeks 2­7 Assessment: Weeks 8­9

Create their own rhythms.

ACARA Elaborations: Term 2

*Working in Collaborative teams, examine all relevant documents, school scope and sequence, regional documents and AusVELS, and then apply the criteria of endurance, leverage and readiness to determine which standards are essential for all students to master. Remember, less is more. For each standard selected, complete the remaining columns. Complete the chart by the second or third week of each term/semester.

Page 6: Recording music ideas using technologies and

I can sing and play a range of tuned and untuned percussion. Sing and play instruments to improvise, practise a repertoire of chants, songs and rhymes, including songs used by cultural groups in the community (ACAMUM081)

­ practising and performing music, reading from notation (invented and learnt symbols) ­ practising techniques for singing songs and playing classroom instruments. ­ singing and playing music to explore the expressive possibilities of their voices and instruments. ∙ Pointing to pictures to the beat while singing songs. ­ Identifying and writing the number of sounds on a beat (ta and ti­ti). ­ Pointing to and identifying high and low sounds (so and mi) ­ Experiment with their voices, going high and low. ∙ Experiment with a range of tuned and untuned percussion instruments. ­ considering viewpoints ­ meaning and interpretations: For example ­ What did this music make you think about and why? ­ practising and performing music using accessible technologies ­ learning a song used by groups in the local community, such as Aboriginal songs or Torres Strait Islander songs from their community, respecting cultural protocols

Using different voices. Distinguishing between a speaking voice and a singing voice. Ability to keep a steady beat. Ability to match pitch with the teacher.

­ Can play a rhythm on an untuned percussion ­ Identifying and writing out the rhythm of a known song in stick notation.

Weeks 1­11 Assessment Term 2 Weeks 3­7

Create a rhythm on untuned percussion.

*Working in Collaborative teams, examine all relevant documents, school scope and sequence, regional documents and AusVELS, and then apply the criteria of endurance, leverage and readiness to determine which standards are essential for all students to master. Remember, less is more. For each standard selected, complete the remaining columns. Complete the chart by the second or third week of each term/semester.

Page 7: Recording music ideas using technologies and

I can make up and perform songs. Create compositions and perform music to communicate ideas to an audience (ACAMUM082)

ACARA Elaborations: ­ choosing and combining sounds to create compositions, for example, combining pitch and rhythm patterns ­ improvising patterns of body movement, such as clapping or stamping, and creating accompaniments to familiar music. ­ improvising with voices and sound sources to express actions, thoughts and feelings. ­ substituting words / creating actions (e.g. action words or names) in known songs (e.g. Bee Bee) ­ putting the beat on their bodies while singing known songs. ­ exploring their voice for high and low to familiar texts/songs. ­ Considering viewpoints ­ forms and elements: For example ­ What sounds or musical phrases are in my composition? What instruments were used in the music and how was their sound different? How was their sound made? ­ recording music using notation and technologies so others can read the notation and listen to the recording. ­ creating and improvising music using technologies.

Matching actions to words.

­ Videos of students singing/performing

Semester 1

Create own melodies using solfa.

*Working in Collaborative teams, examine all relevant documents, school scope and sequence, regional documents and AusVELS, and then apply the criteria of endurance, leverage and readiness to determine which standards are essential for all students to master. Remember, less is more. For each standard selected, complete the remaining columns. Complete the chart by the second or third week of each term/semester.

Page 8: Recording music ideas using technologies and

I can listen to and sing songs from different cultures. Respond to music and consider where and why people make music, starting with Australian music, including music of Aboriginal and Torres Strait Islander Peoples (ACAMUR083)

ACARA Elaborations: ­ identifying where they might experience music in their lives and communities, for example, considering how music sustains and communicates cultural knowledge. ­ Considering viewpoints ­ societies and cultures: For example ­ Where is this music from and why was it made? ­ Identifying the roles of an active performer and a reflective listener. ­ Sharing constructive observations about music from a range of cultures as a performer and audience member. ­ describing shapes, patterns, form or mood of pieces of music using their own words and learnt music terminology ­ listening to and talking about music and musical instruments from different contexts and cultures. ­ sing simple folk songs from different cultures and talk about them.

Awareness of the existence of different cultures and languages in the world. Personal understanding of their own culture.

Videos. Personal sharing.

Semester 2

Can sing a song from their own culture. Share background information about music in their community.

*Working in Collaborative teams, examine all relevant documents, school scope and sequence, regional documents and AusVELS, and then apply the criteria of endurance, leverage and readiness to determine which standards are essential for all students to master. Remember, less is more. For each standard selected, complete the remaining columns. Complete the chart by the second or third week of each term/semester.

Page 9: Recording music ideas using technologies and

What is it that we want our students to know, understand, do and communicate KUDCO?

Year Level: Year Three and Four

Semester: ONE TWO

Subject: MUSIC Team Members:

Essential Learning What is the essential learning? Describe in student friendly vocabulary.

Example­Rigor What does proficient student work look like? Provide an example and/or description.

Prior Skills Needed What prior knowledge, skills and/or vocabulary are needed for a student to master this essential learning?

Common Assessments What assessment/s will be used to measure student mastery?

When taught? When will this essential learning be taught?

Extension Skills What will we do when students have already learned this essential learning?

I can sing, echo and perform different rhythms. Develop aural skills by exploring, imitating and recognising elements of music including dynamics, pitch and rhythm patterns (ACAMUM084)

ACARA Elaborations: ­singing learnt pitch and rhythm patterns and varying elements of music within them to create different effects, for example, singing softer or louder, faster or slower, repeating phrases

­exploring and varying instrumental timbres in isolation and combination, for example, playing softer or louder, faster or slower, repeating phrases ­ Learn rhythmic elements of taa, ti­ti, saa and minim. ­ Sing and understand so, mi and la. ­ Perform rhythmic elements in a variety of ways, i.e. body percussion. ­ In turn singing repertoire. ­identifying and explaining features in music using terminology and a range of notation

­Considering viewpoints – forms and

­ Ability to imitate. ­ Ability to match pitch. ­ Ability to perform by themselves, whole class or in groups.

­ Whole class performance/activity ­ Performing in groups ­ Singing games ­ Anecdotal notes

Term 1 Weeks 2­9

Performing two different skills at the same time, i.e. singing the melody while clapping a different rhythm.

*Working in Collaborative teams, examine all relevant documents, school scope and sequence, regional documents and AusVELS, and then apply the criteria of endurance, leverage and readiness to determine which standards are essential for all students to master. Remember, less is more. For each standard selected, complete the remaining columns. Complete the chart by the second or third week of each term/semester.

Page 10: Recording music ideas using technologies and

elements: For example – How did the music change? How many different sections are there in the music?

­using movement to demonstrate an understanding of musical form, changing actions as the music changes

I can sing, play and perform learnt songs. Practise singing, playing instruments and improvising music, using elements of music including rhythm, pitch, dynamics and form in a range of pieces, including in music from the local community (ACAMUM085)

ACARA Elaborations: ­ practising singing and playing a range of music from different cultures, including various cultures within their local community ­ Considering viewpoints ­ meanings and interpretations: For example ­ Why was this music written? ­ Rehearsing and performing music in unison and with accompaniment patterns. ­ Experimenting with ways of singing and playing expressively, such as learning and practising a song with different dynamics and tempo. ­ Learn to sing songs from different cultures. ­ Playing an accompaniment to the songs on tuned percussion. ­ Practising reading traditional and invented notation in music as they rehearse and perform.

­ An understanding of the musical elements, including: beat, rhythm, dynamics, pitch and timbre. ­ Ability to work together in groups and individually.

Whole class performance. Performing in groups.

Term 2 Semester 2

Playing more complicated rhythms on different tuned and untuned percussion instruments.

*Working in Collaborative teams, examine all relevant documents, school scope and sequence, regional documents and AusVELS, and then apply the criteria of endurance, leverage and readiness to determine which standards are essential for all students to master. Remember, less is more. For each standard selected, complete the remaining columns. Complete the chart by the second or third week of each term/semester.

Page 11: Recording music ideas using technologies and

­ Rehearsing and performing music using a range of technologies.

I can improvise, create and perform music. Create, perform and record compositions by selecting and organising sounds, silence, tempo and volume (ACAMUM086)

ACARA Elaborations: ­ Experimenting with ways of using voices and instruments, combining sounds, silence, tempo and volume to create and perform music. ­ Exploring given rhythm and pitch patterns, structures or timbres to improvise and create music. ­ Using notation to represent sound and record ideas, such as inventing a graphic score to represent sounds of the environment. ­ Improvising and trialling ideas to create compositions for specific audiences and purposes. ­ Considering viewpoints ­ evaluations: For example ­ How did the music make you feel and why? ­ Creating, sourcing and organising music using a range of accessible technologies.

An understanding of the elements of music. An understanding of how music can affect emotion.

Performing as a class. Performing in groups to the class.

Semester 2 Creating more complicated parts and performing them.

*Working in Collaborative teams, examine all relevant documents, school scope and sequence, regional documents and AusVELS, and then apply the criteria of endurance, leverage and readiness to determine which standards are essential for all students to master. Remember, less is more. For each standard selected, complete the remaining columns. Complete the chart by the second or third week of each term/semester.

Page 12: Recording music ideas using technologies and

I can listen to and perform music from different cultures. Identify intended purposes and meanings as they listen to music using the elements of music to make comparisons, starting with Australian music, including music of Aboriginal and Torres Strait Islander Peoples (ACAMUR087)

ACARA Elaborations: ­ Identifying meaning and describing purposes in music from different social, cultural or historical contexts. ­ Comparing the expectations and requirements of performers and audiences in different cultural settings. ­ Examining music in their community and comparing it to other music of different people, times and cultures. ­ Writing about how they have used the elements of music when composing and performing and discussing with others the meaning and intended purposes of their compositions. ­ Considering viewpoints ­ evaluations: For example ­ How did the music make you feel and why? ­ Students research their favourite musician/artist (Term 1). ­ Students listen to music of different cultures and genres and compare their similarities and differences. ­ Students discuss their understanding of the music and how it made them feel.

Awareness that there are different cultures and peoples in the world besides their own. Awareness of their own culture and background. Ability to adapt and understand that music happens everywhere in the world. An understanding of the elements of music including: beat, rhythm, dynamics, pitch and timbre.

Project: ­ Students work in pairs researching their favourite artist/musician, create a powerpoint presentation or a poster and present it to their classmates.

Term 1 Weeks 2­7 Assessment Weeks 8­9

Extending research and powerpoint presentation skills.

*Working in Collaborative teams, examine all relevant documents, school scope and sequence, regional documents and AusVELS, and then apply the criteria of endurance, leverage and readiness to determine which standards are essential for all students to master. Remember, less is more. For each standard selected, complete the remaining columns. Complete the chart by the second or third week of each term/semester.

Page 13: Recording music ideas using technologies and

What is it that we want our students to know, understand, do and communicate KUDCO?

Year Level: Year Five and Six

Semester: ONE TWO

Subject: MUSIC Team Members:

Essential Learning What is the essential learning? Describe in student friendly vocabulary.

Example­Rigor What does proficient student work look like? Provide an example and/or description.

Prior Skills Needed What prior knowledge, skills and/or vocabulary are needed for a student to master this essential learning?

Common Assessments What assessment/s will be used to measure student mastery?

When taught? When will this essential learning be taught?

Extension Skills What will we do when students have already learned this essential learning?

I can listen and perform rhythm patterns expressively. Explore dynamics and expression, using aural skills to identify and perform rhythm and pitch patterns (ACAMUM088)

ACARA Elaborations: ­Experimenting with elements of music by improvising patterns, phrases and melodies. ­Identifying and describing features of rhythm, melody and structure that create effects in their improvisations. ­ Identifying the rhythm of known songs. ­ Analysing a piece of music through listening and performing it. ­Manipulating the timbre of a range of instruments and voices to create and

An understanding of loud and soft. An understanding of how music can affect emotions.

Fooba Wooba: ­ Create their own verse in pairs. ­ Create a 4­bar rhythm for a second section. ­ Perform their composed work to the class. Observing students’ performance during lessons.

Term 1 Weeks 2­9 Assessment Weeks 8­9 Semester 2

Learning more complicated rhythm patterns and different ways of playing them.

*Working in Collaborative teams, examine all relevant documents, school scope and sequence, regional documents and AusVELS, and then apply the criteria of endurance, leverage and readiness to determine which standards are essential for all students to master. Remember, less is more. For each standard selected, complete the remaining columns. Complete the chart by the second or third week of each term/semester.

Page 14: Recording music ideas using technologies and

vary mood or atmosphere. ­Interpreting dynamics and expression in a range of notated music by singing, playing and improvising ­Considering viewpoints, meanings and interpretations: For example – How does the composer indicate dynamics in this piece? How does the performer show emotion in this piece?

I can sing and perform songs expressively. Develop technical and expressive skills in singing and playing instruments with understanding of rhythm, pitch and form in a range of pieces, including in music from the community (ACAMUM089)

ACARA Elaborations: ­ Rehearsing a range of unison and part music individually and in ensemble to develop contrast in music they sing and play ­ Practising their singing and playing to explore and develop technical skills in solo and ensemble music, for example, practising to accurately interpret rhythm and pitch ­ Clapping the rhythm of a known song (Fooba Wooba). ­ Performing different rhythms to a known song. ­ Singing songs, focusing on the singing voice. ­ Rehearsing and refining performances in an expressive manner to communicate meaning, for example, songs from the community

­ Understanding of the difference between the speaking and singing voice. ­ Ability to read written notation left to right.

Fooba Wooba: Presenting their created verses and rhythm to the class. Land of the Silver Birch: Singing in unison Observing students’ performance in class. Performing different rhythms in groups, isolated and at the same time.

Term 1 Learning and creating a more complicated part to a known song.

*Working in Collaborative teams, examine all relevant documents, school scope and sequence, regional documents and AusVELS, and then apply the criteria of endurance, leverage and readiness to determine which standards are essential for all students to master. Remember, less is more. For each standard selected, complete the remaining columns. Complete the chart by the second or third week of each term/semester.

Page 15: Recording music ideas using technologies and

­ Composing, rehearsing and performing songs and instrumental pieces using scores in a range of forms ­ Improvising, rehearsing and performing using technologies

I can practise and perform music to an audience. Rehearse and perform music including music they have composed by improvising, sourcing and arranging ideas and making decisions to engage an audience (ACAMUM090)

ACARA Elaborations: ­ improvising and experimenting with combinations of sounds and technologies to create moods and atmospheres ­ Organising, developing and refining ideas by experimenting with structure ­ Exploring rhythm, pitch and dynamics and expression to create contrast, repetition and balance to develop compositions for performance ­ Using tuned, untuned and body percussion to create an accompaniment to a known melody. ­ Consider elements of music including loud/soft, rhythm, tempo and expression in their performances/compositions. ­ Considering viewpoints ­ forms and elements: For example ­ Which style of music is this? What musical clues helped you to decide?

Ability to work together well with their peers. A basic understanding of the elements of music including beat, rhythm, pitch, dynamics, tempo and expression.

Observing students working together in groups. Students performing to the class.

Semester 2

*Working in Collaborative teams, examine all relevant documents, school scope and sequence, regional documents and AusVELS, and then apply the criteria of endurance, leverage and readiness to determine which standards are essential for all students to master. Remember, less is more. For each standard selected, complete the remaining columns. Complete the chart by the second or third week of each term/semester.

Page 16: Recording music ideas using technologies and

­ Presenting performances using internet­based technologies, including social media

I can listen to and perform music from different cultures. Explain how the elements of music communicate meaning by comparing music from different social, cultural and historical contexts, including Aboriginal and Torres Strait Islander music (ACAMUR091)

ACARA Elaborations: ­ Discussing personal preferences for music from a range of contexts and cultures, using music terminology ­ Participating in and responding to music from a variety of contexts and cultures as both audience members and performers ­ Providing and responding to feedback to refine performances and compositions ­ Considering viewpoints ­ evaluations: For example ­ What do you like about htis music and why? ­ Identifying and comparing how the elements of music are used and combined in different music styles from different cultures ­ Considering viewpoints ­ societies and cultures: For example ­ How do different cultures use music? Why is this piece of music important in this culture?

Ability to listen critically to a piece of music. Ability to convey their thoughts and analysis of a piece of music.

Listening/Performing different pieces of music. Class discussion of music learnt.

Semester 2 Analyse the songs learnt with more depth. Replicate the discovered elements.

*Working in Collaborative teams, examine all relevant documents, school scope and sequence, regional documents and AusVELS, and then apply the criteria of endurance, leverage and readiness to determine which standards are essential for all students to master. Remember, less is more. For each standard selected, complete the remaining columns. Complete the chart by the second or third week of each term/semester.

Page 17: Recording music ideas using technologies and

What is it that we want our students to know, understand, do and communicate KUDCO?

Year Level: Year Seven and Eight

Semester: ONE TWO

Subject: MUSIC Team Members:

Essential Learning What is the essential learning? Describe in student friendly vocabulary.

Example­Rigor What does proficient student work look like? Provide an example and/or description.

Prior Skills Needed What prior knowledge, skills and/or vocabulary are needed for a student to master this essential learning?

Common Assessments What assessment/s will be used to measure student mastery?

When taught? When will this essential learning be taught?

Extension Skills What will we do when students have already learned this essential learning?

Experiment with texture and timbre in sound sources using aural skills (ACAMUM092)

­Experimenting with and transcribing pitch contour, beat patterns and rhythm sequences. ­Singing and recognising intervals and melodic patterns to extend music ideas in improvisation and composition. ­Considering viewpoints, forms and elements: For example; How have the elements of music and instruments been used in this piece? ­Identifying qualities of chords in isolation and experimenting with combinations to create chord progressions ­Manipulating sound quality by exploring how sounds are produced by different instruments and voice types, for example, manipulating dynamics and timbre in voice or acoustic or digital instruments ­Experimenting with texture by layering sound in different ways in composition, for example, by using looping software

*Working in Collaborative teams, examine all relevant documents, school scope and sequence, regional documents and AusVELS, and then apply the criteria of endurance, leverage and readiness to determine which standards are essential for all students to master. Remember, less is more. For each standard selected, complete the remaining columns. Complete the chart by the second or third week of each term/semester.

Page 18: Recording music ideas using technologies and

­Using aural skills to evaluate and improve interpretation of music they read and perform.

Develop musical ideas, such as mood, by improvising, combining and manipulating the elements of music (ACAMUM093)

Practise and rehearse a variety of music, including Australian music to develop technical and expressive skills (ACAMUM094)

*Working in Collaborative teams, examine all relevant documents, school scope and sequence, regional documents and AusVELS, and then apply the criteria of endurance, leverage and readiness to determine which standards are essential for all students to master. Remember, less is more. For each standard selected, complete the remaining columns. Complete the chart by the second or third week of each term/semester.

Page 19: Recording music ideas using technologies and

Structure compositions by combining and manipulating the elements of music using notation (ACAMUM095) Perform and present a range of music, using techniques and expression appropriate to style (ACAMUM096)

Analyse composers’ use of the elements of music and stylistic features when listening to and interpreting music (ACAMUR097)

Identify and connect specific features and purposes of music

*Working in Collaborative teams, examine all relevant documents, school scope and sequence, regional documents and AusVELS, and then apply the criteria of endurance, leverage and readiness to determine which standards are essential for all students to master. Remember, less is more. For each standard selected, complete the remaining columns. Complete the chart by the second or third week of each term/semester.

Page 20: Recording music ideas using technologies and

from different eras to explore viewpoints and enrich their music making, starting with Australian music including music of Aboriginal and Torres Strait Islander Peoples (ACAMUR098)

*Working in Collaborative teams, examine all relevant documents, school scope and sequence, regional documents and AusVELS, and then apply the criteria of endurance, leverage and readiness to determine which standards are essential for all students to master. Remember, less is more. For each standard selected, complete the remaining columns. Complete the chart by the second or third week of each term/semester.