Senior Music Syllabus

Queensland Studies Authority

MusicSenior Syllabus 2013

ISBN Print version: 978-1-921802-29-4 Electronic version: 978-1-921802-30-0

Music Senior Syllabus 2013 © The State of Queensland (Queensland Studies Authority) 2013

Queensland Studies Authority 154 Melbourne Street, South Brisbane PO Box 307 Spring Hill QLD 4004 Australia

Phone: (07) 3864 0299 Fax: (07) 3221 2553 Email: [email protected] Website: www.qsa.qld.edu.au

mailto:[email protected]

http://www.qsa.qld.edu.au/

Contents 1 Rationale ................................................................................. 1

2 Dimensions and objectives ................................................... 2

2.1 Dimension 1: Composition ......................................................................... 2

2.2 Dimension 2: Musicology ........................................................................... 2

2.3 Dimension 3: Performance ........................................................................ 3

3 Course organisation .............................................................. 4

3.1 Course overview ........................................................................................ 4

3.2 Use of technologies in Music ..................................................................... 7

3.3 Planning a course of study ......................................................................... 8

3.4 Advice, guidelines and resources .............................................................. 8

4 Assessment .......................................................................... 11

4.1 Principles of exit assessment ................................................................... 11

4.2 Planning an assessment program ............................................................ 13

4.3 Special provisions .................................................................................... 14

4.4 Authentication of student work ................................................................. 14

4.5 Assessment techniques ........................................................................... 15

4.6 Verification folio requirements .................................................................. 23

4.7 Exit standards .......................................................................................... 24

4.8 Determining exit levels of achievement .................................................... 24

5 Glossary ................................................................................ 28

Queensland Studies Authority | 1

1 Rationale Music is a unique art form that uses sound and silence as a means of personal expression. It allows for expression of the intellect, imagination and emotion and the exploration of values. Music occupies a significant place in the everyday life of all cultures and societies serving social, cultural, celebratory, political and educational roles. As a powerful educative tool, with its own discrete knowledge, processes and skills, music contributes to the holistic development of the individual. A study of music helps students to develop their practical and creative potential and to understand and heighten enjoyment of the arts. It develops their understanding of artistic processes and contributes to the development of the aesthetic, cognitive, psychomotor and affective domains.

Students live in a world in which music has an important and pervasive presence. Senior Music offers students opportunities for personal growth and for making an ongoing contribution to the culture of their community. Through a deeper level of knowledge, understanding and active participation in music making, it is hoped that students will maintain a lifelong engagement with music as an art form and a means of creative, artistic and emotional expression. The course encourages students to become creative and adaptable thinkers and problem solvers who are able to make informed decisions, and develop their abilities to analyse and critically evaluate. The discipline and commitment of music making builds students’ self-esteem, personal motivation and independence, as well as providing opportunities for refining their collaborative teamwork skills in activities that reflect the real-world practices of composers, performers and audiences.

All learning in Senior Music leads to developing students’ musicianship, i.e. the unique set of knowledge, understanding, skills, attitudes and dispositions that allows students to engage in all forms of music making and music interaction. Music is sound, and any experience of music is essentially and fundamentally aural. Students develop their inner hearing, music skills, techniques and artistry when they have opportunities to use their imagination, creativity, personal and social skills in music making.

In Composition, students experiment with sounds, instruments, styles, new media and methods of documenting sound, to create music works. They improvise, trial and refine their music ideas, working with sound in innovative ways to develop their work. In Musicology, students explore and engage with a variety of music contexts, styles, genres and practices. They identify and investigate characteristics of the music they experience and communicate music ideas. In Performance, students sing, play, conduct and direct music. They develop practical music skills through exploring, applying and refining solo and/or ensemble performances and apply theoretical understanding, aural awareness and music technology skills when creating or re-creating music works. Students are encouraged to become adept in using various music-related technologies and applying their broad music knowledge, skills and insights to express themselves in a rapidly changing music-making environment.

A course of study in Music can establish a basis for further education and employment in the fields of music performance, composition, music research, pedagogy, sound technology, music theatre, Arts administration, and emerging creative industries. Many universities and TAFEs offer courses with a strong music focus or in disciplines that build on the knowledge, understandings and skills which students develop in Music. The study of music can be undertaken as part of undergraduate and graduate studies in Music, and the Creative and Performing Arts, either in combined qualifications or as a creative link in interdisciplinary studies, e.g. Music and Law, and Music and Medicine.

2 | Music Senior Syllabus 2013

2 Dimensions and objectives The dimensions are the salient properties or characteristics of distinctive learning for this subject. The dimensions are described through their objectives and it is these that schools are required to teach and that students should have the opportunity to learn. The objectives describe what students should know and be able to do by the end of the course of study.

Progress in a particular dimension may depend on the qualities and skills developed in other dimensions. Learning through each of the dimensions must increase in complexity to allow for greater independence of the learner over a four-semester course of study.

Schools must assess how well students have achieved the objectives. The standards have a direct relationship with the objectives, and are described in the same dimensions as the objectives.

The dimensions for a course of study in this subject are:

• Dimension 1: Composition

• Dimension 2: Musicology

• Dimension 3: Performance.

2.1 Dimension 1: Composition The dimension Composition involves the creation of music by combining music elements and concepts (see Section 3.1.2) in a range of contexts, styles and genres (see Section 3.1.3). It entails innovation through exploring and experimenting with sound to synthesise and express personal music ideas and enhance musicianship in Musicology and Performance.

2.1.1 Objectives By the conclusion of the course of study, students should:

• select and apply music elements and concepts in the creation of their own works

• demonstrate composition techniques in the creation of their own works

• synthesise and communicate music ideas and stylistic characteristics to create their own works.

When students select and apply knowledge and understanding of music elements and concepts, they comprehend the meaning of sounds and symbols. They perceive patterns and determine relationships in sound and symbol systems through the development of their inner hearing and musical memory.

When students demonstrate composition techniques, they conceptualise, critically reflect, refine and edit creative music works and translate sounds into symbols.

When students synthesise and communicate music ideas, they create, structure and present sounds and symbols1.

2.2 Dimension 2: Musicology The dimension Musicology involves the study of music in social, historical and cultural contexts. It entails researching, analysing and evaluating repertoire and other music sources, in a range of contexts, styles and genres, to synthesise and express a music viewpoint, and enhance musicianship in Composition and Performance.

1 In this syllabus, the use of the term “symbol” includes Western music notation, graphs, pictures, letters, characters, numbers, signs and other markings which may be used separately or in combination in music systems.



• perceive and interpret music elements and concepts in repertoire and music sources

• analyse and evaluate music to determine the relationships between music elements, concepts and stylistic characteristics

• synthesise findings, justify music viewpoints and communicate music ideas.

When students perceive and interpret music elements and concepts, they identify and show understanding of the meaning of words, sounds and symbols.

When students analyse and evaluate music, they investigate, review and critique repertoire, extract and clarify information. They draw conclusions through the evaluation of a range of repertoire and other music material.

When students synthesise findings, justify music viewpoints and communicate music ideas, they consider possibilities and make judgments about music repertoire. They structure and organise extended written text using correct spelling, punctuation, grammar and vocabulary, appropriate to a music context.

2.3 Dimension 3: Performance The dimension Performance involves the interpretation of music elements and concepts through playing, singing and/or conducting in context. It entails communicating music to audiences through the synthesis of music ideas, stylistic characteristics and practices, while enhancing musicianship in Composition and Musicology.


• interpret and apply music elements and concepts in performance

• demonstrate performance skills and techniques related to contexts

• synthesise and communicate music ideas and stylistic characteristics to create performances.

When students interpret and apply knowledge and understanding of music elements and concepts in performance, they conceptualise, organise, analyse, refine and critically reflect on aural and visual music texts2. They interpret complex patterns and relationships in music texts.

When students demonstrate performance skills and techniques in context, they interpret and comprehend the meaning of sounds and symbols, and translate symbols into sounds. They determine and apply techniques, procedures and aspects of performance practice to solve performance challenges.

When students synthesise and communicate music ideas to audiences, they listen, imitate, memorise, experiment, practise, rehearse, direct and collaborate.

2 In this syllabus, a music text refers to a coherent piece of spoken/signed, written, nonverbal, visual or auditory language, or some or all of these in combination, produced in an interaction in a social context.


3 Course organisation 3.1 Course overview

This syllabus enables schools to plan a course of study in which students develop the ability to think, work and engage in the world of music.

The minimum number of hours of timetabled school time, including assessment, for a course of study developed from this syllabus is 55 hours per semester. A course of study will usually be completed over four semesters (220 hours).

A course of study in Music is based on developing in students the fundamental concept of musicianship — that unique set of knowledge, understandings, skills, attitudes, dispositions and artistry that allows students to participate in all forms of music making and music interaction, and which underpins a person’s musical identity.

Musicianship is achieved through the knowledge and application of music elements and concepts, and experience in, and appreciation of, a range of music contexts, styles and genres.

The interrelationships among the aspects of musicianship, music elements and concepts, context, style and genre, and the dimensions of the course of study are represented in Figure 1.

Figure 1: Interrelationships in Music


3.1.1 Musicianship Musicianship is a broad concept that covers a range of music abilities. It can be seen as a set of skills, techniques, understandings, attitudes and dispositions that allows students to develop proficiency in music making and which is necessary for intelligent and critical listening, thinking, creating and performing in and about music.

Musicianship relies on the development of skills in using, interpreting and expressing complex sound and symbol systems. It brings together knowledge and understanding of music with the development of inner hearing, cognition, artistic sensitivity and creativity in all music activity and thought. Musicianship is the process through which music elements and concepts are made conscious and music skills are practised, relying on meaningful emotional and cognitive engagement with the essence of music. It involves critical reflection on music as an art form and as an expression of culture.

Importance of notation Fundamental to the teaching and learning of music is engaging in symbol systems for the representation of musical sound. Becoming proficient with notation is essential for developing students’ music literacy for Composition, Musicology and Performance.

In this syllabus the term “symbol” includes Western music notation, graphs, pictures, letters, characters, numbers, signs and other markings which may be used separately or in combination in music systems.

3.1.2 Music elements and concepts Music elements, and their associated concepts, are core subject matter to be developed over the four-semester course of study. Elements of music in this syllabus are identified as:

• duration

• expressive devices

• pitch

• structure

• texture

• timbre.

Concepts associated with each music element are included in Table 1 below. These concepts are neither prescriptive nor exhaustive, nor do they form a checklist. They provide a guide for exploring music elements within context, style and genre, and employ commonly used terminology.

Elements and concepts chosen will be determined by the selected repertoire. While the knowledge, understanding and skills associated with music elements and concepts underpin the dimensions and objectives, teachers should not feel constrained by these aspects — they may wish to explore others depending on the interests of their students. It is expected that the study of music elements and concepts will reflect a developmental approach, with more complex treatment being evidenced towards the end of the course.


Table 1: Music elements and associated concepts

Element Definition Concepts which could be used to explore the elements

duration the relative lengths of sounds and silences in music

• beat and pulse • metre • accent and syncopation • tempo • rhythm

expressive devices ways of influencing mood and character of music

• dynamics • contrast • instrumental and vocal techniques • articulation

pitch the relative frequency of sound

• melody • harmony • tonality

• melody

the horizontal arrangement of sound

− melodic patterns − melodic shape and contour − intonation − range and register

• harmony

the vertical arrangement of sounds (describes the ways in which combinations of sounds progress throughout a piece of music)

− consonance and dissonance − chord progressions − countermelodies − cadence

• tonality

the organisation of pitches that establishes tonal relationships

− keys and modes − scale forms − modulation

structure the form and design of music

• repetition, variety, contrast, development and unification

• treatment of thematic material • multi-movement and contemporary

structures

texture the density of sound

• monophony, homophony, heterophony, polyphony

• linear and vertical arrangement • voicing • sequencing and track layering

timbre characteristic quality of sound sources, or tone colour

• instrumentation • instrumental and vocal techniques and

devices • manipulation of sound quality • register


3.1.3 Contexts, styles and genres Students should be provided with learning experiences within and across a variety of contexts, styles and genres. These are ways of classifying music with related characteristics such as:

• origins and influences

• function or purpose

• techniques used

• types of instruments used

• time period

• culture or country of origin.

While music can be categorised in different ways these classifications are often arbitrary, closely related and overlap.

Context often involves the circumstances in which music occurs.

Style implies characteristics of certain types of music, e.g. a particular group of people, time period, country or culture, techniques or instruments used, origins or influences. The term is often used interchangeably with “genre”.

Genre implies an accepted class, type or category of music that adheres to a shared tradition, set of conventions or common characteristic or quality. The term is often used interchangeably with “style”.

In this syllabus all contexts, styles and genres are of equal importance for study.

Teachers may choose to focus in depth on some contexts, styles or genres while incorporating others more broadly in their course organisations.

3.2 Use of technologies in Music Technological advances influence, and will continue to change, the ways in which musicians work, both in terms of the instruments they play and use, and the means by which they record and share their compositions, performances and music ideas. Musicians have access to a wide range of new instruments and sounds, as well as the means to record and manipulate sounds.

Information and communications technologies (ICTs) in music encompass all technologies, including traditional and electronic musical instruments, digital devices, protocols and applications. ICT capability means having the technical and cognitive proficiency to access information, and being able to use, develop, create and communicate using the technological tools available.

Using ICTs is a form of literacy and an integral component of all teaching and learning in Music. Purposeful and appropriate application of ICTs offers students opportunities to:

• use their ICT capability to assist and progress their learning

• engage in higher-order thinking skills and enhance cognition

• demonstrate, apply and reinforce their understanding of ICT capability within a music environment.

The use of technologies can develop students’ understanding of musical concepts and enhance aesthetic sensitivity, creative thinking and appreciative ability. Through activities in composition, musicology and performance students come to appreciate the impact of technology on and in music, to understand the capabilities and use of various performing media, and to incorporate technological perspectives into their work.

Teachers are encouraged to use the range of technologies available to them, not only in the music classroom but also in the wider school context to provide access to music for students and to enhance and open up new music experiences. Teaching and learning styles can be


transformed by the use of technologies through alignment with a variety of aural, theoretical, instrumental, compositional and social media applications, allowing students to be independent and collaborative learners in a wide variety of music environments.

Students should have opportunity to explore their music ideas using a variety of technologies, as available, for example:

• in Composition, works could be created as audio recordings of live performances or digital works in a variety of formats, such as notated scores using notational software

• in Musicology, tasks could be prepared incorporating ICTs and presented in digital forms

• in Performance, students could use a variety of existing and emerging technologies as they make music.

3.3 Planning a course of study When planning a course of study, schools should take into account the needs and interests of students, and the culture and resources of the school and its community.

A course of study must:

• allow for the achievement of the dimensions and objectives

• allow for the development of students’ musicianship

• include the core subject matter of music elements and concepts

• represent a range of contexts, styles and genres.

Learning experiences should:

• be balanced across the three dimensions and the course of study

• offer a depth and breadth of music activities

• include experiences in available music-related technologies

• include both vocal and instrumental experiences.

3.4 Advice, guidelines and resources The following advice, guidelines and resources support the implementation of the syllabus. Where indicated further information may be obtained from the Music subject page of the QSA website <www.qsa.qld.edu.au/20324.html>.

3.4.1 Aboriginal and Torres Strait Islander perspectives The Queensland Government has a vision that Aboriginal and Torres Strait Islander Queenslanders have their cultures affirmed, heritage sustained and the same prospects for health, prosperity and quality of life as other Queenslanders. The QSA is committed to helping achieve this vision and encourages teachers to include Aboriginal and Torres Strait Islander perspectives in the curriculum.

The Queensland Studies Authority (QSA) recognises Aboriginal and Torres Strait Islander peoples, their traditions, histories and experiences from before European settlement and colonisation through to the present time. To strengthen students’ appreciation and understanding of the first peoples of the land, opportunities exist in the syllabus to encourage engagement with Aboriginal and Torres Strait Islander:

• frameworks of knowledge and ways of learning

• contexts in which Aboriginal and Torres Strait Islander peoples live

• contributions to Australian society and cultures.

http://www.qsa.qld.edu.au/20324.html


For Aboriginal and Torres Strait Islander peoples music is a rich and integral aspect of community life and culture. As with all Indigenous arts, Indigenous music is not just a form of self-expression. It is a response to the world that conveys meaning and has a spiritual purpose. Through song, dance and storytelling, music is used to pass on and explain stories of creation, spirituality and beliefs.

Students can gain knowledge, understanding and appreciation of Aboriginal and Torres Strait Islander histories and cultures through exploring the various forms of music produced by Aboriginal and Torres Strait Islander peoples and through the diversity of music-making practices. They also need to develop appreciation of responding to Aboriginal and Torres Strait Islander art works in a culturally sensitive and responsible manner.

A music curriculum incorporating Aboriginal and Torres Strait Islander perspectives should ensure:

• respect for Aboriginal and Torres Strait Islander peoples

• respect for the rights of the traditional owners of artworks, songs, stories and dances

• use of accurate and up-to-date resources

• accessibility for Indigenous and non-Indigenous students.

When planning practical learning experiences that incorporate Aboriginal and Torres Strait Islander perspectives, it is important to involve the local communities, as appropriate.

The Aboriginal and Torres Strait Islander Studies Handbook (accessed on the QSA website at <www.qsa.qld.edu.au/8848.html>) includes information about:

• establishing a supportive school and classroom environment

• consulting and collaborating with local Indigenous communities

• dealing with sensitive issues

• selecting appropriate resources and texts

• removing barriers to student success and engagement.

Subject-specific resources are available on the Music subject page. In addition, guidelines about Aboriginal and Torres Strait Islander perspectives and resources for teaching are available on the QSA website <www.qsa.qld.edu.au/577.html>.

3.4.2 Composite classes This syllabus enables teachers to develop a course of study that caters for a variety of ways to organise learning, such as combined Years 11 and 12 classes, combined campuses, or modes of delivery involving periods of student-managed study. This resource provides guidelines about composite classes.

3.4.3 Embedding educational equity in the course of study Equity means fair treatment of all. In developing work programs from this syllabus, schools need to provide opportunities for all students to demonstrate what they know and what they can do. All students, therefore, should have equitable access to educational programs and human and material resources.

In addition to the subject-specific resources available on the Music subject page, guidelines about educational equity and resources for devising an inclusive work program are available on the QSA website <www.qsa.qld.edu.au/10188.html>.

http://www.qsa.qld.edu.au/8848.html#teaching




3.4.4 Language education in Music It is the responsibility of teachers to develop and monitor students’ abilities to use the forms of language appropriate to their own subject areas. This involves providing opportunities for the development of students’ abilities in:

• selection and sequencing of information required in various forms (such as reports, essays, interviews and seminar presentations)

• use of technical terms and their definitions

• use of correct grammar, spelling, punctuation and layout.

3.4.5 Learning experiences and sample resources This resource provides guidelines for learning experiences and sample resources, which may include unit/s of work.

3.4.6 Mathematical concepts in Music It is the responsibility of teachers to develop and monitor students’ abilities to use mathematical concepts appropriate to their own subject areas. This involves providing opportunities for the development of students’ abilities to:

• comprehend basic concepts and terms underpinning the areas of number, space, probability and statistics, and measurement

• extract, convert or translate information given in numerical forms, or as diagrams, maps, graphs or tables

• calculate and apply procedures

• use skills or apply concepts from one problem or one subject to another.

3.4.7 Reference materials This resource provides links to reference materials, text and reference books, websites, newspaper reports, periodicals, electronic media and learning technology, and organisations and community resources for the subject.

3.4.8 Work program requirements A work program is the school’s plan of how the course of study will be delivered and assessed, based on the school’s interpretation of the syllabus. It allows for the special characteristics of the individual school and its students. Work program requirements are available on the Music subject page of the QSA website <www.qsa.qld.edu.au/20324.html>. Instructions for online submission of work programs are available from <https://www.qsa.qld.edu.au/wponline/login.qsa>.


https://www.qsa.qld.edu.au/wponline/login.qsa


4 Assessment Assessment is an integral part of the teaching and learning process. For Years 11 and 12 it is the purposeful, systematic and ongoing collection of information about student learning outlined in the senior syllabuses.

In Queensland, assessment is standards based. The standards for each subject are described in dimensions, which identify the valued features of the subject about which evidence of student learning is collected and assessed. The standards describe the characteristics of student work.

The major purposes of assessment in senior Authority subjects are to:

• promote, assist and improve learning

• inform programs of teaching and learning

• advise students about their own progress to help them achieve as well as they are able

• give information to parents, carers and teachers about the progress and achievements of individual students to help them achieve as well as they are able

• provide comparable levels of achievement in each Authority subject which may contribute credit towards a Queensland Certificate of Education

• provide base data for tertiary entrance purposes

• provide information about how well groups of students are achieving for school authorities and the State Minister responsible for Education.

4.1 Principles of exit assessment All the principles of exit assessment must be used when planning an assessment program and must be applied when making decisions about exit levels of achievement.

A standards-based assessment program for the four-semester course of study requires application of the following interdependent principles:

• information is gathered through a process of continuous assessment, i.e. continuous assessment

• balance of assessment is a balance over the course of study and not necessarily a balance over a semester or between semesters, i.e. balance

• exit levels of achievement are devised from student achievement in all areas identified in the syllabus as being mandatory, i.e. mandatory aspects of the syllabus

• assessment of a student’s achievement is in the significant aspects of the course of study identified in the syllabus and the school’s work program, i.e. significant aspects of the course of study

• selective updating of a student’s achievement is undertaken over the course of study, i.e. selective updating

• exit assessment is devised to provide the fullest and latest information on a student’s achievement in the course of study, i.e. fullest and latest information.


4.1.1 Continuous assessment Judgments about student achievement made at exit from a course of study must be based on an assessment program of continuous assessment.

Continuous assessment involves gathering information on student achievement using assessment instruments administered at suitable intervals over the developmental four-semester course of study.

In continuous assessment, all assessment instruments have a formative purpose — to improve teaching and student learning and achievement.

When students exit the course of study, teachers make a summative judgment about their levels of achievement in accordance with the standards matrix.

The process of continuous assessment provides the framework in which the other five principles of exit assessment operate: balance, mandatory aspects of the syllabus, significant aspects of the course of study, selective updating, and fullest and latest information.

4.1.2 Balance Judgments about student achievement made at exit from a course of study must be based on a balance of assessments over the course of study.

Balance of assessment is a balance over the course of study and not a balance within a semester or between semesters.

Balance of assessment means judgments about students’ achievements of the dimensions and objectives are made a number of times using a variety of assessment techniques and a range of assessment conditions over the developmental four-semester course of study.

See also Section 4.6, Verification folio requirements.

4.1.3 Mandatory aspects of the syllabus Judgments about student achievement made at exit from a course of study must be based on mandatory aspects of the syllabus.

The mandatory aspects are:

• the dimensions Composition, Musicology and Performance

• music elements and concepts.

To ensure that the judgment of student achievement at exit from a four-semester course of study is based on the mandatory aspects, the exit standards for the dimensions stated in the standards matrix must be used (see Section 4.8.2, Awarding exit levels of achievement).

4.1.4 Significant aspects of the course of study Judgments about student achievement made at exit from a course of study must be based on significant aspects of the course of study.

Significant aspects are those areas described in the school’s work program that have been selected from the choices permitted by the syllabus to meet local needs.

The significant aspects must be consistent with the objectives of the syllabus and complement the developmental nature of learning in the course of study over four semesters.


4.1.5 Selective updating Judgments about student achievement made at exit from a course of study must be selectively updated throughout the course of study.

Selective updating is related to the developmental nature of the course of study and works in conjunction with the principle of fullest and latest information.

As subject matter is treated at increasing levels of complexity, assessment information gathered at earlier stages of the course of study may no longer be representative of student achievement. Therefore, the information should be selectively and continually updated (and not averaged) to accurately represent student achievement.

Schools may apply the principle of selective updating to the whole subject group or to individual students.

Whole subject-group A school develops an assessment program so that, in accordance with the developmental nature of the course of study, later assessment information based on the same groups of objectives replaces earlier assessment information.

Individual student A school determines the assessment folio for verification or exit (post-verification). The student’s assessment folio must be representative of the student’s achievements over the course of study. The assessment folio does not have to be the same for all students; however, the folio must conform to the syllabus requirements and the school’s approved work program.

Selective updating must not involve students reworking and resubmitting previously graded responses to assessment instruments.

4.1.6 Fullest and latest information Judgments about student achievement made at exit from a course of study must be based on the fullest and latest information available.

• Fullest refers to information about student achievement gathered across the range of objectives.

• Latest refers to information about student achievement gathered from the most recent period in which achievement of the objectives is assessed.

As the assessment program is developmental, fullest and latest information will most likely come from Year 12 for those students who complete four semesters of the course of study.

The fullest and latest assessment information on mandatory and significant aspects of the course of study is recorded on a student profile.

4.2 Planning an assessment program To achieve the purposes of assessment listed at the beginning of this section, schools must consider the following when planning a standards-based assessment program:

• dimensions and objectives (see Section 2)

• course organisation (see Section 3)

• principles of exit assessment (see Section 4.1)

• variety in assessment techniques and conditions over the four-semester course of study (see Section 4.5)


• verification folio requirements, i.e. the range and mix of assessment instruments necessary to reach valid judgments of students’ standards of achievement (see Section 4.6)

• post-verification assessment (see Section 4.6.2)

• exit standards (see Section 4.7).

In keeping with the principle of continuous assessment, students should have opportunities to become familiar with the assessment techniques that will be used to make summative judgments.

Further information can be found on the Music subject page of the QSA website <www.qsa.qld.edu.au/20324.html>.

4.3 Special provisions Guidance about the nature and appropriateness of special provisions for particular students are described in QSA’s Policy on Special Provisions for School-based Assessments in Authority and Authority-registered Subjects (2009), <www.qsa.qld.edu.au/2132.html>.

This statement provides guidance on responsibilities, principles and strategies that schools may need to consider in their school settings. Reasonable adjustments to students with specific educational needs must be planned and negotiated as early as possible so that students can be provided with appropriate support in order to commence, participate and complete course of study requirements. The special provisions might involve alternative teaching approaches, assessment plans and learning experiences.

4.4 Authentication of student work It is essential that judgments of student achievement be made on genuine student assessment responses. Teachers should ensure that students’ work is their own, particularly where students have access to electronic resources or when they are preparing collaborative tasks.

The QSA’s A–Z of Senior Moderation contains a strategy on authenticating student work <www.qsa.qld.edu.au/10773.html>. This provides information about various methods teachers can use to monitor that students’ work is their own. Particular methods outlined include:

• teachers seeing plans and drafts of student work

• student production and maintenance of evidence for the development of responses

• student acknowledgment of resources used.

Teachers must ensure students use consistent accepted conventions of in-text citation and referencing, where appropriate.

Further advice on drafting of student assessment responses is available on the Music subject page of the QSA website <www.qsa.qld.edu.au/20324.html>.






4.5 Assessment techniques The assessment techniques relevant to this syllabus are identified in the diagram below, and described in detail in Sections 4.5.3, 4.5.4, 4.5.5 and 4.5.6).

Figure 2: Music assessment techniques

Schools design assessment instruments from the assessment techniques relevant to this syllabus. For each assessment instrument, schools use the standards from the syllabus for making judgments about the quality of students’ responses. Assessment is designed to allow students to demonstrate the range of standards (see Section 4.8.2, Awarding exit levels of achievement).

Where students undertake assessment in a group or team, instruments must be designed so that teachers can validly assess the work of individual students and not apply a judgment of the group product and processes to all individuals.

The assessment instruments students respond to in a Year 11 assessment program should support those included in Year 12.

The conditions of assessment, possible modes for assessment and supporting evidence are identified and described below.

4.5.1 Conditions of assessment Over a four-semester course of study, students are required to complete assessment under a range of conditions (see Section 4.1.2, Balance).

Conditions may vary according to assessment. Conditions should be stated clearly on assessment instruments and may include:

• whether supervised or unsupervised

• indicating individual, group or team

• stating time allowed (with perusal time as needed)

• stating length required

• using seen or unseen questions and stimulus materials (“seen or unseen” also refers to “studied or not previously studied”, “heard or not previously heard”)

• using music sources or technologies.

Where support materials or technologies (e.g. notes, music sources or computers) are used under supervised conditions, schools must ensure that the purpose of supervised conditions (i.e. to authenticate student work) is maintained.


4.5.2 Modes of assessment Assessment techniques may be presented in a variety of modes, e.g. written, spoken/signed and multimodal. An assessment response is communicated to an audience for a particular purpose which may influence the type of text, language features and other textual features used in the response. Purposes may include creating; performing; interpreting; showcasing; analysing; evaluating; informing; persuading; communicating; presenting investigative findings, or reviewing a music source or situation.

Referencing conventions should be followed, regardless of the mode of assessment.

4.5.3 Composition Assessment technique: Composition

Purpose

This technique assesses the creation of music. It involves the creative input of students and the application of identified skill/s in composing music. It is the outcome of applying a range of creative, expressive, aural, cognitive and technical skills in moving towards the development of a personal creative style. The focus of this assessment is the application of skills to create music which demonstrates a context, style and/or genre by demonstrating knowledge of music elements and concepts.

Dimension to be assessed

The dimension to be assessed should be clearly stated on assessment instruments. This assessment technique is best used to determine student achievement in objectives from the dimension Composition.

Types of composition

Composition tasks require students to create music. Possible types of compositions include: • response to particular stimuli, e.g. another composer’s work, visual stimulus such as a film clip or

advertisement • demonstration of an understanding of a particular style or genre • arrangement of an existing piece • composition for a particular occasion, purpose or musical production • pieces for combinations of instruments and/or voices • compositions generated by electronic means and contemporary technologies.

Supporting evidence

• Students can present their compositions as a sound recording and/or a score (traditional, graphic or contemporary).

• The development of a composition may also include documentation of the process, e.g. composer’s journal, recordings, screen shots, diagrams, annotations.

Presentation

• Students can present their compositions as a sound recording and/or a score (traditional, graphic or contemporary).

• Certain styles favour a recorded format while others may be better presented in notated form (score). Recordings may be a better presentation format for music such as computer-generated sounds, film music when presented with the visuals, the various types of music of Indigenous cultures based on an oral tradition, and some rock styles. More traditional forms such as string quartets, serial compositions and musical theatre songs may be better presented in notated form.

• The presentation of compositions should allow students to demonstrate the exit standards.

Assessment condition Year 11 Year 12

Length: a minimum of 16 bars or approximately 30 seconds in length

a minimum of 32 bars or approximately 1 minute in length


Assessment technique: Composition

Further guidance

• Tasks can be based on any context, style or genre of music. • Compositions may or may not be accompanied by a composer’s statement. • Compositions which are arrangements of existing music require substantial reworking of music

elements and must be obviously well removed, but derived from the original composition. • It is not necessary to assess all music elements and concepts in composition assessments. The

elements and concepts to be assessed depend on the context, style and genre of the composition. • The development of the composition is observed throughout the teaching and learning. • The combination of music elements and concepts is the focus of composition assessment, not the

manner of presentation (recorded sound or score). • Documentation of compositions should demonstrate the explicit and complete ideas of the composer.

4.5.4 Musicology — extended response Assessment technique: Musicology — extended response

Purpose

This technique assesses the sustained application of higher order cognition (analysis, interpretation, evaluation, and development and justification of music ideas and viewpoints) in responding to stimulus materials. Students respond to repertoire and other music sources, analyse, interpret, synthesise and evaluate data and information to develop, justify and express a music viewpoint.


The dimension to be assessed should be clearly stated on assessment instruments. This assessment technique is best used to determine student achievement in objectives from the dimension Musicology.

Description of extended response

• An extended response: − requires the student to analyse, evaluate and synthesise repertoire and music sources to justify

and express a music viewpoint − is made over a set period of time; students may use class time and their own time to develop a

response − is communicated to an audience for a particular purpose, which may influence the mode of

presentation, type of text, language features and other textual features used in the response − may involve a student’s response to stimulus material such as repertoire and music sources, or a

response to a given research question, statement or hypothesis. • Providing a response to repertoire and other music sources may involve students in:

− listening with intent to a variety of music − perceiving music characteristics when listening − analysing repertoire, both aurally and visually − identifying music elements and concepts − determining relationships between music elements, concepts and stylistic characteristics − applying concepts or theories to a question, scenario, issue or situation − agreeing or disagreeing with a challenging quote or statement − locating, analysing and using information/data from a variety of music sources − examining and evaluating information/data for validity and value − synthesising data/information and findings − making judgments about repertoire and other music sources − expressing and justifying a music viewpoint − drawing conclusions, with justifications − communicating music ideas and viewpoints.


Assessment technique: Musicology — extended response

• Although students may undertake research in the writing of the extended response, it is not the focus of this technique. This research may involve students collecting, selecting, organising and using information from primary and secondary sources that goes beyond the information they have been given and the knowledge they currently possess.

Possible assessment instruments

Assessment instruments that may be developed to assess extended response include: • critique, review, interview, debate, documentary • essay, e.g. analytical, persuasive/argumentative, informative • report, e.g. investigative, experimental, field-based, practical, historical • article, e.g. magazine or journal, which may be analytical, persuasive or informative • speech, e.g. analytical, persuasive/argumentative or informative • presentation combining speaking with auditory and/or visual prompts, e.g. sound sources, scores,

posters, brochures, handouts • digital presentation combining technologies, e.g. images, sound bites, blog entries and embedded

videos.

Modes of presentation

• An extended response may be presented in a variety of modes, e.g. written, spoken and multimodal. • All modes of response are supported by appropriate music references, scores, sound sources, tables

of data, diagrams or flow charts.

Written response

• Written responses require students to communicate a written assessment response to an audience for a particular purpose.

• Examples may include an analytical research assignment, a persuasive or argumentative essay or informative text, a comparative analysis of repertoire, a magazine article, critique or review.

Spoken response

• Spoken responses require students to present a spoken assessment response to a live or virtual audience (i.e. through the use of technology) for a particular purpose.

• Examples may include interviews, debates, podcasts and presentations.

Multimodal response

• A multimodal response uses a combination of at least two modes to communicate an extended response to a live or virtual audience for a particular audience.

• Examples may include spoken and/or visual presentations, seminars and digital presentations. • Modes include:

− written − spoken/signed − nonverbal (e.g. aural, visual or physical).

• Each of the selected modes contributes significantly to the multimodal response. • Different technologies may be used in the creation or presentation of the response. • When making judgments about multimodal responses, teachers apply the standards to the entire

response — that is, to all modes used to communicate the response. • Note: Replication of a written document into an electronic or digital format does not constitute a

multimodal response.


Assessment technique: Musicology — extended response

Supporting evidence

• Supporting evidence is required to substantiate decisions made on spoken and multimodal responses for monitoring, verification and exit purposes.

• Evidence to support spoken or multimodal responses may include: − notes or annotations − summary of findings − journal entries or log book − seminar brief or conference paper − a recording of the response (as appropriate).

Assessment conditions

• Assessment conditions should be clearly stated on assessment instruments including: − length or duration of the response − length of time given for preparation and completion of the task, especially for unsupervised tasks − perusal time (if appropriate) − use of seen or unseen questions and stimulus materials

(“seen or unseen” also refers to “studied or not previously studied”, “heard or not previously heard”) − use of music sources or technologies.

• An extended response may occur over a period of time. Students may use class time and their own time to develop a response.

Specific conditions Year 11 Year 12

Written: 600–1000 words 800–1200 words

Spoken: 3–4 minutes 4–5 minutes

Multimodal: 3–5 minutes 5–7 minutes

Further guidance

• Items can be based on any context, style or genre of music. • It is not necessary to assess all music elements and concepts in extended response assessments.

The elements and concepts to be assessed depend on the question type and repertoire chosen. • Teachers who wish to offer an extended response as a test (supervised conditions) should refer to the

assessment technique: Musicology — written examination (see Section 4.5.5).


4.5.5 Musicology — written examination Assessment technique: Musicology — written examination

Purpose

This technique assesses the application of a range of cognition (knowledge, understanding, application, analysis, evaluation) to responses completed under supervised conditions.


The dimension to be assessed should be clearly stated on assessment instruments. This assessment technique is best used to determine student achievement in objectives from the dimension Musicology.

Types of items in the written examination

Items will be in response to seen or unseen questions/statements and/or stimulus materials (“seen or unseen” also refers to “studied or not previously studied”, “heard or not previously heard”).

Extended written responses

• Items require sustained analysis, synthesis and evaluation to answer a question fully or express a music viewpoint.

• Students provide a response to repertoire, e.g. by determining relationships between music elements, concepts and stylistic characteristics; through comparison of repertoire that requires justifying a stance; by making judgments about music repertoire and other music material; or by agreeing or disagreeing with a challenging quote.

Short written responses

• Items may include response to stimulus items that require: − explanations longer than one sentence − ideas maintained, developed and justified − full sentence responses, constructing a piece of prose that may have one or several paragraphs.

• Items may require students to: − read, listen to, interpret and/or analyse scores and/or recordings − demonstrate problem solving and mathematical calculations, e.g. in demonstrating an

understanding of harmony, acoustics, serial patterning, and compositional techniques.

Assessment conditions Year 11 Year 12

Recommended duration: 1–1.5 hours 1.5–2 hours

Short responses: 50–250 words per response 50–250 words per response

Extended responses: 400–600 words per response 600–800 words per response

Further guidance

• Items can be based on any context, style or genre of music. • The focus of this assessment technique is to respond primarily by using repertoire rather than by

referring to secondary sources. • It is not necessary to assess all music elements and concepts in supervised written assessments. The

elements and concepts to be assessed depend on the question type and repertoire. • Teachers who wish to offer an extended response but not as a test (i.e. not under supervised

conditions) should refer to the assessment technique: Musicology — extended response (Section 4.5.4).


4.5.6 Performance Assessment technique: Performance

Purpose

This technique assesses the demonstration and interpretation of music elements and concepts through playing, singing and/or conducting. It is the outcome of applying a range of creative, expressive, aural, cognitive, technical, physical and psychomotor skills to music repertoire. The focus of this assessment is music performance to an audience. Performance assessment involves the creative input of students and the application of identified skill/s involved in the interpretation of music elements, concepts and music repertoire.


The dimension to be assessed should be clearly stated on assessment instruments. This assessment technique is best used to determine student achievement in objectives from the dimension Performance.

Types of performance

• Possible types of performance include: − ensemble, instrumental and/or vocal − solo performance, instrumental and/or vocal − performance of student compositions − improvisation − conducting − performance from the co-curricular vocal or instrumental program − accompaniment − performance involving the use of emerging performance media.

• It is not necessary to assess all music elements and concepts in performance assessments. The elements and concepts to be assessed depend on the context, style and genre of the chosen repertoire.

• Conductors are expected to rehearse the group leading to a performance and be totally responsible for directing all rehearsals of the piece.

Supporting evidence

• Supporting evidence is required to substantiate teacher decisions made on performances for monitoring, verification and exit purposes.

• All performances are to be recorded (see Section 4.6.1). • Evidence to support performances may also include teacher notes or annotations.

Assessment conditions

• Performance tasks should: − be approximately three minutes in length − allow for student performances in any style − allow for preparation and performance with or without a score (except for conducting) − in ensemble performances, assess only the individual student’s performance − require that the student interpret music elements and concepts − require the student to perform to an audience.

• Students may perform using any melodic/harmonic instrument (including voice), drum kit or percussion, or they may conduct.

• Performances may be accompanied or unaccompanied, to suit the style. • If the performance is within an ensemble, the student’s part must be independent and aurally

identifiable (one person per part). • Improvisations may be prepared or unprepared. • Where students choose to accompany themselves, both music roles will be assessed as a unified

performance. • Repertoire must be different from that performed in the senior Music Extension course.


Assessment technique: Performance

Further guidance

• In this syllabus, there is no requirement for students to meet a prescribed minimum standard of technique.

• Repertoire selected should allow students to demonstrate the objectives and be within their technical capabilities.

• Teachers should ensure that the technical demands of repertoire do not prevent students from engaging cognitively, physically and emotionally with the music.

• In the performance of student compositions, teachers should ensure that the quality of that composition does not disadvantage the quality of the performance.

• Performances should be assessed in an authentic situation, as they represent the culmination of student learning.


4.6 Verification folio requirements A verification folio is a collection of a student’s responses to assessment instruments on which the interim level of achievement is based. For students who are to exit after four semesters, each folio should contain the range of assessments for making summative judgments as stated below.

Students’ verification folios for Music must contain evidence that each dimension has been assessed summatively twice by verification. Each folio must include:

• evidence of student work from Year 12 only

• evidence of all dimensions being assessed twice

• evidence of extended writing (see Sections 4.5.4 and 4.5.5)

• a student profile completed to date.

Suggested tasks are available on the Music subject page of the QSA website <www.qsa.qld.edu.au/20324.html>.

For information about preparing monitoring and verification submissions, schools should refer to QSA’s Moderation handbook for Authority subjects, <www.qsa.qld.edu.au/10773.html>.

4.6.1 Evidence to support judgments about student achievement It is a requirement that schools’ judgments about the application of standards to student responses for performance tasks and spoken and multimodal presentations be supported by digital evidence. Digital evidence may also be most appropriate for certain styles of composition, which may favour a recorded format over a notated format.

Teachers should ensure that students are not disadvantaged by the quality of recordings. Recordings should be sufficiently clear to illustrate the quality of the student response and be a continuous recording of the composition, performance or presentation, with no pausing or editing.

The following guidelines are advised for compositions, spoken and multimodal presentations, and music performances:

• recordings of compositions should demonstrate the complete and explicit ideas of the composer

• allow the performer/presenter to be seen and heard clearly

• ensure the recording is as similar as possible to the original live performance situation

• ensure that conductors are filmed from the perspective of the ensemble

• all recordings must be playable on a laptop computer

• scores are not required in the submission

• clearly label or annotate the recording to indicate identified students.

4.6.2 Post-verification assessment In addition to the contents of the verification folio, there must be at least one subsequent summative assessment in the exit folio completed after verification. For this syllabus, students are to complete an assessment instrument after verification that assesses one dimension.




4.7 Exit standards Exit standards are used to make judgments about students’ levels of achievement at exit from a course of study. The standards are described in the same dimensions as the objectives of the syllabus. The standards describe how well students have achieved the objectives and are stated in the standards matrix.

The following dimensions must be used:

Dimension 1: Composition

Dimension 2: Musicology

Dimension 3: Performance.

Each dimension must be assessed in each year of the course, and each dimension is to make an equal contribution to the determination of exit levels of achievement.

4.8 Determining exit levels of achievement When students exit the course of study, the school is required to award each student an exit level of achievement from one of the five levels:

• Very High Achievement (VHA)

• High Achievement (HA)

• Sound Achievement (SA)

• Limited Achievement (LA)

• Very Limited Achievement (VLA).

All the principles of exit assessment must be applied when making decisions about exit levels of achievement.

Exit levels of achievement are summative judgments made when students exit the course of study. For most students this will be after four semesters. For these students, judgments are based on exit folios providing evidence of achievement in relation to all objectives of the syllabus and standards.

For students who exit before completing four semesters, judgments are made based on the evidence of achievement to that stage of the course of study and the principles of exit assessment.

4.8.1 Determining a standard The standard awarded is an on-balance judgment about how the qualities of the student’s responses match the standards descriptors in each dimension. This means that it is not necessary for the student responses to have been matched to every descriptor for a particular standard in each dimension.

4.8.2 Awarding exit levels of achievement When standards have been determined in each of the dimensions for this subject, Table 2 below is used to award exit levels of achievement, where A represents the highest standard and E the lowest. The table indicates the minimum combination of standards across the dimensions for each level.


Table 2: Awarding exit levels of achievement

VHA Standard A in any two dimensions and no less than a B in the remaining dimension

HA Standard B in any two dimensions and no less than a C in the remaining dimension

SA Standard C in any two dimensions and no less than a D in the remaining dimension

LA At least Standard D in any two dimensions and an E in the remaining dimension

VLA Standard E in the three dimensions

Further information is available in the QSA’s Moderation handbook for Authority subjects, <www.qsa.qld.edu.au/10773.html>.


26 | Music Senior Syllabus 2013 Queensland Studies Authority

4.8.3 Standards matrix Standard A Standard B Standard C Standard D Standard E

Com

posi

tion

The student work has the following characteristics:





• consistent and proficient selection and application of music elements and concepts in the creation of their own works

• effective selection and application of music elements and concepts in the creation of their own works

• selection and application of music elements and concepts in the creation of their own works

• variable selection and application of music elements and concepts in their own works

• selection and application of some music elements and concepts in their own works

• skilful manipulation of compositional techniques in the creation of cohesive and well-structured music

• manipulation of compositional techniques in the creation of cohesive music

• demonstration of compositional techniques in the creation of their own works

• use of basic compositional techniques to develop works of variable quality

• use of rudimentary compositional techniques to produce partial works

• discerning synthesis and convincing expression of music ideas and stylistic characteristics integral to the creation of their own works.

• effective synthesis and expression of music ideas and stylistic characteristics that support the creation of their own works.

• synthesis and communication of music ideas and stylistic characteristics to create their own works.

• presentation of music ideas and stylistic characteristics in their own works.

• use of music ideas in their own works.

Mus

icol

ogy






• discerning perception and interpretation of relevant music elements and concepts in repertoire and music sources

• thorough perception and interpretation of relevant music elements and concepts in repertoire and music sources

• perception and interpretation of music elements and concepts in repertoire and music sources

• inconsistent perception and interpretation of music elements and concepts in repertoire and music sources

• little consideration of music elements or concepts in repertoire and music sources

• comprehensive and discerning analysis and evaluation of music to determine the relationships between music elements, concepts and stylistic characteristics

• in-depth and coherent analysis and evaluation of music to determine the relationships between music elements, concepts and stylistic characteristics

• analysis and evaluation of music to determine the relationships between music elements, concepts and stylistic characteristics

• simple analysis of music to identify some connections between music elements, concepts or stylistic characteristics

• statements that may relate to music elements or concepts

• discerning synthesis of findings, well-supported justification of music viewpoints, and convincing communication of music ideas.

• effective synthesis of findings, valid justification of music viewpoints, and logical communication of music ideas.

• synthesis of findings, justification of music viewpoints, and communication of music ideas.

• statements of findings with simple justification of music viewpoints and presentation of music ideas.

• statements of opinion related to music ideas.

27 | Music Senior Syllabus 2013 Queensland Studies Authority

Standard A Standard B Standard C Standard D Standard E Pe

rfor

man

ce






• consistent and proficient interpretation and application of music elements and concepts in performance

• effective interpretation and application of music elements and concepts in performance

• interpretation and application of music elements and concepts in performance

• superficial interpretation and application of music elements and concepts in performance

• use of some music elements and concepts in performance

• fluent and authoritative demonstration of refined performance skills and techniques related to contexts

• effective demonstration of secure performance skills and techniques related to contexts

• demonstration of performance skills and techniques related to contexts

• evidence of some basic performance skills and techniques in context

• use of rudimentary performance techniques

• discerning synthesis and convincing expression of music ideas and stylistic characteristics integral to the performance.

• effective synthesis and expression of music ideas and stylistic characteristics that support the performance.

• synthesis and communication of music ideas and stylistic characteristics to create performances.

• presentation of music ideas and stylistic characteristics in performance.

• simplistic use of music ideas in performance.


5 Glossary Term Explanation

accurate precise, to the point; consistent with a standard; relatively free from error

analysing dissecting to ascertain and examine constituent parts and/or their relationships

applying adapting for a particular purpose; making use of as relevant, suitable or pertinent; putting to use

assessment instrument a tool developed by the school for assessing students in a subject at a specific time and used to frame an assessment task

assessment task work undertaken by a student in response to an assessment instrument, and which is described on a criteria sheet. The standard of response is assessed in relation to specific criteria.

assessment technique an overarching strategy for assessing student work. Under it can sit a variety of assessment instruments.

authoritative commanding, masterly, imposing, confident, decisive, assertive, self-assured

basic underdeveloped, simple and straightforward

coherent rational, with parts that are harmonious, well-structured and that make sense

cohesive well-integrated and unified

combine to unite; merge; to join two or more elements or entities

communication the art and technique of using words effectively to impart information or ideas; the exchange of thoughts, messages, or information, as by speech, signals, writing, or behaviour; interpersonal rapport

comparing displaying recognition of similarities and differences and recognising the significance of these similarities and differences

complex characterised by complicated or involved interactions, relationships or connections of elements, components, parts or steps

composition the creation of music by combining music elements and concepts in a range of styles and genres, and in a variety of contexts

comprehensive thorough and inclusive of a broad coverage of facts, ideas and information

considered thought about or decided upon with care; reached after or carried out with careful thought; deliberate

consistent regular, unfailing, constant, without contradiction

context the circumstances in which an event occurs; a setting

contrasting displaying recognition of differences by deliberate juxtaposition of contrary elements

convincing persuasive because of clear, definite and strong argument, data and presentation; leaving no doubt

creative characterised by originality and expressiveness; imaginative; having or showing imagination


Term Explanation

creativity the ability to transcend traditional ideas, rules, patterns, relationships, or the like, and to create meaningful new ideas, forms, methods, interpretations, etc.; originality, progressiveness, imagination, innovation, inventiveness; the process by which one utilises creative ability

credible seeming reasonable or probable

critical rationally appraising for logical consistency and merit

critiquing appraising logical consistency and/or rationally scrutinising for authenticity/merit

demonstrated clearly and deliberately shown; shown to be true by reasoning or adducing evidence; proven; manifest

discerning making thoughtful and astute choices

discriminating able to recognise or draw fine distinctions; showing careful judgment or fine taste

discussion expansion and elaboration of a line of argument with supporting ideas

effective meeting the assigned purpose

efficient well-organised and productive with minimal expenditure of effort; proficient and useful

examine to explore by questioning to determine knowledge, reasons and conclusions

evaluating assigning merit according to criteria

explaining presenting a meaning with clarity, precision, completeness, and with due regard to the order of statements in the explanation

explicit clear, overt, open, unequivocal

expounding a viewpoint presenting a clear and convincing argument for a definite and detailed opinion

familiar materials, skills or circumstances that have been the focus of learning experiences. In this syllabus, this refers in particular to music repertoire, both aural and written, that students have previously been exposed to or have directly used in class.

fluent flowing or moving effortlessly or smoothly; polished

genre an accepted class, type or category of music that adheres to a shared tradition, set of conventions or common characteristic or quality. The term is related to, but distinguishable from, musical form and musical style.

hypothesising formulating a plausible supposition to account for known facts or observed occurrences. The supposition is often the subject of a validation process.

identify/identification to recognise or ascertain the origin, nature or definitive characteristics of

implicit understood, tacit, implied, inherent

inconsistent conflicting or contradictory; varying and unpredictable; incompatible

in-depth carefully worked out, detailed, thorough, incisive


Term Explanation

innovative novel, but not necessarily unique, often involving effective alternatives, modification or changes to given information or routine tasks; the implementation of something new or different; the use of a better and novel idea or method

insightful perceptive, demonstrating high levels of understanding

integral essential or necessary for completeness; possessing everything essential

interpreting explaining the meaning of information, words, symbols, pictures/illustrations or actions

justifying providing sound reasons or evidence to support a statement. Soundness requires that the reasoning is logical and, where appropriate, that the premises are likely to be true.

language conventions accepted language practices developed over time and generally used and understood, for example use of punctuation

logical rational and valid; internally consistent; able to be supported

manipulate to move, arrange, operate or control, especially in a skilful manner; to handle or use, especially with some skill, in a process or action; to control or influence something in a clever or skilful fashion

manipulating/operating/ using equipment

displaying competence in choosing and using an implement to perform a given task effectively. In Music, this refers to musical instruments and music technologies such as synthesisers, sequencers, recording and editing systems, computers and digital instruments.

music elements and concepts

the fundamental parameters, aspects or characteristics of music. In this syllabus, the basic elements of music are identified as duration, expressive devices, pitch, structure, texture and timbre. The concepts are important aspects of music derived from these basic elements.

musicianship a unique set of knowledge, skills and attitudes that allows students to engage in all forms of music making and music interaction

musicology the study of music from a variety of social, historical, cultural contexts

narrow limited in range or scope; barely adequate or successful

obvious predictable, immediately apparent

original not derived from something else; new, fresh and unusual; authentic; inventive; showing a marked departure from previous practice

perceiving patterns recognising and identifying designs, trends and meaningful relationships within text, including symbol systems

perceptive having the ability to perceive or understand; discerning; astute; discriminating

performance the interpretation of music elements and concepts through playing, singing and conducting in context

proficient having or marked by an advanced degree of competence, as in an art, vocation, profession, or branch of learning; having or showing knowledge, skill and aptitude

purposeful having a purpose; intentional; determined; resolute; meaningful

range breadth of coverage

recognise/recognition discern, make out, distinguish


Term Explanation

refined showing a high degree of refinement and assurance; subtle, discriminating; elegant; polished

relevant applicable and pertinent; having a direct bearing on

rudimentary fundamental; basic; elementary

secure dependable; confident; assured; not liable to fail

sensitive capable of perceiving with a sense or senses; susceptible to the attitudes, feelings, or circumstances of others; responsive to external conditions or stimulation

significant major, noteworthy, important, worthwhile

simple easy to understand and deal with; may concern a single or basic aspect, few steps, limited or no relationships

simplistic shallow, facile, naive; making unrealistically simple judgments or analyses

skilful made or done well, showing a lot of ability; possessing or displaying accomplishment or skill, especially something that requires special ability or training

sophisticated reflecting educated taste, knowledge, experience etc.; complex, refined, intricate

sporadic appearing or happening at irregular intervals in time; occasional; isolated

style a form or type of music; a way of expressing something that is characteristic of, for example, a particular group of people, time period, country or culture, techniques or instruments used, origins or influences. The term is often used interchangeably with “genre”.

superficial apparent and sometimes trivial, lacking in depth of understanding

supported to give something greater credibility by being consistent with it or providing further evidence

sustained continued and constant

synthesising assembling constituent parts into a coherent, unique and/or complex entity. The term “entity” includes a system, theory, communication, plan or set of operations

systematic methodical; orderly; arranged in or comprising an ordered system, method or plan

text a coherent piece of spoken/signed, written, nonverbal, visual or auditory language, or some or all of these in combination, produced in an interaction in a social context

thorough attentive to detail; carried out completely and carefully

translating from one form to another

expressing information in a different form

vague unclear, imprecise, ambiguous

valid applicable, legitimate and defensible, able to be supported

variable uneven in quality, patchy, up-and-down, irregular

variety a number of different modes or sources; a range


Term Explanation

well-justified providing sound reasons or evidence to support a statement. Soundness requires that the reasoning is logical and likely to be true.

well-reasoned logical and sound; presented with justification

well-structured having a well-defined organisation; having a distinct shape or form, often provided by an internal structure

Queensland Studies Authority 154 Melbourne Street, South Brisbane PO Box 307 Spring Hill QLD 4004 Australia T +61 7 3864 0299 F +61 7 3221 2553 www.qsa.qld.edu.au

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Documents

Senior Music Syllabus