SongMakers Teachers Workbook 1.0

TEACHER’SRESOURCES

Version 1.0 Nov 2014

THE SONGMAKERS PROJECT

Welcome to the SongMakers Project Teaching Resources. This package is designed to assist you with presenting the project in your own classroom. The package has been divided into sections to make it easier to implement into your current teaching programs. Each section contains a list of teaching activities complete with outcomes and links to The Australian Curriculum, student handouts, internet links and group composition activities.

The different sections included in this package are:

• SongMakers and the Australian Curriculum: The Arts

• Advice from successful songwriters and their collaborators

• The Blank Canvas – An Ideas Think Tank

• The Recording Process

• Your Digital Footprint

During this process, you and your students will have the opportunity to listen to advice from the presenters of the SongMakers Project as well as some industry legends.

I don’t even want to imagine a life without music. Rai Thistlethwayte, SongMakers mentor

SONGMAKERS AND THE AUSTRALIAN CURRICULUM: THE ARTS. The main aim of Songwriters is to offer every music student in Australia the opportunity to experience collaborative songwriting, and produce a final product using whatever technology is available to them - whether that be a music writing program, iPad app, phone app or the good old live recorder. SongMakers has a secondary aim of giving Music Educators the chance to develop their own skills, and keeping them up to date with current trends in the market place so that they are able to guide the young entertainers to set and meet high goals.

The great news is that this is exactly the sort of experience that is reflected in The Australian Curriculum: The Arts.

The Rationale from The Australian Curriculum: The Arts states:

“The Arts have the capacity to engage, inspire and enrich all students, exciting the imagination and encouraging them to reach their creative and expressive potential. The five Arts subjects in the Australian Curriculum are Dance, Drama, Media Arts, Music, and Visual Arts. Together they provide opportunities for students to learn how to create, design, represent, communicate and share their imagined and conceptual ideas, emotions, observations and experiences.

In the Arts, students learn as artists and audience through the intellectual, emotional and sensory experience. They acquire knowledge, skills and understanding specific to the Arts subjects and develop critical understanding that informs decision making and aesthetic choices. Through the Arts, students learn to express their ideas, thoughts and opinions as they discover and interpret the world. They learn that designing, producing and resolving their work is as essential to learning in the Arts as is creating a finished work. Students develop their Arts knowledge and aesthetic understanding through a growing comprehension of the distinct and related languages, symbols, techniques, processes and skills of the Arts subjects. Arts learning provide students with opportunities to engage with creative industries and arts professionals.”

The core outcomes and processes used in SongMakers successfully represent not only The Arts, but also many of the requirements in the specific Music stream. The Music Aims clearly state, “As independent learners, students integrate listening, performing and composing activities. These activities, developed

sequentially, enhance their capacity to perceive and understand music. As students’ progress through studying Music, they learn to value and appreciate the power of music to transform the heart, soul, mind and spirit of the individual. In this way students develop an aesthetic appreciation and enjoyment of music. In addition to the overarching aims of the Australian Curriculum: The Arts, Music knowledge, understanding and skills ensure that, individually and collaboratively, students develop:

• the confidence to be creative, innovative, thoughtful, skilful and informed musicians

• skills to compose, perform, improvise, respond and listen with intent and purpose

• aesthetic knowledge and respect for music and music practices across global communities, cultures and musical traditions

• an understanding of music as an aural art form as they acquire skills to become independent music learners.”

SongMakers will focus on three main areas:

• The collaborative process of songwriting

• The technology and process involved in recording

• The intellectual property/ownership of the work and the methods of delivery to the market place

It is easy to make connections between the four areas of study and the Band and content descriptors. “The Band descriptions provide information about the learning contexts and also emphasise the interrelated nature of the two strands, Making and Responding. Content descriptions at each band in each subject describe the knowledge, understanding and skills that teachers are expected to teach and students are expected to learn.

The content descriptions reflect the interrelated strands of Making and Responding. “Making in Music involves active listening, imitating, improvising, composing, arranging, conducting, singing, playing, comparing and contrasting, refining, interpreting, recording and notating, practising, rehearsing, presenting and performing. Responding in Music involves students being audience members listening to, enjoying, reflecting, analysing, appreciating and evaluating their own and others’ musical works. It is making and responding in a collaborative approach, that is he centre for this project.” It is through the exploration of the collaborative songwriting process that the students have

the opportunity to debate and discuss the viewpoints of all involved, which is another main outcome from The Arts curriculum. This will be evident in the activities outlined in the final stage – Your Digital Footprint: Intellectual Property and Ownership.

Learning in Music requires the students to listen, perform and compose. It also requires them to gather vast amounts of musical knowledge, terminology, and skills, whether they are kinetic, auditory, verbal or visual. The students are required to learn about increasingly complex forms of music which may include different songs, instrumental genres, film and media, contemporary and new music trends as well as folk, cultural and traditional music.

When making and responding, students’ musical skills are best developed through activities which integrate the techniques and processes of music: listening, composing and performing. SongMakers aims to use the collaborative process to expand the students’ listening skills as the technique for discriminating, identifying, interpreting and applying musical concepts is essential for all listening, composition and performing activities. During the compositional process, the students will improvise, organise musical ideas, create accompaniment patterns and arrange original works collaboratively. They will support this by learning to record the collaborative process, and develop skills and techniques to discuss their music and the music of others.

This experience is best suited to Years 9 - 12 because they are able to work with more abstract concepts and consider complex ideas. They are keen to explore the broad questions like “What meaning is intended in the lyric? What does the audience understand from this song? What is the cultural context of the song and of the audience engaging with it?”

Within the National Curriculum: The Arts, there are seven general capabilities that also need to be considered -

• Literacy

• Numeracy

• Information and communication technology (ICT) capability

• Critical and creative thinking

• Personal and social capability

• Ethical understanding

• Intercultural understanding.

SongMakers covers all seven capabilities quite easily.

Here is an explanation of the linkages to these seven capabilities -

• Literacy - share and explain ideas, discuss concepts, work collaboratively, participate in class discussions, write/talk about their work and the work of others, and present or introduce work.

• Numeracy - compose, produce and record music as well as identifying lengths of sections.

• Information and communication technology (ICT) - solving issues with the computer programs selected and the application of social and ethical protocols and practices in a digital environment. Students will use digital technologies to locate, access, select and evaluate information, work collaboratively, share and exchange information, and communicate with a variety of audiences.

• Critical and creative thinking - Through the collaborative process, the students learn to express their understanding of an idea, ask ‘what if’ questions, explore the ideas of others and piece together the jigsaw puzzle that is composing.

• Personal and social capability - They learn to empathise with the emotions, needs and situations of others, to appreciate diverse perspectives, and to understand and negotiate different types of relationships. When working with others, students develop and practice social skills that assist them to communicate effectively, work collaboratively, make considered group decisions and show leadership.

• Ethical understanding - Students develop their understanding of values and ethical principles as they use an increasing range of critical thinking skills to explore ideas, concepts, beliefs and practices. When interpreting and evaluating works and their meaning, students consider their global impact.

• Intercultural understanding - Intercultural understanding enables students to explore the influence and impact of cultural identities and traditions on the practices and thinking of artists and audiences. Students might explore forms and structures, use of materials, technologies, techniques and processes, or treatment of concepts, ideas, themes and characters.

SCOPE AND SEQUENCE FOR SONGMAKERSThe SongMakers Project Package is a series of activities that attempt to guide students through the songmaking process. As all schools will be expected to realign their programming to reflect the Australian Curriculum, here is a scope and sequence of the teaching activities in this package, as well as a document linking the activities to the Australian Level Descriptors for Years 7 – 10.

List of Activities Australian Curriculum Descriptors including General Capabilities and Cross Curriculum Priorities – Year 7 and 8

Australian Curriculum Descriptors including General Capabilities and Cross Curriculum Priorities – Year 9 and 10

SESSION 1: WHAT DO THE GREAT SONGWRITERS SAY ABOUT THE CRAFT?

• Watch Robin Gibb discussing songwriting

• List the main points

• Watch Bruce Springsteen discussing songwriting

• List the main points

• Watch Gotye discussing the making of Somebody I Used to Know.

• List main points.

Identify and connect specific features and purposes of music 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)

General capabilities: Lit, PSC, CCT, EU, ICU Cross-curriculum priorities: SUST

Analyse a range of music from contemporary and past times to explore differing viewpoints and enrich their music making, starting with Australian music,including music of Aboriginal and Torres Strait Islander Peoples, and consider music in international contexts (ACAMUR105)

General capabilities: Lit, ICT, CCT, ICU Cross-curriculum priorities: ATSIHC, AAEA, SUST

SESSION 2: THE BLANK CANVAS – AN IDEAS THINK TANK

• Brainstorm a series of statements about song structure

• Watch Sting discussing integrity in song writing. Discuss

• Watch Gotye discussing referencing in songs. Discuss

• Watch Lionel Richie demonstrating writing a hook or top line. Identify key points

• Watch SongMakers Project Video 3 and identify key points

• Watch “How Pop Songs Work” and discuss the key and structure of Knowing Me Knowing You

• Group discussion about bar length for songs

• Whole class or group practical activity based around chord progressions

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

General capabilities: Lit, ICT, CCT, ICU Cross-curriculum priorities: AAEA, SUST

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

General capabilities: Lit, CCT, , ICU Cross-curriculum priorities: SUST

Improvise and arrange music, using aural recognition of texture, dynamics and expression to manipulate the elements of music to explore personal style in composition and performance (ACAMUM099)

General capabilities: Lit, Num, CCT, ICU Cross-curriculum priorities: AAEA

Evaluate a range of music and compositions to inform and refine their own compositions and performances (ACAMUR104)

General capabilities: Lit, CCT, ICU Cross-curriculum priorities: AAEA, SUST

SESSION 3: WHAT DOES CO-WRITING ACTUALLY LOOK LIKE?

• Read article about Guy Chamber and Rufus Wainwright collaborating. Complete the structure overview.

• Watch evidence of this taking place. Discuss questions

• Listen to the full version of the song and discuss key questions.

• Watch Eskimo Joe discussing the collaborative process


General capabilities: Lit, CCT, ICU Cross-curriculum priorities: SUST



SESSION 4: HOW TO WRITE POP SONGS

• Watch Carla Marie Williams’ explanation of how to write and discuss questions

• Top Line Activity – writing lyrics from magazine stimulus

• Catch Phrase Activity – writing lyrics from a catchphrase

• Listen to various recordings of specific styles and identify the elements

• Watch SongMakers Video No 4 and make observations about looping strategies

• Improvisation over a loop practical activity

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




Practise and rehearse to refine a variety of performance repertoire with increasing technical and interpretative skill (ACAMUM101)

General capabilities: Lit, ICT, PSC, CCT Cross-curriculum priorities: SUST



SESSION 5: YOUR FINAL TIP BEFORE YOU BEGIN IS…

• Watch SongMakers Video No 2. Discuss questions

• CROSSROADS – if you are starting at this point the students will now go and write a pop song but only the lyrics, melody, chords and the feel.

• Perform the pop song in its raw form here or in Session 6.

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

General capabilities: Lit, Num, ICT, CCT Cross-curriculum priorities: SUST



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


Structure compositions by combining and manipulating the elements of music using notation (ACAMUM095)

General capabilities: Lit, PSC, CCT, ICT Cross-curriculum priorities: AAEA, SUST

Perform and present a range of music, using techniques and expression appropriate to style (ACAMUM096)

General capabilities: Lit, Num, PSC, CCT Cross-curriculum priorities: AAEA, SUST




General capabilities: Lit, Num, , CCT, ICU Cross-curriculum priorities: AAEA

Manipulate combinations of the elements of music in a range of styles, using technology and notation (ACAMUM100)

General capabilities: Lit, ICT, CCT Cross-curriculum priorities: NA

Practise and rehearse to refine a variety of performance repertoire with increasing technical and interpretative skill (ACAMUM101)

General capabilities: Lit, ICT, PSC, CCT Cross-curriculum priorities: SUST

Plan and organise compositions with an understanding of style and convention, including drawing upon Australian music by Aboriginal and Torres Strait Islander artists(ACAMUM102)

General capabilities: Lit, Num, ICT, CCT,PSC, ICU Cross-curriculum priorities: ATSIHC

Perform music applying techniques and expression to interpret the composer’s use of elements of music (ACAMUM103)




SESSION 6: THE ARRANGING AND RECORDING PROCESS

• Watch SongMakers Video No 5 and discuss questions

• Watch SongMakers Video No 6 and discuss questions

• Listening activity on digital effects

• Perform the pop song in its raw form before the recording process begins if it was not done in Session 5.

• CROSSROADS – recording process begins. Students using software specific to their school to realize their compositions. Process Diary Entries.

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

General capabilities: Lit, Num, ICT, CCT Cross-curriculum priorities: SUST



Structure compositions by combining and manipulating the elements of music using notation (ACAMUM095)

General capabilities: Lit, PSC, CCT, ICT Cross-curriculum priorities: AAEA, SUST

Perform and present a range of music, using techniques and expression appropriate to style (ACAMUM096)

General capabilities: Lit, Num, PSC, CCT Cross-curriculum priorities: AAEA, SUST


General capabilities: Lit, CCT, , ICU Cross-curriculum priorities: SUST


General capabilities: Lit, Num, , CCT, ICU Cross-curriculum priorities: AAEA

Manipulate combinations of the elements of music in a range of styles, using technology and notation (ACAMUM100)

General capabilities: Lit, ICT, CCT Cross-curriculum priorities: NA

Plan and organise compositions with an understanding of style and convention, including drawing upon Australian music by Aboriginal and Torres Strait Islander artists(ACAMUM102)

General capabilities: Lit, Num, ICT, CCT,PSC, ICU Cross-curriculum priorities: ATSIHC

Perform music applying techniques and expression to interpret the composer’s use of elements of music (ACAMUM103)




SESSION 7: YOU HAVE A GREAT SONG… SO NOW WHERE?

• Brainstorm questions

• Watch SongMakers Video No 7 and discuss observations

• Internet research on Ownership and Copyright

• Discuss questions about Your Digital Footprint

• Watch the Introductory Video from Common Sense Media

• Discuss Questions related to searching

• Google different artists to analyse common sites





SESSION 8: THE SKY IS THE LIMIT IN THE TECHNOLOGY AGE

• Watch Gotye discuss influences as a songwriter as an introduction

• Watch Gotye demonstrating his sampling style. Discuss observations

• Watch Imogen Heap discussing the audio process from Song Summit. Discuss observations

• Watch Gotye test drive some technology. Discuss questions

• Watch the Documentary about Eyes Wide Open. Discuss questions

• Watch Gotye discussing singing as a tool

• Watch Elton John demonstrating setting text to melody

• Student Plenary


General capabilities: Lit, CCT, , ICU







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ruce

Sp

rings

teen

. Id

entif

y th

e m

ain

poin

ts.

Brai

nsto

rm

ques

tions

Wat

ch

Song

Mak

ers

Vide

o N

o 7

and

disc

uss

obse

rvat

ions

Inte

rnet

rese

arch

on

Ow

ners

hip

and

Copy

right

Dis

cuss

qu

estio

ns a

bout

Yo

ur D

igita

l Fo

otpr

int

Wat

ch th

e In

trod

ucto

ry

Vide

o fr

om

Com

mon

Sen

se

Med

ia

Dis

cuss

Q

uest

ions

re

late

d to

se

arch

ing

Goog

le d

iffer

ent

artis

ts to

ana

lyse

co

mm

on s

ites

Wat

ch G

otye

di

scus

s in

fluen

ces

as a

so

ngw

riter

as

an

intr

oduc

tion

Wat

ch Im

ogen

H

eap

disc

ussi

ng

the

audi

o pr

oces

s fr

om

Song

Sum

mit.

D

iscu

ss

obse

rvat

ions

YEA

RS 7

AN

D 8

AC

HIE

VEM

ENT

STA

NDA

RDBy

the

end

of Y

ear 8

, stu

dent

s id

entif

y an

d an

alys

e ho

w th

e el

emen

ts o

f mus

ic a

re u

sed

in d

iffer

ent s

tyle

s an

d ap

ply

this

kno

wle

dge

in th

eir p

erfo

rman

ces

and

com

posi

tions

. The

y ev

alua

te m

usic

al c

hoic

es th

ey a

nd o

ther

s fro

m d

iffer

ent c

ultu

res,

tim

es a

nd p

lace

s m

ake

to c

omm

unic

ate

mea

ning

as

perf

orm

ers

and

com

pose

rs.

Stud

ents

man

ipul

ate

the

elem

ents

of m

usic

and

sty

listic

con

vent

ions

to c

ompo

se m

usic

. The

y in

terp

ret,

rehe

arse

and

per

form

son

gs a

nd in

stru

men

tal p

iece

s in

uni

son

and

in p

arts

, dem

onst

ratin

g te

chni

cal a

nd e

xpre

ssiv

e sk

ills.

The

y us

e au

ral s

kills

, mus

ic te

rmin

olog

y an

d sy

mbo

ls to

reco

gnis

e, m

emor

ise

and

nota

te fe

atur

es, s

uch

as

mel

odic

pat

tern

s in

mus

ic th

ey p

erfo

rm a

nd c

ompo

se.

YEA

RS 9

AN

D 10

LEV

EL D

ESC

RIPT

ORS

Con

tent

Des

crip

tor

Sess

ion

1Se

ssio

n 2

Sess

ion

3Se

ssio

n 4

Sess

ion

5Se

ssio

n 6

Sess

ion

7Se

ssio

n 8

Impr

ovis

e an

d ar

rang

e m

usic

, usi

ng

aura

l rec

ogni

tion

of

text

ure,

dyn

amic

s an

d ex

pres

sion

to

man

ipul

ate

the

elem

ents

of m

usic

to

exp

lore

per

sona

l st

yle

in c

ompo

sitio

n an

d pe

rfor

man

ce

(ACA

MU

M09

9)

Gen

eral

cap

abili

ties:

Li

t, N

um, ,

CC

T, IC

U

Cro

ss-c

urric

ulum

pr

iorit

ies:

AA

EA

Who

le c

lass

or

grou

p pr

actic

al

activ

ity b

ased

ar

ound

cho

rd

prog

ress

ions

CRO

SSRO

ADS

– if

you

are

star

ting

at th

is p

oint

the

stud

ents

will

now

go

an

writ

e a

pop

song

but

onl

y th

e ly

rics,

mel

ody,

ch

ords

and

the

feel

.

CRO

SSRO

ADS

– re

cord

ing

proc

ess

begi

ns.

Stud

ents

usi

ng

soft

war

e sp

ecifi

c to

thei

r sch

ool

to re

aliz

e th

eir

com

posi

tions

. Pr

oces

s D

iary

En

trie

s.

Man

ipul

ate

com

bina

tions

of t

he

elem

ents

of m

usic

in

a ra

nge

of s

tyle

s,

usin

g te

chno

logy

an

d no

tatio

n (A

CAM

UM

100)

Gen

eral

cap

abili

ties:

Li

t, IC

T, C

CT

C

ross

-cur

ricul

um

prio

ritie

s: N

A

CRO

SSRO

ADS

– if

you

are

star

ting

at th

is p

oint

the

stud

ents

will

now

go

an

writ

e a

pop

song

but

onl

y th

e ly

rics,

mel

ody,

ch

ords

and

the

feel

.

CRO

SSRO

ADS

– re

cord

ing

proc

ess

begi

ns.

Stud

ents

usi

ng

soft

war

e sp

ecifi

c to

thei

r sch

ool

to re

aliz

e th

eir

com

posi

tions

. Pr

oces

s D

iary

En

trie

s.

Prac

tise

and

rehe

arse

to

refin

e a

varie

ty

of p

erfo

rman

ce

repe

rtoi

re w

ith

incr

easi

ng te

chni

cal

and

inte

rpre

tativ

e sk

ill (A

CAM

UM

101)

Gen

eral

cap

abili

ties:

Li

t, IC

T, P

SC, C

CT

Cro

ss-c

urric

ulum

pr

iorit

ies:

SU

ST

Impr

ovis

atio

n ov

er a

loop

pr

actic

al a

ctiv

ity

Perf

orm

the

pop

song

in it

s ra

w

form

her

e or

in

Sess

ion

6.

Perf

orm

the

pop

song

in it

s ra

w fo

rm b

efor

e th

e re

cord

ing

proc

ess

begi

ns if

it

was

not

don

e in

Se

ssio

n 5.

YEA

RS 9

AN

D 10

LEV

EL D

ESC

RIPT

ORS

Con

tent

Des

crip

tor

Sess

ion

1Se

ssio

n 2

Sess

ion

3Se

ssio

n 4

Sess

ion

5Se

ssio

n 6

Sess

ion

7Se

ssio

n 8

Plan

and

org

anis

e co

mpo

sitio

ns w

ith

an u

nder

stan

ding

of

sty

le a

nd

conv

entio

n,

incl

udin

g dr

awin

g up

on A

ustr

alia

n m

usic

by

Abor

igin

al

and

Torr

es

Stra

it Is

land

er

artis

ts(A

CAM

UM

102)

Gen

eral

cap

abili

ties:

Li

t, N

um, I

CT,

C

CT,

PSC

, IC

U

Cro

ss-c

urric

ulum

pr

iorit

ies:

ATS

IHC

CRO

SSRO

ADS

– if

you

are

star

ting

at th

is p

oint

the

stud

ents

will

now

go

an

writ

e a

pop

song

but

onl

y th

e ly

rics,

mel

ody,

ch

ords

and

the

feel

.

CRO

SSRO

ADS

– re

cord

ing

proc

ess

begi

ns.

Stud

ents

usi

ng

soft

war

e sp

ecifi

c to

thei

r sch

ool

to re

aliz

e th

eir

com

posi

tions

. Pr

oces

s D

iary

En

trie

s.

Perf

orm

mus

ic

appl

ying

tech

niqu

es

and

expr

essi

on

to in

terp

ret t

he

com

pose

r’s u

se o

f el

emen

ts o

f mus

ic

(ACA

MU

M10

3)

Gen

eral

cap

abili

ties:

Li

t, C

CT,

ICU

C

ross

-cur

ricul

um

prio

ritie

s: S

UST

Perf

orm

the

pop

song

in it

s ra

w

form

her

e or

in

Sess

ion

6.

Perf

orm

the

pop

song

in it

s ra

w fo

rm b

efor

e th

e re

cord

ing

proc

ess

begi

ns if

it

was

not

don

e in

Se

ssio

n 5.

YEA

RS 9

AN

D 10

LEV

EL D

ESC

RIPT

ORS

Con

tent

Des

crip

tor

Sess

ion

1Se

ssio

n 2

Sess

ion

3Se

ssio

n 4

Sess

ion

5Se

ssio

n 6

Sess

ion

7Se

ssio

n 8

Eval

uate

a ra

nge

of m

usic

and

co

mpo

sitio

ns

to in

form

and

re

fine

thei

r ow

n co

mpo

sitio

ns a

nd

perf

orm

ance

s (A

CAM

UR1

04)

Gen

eral

cap

abili

ties:

Li

t, C

CT,

ICU

C

ross

-cur

ricul

um

prio

ritie

s: A

AEA

, SU

ST

Brai

nsto

rm

a se

ries

of

stat

emen

ts a

bout

so

ng s

truc

ture

Wat

ch S

ting

disc

ussi

ng

inte

grity

in s

ong

writ

ing.

Dis

cuss

Wat

ch

Lion

el R

ichi

e de

mon

stra

ting

writ

ing

a h

ook

or

top

line.

Iden

tify

key

poin

ts

Wat

ch

Song

Mak

ers

Proj

ect V

ideo

3

and

iden

tify

key

poin

ts

Wat

ch “

How

Pop

So

ngs

Wor

k” a

nd

disc

uss

the

key

and

stru

ctur

e of

Kno

win

g M

e Kn

owin

g Yo

u

Grou

p di

scus

sion

ab

out b

ar le

ngth

fo

r son

gs

Wat

ch E

skim

o Jo

e di

scus

sing

th

e co

llabo

rativ

e pr

oces

s

List

en to

var

ious

re

cord

ings

of

spec

ific

styl

es

and

iden

tify

the

elem

ents

Wat

ch

Song

Mak

ers

Vide

o N

o 2.

Di

scus

s qu

estio

ns

Wat

ch

Song

Mak

ers

Vide

o N

o 5

and

disc

uss

ques

tions

Wat

ch

Song

Mak

ers

Vide

o N

o 6

and

disc

uss

ques

tions

List

enin

g ac

tivity

on

dig

ital e

ffect

s

Wat

ch G

otye

de

mon

stra

ting

his

sam

plin

g st

yle.

Dis

cuss

ob

serv

atio

ns

Wat

ch G

otye

te

st d

rive

som

e te

chno

logy

. D

iscu

ss q

uest

ions

Wat

ch th

e D

ocum

enta

ry

abou

t Eye

s W

ide

Ope

n. D

iscu

ss

ques

tions

Wat

ch G

otye

di

scus

sing

sin

ging

as

a to

ol

Wat

ch E

lton

John

de

mon

stra

ting

sett

ing

text

to

mel

ody

YEA

RS 9

AN

D 10

LEV

EL D

ESC

RIPT

ORS

Con

tent

Des

crip

tor

Sess

ion

1Se

ssio

n 2

Sess

ion

3Se

ssio

n 4

Sess

ion

5Se

ssio

n 6

Sess

ion

7Se

ssio

n 8

Anal

yse

a ra

nge

of m

usic

from

co

ntem

pora

ry

and

past

tim

es to

ex

plor

e di

fferin

g vi

ewpo

ints

and

en

rich

thei

r mus

ic

mak

ing,

sta

rtin

g w

ith A

ustr

alia

n m

usic

,incl

udin

g m

usic

of A

borig

inal

an

d To

rres

Str

ait

Isla

nder

Peo

ples

, an

d co

nsid

er m

usic

in

inte

rnat

iona

l co

ntex

ts

(ACA

MU

R105

)

Gen

eral

cap

abili

ties:

Li

t, IC

T, C

CT,

ICU

C

ross

-cur

ricul

um

prio

ritie

s: A

TSIH

C,

AA

EA, S

UST

Wat

ch V

ideo

s fr

om R

obin

Gi

bb a

nd B

ruce

Sp

rings

teen

. Id

entif

y th

e m

ain

poin

ts.

Brai

nsto

rm

ques

tions

Wat

ch

Song

Mak

ers

Vide

o N

o 7

and

disc

uss

obse

rvat

ions

Inte

rnet

rese

arch

on

Ow

ners

hip

and

Copy

right

Dis

cuss

que

stio

ns

abou

t You

r Dig

ital

Foot

prin

t

Wat

ch th

e In

trod

ucto

ry

Vide

o fr

om

Com

mon

Sen

se

Med

ia

Dis

cuss

Que

stio

ns

rela

ted

to

sear

chin

g

Goog

le d

iffer

ent

artis

ts to

ana

lyse

co

mm

on s

ites

Wat

ch G

otye

di

scus

s in

fluen

ces

as a

son

gwrit

er a

s an

intr

oduc

tion

Wat

ch Im

ogen

H

eap

disc

ussi

ng

the

audi

o pr

oces

s fr

om S

ong

Sum

mit.

Dis

cuss

ob

serv

atio

ns

YEA

RS 9

AN

D 10

AC

HIE

VEM

ENT

STA

NDA

RDBy

the

end

of Y

ear 1

0, s

tude

nts

anal

yse

diffe

rent

sco

res

and

perf

orm

ance

s au

rally

and

vis

ually

. The

y ev

alua

te th

e us

e of

ele

men

ts o

f mus

ic a

nd d

efini

ng c

hara

cter

istic

s fro

m d

iffer

ent m

usic

al s

tyle

s. T

hey

use

thei

r und

erst

andi

ng o

f mus

ic m

akin

g in

diff

eren

t cul

ture

s, ti

mes

and

pla

ces

to in

form

and

sha

pe th

eir i

nter

pret

atio

ns,

perf

orm

ance

s an

d co

mpo

sitio

ns.

Stud

ents

inte

rpre

t, re

hear

se a

nd p

erfo

rm s

olo

and

ense

mbl

e re

pert

oire

in a

rang

e of

form

s an

d st

yles

. The

y in

terp

ret a

nd p

erfo

rm

mus

ic w

ith te

chni

cal c

ontr

ol, e

xpre

ssio

n an

d st

ylis

tic u

nder

stan

ding

. The

y us

e au

ral s

kills

to re

cogn

ise

elem

ents

of m

usic

and

mem

oris

e as

pect

s of

mus

ic s

uch

as p

itch

and

rhyt

hm s

eque

nces

. The

y us

e kn

owle

dge

of th

e el

emen

ts o

f mus

ic, s

tyle

and

not

atio

n to

com

pose

, doc

umen

t and

sha

re th

eir m

usic

.

HOW THE SONGMAKERS PROJECT ALIGNS WITH THE NSW H.S.C.

The NSW HSC Syllabus states:

The purpose of the Higher School Certificate program of study is to:

• provide a curriculum structure which encourages students to complete secondary education

• foster the intellectual, social and moral development of students, in particular developing their:

– knowledge, skills, understanding and attitudes in the fields of study they choose

– capacity to manage their own learning

– desire to continue learning in formal or informal settings after school

– capacity to work together with others

– respect for the cultural diversity of Australian society

• provide a flexible structure within which students can prepare for:

– further education and training

– employment

– full and active participation as citizens

• provide formal assessment and certification of students’ achievements

• provide a context within which schools also have the opportunity to foster students’ physical and spiritual development.

Students will gain understanding of the musical concepts through the integration of experiences in performance, composition, musicology and aural.

The objectives of Music 2 Stage 6 are:

• to continue to develop musical knowledge and skills, an understanding of music in social, cultural and historical contexts, and music as an art form through performance, composition, musicology and aural activities

• to develop the ability to synthesise ideas and evaluate music critically

• to develop an awareness and understanding of the impact of technology on music

• to develop personal values about music.

The objectives of Music 1 Stage 6 are:

• to develop knowledge and skills about the

concepts of music and of music as an art form through performance, composition, musicology and aural activities in a variety of cultural and historical contexts

• to develop the skills to evaluate music critically

• to develop an understanding of the impact of technology on music

• to develop personal values about music.

Whilst the project can be taught to Years 11 and 12, it is more suited to Year 11 Music 2 and Year 11 and 12 in Music 1. The follow table demonstrates how the activities in the SongMakers Project align with the outcomes for the Preliminary Courses for Music 1 and Music 2.

MU

SIC

2 O

UTC

OM

ES

PREL

IMIN

ARY

O

UTC

OM

ES

Sess

ion

1Se

ssio

n 2

Sess

ion

3Se

ssio

n 4

Sess

ion

5Se

ssio

n 6

Sess

ion

7Se

ssio

n 8

P1:

confi

dent

ly

perf

orm

s re

pert

oire

, th

at re

flect

s th

e m

anda

tory

and

ad

ditio

nal t

opic

s,

both

as

a so

lois

t and

as

a m

embe

r of a

n en

sem

ble

Perf

orm

the

pop

song

in it

s ra

w

form

her

e or

in

Sess

ion

6.

Perf

orm

the

pop

song

in it

s ra

w fo

rm b

efor

e th

e re

cord

ing

proc

ess

begi

ns if

it

was

not

don

e in

Se

ssio

n 5.

P2: d

emon

stra

tes

an

unde

rsta

ndin

g of

the

conc

epts

of m

usic

, by

inte

rpre

ting,

an

alys

ing,

dis

cuss

ing,

cr

eatin

g an

d no

tatin

g a

varie

ty

of m

usic

al s

ymbo

ls

char

acte

ristic

ally

us

ed in

the

man

dato

ry a

nd

addi

tiona

l top

ics

CRO

SSRO

ADS

– if

you

are

star

ting

at th

is p

oint

the

stud

ents

will

now

go

an

writ

e a

pop

song

but

onl

y th

e ly

rics,

mel

ody,

ch

ords

and

the

feel

.

CRO

SSRO

ADS

– if

you

are

star

ting

at th

is p

oint

the

stud

ents

will

now

go

an

writ

e a

pop

song

but

onl

y th

e ly

rics,

mel

ody,

ch

ords

and

the

feel

.

P3: c

ompo

ses,

im

prov

ises

an

d an

alys

es

mel

odie

s an

d ac

com

pani

men

ts

for f

amili

ar s

ound

so

urce

s in

sol

o an

d/or

sm

all e

nsem

bles

CRO

SSRO

ADS

– if

you

are

star

ting

at th

is p

oint

the

stud

ents

will

now

go

an

writ

e a

pop

song

but

onl

y th

e ly

rics,

mel

ody,

ch

ords

and

the

feel

.

CRO

SSRO

ADS

– re

cord

ing

proc

ess

begi

ns.

Stud

ents

usi

ng

soft

war

e sp

ecifi

c to

thei

r sch

ool

to re

aliz

e th

eir

com

posi

tions

. Pr

oces

s D

iary

En

trie

s.

P4: c

reat

es,

impr

ovis

es a

nd

nota

tes

mus

ic w

hich

is

repr

esen

tativ

e of

th

e m

anda

tory

and

ad

ditio

nal t

opic

s an

d de

mon

stra

tes

diffe

rent

soc

ial,

cultu

ral a

nd

hist

oric

al c

onte

xts

Who

le c

lass

or

grou

p pr

actic

al

activ

ity b

ased

ar

ound

cho

rd

prog

ress

ions

Impr

ovis

atio

n ov

er a

loop

pr

actic

al a

ctiv

ity

CRO

SSRO

ADS

– if

you

are

star

ting

at th

is p

oint

the

stud

ents

will

now

go

an

writ

e a

pop

song

but

onl

y th

e ly

rics,

mel

ody,

ch

ords

and

the

feel

.

CRO

SSRO

ADS

– re

cord

ing

proc

ess

begi

ns.

Stud

ents

usi

ng

soft

war

e sp

ecifi

c to

thei

r sch

ool

to re

aliz

e th

eir

com

posi

tions

. Pr

oces

s D

iary

En

trie

s.

MU

SIC

2 O

UTC

OM

ES

PREL

IMIN

ARY

O

UTC

OM

ES

Sess

ion

1Se

ssio

n 2

Sess

ion

3Se

ssio

n 4

Sess

ion

5Se

ssio

n 6

Sess

ion

7Se

ssio

n 8

P1:

confi

dent

ly

perf

orm

s re

pert

oire

, th

at re

flect

s th

e m

anda

tory

and

ad

ditio

nal t

opic

s,

both

as

a so

lois

t and

as

a m

embe

r of a

n en

sem

ble

Perf

orm

the

pop

song

in it

s ra

w

form

her

e or

in

Sess

ion

6.

Perf

orm

the

pop

song

in it

s ra

w fo

rm b

efor

e th

e re

cord

ing

proc

ess

begi

ns if

it

was

not

don

e in

Se

ssio

n 5.

P2: d

emon

stra

tes

an

unde

rsta

ndin

g of

the

conc

epts

of m

usic

, by

inte

rpre

ting,

an

alys

ing,

dis

cuss

ing,

cr

eatin

g an

d no

tatin

g a

varie

ty

of m

usic

al s

ymbo

ls

char

acte

ristic

ally

us

ed in

the

man

dato

ry a

nd

addi

tiona

l top

ics

CRO

SSRO

ADS

– if

you

are

star

ting

at th

is p

oint

the

stud

ents

will

now

go

an

writ

e a

pop

song

but

onl

y th

e ly

rics,

mel

ody,

ch

ords

and

the

feel

.

CRO

SSRO

ADS

– if

you

are

star

ting

at th

is p

oint

the

stud

ents

will

now

go

an

writ

e a

pop

song

but

onl

y th

e ly

rics,

mel

ody,

ch

ords

and

the

feel

.

P3: c

ompo

ses,

im

prov

ises

an

d an

alys

es

mel

odie

s an

d ac

com

pani

men

ts

for f

amili

ar s

ound

so

urce

s in

sol

o an

d/or

sm

all e

nsem

bles

CRO

SSRO

ADS

– if

you

are

star

ting

at th

is p

oint

the

stud

ents

will

now

go

an

writ

e a

pop

song

but

onl

y th

e ly

rics,

mel

ody,

ch

ords

and

the

feel

.

CRO

SSRO

ADS

– re

cord

ing

proc

ess

begi

ns.

Stud

ents

usi

ng

soft

war

e sp

ecifi

c to

thei

r sch

ool

to re

aliz

e th

eir

com

posi

tions

. Pr

oces

s D

iary

En

trie

s.

P4: c

reat

es,

impr

ovis

es a

nd

nota

tes

mus

ic w

hich

is

repr

esen

tativ

e of

th

e m

anda

tory

and

ad

ditio

nal t

opic

s an

d de

mon

stra

tes

diffe

rent

soc

ial,

cultu

ral a

nd

hist

oric

al c

onte

xts

Who

le c

lass

or

grou

p pr

actic

al

activ

ity b

ased

ar

ound

cho

rd

prog

ress

ions

Impr

ovis

atio

n ov

er a

loop

pr

actic

al a

ctiv

ity

CRO

SSRO

ADS

– if

you

are

star

ting

at th

is p

oint

the

stud

ents

will

now

go

an

writ

e a

pop

song

but

onl

y th

e ly

rics,

mel

ody,

ch

ords

and

the

feel

.

CRO

SSRO

ADS

– re

cord

ing

proc

ess

begi

ns.

Stud

ents

usi

ng

soft

war

e sp

ecifi

c to

thei

r sch

ool

to re

aliz

e th

eir

com

posi

tions

. Pr

oces

s D

iary

En

trie

s.

MU

SIC

2 O

UTC

OM

ES

PREL

IMIN

ARY

O

UTC

OM

ES

Sess

ion

1Se

ssio

n 2

Sess

ion

3Se

ssio

n 4

Sess

ion

5Se

ssio

n 6

Sess

ion

7Se

ssio

n 8

P5: a

naly

ses

and

disc

usse

s co

mpo

sitio

nal

proc

esse

s w

ith

styl

istic

, his

toric

al,

cultu

ral a

nd m

usic

al

cons

ider

atio

ns

Wat

ch V

ideo

s fr

om R

obin

Gi

bb a

nd B

ruce

Sp

rings

teen

. Id

entif

y th

e m

ain

poin

ts.

P6: d

iscu

sses

and

ev

alua

tes

mus

ic

mak

ing

cons

truc

tive

sugg

estio

ns a

bout

pe

rfor

man

ces

and

com

posi

tions

Brai

nsto

rm

a se

ries

of

stat

emen

ts a

bout

so

ng s

truc

ture

Wat

ch S

ting

disc

ussi

ng

inte

grity

in s

ong

writ

ing.

Dis

cuss

Wat

ch

Lion

el R

ichi

e de

mon

stra

ting

writ

ing

a h

ook

or

top

line.

Iden

tify

key

poin

ts

Wat

ch

Song

Mak

ers

Proj

ect V

ideo

3

and

iden

tify

key

poin

ts

Wat

ch “

How

Pop

So

ngs

Wor

k” a

nd

disc

uss

the

key

and

stru

ctur

e of

Kno

win

g M

e Kn

owin

g Yo

u

Grou

p di

scus

sion

ab

out b

ar le

ngth

fo

r son

gs

List

en to

var

ious

re

cord

ings

of

spec

ific

styl

es

and

iden

tify

the

elem

ents

Wat

ch

Song

Mak

ers

Vide

o N

o 2.

Di

scus

s qu

estio

ns

Wat

ch

Song

Mak

ers

Vide

o N

o 5

and

disc

uss

ques

tions

Wat

ch

Song

Mak

ers

Vide

o N

o 6

and

disc

uss

ques

tions

List

enin

g ac

tivity

on

dig

ital e

ffect

s

Wat

ch G

otye

de

mon

stra

ting

his

sam

plin

g st

yle.

Dis

cuss

ob

serv

atio

ns

Wat

ch G

otye

te

st d

rive

som

e te

chno

logy

. D

iscu

ss q

uest

ions

Wat

ch th

e D

ocum

enta

ry

abou

t Eye

s W

ide

Ope

n. D

iscu

ss

ques

tions

Wat

ch G

otye

di

scus

sing

sin

ging

as

a to

ol

Wat

ch E

lton

John

de

mon

stra

ting

sett

ing

text

to

mel

ody

MU

SIC

2 O

UTC

OM

ES

PREL

IMIN

ARY

O

UTC

OM

ES

Sess

ion

1Se

ssio

n 2

Sess

ion

3Se

ssio

n 4

Sess

ion

5Se

ssio

n 6

Sess

ion

7Se

ssio

n 8

P7: o

bser

ves

and

disc

usse

s in

det

ail

the

conc

epts

of

mus

ic in

wor

ks

repr

esen

tativ

e of

th

e m

anda

tory

and

ad

ditio

nal t

opic

s

Grou

p di

scus

sion

ab

out b

ar le

ngth

fo

r son

gs

Wat

ch

Song

Mak

ers

Vide

o N

o 2.

Di

scus

s qu

estio

ns

List

enin

g ac

tivity

on

dig

ital e

ffect

sBr

ains

torm

qu

estio

ns

Wat

ch

Song

Mak

ers

Vide

o N

o 7

and

disc

uss

obse

rvat

ions

Inte

rnet

rese

arch

on

Ow

ners

hip

and

Copy

right

Dis

cuss

que

stio

ns

abou

t You

r Dig

ital

Foot

prin

t

Wat

ch th

e In

trod

ucto

ry

Vide

o fr

om

Com

mon

Sen

se

Med

ia

Dis

cuss

Que

stio

ns

rela

ted

to

sear

chin

g

Goog

le d

iffer

ent

artis

ts to

ana

lyse

co

mm

on s

ites

Wat

ch G

otye

di

scus

s in

fluen

ces

as a

so

ngw

riter

as

an

intr

oduc

tion

Wat

ch Im

ogen

H

eap

disc

ussi

ng

the

audi

o pr

oces

s fr

om S

ong

Sum

mit.

Dis

cuss

ob

serv

atio

ns

P8: u

nder

stan

ds

the

capa

bilit

ies

of

perf

orm

ing

med

ia,

expl

ores

and

use

s cu

rren

t tec

hnol

ogie

s as

use

s cu

rren

t te

chno

logi

es a

s st

udie

d

CRO

SSRO

ADS

– if

you

are

star

ting

at th

is p

oint

the

stud

ents

will

now

go

an

writ

e a

pop

song

but

onl

y th

e ly

rics,

mel

ody,

ch

ords

and

the

feel

.

CRO

SSRO

ADS

– if

you

are

star

ting

at th

is p

oint

the

stud

ents

will

now

go

an

writ

e a

pop

song

but

onl

y th

e ly

rics,

mel

ody,

ch

ords

and

the

feel

.

MU

SIC

2 O

UTC

OM

ES

PREL

IMIN

ARY

O

UTC

OM

ES

Sess

ion

1Se

ssio

n 2

Sess

ion

3Se

ssio

n 4

Sess

ion

5Se

ssio

n 6

Sess

ion

7Se

ssio

n 8

P9: i

dent

ifies

, re

cogn

ises

, ex

perim

ents

with

, an

d di

scus

ses

the

use

of te

chno

logy

in

mus

ic

CRO

SSRO

ADS

– if

you

are

star

ting

at th

is p

oint

the

stud

ents

will

now

go

an

writ

e a

pop

song

but

onl

y th

e ly

rics,

mel

ody,

ch

ords

and

the

feel

.

CRO

SSRO

ADS

– if

you

are

star

ting

at th

is p

oint

the

stud

ents

will

now

go

an

writ

e a

pop

song

but

onl

y th

e ly

rics,

mel

ody,

ch

ords

and

the

feel

.

P10:

per

form

s as

a

mea

ns o

f sel

f ex

pres

sion

and

co

mm

unic

atio

n

Perf

orm

the

pop

song

in it

s ra

w

form

her

e or

in

Sess

ion

6.

Perf

orm

the

pop

song

in it

s ra

w fo

rm b

efor

e th

e re

cord

ing

proc

ess

begi

ns if

it

was

not

don

e in

Se

ssio

n 5.

P11:

dem

onst

rate

s a

will

ingn

ess

to

part

icip

ate

in

perf

orm

ance

, co

mpo

sitio

n,

mus

icol

ogy

and

aura

l act

iviti

es

Will

ing

part

icip

atio

n in

gro

up

disc

ussi

ons

and

brai

nsto

rmin

g se

ssio

ns.

P12:

dem

onst

rate

s a

will

ingn

ess

to a

ccep

t an

d us

e co

nstr

uctiv

e cr

itici

sm

Will

ingl

y ac

cept

s co

nstr

uctiv

e fe

edba

ck

rega

rdin

g th

e so

ngw

ritin

g pr

oces

s.

Will

ingl

y ac

cept

s co

nstr

uctiv

e fe

edba

ck

rega

rdin

g th

e so

ngw

ritin

g pr

oces

s.

MU

SIC

1 O

UTC

OM

ES

PREL

IMIN

ARY

O

UTC

OM

ES

Sess

ion

1Se

ssio

n 2

Sess

ion

3Se

ssio

n 4

Sess

ion

5Se

ssio

n 6

Sess

ion

7Se

ssio

n 8

P1:

perf

orm

s m

usic

th

at is

cha

ract

eris

tic

of th

e to

pics

stu

died

Perf

orm

the

pop

song

in it

s ra

w

form

her

e or

in

Sess

ion

6.

Perf

orm

the

pop

song

in it

s ra

w fo

rm b

efor

e th

e re

cord

ing

proc

ess

begi

ns if

it

was

not

don

e in

Se

ssio

n 5.

P2:

obse

rves

, rea

ds,

inte

rpre

ts a

nd

disc

usse

s si

mpl

e m

usic

al s

core

s ch

arac

teris

tic o

f to

pics

stu

died

CRO

SSRO

ADS

– if

you

are

star

ting

at th

is p

oint

the

stud

ents

will

now

go

an

writ

e a

pop

song

but

onl

y th

e ly

rics,

mel

ody,

ch

ords

and

the

feel

.

CRO

SSRO

ADS

– if

you

are

star

ting

at th

is p

oint

the

stud

ents

will

now

go

an

writ

e a

pop

song

but

onl

y th

e ly

rics,

mel

ody,

ch

ords

and

the

feel

.

P3: i

mpr

ovis

es a

nd

crea

tes

mel

odie

s,

harm

onie

s an

d rh

ythm

ic

acco

mpa

nim

ents

fo

r fam

iliar

sou

nd

sour

ces

refle

ctin

g th

e cu

ltura

l and

hi

stor

ical

con

text

s st

udie

d

CRO

SSRO

ADS

– if

you

are

star

ting

at th

is p

oint

the

stud

ents

will

now

go

an

writ

e a

pop

song

but

onl

y th

e ly

rics,

mel

ody,

ch

ords

and

the

feel

.

CRO

SSRO

ADS

– re

cord

ing

proc

ess

begi

ns.

Stud

ents

usi

ng

soft

war

e sp

ecifi

c to

thei

r sch

ool

to re

aliz

e th

eir

com

posi

tions

. Pr

oces

s D

iary

En

trie

s.

P4:re

cogn

ises

an

d id

entifi

es th

e co

ncep

ts o

f mus

ic

and

disc

usse

s th

eir

use

in a

var

iety

of

mus

ical

sty

les

Who

le c

lass

or

grou

p pr

actic

al

activ

ity b

ased

ar

ound

cho

rd

prog

ress

ions

Impr

ovis

atio

n ov

er a

loop

pr

actic

al a

ctiv

ity

CRO

SSRO

ADS

– if

you

are

star

ting

at th

is p

oint

the

stud

ents

will

now

go

an

writ

e a

pop

song

but

onl

y th

e ly

rics,

mel

ody,

ch

ords

and

the

feel

.

CRO

SSRO

ADS

– re

cord

ing

proc

ess

begi

ns.

Stud

ents

usi

ng

soft

war

e sp

ecifi

c to

thei

r sch

ool

to re

aliz

e th

eir

com

posi

tions

. Pr

oces

s D

iary

En

trie

s.

P5: c

omm

ents

on

and

cons

truc

tivel

y di

scus

ses

perf

orm

ance

s an

d co

mpo

sitio

ns

Wat

ch V

ideo

s fr

om R

obin

Gi

bb a

nd B

ruce

Sp

rings

teen

. Id

entif

y th

e m

ain

poin

ts.

MU

SIC

1 O

UTC

OM

ES

PREL

IMIN

ARY

O

UTC

OM

ES

Sess

ion

1Se

ssio

n 2

Sess

ion

3Se

ssio

n 4

Sess

ion

5Se

ssio

n 6

Sess

ion

7Se

ssio

n 8

P6: o

bser

ves

and

disc

usse

s co

ncep

ts

of m

usic

in w

orks

re

pres

enta

tive

of th

e to

pics

stu

died

Brai

nsto

rm

a se

ries

of

stat

emen

ts a

bout

so

ng s

truc

ture

Wat

ch S

ting

disc

ussi

ng

inte

grity

in s

ong

writ

ing.

Dis

cuss

Wat

ch

Lion

el R

ichi

e de

mon

stra

ting

writ

ing

a h

ook

or

top

line.

Iden

tify

key

poin

ts

Wat

ch

Song

Mak

ers

Proj

ect V

ideo

3

and

iden

tify

key

poin

ts

Wat

ch “

How

Pop

So

ngs

Wor

k” a

nd

disc

uss

the

key

and

stru

ctur

e of

Kno

win

g M

e Kn

owin

g Yo

u

Grou

p di

scus

sion

ab

out b

ar le

ngth

fo

r son

gs

List

en to

var

ious

re

cord

ings

of

spec

ific

styl

es

and

iden

tify

the

elem

ents

Wat

ch

Song

Mak

ers

Vide

o N

o 2.

Di

scus

s qu

estio

ns

Wat

ch

Song

Mak

ers

Vide

o N

o 5

and

disc

uss

ques

tions

Wat

ch

Song

Mak

ers

Vide

o N

o 6

and

disc

uss

ques

tions

List

enin

g ac

tivity

on

dig

ital e

ffect

s

Brai

nsto

rm

ques

tions

Wat

ch

Song

Mak

ers

Vide

o N

o 7

and

disc

uss

obse

rvat

ions

Inte

rnet

rese

arch

on

Ow

ners

hip

and

Copy

right

Dis

cuss

que

stio

ns

abou

t You

r Dig

ital

Foot

prin

t

Wat

ch th

e In

trod

ucto

ry

Vide

o fr

om

Com

mon

Sen

se

Med

ia

Dis

cuss

Que

stio

ns

rela

ted

to

sear

chin

g

Goog

le d

iffer

ent

artis

ts to

ana

lyse

co

mm

on s

ites

Wat

ch G

otye

de

mon

stra

ting

his

sam

plin

g st

yle.

Dis

cuss

ob

serv

atio

ns

Wat

ch G

otye

te

st d

rive

som

e te

chno

logy

. D

iscu

ss q

uest

ions

Wat

ch th

e D

ocum

enta

ry

abou

t Eye

s W

ide

Ope

n. D

iscu

ss

ques

tions

Wat

ch G

otye

di

scus

sing

sin

ging

as

a to

ol

Wat

ch E

lton

John

de

mon

stra

ting

sett

ing

text

to

mel

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TEACHING ACTIVITIES

As this project is a songwriting/recording project, it is expected that all students will have availability to record their final song. As each school has a variety of different technologies and platforms, it is advised that these resources be organized before the project begins.

There are many program options when it comes to recording. It would be great if the students were able to follow standard practices in the recording music world and have the opportunity to work with software that is frequently used. This project endeavours to give the students the opportunity to experience a variety of recording techniques like looping, demoing, panning, dropping in, and over dubbing. This can only be achieved using music audio software as opposed to live recording via a track recorder or video camera.

It is recommended that the students have availability to at least one of the suggested resources listed below:

• Mac or PC based music software like Garage Band, Acid, Mixcraft, or Cubase on at least one computer in the school that has the capabilities to record lines through a midi keyboard controller and live inputs like microphones or jack plugs for guitar.

• Apps available on tablets and smart phones like Garage Band, Walk Band, etc, with record facility for vocals.

If these resources are not available at your school, do not fear. Your students can still complete most of the project. If you only have live recording options like a video camera, then you will need to read through the instructions on how to execute using only a video camera.

This project is divided into Sessions and is best executed in order. If possible, the students learning would be benefited by at least a full two day workshop where they can just focus on these activities. However, the project is able to be taught in a standard music lesson environment.

The student booklet contains session notes and worksheets. It is recommended that each student be given the booklet at the start of the project.

SESSION 1: WHAT DO THE GREAT SONGWRITERS HAVE TO SAY ABOUT THE CRAFT?

ACTIVITIES:

1. Read through the opening script with the students and complete the sentence – A song has the ability to…. Discuss the answers provided by the students.

2. Watch Robin Gibb discussing songwriting. (https://www.youtube.com/watch?v=aeqGCUoVAsE )

a. Talks about the writing environment

b. Talks about their exposure to American black music – time in Australia being invaluable

c. Talks about how they are writers first, artists second, performers third

d. Talks about the blank page

e. Talks about writing for others – how they prefer to write a song for someone who wants one rather than just write a song and hope that someone picks it up and records it.

f. Talks about how producers try to replicate the sound of the group

g. Talks about what makes a good song, not trying too hard, passion and inspiration

h. Ends with how songs about human relationships and the human condition last forever

3. Make a list of the main points of this video and reflect on what notes the students took during its playing.

4. Watch Bruce Springsteen discussing songwriting. (http://www.bbc.co.uk/news/entertainment-arts-11657215)

a. Talks about writing about what matters

b. Talks about working in a safe environment

c. Talks about reasons to not release the songs recorded or written at the time

d. Talks about shaping the band and its purpose

e. Talks about the influence of country music 30 years ago

f. Talks about using songwriting to sort through the mysteries of life.

5. Make a list of the main points of this video and reflect on what notes the students took during its playing.

6. Watch the video “Sting on Songwriting” (https://www.youtube.com/watch?v=P5C7d8DM9Pc). At the conclusion of the presentation, discuss these questions and add notes to the “General Advice” section.

a. Why are rules and structure important to Sting?

b. What does a song have to begin with according to Sting?

c. Why does a song need to have integrity?

7. Watch Gotye talking about the process behind Somebody I Used to Know and discuss the questions. https://www.youtube.com/watch?v=h3qd_lnzc-0

a. Why is the barn an important place for Gotye to work?

b. How has Kimbra influenced this particular song?

c. How does Gotye deal with live performances of this song?

8. What is the Songwriting Process? Read through the next block of text and explain to the students that this is the process they are going to experience during this project.

SESSION 2: THE BLANK CANVAS – AN IDEAS THINK TANK

ACTIVITIES:

1. Divide the class into groups. Each group spends 10 minutes brainstorming the statements:

• What is the best song structure to use for a pop song?

• What is a hook or top line in pop songs?

• What do you think is meant by “Don’t bore us, get to the chorus!”

• What is the one thing that is important in a song?

2. Discuss the students’ responses to these questions.

3. Ask the students to turn to the “Ideas Think Tank” page in their booklets. This is where they are going to gather notes about the videos that they are watching.

4. Watch “SongMakers Clip No 1”. Identify the key points and put them under “General Advice”.

a. Be an open book

b. Be unique

c. Try to get the overall picture

5. Watch Gotye talking about References in Songs, discuss the questions and make notes in General Advice- https://www.youtube.com/watch?v=BcmF52PO8lI

a. How important are the lyrics in the song?

b. What is Gotye’s explanation about his song lyrics?

6. Watch video “Starting with the hook and then the mood with Lionel Richie” (https://www.youtube.com/watch?v=Mt-kxW59KwM ). At the end, ask the students to make a dot point in their ideas think tank under “Ways to Get Started” – begin with the song title and work backwards.

7. Watch “SongMakers Clip No 3.” Discuss the question - What are the main points to remember?

8. Watch video – “How Pop Songs Work – Part 2” from 0.00 – 3.30. (https://www.youtube.com/watch?v=HQbaDCFbSL0) This is a segment analyzing Knowing Me Knowing You by Abba. It talks about tonality and chord structures. Important facts include:

a. Simple verse structure

b. Verse is in B minor / chorus in D major

c. Instrumental bridge uses last part of the chorus – augments the chord progression

d. A then B chord syncopation which drives or lead into the next section.

9. In the groups discuss:

a. What is a good bar length for a verse, chorus, pre chorus, middle 8 or bridge?

WHOLE CLASS OR GROUP PRACTICAL ACTIVITY

As a whole class or in their songwriting groups, spend 10 minutes or so starting with the chord progression 1 5 6m 4 in whatever key you think suitable for your students. Ask the students to recommend different orders for the chords to be used in the chorus. Move to the relative minor or major for the bridge and use four chords again. Play the progressions for the students as they offer suggestions so that they can recommend and refine. As you go through this process, discuss the reasons why something is suitable and why something is not. Perform the final chord progression.

SESSION 3: THE CO-WRITING PROCESS

ACTIVITIES:

What does co-writing actually look like?

1. Read through this article and complete the structured overview. Guy Chambers and Rufus Wainwright write a ballad – http://www.bbc.co.uk/news/entertainment-arts-13975164

2. Watch the video of Guy Chambers and Rufus Wainwright actually starting to write the ballad. http://www.bbc.co.uk/news/entertainment-arts-13967945. At the conclusion, in groups, discuss these questions then report back to the class.

a. What were your thoughts about the title or concept of the song?

b. What did you find interesting about the three piano riffs that Guy suggested?

c. Why do you think Rufus went with the second riff? What was it about that riff that caught his attention? Remember to keep in mind the concept.

d. What part did Rufus start with do you think? (answer should be the title of World War Three).

e. How many people were involved and do you think that this impacted on the process?

f. What style of song do you think they are going to write here?

g. What type of accompaniment do you think will be used for this song?

3. Listen to the full version of the song World War III sung by Rufus Wainwright - https://www.youtube.com/watch?v=ZbQ_tamu46Y. Lyrics are in the students’ session notes. Ask the students to pay attention to the relationship between the melody and the lyrics. In their songwriting groups, discuss these questions. Open the floor to feedback.

a. How has the melody reflected the lyric content?

b. How did the accompaniment support the concept?

c. What style did it end up becoming?

d. Did you think the accompaniment choice was effective?

4. Watch Australian Breakthrough artists Eskimo Joe discussing the collaborative songwriting process on their album “Ghosts of the Past”. Discuss the students observations and make notes in the General Advice section. (WARNING: Part 1 does talk about the collaborative process really well however it has swearing in it at about 1.32. It does only have one word used but your should avoid the temptation of watching it )

Part 2 - https://www.youtube.com/watch?v=v15MRbRDwx4

Part 3 - https://www.youtube.com/watch?v=ZjfcmIzMkbc

SESSION 4: “HOW TO WRITE POP SONGS?”

ACTIVITIES:

1. Watch the video How to write songs with Carla Marie Williams _ https://www.youtube.com/watch?v=A4dPIpX9JNY. At the conclusion, discuss these question:

a. Make a list of the ideas from the video on the “Ideas Think Tank” page in Session 2.

i. the need for strong lyrical content and musical flow

ii. basic strong melody anyone can sing

iii. she explains a top line

iv. she talks about song concept

v. she discusses the use of beats and tracks with looping

vi. she discusses structural ideas - verse sets scene, second verse goes into more detail

vii. mentions lyrics are a short movie, and gives suggestions or where to get lyrical ideas

b. What was the one point about songwriting that really resonated with you? Why?

2. Discuss the importance of the right type of layers needed for each style. Complete the listening activity about styles. The recordings for these songs can be purchased on iTunes if you don’t already have them in your collection. You can change the songs in this activity as these ones become obsolete.

a. Bruno Mars – When I Was Your Man

b. Taylor Swift – Love Story

c. Black Eyed Peas – I Gotta Feeling

d. Katy Perry – Unconditionally

e. Guy Sebastien – Who’s That Girl

f. Ed Sheeran – The A Team

g. Train – Hey Soul Sister

FOR YOUNGER STUDENTS: Here are two activities that you could do at this time to help give the students a starting point. This may also benefit younger students who may struggle with the blank page.

• Top Line Activity – Ask the students to turn back to the Session 4 section. Handout magazines and papers to each of the student groups. Ask each group to find a top line. Take one idea and brainstorm a title or top line. Continue to brainstorm the story line with the idea that first verse sets the scene, second verse goes into more detail and the bridge is the antithesis of what is going on. Ask the question – What style do you think will suit this concept and why?

• Catch phrases Activity – Use the catchphrase “if not now, when”. Use this catchphrase as a stimulus to write a lyric or poem. Ask the question: What style do you think will suit the concept?

3. Watch SongMakers Video No. 4 with Rai Thistlewayte and Robert Conley discussing looping ideas.

FOR YOUNGER STUDENTS: Here is an improvisation activity you could do with the students who you feel need a little more support with the process. Make sure their improvisations are recorded as they may find these useful when they get started.

Improvise a melody over a simple beat. Use the four chords from Session 2 and ask the students to start to improvise melodies over the top. If they are not vocalists, then they could try improvising using an instrument of their choice. If they improvise using an instrument, perhaps ask the vocalists to see if they can sing these improvisations.

To do this, you will need to set up a looping pattern – this can be done a couple of ways:

a. On an Electronic keyboard – it must have a record feature and internal accompaniment if possible. Record the chord progression and press “start” to begin the track.

b. Create your own beats using computer software of your choice like Mixcraft, Acid, Sibelius etc.

SESSION 5: YOUR FINAL TIP BEFORE YOU BEGIN IS... As a final word, watch the SongMakers Video No 2. This video is about the use of demoing in two places in the songwriting process – when you have the basic song and once you have recorded the song. Discuss the questions below with the students before they move on.

a. What is demoing and why is it important?

b. This video talked about two ways to demo. What were they?

c. Where would you introduce this technique in your song writing process?

At this point, you can choose to go two ways depending on how enthusiastic the students are. You could ask the students to start writing their song. If you take this option, make sure they stay away from instrument choices and arrangements of the song. Try to get them to focus on lyrics, melody and chords rather than the arrangement. Once they have completed creating their song and all its sections, it is time to move onto the arrangement and recording process.

If you choose to continue through Session 6, then the students will start after that.

SESSION 6: THE ARRANGING AND RECORDING PROCESS.

ACTIVITIES:

1. Watch SongMakers Video No 5 and discuss these questions:

a. What were the main points of this video?

b. How does it relate to where you are now with your songwriting process?

c. What ways can you lift up the chorus and make it soar?

d. Which of these techniques are related to the arrangement and which ones are related to the recording process? BV’s, Harmonies, instrument choices, reverb, delay, doubling lines

2. Watch SongMakers Video No 6 and discuss these questions –

a. In what order are you going to record your song?

b. Are you recording to a click track (metronome on some programs) or free? What are the advantages?

c. What is a mix plan? Why do you need to use it?

d. Why is “Listening” the key to learning how to mix?

At this point, the recording process needs to begin. During this process, if each group is using their own computer, you will need to oversee the students’ use. If you are controlling the process at one computer station, as was the method used in the SongMakers Project, then you will need to consider how long it will take to record each group. With the SongMakers Project, the students that were ready to go were the first recorded. The remaining groups were left to continue to work on the songs. As each group completed their song, they remained in the room to watch the recording process.

With this in mind, the Recording section includes a series of Process Diary entries and some trouble shooting tips.

If you are doing this in sections, you might like to do a listening activity at this point. The only thing is you will need to have a stereo system that has the facility to play in stereo so that the students can hear how the sound moves from one speaker to another. Some suggested songs for this activity would be:

• The harmonic at the end of the guitar solo in The Beatles’ “Nowhere Man” that pans the guitar from the right channel to the left. Vintage mix only

• Stereo mix of “We Can Work It Out” by Stevie Wonder. If you’re sat in the stereo sweet spot, the backing vocals (all by Stevie) appear to come from behind the listener. They’re also rather short on bass because bass is audibly cancelled out when the two stereo channels are placed out of phase. If the stereo mix is folded down into mono, the LH and RH channels almost cancel out with respect to the backing vocals, and these become barely audible.

• Where Did Our Love Go – The Supremes – the standard mix plan is obvious with this one.

SESSION 7: YOU HAVE A GREAT SONG…. SO NOW WHERE? (NOTE: This is a wrap up session to only be completed once the songs have all been written and recorded.)

ACTIVITIES:

1. In groups, brainstorm the question: “So you have a great song…so now where?”. The students should begin to mention online promotion and marketing like facebook etc.

2. Watch the video SongMakers No 7. It will cover:

a. What to do with the Demo?

b. How do you know you have a hit song?

c. The “Business” of Songwriting

d. You need a good digital footprint.

3. Ownership and Copyright with APRA/AMCOS. Internet research. If there is no availability to individual computers, then perhaps this could be done as a whole class with a projector set up or maybe as a homework activity.

4. The Importance of Your Digital Footprint.

a. Discuss the questions:

i. Have you ever Googled yourself?

ii. Have you ever checked your virtual identity?

iii. Did you know that every time you go online, you leave a digital footprint?

iv. Did you know that whatever you do online is pooled together in a dossier which is traceable by others?

b. What is a digital footprint? – If you have not done anything like this with the students before, then this is a great introductory video from Common Sense Media: https://www.youtube.com/watch?v=9udrvJNTEww

c. Discuss the questions in the following section. If you googled an artist:

i. What is the first thing you want to see?

ii. What social media sites are you hoping to find them on?

iii. Which sites are the market leaders in music?

d. Google the different artists to come up with a list of sites that are common.

i. a group or artist that are new to the music market place (5 Seconds of Summer)

ii. an artist or band that have been around for the last 5 years (Bruno Mars/Train)

iii. a current music reality TV show contestant like X-Factor and The Voice

SESSION 8: THE SKY IS THE LIMIT IN THE TECHNOLOGY AGE

ACTIVITIES:

Sampling as an option.

1. Watch Gotye talking about his influences in songwriting. https://www.youtube.com/watch?v=T4g4mMvd07E

2. Watch Gotye talking about his style of music – sampling - https://www.youtube.com/watch?v=zpGCqtNBKBI&list=PL03vmVO_lQa15rfbOIQmGHdjyN

a. What technique does Gotye use with his songs?

b. What is your definition of sampling?

c. What is Ableton Live?

d. What did you notice about the song when you listened to it? How would you describe its style?

e. How did Gotye put together the samples from Harry Belefonte’s Banana Boat Song? How long was the sample?

f. What quality did the sample end up taking on?

3. Watch Imogen Heap talking about the audio process. https://www.youtube.com/watch?v=PvVIlnJClzk

a. What did you find interesting about what she had to say?

4. Watch Gotye talking about sampling equipment - https://www.youtube.com/watch?v=pTKcab7-mII

a. How does he apply the use of electronics in composing and live performance?

b. What does this gadget do?

c. How do you think it could be useful?

5. Watch Gotye’s Documentary about the writing of Eyes Wide Open – How he incorporates the Winton Musical Fence and his move away from sampling. https://www.youtube.com/watch?v=b_iuE_L2wys

6. Watch Gotye talking about singing and how it helps him to write. https://www.youtube.com/watch?v=Q4ny8iKqT7I

7. Read through the start of session 8 about “I want to be a songwriter”.

8. How to practice creating melodies. Watch “Elton John – Starting with Chords” https://www.youtube.com/watch?v=OB3MwB2F-wU - Here Elton John is challenged to write a song on the spot using just the text that is available to him.

9. Complete the Survey/Plenary.

Documents

SongMakers Teachers Workbook 1.0