VCE Music
Assessment Handbook 2011–2016
November 2014
© Victorian Curriculum and Assessment Authority 2010
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ISBN 978-1-921702-42-6
Contents
Introduction...........................................................................................................................4
Assessment ..........................................................................................................................5
VCE assessment principles ........................................................................................5
School-assessed Coursework ....................................................................................7
Scope of tasks ....................................................................................................8
Designing the assessment tasks ........................................................................8
Making assessment part of teaching and learning .............................................8
Music Assessment Advice and Further Resources ........................................................10
Music Performance ...............................................................................................................10
School-assessed Coursework ..................................................................................10
Unit 3 Performance descriptors ........................................................................10
Unit 4 Performance descriptors ........................................................................16
Sample approaches to School-assessed Coursework .............................................19
Unit 3 ................................................................................................................19
Music Investigation ...............................................................................................................27
School-assessed Coursework ..................................................................................27
Unit 3 Performance descriptors ........................................................................27
Unit 4 Performance descriptors ........................................................................31
Sample approaches to School-assessed Coursework .............................................36
Unit 3 ................................................................................................................36
Unit 4 ................................................................................................................43
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Music Style and Composition ...............................................................................................46
School-assessed Coursework ..................................................................................46
Unit 3 Performance descriptors ........................................................................46
Unit 4 Performance descriptors ........................................................................49
Externally-assessed Task .................................................................................53
Sample approaches to School-assessed Coursework .............................................54
Unit 3 ................................................................................................................54
Unit 4 ................................................................................................................56
Further Resources ....................................................................................................59
Examination ......................................................................................................59
Publications ......................................................................................................60
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Introduction
The VCE Music Assessment Handbook 2011–2016 contains assessment information
for both school-based assessment and the examinations in Music and advice for
teachers on how to construct assessment tasks. Advice on matters related to the
administration of VCE assessment is published annually in the VCE and VCAL
Administrative Handbook. Updates to matters related to the administration of VCE
assessment are published in the VCAA Bulletin VCE, VCAL and VET. Teachers must
refer to these publications for current advice.
Units 1 and 2
In Music the student’s level of achievement in Units 1 and 2 is a matter for school
decision. Assessment of levels of achievement for these units will not be reported to
the Victorian Curriculum and Assessment Authority (VCAA). Schools may choose to
report levels of achievement using grades, descriptive statements or other indicators.
Units 3 and 4
The VCAA will supervise the assessment of all students undertaking Units 3 and 4.
In Music Performance the student’s level of achievement will be determined by Schoolassessed Coursework, an end-of-year performance examination and an end-of-year
aural and written examination. The VCAA will report the student’s level of performance
on each of three Graded Assessment components: Units 3 and 4 School-assessed
Coursework, the Performance examination and the end-of-year aural and written
examination as a grade from A+ to E or UG (ungraded).
In Music Investigation the student’s level of achievement will be determined by Schoolassessed Coursework, and an end-of-year examination. The VCAA will report the
student’s level of performance on each of three Graded Assessment components: Unit
3 School-assessed Coursework, Unit 4 School-assessed Coursework and the end-ofyear performance examination as a grade from A+ to E or UG (ungraded).
In Music Style and Composition the student’s level of achievement will be determined
by School-assessed Coursework, an Externally-assessed Task and an end-of-year
examination. The VCAA will report the student’s level of performance on each of three
Graded Assessment components: Units 3 and 4 School-assessed Coursework, the
Externally-assessed Task and the end-of-year aural and written examination as a
grade from A+ to E or UG (ungraded).
This assessment handbook is published in online format only and provides advice
specifically for Units 3 and 4.
Updates to the online assessment handbook are published in the VCAA Bulletin
VCE, VCAL and VET.
Teachers are advised that there may be minor errors in the contents page due to
software version differences.
VCE Music
ASSESSMENT HANDBOOK 2011–2016
Assessment
VCE assessment principles
Assessment is an integral part of teaching and learning that, at the senior secondary
level:

identifies opportunities for further learning

describes student achievement

articulates and maintains standards

provides the basis for the award of a certificate.
As part of VCE studies, assessment tasks enable:

the demonstration of the achievement of an outcome or set of outcomes

judgment and reporting of a level of achievement on a task or collection of tasks
for School-assessed Coursework, School-assessed Tasks or examinations.
Monitoring the results of VCE assessment also provides feedback that informs
curriculum implementation, assessment design and curriculum review.
In each VCE study, teachers and schools determine the assessment tasks to be
used at Units 1 and 2. In Units 3 and 4, specified assessment tasks are set.
At the Units 3 and 4 level of a VCE study, School-assessed Coursework, Schoolassessed Tasks and examinations provide assessment results that are used in the
calculation of a student’s study score.
The following are the principles that underpin all VCE assessment practices.
VCE assessment will be valid
This means that it will enable judgments to be made about demonstration of the
outcomes and levels of achievement on assessment tasks fairly, in a balanced way
and without adverse effects on the curriculum or for the education system. The
overarching concept of validity is elaborated as follows.
VCE assessment should be fair and reasonable
Assessment should be acceptable to stakeholders – including students, schools,
government and the community. The system for assessing the progress and
achievement of students must be accessible, effective, equitable, reasonable and
transparent.
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The curriculum content to be assessed must be explicitly described to teachers in
each study design and related VCAA documents. Assessment instruments should
not assess learning that is outside the scope of a study design.
Each assessment instrument (for example, examination, assignment, test, project,
practical, oral, performance, portfolio, presentation or observational schedule) should
give students clear instructions. It should be administered under conditions (degree
of supervision, access to resources, notice and duration) that are substantially the
same for all students undertaking that assessment.
Authentication and school moderation of assessment and the processes of external
review and statistical moderation are to ensure that assessment results are fair and
comparable across the student cohort for that study.
VCE assessment should be equitable
Assessment instruments should neither privilege nor disadvantage certain groups of
students or exclude others on the basis of gender, culture, linguistic background,
physical disability, socioeconomic status and geographical location.
Assessment instruments should be designed so that, under the same or similar
conditions, they provide consistent information about student performance. This may
be the case when, for example, alternatives are offered at the same time for
assessment of an outcome (which could be based on a choice of context) or at a
different time due to a student’s absence.
VCE assessment will be balanced
The set of assessment instruments used in a VCE study will be designed to provide a
range of opportunities for a student to demonstrate in different contexts and modes
the knowledge, skills, understanding and capacities set out in the curriculum. This
assessment will also provide the opportunity for students to demonstrate different
levels of achievement specified by suitable criteria, descriptors, rubrics or marking
schemes.
Judgment about student level of achievement should be based on the results from a
variety of practical and theoretical situations and contexts relevant to a study.
Students may be required to respond in written, oral, performance, product, folio,
multimedia or other suitable modes as applicable to the distinctive nature of a study
or group of related studies.
VCE assessment will be efficient
The minimum number of assessments for teachers and assessors to make a robust
judgment about each student’s progress and learning will be set out in the study
design. Each assessment instrument must balance the demands of precision with
those of efficiency. Assessment should not generate workload and/or stress that
unduly diminish the performance of students under fair and reasonable
circumstances.
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School-assessed Coursework
School-assessed Coursework provides schools with the opportunity to make their
own administrative arrangements for the internal assessment of their students.
School-assessed Coursework also provides teachers with the opportunity to:


select from the range of designated assessment tasks in the study design
develop and administer their own assessment program for their students



monitor the progress and work of their students
provide important feedback to the student
gather information about the teaching program.
Students should know in advance how and when they are going to be assessed and
the conditions under which they will be assessed.
Assessment tasks should be part of the teaching and learning program. For each
assessment task students should be provided with the:





type of assessment task and approximate date for completion
time allowed for the task
allocation of marks
nature of any materials they can utilise when completing the task
opportunity to demonstrate the highest level of performance.
Following an assessment task:


teachers can use the performance of their students to evaluate the teaching and
learning program
a topic may need to be carefully revised again prior to the end of the unit to
ensure students fully understand the key knowledge and skills required in
preparation for the examination.
Feedback provides students with important advice about which aspect or aspects of
the key knowledge they need to learn and in which key skills they need more
practice.
Authentication
Teachers should have in place strategies for ensuring that work submitted for
assessment is the student’s own work. Where aspects of School-assessed
Coursework tasks are completed outside class time teachers must monitor and
record each student’s progress through to completion. This requires regular sightings
of the work by the teacher and the keeping of records.
The teacher may consider it appropriate to ask the student to demonstrate his/her
understanding of the task at the time of submission of the work. If any part or all of
the work cannot be authenticated, then the matter should be dealt with as a breach of
rules.
To reduce the possibility of authentication problems arising, or being difficult to
resolve, the following strategies are useful:

Ensure that a significant amount of classroom time is spent on the task so that
the teacher is familiar with each student’s work and can regularly monitor and
discuss aspects of the work with the student.
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
Ensure that students document the specific stages of the development of work,
starting with an early part of the task such as topic choice, list of resources and/or
preliminary research.

Filing of copies of each students work at given stages in its development.

Regular rotation of topics from year to year to ensure that students are unable to
use student work from the previous year.

Where there is more than one class of a particular study in the school, the VCAA
expects the school to apply internal moderation/cross-marking procedures to
ensure consistency of assessment between teachers. Teachers are advised to
apply the same approach to authentication and record-keeping, as cross-marking
sometimes reveals possible breaches of authentication. Early liaison on topics,
and sharing of draft student work between teachers, enables earlier identification
of possible authentication problems and the implementation of appropriate action.

Encourage students to acknowledge tutors, if they have them, and to discuss and
show the work done with tutors. Ideally, liaison between the class teacher and the
tutor can provide the maximum benefit for the student and ensure that the tutor is
aware of the authentication requirements. Similar advice applies if students
receive regular help from a family member.
Scope of tasks
Assessment tasks must be a part of the regular teaching and learning program and
must not unduly add to the workload associated with that program. They must be
completed mainly in class and within a limited timeframe. Where optional
assessment tasks are used, teachers must ensure that they are comparable in scope
and demand. Teachers should select a variety of assessment tasks for their program
to reflect the key knowledge and key skills being assessed and to provide for
different learning styles.
Designing the assessment tasks
Designing an assessment task is an important part of the teaching, learning and
assessment process. The assessment task needs to provide the opportunity for all
students to demonstrate the highest level of performance on the outcome. Teachers
should design an assessment task that is representative of the content (key
knowledge and skills underpinning the outcome). Performance descriptors for each
outcome in Units 3 and 4 are provided to assist teachers in making a judgment about
the student’s level of performance on the outcome.
The following information presents one approach to developing an assessment task.
Making assessment part of teaching and learning
Step 1: Define the parameters of an outcome and its related assessment task
options
This involves:

Listing the key knowledge and skills that will be assessed by the outcome. These
are stated in the study design but you may wish to reword them for student
purposes.

Choosing the assessment task from the options listed in the study design. It is
possible for students in the same class to undertake different options; however,
teachers must ensure that the tasks are comparable in scope and demand.
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Step 2: Examine the assessment advice
Examine the highest level of performance descriptors and clarify their meaning if you
are unsure. Use the study design as your reference point. Remember the
performance descriptors for each outcome identify the qualities or characteristics that
you are looking for in a student response. This helps in the development of the task.
It also helps clarify what needs to be taught as well as what needs to be included in
the assessment task. It will assist students in understanding the expectations of the
task.
Step 3: Determine teaching and learning activities
Identify the nature and sequence of teaching and learning activities to cover the key
knowledge and skills outlined in the study design. It is important that a variety of
learning opportunities are provided to cater for individual preferred learning styles.
(Refer to the ‘Advice for teachers’ section of the study design for some specific
examples of learning activities for each outcome.)
Step 4: Design the assessment task



Try to use a range of task types across Units 3 and 4.
The information in the stimulus should be relevant to the task and assist students
in their response.
Check that the instructions are clear. Are they complete and unambiguous?
Conditions for the task
 It is important that students know what is expected of them in an assessment
task. This means providing students with advice about the outcome’s key
knowledge and skills to be assessed. This allows students to understand during
the teaching and learning stage what they are expected to know or do.
 Students should be provided with the performance descriptors by which their
response will be assessed.
 Students should be advised about the conditions under which they will be
expected to do the task.
 Teachers can develop their own rules, consistent with school policies, about the
material that can be brought into the room and the use of textbooks. Make sure
that these rules are given to the students before the task is started and preferably
in writing.
 One method of authentication is to collect the work at the end of each period and
keep it in an individual plastic folder or workbook.
Points to consider
When constructing a task you will need to consider the following:
 Does the task enable students to demonstrate the highest possible performance
level?
 Will students select the form of the response or will you select the form that the
whole class will use?
 Will the task be completed in one lesson or over several lessons? If the task is
going to run over several lessons will you divide the task into parts or collect
students’ work at the end of each lesson? If your school has multiple Music
classes and your task is designed to last several lessons will you slightly alter the
task for each class?
 Does the task allow you to easily identify the key aspects of the response to be
assessed?
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Music Assessment Advice and Further Resources
Music Performance
School-assessed Coursework
Teachers will provide to the VCAA a score for Outcomes 2 and 3 in Unit 3 and
Outcome 2 in Unit 4, which represents an assessment of the student’s achievement.
The score must be based on the teacher’s assessment of the level of performance of
each student on the outcomes for the unit specified in the study design. Teachers
must select assessment tasks from the designated list for each outcome published in
the study design.
Assessment tasks should be a part of the regular teaching and learning program and
should not add unduly to student workload. Assessment tasks should be completed
mainly in class and within a limited timeframe. The overall assessment program for
the unit should include a variety of assessment task formats, include provision for
authentication of student work and take into account the overall workload for
students.
School-assessed Coursework for the outcomes in Unit 3 will contribute 20 per cent to
the student’s study score for Music Performance.
School-assessed Coursework for the outcomes in Unit 4 will contribute 10 per cent to
the student’s study score for Music Performance.
Performance descriptors
Performance descriptors provide holistic statements of achievement developed from
the outcome statement and its key knowledge and key skills, as specified in the study
design. They provide guidance for the setting and marking of assessment tasks.
Unit 3 Area of Study 2 Outcome 2
Demonstrate performance techniques, technical work and exercises, and describe
their relevance to the performance of selected group and/or solo works, and present
an unprepared performance.
This outcome will contribute 10 marks out of 20 marks allocated to School-assessed
Coursework for Unit 3. It will be assessed by one or more tasks, which will contribute
a total of 10 marks.
Performance descriptors
The following descriptors provide a guide to the levels of performance typically
demonstrated within each range on the assessment task/s.
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MARK RANGE
DESCRIPTOR: typical performance in each range
9–10 marks
A very broad range of solo and/or group performance techniques,
technical work and technical exercises is presented in a highly
proficient manner demonstrating a strongly developed sense of
technical purpose and expressive/stylistic intent. An outstanding
degree of melodic, rhythmic and/or harmonic accuracy is
demonstrated in combination with a highly developed and
sustained level of technical control, dexterity, fluency, security and
coordination. Tempi are consistently appropriately selected and
accurately maintained and/or expressively varied. A welldeveloped, clearly produced idiomatic tone quality is evident
throughout and phrasing patterns, articulation patterns and
dynamic levels are accurately applied, clearly delineated and
artistically varied. Highly detailed, strongly substantiated and
insightful description of how work/s support development of
general instrumental technique and repertoire preparation.
Unprepared material is presented fluently and in a highly
competent and expressive manner.
7–8 marks
Presents a good range of solo and/or group performance
techniques, technical work and technical exercises in a proficient
manner demonstrating a sense of technical purpose and
expressive/stylistic intent. Demonstrates a high degree of melodic,
rhythmic and/or harmonic accuracy and a well-developed level of
technical control, dexterity, fluency, security and coordination.
Tempi are mostly appropriately selected and accurately sustained
and/or expressively varied. A clearly produced idiomatic tone
quality is evident throughout and phrasing patterns, articulation
patterns and dynamic levels are mostly accurately applied, clearly
delineated and artistically varied. A detailed and substantiated
description of how work/s support development of general
instrumental technique and repertoire preparation. Unprepared
material is presented reasonably fluently and in a reasonably
competent and expressive manner.
5–6 marks
Presents a moderate range of solo and/or group performance
techniques, technical work and technical exercises in a generally
proficient manner demonstrating some sense of technical purpose
and/or expressive/ stylistic intent. Mostly demonstrates melodic,
rhythmic and/or harmonic accuracy and some level of technical
control, dexterity, fluency, security and/or coordination. Some
tempi are appropriately selected and accurately sustained and/or
expressively varied. A clearly produced idiomatic tone quality is
evident and phrasing patterns, articulation patterns and/or
dynamic levels are sometimes accurately applied and artistically
varied. A generally satisfactory description of how work/s support
development of general instrumental technique and repertoire
preparation. Unprepared material is presented with some fluency
and with some technical accuracy.
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3–4 marks
Presents a narrow range of solo and/or group performance
techniques, technical work and technical exercises with generally
limited proficiency. Demonstrates little sense of technical purpose
and/or expressive/stylistic intent. Melodic, rhythmic and/or
harmonic elements are performed with many inaccuracies and
there is little technical control, dexterity, fluency, security and/or
coordination. Tempi are generally inappropriately selected or not
accurately sustained and/or artistically varied. Some evidence of
characteristic tone quality and limited accuracy and artistry in
application of phrasing patterns, articulation patterns and/or
dynamic levels. Limited description of how work/s support
development of general instrumental technique and repertoire
preparation. Unprepared material is presented with little fluency
and with minimal technical accuracy.
1–2 marks
Presents a very narrow range of solo and/or group performance
techniques, technical work and technical exercises with limited
proficiency. Demonstrates minimal sense of technical purpose
and/or expressive/stylistic intent. Melodic, rhythmic and/or
harmonic elements are performed with many inaccuracies and
there is minimal technical control, dexterity, fluency, security
and/or coordination. Tempi are inappropriately selected and are
not sustained and/or artistically varied. Little evidence of
characteristic tone quality and very limited accuracy and artistry in
application of phrasing patterns, articulation patterns and/or
dynamic levels. Very limited description of how work/s support
development of general instrumental technique and repertoire
preparation. Unprepared material is presented with very limited
fluency and technical accuracy.
Task/s
Description
Using the instrument/s selected for Outcome 1

A performance that demonstrates a variety of selected performance techniques,
technical work and technical exercises relevant to both the student’s development
as an instrumentalist and their preparation of works for Outcome 1.

A performance, of unprepared material, of sight reading or improvisation.
AND

A description of ways in which the variety of selected performance techniques,
technical work and technical exercises that were presented in performance support
both the student’s development as an instrumentalist and their preparation of
works for Outcome 1. The explanation may be presented in one or more of the
following formats:
– oral
– multimedia
– written.
Note: in the VCE Music study, ‘instrument’ includes voice.
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Components of the assessment task/s
Teachers must develop assessment task/s that allow the student to:
 demonstrate a variety of selected performance techniques, technical work,
technical exercises and/or works with a technical focus relevant to the student’s
general development as an instrumentalist and to the solo and/or ensemble
context that they have selected
 demonstrate a variety of selected performance techniques, technical work and
technical exercises relevant to specific technical, expressive and/or stylistic
challenges in solo and/or group works selected for Outcome 1





demonstrate accuracy, control, fluency, flexibility, dexterity, security, coordination
and, as appropriate, variation of idiomatic instrumental techniques
demonstrate skills in the spontaneous performance of previously unprepared
music
describe ways in which the study of selected performance techniques, technical
work and technical exercises support the student’s general development as an
instrumentalist
describe ways in which the study of selected performance techniques, technical
work and technical exercises support the student’s ability to deal with specific
technical, expressive and/or stylistic challenges presented by works selected for
Outcome 1
demonstrate their highest possible level of performance.
Resources and scheduling
Schools may determine the conditions for the task including access to resources and
notes. Students should be advised of the timeline and conditions under which the
task is to be conducted.
Unit 3 Area of Study 3 Outcome 3
Identify, recreate, notate and transcribe short excerpts of music and discuss the
interpretation of expressive elements of music in pre-recorded works.
This outcome will contribute 10 marks out of 20 marks allocated to School-assessed
Coursework for Unit 3. It will be assessed by one task, which will contribute a total of
10 marks.
Performance descriptors
The following descriptors provide a guide to the levels of performance typically
demonstrated within each range on the assessment task/s.
MARK RANGE
DESCRIPTOR: typical performance in each range
9–10 marks
A sophisticated level of aural, written and practical musicianship
is demonstrated. A comprehensive knowledge of the structure of
intervals, scale forms and chord types is evident as is a highly
developed understanding of characteristics of diatonic harmonic
progressions. A very high level of accuracy is evident in
identification and transcription tasks with clear and unambiguous
music notation. Fluent and accurate use of all relevant elements
of music in the recreation and imitation of and/or improvisation
on given material. Highly detailed and insightful discussion of
ways in which expressive elements of music are interpreted.
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Accurate, articulate and appropriate use of music language and
terminology.
7–8 marks
A high level of aural, written and practical musicianship is
demonstrated. A generally good knowledge of the structure of
intervals, scale forms and chord types is evident as is a good
understanding of characteristics of diatonic harmonic
progressions.
A good level of accuracy is evident in identification and
transcription tasks with clear and unambiguous music notation.
Generally accurate and fluent use of all relevant elements of
music in the recreation and imitation of and/or improvisation on
given material. Detailed and cohesive discussion of ways in
which expressive elements of music are interpreted. Generally
accurate and appropriate use of music language and
terminology.
5–6 marks
A satisfactory level of aural, written and practical musicianship is
demonstrated. A satisfactory knowledge of the structure of
intervals, scale forms and chord types is evident as is a
satisfactory understanding of characteristics of diatonic
harmonic progressions.
A satisfactory level of accuracy is evident in identification and
transcription tasks. Music notation is reasonably clear. Some
accuracy and fluency is evident in use of relevant elements of
music in the recreation and imitation of and/or improvisation on
given material. Generally cohesive discussion of ways in which
expressive elements
of music are interpreted. Some appropriate use of music
language and terminology.
3–4 marks
A limited level of aural, written and/or practical musicianship is
demonstrated. Some knowledge of the structure of intervals,
scale forms and chord types is evident and there is some
understanding of characteristics of diatonic harmonic
progressions. Limited accuracy
is evident in identification and transcription tasks. Music notation
generally lacks clarity. Limited accuracy is evident in the use of
relevant elements of music in the recreation and imitation of
and/or improvisation on given material. Limited discussion of
ways in which expressive elements of music are interpreted.
Limited use of music language and terminology.
1–2 marks
A very low level of aural, written and practical musicianship is
demonstrated. Little knowledge of the structure of intervals,
scale forms and chord types is evident and there is little
understanding of characteristics of diatonic harmonic
progressions. Very little accuracy is evident in identification and
transcription tasks. Music notation lacks clarity. Very limited
accuracy in the use of relevant elements of music in the
recreation and imitation of and/or improvisation on given
material. Discussion of ways in which expressive elements of
music are interpreted is most limited and lacks cohesion. Very
limited use of music language and terminology.
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Task/s
Description
A test that includes aural, written and practical components.
Components of the assessment task/s
Teachers must develop assessment task/s that allow the student to:



demonstrate knowledge of the intervallic structure of scale and chord types
demonstrate knowledge of naming conventions associated with intervals, chord
types, diatonic harmony and rhythmic values
use conventional music notation to notate music in treble and bass clefs

demonstrate skills in the recognition, identification and transcription of intervals,
scale types, chord types, melodic patterns, harmonic progressions, melodic
tonality and rhythmic patterns

demonstrate skills in the recreation (singing, humming and/or playing) of
intervals, scale types, chord types, melodic patterns, melodic phrases and
rhythmic patterns


demonstrate skills in melodic and rhythmic improvisation
discuss, in writing, interpretive decisions that are evident in pre-recorded
performances by Australian performers of works created by Australian
composers/songwriters
demonstrate their highest possible level of performance.

Resources and scheduling
Schools may determine the conditions for the task including access to resources and
notes. Students should be advised of the timeline and conditions under which the
task is to be conducted.
Performance descriptors
Performance descriptors provide holistic statements of achievement developed from
the outcome statement and its key knowledge and key skills, as specified in the study
design. They provide guidance for the setting and marking of assessment tasks.
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Unit 4 Area of Study 2 Outcome 2
Demonstrate performance techniques, and technical work and exercises and discuss
their relevance to the performance of selected group and/or solo works and present
an unprepared performance.
This outcome will contribute 10 marks out of the 10 marks allocated to Schoolassessed Coursework for Unit 4. It will be assessed by one or more tasks, which will
contribute a total of 10 marks.
Performance descriptors
The following descriptors provide a guide to the levels of performance typically
demonstrated within each range on the assessment task/s.
MARK RANGE
DESCRIPTOR: typical performance in each range
9–10 marks
A very broad range of solo and/or group performance techniques,
technical work and technical exercises is presented a highly
proficient manner demonstrating a refined sense of technical
purpose and expressive/stylistic intent. An outstanding degree of
melodic, rhythmic and/or harmonic accuracy is demonstrated in
combination with a highly developed and maintained level of
technical control, dexterity, fluency, security and coordination.
Tempi are consistently appropriately selected and accurately
sustained and/or expressively varied. A well-developed, clearly
produced idiomatic tone quality is evident throughout the
performance and phrasing patterns, articulation patterns and
dynamic levels are accurately applied, clearly delineated and
artistically varied. A clearly articulated and strongly substantiated
evaluation and discussion of how work/s is relevant to general
instrumental technique and specific repertoire. Unprepared
material is presented fluently and in a highly competent and
expressive manner.
7–8 marks
A good range of solo and/or group performance techniques,
technical work and technical exercises is presented in a generally
proficient and refined manner demonstrating technical purpose
and expressive/stylistic intent. A high degree of melodic, rhythmic
and/or harmonic accuracy is demonstrated as is a well-developed
level of technical control, dexterity, fluency, security and
coordination. Tempi are mostly appropriately selected and
accurately sustained and/or expressively varied. A clearly
produced idiomatic tone quality is evident throughout the
performance and phrasing patterns, articulation patterns and
dynamic levels are mostly accurately applied, clearly delineated
and artistically varied. A well articulated and generally
substantiated evaluation and discussion of how work/s is relevant
to general instrumental technique and specific repertoire.
Unprepared material is presented reasonably fluently and in a
reasonably competent and expressive manner.
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5–6 marks
A range of solo and/or group performance techniques, technical
work and technical exercises is presented in a proficient but not
always refined manner demonstrating some sense of technical
purpose and/or expressive/stylistic intent. Melodic, rhythmic and/or
harmonic accuracy is demonstrated at times as is some level of
technical control, dexterity, fluency, security and/or coordination.
Some tempi are appropriately selected and accurately, sustained
and/or expressively varied. A clearly produced idiomatic tone
quality is evident and phrasing patterns, articulation patterns
and/or dynamic levels are sometimes accurately applied and
artistically varied. A generally satisfactory evaluation and
discussion with some substantiation of how work/s is relevant to
general instrumental technique and specific repertoire.
Unprepared material is presented with some fluency and some
technical accuracy.
3–4 marks
A narrow range of solo and/or group performance techniques,
technical work and technical exercises is presented with little
proficiency. There is little sense of refinement, technical purpose
and/or expressive/stylistic intent. Melodic, rhythmic and/or
harmonic elements are performed with many inaccuracies and
there is little technical control, dexterity, fluency, security and/or
coordination. Tempi are generally inappropriately selected and are
not usually sustained and/or expressively varied. Characteristic
tone quality is not always evident and there is little attempt to
accurately or artistically apply phrasing patterns, articulation
patterns and/or dynamic levels. Minimal evaluation of ways in
which this work is relevant to general instrumental technique and
specific repertoire is evident. Evaluation and discussion has
limited clarity, cohesion and substantiation Unprepared material is
presented with little fluency and with minimal technical accuracy.
1–2 marks
A very narrow range of solo and/or group performance techniques,
technical work and technical exercises is presented with limited
proficiency. There is a minimal sense of technical purpose and/or
expressive/stylistic intent. Melodic, rhythmic and/or harmonic
elements are performed with many inaccuracies and there is
minimal technical control, dexterity, fluency, security and/or
coordination. Tempi are inappropriately selected and are not
sustained and/or artistically varied. Minimal attempt is made to
produce an idiomatic tone quality and there is little attempt to
accurately or artistically apply phrasing patterns, articulation
patterns and/or dynamic levels. A very limited evaluation and
discussion with little substantiation of how work/s is relevant to
general instrumental technique and specific repertoire.
Unprepared material is presented without any fluency and with
very minimal technical accuracy.
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Task/s
Description
Using the instrument/s selected for Outcome 1

A performance that demonstrates a variety of selected performance techniques,
technical work and technical exercises relevant to both the student’s development
as an instrumentalist and their preparation of works for Outcome 1.

A performance, of unprepared material, of sight reading or improvisation.
AND

A description of ways in which the variety of selected performance techniques,
technical work and technical exercises that were presented in performance support
both the student’s development as an instrumentalist and their preparation of
works for Outcome 1. The explanation may be presented in one or more of the
following formats:
– oral
– multimedia
– written.
Components of the assessment task/s
Teachers must develop assessment task/s that allow the student to:
 demonstrate a variety of selected performance techniques, technical work and
technical exercises relevant to the student’s general development as an
instrumentalist and to the solo and/or group context/s that they have selected
 demonstrate a variety of selected performance techniques, technical work and
technical exercises relevant to specific technical, expressive and/or stylistic
challenges in solo and/or group works selected for Outcome 1





demonstrate accuracy, control, fluency, flexibility, dexterity, security and
coordination of idiomatic instrumental techniques
demonstrate skills in the spontaneous performance of previously unprepared
music
discuss ways in which the study of selected performance techniques, technical
work and technical exercises support the student’s general development as an
instrumentalist
discuss ways in which the study of selected performance techniques, technical
work and technical exercises support the student’s ability to deal with specific
technical, expressive and/or stylistic challenges presented by works selected for
Outcome 1
demonstrate their highest possible level of performance.
Resources and scheduling
Schools may determine the conditions for the task including access to resources and
notes. Students should be advised of the timeline and conditions under which the
task is to be conducted.
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Sample approaches to School-assessed Coursework
The following examples are one teacher’s approach to the development of
assessment tasks using the study design and performance descriptors.
Music Performance
Unit 3 Area of Study 2 Outcome 2
Demonstrate performance techniques, technical work and exercises, and describe
their relevance to the performance of selected group and/or solo works, and present
an unprepared performance.
Step 1: Define the parameters of an outcome and its related assessment task
options
The VCE Music Study Design, pages 30–32, provides details of the key knowledge
and skills related to Unit 3 Outcome 2 and the Area of Study: Performance technique.
In order to plan and conduct an assessment for this outcome it is vital to be familiar
with the key knowledge and skills. It should be noted that every point of key
knowledge and every key skill does not need to be clearly identifiable in the task, nor
should the task focus on too narrow a range of key knowledge and skills.
The study design identifies a range of task formats that can be used to assess this
outcome.
Step 2: Examine the assessment advice
The performance descriptors should be fully understood as they give a clear
indication of qualities and characteristics that you are looking for in a student
response.
For example, there is a need in Outcome 2 for students to describe ways in which
selected group and/or solo performance techniques, technical work and technical
exercises supports development of both general instrumental technique and
preparation of specific repertoire works.
The performance techniques, technical work and exercises should, therefore, be
selected following consideration of the:
 group or solo context in which the student will be performing their end of year
performance examination and/or the group or solo works they are performing to
meet the requirements of Outcome 1
 technical, expressive and/or stylistic requirements of selected group and/or solo
works being prepared for performance
 developmental stage of the student as an instrumentalist/vocalist
 need to present the majority of this work on the student’s main instrument
 need for students who are focusing on performance as a member of a group and
students who work with an accompanist or backing tracks to perform solo works
to develop individual technique/s and to be able to realise this technique/s when
performing with other musicians and/or a backing track.
Material selected for study may be drawn from a range of sources including material
developed by a student or a teacher to address specific technical, expressive and/or
stylistic challenges associated with the selected group and/or solo works.
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For students who have selected a group context for the end-of-year performance
examination a possible program might include:
 a range of material that demonstrates individual performance techniques,
technical work and exercises that enhance the student’s general instrumental
technique, as well as their ability to meet the technical, expressive and/or stylistic
demands of their individual part within a group
 a range of material that demonstrates performance techniques (individual and
group), technical work and exercises that enhance the group’s ability to meet the
technical, expressive and/or stylistic demands of the selected repertoire and of
the acoustic space for performance
 material for unprepared performance – sight-reading or improvisation.
For students who have selected a solo context for the end-of-year performance
examination a possible programme might include:
 a range of material that demonstrates individual performance techniques,
technical work and exercises that enhance the student’s general instrumental
technique as well as their ability to meet the technical, expressive and/or stylistic
demands of selected repertoire
 a range of material that demonstrates performance techniques, technical work
and exercises that enhance the student’s ability to work with an accompanist in
order to meet the technical, expressive and/or stylistic demands of the selected
repertoire and of the acoustic space for performance
 material for unprepared performance – sight-reading or improvisation.
The duration of this assessment task will vary according to the length of selected
material and could be in the range of 11–17 minutes.
The duration of the task will be dependent on:
 the context of the material presented (group, solo, group and solo)
 the duration of specific components of the program, for example a study or work
with a technical focus
 the duration of the explanation of the links between the study of this material and
ways in which it enhances the student’s general instrumental technique and/or
their ability to meet the technical, expressive and/or stylistic challenges presented
by the selected group and/or solo works
 time allocated for silent reading and/or non-playing time at the commencement of
the unprepared performance assessment to allow students time to familiarise
themselves with the material they are to perform.
Step 3: Determine teaching and learning activities
The assessment task for Unit 3 Outcome 2 is:
a performance of selected group and/or solo performance techniques, technical work
and exercises.
Based on a thorough understanding of the key knowledge, key skills, assessment
advice and performance descriptors, the teacher plans a sequence of teaching and
learning activities that will develop pre-task knowledge and skills and enable the
student to develop, and perform, a varied programme of performance techniques,
technical work and exercises.
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Teaching the pre-task knowledge and skills
Use the key knowledge and skills to be learnt in Unit 3 Outcome 2 and ensure the
student:
 identifies specific aspects of their general instrumental technique that require
development in order to enable them to perform selected group and/or solo works
with accuracy, control, fluency, flexibility, dexterity, security, coordination and with
appropriate tone
 identifies specific technical, expressive and/or stylistic challenges in selected
group and/ or solo works
 identifies specific practical, technical, expressive and/or stylistic challenges
associated with preparing and presenting group performances
 identifies specific aspects of their ability to present public performances that need
to be addressed in order to achieve improved outcomes
 selects a range of technical material and performance enhancing techniques that
are chosen specifically to address the technical, expressive and/or stylistic
challenges that have been identified and to improve performance outcomes in
group and/or solo contexts
 develops, and implements, a practice plan that assists them to effectively use the
available time to systematically improve their command of the technical,
expressive and/or stylistic challenges that have been identified and to improve
performance outcomes in group and/or solo contexts
 systematically develop skills in aspects of unprepared performance.
Where possible, students should be involved in the process of selecting appropriate
material for performance through analysis of works selected for performance and/or
other works in similar styles and characters.
In Unit 3 Outcome 2, teaching and learning activities could involve:

analysis and documentation of the student’s developmental stage as an
instrumentalist/vocalist

listening to recorded and/or live performances of selected works by other
performers

score analysis focusing on use of selected elements of music such as melodic
patterns, rhythmic patterns, harmonic progressions, textural issues, phrasing,
articulation, structure, dynamic shaping, balance and blend of different music
parts/lines

experimenting with ways of interpreting aspects of the selected works and
identifying technical, expressive and/or stylistic challenges associated with each
approach

formulating a statement of expressive intent for each selected group/and or solo
work and identifying technical, expressive and/or stylistic challenges associated
with each approach

research into a variety of instrumental method books to identify material relevant
to specific techniques

research into approaches to group rehearsal methods

experimenting with, and evaluating, various individual and ensemble
performance/ rehearsal techniques and strategies

experiencing, and evaluating, the effects on performance of a variety of acoustic
spaces
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
research into methods designed to enhance general performance ability

composing/creating technical exercises designed to address specifically
identified technical, expressive and/or stylistic challenges presented by selected
group and/or solo works

making a critical response to work/s selected for performance focusing on the
style, character and expressive qualities of the work

research about the style of selected work/s

use of practice routines that gradually and systematically introduce more
advanced technical challenges (e.g. tempi) and/or more sophisticated expressive
elements
(e.g. phrasing and/or articulation patterns) to performance of repertoire.
Step 4: Design the assessment task
The task must be designed so that each student has the opportunity to demonstrate
the highest level of performance.
Students should be provided with clear and comprehensive information about the
requirements of the assessment task at the beginning of Unit 3.
This information should include a detailed description of each part of the task and
instructions about the date, time, venue, time allocation/duration, available equipment
and the assessment process, for example number of assessors, performance
descriptors and/or marking guide that will be used.
Students should be given advice as to the expected range of material that should be
presented. All material should be selected well in advance of the assessment task so
that the student is able to adequately prepare the material. Ideally, this will be done at
the same time as works are being selected for Outcome 1. Details regarding tempi,
articulations, bowing patterns, fingering patterns, dynamic levels, key, and for work to
be performed as a group details regarding the role of each student within the
exercise or technical demonstration should also be agreed upon at this time by the
student/s, instrumental teacher and/or classroom teacher. These details should be
recorded when the material is selected and a copy given to the student, the
instrumental teacher and/or the classroom teacher.
Students should also be given advice about the expected format and length of their
description, ways in which the selected performance techniques, technical work and
exercises support their general development as an instrumentalist and their
preparation of works for Outcome 1. Possible formats include commentary during the
performance task and/or a separate score-annotation, written or multimedia task.
Students should have a clear understanding of how the performance descriptors will
be applied to their presentation and of the marking guide that will be used.
The assessment task might be undertaken:

during a single session

one performance session and another session for describing relationship
between material presented and works being prepared for performance

over a number of sessions, for example:

session 1: performance of unprepared material

session 2: performance and description of individual technical work and
exercises

session 3: performance of ensemble technical work and exercises.
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Other considerations
When to assess the students
The teacher must decide the most appropriate time to set this task. This decision is
the result of several considerations including:




the estimated time it will take to cover the key knowledge and skills for the
outcome, for example to complete a series of workshops focusing on specific
aspects of technical development and approaches to unprepared performance
allowing students an extended period of time to practice selected material and
achieve the aims of the task at the highest possible level
the number of students in the class.
Note: to achieve equity across the assessments, at least one person on the
assessment panel should be involved in assessment for each student. For
example, the same classroom music teacher might assess all students but each
student’s instrumental teacher would be the other member of the assessment
panel.
when tasks are being conducted in other subjects and the workload implications
for students.
The task should be provided at the end of Unit 3, around weeks 7 or 8 of Term 2. The
exact date and time can be decided in consultation with students, the VCE
coordinator/s and other key staff including instrumental music teachers.
Marking the task
The task should provide students with requirements that relate directly to the key
knowledge and skills and it should provide students with the opportunity to meet the
standard reflected in the highest performance descriptor for the task.
This task is worth 10 marks towards the total marks allocated to School-assessed
Coursework for Unit 3. A possible breakdown of marks could be:
Demonstration of selected performance techniques, technical
work and exercises.
6 marks
Description of links between technical work and performance of
selected repertoire.
2 marks
Performance of unprepared material.
2 marks
Outcome 3
Identify, re-create, notate and transcribe short excerpts of music, and discuss the
interpretation of expressive elements of music in pre-recorded works.
Step 1: Define the parameters of an outcome and its related assessment task
options
The VCE Music Study Design, pages 32–35, provides details of the key knowledge
and skills related to Unit 3 Outcome 3 and the Area of Study: Musicianship. In order
to plan and conduct an assessment for this outcome it is vital to be familiar with the
key knowledge and skills. It should be noted that every point of key knowledge and
every key skill does not need to be clearly identifiable in the task, nor should the task
focus on too narrow a range of key knowledge and skills.
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The study design identifies the task format that can be used to assess this outcome.
Teachers should be familiar with the essential characteristics of each task type and
the implications of these for task design and conduct of assessment.
Step 2: Examine the assessment advice
The performance descriptors should be fully understood as they give a clear
indication of qualities and characteristics that you are looking for in a student
response.
For example, there is a need in Outcome 3 for students to demonstrate a
sophisticated level of musicianship across aural, written and practical components.
The aural, written and practical components should, therefore, be selected following
consideration of the:
 developmental stage of the student in terms of their level of theoretical
knowledge, aural comprehension skill, practical skills and analytical ability
 need to achieve a high degree of accuracy across the range of theoretical and
aural comprehension tasks as described in the key knowledge and key skills
 need to develop aural analysis skills that can assist in the identification and
discussion of the interpretation of expressive elements of music as are evident in
a variety of pre-recorded works.
Step 3: Determining teaching and learning activities
The assessment task for Unit 3 Outcome 3 is a test that includes aural, written and
practical components.
Based on a thorough understanding of the key knowledge, key skills, assessment
advice and performance descriptors, the teacher plans a sequence of teaching and
learning activities that will develop pre-task knowledge and skills. It is vital that a
range of learning opportunities is provided in order to cater for individual preferred
learning styles.
Teaching the pre-task knowledge and skills
Use the key knowledge and skills to be learnt in Unit 3 Outcome 3 and ensure the
student:
 understands the theoretical principals related to relevant aspects of key quality,
scale construction, interval nomenclature, triad and 7th chord construction,
diatonic harmony, simple/compound meter and rhythmic values
 practises their ability to identify, aurally and in writing, relevant aspects of pitch
patterns (i.e. scales, intervals and melody), harmonic patterns (triads, 7th chords
and root position chord progressions), and rhythmic patterns (simple and
compound meter)
 practises their ability to write music, clearly and accurately, using conventional
notation in treble and bass clef
 explores methods of identifying and discussing ways in which expressive
elements of music are interpreted to achieve expressive outcomes in
performance.
This task involves a test of the student’s knowledge of relevant music theory, their
ability to identify, recognise, notate and transcribe short music excerpts, their ability
to re-create short sections of music by singing, humming and/or playing, and their
ability to analyse and discuss ways in which Australian performers have interpreted
work/s by Australian composer/s and songwriter/s.
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In Unit 3 Outcome 3, teaching and learning activities could involve:

using a system to sing scales, isolated intervals, melodic patterns, triads, 7th
chords and harmonic progressions

using a process to imitate short melodic and/or rhythmic patterns

using a process to improvise on short melodic and/or rhythmic patterns

performing a variety of one/two/three/four part sight singing exercises

performing a variety of one/two/three/four part rhythmic exercises

performing a variety of chorales

analysing, transcribing and singing a variety of melodic, harmonic and or
rhythmic patterns contained within group and/or solo works selected for
performance

analysing, transcribing and performing a variety of melodic, harmonic and or
rhythmic patterns contained in pre-recorded works by Australian performers

composing/creating short melodic, harmonic and/or rhythmic exercises

score analysis focusing on use of selected elements of music such as melodic
patterns, rhythmic patterns, harmonic progressions, textural issues, phrasing,
articulation, structure, dynamic shaping, balance and blend of different music
parts/lines

listening to a wide variety of recordings of Australian works by Australian
performers and comparing ways in which expressive elements of music are
interpreted differently

making critical responses to recordings of Australian works by Australian
performers focusing on the style, character and expressive qualities of the work

experimenting with ways of interpreting expressive elements of music in group
and/or solo works.
Step 4: Design the assessment task
The task should be designed in such a way as to enable students to achieve to the
highest level. Students need to be clearly informed about the requirements and
conduct of the task well in advance. Instructions to students about the conduct of the
assessment task should clearly describe the date, time, venue, duration, and
assessment criteria (including the weighting given to different criterion). Students
should also be given advice as to the expected format of the various questions types
as well as to the recommended time that they should spend on each question type.
The assessment task might be undertaken:

during a single session

over a number of sessions, for example:

session 1: aural and written component

session 2: practical component.
Other considerations
When to assess the students
The teacher must decide the most appropriate time to set this task. This decision is
the result of several considerations including:
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

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the estimated time it will take to cover the key knowledge and skills for the
outcome
the possible need to provide a practice, indicative task
the likely length of time required for students to complete the task
when tasks are being conducted in other subjects and the workload implications
for students.
The task could be undertaken towards the end of Unit 3; however, if it was
undertaken over a number of sessions, parts of the task might occur earlier in the
unit. The task might only require one or two 50-minute sessions (if two sessions, then
perhaps a double period) and the exact date and time can be decided in consultation
with students, the VCE coordinator/s and other key staff.
Marking the task
The performance descriptors can be adapted into a marking scheme, which should
be explained to students before starting the task.
The theory, aural and practical components of the test should offer questions that
relate directly to the key knowledge and skills and provides the opportunity to meet
the standard reflected in the highest performance descriptor for the task.
This task is worth 10 marks towards the total marks allocated to School-assessed
Coursework for Unit 4. A possible breakdown of marks could be:
Demonstration of relevant theoretical knowledge.
3 marks
Demonstration of relevant aural comprehension skills.
3 marks
Demonstration of practical skills associated with aural
comprehension.
2 marks
Discussion of interpretation of expressive elements of music.
2 marks
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Music Investigation
School-assessed Coursework
Teachers will provide to the VCAA a score for Outcomes 1 and 3 in Unit 3 and
Outcomes 2 and 3 in Unit 4, which represents an assessment of the student’s
achievement. The score must be based on the teacher’s assessment of the level of
performance of each student on the outcomes for the unit specified in the study
design. Teachers must select assessment tasks from the designated list for each
outcome published in the study design.
Assessment tasks should be a part of the regular teaching and learning program and
should not add unduly to student workload. Assessment tasks should be completed
mainly in class and within a limited timeframe. The overall assessment program for
the unit should include a variety of assessment task formats, include provision for
authentication of student work and take into account the overall workload for
students.
School-assessed Coursework for the outcomes in Unit 3 will contribute 25 per cent to
the student’s study score for Music Investigation.
School-assessed Coursework for the outcomes in Unit 4 will contribute 25 per cent to
the student’s study score for Music Investigation.
Performance descriptors
Performance descriptors provide holistic statements of achievement developed from
the outcome statement and its key knowledge and key skills, as specified in the study
design. They provide guidance for the setting and marking of assessment tasks.
Unit 3 Area of Study 1 Outcome 1
Demonstrate understanding of performance practices, context/s and influences on
music works.
This outcome will contribute 60 marks out of 75 marks allocated to School-assessed
Coursework for Unit 3. It will be assessed by one or more tasks, which will contribute
a total of 60 marks.
Performance descriptors
The following descriptors provide a guide to the levels of performance typically
demonstrated within each range on the assessment task/s.
MARK RANGE
DESCRIPTOR: typical performance in each range
49-60 marks
An informed and perceptive description of the Focus Area. Highly
detailed analysis of selected works demonstrates sophisticated
understanding of pertinent characteristics of the music enhanced
by a wide range of highly relevant music examples and insightful
annotations. Very well chosen contextual information insightfully
highlights specific, relevant influences and their impact on the
Focus Area, selected works and associated performance
conventions and practices. Provides an articulate, considered and
critical discussion of the impact of these influences and the
application of relevant performance practices and conventions in
performance of works. A sophisticated and articulate use of highly
relevant music terminology and language.
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37-48 marks
A clear and concise description of the Focus Area. Detailed
analysis of selected works shows strong understanding of relevant
characteristics of the music supported by a range of appropriate
music examples and clearly articulated annotations. Carefully
chosen contextual information highlights and describes specific
influences and their impact on the Focus Area, selected works and
associated performance conventions and practices. Provides an
informed discussion of the impact of these influences and the
application of some performance practices and conventions in
performance of works. A detailed use of appropriate music
terminology and language.
25-36 marks
A generally clear description of the Focus Area. Analysis of
selected works demonstrates general understanding of some
relevant characteristics of the music supported by a range of
generally appropriate music examples and generally relevant
annotations. Appropriately chosen contextual information
discusses generally relevant influences and their impact on the
Focus Area, selected works and some associated performance
conventions and practices. Provides some discussion of the
impact of some of these influences and the application of
performance practices and conventions in performance of works.
Generally clear and appropriate music terminology and language
is used.
13-24 marks
A limited description of the Focus Area. Analysis of selected works
shows some understanding of a limited range of characteristics of
the music referenced by a limited range of music examples and
annotations with limited detail and/or relevance. Some contextual
information discusses a limited range of influences and their
impact on the Focus Area, selected works and associated
performance conventions and/or practices. Range and
appropriateness of music terminology and language is limited.
1–12 marks
Very limited description of the Focus Area. Analysis of selected
works shows minimal understanding of a very limited range of
characteristics of the music. Music examples and annotations
show very limited relevance and detail. Contextual information
demonstrates very limited understanding of influences and their
impact on the Focus Area, selected works or associated
performance conventions and/or practices. Very limited use of
relevant music terminology and language.
Task/s
Description
Present a report that discusses characteristics, techniques and performance
practices of works representative of a Focus Area. The report should define the
Focus Area and include:
 analysis of a sample of works
 audio/video excerpts to support analysis
 discussion of characteristics and practices and other issues that influence
interpretation of works.
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The report may be presented in one of the following formats:
 performance and commentary
 multimedia
 written
 a combination of the formats listed above.
Components of the assessment task/s
Teachers must develop assessment task/s that allow the student to:





define and describe a Focus Area that outlines an Investigation relevant to a work
selected from a Prescribed list
communicate findings from research into characteristics of the music and
performance practices relevant to interpretation of works that are representative
of the Focus Area
present analysis of works that are representative of the Focus Area that is
supported by relevant audio/visual music examples
discuss the context/s relevant to and influences on the Focus Area and
representative works as well as issues that influence interpretation of works
selected for performance
demonstrate their highest possible level of achievement.
Resources and scheduling
Schools may determine the conditions for the task including access to resources and
notes. Students should be advised of the timeline and conditions under which the
task is to be conducted.
Unit 3 Area of Study 3 Outcome 3
Present a performance of music works that communicates understanding of the
Focus Area.
This outcome will contribute 15 marks out of 75 marks allocated to School-assessed
Coursework for Unit 3. It will be assessed by one or more tasks, which will contribute
a total of 15 marks.
Performance descriptors
The following descriptors provide a guide to the levels of performance typically
demonstrated within each range on the assessment task/s.
MARK RANGE
DESCRIPTOR: typical performance in each range
13–15 marks
Insightful understanding of relationship between Focus Area and
range and nature of material performed. Outstanding levels of
accuracy, control, fluency, flexibility, dexterity, security,
coordination, clarity, idiomatic tone colour and variation of tone,
artistic variation of expressive elements of music and use of
relevant performance practices and conventions are evident.
Relationship between impact of technical matters on shaping of
works in performance and development of informed interpretations
is articulated in a detailed and perceptive way.
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10–12 marks
Clear understanding of relationship between Focus Area and
range and nature of material performed. Very high levels of
accuracy, control, fluency, flexibility, dexterity, security,
coordination, clarity, idiomatic tone colour and variation of tone,
artistic variation of expressive elements of music and use of
generally relevant performance practices and/or conventions.
Relationship between impact of technical matters on shaping of
works in performance and development of informed interpretations
is articulated in a detailed way.
7–9 marks
Mostly clear understanding of relationship between Focus Area
and range and nature of material performed. Competent levels of
accuracy, control, fluency, flexibility, dexterity, security,
coordination, clarity, idiomatic tone colour and variation of tone,
artistic variation of expressive elements of music and use of some
relevant performance practices and/or conventions. Relationship
between impact of technical matters on shaping of works in
performance and development of informed interpretations is
articulated in a plausible way.
4–6 marks
Limited understanding of relationship between Focus Area and
range and nature of material performed. Limited accuracy, control,
fluency, flexibility, dexterity, security, coordination, clarity, idiomatic
tone colour and variation of tone, artistic variation of expressive
elements of music and/or use of some relevant performance
practices and/or conventions is evident throughout. Limited clarity
and understanding of the relationship between impact of technical
matters on shaping of works in performance and development of
informed interpretations.
1–3 marks
Very limited understanding of relationship between Focus Area
and range and nature of material performed. Very limited
accuracy, control, fluency, flexibility, dexterity, security,
coordination, clarity, idiomatic tone colour and variation of tone,
artistic variation of expressive elements of music and/or use of
some relevant performance practices and/or conventions is
demonstrated throughout. Very limited understanding of the
relationship between impact of technical matters on shaping of
works in performance and development of informed
interpretations.
Task/s
Description
Performance of technical work and exercises relevant to the Focus Area and
description of how this technical work is informing development of the performance
program.
Components of the assessment task/s
Teachers must develop assessment task/s that allow the student to:

select technical work, exercises and/or works with a technical focus that are
appropriate to Focus Area and have strong connections between the student’s
and/or group’s technical ability as a performer and the demands of selected
repertoire
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demonstrate through performance and commentary, understanding of technical
requirements relevant to interpretation and performance of works that are
representative of the Focus Area
demonstrate individual, group and/or ensemble (including accompaniment)
performance techniques relevant to performing selected works with:
– accuracy, control, fluency, flexibility, dexterity, security, coordination, clarity
– idiomatic tone qualities and variations of tone
– use of relevant performance practices and conventions
– shape and direction
describe connection between specific techniques and stylistic characteristics,
musical structures, textures and other elements of music as appropriate to
selected Focus Area and performance program
apply aural and theoretical knowledge relevant to performance of selected
material
demonstrate their highest possible level of achievement.
Resources and scheduling
Schools may determine the conditions for the task including access to resources and
notes. Students should be advised of the timeline and conditions under which the
task is to be conducted.
Unit 4 Area of Study 2 Outcome 2
Compose/improvise/arrange and perform a music work and discuss the use of music
characteristics, instrumental techniques, performance techniques and conventions in
the work.
This outcome will contribute 60 marks out of 75 marks allocated to School-assessed
Coursework for Unit 4. It will be assessed by one or more tasks, which will contribute
a total of 60 marks.
Performance descriptors
The following descriptors provide a guide to the levels of performance typically
demonstrated within each range on the assessment task/s.
MARK RANGE
DESCRIPTOR: typical performance in each range
49–60 marks
Sophisticated understanding of Focus Area through informed and
perceptive use of elements of music and compositional devices in
the work. Refined and well-rehearsed use of relevant instrumental
and performance techniques and conventions to achieve idiomatic
instrumental sound/s and communicate music ideas. Sophisticated
consideration and resolution of issues relating to performer ability
and performance space. Expert use of music language and
relevant terminology to explain connections between the work and
the Focus Area.
37–48 marks
Detailed understanding of Focus Area through informed use of
elements of music and compositional devices in the work. Wellrehearsed use of relevant instrumental and performance
techniques and conventions to achieve idiomatic instrumental
sound/s and communicate music ideas. Good consideration and
resolution of issues relating to performer ability and performance
space. Competent use of music language and relevant
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terminology to explain connections between the work and the
Focus Area.
25–36 marks
Satisfactory understanding of Focus Area through mostly wellinformed use of elements of music and compositional devices in
the work. Generally well-rehearsed use of relevant instrumental
and performance techniques and conventions to achieve idiomatic
instrumental sound/s and communicate music ideas. Satisfactory
consideration and resolution of most issues relating to performer
ability and performance space. Generally competent use of music
language and relevant terminology to explain connections
between the work and the Focus Area.
13–24 marks
Limited understanding of Focus Area through some relevant use
of elements of music and compositional devices in the work.
Performance is under-rehearsed and lacks security and
refinement. Limited use of instrumental and performance
techniques and conventions to achieve idiomatic instrumental
sound/s and communicate music ideas. Limited consideration and
resolution of issues relating to performer ability and performance
space. Limited use of music language and terminology to explain
connections between the work and the Focus Area.
1–12 marks
Very limited understanding of the Focus Area through minimal use
of elements of music and compositional devices in the work.
Performance is under-rehearsed and demonstrates minimal
refinement. Very limited application of instrumental and
performance techniques and conventions leads to use of
instrumental sound/s that are not idiomatic in the context of the
Focus Area. Most issues relating to performer ability and
performance space are not considered and/or are resolved in
ways that lack relevance to the Focus Area. Very limited
explanation of connections between the work and the Focus Area.
Limited use of music language and terminology.
Task/s
Description
Present a composition, improvisation or arrangement of a music work that uses
characteristics, performance techniques and other conventions relevant to the Focus
Area.
AND
An explanation of how the work is representative of the Focus Area. The explanation
may be in one or more of the following formats:
 written
 oral
 multimedia.
Components of the assessment task/s
Teachers must develop assessment task/s that allow the student to:

apply aural and theoretical knowledge to compose/improvise or arrange a work
that is representative of the Focus Area
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craft a work that uses characteristics, performance techniques and other
conventions relevant to the Focus Area
use appropriate processes to create a score of the work and document thinking
and working processes and performance intentions
consider and resolve practical issues to achieve a work that can be performed by
available personnel including the composer/improviser/arranger
explain characteristics of the work in relation to the Focus Area
demonstrate their highest possible level of achievement.
Resources and scheduling
Schools may determine the conditions for the task including access to resources and
notes. Students should be advised of the timeline and conditions under which the
task is to be conducted.
Unit 4 Area of Study 3 Outcome 3
Demonstrate artistic intent and understanding of the Focus Area in a cohesive and
engaging performance of music works.
This outcome will contribute 15 marks out of 75 marks allocated to School-assessed
Coursework for Unit 4. It will be assessed by one task, which will contribute a total of 15
marks.
Performance descriptors
The following descriptors provide a guide to the levels of performance typically
demonstrated within each range on the assessment task/s.
MARK RANGE
DESCRIPTOR: typical performance in each range
13–15 marks
Mature and highly refined technical ability characterises
performance of all elements of music. Work is presented with
certainty and features complete accuracy, control, fluency, flexibility,
dexterity, security, coordination, clarity, idiomatic tone colour and
stylistically appropriate variation of tone and artistic variation of
expressive elements of music. A broad range of relevant
performance practices and conventions are used in ways that reflect
comprehensive understanding of the Focus Area. Relationship
between technical material selected for study and decisions relating
to shaping, interpreting and presenting a performance program
features extensive specialist knowledge, evaluation and reflection.
10–12 marks
Reliable and generally refined technical ability is evident in
performance of all elements of music. Performance features high
levels of accuracy, control, fluency, flexibility, dexterity, security,
coordination, clarity, idiomatic tone colour and variation of tone and
artistic variation with generally stylistically appropriate application of
expressive elements of music. A range of relevant performance
practices and conventions are used in ways that reflect
understanding of the Focus Area. Relationship between technical
material selected for study and decisions relating to shaping,
interpreting and/or presenting performance program features some
specialist knowledge with detailed evidence of evaluation and
reflection.
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7–9 marks
Reliable and generally refined technical ability is evident in
performance of most elements of music. Performance is sometimes
tentative with limited accuracy, control, fluency, flexibility, dexterity,
security, coordination, clarity and/or idiomatic tone colour and
variation of tone. Generally stylistically relevant artistic variation of
expressive elements of music and use of performance practices and
conventions. Relationship between technical material selected for
study and decisions relating to shaping, interpreting and/or
presenting performance program includes some specialist
knowledge and some evidence of evaluation and reflection.
4–6 marks
Limited reliability and refinement is evident in technical ability across
performance of most elements of music. Performance is often
tentative with limited accuracy, control, fluency, flexibility, dexterity,
security, coordination, clarity and/or idiomatic tone colour and
variation of tone. Limited artistic variation of expressive elements of
music and use of relevant performance practices and conventions.
Limited use of specialist knowledge, reflection and/or evaluation is
evident in rationale for decisions relating to shaping, interpreting
and/or presenting performance program.
1–3 marks
Very limited reliability and refinement is evident in technical ability in
performance of most elements of music. Performance is generally
tentative with very limited accuracy, control, fluency, flexibility,
dexterity, security, coordination, clarity and/or idiomatic tone colour
and variation of tone. Minimal artistic variation of expressive
elements of music and performance practices and conventions are
used. Rationale for decisions relating to shaping, interpreting and/or
presenting performance is described with minimal specialist
knowledge and little evidence of reflection and evaluation.
Task/s
Description
Performance of technical work and exercises relevant to the Focus Area and
description of how this technical work is informing development of the performance
program.
Components of the assessment task/s
Teachers must develop assessment task/s that allow the student to:


select technical work, exercises and/or works with a technical focus that develop,
extend and refine student’s and/or group’s ability to demonstrate artistic intent
and understanding of the Focus Area in a cohesive and engaging performance
develop, refine and extend individual, group and/or ensemble (including
accompaniment) performance techniques relevant to performing selected works
with:
– accuracy, control, fluency, flexibility, dexterity, security, coordination, clarity
– idiomatic tone qualities and variations of tone
– expressive shaping
– an informed approach to interpretation
– high levels of communication, interaction, cooperation and empathy with other
musicians and an audience
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develop, extend and refine technical skills to reflect knowledge of performance
practices and conventions and sense of artistic balance across relevant
influences
reflect on and evaluate connection between specific techniques and stylistic
characteristics, musical structures, textures and other elements of music as
appropriate to selected Focus Area and presentation of a cohesive and engaging
performance
apply aural and theoretical knowledge relevant to performance and interpretation
of selected works and technical material
demonstrate their highest possible level of achievement.
Resources and scheduling
Schools may determine the conditions for the task including access to resources and
notes. Students should be advised of the timeline and conditions under which the
task is to be conducted.
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Sample approaches to School-assessed Coursework
The following examples are one teacher’s approach to the development of
assessment tasks using the study design and performance descriptors.
Music Investigation
Unit 3 Area of Study 1 Outcome 1
Demonstrate understanding of performance practices, context/s and influences on
music works.
Step 1: Define the parameters of an outcome and its related assessment task
options
The VCE Music Study Design, pages 82 and 83, provides details of the key
knowledge and skills related to Unit 3 Outcome 1 and the Area of Study:
Investigation. In order to plan and conduct an assessment for this outcome it is
necessary to be familiar with the key knowledge and skills.
The assessment task nominated by the study design is based on student research
into performance practices, context/s and influences on music works relevant to the
selected Focus Area. The task is to present a report that meets requirements
outlined on page 86 of the study design.
The research that students will draw on to complete the report begins with selection
and definition of the Focus Area and closely aligns to work for Outcome 3, including
selection of the performance program.
Students need to be aware that the assessment task is the report which should be
completed over a limited time; for example 100–120 minutes; not the research which
will be undertaken across an extended time, for example weeks 1–15 of Unit 3.
Step 2: Examine the assessment advice in Section 2
The performance descriptors should be fully understood as they give a clear
indication of qualities and characteristics that should be displayed.
Consideration should also be given to selecting an appropriate format for
presentation of the report. The report must include analysis of a sample of works,
audio/video excerpts to support analysis and discussion of characteristics and
practices and other issues that influence interpretation of works. The nature of music
examples to be included should be considered carefully when selecting the report
format.
Step 3: Determine teaching and learning activities
The teacher plans a sequence of teaching and learning activities that will develop
pre-task knowledge and skills and might choose to emphasise those that are most
closely aligned to the requirements of the report itself.
A series of preparatory response exercises could be set. These might
introduce/revise/extend students to, for example:

approaches to aural and/or visual analysis

approaches to accessing resources for study and analysis of music works
including ways of accessing and communicating with relevant practitioners
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devising questions to guide research
documenting findings relating to performance using a combination of words and
examples from the music
writing and/or speaking about music using relevant terminology and language.

Teaching the pre-task knowledge and skills






Use the key knowledge and skills to be learnt in Unit 3 Outcome 1.
Teach and/or revise with students an approach to analysis that is relevant to the
selected Focus Area.
Provide a series of exercises to develop/extend students skills in applying aural
and theoretical knowledge in their analysis.
Support students to collect or identify how they can access relevant resources
including:
– the music itself: recordings, score/s, sheet music and/or charts and
transcriptions
– expertise – practitioners, historical and/or contemporary commentaries,
reviews, research.
Ensure students are aware of the need to focus on analysis from the perspective
of a performer.
Enable students to explore and reflect on a number of different approaches to
creating and presenting a report using one or more of the given formats.
In Unit 3 Outcome 1, teaching and learning activities could involve, but are not limited
to:

using key knowledge dot point 1 to establish an analysis chart for a sample of
works that are representative of the Focus Area. Include aural and visual
analysis, for example using recordings and scores, sheet-music and/or charts or
transcriptions of:
–
the work selected from a Prescribed list as the basis of the Focus Area
–
–
a work/s from the proposed performance program
a work/s that demonstrate characteristics of the Focus Area that are different
to those demonstrated in the work from the Prescribed list

using a series of structured questions to structure discussion where students
share their findings during a weekly masterclass

recording analysis in different formats and discussing advantages and
disadvantages for each in relation to selected Focus Areas

organising a weekly listening/responding session in which students provide their
own musical extracts as examples of specified element treatment or
compositional device use

selecting one compositional device, for example contrast, and examining its use
in a number of different excerpts across styles relevant to the Focus Area

building a list of compositional devices found in excerpts being analysed

providing exercises that require different response approaches, for example
short-answer responses, prose discussions and/or diagrams

undertaking a listening survey of works that are representative of the Focus Area
and note characteristics of these works that are also present in works in sample
of works and using this initial analysis to create a map of each work showing
analysis of influences relevant to remaining key knowledge dot points
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
establishing a glossary of relevant music terminology and language

finding examples to support each aspect of the analysis. For each determine how
it could be presented in a report – through performance, embedding a link to a
recording, using notation and/or including video excerpts of performance by self
and/or others

preparing and present a short oral presentation supported by appropriate
examples that explains the selected Focus Area and four or five essential
characteristics.
Step 4: Design the assessment task
The required assessment task is a report. Details of requirements are on page 86 of
the study design. The instructions for the task should:

refer to expected scope and content for each section of the report, for example
number of work/s or sections of works to be analysed, number of music
examples, an approximate word count (range) for discussion

indicate expectations regarding possible formats, for example, file types for
audio/video examples, duration (range) of performance and commentary report.
Other considerations
When to assess the students?
The teacher must decide the most appropriate time to set this task. This decision is
the result of several considerations including:







the estimated time it will take to cover the key knowledge and key skills for the
outcome
the need to provide teaching and learning activities that simulate the final task
the possibility of using a cumulative learning model that builds knowledge, and
ability to report on findings
the possibility of more than one assessment session, for example, if all students
in the class decide to present their report as performance/commentary
the likely length of time required for students to complete the task
when other assessment is occurring in this study, and how these may interact
with concepts covered
when tasks are being conducted in other subjects and the workload implications
for students.
Marking the task
There is no prescribed way of marking the task. The overall task should provide
students with a range of response opportunities that directly relate to the key
knowledge and key skills and provide the opportunity to meet the standard reflected
in the highest performance descriptor for the task.
This task is worth 60 marks towards the total marks allocated to School-assessed
Coursework for Unit 3. A possible breakdown of marks could be:
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Description of the Focus Area and way that works selected for
analysis are representative of the Focus Area.
 description and discussion, including examples, of treatment of
elements of music in a sample of works that are representative of
the Focus Area
 description and discussion of idiomatic instrumental techniques
and ways they applied works selected for analysis
 description and discussion of influences that have had an impact
on the Focus Area and works selected for analysis
 description and discussion of performance practices and
conventions and their application in performance of selected
works.
30 marks
Use of appropriate music examples.
15 marks
Use of appropriate music language and terminology.
15 marks
Outcome 3
Present a performance of music works that communicates understanding of the
Focus Area.
Step 1: Define the parameters of an outcome and its related assessment task
options
The VCE Music Study Design, pages 84 and 85, provides details of the key
knowledge and skills related to Unit 3 Outcome 3 and the Area of Study:
Performance. In order to plan and conduct an assessment for this outcome it is
necessary to be familiar with the key knowledge and skills.
This assessment task focuses on demonstration of performance techniques required
to perform technical, stylistic and expressive aspects of works being preparing for
performance. Students are also required to describe how this work is informing
development of the performance program.
All work selected for study in preparation for this task should relate to the Focus
Area, works selected for the performance program and/or the student’s general
development as an instrumentalist.
All students will complete individual work and, as appropriate to the selected
performance context and/or instrument, work that is performed in a group or
accompanied context. For example, a pianist who has elected to complete this
outcome and the end-of-year performance examination as a soloist is most likely to
complete all work individually whereas a guitarist who is performing as a member of
a group is likely to complete some work as an individual (specific techniques used in
the program) and other work in a group context (exercises relating to placing melodic
line within the group texture or establishing and maintaining tempo).
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Step 2: Examine the assessment advice in Section 2
The performance descriptors should be fully understood as they give a clear
indication of qualities and characteristics that should be displayed. The range of
material selected should:

be based on analysis of technical, stylistic and expressive aspects of works
selected for performance

develop aspects of the student’s overall skill as an instrumentalist necessary to
ensure they are fully prepared to interpret and perform selected works using
techniques and conventions relevant to the Focus Area.
Material selected for study may be drawn from a range of sources including material
developed by a student or a teacher to address specific technical, expressive and/or
stylistic challenges associated with the selected group and/or solo works.
The duration of this assessment task will vary according to the length of selected
material.
Step 3: Determine teaching and learning activities
The assessment task option for Unit 3 Outcome 3 is technical work and exercises
relevant to the Focus Area and description of how this technical work is informing
development of the performance program.
Based on a thorough understanding of the key knowledge, key skills, assessment
advice and performance descriptors, the teacher plans a sequence of teaching and
learning activities that will develop pre-task knowledge and skills and enable the
student to develop, and perform, a varied programme of technical work and exercises
The teacher plans a sequence of teaching and learning activities that will develop
pre-task knowledge and skills, for example:

aural and/or visual analysis of works being prepared for study to identify relevant
performance techniques and associated technical, stylistic and/or expressive
aspects of each work being prepared for performance

investigation of approaches to technical development used by other performers of
selected works.
Teaching the pre-task knowledge and skills
Use the key knowledge and skills to be learnt in Unit 4 Outcome 3 and ensure the
student:
 uses analysis and planning strategies to select a range of material for study
 develops a practice plan and, as appropriate, a rehearsal schedule with other
members of the group or accompanist/s
 sources required sheet music, charts and/or recordings
 draws on Outcome 1 Investigation to identify relevant performance techniques
and other issues relevant to interpretation of works in performance program.
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In Unit 3 Outcome 3, teaching and learning activities could involve, but are not limited
to:

creating a workbook of technical demands relevant to each work and analysing
technical, stylistic and expressive issues

researching performance conventions relevant to specific techniques and
identifying and/or creating exercises for developing relevant skills

identifying practise strategies and/or technical development strategies relevant to
specific exercises and/or performance techniques

using audio and/or video recordings to identify specific challenges and/or to
monitor progress in meeting challenges and/or analysing effectiveness of
alternative practise strategies

identifying relevant articulation patterns and/or dynamic structures that can be
practised through scales and arpeggios relevant to selected works

learning material from a method tutor or improvisation workbook relevant to the
Focus Area

creating a journal of score annotations showing connections between exercises
and characteristic treatment of elements of music or performance conventions in
the Focus Area

presentation/s to the class explaining how one or two exercises relate to the
Focus Area.
Step 4: Design the assessment task
The required assessment task is a performance of technical work and exercises
relevant to the focus area and a description of how this work is informing
development of the performance program. Details of requirements are on page 86 of
the study design. The instructions for the task should:

refer to the scope of the task, for example, mention specific types of technical
work and exercises such as scales, arpeggios, improvisation exercises, studies
or works with technical focus, exercises relating to specific elements of music
and/or performance techniques relevant to the Focus Area

indicate the timeframe for the assessment and the number of sessions, for
example a performance of 5–7 minutes and an oral explanation of 1–2 minutes in
a single session.
Other considerations
When to assess the students?
The teacher must decide the most appropriate time to set this task. This decision is
the result of several considerations including:




the estimated time it will take to cover the key knowledge and key skills for the
outcome
allowing adequate time for students to develop specific technical, stylistic and
expressive performance techniques to the highest possible level
when other assessment is occurring in this study, and how these may interact
with concepts covered
when tasks are being conducted in other subjects and the workload implications
for students.
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Marking the task
There is no prescribed way of marking the task. The overall task should provide
students with a range response opportunities that directly relate to the key knowledge
and key skills, that is through development of a program of technical work relevant to
their performance program and Focus Area and provide the opportunity to meet the
standard reflected in the highest performance descriptor for the task.
This task is worth 15 marks towards the total marks allocated to School-assessed
Coursework for Unit 3. A possible breakdown of marks could be:
Performance of technical work and exercises relevant to the Focus
Area including:
 material relevant to specific elements of music
 material relevant to specific performance conventions
 material directly connected to performance of technical, stylistic
and/or expressive aspects of each work in the performance
program.
10
Explanation of how selected technical work is informing development
of the performance program.
5
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Unit 4 Area of Study 2 Outcome 2
Compose/improvise/arrange and perform a music work and discuss the use of music
characteristics, instrumental techniques, performance techniques and conventions in
the work.
Step 1: Define the parameters of an outcome and its related assessment task
options
The VCE Music Study Design, page 90, provides details of the key knowledge and
skills related to Unit 4 Outcome 2 and the Area of Study:
Composition/improvisation/arrangement. In order to plan and conduct an assessment
for this outcome it is necessary to be familiar with the key knowledge and skills.
Requirements for this task are outlined on page 93 of the study design. The three
components of the task are:

a composition or an improvisation or an arrangement

a performance of that work

an explanation of how the work is representative of the Focus Area.
The first component of the task, the composition, improvisation or arrangement will
be completed over an extended period. As this task will require work undertaken
outside class time, teachers should take particular note of advice regarding
authentication outlined in Section 1 of this handbook and the VCE, VET and VCAL
Administrative Handbook.
The creator of the work must perform the work to complete the requirements of the
assessment task. As required, other performers may be students or other musicians.
Advice regarding this as well as information about date, time and venue for the
performance should be provided in the instructions for the task.
The explanation of how the work is representative of the Focus Area may be in one
or more of the following formats:
 written
 oral
 multimedia.
Preparation of this component of the task should be completed in class time and
within a limited time period.
Step 2: Examine the assessment advice in Section 2
The performance descriptors should be fully understood as they give a clear
indication of qualities and characteristics that should be displayed.
Consideration should also be given to selecting an appropriate format for the work
and the format of the explanation. Note that the explanation must refer to
characteristics of the work, performance techniques and other conventions relevant
to the Focus Area.
Step 3: Determine teaching and learning activities
The teacher plans a sequence of teaching and learning activities that will develop
pre-task knowledge and skills and might choose to organise these around the three
components of the task. For example:
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Composition, improvisation or arrangement
 exploring and selecting an appropriate creative process
 reviewing aural and visual analysis from Unit 3 Outcome 1 and exercises
completed for Unit 3 Outcome 2 to identify aural and theoretical concepts that
underpin treatment of elements of music in works that are characteristic of the
Focus Area
 planning a composition/improvisation/arrangement process
Performance
 planning rehearsals to prepare the work for performance
 planning the presentation of the work in performance
Explanation
 selecting an appropriate format, establishing and maintaining a journal to record
the creative process, decisions made and reflection/evaluation of the work during
composition and preparation for performance.
Teaching the pre-task knowledge and skills


Use the key knowledge and skills to be learnt in Unit 4 Outcome 2.
Establish a framework for students to complete all elements of the task in a way
that is appropriate to their Focus Area, the mode they have chosen for their work
and the format they intend to use for the explanation. For example, each student
could have a work-plan that will support them to complete the task in the
available time.
In Unit 4 Outcome 3, teaching and learning activities could involve, but are not limited
to:

writing a creative intention for the work and linking to Investigation undertaken for
Unit 3 Outcome 1

holding a weekly creative workshop where students present and comment on
work completed. The workshop could be built around weekly topics, for example:
– treatment of specific elements of music
–
discussion about practical factors that are influencing each student’s work
–
approaches to rehearsing and refining a new work

analysing exercises completed for Unit 3 Outcome 2 and evaluating how ideas
could contribute to intended work

establishing a glossary of relevant music terminology and language

using a composer’s journal to document thinking and working during composition,
improvisation or arrangement process, for example documenting relevant
practical factors and how each will be resolved to ensure that performance
techniques and conventions relevant to the Focus Area can be executed with
appropriate attention to technical, stylistic and expressive details by selected
performers

using a mind-mapping tool to plan rehearsals for the work and the performance.
Details of approach to rehearsing specific aspects of the work could be included
as well as details regarding time and place

using structured questions to obtain feedback about the characteristics of the
work, for example from teachers, other students, other musicians with expertise
in the Focus Area.
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Step 4: Design the assessment task
The required assessment task requires the student to create a music work, perform
the work and explain its connection to the Focus Area. Details of requirements are on
page 93 of the study design. The instructions for the task should include details
regarding expected scope and/or duration of the work, available resources,
date/time/place information for the performance and, for the explanation, details of
when and how this part of the task will be completed, for example a response to a
stimulus question completed over two one-hour sessions and information about
resources the student may use when completing the task.
Other considerations
When to assess the students?
The teacher must decide the most appropriate time to set this task. This decision is
the result of several considerations including:






the estimated time it will take to cover the key knowledge and key skills for the
outcome
the need to provide teaching and learning activities relevant to each component
of the assessment task
the possibility of more than one assessment session
the likely length of time required for students to complete the task
when other assessment is occurring in this study, and how these may interact
with concepts covered
when tasks are being conducted in other subjects and the workload implications
for students.
Marking the task
There is no prescribed way of marking the task. The overall task should provide
students with a range of response opportunities that directly relate to the key
knowledge and key skills and provide the opportunity to meet the standard reflected
in the highest performance descriptor for the task.
This task is worth 60 marks towards the total marks allocated to School-assessed
Coursework for Unit 4. A possible breakdown of marks could be:
Use of elements of music in characteristic ways to create a
composition, improvisation or arrangement that is representative of
the Focus Area.
25
Resolution of practical factors to ensure that performance
techniques and conventions relevant to the Focus Area are
employed appropriately in performance.
5
Presentation of a performance of the work that uses relevant
performance techniques and conventions.
20
An explanation of connections between the work and the Focus
Area that discusses use of relevant music characteristics,
instrumental techniques and performance techniques.
10
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Music Style and Composition
School-assessed Coursework
Teachers will provide to the VCAA a score for Outcomes 1 and 2 in each of Units 3
and 4, which represents an assessment of the student’s achievement. The score
must be based on the teacher’s assessment of the level of performance of each
student on the outcomes for the unit specified in the study design. Teachers must
select assessment tasks from the designated list for each outcome published in the
study design.
Assessment tasks should be a part of the regular teaching and learning program and
should not add unduly to student workload. Assessment tasks should be completed
mainly in class and within a limited timeframe. The overall assessment program for
the unit should include a variety of assessment task formats, include provision for
authentication of student work and take into account the overall workload for
students.
School-assessed Coursework for the outcomes in Unit 3 will contribute 15 per cent to
the student’s study score for Music Style and Composition.
School-assessed Coursework for the outcomes in Unit 4 will contribute 15 per cent to
the student’s study score for Music Style and Composition.
Performance descriptors
Performance descriptors provide holistic statements of achievement developed from
the outcome statement and its key knowledge and key skills, as specified in the study
design. They provide guidance for the setting and marking of assessment tasks.
Unit 3 Area of Study 1 Outcome 1
Aurally analyse music and make critical responses to music.
This outcome will contribute 15 marks out of 30 marks allocated to School-assessed
Coursework for Unit 3. It will be assessed by one or more tasks, which will contribute
a total of 15 marks.
Performance descriptors
The following descriptors provide a guide to the levels of performance typically
demonstrated within each range on the assessment task/s.
MARK RANGE
DESCRIPTOR: typical performance in each range
13–15 marks
Accurate and comprehensive analysis of the musical excerpts that
includes highly sophisticated discussion of the treatment of the
elements of music and the use of relevant compositional devices.
Highly developed and articulate justification of critical responses to
music by using objective analytical information evident in the
excerpts. Highly sophisticated use of appropriate music
terminology and language to support the analysis and discussion
of the music excerpts.
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10–12 marks
Accurate and detailed analysis of the musical excerpts that
includes sophisticated discussion of the treatment of the elements
of music and the use of relevant compositional devices. Coherent
justification of critical responses to music by using objective
analytical information evident in the excerpts. Sophisticated use of
appropriate music terminology and language to support the
analysis and discussion of the music excerpts.
7–9 marks
Detailed analysis of the musical excerpts that includes some
detailed discussion of the treatment of the elements of music and
the use of relevant compositional devices. Some relevant
justification of critical responses to music by using objective
analytical information evident in the excerpts. Satisfactory use of
appropriate music terminology and language to support the
analysis and discussion of the music excerpts.
4–6 marks
General analysis of the musical excerpts that includes some
relevant discussion of the treatment of the elements of music and
the use of compositional devices. Some justification of critical
responses to music by using objective analytical information
evident in the excerpts. Some use of appropriate music
terminology and language to support the analysis and discussion
of the music excerpts.
1–3 marks
Some analysis of the musical excerpts that has limited relevant
discussion of the treatment of the elements of music and the use
of compositional devices. Some justification of critical responses to
music by using some analytical information evident in the
excerpts. Limited use of appropriate music terminology and
language.
Task/s
Description
Aural analysis of and written critical responses to four previously unheard excerpts of
music in any one or a combination of the following formats:

a test

responses to structured questions.
Components of the assessment task/s
Teachers must develop assessment task/s that allow the student to:
 aurally analyse music in excerpts from a range of music styles
 describe and discuss the treatment of relevant elements of music and the use of
compositional devices, including contrast, repetition and variation
 justify critical responses to music by using objective analytical information evident
in the excerpts
 use music terminology and language to support the analysis and discussion of
the music excerpts
 have the opportunity to demonstrate the highest level of performance.
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Resources and scheduling
Schools may determine the conditions for the task including access to resources and
notes. Students should be advised of the timeline and conditions under which the
task is to be conducted.
Unit 3 Area of Study 2 Outcome 2
Analyse and describe the use of the elements of music and compositional devices in
music works and discuss the style and the context from which the works emerged.
This outcome will contribute 15 marks out of 30 marks allocated to School-assessed
Coursework for Unit 3. It will be assessed by one or more tasks, which will contribute
a total of 15 marks.
Performance descriptors
The following descriptors provide a guide to the levels of performance typically
demonstrated within each range on the assessment task/s.
MARK RANGE
DESCRIPTOR: typical performance in each range
13–15 marks
Accurate and thorough music analysis of the works that includes
comprehensive description of the treatment of elements of music
and the use of contrast and other relevant compositional devices.
Highly sophisticated description of the stylistic characteristics of
the works and insightful discussion of relevant contextual issues
and how they influence the works. Highly developed use of
relevant music examples and appropriate music terminology and
language to support the analysis and discussion of each work.
10–12 marks
Accurate and detailed music analysis of the works that includes
detailed description of the treatment of elements of music and the
use of contrast and other relevant compositional devices.
Sophisticated description of the stylistic characteristics of the
works and thoughtful discussion of relevant contextual issues and
how they influence the works. Well-developed use of relevant
music examples and appropriate music terminology and language
to support the analysis and discussion of each work.
7–9 marks
Detailed music analysis of the works that includes general
description of the treatment of elements of music and the use of
contrast and other relevant compositional devices. Mostly accurate
description of the stylistic characteristics of the works and general
discussion of relevant contextual issues and how they influence
the works. Mostly appropriate use of relevant music examples and
music terminology and language to support the analysis and
discussion of each work.
4–6 marks
A music analysis of the works that includes some description of
the treatment of elements of music and the use of contrast and
other relevant compositional devices. Some description of the
stylistic characteristics of the works and a discussion of relevant
contextual issues and how they influence the works. Some use of
relevant music examples and appropriate music terminology and
language to support the analysis and discussion of each work.
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1–3 marks
ASSESSMENT HANDBOOK 2011–2016
Limited music analysis of the works that includes a limited
description of the treatment of elements of music and the use of
contrast and other relevant compositional devices. Limited
description of the stylistic characteristics of the works and a basic
discussion of relevant contextual issues and how they influence
the works. Limited use of relevant music examples and
appropriate music terminology and language to support the
analysis and discussion of each work.
Task/s
Description
Analysis and discussion of selected works in any one of or a combination of the
following formats:

a report

a test

responses to structured questions

a multimedia presentation.
Components of the assessment task/s
Teachers must develop assessment task/s that allow the student to:
 describe the treatment of the elements of music in the works
 describe the use of contrast and other relevant compositional devices in the
works
 describe the musical characteristics that make each work representative of its
style
 identify contextual issues and discuss their effect/s on the creation of the works
 use relevant music examples and appropriate music terminology and language to
support the analysis and discussion of each work
 have the opportunity to demonstrate the highest level of performance.
Resources and scheduling
Schools may determine the conditions for the task including access to resources and
notes. Students should be advised of the timeline and conditions under which the
task is to be conducted.
Externally-assessed Task
Assessment for Music Style and Composition includes an Externally-assessed Task
to assess Unit 3 Outcome 3 and Unit 4 Outcome 3. For this assessment students will
submit a folio that contains exercises, an original work, audio recordings and
documentation. The task will be assessed by a panel appointed by the VCAA.
Criteria published annually by the VCAA will be used to assess the task.
Details of the Externally-assessed Task are provided on page 132 of the VCE Music
Study Design.
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Unit 4 Area of Study 1 Outcome 1
Aurally analyse music excerpts, and form and present critical response to the music.
This outcome will contribute 15 marks out of 30 marks allocated to School-assessed
Coursework for Unit 4. It will be assessed by one or more tasks, which will contribute
a total of 15 marks.
Performance descriptors
The following descriptors provide a guide to the levels of performance typically
demonstrated within each range on the assessment task/s.
MARK RANGE
DESCRIPTOR: typical performance in each range
13–15 marks
Accurate and comprehensive analysis of the musical excerpts that
includes highly sophisticated discussion of the treatment of the
elements of music and the use of relevant compositional devices.
Highly developed and articulate justification of critical responses to
music by using objective analytical information evident in the
excerpts. Highly sophisticated use of appropriate music
terminology and language to support the analysis and discussion
of the music excerpts.
10–12 marks
Accurate and detailed analysis of the musical excerpts that
includes sophisticated discussion of the treatment of the elements
of music and the use of relevant compositional devices. Coherent
justification of critical responses to music by using objective
analytical information evident in the excerpts. Sophisticated use of
appropriate music terminology and language to support the
analysis and discussion of the music excerpts.
7–9 marks
Detailed analysis of the musical excerpts that includes some
detailed discussion of the treatment of the elements of music and
the use of relevant compositional devices. Some relevant
justification of critical responses to music by using objective
analytical information evident in the excerpts. Satisfactory use of
appropriate music terminology and language to support the
analysis and discussion of the music excerpts.
4–6 marks
General analysis of the musical excerpts that includes some
relevant discussion of the treatment of the elements of music and
the use of compositional devices. Some justification of critical
responses to music by using objective analytical information
evident in the excerpts. Some use of appropriate music
terminology and language to support the analysis and discussion
of the music excerpts.
1–3 marks
Some analysis of the musical excerpts that has limited relevant
discussion of the treatment of the elements of music and the use
of compositional devices. Some justification of critical responses to
music by using some analytical information evident in the
excerpts. Limited use of appropriate music terminology and
language.
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Task/s
Description
Aural analysis of and written critical responses to four previously unheard excerpts of
music in any one or a combination of the following formats:

a test

responses to structured questions.
Components of the assessment task/s
Teachers must develop assessment task/s that allow the student to:
 aurally analyse music in excerpts from a range of music styles
 describe and discuss the treatment of relevant elements of music and the use of
compositional devices, including contrast, repetition and variation
 justify critical responses to music by using objective analytical information evident
in the excerpts
 use music terminology and language to support the analysis and discussion of
the music excerpts
 have the opportunity to demonstrate the highest level of performance.
Resources and scheduling
Schools may determine the conditions for the task including access to resources and
notes. Students should be advised of the timeline and conditions under which the
task is to be conducted.
Unit 4 Area of Study 2 Outcome 2
Analyse and describe the use of the elements of music and compositional devices in
the selected works, and discuss the style of the works and relevant contextual
issues.
This outcome will contribute 15 marks out of 30 marks allocated to School-assessed
Coursework for Unit 4. It will be assessed by one or more tasks, which will contribute
a total of 15 marks.
Performance descriptors
The following descriptors provide a guide to the levels of performance typically
demonstrated within each range on the assessment task/s.
MARK RANGE
DESCRIPTOR: typical performance in each range
13–15 marks
Accurate and thorough music analysis of the works that includes
detailed discussion of the treatment of elements of music and how
compositional devices, including repetition and variation are used
to develop ideas. Highly sophisticated description of the stylistic
characteristics of the works and insightful discussion of how
relevant contextual issues influence the works. Highly developed
use of relevant music examples and appropriate music
terminology and language to support the analysis and discussion
of each work.
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10–12 marks
Accurate and detailed music analysis of the works that includes
detailed discussion of the treatment of elements of music and how
compositional devices, including repetition and variation are used
to develop ideas. Sophisticated description of the stylistic
characteristics of the works and thoughtful discussion of how
relevant contextual issues influence the works. Well-developed
use of relevant music examples and appropriate music
terminology and language to support the analysis and discussion
of each work.
7–9 marks
Detailed music analysis of the works that includes general
discussion of the treatment of elements of music and how
compositional devices, including repetition and variation are used
to develop ideas. Mostly appropriate description of the stylistic
characteristics of the works and general discussion of how
relevant contextual issues influence the works. Some appropriate
use of relevant music examples and music terminology and
language to support the analysis and discussion of each work.
4–6 marks
A music analysis of the works that includes some discussion of the
treatment of elements of music and how compositional devices,
including repetition and variation are used to develop ideas. Some
description of the stylistic characteristics of the works and a
discussion of how relevant contextual issues influence the works.
Some use of relevant music examples and appropriate music
terminology and language to support the analysis and discussion
of each work.
1–3 marks
A music analysis of the works that includes a limited discussion of
the treatment of elements of music and how compositional
devices, including repetition and variation are used to develop
ideas. Limited description of the stylistic characteristics of the
works and a basic discussion of how relevant contextual issues
influence the works. Limited use of relevant music examples and
appropriate music terminology and language to support the
analysis and discussion of each work.
Task/s
Description
Analysis and discussion of selected works in any one of or a combination of the
following formats:

a report

a test

responses to structured questions

a multimedia presentation.
Components of the assessment task/s
Teachers must develop assessment task/s that allow the student to:
 discuss the treatment of the elements of music in the works
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



ASSESSMENT HANDBOOK 2011–2016
discuss how compositional devices, including repetition and variation, are used to
develop music ideas within the works
describe the musical characteristics that make each work representative of its
style
identify contextual issues and discuss their effect/s on the creation of the works
use relevant music examples and appropriate music terminology and language to
support the analysis and discussion of each work
have the opportunity to demonstrate the highest level of performance.
Resources and scheduling
Schools may determine the conditions for the task including access to resources and
notes. Students should be advised of the timeline and conditions under which the
task is to be conducted.
Externally-assessed Task
Assessment for Music Style and Composition includes an Externally-assessed Task
to assess Unit 3 Outcome 3 and Unit 4 Outcome 3. For this assessment students will
submit a folio that contains exercises, an original work, audio recordings and
documentation as outlined below. The task will be assessed by a panel appointed by
the VCAA. Criteria published annually by the VCAA will be used to assess the task.
Format
A folio that contains:

two creative exercises in notated and audio form that were completed in
response to studied music

description and/or annotation of the relationship between the creative exercises
and the music studied, including the treatment of relevant elements of music and
the use of at least one compositional device of contrast, repetition and/or
variation
AND

a statement of intention for a complete work

evidence of the development and refinement of the work from starting point to
final realisation

explanation of decisions made at stages of the creative process

explanation of technical and practical factors that influenced the creative process

description and/or annotation of the treatment of the elements of music to achieve
the stated aim in the final work

description and/or annotation of the use of compositional devices, including
contrast, repetition and variation, in the final work
AND

a music work of 2–4 minutes presented in notated and audio form.
Contribution to final assessment
The Externally-assessed Task will contribute 30 per cent.
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Sample approaches to School-assessed Coursework
The following examples offer one approach to the development of assessment tasks
using the study design and performance descriptors.
Music Style and Composition
Unit 3 Area of Study 1 Outcome 1
Aurally analyse music and make critical responses to music.
Step 1: Define the parameters of an outcome and its related assessment task
options
The VCE Music Study Design, pages 122 and 123, provides details of the key
knowledge and skills related to Unit 3 Outcome 1 and the Area of Study: Responses
to music. In order to plan and conduct an assessment for this outcome it is necessary
to be familiar with the key knowledge and skills.
The assessment task nominated by the study design is based on responses to
previously unheard music extracts. The task may be a test or a series of responses
to structured questions, or a combination of both.
Music extracts should include a range of music styles and instrumental combinations,
and should be selected to enable students the chance to clearly identify and describe
the treatment of the elements of music and compositional devices in order to enter
into a detailed discussion.
It should be noted that the compositional devices of contrast, repetition and variation
should be present within some extracts.
Students need to be clearly informed about the nature of critical response which calls
for objective musical evidence to justify subjective responses.
Step 2: Examine the assessment advice in Section 2
The performance descriptors should be fully understood as they give a clear
indication of qualities and characteristics that should be displayed.
Responses need to be able to show a clear understanding of the way elements of
music are treated and the use of compositional devices – and to discuss these in
relation to the music extracts.
Step 3: Determine teaching and learning activities
The teacher plans a sequence of teaching and learning activities that will develop
pre-task knowledge and skills and might choose to emphasise those that are most
closely aligned to the exercises that must be completed for the task itself.
In order to complete the assessment task responses, a series of preparatory
response exercises could be set. These might lead students through the identification
of the treatment of the elements of music and the use of compositional devices in
different music styles. Further exercises based on ways of forming critical responses
using analytical evidence from the music and appropriate musical terminology could
form a continuous listening/responding approach. This might culminate in the
assessment task.
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It might also be wise for teachers to examine sample examination material in order to
simulate some aspects of how this outcome will be assessed externally.
Teaching the pre-task knowledge and skills






Use the key knowledge and skills to be learnt in Unit 3 Outcome 1.
Make sure students can identify the treatment of the elements of music, for
example by concentrating on different elements of music separately at first and
examining appropriate musical terminology for each element.
Make sure students are clear about a range of compositional devices, and how
they are linked to the treatment of the elements of music.
Make sure that students have an understanding of the ways in which the specific
compositional devices of contrast, repetition and variation may be achieved and
used across a range of music styles.
Ensure students are aware of the need to align objective analytical evidence from
the music to provide evidence for any subjective response.
Enable students to explore and reflect on a number of different approaches to
forming critical responses, for example in full prose discussion, headings and
explanations, dot points and/or diagrams.
In Unit 3 Outcome 1, teaching and learning activities could involve, but are not limited
to:

providing one musical extract for a series of different listening tasks centering on
different elements or musical characteristics

concentrating on one element of music and examining its use in a range of
different excerpts

organising a weekly listening/responding session in which students provide their
own musical extracts as examples of specified element treatment or
compositional device use

selecting one compositional device, for example contrast, and examining its use
in a number of different excerpts across styles

setting a research assignment asking students to find music extracts that elicit
similar responses, then examining the musical characteristics that may be used
in evidence to justify the responses

building a list of compositional devices found in excerpts used over the unit

providing exercises that require different response approaches, for example short
answer responses, prose discussions and/or diagrams.
Step 4: Design the assessment task
The required assessment task may be a test or a series of short responses to
previously unheard music extracts from a range of music styles and instrumental
combinations.
The range of selected musical excerpts is critical, and should provide the chance for
students to focus on a number of different elements and compositional devices.
Contrast, repetition and variation should be present in one or more of the excerpts.
Separate excerpts might be used to assess different skills and knowledge.
A range of guiding questions for the separate excerpts is advised. Some may focus
on specified elements of music or compositional devices, while others might offer a
global statement about an excerpt that invites a critical response.
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Other considerations
When to assess the students?
The teacher must decide the most appropriate time to set this task. This decision is
the result of several considerations including:







the estimated time it will take to cover the key knowledge and key skills for the
outcome
the need to provide teaching and learning activities that simulate the final task
the possibility of using a cumulative learning model that builds knowledge,
analysis skills and response strategies
the possibility of more than one assessment session
the likely length of time required for students to complete the task
when other assessment is occurring in this study, and how these may interact
with concepts covered
when tasks are being conducted in other subjects and the workload implications
for students.
Marking the task
There is no prescribed way of marking the task. The overall task should provide
students with a range of response opportunities that directly relate to the key
knowledge and key skills and provide the opportunity to meet the standard reflected
in the highest performance descriptor for the task.
This task is worth 15 marks towards the total marks allocated to School-assessed
Coursework for Unit 3. A possible breakdown of marks could be:
Analysis and discussion of the treatment of relevant elements of
music in the excerpts.
5
Analysis and discussion of the use of compositional devices,
including contrast, repetition and variation in the excerpts.
4
Justification of responses to music using objective analytical
information evident in the excerpts.
4
Use of appropriate music terminology and language to support the
analysis and discussion of the music excerpts.
2
Unit 4 Area of Study 2 Outcome 2
Analyse and describe the use of the elements of music and compositional devices in
music works and discuss the style and the context from which the works emerged.
Step 1: Define the parameters of an outcome and its related assessment task
options
The VCE Music Study Design, pages 128 and 129, provides details of the key
knowledge and skills related to Unit 4 Outcome 2 and the Area of Study:
Organisation and context. In order to plan and conduct an assessment for this
outcome it is necessary to be familiar with the key knowledge and skills. It should be
noted that each key knowledge and key skill does not need to be clearly identifiable
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in the task, nor should the task focus on too narrow a range of key knowledge and
skills.
In selecting works, note that two works in different styles need to be selected and
one work selected for study must have been created after 1910. There is also a
requirement within the Outcome 2 for a focus on repetition and variation. There
should be a significant use of repetition and variation within each work selected.
The study design identifies a range of task types that can be used to assess this
outcome. Teachers should be familiar with the essential characteristics of each task
type and the implications of these for task design and conduct of assessment. There
is also the possibility of a combination of task types for example, a task that is made
up partly of a responses to structured questions and a brief written report.
Step 2: Examine the assessment advice in Section 2
The performance descriptors should be fully understood as they give a clear
indication of qualities and characteristics that you are looking for in a student
response.
Be aware that there needs to be some focus on repetition and variation in the works
studied.
There is also a requirement for students to use music examples to support any
analysis and/or discussion of the works.
Step 3: Determining teaching and learning activities
The teacher plans a sequence of teaching and learning activities that will develop
pre-task knowledge and skills and might choose to emphasise those that are most
closely aligned to the task selected.
An assessment task option for Unit 4 Outcome 2 could combine both a brief test and
a short report in written format. This overall task could then involve both the
examination of scores and/or audio excerpts for short answer responses as well as a
more reflective response to specific guidelines.
The two works may be studied at different times throughout the Unit.
Teaching the pre-task knowledge and skills






Use the key knowledge and skills to be learnt in Unit 4 Outcome 2.
Make sure that students have a clear understanding of how each work is
organised – in terms of how the elements of music are treated and the use of
relevant compositional devices.
Make sure students can identify where and how repetition and variation are used
to develop ideas within each work.
Ensure that students have an understanding of how the work fits into its identified
style.
Ensure students understand the circumstances in which each work was written
and the possibilities of contextual issues influencing their creation.
Make sure that in any discussion and/or analysis, students can identify specific
examples in the music to support their statements.
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In Unit 4 Outcome 2, teaching and learning activities could involve, but are not limited
to:






producing graphical representations of both works, noting repeated
sections/ideas and specific variation techniques
constructing grids based on the elements of music that note descriptions and
examples of treatment within each work
research exercises into the period in which the works were written
discussion based around the type of influence that extra-musical factors may
have had on the works, and how these influences can be seen in the music
short listening activities based on works in the same style and/or by the same
creator
annotating scores of the works and/or organising audio excerpts that illustrate
specific stylistic characteristics, element treatment and/or compositional devices.
Step 4: Design the assessment task
An assessment task may be designed that is made up of a test and a brief written
report.
The test section could require closed book test conditions and focus on analysis and
identification of element treatment and compositional devices. The report might
involve written responses requiring more reflection and might be completed in more
than one session with students having access to notes and/or other resources such
as scores.
A test might present a number of questions based around the treatment of elements
and use of compositional devices in both works. This might include score extracts
and/or audio excerpts with specific focus on identifiable characteristics from the
works Required responses in the test might take a variety of formats (for example,
score annotations, dot points, short written answers).
A report might require a more detailed presentation and discussion, and include a
section based on how the work is representative of its style and the influence of one
or more contextual issues on the work.
There is no requirement for the study of both selected works to be assessed at the
same time. Separate assessment tasks may be organised for each work.
Most importantly the teacher needs to set the questions and format of the overall task
in such a way that it allows students to demonstrate the highest level of the
performance descriptors and the qualities and characteristics that come from this.
Other considerations
When to assess the students?
The teacher must decide the most appropriate time to set this task. This decision is
the result of several considerations including:

the estimated time it will take to cover the key knowledge and key skills for the
outcome

the possibility of holding separate tasks to assess the study of separate works

the possible need to provide time for students to plan for the completion of the
task

the likely length of time required for students to complete the task
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
how this task fits with other tasks within this study, including the Externallyassessed Task

when tasks are being conducted in other subjects and the workload implications
for students.
As two works in different styles must be examined in this outcome, teachers could
consider breaking up the assessment task into smaller sections – one very brief test
based on one work, then a second at a later date based on the second; the report
section could deal with both works and act as a chance to bring the area of study to a
close.
Marking the task
There is no prescribed way of marking the task. The test and report should provide
students with guidelines that directly relate to the key knowledge and key skills and
provide the opportunity to meet the standard reflected in the highest performance
descriptor for the task.
This task is worth 15 marks towards the total marks allocated to School-assessed
Coursework for Unit 4. A possible breakdown of marks could be:
Discussion of the treatment of the elements of music in the works
studied.
5 marks
Discussion of how compositional devices, including repetition and
variation are used to develop ideas in the works studied.
4 marks
Description of the stylistic characteristics of each work and
discussion of how contextual issues affect the works.
4 marks
Use of relevant music examples and appropriate music terminology
and language to support the analysis and discussion of each work.
2 marks
Further Resources
Examination
End-of-year written examination – Units 3 and 4
Description
The examination will be set by a panel appointed by the VCAA. All the key
knowledge and key skills that underpin the outcomes in Units 3 and 4 are
examinable.
Conditions

Duration: two hours.

Date: end-of-year, on a date to be published annually by the VCAA.

VCAA examination rules will apply. Details of these rules are published annually
in the VCE and VCAL Administrative Handbook.

The examination will be marked by assessors appointed by the VCAA.
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Contribution to the final assessment
The examination will contribute 40 per cent.
Further advice
The VCAA publishes specifications for all VCE examinations on the VCAA website.
Examination specifications include details about the sections of the examination, their
weighting, the question format/s and any other essential information. The
specifications are published in the first year of implementation for the revised Units 3
and 4 sequence together with any sample materials.
VCE Examination Papers
Examination papers for all studies are published on the VCAA website.
Assessment Reports
The assessment reports are published on the VCAA website and provide teachers
with feedback of the examination for Units 3 and 4.
Publications
Regular updates and study advice are published in the VCAA Bulletin VCE, VCAL
and VET and on the VCAA website. Teachers should also refer to the following
publications for assessment of VCE Music:
VCE Music Study Design 2011–2016
The course developed and delivered to students must be in accordance with the VCE
Music Study Design, accredited 2011–2016.
The ‘Advice for teachers’ section contains sample learning activities for Units 1 to 4 and
suggested tasks.
VCAA website
Teachers are advised to keep up-to-date with developments in VCE Music by
accessing the Music study page on the VCAA website.
Administrative Procedures for Assessment in VCE Studies
This online publication provides summary information about assessment procedures
for VCE studies. The information is extracted from the current VCE and VCAL
Administrative Handbook.
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