Sample unit - Music for Entertainment

advertisement
Music 2013
Teaching and learning resources
Sample unit — Music for Entertainment
Time allocation: 41 hours (15 weeks)
Overview
The purpose of this unit is to develop students’ musicianship by exploring, understanding and
demonstrating the way music elements and associated concepts have been used and
manipulated in music used for entertainment purposes.
Music can convey or evoke emotion specific to a given context or it can enhance storytelling. It is
indispensable in dance and opera, and is usually incorporated into dramatic film or theatre
productions.
Entertainment can be either for the performers themselves (often without an audience) or for an
audience. While entertainment often provides fun, enjoyment and laughter, in certain
circumstances or contexts, there is an additional serious purpose.
Possible approaches
1. Music as pure entertainment
Music is a popular type of entertainment on its own and may constitute an entire performance,
such as when concerts are given. A wide variety of music performances provide entertainment,
whether the performances are from soloists, choral or orchestral groups, bands and/or other
ensembles.
Examples where music is used as pure entertainment include:
 art music
 popular music styles and genres
 jazz, folk and rock.
Students could investigate the ways music elements and concepts are used to provide pure
entertainment across a variety of contexts.
2. Music that supports entertainment
Music can be a supporting component of many kinds of entertainment. Theatrical productions,
typically dramatic or musical, are presented on a stage for an audience. In these entertainment
forms, music can support the dramatic action and storytelling through conveying and eliciting
emotion. Storytelling may be a component of any piece that relies on a narrative, such as film,
drama, ballet, and opera.
Examples where music is used to support entertainment include:
 opera
150201
 music theatre
 film and TV
 dance/ballet
 incidental music.
Students could investigate the ways music elements and concepts are used to support
entertainment across a variety of contexts.
Contexts, styles and genres to explore
Depending on the focus or approach for the unit, repertoire could be selected from the following:
Opera: Mozart: The Magic Flute, Don Giovanni; Puccini: La Bohème, Madama Butterfly; Verdi:
Rigoletto, La Traviata; George Gershwin: Porgy and Bess; John Adams: Nixon in China; Richard
Meale: Voss; Colin Brumby: The Seven Deadly Sins
Music theatre: Stephen Schwartz: Wicked; Schönberg and Boubil: Les Miserables; Bernstein:
West Side Story; Marc Shaman & Scott Wittman: Hairspray; Stephen Sondheim: Into the Woods
and Sweeny Todd; John Kander & Fred Ebb: Cabaret and Chicago; Jim Jacobs & Warren Casey:
Grease; Andrew Lloyd Webber & Tim Rice: Evita and Jesus Christ Superstar; Andrew Lloyd
Webber & Charles Hart: The Phantom of the Opera; Pete Townshend: Tommy; the musicals of
Rodgers & Hammerstein
Ballet: Tchaikovsky: Swan Lake; Schubert: Rosamunde; Stravinsky: The Rite of Spring; Richard
Mills: Snugglepot and Cuddlepie
Art music: Handel: Water Music and Music for the Royal Fireworks; Telemann: Tafelmusik;
Mozart: Divertimenti, Eine Kleine Nachtmusik; Stravinsky: A Soldier’s Tale, overtures,
symphonies, concertos; works by Australian composers, e.g. Stephen Leek, Peter Sculthorpe,
Carl Vine, Ross Edwards, Colin Brumby, John Carmichael
Film and TV: Bernard Hermann: Psycho, North by Northwest, Vertigo, Citizen Kane, Cape Fear;
Franz Waxman: Rear Window; John Williams: Schindler’s List, Star Wars, War of the Worlds, The
Patriot, The Harry Potter movies, War Horse; Bruno Coulais: Les Choristes; Ryuichi Sakamoto et
al: The Last Emperor; Yann Tiersen: Comptine D’un Autre été L’après-midi from the film Amelie;
Danny Elfmann: film music from Batman, Corpse Bride and Alice in Wonderland; Hans Zimmer:
Gladiator, Black Hawk Down and Madagascar; James Horner: Avatar; Howard Shore: Lord of the
Rings; Philip Glass: Mishima/Closing from ‘The Truman Show’; Michael Nyman: The Piano; Craig
Armstrong & Marius de Vries: Moulin Rouge; Don Davis: The Matrix; Ennio Morricone: Cinema
Paradiso and The Mission; Nicola Piovani: Life is Beautiful
Australian film: George Dreyfus: Rush, Dimboola; Paul Grabowsky: The Eye of the Storm;
Bruce Rowland: The Man from Snowy River, Phar Lap; Nigel Westlake; Babe, Antarctica, and
Miss Potter; David Hirschfelder: Strictly Ballroom, Shine (original music) and Australia; Paul Kelly
& Dan Luscombe: Jindabyne; Cezary Skubiszewski: Bran Nue Dae and The Sapphires; Picnic at
Hanging Rock (non- original music by J S Bach, Mozart and Beethoven)
Jazz: selections from Ella Fitzgerald, Billie Holiday, Michel Legrand
Australian jazz: Don Burrows, George Golla, James Morrison, Vince Jones, Kate Ceberano,
Galapagos Duck, Paul Grabowsky, Ed Wilson, The Idea of North (a capella vocal ensemble)
Popular music styles and genres: pop, rock, hard rock, hip hop, R&B, rap
Australian rock and pop: Midnight Oil, INXS, Paul Kelly, Kev Carmody, Jessica Mauboy,
Christine Anu, Yothu Yindi, Geoffrey Gurrumul Yunupingu, Saltwater Band, Cold Chisel,
Powderfinger, Crowded House, Bernard Fanning, Boy & Bear, Emma Louise, Xavier Rudd, The
Grates, Gypsy and the Cat, The John Butler Trio, Missy Higgins, Angus and Julia Stone, Pete
Murray, San Cisco, Sarah Blasko
Music 2013
Sample unit — Music for Entertainment
Queensland Curriculum & Assessment Authority
February 2015
Page 2 of 5
Possible learning experiences
Learning experiences are developed based on the purpose
and context of the unit and the repertoire selected.
 analysing and evaluating the way mood and character in a composition is achieved through
the use of music elements and concepts, and compositional devices
 viewing relevant sections of musicals, ballets and films and attending live theatrical
performances, where possible
 journaling the process of creating music
 analysing scenes to determine the music elements highlighted in film or music theatre
 analysing scenes with and without music to demonstrate the power of well-written film scores
 listening to interviews with prominent film composers or reading their blogs/web posts and
discussing their approaches to composition
 investigating music contexts, styles and genres with reference to other performing and visual
arts and related social, historical, cultural and philosophical backgrounds
 perceiving and interpreting music elements and concepts in repertoire and music sources
related to music for entertainment
 analysing and evaluating entertainment music to determine the relationships between music
elements, concepts and stylistic characteristics
 synthesising findings, justifying music viewpoints and communicating music ideas about music
for entertainment purposes
 developing and using aural skills and musical memory when listening to, composing and
performing music for entertainment
 composing jazz, film music, popular and contemporary music
 selecting and applying music elements and concepts to create music for entertainment, e.g.
music theatre, film, dance, jazz and popular genres
 composing new music to a pre-existing film scene
 investigating advanced chord structures (7th and 9th chords, suspensions, secondary
dominants, added note chords) to develop aural skills
 synthesising and communicating music ideas and stylistic characteristics to create students’
own music for entertainment
 demonstrating composition and performance skills and techniques in creating and performing
music for entertainment purposes
 performing popular music, dance music, or excerpts from music theatre
 performing repertoire from film music, after having arranged it for a class ensemble
 singing and playing excerpts, themes and accompaniments from repertoire encountered
 improvising jazz melodies, bass lines and countermelodies using advanced aural skills
 experimenting with combinations of music elements to replicate a given emotion
 layering sound effects over existing tracks or marking scores with hit points
 developing good rehearsal practices to improve accuracy, technique, ensemble skills, style
and presence in performance
 interpreting and applying music elements and concepts in vocal and instrumental
performances
 synthesising and communicating music ideas and stylistic characteristics to create
performances
Music 2013
Sample unit — Music for Entertainment
Syllabus
dimensions and
objectives will be
delivered through
learning
experiences over
the unit of work,
as per these
examples.
Queensland Curriculum & Assessment Authority
February 2015
Page 3 of 5
Possible assessment
Assessment tasks are designed from the purpose and context of the
unit and should be aligned to the identified dimensions and objectives.
Assessment technique
Composition
Possible tasks
Compose a popular song, song for a musical, an instrumental or
vocal jazz work, or a soundtrack to a visual stimulus
Compose music to match a pre-existing or original film scene
Dimension to be assessed
Composition
Objectives
By the conclusion of the course of study, students should:
 select and apply music elements and concepts in the creation of
their own works
 demonstrate composition techniques in the creation of their own
works
 synthesise and communicate music ideas and stylistic
characteristics to create their own works.
Assessment conditions
Year 11: a minimum of 16 bars or approximately 30 seconds in
length.
Year 12: a minimum of 32 bars or approximately 1 minute in length.
Assessment technique
Musicology — extended response
Possible tasks
Analyse and evaluate a selected film score, songs from music
theatre, or other appropriate repertoire to express a music
viewpoint.
Critique the effectiveness of a selected work to convey a particular
mood or emotion.
Identify the most appropriate music for a particular context and
justify the response, through comparison and contrast of two works.
Dimension to be assessed
Musicology
Objectives
By the conclusion of the course of study, students should:
 perceive and interpret music elements and concepts in repertoire
and music sources
 analyse and evaluate music to determine the relationships
between music elements, concepts and stylistic characteristics
 synthesise findings, justify music viewpoints and communicate
music ideas.
Assessment conditions
Year 11:
Written: 600–1000 words
Spoken: 3–4 minutes
Multimodal: 3–5 minutes
Year 12:
Written: 800–1200 words
Spoken: 4–5 minutes
Multimodal: 5–7 minutes
Music 2013
Sample unit — Music for Entertainment
Queensland Curriculum & Assessment Authority
February 2015
Page 4 of 5
Assessment technique
Performance
Possible tasks
Perform a work that is used for entertainment purposes, vocal
and/or instrumental, for solo or ensemble.
Perform music from a film score. This may be a performance of the
student’s own composition.
Dimension to be assessed
Performance
Objectives
By the conclusion of the course of study, students should:
 interpret and apply music elements and concepts in performance
 demonstrate performance skills and techniques related to
contexts
 synthesise and communicate music ideas and stylistic
characteristics to create performances.
Assessment conditions
Length (Years 11 and 12): Approximately three minutes.
Music 2013
Sample unit — Music for Entertainment
Queensland Curriculum & Assessment Authority
February 2015
Page 5 of 5
Download