Music 2013
Teaching and learning resources
Sample unit — Don’t Stop the Music!
Time allocation: 55 hours (20 weeks)
Overview
This unit focuses on developing students’ musicianship, understanding and application of music
elements and concepts through a sequential program. It explores repertoire covering a range of
contexts, styles and genres. Students develop a greater awareness of the stylistic considerations
that inform the music they compose and perform. They develop aural skills sequentially through
the repertoire in order to enhance their musicianship.
Possible approaches
1. Focus on music elements and concepts across music eras
As an introductory unit of study, students explore music elements and concepts to gain greater
familiarity with the ways musicians refer to what they see and hear. Students track the use of
particular elements and concepts across music eras, such as the role of chromaticism, the
development of polyphony, or the manipulation of timbre in different historical contexts.
Repertoire is chosen to match with the students’ level of musicianship in order to best develop
their aural skills sequentially.
2. Focus on aspects of context, style and genre within a time period
In order to develop musicianship and an understanding of music elements and concepts,
students explore the ways musicians manipulate elements within a particular style or context.
Students might focus on the variety of moods portrayed in modern jazz, impressionism or folk
rock with reference to the ways composers manipulate music elements. Repertoire is chosen to
match with the students’ level of musicianship in order to best develop their aural skills
sequentially.
Possible repertoire
Repertoire could be selected from the following:
Prokofiev: Peter and the Wolf; Trad: The Ash Grove; Trad: When the Saints Go Marching In; J S
Bach: Jesu, Joy of Man’s Desiring; Mozart: Twelve Variations on ‘Ah, vous dirai-je maman;
Mozart: Overture to The Marriage of Figaro; Schubert: Symphony No. 8 in B Minor (‘Unfinished’
Symphony), 1st movement; Fun: Some Nights; Lynyd Skynyrd: Sweet Home Alabama; Coolio:
Gangsta’s Paradise; Colin Brumby: The Lime Juice Tub, 2-part setting; Sonny Chua: Theme and
12 Deviations; Penderecki: Threnody to the Victims of Hiroshima; Mr Percival: Down in Africa;
Metallica: Fade to Black; Bob Dylan: Blowin’ in the Wind; Miles Davis: So What
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Examples may also be chosen from the works of Australian composers such as John Antill, Don
Banks, Philip Bracanin, Gerard Brophy, Colin Brumby, John Carmichael, Ann Carr-Boyd, Barry
Conyngham, George Dreyfus, Ross Edwards, Peggy Glanville-Hicks, Paul Grabowsky, Percy
Grainger, Dulcie Holland, Sarah Hopkins, Miriam Hyde, Elena Kats-Chernin, Graham Koehne,
Stephen Leek, Richard Meale, Richard Mills, David Page, Peter Sculthorpe, Larry Sitsky, Roger
Smalley, Margaret Sutherland, Carl Vine, Martin Wesley-Smith, Nigel Westlake, Vince Jones.
Learning experiences are developed
based on the purpose and context of the
unit and the repertoire selected.
Possible learning experiences
Week 1–5: Music elements and developing musicianship
 aurally identifying music elements and concepts in selected repertoire
 visually and aurally listening to recordings with scores to perceive and identify different
timbres, playing techniques and textures (score reading)
 developing aural skills through notating themes from repertoire
 perceiving, identifying and notating chord progressions heard in chosen repertoire
 singing and playing rhythms or melodies from the selected repertoire to develop musicianship
 perceiving and interpreting music elements and concepts in repertoire and music sources from
a range of styles and genres
 analysing and evaluating music to determine the relationships between music elements,
concepts and stylistic characteristics
 comparing music elements and concepts in works from varied contexts, styles and genres
 evaluating conceptual links including unity, contrast, tension and climax in studied and
previously unstudied music
 synthesising findings, justifying music viewpoints and communicating music ideas about the
use of music elements and concepts
Week 6–12: Using music elements
 selecting and applying music elements and concepts in creating music
 using aural skills to explore pitch through melody, harmony and tonality
 using aural skills to create and notate rhythms
 notating chord progressions taken from studied repertoire
 imitating or incorporating a heard music passage in a new composition
 using improvisation as a compositional tool
Syllabus dimensions and
objectives will be delivered
through learning
experiences over the unit
of work, as per these
examples.
 using available technologies to create music
 composing melodies to existing chord progressions
 writing accompaniments to existing melodies
 demonstrating composition techniques in the creation of their own works
 synthesising and communicating music ideas and stylistic characteristics to create their own
works
Week 13–20: Music elements LIVE!
 incorporating specific expressive devices in order to perform with stylistic accuracy
 demonstrating aural skills through attention to correct intonation
 performing works heard in class, viewed live, or seen on the internet
 demonstrating performance skills and techniques
 interpreting and applying music elements and concepts in performance
 reviewing performances and techniques in live or virtual situations
 realising a score
Music 2013
Sample unit — Don’t Stop the Music!
Queensland Curriculum & Assessment Authority
February 2015
Page 2 of 4
 developing effective rehearsal skills to perform music as a cohesive group
 synthesising and communicating music ideas and stylistic characteristics to create
performances
 using reflection and feedback to improve the performance
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
Arrange a given song for duet and instrumental accompaniment.
Compose a theme and variations.
Dimension to be assessed
Composition
The dimension Composition involves the creation of music by
combining music elements and concepts in a range of contexts,
styles and genres. It entails innovation through exploring and
experimenting with sound to synthesise and express personal
music ideas and enhance musicianship in Musicology and
Performance.
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 — written examination
Possible task
Written examination consisting of short and extended written
responses, and involving analysis and synthesis of music
elements and concepts within a variety of repertoire.
Dimension to be assessed
Musicology
The dimension Musicology involves the study of music in social,
historical and cultural contexts. It entails researching, analysing
and evaluating repertoire and other music sources, in a range of
contexts, styles and genres, to synthesise and express a music
viewpoint, and enhance musicianship in Composition and
Performance.
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.
Music 2013
Sample unit — Don’t Stop the Music!
Queensland Curriculum & Assessment Authority
February 2015
Page 3 of 4
Assessment conditions
Year 11:
 Recommended time: 1–1.5 hours.
 Conducted under supervised conditions.
 Use of support materials or technologies, e.g. music sources
(such as recordings and/or scores), notes, other reference
materials or computers, may be appropriate.
 Questions may be seen or previously unseen.
 Word lengths:
 short written responses: 50–250 words
 extended written responses: 400–600 words.
Year 12:
 Recommended time: 1.5–2 hours.
 Conducted under supervised conditions.
 Use of support materials or technologies, e.g. music sources
(such as recordings and/or scores), notes, other reference
materials or computers, may be appropriate.
 Questions may be seen or previously unseen.
 Word lengths:
 short written responses: 50–250 words
 extended written responses: 600–800 words.
Assessment technique
Performance
Possible task
Perform an instrumental or vocal piece, either within ensemble,
or as soloist. This may be a performance of the student’s own
composition of a song or theme and variations.
Dimension to be assessed
Performance
The dimension Performance involves the interpretation of music
elements and concepts through playing, singing and/or
conducting in context. It entails communicating music to
audiences through the synthesis of music ideas, stylistic
characteristics and practices, while enhancing musicianship in
Composition and Musicology.
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 — Don’t Stop the Music!
Queensland Curriculum & Assessment Authority
February 2015
Page 4 of 4