Symbol 2 Sound – Sound 2 Symbol
YEARS
12 & 13
CURRICULUM LEVELS
7&8
NCEA LEVELS
2&3
AIM:
The aim of this unit is to develop students’ abilities to explore and use visual symbols ‘working with and
making meaning of the codes in which knowledge is expressed’ (The New Zealand Curriculum, p12) as a
source of motivation in which to create, structure and represent musical instrumentations/arrangements
and compositions, and express imaginative thinking and personal understandings. The unit uses images
from Digistore (http://www.tki.org.nz/r/digistore/) to provide examples of visual artistic works that express
unique identities. These images reflect New Zealand’s cultural diversity and illustrate how artists value
histories and traditions. The unit also explores ways in which students can develop competencies in
working effectively together and independently.
DURATION: 12 – 14 weeks.
SUMMARY OF UNIT FOCUSING QUESTIONS:
 Why/how have composers used symbols and/or visual works of art as
sources of inspiration for their
own communication and representation of experiences and musical ideas? How can art works influence
the composition of music?
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How do we share ideas with others about music - interpreting language and expressive symbols, using
our creative, critical and meta-cognitive processes, to make sense of ephemeral ideas?
How can language, symbols and texts provide structures for creating and refining musical compositions?
SUMMARY OF UNIT LEARNING OUTCOMES:
Students will:
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Listen to, read about, research and analyse a range of music that has been composed as responses to
various sources of motivation. (UC, PK)
Listen to a variety of compositions known to be influenced by works of art and discuss / share ideas
about the art work and how it has influenced the mood, shape, structure, language etc. of the music.
(UC, PK, DI)
Consider the language we use to discuss, investigate, describe and evaluate music. (UC, PK)
View and share ideas about the art works that influenced the composition of Pictures at an Exhibition by
Mussorgsky. (UC, PK)
Listen to, study and discuss the original piano version and a selection of orchestral and non-orchestral
arrangements of Mussorgsky’s Pictures at an Exhibition. (UC, PK)
Generate an instrumentation using around 32 bars of Promenade from Pictures at an Exhibition by
Mussorgsky as the source material. (Level 2 students) (DI)
Create an arrangement for an instrumental ensemble of at least three instruments of The City Gates
from Pictures at an Exhibition by Mussorgsky. (Level 3 students) (DI)
Discuss the creative process and explore similarities and differences between creative art forms. (UC,
PK)
Use an image from Digistore as a source of inspiration for an original musical composition. (UC, DI)
Create, structure, refine and represent a composition using a Digistore image as the source of
motivation. (DI)
Use the elements of music, instruments, appropriate technologies and conventions to communicate
expressive intent and imaginative thinking. (DI)
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Reflect on and evaluate compositional processes and presentation conventions. (DI)
ACHIEVEMENT OBJECTIVES: MUSIC SOUND ARTS
Students will:
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Understanding Music –Sound Arts in Context
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Developing Practical Knowledge in Music –
Sound Arts
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Developing Ideas in Music – Sound Arts
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Communicating and Interpreting in Music Sound Arts
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2
Level 7: Research and analyse music from a
range of sound environments, styles, and
genres, in relation to historical, social, and
cultural contexts, considering the impact on
music making and production.
Level 7: Apply their understandings of the
expressive qualities of music from a range
of contexts to a consideration of their
influence on their own music practices.
Level 8: Research, analyse and evaluate the
production and presentation of music works
from historical, social and cultural contexts.
Level 8: Apply their understandings of the
expressive qualities of music from a range
of contexts to analyse the impact on their
own music practices.
Level 7: Apply knowledge of expressive
features,
stylistic
conventions,
and
technologies through an integration of aural
perception and practical and theoretical
skills and analyse how they are used in a
range of music.
Level 8: Analyse, apply, and evaluate
significant expressive features and stylistic
conventions and technologies in a range of
music, using aural perception and practical
and theoretical skills.
Level 7: Create, structure, refine, and
represent
compositions
and
musical
arrangements using technical and musical
skills
and
technologies
to
express
imaginative
thinking
and
personal
understandings.
Reflect on and evaluate composition
processes and presentation conventions.
Level 8: Create, structure, refine, and
represent
compositions
and
musical
arrangements, using secure technical and
musical skills and technologies to express
imaginative
thinking
and
personal
understandings.
Reflect on and evaluate
processes and presentation
composition
Level 7: Analyse and evaluate the
expressive qualities of music and production
processes to inform interpretations of music.
Level 8: Critically analyse and evaluate the
expressive qualities of music and production
processes in order to refine interpretations
of music.
SUMMARY OF KEY COMPETENCIES EMBEDDED IN UNIT
Thinking
Consider the kinds of creative, critical and meta-cognitive thinking
processes that help us make sense of visual and auditory information,
experiences and ideas. Consider how personal experiences and
challenges to our own personal understanding of the arts can be a
stimulus for creative thought and action. Consider personal goals in
music composition and how the knowledge shared and built upon in this
unit may be integrated into our own personal practice, identity and
expertise.
Participating
and
contributing
Consider how sharing ideas with others, especially around culture and
difference helps to build tolerance, understanding and our own
perspectives. Consider how respecting other people's ideas builds our
capacity to listen more intently, recognise different points of view and
negotiate solutions. Consider how our capacity to contribute
appropriately as a group member allows us to make connections with
others and stimulate opportunities for our friends and peers.
Using
language,
symbols, and
texts
Consider how composers have used symbols and/or visual works of art as
sources of inspiration for their own communication and representation of
experiences and musical ideas. Consider how the language of music, and
its symbolic representation, provides a means of communicating personal
and musical understandings. Consider how the choice of musical
language can be affected by the source of inspiration for the conception
and creation of music. Consider how the visual arts and music can help
us to tap into experiences, thoughts and actions and help us to make
meaning in our lives.
Managing self
Consider how the way we learn is often unique and impacts on our
confidence and attitude towards subject content. [Students may wish to
complete a questionnaire, which helps them to identify their own learning
style.
See
http://www.engr.ncsu.edu/learningstyles/ilsweb.html]
Consider individual active listening skills ensuring that students spend
time listening to the ideas and concerns of others (teacher and peers)
and reflect upon these. Consider how we react to feedback (criticism)
intellectually and emotionally and how we use (or not use) what others
say.
Relating to
others
Consider the four phases known as: Forming (initial stage of joining
together and approaching a topic); Storming (stage of discussion,
conflict, diverse opinions and emotional meltdowns!); Norming
(harmony, successful task allocation and mutual support); Performing
(constructive work heading to completion) when working as groups.
Consider personal assertiveness when working with and interacting with
other people. [Students may wish to complete a questionnaire, which
3
helps
them
to
identify
their
own
learning
style.
See
http://stress.about.com/library/assertiveness_quiz/bl_assertiveness_quiz
.htm]
SEQUENCE ONE (3-4 lessons)
Focusing Question
How can art works influence the composition of music?
Learning Outcomes
Students will:
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Listen to, read about, research and analyse a range of music that has been composed as
responses to art works as the source of motivation. (UC, PK)
Listen to a variety of compositions known to be influenced by works of art and discuss /
share ideas about the art work and how it has influenced the mood, shape, structure,
language etc. of the music. (UC, PK Vis Art, CI)
Consider the language we use to discuss, investigate, describe and evaluate music. (UC,
PK)
Activities
1. The following is a selective list of compositions known to be influenced by works of art. The
list is not exhaustive in its inclusion does not include any New Zealand works, however could.
(e.g. Magnificat by Dorothy Buchanan composed for the opening of the Marian window by Philip
Trustrum at the Cathedral of the Blessed Sacrament in Christchurch in the 1980s.) The musical
composition is cited first with any known data on instrumentation, date of composition, and
publication (if known). A citation for the artist and work of art, which inspired the music, follows
each composition entry. Listen to at least FOUR of these and view the arts work/s associated
with each composition. Art works are called sources of inspiration and contain web-links in blue.
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Alpher, David. Las Meninas for piano; also arranged for oboe, cello, guitar, and piano.
1985. Lakeland, FL: Brixton, 1994. Source of inspiration: Pablo Picasso: Las Meninas, a
study on Las Meninas by Diego Velázquez.
(http://www.abcgallery.com/P/picasso/picasso211.html)
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Boulez, Pierre. Structures Ia for two pianos. 1952. Mainz: Universal Edition, 1955.
Source of inspiration: Paul, Klee: Structures Ia.
(http://www.spaightwoodgalleries.com/Pages/Klee.html)
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Bourland, Roger. Seven Pollock Paintings for flute, clarinet, and soprano saxophone, bass
clarinet, violin, viola, violoncello, double bass, and tam tam. Newton Centre, MA: Margun
Music, 1980. Source of inspiration: Jackson Pollock: Lavender Mist, The Wooden Horse,
Eyes in the Heat, Drawing 1950, Peacocks Afraid of Colour, The Deep, The Saint.
(http://www.ibiblio.org/wm/paint/auth/pollock/,
http://en.wikipedia.org/wiki/Jackson_Pollock)
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Dutilleux, Henri. Timbres, espace, mouvement for orchestra. Paris: Huegel et Cie, 1980.
Source of inspiration: Vincent van Gogh: The Starry Night.
(http://www.vangoghgallery.com/painting/starryindex.html)
Hartke, Stephen: King of the Sun, tableau for violin, viola, cello, piano. St. Louis:
Norruth Music, Inc., 1993. Source of inspiration: Joan Miro: Personages in the Night
4
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Guided by Phosphorescent Tracks of Snails; Dutch Interior, Dancers Listening to the
Organ in a Gothic Cathedral; The Flames of the Sun Make the Dessert Flowers Hysterical;
Personages and Birds Rejoicing at the Arrival of Night.
(http://www.art.com/asp/display_artist-asp/_/crid--131/pg--6/Joan_Miro.htm)
Hindemith, Paul. Mathis der Maler, opera and symphony. Mainz: B. Schott's Söhne,
1935. Source of inspiration: Matthias Grünewald: Altarpiece at Isenheim - symphony
uses three instrumental movements from the opera based on Englekonzert (Angel's
concert), Grablegung (Burial), Versuchung des Heiligen Antonius (Temptation of St.
Anthony). (http://www.wga.hu/frames-e.html?/html/g/grunewal/2isenhei/index.html)
Liszt, Franz. Von der Wiege bis zum Grabe for orchestra. New York: G. Schirmer, 1881 2. Source of inspiration: Count Michael Zichy: Von der Wiege bis zum Grabe
(http://www.amazon.com/Liszt-Canticle-Sun/dp/B000002ZTR)
McCabe, John. The Chagall Windows for orchestra. 1974. London: Novello, 1975.
Source of inspiration: Marc Chagall: stained-glass windows in the synagogue of the
Hadassah Hospital, Hebrew University, Jerusalem.
(http://www.md.huji.ac.il/chagall/chagall.html)
McTee, Cindy. The Twittering Machine for chamber orchestra. St. Louis: Norruth Music,
Inc., 1993. Source of inspiration: Paul Klee: The Twittering Machine.
(http://www.csulb.edu/~karenk/20thcwebsite/438final/ah438fin-Info.00033.html)
Martinu, Bohuslav. Fresques de Piero della Francesca for orchestra. Mainz: Universal
Editions, 1955. Source of inspiration: Piero della Francesca: frescoes.
(http://www.pierodellafrancesca.it/piero_gb/index.html)
Rachmaninoff, Sergei. Isle of the Dead, Op. 29, for orchestra. New York: Boosey and
Hawkes, Inc., 1907. Source of inspiration: Arnold Bocklin: Isle of the Dead.
(http://www.stmoroky.com/reviews/gallery/bocklin/iotd.htm)
Respighi, Ottorino. Trittico Botticelliano for orchestra. Milan: G. Ricordi and Co., 1927.
Source of inspiration: Alesandro Di Mariano Botticelli: La Primavera, L'Adorazione dei
Magi, La Nascita di Venere. (http://www.umanista.net/it/botticelli.html)
Schuller, Gunther. Seven Studies on Themes of Paul Klee for orchestra. Mainz:
Universal Edition, 1959. Source of inspiration: Paul Klee: Antique Harmonies, Abstract
Trio, Little Blue Devil, The Twittering Machine, Arab Village, An Eerie Moment, Pastourale.
Shaffer, Jeanne E. Woman with a Parasol, music for flute, violin, viola, and cello.
Montgomery, AL: Company Press, 1996. Source of inspiration: Claude Monet: Woman
with a Parasol. (http://www.nga.gov/cgi-bin/pinfo?Object=61113+0+none)
Sondheim, Stephen. Sunday in the Park with George, musical theatre. 1984. New York:
PAJ Publications, 1986. Source of inspiration: Georges Pierre Seurat: Sunday on the
Island of La Grand Jatte.
(http://en.wikipedia.org/wiki/Sunday_Afternoon_on_the_Island_of_La_Grande_Jatte)
Stravinsky, Igor. The Rake's Progress, opera. New York: Boosey and Hawkes, Inc.,
1951. Source of inspiration: William Hogarth: The Rake's Progress series of engravings.
(http://en.wikipedia.org/wiki/A_Rake's_Progress)
Vaughn Williams, Ralph. Job, a masque for dancing. 1927 - 31. Source of inspiration:
William Blake: engravings for The Book of Job.
(http://en.wikipedia.org/wiki/William_Blake's_Illustrations_of_the_Book_of_Job)
Examine the artwork/s that were sources of inspiration for at least FOUR musical compositions
listed above using The Generic Art Game (see Assessment Approach, p7).
2. To dig deeper into the artworks, consider researching the artist and the work – investigating
influences and social/cultural contexts, making links to the UC and CI strands of the visual arts
curriculum.
5
3. Other activities (from Levels 3 – 6, The Arts in the New Zealand Curriculum, pp 76-79):
 Discuss why some objects and images have particular value for certain groups of people.
(UC)
 Discuss how different groups of people use clothing and personal adornment to express their
identity, role, or status in society. View and discuss a selection of group or individual portraits
that reflect social and cultural identity. (UC, CI)
 Investigate how artists working within particular cultural traditions use specific subject
matter. Describe and discuss the ideas communicated in artists’ works and use a selection of
these and relevant subject matter as the basis for developing personal ideas on a theme.
(UC, DI, PK)
 Investigate and discuss the compositions and techniques of artists from New Zealand who
use landscape as their subject matter. Analyse and comment on the ideas and concepts
expressed in the works studied. (CI)
 Research and make a study of a selected contemporary Mãori, Pasifika or Asian artist. Explain
how the work relates to their culture, time, gender and society in which the artist lives.
Discuss how such factors have influenced the work. (UC)
4. Listen to a selection of music associated with the artworks listed in Activity 1, p4. Have
students share ideas about the connections between the visual and musical language used to
express creative intentions. Use the Assessment Approach, Connecting Symbol with Sound on
p8. Ask students to brainstorm a list of moods or emotions, encouraging them to move beyond
the
basic
ones.
Share
with
them
this
list
from
a
website:
http://hopeforjoy.org/listofemotions.aspx or consider sharing Aristotle’s list –
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Anger: An impulse to revenge that shall be evident, and caused by an obvious, unjustified
slight with respect to the individual or his/her friends. Slights have three species: contempt,
spite, and insolence.
Mildness: The settling down and quieting of anger.
Love: Wishing for a person those things which you consider to be good—wishing them for
his/her sake and not your own, and tending so far as you can to affect them.
Enmity (Hatred): Whereas anger is excited by offences that concern the individual, enmity
may arise without regard to the individual as such. Anger is directed against the individual,
hatred is directed against the class as well.
Fear: A pain or disturbance arising from a mental image of impending evil of a painful or
destructive sort.
Confidence: The opposite of fear. Confidence is the hope (anticipation), accompanied by a
mental image, of things conducive to safety as being near at hand, while causes of fear seem
to be either non-existent or far away.
Shame: A pain or disturbance regarding that class of evils, in the present, past, or future,
which we think will tend to our discredit.
Shamelessness: A certain contempt or indifference regarding the said evils.
Benevolence: The emotion toward disinterested kindness in doing or returning good to
another or to all others; the same term represents the kind action as an action; or the kind
thing done considered as a result.
Pity: A sense of pain at what we take to be an evil of a destructive or painful kind, which
befalls one who does not deserve it, which we think we ourselves or some one allied to us
might likewise suffer, and when this possibility seems near at hand.
Indignation: A pain at the sight of undeserved good fortune.
Envy: A disturbing pain directed at the good fortune of an equal. The pain is felt not because
one desires something, but because the other persons have it.
Contempt: The antithesis of emulation (Persons who are in a position to emulate or to be
emulated must tend to feel contempt for those who are subject to any evils [defects and
disadvantages] that are opposite to the goods arousing emulation, and to feel it with respect
to these evils).
6
5. Ask students to identify the ‘mood’ (the pervading impression, state of mind or emotion) of
the artwork and associated musical work in Activity 1. What expressive features and/or musical
devices are used to achieve the mood in the music? Consider tonality, tempo, melodic shape,
rhythmic features, harmony, timbre, dynamics and texture. Make links between this analysis
and the kind of creative thinking that students will need to do when planning and generating
[devising, selecting, reviewing, re-working, extending, shaping, and structuring musical ideas]
their own instrumentation /arrangement and composition.
6. Have students think about how we talk about music, considering that music often expresses
what words / text cannot. Discuss with students the following:
 How do we describe music? What do we do? What language do we use? How helpful is it?
 What does it mean to analyse a piece of music? (Refer to formal analysis conventions used by
musicologists – see http://solomonsmusic.net/formal.htm and
http://www.echeat.com/essay.php?t=28100). Why do we analyse music?
 How do we evaluate or critique music? Why do we do it? What language do we use?
Assessment Approach
The Generic Art Game
Ask whether the students like the artworks. Why or why not? Remember to tell students that
there are no right answers!
1. Look carefully at the work of art in front of you. What colours do you see in it? Take turns
listing the specific colours that you see (e.g: "I see red." "I see purple.")
2. What do you see in the work of art in front of you? Take turns listing the objects that you see
(e.g: "I see an apple." "I see a triangle.")
3. What is going on in this work of art? Take turns mentioning whatever you see happening, no
matter how small.
4. Does anything you have noticed in this work of art so far (e.g: colours, objects, or events)
remind you of something in your own life? Take turns answering.
5. Is this work of art true to life? How real has the artist made things look?
6. What ideas and emotions do you think this work of art expresses?
7. Do you have a sense of how the artist might have felt when he or she made this work of art?
Does it make you feel one way or another?
8. Take a look at the other works of art displayed around this one. Do they look alike? What is
similar about the way they look (e.g: objects, events, feelings, the way they are made)? What is
different?
9. What would you have called this work of art if you had made it yourself? Does the title of the
work, if there is one, make sense to you?
10. Think back on your previous observations. What have you discovered from looking at this
work of art? Have you learned anything about yourself or others?
Now that the game is over, ask students again: Do you like this work of art? Why or why not?
7
Has your reaction to the work changed? Do you like it more or less than you did in the
beginning? Why?
Reference: The Generic Art Game was created by Project Muse (Museums Uniting with Schools in
Education), at the Harvard Graduate School of Education. The group can be reached via email, at
Project_MUSE@pz.harvard.edu. Original copyright 1991, Davis Copyright 1993, Harvard Project Zero .
Connecting Symbol with Sound
With the music associated with the artworks, ask a series of open, guided and closed questions
to challenge students’ THINKING and to gather musical information. e.g:
Open – What did you hear? How does that match what you see or didn’t see in the artwork?
How would you describe what you heard – how does that match the description of the artwork
that influenced this piece?
Guided – What makes this piece so evocative of the painting? How would you describe the mood
or the atmosphere? Where did the texture change and why? How does the composer depict the
heat of the day? How might we incorporate some of the rhythms or sound effects in our own
sound work?
Closed - Clap the ostinato. What is the tonality of the music? How many instruments did you
hear? How did the tempo/dynamics/other elements change? (Guided follow-up – if so, how?)
Now with the music associated with the artworks, ask a series of analytical, judicial and creative
questions to challenge students’ CRITICAL THINKING and METACOGNITION to develop
awareness of their own thinking process, using a framework developed by Lenore Pogonowki.
E.g:
Analytical - Tell me about the melody. Why does that remind you of Stravinsky? What happened
on beat 3? What is the clarinet doing?
Judicial – How did the composer’s/arranger’s plan work? Why was that choice made? What was
the best section and why? Where did the piece lose its drive?
Creative - What could the composer have done here? What aspects could be developed
less/more? How? What could be changed and why? Where could you go with this idea?
Reference: Allsup, R.E., Baxter, M. (2004.) Talking about music: Better questions? Better discussions!
Music Educators Journal, 91 (2), 29-33.
8
SEQUENCE TWO (15 - 20 lessons)
Focusing Question
How do we share ideas with others about music, interpreting language and expressive symbols,
in a way that uses our creative, critical and meta-cognitive processes, to make sense of
ephemeral ideas?
Learning Outcomes
Students will:

View and share ideas about the artworks that influenced the composition of Pictures at an
Exhibition by Mussorgsky. (UC, PK)

Listen to, study and discuss the original piano version and a selection of orchestral and
non-orchestral arrangements of Mussorgsky’s Pictures at an Exhibition. (UC, PK)


Generate an instrumentation using around 32 bars of Promenade from Pictures at an
Exhibition by Mussorgsky as the source material. (Level 2 students) (DI)
Create an arrangement for an instrumental ensemble of at least three instruments, of
The City Gates from Pictures at an Exhibition by Mussorgsky. (Level 3 students) (DI)
Activity
Information:
The first musician to arrange Mussorgsky’s Pictures at an Exhibition for
orchestra was the little-known Russian composer and conductor Mikhail
Tushmalov (1861–1896). However, his version (first performed in 1891
and possibly produced as early as 1886 when he was a student of
Rimsky-Korsakov) does not include the entire suite: Only seven of the ten
“pictures” are present, leaving out Gnomus, Tuileries, and Bydło, and all
the Promenades are omitted except for the last one, which is used in place of the first.
The next orchestration was that undertaken by the British conductor Henry Wood in 1915. Wood
withdrew his version when Ravel's was published but it has been recorded (by the London
Philharmonic under Nicholas Braithwaite) and issued on the Lyrita label, revealing not only the
omission of all but the first of the Promenades but extensive re-composition elsewhere.
The first person to orchestrate the piece in its entirety was the Slovenian-born conductor and
violinist Leo Funtek, who finished his version in 1922 while living and working in Finland.
The version by Maurice Ravel (also produced in 1922, to a commission by Serge Koussevitzky)
is a virtuoso effort by a master colourist, and has proved the most popular in the concert hall
and on record. Ravel does, however, omit the Promenade between “Samuel” Goldenberg und
“Schmuÿle” and Limoges. Koussevitzky held sole conducting rights in his commission for several
years and not only published Ravel's score himself, but in 1930 made its first recording with the
9
Boston Symphony Orchestra.
This exclusivity occasioned the appearance of other contemporary versions, such as the
publication of an orchestral arrangement by Leonidas Leonardi, an orchestration student of
Ravel himself, whose score requires even larger forces than Ravel's. Leonardi conducted the
premiere of his transcription in Paris in 1924. Another arrangement appeared when Eugene
Ormandy took over the Philadelphia Orchestra in 1936 following Stokowski's decision to resign
the conductorship. He wanted a version of Pictures he could call his own so he commissioned
Lucien Cailliet (the Philadelphia Orchestra's 'house arranger' and a member of the woodwind
section) to produce one, and this was premiered and recorded by Ormandy in 1937. Walter
Goehr, on the other hand, published a version in 1942 for smaller forces than Ravel but
curiously dropped 'Gnomus' altogether and made 'Limoges' the first 'Picture'!
It should be noted that although Ravel's version has been much recorded, a number of
conductors have made their own changes to the scoring, including Arturo Toscanini, Nikolai
Golovanov and Djong Victorin Yu. The conductor Leonard Slatkin has also made several of his
own 'compendium' versions, in which each Promenade and Picture is by a different orchestral
arranger. Also, conductor and pianist Vladimir Ashkenazy alleged that Ravel not only made his
version using a corrupt edition of the piano version but also added his own amendments in
notation and dynamics while incorporating all the misprints. This plus what he considered
Ravel's inauthentic orchestral coloration prompted him to make his own arrangement of
Pictures.
The conductor Leopold Stokowski had introduced Ravel’s version to Philadelphia audiences in
November 1929; he produced his own very free orchestration (incorporating much recomposition) ten years later, aiming for what he called a more 'Slavic' orchestral sound, feeling
that Ravel's was too 'Gallic'. Stokowski revised his version over the years, and made three
recordings of it (1939, 1941 and 1965). The score was not printed until 1971 and has since
been recorded by several other conductors, including Matthias Bamert, Gennady
Rozhdestvensky, Oliver Knussen and Jose Serebrier.
Many other orchestrations and arrangements have been created, and the original piano
composition is also frequently performed and recorded. A brass ensemble arrangement was
made by Elgar Howarth for the Philip Jones Brass Ensemble in the 1970s. There is even an
adaptation for solo classical guitar by Kazuhito Yamashita. Excerpts have also been recorded,
including a 78rpm disc of The Old Castle and Catacombs orchestrated by Sir Granville Bantock,
and a spectacular version of The Great Gate of Kiev scored by Douglas Gamley for full symphony
orchestra, male voice choir and organ.
There have also been several very different non-classical interpretations: one incorporating
progressive rock, jazz and folk music elements by the British trio, Emerson, Lake & Palmer, in
their 1971 album Pictures at an Exhibition, and an electronic music adaptation by Isao Tomita in
1975. A heavy metal arrangement of the entire suite was released by German band, Mekong
Delta. Another metal band, Armored Saint, use the "Great Gate of Kiev's” main theme as the
introduction to the track "March of the Saint". In 2002, electronic musician-composer Amon
Tobin paraphrased Gnomus for the track Back From Space on his album Out from Out Where. In
2003, guitarist-composer Trevor Rabin released his electric guitar adaptation of "Promenade,"
once intended for the Yes album Big Generator, later included in his demo album 90124.
A
very
basic
analysis
of
the
scf.usc.edu/~christjy/final_files/frame.htm
work
can
be
found
A listing of some orchestral arrangements of Pictures at an Exhibition:
* Henry Wood (1915; four Promenades omitted)
* Leo Funtek (1922; all Promenades included)
10
at
http://www-
*
*
*
*
*
*
*
*
*
*
*
*
*
*
Maurice Ravel (1922; the fifth Promenade omitted)
Giuseppe Becce (1922; for “salon-orchestra”)
Leonidas Leonardi (1924)
Lucien Cailliet (1937)
Walter Goehr (1942; Gnomus omitted; includes a subsidiary part for piano)
Sergei Gorchakov (1954)
Daniel Walter (1959)
Helmut Brandenburg (ca. 1970)
Emile Naoumoff (ca. 1974, for piano and orchestra)
Lawrence Leonard (1977; in concerto style for piano and orchestra)
Mekong Delta (1997; for group and orchestra)
Carl Simpson (1997)
Julian Yu (2002; for chamber orchestra)
Michael Allen (2007)
Non-orchestral arrangements
A listing of some non-orchestral arrangements of Pictures at an Exhibition:
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
Giuseppe Becce (1930; for piano trio)
Duke Ellington (date unknown; for big band)
Rudolf Wurthner (ca. 1954; for accordion orchestra; abridged version)
Ralph Burns (1957; for jazz orchestra)
Emerson, Lake & Palmer (1971; rock group)
Harry van Hoof (ca. 1972; brass ensemble; The Bogatyr Gates only)
Isao Tomita (1975; for synthesizer)
Oskar Gottlieb Blarr (1976; for organ)
Elgar Howarth (ca. 1977; for brass ensemble)
Arthur Willis (1970s; for organ)
Dr. Keith Chapman (1970s; for the Wanamaker organ)
Kazuhito Yamashita (1980; for classical guitar)
Elgar Howarth (1981; for brass band)
Reginald Haché (1982; for two pianos)
Henk de Vlieger (1984; for 14 percussion players, celesta and harp)
James Curnow (1985; for concert band; abridged version)
Jan Hala (ca. 1988; for guitar and pop orchestra; Baba-Yaga only)
Jean Guillou (ca. 1988; for organ)
Heinz Wallisch (ca. 1989; for two guitars)
Yuri Chernov (ca. 1991; for Russian folk instrument orchestra; The Bogatyr Gates only)
Gert van Keulen (1992; for band)
Hans Wilhelm Plate (1993; for 44 grand pianos and one prepared piano)
Jim Prime & Thom Hannum (ca. 1994; for brass quintet and band; abridged version)
Tangerine Dream (1994)
Mekong Delta (1997; for metal band)
Joachim Linckelmann (ca. 1999 for wind quintet)
Massimo Gabba (2006; for organ)
Mauricio Romero (2007; complete transcription for double bass alone)
Tony Matthews (2007; complete transcription for Brass Quintet)
Slav de Hren (2008; for a punk-jazz band and vocal ensemble. Some of the pieces are
complete transcriptions, others are improvisations on the original theme)
Note: Many of these titles can be searched on amazon.com – you are then able to hear sound
samples and/or purchase and download mp3s.
Discussion 1:
Get students to listen to, follow the score/s and discuss and/or analyse the original piano version
11
of a movement or two of Pictures at an Exhibition. The whole score can be downloaded from
http://www.scribd.com/doc/253252/Moussourgsky-Pictures-at-an-Exhibition-Bauer-Ed- The first
Promenade can be viewed on You Tube at
http://kr.youtube.com/watch?v=lySDqDTQx4M&feature=related
Pictures at an Exhibition is an imaginary musical tour through a collection of Viktor Hartmann's
drawings and watercolours (see below). The structure of the suite showcases Mussorgsky at his
most innovative, composing the album as if it was an actual walk through the exhibition. Each
Promenade (leisurely walk) between pictures takes on a different form and emotion, creating a
natural flow between pictures. Each of the 10 pieces represented by Mussorgsky takes on their
own unique form, ranging from the mysterious, to the patriotic and even to haunting darkness.
Some of the artworks portrayed have been lost or destroyed, yet Mussorgsky's musical
representations clearly portray what the paintings may have looked like. For such a subjective
art form, Mussorgsky's music focuses in on the essence of each painting, capturing their spirit
into 30 minutes of musical brilliance. With each note, Mussorgsky recreates a stroke of the
brush, every note falling into place to paint each striking picture.
Discussion 2:
View and talk about the works by Hartmann (see
http://en.wikipedia.org/wiki/Pictures_at_an_Exhibition and below) that can be shown with any
certainty to have been used by Mussorgsky in composing his suite:
12
Discussion 3:
Listen to the whole work by Mussorgsky and discuss with the students how these art works may
have been interpreted by Mussorgsky in Pictures at an Exhibition. Consider links between the
form, mood and emotion of the pictures compared with the music. In groups, write a series of
open, guided, closed, analytical and judicial questions to ask each other in order to further
deepen understanding between the music and the art works. View Wikipedia site for further
information: http://en.wikipedia.org/wiki/Pictures_at_an_Exhibition.
Discussion 4:
Listen to a selection of orchestral and non-orchestral arrangements of Mussorgsky’s Pictures at
an Exhibition, including Henry Wood’s and Maurice Ravel’s. Information on how to purchase
these
scores
and/or
recordings
can
be
downloaded
from
http://imslp.org/wiki/Pictures_at_an_Exhibition_(Mussorgsky,_Modest_Petrovich).
Ravel’s
version of The Great Gate of Kiev (and other related videos) can be viewed on You Tube at
http://kr.youtube.com/watch?v=NlFnahc_OVs&feature=related. Discuss how the orchestrations
are effective in communicating the mood and expressive intent of the original.
Information on Ravel’s Orchestration of Pictures At An Exhibition:
In the orchestral scoring of each Promenade, Ravel outlines the different variations on the
opening cell by using a variety of different orchestrations.
The first piece of the set, entitled Gnomus (Gnome), depicts "a little gnome clumsily running
with crooked legs.” In the original piano score, Mussorgsky represents the awkwardness of the
gnome's movement using sudden, stark dynamic contrasts, hemiolas, and juxtapositions of
extreme registers. In place of motivic development, Mussorgsky resorts to something
reminiscent of block technique (best-known from Stravinsky's The Rite of Spring), which also
serves to enhance the image of the subject's sporadic motion. All of these elements are retained
in Ravel's orchestration, as they are inherent in the musical fabric itself; however, he exploits
the superior diversity of the orchestra to further intensify the sense of fragmentation and
unevenness achieved by Mussorgsky.
Tuileries, the third picture represented in Mussorgsky's work, is described as "an avenue in the
garden of the Tuileries, with a swarm of children and nurses." The most obvious thing to note in
Ravel's orchestration of this movement is that the brass section is omitted. The heavy sound
that characterises this excluded section would not have suited the subjects envisioned by
Mussorgsky; children and Nurses (the feminine element) are traditionally characterized by
gentleness, and nurturing. At the beginning, Ravel scores the music for woodwinds alone, with
the flutes and oboes playing the running sixteenth-notes. It is only at bar 14 that the other
orchestral force, the strings, come in alone. In the original, Mussorgsky attempts to differentiate
these two sections (one representing the children and the other the nurses) with a change in
register, and rhythmic augmentation. Although this proves effective, Ravel's use of two different
orchestral sections expands this two dimensional differentiation (register, diminution) to one of
three dimensions (contrast in colour). Moreover, the distinction between the two sets of
characters in the orchestral version is clarified significantly in comparison to the original at bar
15. Here, Ravel is again able to use the different colours of the orchestra to distinguish the
melodic antecedent from the detached consequent, whereas Mussorgsky is limited to staccato
versus legato articulation to illustrate the same division.
Ballet des poussins dans leurs coques weighs heavily in favour of Ravel's orchestration. Besides
the simple fact that a flute is much more capable of sounding like a bird, the colouristic variation
offered by the different timbres of the woodwind section affirms the inferiority of the piano as a
medium for this piece. In the orchestration, Ravel is able to separate the top voice (played by
13
the flutes) from the chords (played by the oboes, clarinets, and harp), thus emancipate the
chirping of the chicks from the supporting harmonies. At the same time, he doubles the melody
(grace note omitted) in the first oboe and the harp. This variety of colours gives the impression
that there are several chicks chirping, and not just one as the piano version implies.
Furthermore, in the trio section, the trills (played by the first violins) do not overpower the
continuous chirping of the chicks (played by the flutes) as they do in the piano version. Ravel
also uses the greater possibilities of the orchestral medium to ensure the effectiveness of this
hierarchy. By maintaining the flute as the principle 'chirping' instrument, Ravel forces one to
associate this instrument with the sound of the chicks. The effect is drastically different from
that produced by Mussorgsky's version, which draws the ear exclusively to the trills.
Goldenberg und Schmuyle does not appear in Paul Lamm's authoritative edition of Mussorgsky's
works, nor is it justified by anything in the catalogue of Hartmann's works. In fact, reading from
the manuscripts, one will find that this is the only movement without a title given by the
composer. Stassov's describes this piece as "two Polish Jews, one rich, and the other poor".
Ravel's clever choice of instrumentation in this movement intensifies the drastic difference in
class and stature between the two Jews represented. A full body of strings is used to depict the
wealthy one of the two characters. The strength of this sound alone could never be reproduced
on the piano; however, Ravel chooses to further intensify it by notating sul sol in the violin part.
The G-string on the violin is the thickest and most sonorous of the four strings. By adding an
English horn, two clarinets, a bass clarinet, and two bassoons to the string section, Ravel rounds
off the symbol of strength with a colouristic richness that is never equalled by the
instrumentation representing the poor Jew. The trumpet, marked con sordino, represents the
pleading of the poorer of the two characters. With the addition of two oboes, it can be said that
Ravel consciously introduced the two new instruments (not used in the opening) to differentiate
between the characters. As the poor Jew's pleading intensifies, the instruments used in the
opening successively re-enter (perhaps symbolising the poor character's rising affluence).
Although Mussorgsky successfully represents this contrast in social class by extremities in
register and dynamics, Ravel's orchestration has the benefit of associating specific instruments
with certain characters. It is no coincidence that an entire section is devoted to the rich Jew,
whereas a single instrument serves the poor one. It may also be mentioned that the repeated
triplet patterns in the Andantino section are not particularly idiomatic for the piano.
The happenings of the seventh picture of the set, entitled Limoges. Le marché (la grande
nouvelle) are more accurately portrayed in Ravel's orchestration. The concept of this movement
is quite similar to that put forth in Tuileries. Both movements represent conversations; one
being physical (Tuileries) and the other verbal (Limoges). Intended to depict "Frenchwomen
furiously disputing in the marketplace", Mussorgsky's version seems almost contradictory,
namely because the voices almost always move together, and the respective register of the
right and left hand are always in close proximity to one another. In other words, no sense of
conversation (disputing) is achieved. The opening measures of Ravel's orchestration of Limoges
provide a prime example of how he uses the variety of the orchestra to enhance the realism
desired by Mussorgsky. In the orchestral arrangement, the different sections of the melody
(defined by different articulations in the original) are given, not only to different instruments,
but also to different instrumental families. The opening bar is presented by the horns, and
followed by the first violin in the second bar, which is then joined by the flutes half way through.
The penultimate movement of the piece, The Hut on Fowls' Legs (Baba-Yaga), is modelled after
"Hartmann's drawing depicting a clock in the form of Baba-Yaga's hut on fowls' legs." Stassov
also notes that, "Mussorgsky added Baba-yaga's flight in a mortar. "Baba-Yaga”, the fearsome
witch with iron teeth, is a legacy of Russian folklore. She lives deep in the forest, in a hut that
can move about on its extra-large chicken legs. When moving through the forest, the hut
constantly spins around emitting blood-chilling screams until a secret incantation is uttered, and
the hut becomes eerily still. Whenever Baba-Yaga herself appears, a ferocious wind begins to
blow, and the whole of nature becomes disturbed.
14
Musically, the problem is similar to that of the poor Jew's motive; the writing is simply not
idiomatic for the piano. Not much needs to be said about how Ravel's orchestration of Pictures
achieves a greater sense of realism in this movement. The orchestral forces are far more
suitable to create an atmosphere of chaos, as is presented in the A and A' sections of BabaYaga. In the B section, marked Andante mosso, Ravel maintains the sense of stillness (this is
the hut at rest) in two ways. Firstly, he restricts himself to three different instruments (flute,
bassoon, and contrabass) for the first seven bars. When the tension builds again, beginning in
the eighth bar of the Andante mosso section, Ravel slowly introduces more forces, but maintains
the soft dynamic. Secondly, by separating the accompaniment from the melody, Ravel
eliminates the inherent tension of the original that results from the piano having to play both
elements.
The grand finale of the suite, The Great Gate of Kiev, is the only movement based on one of
Hartmann's architectural sketches. "Hartmann's sketch was his design for city gates at Kiev in
the ancient Russian massive style with a cupola shaped like a Slavonic helmet." The movement
is dominated by the brass section, which achieves a sound more grand and clear than any piano
ever could. For example, in the section marked energico, beginning at bar 47, the scales played
by the strings do not intrude upon the grandiose theme, as they do when played in octaves on
the piano. Furthermore, the contrast between the forte brass sections, and the senza
expressione sections (marked piano) played by the clarinets and bassoons is several times more
effective than the contrast achieved on the piano. Lastly, in the meno mosso, sempre maestoso
section, Ravel changes the original meter from 2/2 to 3/2. Also, he sustains the melody in the
woodwinds and brass, while the strings play the repeated chords. In Mussorgsky's version, the
triplets seem to obscure the melody unnecessarily. In all, Ravel attains a much broader sound,
and an unprecedented clarity; both, essential elements to depict the grandeur of the gate.
Stassov described Il Vecchio Castello as, "a medieval castle before which a troubadour sings a
song." Ravel begins by giving the espressivo melody to the bassoons. At bar 8, a saxophone
responds to the opening melody with one of its own. Throughout the movement, there is a
constant dialogue between these two instruments, and eventually the violins (bar 30), oboes
(bar 36), flutes (bar 39), clarinets (bar 42), and the English horn (bar 52). Although Ravel's
orchestration is very clever, it works against the sense of realism; the dialogue suggests that
more than one person is singing.
The movement entitled Byldo (Polish for ‘cattle’) depicts "a Polish cart on enormous wheels,
drawn by oxen." This movement, in its original form, begins with alternating chords in the low
register of the piano that lack clarity as a result. Ravel's orchestration gives these chords to the
low strings (‘cello and contrabasso), and notates a portato articulation, which causes for a much
clearer sound than that produced in the low range of the piano. Seemingly problematic at first,
this muddy piano sonority comes as a blessing in disguise. As Laurence Davies points out, "since
the music is intended to depict the lumbering up and eventual disappearance of a Polish oxcart,
all this undifferentiated sound serves to strengthen the massive, tuneless grinding of the cart's
wheels and the ultimate substitution of silence for noise."
Catacombae is a depiction of "Hartmann himself examining the Paris catacombs by the light of a
lantern." The numerous fermatas in combination with the subject of this movement, proves to
be perfectly suited to the piano. The natural decay that occurs on this instrument, immediately
after a pitch is sounded, embodies the very sound of a crypt. Moreover, the resonation of the
sound proves analogous to the echoes that characterise the stereotypical perception of being in
a tomb.
The answer to the question of whether or not Mussorgsky would have approved of an orchestral
version of Pictures at an Exhibition will never be known for sure. Nonetheless, something can be
said concerning one particular orchestration of the Russian composer's most famous work. The
15
orchestral version completed by Maurice Ravel enhances Mussorgsky's most fundamental
philosophy concerning music; that of realism. Of the ten pictures that constitute the piece,
seven benefit significantly from the French composer's orchestration in terms of the
compositional philosophy at hand. Even so, what is perhaps most important of all, is that no
analysis of any kind can place one version of the piece above the other with absolute certainty.
This will remain, as always, a matter of taste. What can be confidently stated, however, is that
Mussorgsky's original creation, with its unique harmonies and fascinating program, will continue
to excite the minds of scholars for years to come.
© 2008 Andrew Schartmann (http://www.drewsical.com/mussorgsky1.html)
Discussion 5:
Discuss whether Ravel’s painting of Pictures At An Exhibition is actually an arrangement or an
instrumentation or an orchestration (ore even a transcription!). Having scores would be very
helpful here. What is the difference? Find definitions for each. When listening to the selection of
instrumentations/orchestrations/arrangements, discuss the effectiveness of the music in
maintaining or heightening the mood through examining:
 The ensemble chosen for the instrumentation/orchestration/arrangement;
 How the ‘arranger’ has allocated the various instrumental/vocal lines of the music to different
instruments/voices from the original;
 How the ‘arranger’ may have added new parts;
 How the arranger has changed or created an idiomatic accompaniment figure for selected
instrument(s).
Also, consider how the ‘instrumentator’/orchestrator/arranger has shown their knowledge of:






Instrumental ranges/registers of instruments chosen;
Playing techniques of instruments chosen;
Effective instrumental/vocal combinations and ensemble writing;
Idiomatic writing for instruments chosen;
Variety in textural density;
and skill in adding an accompaniment, or a counter melody, or descant, harmonic feature,
introduction, coda or other modification/addition to, the original form – combining it with the
existing material in a manner that shows original musical contribution;
 combining and structuring musical ideas.
Teaching and Learning - Instrumentation
Online information about instruments, instrumental combinations, playing techniques, harmony
etc. can be found on The Principles of Orchestration – Online (Rimsky-Korsakov) at
http://www.northernsounds.com/forum/forumdisplay.php?f=77, Extracts from Berlioz’ Treatise
on Orchestration at http://www.hberlioz.com/Scores/BerliozTreatise.html and An Orchestration
Tutorial by Alan Belkin at http://www.garritan.com/Orchestration_Tutorial.html. Students should
be familiar with sounds of instruments, alone and in combination; instrumental registers, playing
techniques, tonal qualities and effects, colour, texture and harmony. Students may use these
websites to become familiar with instrumental sounds and instrumentation / orchestration
principles.
Teaching and Learning – Arranging Music
Online information about jazz arranging can be found on the Jazz Arranging Tutorial by Doug
Bristol at http://webpages.charter.net/dbristol4/tutorial/topics.htm Other websites where useful
information can be viewed are: http://www.berkleeshares.com/songwriting__arranging,
http://www.musicarrangers.com/,
Arranging
Songs
http://www.the-music-
16
zone.com/arranging/music-arranging.htm,
Arranging
for
Voices
http://www.expertvillage.com/video-series/594_arrange-acapella-music.htm,
http://www.musiclessonsonline.co.uk/SongArranging.html. Students may use these websites to
become familiar with music arranging principles.
Assessment Activity
Provide tasks (pp 30-34) for students to generate an instrumentation of Promenade (Level 2) or
create an arrangement of The City Gates from Pictures at an Exhibition by Moussorgsky (Level
3, pp35-40). Provide class time for students to work on this task, providing feedback (teacher
and peer) and allowing for workshopping, where students share work in progress.
Encourage students to develop a process for the generation of their instrumentation –
1. Select the 32 bars from the source material that will be used for the instrumentation;
2. Select the instrumental ensemble, considering appropriate instrumental combinations,
instrumental ranges, tonal blend and variation. Consider the advantages of using a
standard conventional ensemble, such as a wind quintet, versus an unconventional
ensemble – e.g. vibraphone, soprano saxophone, synthesizer, bass guityar, guiro;
3. Map out on the source material what instruments will play what parts – considering the
ranges of the instruments being used, idiomatic writing for the instruments, blend and
balance;
4. Select a passage or two that will definitely have a thinner texture and a passage or two
where the whole ensemble will play. Consider the dyanmic markings of the original to
assist you with this;
5. Consider any passages that you may wish to highlight through doubling the parts or
transposing the original up or down an octave;
6. What instrumemental techniques might you use to communicate the character of the
music? Include these;
7. Include all details of tempo, techniques and expression in your representation of the
instrumentation.
Encourage students to develop a process for the creation of their arrangement –
1. Work out the chords that are indicated above the melody line of the lead sheet – try and
play the lead sheet with chords on either the guitar or keyboard so that you get a feel for
the music. You may even want to write in the note names for the chords above the stave
– e.g. Cm7b5: C, Eb, Gb, Bb;
2. Decide on the musical style for your arrangement. A list of musical styles and their
characteristics
can
be
foiund
on
Wikipedia
at
http://en.wikipedia.org/wiki/List_of_music_genres;
3. Ensure that you know the function or role of the instruments in the style that you have
selected. For example, if you choose to arrange the Mussorgsky piece in a funk style, you
will need to create an intense groove by using strong bass guitar riffs and bass lines.
Funk songs use bass lines as the centerpiece. Slap bass, which is a mixture of thumbslapped low notes and finger "popped" high notes, are characteristic of the style and
allow the bass to have a drum-like rhythmic role, which became a distinctive element of
funk. Funk uses the same extended chords found in bebop jazz, such as minor chords
with added sevenths and elevenths, or dominant seventh chords with altered ninths.
17
However, unlike bebop jazz, with its complex, rapid-fire chord changes, funk virtually
abandoned chord changes, creating static single chord vamps with little harmonic
movement, but with a complex and driving rhythmic feel. The chords used in funk songs
typically imply a dorian or mixolydian mode, as opposed to the major or natural minor
tonalities of most popular music. Melodic content was derived by mixing these modes
with the blues scale. In funk bands, guitarists typically play in a percussive style, often
using the wah-wah sound effect and muting the notes in their riffs to create a percussive
sound;
4. Ensure you know what each instrumental part may sound and look like in notation. It is
useful to study a notated score or a MIDI file for this, observing the instrtumental range
and registers, techniques, phrasing, rhythmic / melodic figurations, ensemble writing and
texture. For example, if you were doing your arrangement in a funk style, you may
consider downloading a classic funk tune such as Play That Funky Music (White Boy) by
Wild Cherry. (http://www.eadcentral.com/go/1/1/0/http://www.fortunecity.com/tinpan/deadhead/206/)
Then you can open it up in a notation software package such as Sibelius to study. You
may consider adapting the drum pattern and some figurations to achieve an authentic
style;
5. Ensure you know the appropriate or conventional instrumentation for the style that you
select. This will make your arrangement convincing;
6. Consider altering the melodic or harmonic material if you feel this would better suit the
musical style that you have selected;
7. Consider the structure for your arrangement – ideally the structure should align with
structures / forms commonly found in the style you have selected. Consider adding an
introduction or lead-in, and a coda or lead-out at the very least. Would the original be
enhanced with counterpoint by adding another melody against the main tune
somewhere, or could you give the original a ‘lift’ somewhere by transposing it up a key?
8. Make sure you have textural interest in the arrangement – this might be often linked to
key sections in the form.
Assessment Approach
Relating to Others (Discussions 1 – 4)
In these activities you have been discussing and sharing ideas about Mussorgsky’s Pictures at an
Exhibition. During these activities you are challenged to relate to others and interact effectively
by listening actively, recognising others’ points of view and negotiating solutions or coming to a
general agreement. By sharing ideas, you will be open to learning new approaches, ideas and
ways of thinking. Relating to, and communicating with others is an essential skill in friendships,
family affairs, and relationships. Are you a dynamic people person that can understand others
and get your message across loud and clear? Find out your own level of interpersonal
communication
skills
with
a
Communication
Skills
Test:
http://www.psychtests.com/tests/relationships/communication_skills_r_access.html
Talking is easy - communication, which means an exchange or communion with another,
requires greater skill. An exchange that is a communion demands that we listen and speak
skillfully, not just talk mindlessly. Interacting with fearful, angry, or frustrated people can be
even more difficult, because we're less skillful when caught up in such emotions. Good
communicators can be honed as well as born. Here are a few tips to get you started.


Understand that people want to feel heard more than they care about whether you agree with
them;
Remember that what someone says and what we hear can be amazingly different! Our
personal filters, assumptions, judgments, and beliefs can distort what we hear. Repeat back
18


or summarize to ensure that you understand;
Improve your listening skill. Most people think they listen well, but the truth is that most of
people don't listen at all - they just speak and then think about what they're going to say
next. Goal for each individual needs to be to listen to what is being said. That way both
people are heard!
Respond don't react. Monitor your self as you attempt to communicate. Focus on
understanding what is being said and clarifying if you heard correctly. This allows you time to
process any reactions and address them in a healthy way.
Interpersonal Communication is Contextual - Communication does not happen in Isolation.
There is a:
 Psychological context - who you are and what you bring to the interaction. Your needs,
desires, values, personality, etc., all form the psychological context. ("You" here refers to
both participants in the interaction.)
 Relational context - your reactions to the other person - the "mix."
 Situational context - the psycho-social "where" you are communicating. An interaction that
takes place in a classroom will be very different from one that takes place in the common
room.
 Environmental context - the physical "where" you are communicating. Furniture, location,
noise level, temperature, season, time of day - all are examples of factors in the
environmental context.
 Cultural context - all the learned behaviours and rules that affect the interaction. If you
come from a culture (foreign or within your own country) where it is considered rude to make
long, direct eye contact, you will out of politeness avoid eye contact. If the other person
comes from a culture where long, direct eye contact signals trustworthiness, then we have in
the cultural context a basis for misunderstanding.
(From:
http://www.ncsu.edu/counseling_center/resources/personal/interpersonal_skills/communication.htm)
If you find it difficult to be assertive when sharing ideas, consider the following. The following
are suggestions regarding the language of assertiveness:
 "I" statements: I think..., I feel..., I want...
 Statements of Personal Reference and Personal Meaning: "This is the way I see it", "In my
opinion...", "This is how I feel", "This is what it means to me"
 Statements of Request: "I" want..., "I" need...
 Statements offering compromise: "I" would like this…, "I" think...What do you think? "What
would be an acceptable compromise? "Can we work this out? What time is agreeable to you?"
 Asking for time: "I'd like to discuss this in an hour" Taking time to think, know what you want
to be different, thinking of compromise, etc.
 Asking for clarification instead of ASSUMING.
 AVOID demanding and blaming statements: You make me..., You think..., You should
/shouldn't..., It's your fault..., Don't you think..., If only you would...
Specific Verbal Skills
 "I" think statements
 Broken record - repeating what you want, persistence
 Acknowledge what the other is saying, then repeat your view, opinion, need, etc.
 Provide feedback - respond to what other person is saying
Language Formula
 I feel - state your feeling
 When (describe behaviour)
19


Because (concrete effect or consequence on your situation)
I'd prefer (offer compromise)
Assertiveness is the ability to express yourself and your rights without violating the rights of
others. It is appropriately direct, open, and honest communication, which is self-enhancing and
expressive. Acting assertively will allow you to feel self-confident and will generally gain you the
respect of your peers and friends. It can increase your chances for honest relationships, and
help you to feel better about yourself and your self-control in everyday situations. This, in turn,
will improve your decision-making ability and possibly your chances of getting what you really
want from life.
However, before you can comfortably express your needs, you must believe you have a
legitimate right to have those needs. You have the right:







To decide how to lead your life. This includes pursuing your own goals and dreams and
establishing your own priorities.
To your own values, beliefs, opinions, and emotions and the right to respect yourself for
them, no matter the opinion of others.
Not to justify or explain your actions or feelings to others.
To tell others how you wish to be treated.
To express yourself and to say “No,” “I don't know,” or “I don't understand.” You have the
right to take the time you need to formulate your ideas before expressing them.
To ask for information or help without having negative feelings about your needs.
To change your mind, to make mistakes, and to sometimes act illogically with full
understanding and acceptance of the consequences.
When you don't believe you have these rights you may react very passively to circumstances
and events in your life. When you allow the needs, opinions, and judgments of others to become
more important than your own, you are likely to feel hurt, anxious, and even angry. This kind of
passive or nonassertive behavior is often indirect, emotionally dishonest and self-denying.
Many people feel that attending to their legitimate needs and asserting their rights translates to
being selfish. Selfishness means being concerned about only your rights, with little or no regard
for others. Implicit in your rights is the fact that you are concerned about the legitimate rights of
others as well.
(From http://www.ncsu.edu/counseling_center/resources/personal/interpersonal_skills/assertiveness.htm)
The Effectiveness of Music in Expressing Mood (Discussion 5):
Instrumentation refers to the particular combination of musical instruments employed in a
composition, and to the properties of those instruments individually. In an instrumentation, the
original parts/lines in a score, usually a piano score, are assigned to new instruments. Writing for
any instrument requires a composer or arranger to know the instrument's properties, such as:
 The instrument's particular timbre, or range of timbres;
 The range of pitches available on the instrument, as well as its dynamic range;
 The constraints of playing technique, such as length of breath, possible fingerings, or the
average player's stamina;
 The relative difficulty of particular music on that instrument (e.g. repeated notes are much
easier to play on the violin than on the piano; while trills are relatively easy on the flute, but
extremely difficult on the trombone);
 The availability of special effects or extended techniques, such as col legno playing, fluttertongue, or glissando;
 The notation conventions for the instrument.
An arrangement is either a rewriting of a piece of existing music with additional new material or
20
a fleshing-out of a compositional sketch, such as a lead sheet. If a musical adaptation does not
include new material, it is more accurately termed a transcription. The American Federation of
Musicians defines arranging as "the art of preparing and adapting an already written composition
for presentation in other than its original form. An arrangement may include re-harmonization,
paraphrasing, and/or development of a composition, so that it fully represents the melodic,
harmonic, and rhythmic structure.” Orchestration differs in that it is only adapting music for an
orchestra or musical ensemble while arranging "involves adding compositional techniques, such
as new thematic material for introductions, transitions, or modulations, and endings ...
Arranging is the art of giving an existing melody musical variety.”
A




satisfactory musical arrangement will most likely:
Provide contrast between high and low sounds;
Avoid heavily doubled parts with an emphasis on solo sections;
Be sufficiently transparent to allow the musical lines to be clearly heard, and;
Not have all the instruments playing throughout.
When listening to the selection of instrumentations/orchestrations/arrangements, discuss the
effectiveness of the music in maintaining or heightening the mood through examining:
 The ensemble chosen for the instrumentation/orchestration/arrangement – what
instrumentals / instrumental characteristics heighten the mood of the original? Why/How?
 How the ‘arranger’ has allocated the various instrumental/vocal lines of the music to different
instruments/voices from the original – what musical material has been allocated to which
instruments and why? Is transposition involved – why? How has blend or the combination of
instruments been considered?
 How the ‘arranger’ may have added new parts – how does this add to the original? What has
been done and where? How has this altered the structure of the original?
 How the arranger has changed or created an idiomatic accompaniment figure for selected
instrument(s). What does the accompaniment figure look and sound like? Why is it idiomatic?
Why was the figure created – would it sound as effective without it?
Also, consider how the ‘instrumentator’/orchestrator/arranger has shown their knowledge of:
 Instrumental ranges/registers of instruments chosen – examine the lowest and highest note
played by each instrument. Are particular registers of instruments used for effect or to
foreground/background the musical texture?
 Playing techniques of instruments chosen – what techniques are used? How do these
contribute to the character of the music?
 Effective instrumental/vocal combinations and ensemble writing – what combinations are
used? Why are they effective? How would you describe the ensemble writing?
 Idiomatic writing for instruments chosen – what is ‘idiomatic’ for the instruments used? Are
there passages where the writing is not idiomatic?
 Variety in textural density – what textures are used? Where are there changes? What is the
effect of having changes in texture?
 Skill in adding an accompaniment, or a counter melody, or descant, harmonic feature,
introduction, coda or other modification/addition to, the original form – combining it with the
existing material in a manner that shows original musical contribution. What has been added
that is different from the original? Are therre new sections (eg introduction, coda)? Has the
harmonic structure of the original remained intact? Have there been alerations to the tonality,
melody or rhythm? Have such alterations enhanced the original?
21
SEQUENCE THREE (20 – 25 lessons + homework)
Focusing Question
How can languages, symbols and texts provide structures for creating and refining musical
compositions?
Learning Outcomes
Students will:





Discuss the creative process and explore similarities and differences between creative art
forms. (UC, PK)
Use an image from Digistore as a source of inspiration for an original musical
composition. (UC, DI)
Create, structure, refine and represent a composition using a Digistore image as the
source of motivation. (DI)
Use the elements of music, instruments, appropriate technologies and conventions to
communicate expressive intent and imaginative thinking. (DI)
Reflect on and evaluate compositional processes and presentation conventions. (DI)
Activities
1. Read At the intersection of Music and Visual Art on pp 81-82 and share ideas about the
article. Get students to share ideas about the similarities and differences between visual
arts and music-sound arts (and, dance and drama) as a creative pursuit. How does
expression in the arts contribute to new knowledge? How might we define this
knowledge? How do we think when we are engaged in composing music? What sort of
problems do we encounter during the creative process and how do we solve these? Some
fundamental ideas about creativity and creative thinking can be found at
http://www.virtualsalt.com/crebook1.htm. A paper entitled How Technology Inspires
Creative
Thinking
by
Mark
Dal
Porto
can
be
read
online
at
http://music.utsa.edu/tdml/conf-I/I-DalPorto.html. Have students work in pairs/groups
and present back ideas to the whole class.
2. Have the students view the images from Digistore. Read through the attached
information on pp 62-77 for a selection of the works, and facilitate a discussion as to
what personal meaning the students take (interpret) from the artworks.
3. Discuss with the students, how an artwork could provide a framework or structure for
creating a composition. For example, colours and subject might suggest mood, tonality
and/or instrumentation; visual composition might suggest musical form; density might
suggest musical texture; shapes might suggest melodic contour; visual flow might
suggest rhythmic flow; combinations of visual patterns might suggest harmonic ideas or
22
other melodic/rhythmic patterns. What other aspects of a visual form night suggest
musical elements and structural devices? Read about how Kandinsky viewed the
connection between music and visual art: www.artchive.com/artchive/K/kandinsky.html
4. Students may wish to read Alan Belkin ‘s online book on composing music – A Practical
Guide to Music Composition. See
http://www.musique.umontreal.ca/personnel/Belkin/bk/index.html
5. Encourage students to explore a variety of compositional technology tools http://www.composersnewpencil.com/software/composition/
6. Encourage the students to share ideas on their individual approach to composing music –
students may wish to read about particular methods at
http://www.wikihow.com/Compose-Music and might consider contributing to the online
discussion forum.
Composition Thinking Tools:
Preparation: Listen to some of your favourite music and see if you can identify some important
musical patterns. Are there contrasting sections? How many? How long are these sections? Do
the pitches in the melody repeat? Does the rhythm of the melody repeat? What kind of does the
music create? How is this accomplished? Is the music in a major, minor key or modal key? Write
down your thoughts—these will form a little scrapbook of ideas that you can use later.
Style: Decide on a style of music you would like to compose in, such as classical, rock, jazz, etc.
Think of a corresponding mood, tempo, and instrumentation. For some ideas, listen to a few
pieces in your chosen musical genre. What combination of musical elements does the piece
contain that make it fit into that category? What are your favourite sections and why? Write
down your initial direction for your composition. Will your piece also have lyrics? Your choice of
instrumentation is important. Each instrument will give your composition a certain tone quality.
Why have you chosen the instruments for your piece? Does it fit the mood of your piece? Could
you substitute other instruments? Which ones would you choose and why?
Form: Decide on a form for your composition. Most musical compositions are made up of
sections that are the same (repeating sections) or different from each other (contrasting
sections). How long will your composition be? How many sections will it have? Remember that
every style of music has its own set of common forms, such as a 32-bar AABA form in jazz
standards, or a 12-bar blues. You may like to stick to one of these forms or make up your own.
Generate Your Ideas: Use a tape recorder/computer/mini-disc to record some ideas. Use your
instrument to come up with ideas. Use your voice! Sing little melodies. Do this for at least 20
minutes. Be free to play or sing whatever you like—it doesn't have to be perfect or ready to
perform at this point. No one has to hear it except for you. Go for it!
Your First Musical Motif: Listen back to your recording. Is there anything that stands out to
you? Is there an idea that you think you can develop into a melody? Have you created a chord
progression for a song? Can you decide on an opening line of lyrics for your jazz or pop tune? If
you haven't found something that you like thus far, you can always pick notes and rhythms out
of a hat. Remember that your melody or chord progression isn't long or complex at this point.
The melodic idea that you decide on may become your first musical motif—a two or three note
idea that will become the foundation of your piece. See if you can notate this on paper—clap the
rhythm and sing or play the motif on your instrument.
Develop Your Ideas: Now that you have your opening motif, what are you going to do with it?
23
You have some options—you can extend it, shorten it, repeat it, make up something a little
different or completely different from it. By doing this, you are creating a musical phrase—a
more complete thought or idea—from your motif.
A Contrasting Section: In almost all styles of music, there is a contrasting section that adds
interest to the piece by presenting new material to your ear. That is one of the functions of the
'bridge' in pop or rock songs, the B section in jazz tunes, and the development section in
classical sonatas. To write a contrasting section, repeat steps four and five, trying not to play
your original motif. Can you think of a different rhythm? Will your melody move by steps or
skips this time? Will you use repeated pitches? Does this section have a different mood?
Bringing It All Together: At this point in the compositional process, you have created a couple
of contrasting sections—now how will you arrange these sections in your piece? Think of your
original form. Does what you've written fit in with your initial concept? Feel free to make
changes. Does your piece seem whole or do you need to write another section? How does your
piece end? What would you like to add to your piece so you could perform it? Do you need to
write a harmony part for a different instrument or singer? Just try different ideas out until you
like what you come up with! You might even be able to get some ideas for harmonies from
pieces you've played.
Assessment Approach
Creative Thinking
Are you a creative problem-solver? Do you think productively or reproductively? Do you typically
approach a problem from many perspectives and search for many different ways of solving it?
Robert E. Franken in his work on human motivation states that in order to be creative, you need
to be able to view things in new ways or from a different perspective. Among other things, you
need to be able to generate new possibilities or new alternatives. Tests of creativity measure not
only the number of alternatives that people can generate, but also the uniqueness of those
alternatives. Creativity is linked to fundamental qualities of thinking, such as flexibility, tolerance
of ambiguity or unpredictability, and the enjoyment of things unknown. The following test was
developed to evaluate whether you have these fundamental qualities of thinking:
http://www.psychtests.com/cgi-bin/tests/transfer.cgi
Managing Self
How much control do you have over your mind and actions? Do you act spontaneously and
thoughtlessly or do you purposely control and consciously act? The following was developed to
evaluate self-monitoring potential. Self-Monitoring is a personality trait that refers to the ability
to regulate oneself. This includes monitoring not just one's behaviour but cognitions and affect
as well. It involves adapting one's behaviour, altering one's thought processes, and acclimatizing
one's emotions whenever this proves beneficial for the self and others.
http://www.psychtests.com/cgi-bin/tests/transfer.cgi
Sensitivity to Criticism
Do you find yourself being defensive or shying away when you are given feedback? Can you
handle a little negative feedback in a conscientious and professional manner, or do you find
yourself having to resist the urge to bite your critic's head off? Being able to accept and
effectively put constructive criticism to use is very important if you wish to correct bad habits
and improve yourself. Knowing what you're doing wrong and what you could be doing better will
allow you to reach your greatest potential.
http://www.psychtests.com/cgi-bin/tests/transfer.cgi
When receiving feedback from your teacher on your composition (work in progress), summarise
24
in your school dairy, or in a Feedback Notebook the comments that your teacher makes to you.
This will enable your teacher to see how you have interpreted their comments. When you
examine the comments the next time you work on your composition, summarise how you have
acted on or not acted on the advice you were given and explain why.

See reflection and evaluation tools included as part of composition tasks.
SUGGESTED UNIT ASSESSMENT TOOLS:
L2
AS90267
Create an instrumentation
L2
AS90266
US10655
Compose effective pieces of music OR
Demonstrate developing music compositional
through three music compositions
Arrange Music OR
Arrange 3 music pieces for 3 or more instruments
L3
AS90527
US10663
L3
AS90775
US10656
Present a portfolio of musical composition OR
Demonstrate developed music compositional
through two or three compositions of substance
25
skills
skills
2 credits
Internal
5 credits
6 credits
Internal
Internal
4 credits
5 credits
Internal
Internal
8 credits
8 credits
Internal
Internal
ASSESSMENT TOWARDS ACHIEVING
AS 90267 (L2)
or
AS 90527 / US 10663 (L3)
Standard
Assessment Mode
AS 90267
or
AS 90527/
US 10663
Version
Internal
Credits
2
Level
2
3
2 (L2)
or
4 (L3 AS)/
5 (L3 US)
2
3
Due Date
Submission Requirements
90267
Students will create an instrumentation of approximately 32 bars of a piece of music for an
ensemble of at least five independent parts and will submit an audio recording of the completed
instrumentation and either a score or annotated source material or detailed written description.
90527
Students will complete an arrangement of a piece of music in response to the task outlined on
page 33, and will submit an audio recording of the completed arrangement, a score and the
original source material for the arrangement.
Note: This assessment contributes evidence towards the final grade for Achievement Standard
90527. The final grade will be determined on completion of this activity and a second
arrangement in response to a given task.
10663
Students will complete an arrangement of a piece of music of at least two to three minutes’
duration in response to the task outlined on page 33, and will submit a folio of workings, an
audio or video recording of the completed arrangement, a score and the original source material
for the arrangement.
26
Note: This assessment contributes evidence towards the final grade for Unit Standard 10663.
The final grade will be determined on completion of this activity and a second and third
arrangement in any style.
Conditions
90267
This assessment is to be undertaken under conditions of supervision that can ensure
authenticity. All workings and drafts (including computer notated and sequenced drafts) will be
available to the teacher for conferencing during class time. Most activity should take place in
supervised class time. The source material (e.g. sheet music, piano reduction, audio recording)
must be submitted with the instrumentation.
90527
The four-credit Achievement Standard requires approximately 40 hours of student engagement.
This task should involve around 20 hours of time, including class and homework time. An
arrangement, for this achievement standard, is not a transcription, instrumentation,
orchestration or a reduction of a larger score. The arrangement must show evidence of
character and the ability to combine and structure musical ideas. The arrangement will consist of
at least three independent parts [an ‘independent part’ is an instrumental or vocal line of music.
A piano or keyboard part counts as a single musical line]. Students must sign an authentication
sheet to attest that the arrangement submitted for assessment is their own work. The
generating and editing of computer notation, and the preparation of electronic sound files, must
be by the student alone.
10663
The five-credit Unit Standard requires approximately 60 hours of student engagement. This task
should involve at least 20 hours of time, including class and homework time. An arrangement,
for this standard, is not a transcription, instrumentation, orchestration or a reduction of a larger
score.
The work must identify and explain the original source material, including, but not limited to –
melodic structure, rhythmic structure, tonal structure, texture, dynamics, contrast, balance,
feel.
It must identify and explain the musical characteristics of the instruments used in the
arrangement. Aspects such as register, instrumental capability, tonal qualities, balance, blend
and texture could be addressed.
The work must also identify and explain the technical and musical capabilities of the performers
for each arrangement and identify and explain arrangement techniques for altering the original
source material to create a new arrangement. This may include, but is not limited to – melodic,
rhythmic, tonal, textural, dynamic, instrumental, syncopation, articulation, and transposition.
27
The arrangement may be represented through notation or through an audio-visual recording. It
must demonstrate the ability to formulate, select, review, and if required, re-work musical ideas
and the ability to combine, develop, and structure musical ideas. The arrangement must be for
three or more instruments. Students must sign an authentication sheet to attest that the
arrangement submitted for assessment is their own work. The arrangement is to be performed
and/or recorded by, or under the supervision of, the arranger.
AS 90267 – Create an Instrumentation
STUDENT TASK:
Students must present evidence of their creative response to the following task.
Create an instrumentation of an approximately 32 bar section from Mussorgsky’s Promenade
(pages 29-30) from Pictures at an Exhibition (or another piece from this collection) for an
ensemble of at least five independent parts. An independent part is an instrumental or vocal line
of music. A piano/keyboard, if used, counts as ONE part. Since there are often six parts heard
together in the Promenade, consideration will need to be given to reducing the score or creating
an instrumentation for six or more parts.
The instrumentation will be for one of these ensembles:






A chamber group of single woodwinds and strings;
Five brass instruments (orchestral or brass band);
Woodwind quintet;
Jazz or rock ensemble;
String quintet;
A combination of five or more instruments/voices of the student’s choice.
Allocate the various instrumental/vocal
instruments/voices from the original.
lines
of
the
selected
music
to
different
You are not expected to compose new material for the instrumentation, however:
 You may add a part for drums/percussion, if appropriate;
 You may wish to change or create an idiomatic accompaniment figure for the instrument(s)
you choose.
The instrumentation should show knowledge and understanding of:
 Instrumental ranges of instruments chosen;
 Playing techniques of instruments chosen;
 Effective instrumental/vocal combinations and ensemble writing;
 Idiomatic writing for instruments chosen;
 Variety in textural density.
The submission for the instrumentation must be in one of the following three ways:
 An audio recording, the original source material and a notated score (handwritten or
computer generated);
 An audio recording and annotated source material;
28
 An audio recording, the original source material and a detailed written description of your
instrumentation.
29
30
31
Assessment Schedule
Achievement
Achievement with
Merit
Achievement with
Excellence
Create a workable
instrumentation that uses
and shows understanding
of instrumental
techniques and
combinations.
Create
Create
an effective
a convincing instrumentation that shows
instrumentation that
character and
shows some character,
imagination, developed
and developed
understanding and skilful
understanding of
use of instrumental
instrumental techniques
techniques and
and combinations.
combinations.
In the instrumentation the
student demonstrates:
In the instrumentation the
student demonstrates:
In the instrumentation the
student demonstrates:
 knowledge of
instrument ranges
 knowledge of
instrument playing
techniques
 understanding of
instrument
combinations
 some awareness of
textural density
 knowledge of
instrument ranges
 knowledge of
instrument playing
techniques
 developed
understanding of
instrument
combinations and
ensemble writing
 idiomatic writing for
each instrument
 variety in textural
density
 knowledge of
instrument ranges
 knowledge of
instrument playing
techniques
 developed
understanding of
effective instrument
combinations and
ensemble writing
 imaginative and
idiomatic writing
 skilful use of textural
density
EVIDENCE:
The student’s instrumentation of Promenade (or another piece from Pictures at an
Exhibition) by Mussorgsky of around 32 bars for an ensemble of at least five
independent parts.
The completed instrumentation must be able to be realised by the ensemble
chosen by the student.
The completed instrumentation is presented as an audio recording accompanied by
original source material plus one of the following:
 a score;
 annotated source material;
 detailed written description.
32
AUTHENTICATION:
The work that has been submitted for assessment is entirely my own work.
Student
signature
Date:
TEACHER'S COMMENT
FINAL GRADE
Resubmission
Date:
Student’s
signature
Date:
Teacher's
signature
Date:
Self-Assessment
Teacher Assessment
Strengths
33
AS 90527 – Arrange Music
or
US 10663 Arrange three pieces of music for three or more
instruments
STUDENT TASK:
Students must present evidence of their creative response to the following task.
You are to arrange The City Gates, page 35, from Pictures at an Exhibition by Mussorgsky
(melody line with chord indications).
This must be an arrangement for a purely instrumental ensemble, excluding voice. If you are
doing the achievement standard, your second arrangement, at a later date, will be for a piece
that involves at least one vocal line. If you are doing the unit standard, you must produce TWO
more completed arrangements and a folio of workings. Each arrangement you complete should
be for three or more instruments, at least two to three minutes long, and be in any style.
An arrangement, for these standards, is not a transcription, instrumentation, orchestration or a
reduction of a larger score.
The arrangement will consist of at least three independent parts. An ‘independent part’ is an
instrumental or vocal line of music. A piano or keyboard part counts as a single musical line.
Consider the technical capabilities, ranges, tonal qualities and registers of the instruments for
which you are writing. Consider adding your own material – perhaps an accompaniment, or a
counter melody, or descant, harmonic feature, introduction, coda or other modification/addition
to the original form – combining it with the existing material in a manner that shows your own
original musical contribution. If you are doing the unit standard, you will need to demonstrate
knowledge of the processes and techniques of music arranging.
For the Achievement Standard, your arrangement must show evidence of character and the
ability to combine and structure musical ideas accurately presented as a written score. It must
include appropriate performance directions. Computer generated notation and editing must be
entirely your own work.
For assessment purposes, you must submit:

the original source material for each arrangement (page 35);

an audio recording of the arrangement. This may be a recording of real instruments or
electronically generated (sequenced) and must be performed and/or recorded by, or
under the supervision of you as arranger;

the completed score of the arrangement, if you are completing AS 90527;

folio of workings, if you are completing US 10663.
If improvisation is included in the arrangement, it must suit the chosen musical style and
sufficient detail must be supplied to give a clear idea of your intentions to the improviser.
All workings and drafts will be available to the teacher for reference, feedback and
authentication purposes. You are to sign an authentication form to state that the arrangements
are your own work.
34
If you are completing US 10663, you must complete the following in addition to the
arrangement:
1. Identify and explain the melodic, rhythmic and key structure of the original source
material. Do this by annotating the source material. Melodic structure can be identified in
terms of motives, themes and/or phrases. Rhythmic structure can be identified in terms
of distinctive rhythmic patterns used in the melodic and/or accompaniment material.
Also, note on the source material where dynamic contrast occurs/could occur and identify
the style of the original.
2. Identify and explain the musical characteristics of the instruments you use in your
arrangement. Consider aspects such as register, instrumental capability, tonal qualities,
balance, blend and texture. Write ONE page of A4 on this.
3. Explain how you have taken into account the musical capabilities of the performers for
your arrangement. Write a HALF page of A4 on this.
4. Identify and explain arrangement techniques for altering the original source material to
create a new arrangement. Consider how you have changed any of the following musical
features of the original:
 Melody
 Rhythm
 Tonality
 Textures
 Dynamics
 Instrumentation, including transposition/s
 Articulation
Do this by annotating the source material.
Your arrangement may be represented through notation or through an audio-visual recording. It
must demonstrate your ability to combine, develop, and structure musical ideas. The
arrangement will be for three or more instruments.
All workings and drafts will be available to the teacher for reference, feedback and
authentication purposes. These workings will form part of the assessment and document your
ability to formulate, select, review, and if required, re-work musical ideas.
Note: This assessment contributes evidence towards the final grade for Achievement Standard
90527 and the final grade for Unit Standard 10663. For AS 90527, the final grade will be
determined on completion of this activity and a second arrangement in response to a given task.
For US 10663, the final grade will be determined on completion of this activity and two further
arrangements each of which are at least two to three minutes long accompanied by a folio of
workings.
35
36
AS 90527 Assessment Schedule
Achievement
Achievement with Merit
Achievement with
Excellence
Create effective
arrangements that show
some character and an ability
to combine and structure
musical ideas through clear
and generally accurate
written scores.
Create convincing
arrangements that show
character, imagination and
skill in combining and
structuring musical ideas
through clear and mostly
accurate written scores.
Create highly convincing
arrangements that show
considerable character,
imagination and skill in
combining and structuring
musical ideas through clear,
accurate and detailed written
scores.
Creates arrangements that:
Creates arrangements that:
Creates arrangements that:
 are effective
 are convincing
 are highly convincing
 show some character and
ability in combining and
structuring musical ideas
 show character,
imagination and skill in
combining and structuring
musical ideas
 show considerable
character, imagination and
skill in combining and
structuring musical ideas
 are represented in clear
and mostly accurate
written scores.
 are represented in clear,
accurate and detailed
written scores.
 are represented through
clear and generally
accurate written scores.
EVIDENCE:
 The student’s arrangement for an instrumental ensemble of at least three independent parts
(excluding voice) of The City Gates from Pictures at an Exhibition by Mussorgsky.
Note: This assessment contributes evidence towards the final grade of Achievement Standard
90527. The final grade will be determined on completion of this activity and a second
arrangement in response to a given task.
37
US 10663 Assessment Schedule
Grade
N/A
Arrg 1
Element 1
Element 2
Demonstrate knowledge of processes and techniques
of music arranging.
Arrange three pieces
of music.
Performance criteria
Performance criteria
1.1
Demonstration identifies and explains original
source/s for the arrangement. This is evidenced by:
 Annotated source material showing melodic,
rhythmic and tonal structure, places where
dynamic contrast occurs/could occur and identified
style of the original.
2.1
Demonstration
displays the ability to
formulate, select,
review, and if
required, re-work
musical ideas. This is
evidenced by:
1.2
Demonstration identifies and explains musical
characteristics
of
instruments
used
in
the
arrangement This is evidenced by:
 One page of A4 which outlines aspects such as
register, instrumental capability, tonal qualities,
balance, blend and texture.
1.3
Demonstration identifies and explains technical and
musical
capabilities
of
performers
for
the
arrangement. This is evidenced by:
 Half a page of A4 that explains how the student
has taken into account the musical capabilities of
the performers for their arrangement.
1.4
Demonstration identifies and explains arrangement
techniques employed for altering original source to
create a new arrangement. This is evidenced by:
 Annotated source material that shows how the
student has changed any of the following musical
features of the original: melody; rhythm; tonality;
textures; dynamics; instrumentation, including
transposition/s; articulation.
__ __
__ __
__ __
__ __
Grade
N/A
Arrg 1
__ __
 Portfolio of
workings that
shows the
formulation,
selection and
review of musical
ideas.
2.2
Demonstration
displays ability to
combine, develop, and
structure musical
ideas.
This is evidenced by:
__ __
 An arrangement
that is convincing
and shows
character,
imagination and
skill in combining,
developing and
structuring musical
ideas.
EVIDENCE:
 The student’s arrangement of at least two to three minutes’ duration for an instrumental
ensemble of three or more instruments (excluding voice) of The City Gates from Pictures at an
Exhibition by Mussorgsky, accompanied by a folio of workings and a performance and/or
recording of the arrangement under the supervision of, or by, the arranger.
This assessment contributes evidence towards the final grade for Unit Standard 10663. The final
grade will be determined on completion of this activity and two further arrangements each of
which are at least two to three minutes long.
38
AUTHENTICATION:
The work that has been submitted for assessment is entirely my own work.
Student
signature
Date:
TEACHER'S COMMENT
FORMATIVE
GRADE
Resubmission
Date:
Student’s
signature
Date:
Teacher's
signature
Date:
Self-Assessment
Teacher Assessment
Strengths
Areas to work on
39
ASSESSMENT TOWARDS ACHIEVING
AS 90266 (L2)
or
AS 90775 (L3)
Achievement Standard
Assessment Mode
90266
or
90775
Version
Internal
Credits
2
Level
1
5 (L2)
or
8 (L3)
2
3
Due Date
Submission Requirements
90266
Students are required to compose effective pieces of music for this standard. Pieces need to
show development and structuring of ideas. Compositions are to be represented through
notation, appropriate to style or genre and an audio or video recordings (for assessment
purposes).
Compositions completed for this standard will be based on tasks provided by the teacher. A
description of the task that will contribute evidence towards achieving this standard is on page
41.
Students should have had an extensive period of time to experiment, improvise, manipulate and
evaluate musical ideas, alone and with others, including focused listening, practical activities,
analysis and description of a wide range of musical styles and genres. This provides students
with models and examples of ‘ways of working’.
Note: This assessment contributes evidence towards the final grade for Achievement Standard
90266. The final grade will be determined on completion of this activity and another piece/s of
music in response to a given task/s.
90775
Students are to present a portfolio of original musical composition that demonstrates secure
technical skills, creative and notation skills. In addition to this, students are to reflect on and
evaluate the creative process that informed the preparation and presentation of the
composition/s.
Technical skills relate to:
 The use of compositional techniques/devices;
 Structure and development;
 Writing idiomatically for the instruments/voices/electronic media employed.
Creative skills relate to:
 Composing original music, which displays character and imagination in response to a specific
task. (See page 41)
40
Notation refers to:
 Graphic, conventional (stave or tablature notation) or other written representation presented
as scores that appropriately represent creative intentions.
Reflecting on and evaluating involves:
 Analysing strengths and weaknesses related to the preparation and the presentation of the
portfolio in order to refine and improve.
Work for this standard should be spread throughout the year, though consultation with the
student will determine how the student works best to achieve optimum results.
Compositions will be based on tasks provided by the teacher. A description of the task that will
contribute evidence towards achieving this standard is on page 41.
The portfolio to be assessed could consist of any of the following:
 A number of shorter pieces;
 A smaller number of more extended pieces or a substantial work.
The length and complexity of the music composed should be appropriate to this level and to the
credit weighting for this Achievement Standard, and sufficient work must be presented to allow
assessment of technical skills, creative and notation skills.
Note: This assessment contributes evidence towards the final grade for Achievement Standard
90775. The final grade will be determined on completion of this activity and another piece/s of
music in response to a given task/s.
Conditions
90266
The composition will be part of a portfolio of work. All workings and drafts will be available to
the teacher for feedback during class time and will be included along with the portfolio. A
significant amount of compositional activity should occur during class time. This will ensure
authenticity of student work.
90775
Composition work must be presented in a portfolio. All workings and drafts will be available to
the teacher for discussion during class time and will be included along with the completed
composition/s as part of the portfolio. Each composition must be accompanied by an audio
recording of a performance of the composition. This may be a live, sequenced or computer
generated recording.
The portfolio of musical compositions submitted will also include:
 A description of the task/s completed;
 Written score/s and any relevant supporting material, including self, peer and/or teacher
evaluations;
 A recording of the composition/s.
Students must reflect on and evaluate the creative process and completed composition/s. This
will be done through informal observation, and/or discussion, workshopping, written form, or
other appropriate means. Work for this standard is to be undertaken under conditions of
supervision, which can assure authenticity. Some activity should take place in supervised class
time. Workings and drafts may also be used to ensure authenticity. Teachers are to provide a
form for students to sign to attest that the work submitted for assessment is that of the student.
41
AS 90266 – Compose effective pieces of music
&
AS 90775 – Present a portfolio of musical composition
STUDENT TASK:
You must present evidence of their creative response to the following task.
You are to compose a piece of music that is inspired by ONE image by a New Zealand artist see pages 62-77. Work is to be presented as part of a portfolio. By the end of the year, Level 2
students would have composed at least two pieces of music and Level 3 students would have
composed a number of shorter pieces or a smaller number of more extended pieces or a
substantial work, which this task might evolve into. You will also reflect on and evaluate the
creative process you have undertaken in preparing and presenting your composition work.
Once you have begun to develop ideas for the composition, you should liaise with your teacher
to ensure that you are undertaking an appropriate amount of work. You should discuss with your
teacher strategies for helping you to manage your time effectively and to meet the goals that
you set yourself.
Your composition could be for:
 Solo instrument, with or without accompaniment. Where an accompaniment is included
as part of a composition, it will be assessed;
 An instrumental or vocal ensemble of three or more parts. This might be for – four part
choir, a small jazz ensemble, a rock group, a percussion ensemble, an instrumental trio,
quartet or quintet, tape loop and acoustic instruments, computer generated/electronic
sounds or found or natural sounds;
 A specific musical occasion;
 Voice, where you set your own or others’ text/s. If you use someone else’s text/s, you
must acknowledge this;
 Electro-acoustic media.
You will also include:
 A description of why you selected the artwork you have, and how it motivated you to
compose music in response to it. You may also like to document the process of how you
came up with your musical ideas and how you developed them. What personal meaning
have you taken from the artwork, and how has this impacted on what you wish to
communicate through your music? Consider the context, form, media, colours, texture
and structure of the artwork and how this may have impacted on your choice of sound
media, tonality and compositional structure;
 Your written score/s and any relevant supporting material, including self, peer and/or
teacher evaluations. Tools are provided in this task;
 A recording of the compositions. This may be a live, sequenced or computer generated
recording.
Your portfolio will show evidence of secure technical skills – creating music that suits the
instruments/voices/electronic media chosen and is developed and structured using
compositional techniques/devices; creative skills – composing music that has character and
imagination in response to the task; and, notation skills – graphic, conventional (stave or
tablature notation) or other written representation presented as a score/s that appropriately
document creative intentions.
42
Your portfolio, including workings and drafts, will be available to your teacher for discussion
during class time.
Electronic works and sequenced material should be fully realised by you and be accompanied by
appropriate representation. The editing of computer-generated notation must be by you. If an
element of improvisation is included in your composition, sufficient detail must be supplied to
give a clear indication of your intentions to the improviser.
You are to sign an authentication form to state that the material submitted is your own work.
Possible Approaches to Preparing for this Assessment
As you start composing music, you will need to spend some time experimenting with sounds and
improvising musical ideas.
As you experiment with your ideas for your music, consider ways of:
 Creating unity and contrast;
 Developing or extending your ideas;
 Creating sounds through non-traditional means;
 Manipulating your ideas using the elements of music;
 Building and releasing tension;
 Establishing/maintaining/varying mood.
Before you begin building and structuring your ideas into a coherent piece of music:
 Think carefully about the effectiveness of your ideas, and consider making changes if you
need to. At this stage you may want to map out an overall structural plan for your music.
 Get regular feedback from your friends and teacher/s on the effectiveness of your ideas and
work in progress. This is really important because your ideas are the foundation of your
musical structure.
As you prepare your music, make sure that your score is as accurate and detailed as possible,
considering things like – title, instrument order, spacing, tempo, articulation and expression
markings and alignment, so that your performers can easily follow your intentions. Listen to a
performance of your work and check whether their interpretation matches your intentions. Give
your performers plenty of time to prepare and rehearse for the performance/recording of your
work.
Analysing the Strengths and Weaknesses of the Music
You must also analyse the strengths and weaknesses related to the preparation and the
presentation of this composition as part of the portfolio, in order to refine and improve. Record
any refinements and improvements you made to your compositions whilst working towards this
Achievement Standard. Also reflect on why you made these. Use the information on Critical
Response and the self and peer assessment templates on the next few pages in order to do this.
43
Critical Response
A critical response is an
intelligent and informed
piece of writing which is a
musical and technical
justification for the
subjective emotions and
mood evoked by a piece of
music.
A critical response should include:
 A discussion of the main musical
elements that are prominent in a given
example.
 An identification of the compositional
devices used.
 A description of how these things
combine to create the mood,
atmosphere and character of the piece.
How to write a critical response:
1) Choose three or four short descriptions
that best describe the emotion, feeling,
or mood evoked by the piece of music.
2) Using a description of the treatment of
the elements of music, discuss how the
mood outlined above is created.
3) Locate specific compositional devices to
support your argument and discuss
their roles in the creation of the mood.
4) Finally, give a description of the
combination of all of the above in the
creation of the musical character and
style.
When the musical style is named:
When writing a critical response to a piece of
music in a named musical style, it is also
necessary to remark on why and how the
music is indicative of the particular musical
style. For example, if discussing why a piece of
vocal polyphony is characteristic of the
Baroque style, it would be important to
mention that the
“unceasing, relentless semiquaver
movement in each individual voice is
a result of the Baroque ideal of ‘filling
space’ and therefore rests, silences
or lengthy breath pauses are not
used.”
When you must identify the musical style:
Normally, a list of musical characteristics can
be derived from an example to support a claim
that it is from a particular style. For example,
an excerpt from a Classical work by Mozart
might be said to have the following Classical
characteristics:
 balanced and equally proportioned
phrasing;
 singable melodies;
 functional and chordal harmony;
 clear and defined form;
 graceful and refined melodic and
rhythmic ideas;
 a contrast of mood throughout the
work.
Remember that these
subjective judgements are
culturally specific and will
largely be a product of what,
through enculturation,
sounds “normal” to Western
ears.
(From D. Smith and M. Sawers, “Musicianship and Analysis
Skills”, pg 26, Champion Press, © Deborah Smith 2002.)
44
Self Evaluating a Composition
1. I spent little / some / quite a lot / heaps of time on my composition.
2. I disliked intensely / disliked / didn’t care for / liked / really enjoyed working on
composition. Why?
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3. I am not happy with / kind of satisfied with / satisfied with / completely happy with my
musical ideas. Why?
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4. I am not happy with / kind of satisfied with / satisfied with / completely happy with the
ways that I have developed my ideas in my music. Why?
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5. I am not happy with / kind of satisfied with / satisfied with / completely happy with the way
that I have notated my music. Why?
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45
6. The thing about this composition I really like is:
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7. Useful advice would be to do with/I have received whilst working on the task:
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8. The things that I would do differently next time I am working on composition would
be:
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46
Peer Evaluating a Composition
Name…………………………………………………………
Date………………………………………………………………
Title: ……………………………………………………………………………………………………………………………………………..
Composer……………………………………………………………………………………………………………………………………….
1. What impact do you think the piece has on the listener? What impression does it make? Does
the music hold the listener’s attention?
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2. How is sufficient variety/contrast in the music (for example: of dynamics, timbre, pitch,
melody, rhythm, texture) acheived?
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3. Which musical elements come across most strongly or effectively? How are these musical
elements effectively explored, and controlled?
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4. How would you describe the musical style? How is the style maintained through the piece?
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47
5. How would you describe the overall shape (form, design, structure, balance and organisation
of ideas)? Is there a sense of ‘wholeness’, of completeness?
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6. Is there a climax (perhaps more than one)? If so, does the music build up effectively?
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7. Are the musical ideas original, interesting, imaginative? How are the ideas explored,
extended, developed, in effective ways?
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8. Do you think that the right medium – instrument(s)/voice(s)/sound-source(s) – was chosen
for this music? Is the chosen medium used effectively, and with understanding?
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9. How does the mood and character of the music match the title and/or artwork that inspired
the piece?
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48
10. Is the notation appropriate, and as clear and accurate as possible? Are clear performance
directions given?
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11. Is there anything you would change about the piece?
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From Bennett, R. Fortissimo! series. ISBN: 0521569249 Published in 1996. Published by Cambridge University Press,
The Edinburgh Building, Shaftesbury Road, Cambridge, CB2 2RU, United Kingdom www.uk.cambridge.org
49
Assessment Schedule for 90266
Achievement
Achievement with Merit
Compose effective pieces of
music that show development
and structuring of ideas, and
that are represented through
generally clear notation.
Compose effective pieces of
music that show character,
skilful development and
structuring of ideas, and that
are represented through clear
notation.
The composition shows:
 The ability to create
stylistically coherent piece
of music
 Development/extension of
ideas through the use of
compositional devices
 Structuring of ideas into
cohesive piece
 Generally clear
representation of creative
intentions through notated
score appropriate to the
style or genre of the piece
The composition shows:
 The ability to create a
stylistically coherent piece
of music with character
 Skilful development/
extension of ideas through
the use of compositional
devices
 Skilful structuring of ideas
into a cohesive piece
 Clear representation of
creative intentions through
notated score appropriate
to the style or genre of the
piece
Achievement with
Excellence
Compose effective and
convincing pieces of music
that show character and
imagination, highly skilled
development and structuring
of ideas, which are
represented through accurate
and detailed notation.
The composition shows:
 The ability to create a
stylistically convincing and
coherent piece of music
that has character
 Highly skilled
development/ extension of
ideas through the use of
compositional devices
 Highly skilled structuring of
ideas into a cohesive piece
 Accurate and detailed
representation of creative
intentions through notated
score appropriate to the
style or genre of the piece
EVIDENCE:
Student’s composition work for this task (including score and recording). This composition
contributes evidence towards making a judgement for awarding this Achievement Standard.
Note: This assessment contributes evidence towards the final grade for Achievement Standard
90266. The final grade will be determined on completion of this activity and another piece/s of
music in response to a given task/s.
50
Assessment Schedule for 90775
Achievement
Achievement with Merit



Present a portfolio of
musical composition that
demonstrates secure
technical skills, creative
skills, and is represented
through generally clear
notation.
Reflect on and evaluate
the processes and
presentation of the
portfolio.
The portfolio of music
composition demonstrates:
 secure technical skills,
which show the ability to
create stylistically
coherent and idiomatic
music appropriate to the
task/s and develop/extend
ideas through the use of
compositional devices
 creative skills, through
cohesive music which
displays some character
and imagination in
response to the given
tasks
 notation skills through
generally clear written
representation appropriate
to the style or genre of the
music
 reflection on and
evaluation of the
preparation and
presentation of
composition work.
Present a portfolio of
musical composition that
demonstrates a range of
secure technical and
creative skills, and is
represented through clear
notation.

Reflect on and evaluate
the processes and
presentation of the
portfolio.
The portfolio of music
composition demonstrates:
 a range of secure technical
skills which show the
ability to create stylistically
coherent and idiomatic
music appropriate to the
task/s and skilfully
develop/extend ideas
through the use of a
variety of compositional
devices
 a range of creative skills,
through effective music
which displays character
and imagination in
response to the given
tasks
 notation skills through
clear written
representation appropriate
to the style or genre of the
music
 reflection on and
evaluation of the
preparation and
presentation of
composition work.
Achievement with
Excellence
 Present a portfolio of
musical composition that
demonstrates a range of
secure and advanced
technical skills, convincing
creative skills, and is
represented through
accurate and detailed
notation.
 Reflect on and evaluate
the processes and
presentation of the
portfolio.
The portfolio of music
composition demonstrates:
 a range of secure and
advanced technical skills
which show the ability to
create stylistically
convincing and idiomatic
music appropriate to the
task/s and highly skilled
development/extension of
ideas
 convincing creative skills,
through highly effective
music which consistently
displays character and
imagination in response to
the given tasks
 notation skills through
accurate and detailed
representation appropriate
to the style or genre of the
music
 reflection on and
evaluation of the
preparation and
presentation of
composition work.
EVIDENCE:
Student’s composition work for this task (including score and recording). This composition
contributes evidence towards making a judgement for awarding this Achievement Standard.
Completed reflection and evaluation.
Note: This assessment contributes evidence towards the final grade for Achievement Standard
90775. The final grade will be determined on completion of this activity and another piece/s of
music in response to a task/s.
51
AUTHENTICATION:
The work that has been submitted for assessment is entirely my own work.
Student
signature
Date:
TEACHER'S COMMENT
FORMATIVE
GRADE
Resubmission
Date:
Student’s
signature
Date:
Teacher's
signature
Date:
Self-Assessment
Teacher Assessment
Strengths
Areas to work on
52
ASSESSMENT TOWARDS ACHIEVING
US 10655 (L2)
or
US 10656 (L3)
Unit Standard
Assessment Mode
10655
or
10656
Version
Internal
Credits
3
Level
3
6 (L2)
or
8 (L3)
2
3
Due Date
Submission Requirements
10655
Students are required to compose three pieces of music for this standard, each of which is no
less than two minutes’ duration, and represent compositions in a portfolio of work. ONE
composition will be music for a specific purpose; for example, film, television advertisement, a
mood piece, opening for a cultural festival, prize giving, religious occasion, wedding, birth,
funeral, a marae or hui occasion, a family occasion, or other music setting. The SECOND
composition will be EITHER an original setting of a text, or a purely instrumental composition.
The THIRD composition may be in any genre. Compositions may be in any style. This
assessment will satisfy the requirements of a second (purely instrumental) or third composition.
Compositions may include improvisation where it suits the chosen musical style.
If
improvisation is included in the composition(s), sufficient detail must be supplied to give a clear
indication of the student’s intentions.
Where an accompaniment is added to enhance a vocal or solo instrumental line, this will also be
considered for assessment.
All three compositions submitted are to be performed and recorded on audio or video by, or
under the supervision of, the composer.
Pieces need to show the ability to formulate, select, combine, develop, test and structure
musical of ideas. Compositions are to be represented clearly, in a way that captures the intent,
and in a form that suits the genre or style.
Students must also include written objectives and information about compositional processes
used as part of their portfolio.
Compositions completed for this standard will be based on tasks provided by the teacher. A
description of the task that will contribute evidence towards achieving this standard is on page
55.
Students should have had an extensive period of time to experiment, improvise, manipulate and
evaluate musical ideas, alone and with others, including focused listening, practical activities,
53
analysis and description of a wide range of musical styles and genres. This provides students
with models and examples of ‘ways of working’.
Note: This assessment contributes evidence towards the final grade for Unit Standard 90266.
The final grade will be determined on completion of this activity and another TWO pieces of
music in response to a given task/s.
10656
Students are to present a two or three music pieces of substance and represent music
compositions. Substance includes development of musical ideas, use of contrasting materials,
and textural variety. ONE composition will be an original setting of a text, and the SECOND will
be an instrumental composition. The THIRD composition, if submitted, may be in any kind,
excluding arrangements, which may be offered for Unit Standard 10663: Arrange three pieces of
music for three or more instruments. Each work may be one piece or a collection of pieces. This
assessment will satisfy the requirements of a second (original instrumental composition) or third
composition, if submitted.
Compositions may include improvisation where it suits the chosen musical style.
If
improvisation is included in the composition(s), sufficient detail must be supplied to give a clear
indication of the student’s intentions.
Compositions may be written for any instrument and/or sound source, including voice; or
combination of instruments and/or sound sources, including vocal ensemble.
Where an accompaniment is added to enhance a vocal or solo instrumental line, this will also be
considered for assessment.
All compositions submitted are to be performed and recorded on audio or video by, or under the
supervision of, the composer.
Compositions need to show the ability to formulate, select, review, and if necessary, re-work
musical ideas. Compositions must display the ability to combine, develop, structure and craft
musical ideas. Compositions are to be represented clearly and accurately, in a way that captures
the intent, and in a form that suits the genre or style, either written musical score, other visual
representation or other representational form in keeping with the genre.
Students must also include written objectives and information about compositional processes
used as part of their portfolio.
Compositions completed for this standard will be based on tasks provided by the teacher. A
description of the task that will contribute evidence towards achieving this standard is on page
55.
Work for this standard should be spread throughout the year, though consultation with the
student will determine how the student works best to achieve optimum results.
Note: This assessment contributes evidence towards the final grade for Unit Standard 10656.
The final grade will be determined on completion of this activity and another composition/s in
response to a given task/s.
54
Conditions
10655
The composition will be part of a portfolio of work. All workings and drafts will be available to
the teacher for feedback during class time and will be included along with the portfolio. A
significant amount of compositional activity should occur during class time. This will ensure
authenticity of student work.
The portfolio of musical compositions submitted will also include:
 A description of the task/s completed (page 55);
 A statement which outlines the objectives set and the compositional processes used;
 Visual or aural representation of the composition and any relevant supporting material,
including self, peer and/or teacher evaluations;
 A recording of the composition/s.
Work for this standard is to be undertaken under conditions of supervision, which can assure
authenticity. Some activity should take place in supervised class time. Workings and drafts may
also be used to ensure authenticity. Teachers are to provide a form for students to sign to attest
that the work submitted for assessment is that of the student.
10656
Composition work must be presented in a portfolio. All workings and drafts will be available to
the teacher for discussion during class time and will be included along with the completed
composition/s as part of the portfolio. Each composition must be accompanied by an audio
recording of a performance of the composition. This may be a live, sequenced or computer
generated recording.
The portfolio of musical compositions submitted will also include:
 A description of the task/s completed (page 55);
 A statement which describes the objectives set and the compositional processes used;
 Visual or aural representation of the composition and any relevant supporting material,
including self, peer and/or teacher evaluations;
 A recording of the composition/s.
Work for this standard is to be undertaken under conditions of supervision, which can assure
authenticity. Some activity should take place in supervised class time. Workings and drafts may
also be used to ensure authenticity. Teachers are to provide a form for students to sign to attest
that the work submitted for assessment is that of the student.
55
US 10655 – Demonstrate developing music compositional
skills through three music compositions
&
US 10656 – Demonstrate developed music compositional
skills through two or three compositions of substance
STUDENT TASK:
You must present evidence of their creative response to the following task.
You are to compose a piece of music that is inspired by ONE image by a New Zealand artist see pages 62-77. Work is to be presented as part of a portfolio. By the end of the year, Level 2
students would have completed THREE music compositions and Level 3 students would have
completed TWO or THREE compositions of substance. Substance includes development of
musical ideas, use of contrasting materials, and textural variety. You will also include
information on the objectives of your compositions and compositional processes used to
formulate, select, review, combine, develop and structure your musical ideas.
Once you have begun to develop ideas for the composition, you should liaise with your teacher
to ensure that you are undertaking an appropriate amount of work. You should discuss with your
teacher strategies for helping you to manage your time effectively and to meet the goals that
you set yourself.
Your composition could be for:
 Solo instrument, with or without accompaniment. Where an accompaniment is included
as part of a composition, it will be assessed;
 An instrumental or vocal ensemble of three or more parts. This might be – four part
choir, a small jazz ensemble, a rock group, a percussion ensemble, an instrumental trio,
quartet or quintet, tape loop and acoustic instruments, computer generated/electronic
sounds or found or natural sounds;
 A specific musical occasion;
 Voice, where you set your own or others’ text/s. If you use someone else’s text/s, you
must acknowledge this;
 Electro-acoustic media.
You will also include:
 A description of why you selected the artwork you have, and how it motivated you to
compose music in response to it. You will also document the process of how you came up
with your musical ideas and how you developed them. What personal meaning have you
taken from the artwork, and how has this impacted on what you wish to communicate
through your music? Consider the context, form, media, colours, texture and structure of
the artwork and how this may have impacted on your choice of sound media, tonality and
compositional structure;
 Your representation of the composition (either visual, score or audio) and any relevant
supporting material, including self, peer and/or teacher evaluations;
 A recording of the compositions. This may be a live, sequenced or computer generated
recording.
Your portfolio, including workings and drafts, will be available to your teacher for discussion
during class time.
56
Electronic works and sequenced material should be fully realised by you and be accompanied by
appropriate representation. The editing of computer-generated notation must be by you. If an
element of improvisation is included in your composition, sufficient detail must be supplied to
give a clear indication of your intentions to the improviser.
You are to sign an authentication form to state that the material submitted is your own work.
Possible Approaches to Preparing for this Assessment
As you start composing music, you will need to spend some time experimenting with sounds and
improvising musical ideas.
As you experiment with your ideas for your music, consider ways of:
 Creating unity and contrast;
 Developing or extending your ideas;
 Creating sounds through non-traditional means;
 Manipulating your ideas using the elements of music;
 Building and releasing tension;
 Establishing/maintaining/varying mood.
Before you begin building and structuring your ideas into a coherent piece of music:
 Think carefully about the effectiveness of your ideas, and consider making changes if you
need to. At this stage you may want to map out an overall structural plan for your music;
 Get regular feedback from your friends and teacher/s on the effectiveness of your ideas and
work in progress. This is really important because your ideas are the foundation of your
musical structure.
Listen to a performance of your work and check whether their interpretation matches your
intentions. Give your performers plenty of time to prepare and rehearse for the
performance/recording of your work.
Documenting objectives and information about processes used
You must also document objectives and information about the compositional processes used to
formulate, select, review, and if necessary, re-work musical ideas, combine, develop, structure,
and craft musical ideas. Record any refinements and improvements you made to your
compositions whilst working towards this Unit Standard. Also, reflect on why you made these.
Use the template on pages 57-58 to do this.
57
Objectives for, and Information about Compositional Processes used, to
Compose a Piece of Music for a Task
Name…………………………………………………………
Date………………………………………………………………
Title: ……………………………………………………………………………………………………………………………………………..
Composer……………………………………………………………………………………………………………………………………….
1. In this task, I set out to:
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
2. I selected ________________________________ (artwork) by _______________________
because:
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
3. I formulated my initial ideas by:
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
4. The ideas I decided to use were … because …
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
58
5. Musical processes include techniques or devices such as repetition, motif, imitation,
sequence, variation or thematic development, modulation, texture etc. The processes I used
to combine, develop, structure and craft my musical ideas were;
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
6. The way I achieve variety/contrast in the music (for example: of dynamics, timbre, pitch,
melody, rhythm, texture) is:
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
7. The musical elements I explore in my composition are:
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
8. How would you describe the musical style? How is the style maintained through the piece?
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
9. How does the mood and character of the music match the title and/or artwork that inspired
the piece?
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
59
Assessment Schedule for 10655
Element 1
Grade
N/A
Comp
1
Compose three pieces of music.
Represent compositions in portfolio of
work.
Performance criteria
1.3
Composition displays the ability
to formulate and select musical
ideas. This is evidenced by:
 clear
and
coherent
statements of intent using
template
in
task
that
documents
the
creative
process
(Nos.
3-4
of
template)
 statements of intent using
template in
task
shows
critical thinking and analysis
in selection of ideas for
composition (Nos. 2-4)
1.4
Compositions display ability to
combine, develop, test, and
structure musical ideas. This is
evidenced by:
 statements of intent using
template in
task
shows
critical thinking and analysis
of development of ideas for
composition (Nos. 5-7)
 observations and discussions
with
teacher,
and
workshopping
with
peers
providing
feedback
–
attached
peer
feedback
comments
 the music produced by the
student in AV format
Element 2
Grade
N/A
Comp
1
Performance criteria
__ __
__ __
2.1
Representation of compositions is clear and
in a form which captures intent, and in a
form which suits genre or style. This is
evidenced by the composition presented as:
 clear recording/other representation that
clearly shows creative intentions
 form is appropriate to style or genre
chosen, eg pop song recorded, classical
piece notated and recorded
2.2
Compositions are performed and recorded
by, or under the supervision of, the
composer.
This is evidenced by:
 teacher verification of recording and
student authenticity form
2.3
Portfolio includes written objectives.
This is evidenced by:
 presentation of portfolio that includes
clearly stated and verified written
objectives along – using task template,
with
AV
recordings,
scores
if
appropriate, and authenticity sheet and
outcomes of peer/teacher feedback
discussions
__ __
__ __
__ __
EVIDENCE:
Student’s completed composition of which is no less than two minutes’ duration represented
clearly and in a form that suits the genre or style as part of a portfolio of composition.
Note: This assessment contributes evidence towards the final grade for Achievement Standard
10655. The final grade will be determined on completion of this activity and another piece/s of
music in response to a task/s.
60
Assessment Schedule for 10656
Element 1
Grade
N/A
Comp
1
Element 2
Compose two or three music pieces of substance.
Represent music compositions.
Performance criteria
Performance criteria
1.1
Composition is supported by a portfolio of work
showing objectives and processes. This is evidenced
by:
 clear and coherent statements of intent using
template in task that outlines objectives and
creative process (Nos. 1-4 of template)
2.1
Representation of compositions
is clear, accurate, and in a form
which suits genre or style. This
is evidenced by the composition
presented as:
 clear and accurate
recording/other
representation that clearly
shows creative intentions
 form is appropriate to style
or genre chosen, eg pop
song recorded, classical
piece notated and recorded
1.2
Composition displays the ability to formulate, select
review, and, if required, re-work musical ideas. This
is evidenced by:
 statements of intent using template in task shows
critical thinking and analysis in selection of ideas
for composition (Nos. 2-4)
1.5
Compositions display ability to combine, develop,
structure and craft musical ideas. This is evidenced
by:
 statements of intent using template in task shows
critical thinking and analysis of development of
ideas for composition (Nos. 5-7)
 observations and discussions with teacher, and
workshopping with peers providing feedback –
attached peer feedback comments
 the music produced by the student in AV format
1.4
Composition of substance is completed and is
relevant and responsive to written portfolio objective.
This is evidenced by:

presentation of portfolio that includes clearly
stated and verified written objectives along –
using task template, with AV recordings, scores if
appropriate, and authenticity sheet and outcomes
of peer/teacher feedback discussions
__ __
__ __
__ __
2.2
Compositions are performed
and recorded by, or under the
supervision of, the composer.
This is evidenced by:
 teacher verification of
recording and student
authenticity form
Grade
N/A
Comp
1
__ __
__ __
__ __
EVIDENCE:
Student’s completed composition of which is no less than two minutes’ duration represented clearly and in a
form that suits the genre or style as part of a portfolio of composition.
Note: This assessment contributes evidence towards the final grade for Achievement Standard
10656. The final grade will be determined on completion of this activity and another piece/s of
music in response to a task/s.
61
AUTHENTICATION:
The work that has been submitted for assessment is entirely my own work.
Student
signature
Date:
TEACHER'S COMMENT
FORMATIVE
GRADE
Resubmission
Date:
Student’s
signature
Date:
Teacher's
signature
Date:
Self-Assessment
Teacher Assessment
Strengths
Areas to work on
62
Digistore Images
'Traffic Cop Bay', 2003
This is an image of a large, three-panel acrylic painting, or triptych, by New Zealand painter Bill
Hammond (1947- ). (For notes on the significance of this resource go to 'metadata record' at
the end of this description and see the 'educational value' section). It has a complex, layered
perspective, showing detailed plants, birds, trees, islands, mountains, and bird figures in a bay.
The painting is predominately a muted green-blue colour. The title refers to the bay where the
artist has his studio. The painting was completed in 2003 and measures 2 m x 3.75 m.
Acknowledgements
Copyright
Reproduced courtesy of the Museum of New Zealand Te Papa Tongarewa
Creator
Bill Hammond, artist, 2003
Identifiers
Museum of New Zealand Te Papa Tongarewa number 2003-0027-1 A-C
TLF resource R2862
Source
Museum of New Zealand Te Papa Tongarewa, http://www.tepapa.govt.nz
The Learning Federation
Museum of New Zealand Te Papa Tongarewa
© Curriculum Corporation and Museum of New Zealand Te Papa Tongarewa, 2006, except where
indicated under Acknowledgements
Conditions of use (This item contains non-TLF content.)
63
Chasuble, 1978
This is a chasuble, an outer vestment worn by Catholic priests when celebrating mass, made from tapa
(barkcloth) and dyes in Tonga in 1978. (For notes on the significance of this resource go to 'metadata
record' at the end of this description and see the 'educational value' section). It is hand-painted with a
combination of Christian and Tongan imagery. The Tongan pattern around the neck is known as 'Tokelau
feletoa', and a motif possibly representing olive branches decorates the border. The Virgin Mary is depicted
on the front, and an image of Christ appears on the back. It was made in Ma'ufanga Village, and painted in
Vaololoa Village by Mata'itini Tu'akoi, Fatima Cheeseman and 'Etita Tausinga. It measures 106 cm x 92 cm.
Acknowledgements
Copyright
Reproduced courtesy of the Museum of New Zealand Te Papa Tongarewa
Creator
Fatima Cheeseman, artist, 1978, 'Etita Tausinga, artist, 1978, Mata'itini Tu'akoi, artist,
1978
Identifiers
Museum of New Zealand Te Papa Tongarewa number FE011715, TLF resource R6111
Source Museum of New Zealand Te Papa Tongarewa, http://www.tepapa.govt.nz
The Learning Federation, Museum of New Zealand Te Papa Tongarewa © Curriculum Corporation and
Museum of New Zealand Te Papa Tongarewa, 2006, except where indicated under Acknowledgement
64
'Pisupo lua afe' (Corned beef 2000), 1994
This is a large, freestanding tin sculpture in the shape of a bullock, made by artist Michel Tuffery in 1994.
(For notes on the significance of this resource go to 'metadata record' at the end of this description and see
the 'educational value' section). The life-size sculpture comprises empty yellow-and-red corned beef tins
that have been flattened, cut or folded, and riveted into place. The tins previously contained the Fijian
brand 'Golden Country' corned beef. The work measures 115 cm x 65 cm x 217 cm.
Acknowledgements
Copyright
Reproduced courtesy of the Museum of New Zealand Te Papa Tongarewa
Creator
Michel Tuffery, sculptor, 1994
Identifiers
Museum of New Zealand Te Papa Tongarewa number FE010516
TLF resource R6470
Source Museum of New Zealand Te Papa Tongarewa, http://www.tepapa.govt.nz
The Learning Federation
Museum of New Zealand Te Papa Tongarewa
© Curriculum Corporation and Museum of New Zealand Te Papa Tongarewa, 2006, except where indicated
under Acknowledgements
65
Graffiti dress 'Bombacific', 1995
This is a long tight-fitting dress made from Dupont Lycra by artist and designer Shigeyuki (Naomi) Kihara
(1975-). (For notes on the significance of this resource go to 'metadata record' at the end of this
description and see the 'educational value' section). It has a green yoke, long red sleeves and a high black
rolled collar. The rest of the bodice is black with a grill-like effect, created by joining geometric shapes with
silver overlocked seams. At the waist is a broad silver band with black horizontal lines. The skirt has three
horizontal bands of white, covered in black graffiti, which are separated by two sloping black bands, wider
on the right side than the left. The graffiti bands - the work of artist Vito Malo - include words and images.
The skirt measures 145.0 cm in length, 71 cm around the waist and 88 cm around the hips.
Acknowledgements
Copyright
Reproduced courtesy of the Museum of New Zealand Te Papa Tongarewa
Creator
Shigeyuki (Naomi) Kihara, artist, 1995
Identifiers
Museum of New Zealand Te Papa Tongarewa number FE010561, TLF resource R3716
Source Museum of New Zealand Te Papa Tongarewa, http://www.tepapa.govt.nz
The Learning Federation
Museum of New Zealand Te Papa Tongarewa
© Curriculum Corporation and Museum of New Zealand Te Papa Tongarewa, 2006, except where indicated
under Acknowledgements
66
'Aumakau hulu manu (feathered god image), Hawai'i, late 1700s
This is an 'aumakau hulu manu, or feathered god image, from Hawai'i, probably made in the late 1700s.
(For notes on the significance of this resource go to 'metadata record' at the end of this description and see
the 'educational value' section). The framework is covered in mostly red i'iwi (scarlet Hawaiian
honeycreeper, 'Vestiaria coccinea') feathers, with white feathers prominent along the top and down the
central crest. Black and yellow feathers are also present. The eyes are oval-shaped pearl-shell disks with
black-seed pupils. The gaping mouth is lined with dog teeth. It measures 56 cm x 23 cm.
'aumakau hulu manu (feathered god image), Hawai'i, late 1700s
Acknowledgements
Copyright
Reproduced courtesy of the Museum of New Zealand Te Papa Tongarewa
Creator
Unidentified
Identifiers
Museum of New Zealand Te Papa Tongarewa number FE000325
TLF resource R4416
Source Museum of New Zealand Te Papa Tongarewa, http://www.tepapa.govt.nz
The Learning Federation
Museum of New Zealand Te Papa Tongarewa
© Curriculum Corporation and Museum of New Zealand Te Papa Tongarewa, 2006, except where indicated
under Acknowledgements
67
'Northland panels', 1958
This is an oil painting by Colin McMahon consisting of eight unstretched, irregular, rectangular
canvasses with abstracted Northland (far north of the North Island, New Zealand) landscapes
and text. (For notes on the significance of this resource go to 'metadata record' at the end of
this description and see the 'educational value' section). Painted in a brushy, rapid, gestural
style, the overall dimensions of the work are 178 cm x 625 cm.
Further information is available for this resource.
Acknowledgements
Copyright
Reproduced courtesy of the Museum of New Zealand Te Papa Tongarewa
Creator
Colin McCahon, artist, 1958
Identifiers
Museum of New Zealand Te Papa Tongarewa number 1978-0009-1 A-H to H
TLF resource R5400
Source
Museum of New Zealand Te Papa Tongarewa, http://www.tepapa.govt.nz
The Learning Federation
Museum of New Zealand Te Papa Tongarewa
© Curriculum Corporation and Museum of New Zealand Te Papa Tongarewa, 2006, except where
indicated under Acknowledgements
68
'New Zealand landscape', 1947
This is an oil painting by New Zealand artist Gordon Walters (1919-95). (For notes on the
significance of this resource go to 'metadata record' at the end of this description and see the
'educational value' section). It is a landscape painted in earth tones in a style inspired by ancient
Māori rock drawings. The conventional landscape features of trees, grass and sun are formalised
and abstract. There is no perspective or horizon: the shapes are laid flat on the surface of the
painting. The painting was created in 1947 and measures 32.5 cm x 42.5 cm. 'New Zealand
landscape', 1947
Acknowledgements
Copyright
Reproduced courtesy of the Museum of New Zealand Te Papa Tongarewa
Creator
Gordon Walters, artist, 1947
Identifiers
Museum of New Zealand Te Papa Tongarewa number I.006309
TLF resource R2861
Source
Museum of New Zealand Te Papa Tongarewa, http://www.tepapa.govt.nz
The Learning Federation
Museum of New Zealand Te Papa Tongarewa
© Curriculum Corporation and Museum of New Zealand Te Papa Tongarewa, 2006, except where
indicated under Acknowledgements
69
'Rutu', 1951
This is a self-portrait made in 1951 by Rita Angus (born Henrietta Catherine Angus) titled 'Rutu'. (For notes
on the significance of this resource go to 'metadata record' at the end of this description and see the
'educational value' section). Painted in oils on canvas, 'Rutu' features a female figure with blonde hair and
dark skin who is wearing a red-and-blue top with a yellow fish motif around the neckband and a blue skirt.
She is sitting on a patterned chair against a background of white-tipped waves, flat blue sea and tropical
foliage. She is gazing serenely away from the viewer, with the yellow Sun framing her head like a halo. She
is holding a white lotus flower delicately in her fingers. The painting measures 70.7 cm x 56.0 cm.
Acknowledgements
Copyright
Reproduced courtesy of the Museum of New Zealand Te Papa Tongarewa
Creator
Rita Angus, artist, 1951
Identifiers
Museum of New Zealand Te Papa Tongarewa number 1992-0025-1, TLF resource R6464
Source Museum of New Zealand Te Papa Tongarewa, http://www.tepapa.govt.nz
The Learning Federation, Museum of New Zealand Te Papa Tongarewa
© Curriculum Corporation and Museum of New Zealand Te Papa Tongarewa, 2006, except where indicated
under Acknowledgements
70
'Salamasina', 1987
This is an oil painting by the Samoan artist Fatu Feu'u (1946- ), depicting the story of
Salamasina, a significant woman from ancient Samoa. (For notes on the significance of this
resource go to 'metadata record' at the end of this description and see the 'educational value'
section). It was completed in 1987 and measures approximately 1.76 m x 2.32 m.
Acknowledgements
Copyright
Reproduced courtesy of the Museum of New Zealand Te Papa Tongarewa
Creator
Fatu Feu'u, artist, 1987
Identifiers
Museum of New Zealand Te Papa Tongarewa number 1989-0009-1
TLF resource R2864
Source
Museum of New Zealand Te Papa Tongarewa, http://www.tepapa.govt.nz
The Learning Federation
Museum of New Zealand Te Papa Tongarewa
© Curriculum Corporation and Museum of New Zealand Te Papa Tongarewa, 2006, except where
indicated under Acknowledgements
Conditions of use (This item contains non-TLF content.)
71
'McKenzie the sheep stealer', 1965
This is an oil painting by New Zealand artist Trevor Moffitt (1936-) from a series of 13 paintings
he completed in 1964-65 based on the life of James McKenzie, who was imprisoned in 1855 for
sheep stealing in the South Island. (For notes on the significance of this resource go to
'metadata record' at the end of this description and see the 'educational value' section). The
painting is in a broadly brushed, expressionistic style using muted earth tones and a washed-out
blue. McKenzie dominates the foreground, wide-eyed with a red moustache and beard covering
his mouth. The painting measures 74.9 cm by 120.6 cm.
Acknowledgements
Copyright
Reproduced courtesy of the Museum of New Zealand Te Papa Tongarewa
Creator
Trevor Moffitt, artist, 1965
Identifiers
Museum of New Zealand Te Papa Tongarewa number 1975-0015-1
TLF resource R3710
Source
Museum of New Zealand Te Papa Tongarewa, http://www.tepapa.govt.nz
The Learning Federation
Museum of New Zealand Te Papa Tongarewa
© Curriculum Corporation and Museum of New Zealand Te Papa Tongarewa, 2006, except where
indicated under Acknowledgements
72
Oi'Te Puhi o te tai Haruru', 1984-85
This is an oil painting on hessian on board, created in 1984-85 by New Zealand artist Tony
Fomison (1939-90). (For notes on the significance of this resource go to 'metadata record' at the
end of this description and see the 'educational value' section). It is a large, horizontal
composition with two Polynesian faces in the foreground and middle ground, and a coastal
landscape in the right background. The larger portrait fills the left third of the canvas, and is
cropped severely so that it appears in extreme close-up. In the lower middle of the canvas there
is a head-and-shoulders portrait of a younger Māori woman. Behind and above her is a large
overhanging rock frontage, while in the background to the right are sea, coastline and sky. The
work measures 90.5 cm x 181.7 cm.
Acknowledgements
Copyright
Reproduced courtesy of the Museum of New Zealand Te Papa Tongarewa
Creator
Tony Fomison, artist, 1984-85
Identifiers
Museum of New Zealand Te Papa Tongarewa number 2003-0013-1
TLF resource R4412
Source
Museum of New Zealand Te Papa Tongarewa, http://www.tepapa.govt.nz
The Learning Federation
Museum of New Zealand Te Papa Tongarewa
© Curriculum Corporation and Museum of New Zealand Te Papa Tongarewa, 2006, except where
indicated under Acknowledgements
73
Decorative tile, c1980
This is a decorative tile of red and brown enamel on metal with a clear glaze. (For notes on the significance
of this resource go to 'metadata record' at the end of this description and see the 'educational value'
section). It depicts a Mäori motif based on rock art from the Opihi River area of South Canterbury, on the
east coast of the South Island, New Zealand. It shows five dogs and a human form at the head of a
dominant central image of a stylised taniwha or water monster, with one dog in behind. The tile has been
mounted onto a dark brown stained particle-board backing with holes at the rear for wall mounting.
Produced around 1980, it measures 28.0 cm x 16.5 cm x 1.2 cm.
Acknowledgements
Copyright
Reproduced courtesy of the Museum of New Zealand Te Papa Tongarewa
Creator
Unidentified
Identifiers
Museum of New Zealand Te Papa Tongarewa number GH007257, TLF resource R5115
Source Museum of New Zealand Te Papa Tongarewa, http://www.tepapa.govt.nz
The Learning Federation, Museum of New Zealand Te Papa Tongarewa
© Curriculum Corporation and Museum of New Zealand Te Papa Tongarewa, 2006, except where indicated
under Acknowledgements
74
'Untitled', c1963
This is an untitled study in black ink on white paper by the Dutch-New Zealand artist Theo
Schoon (1915-85), created around 1963. (For notes on the significance of this resource go to
'metadata record' at the end of this description and see the 'educational value' section). It
engages with the Māori art of kōwhaiwhai, a formalised style of design, and features a repeating
white pattern reversed out of black, which resolves into white in the upper part of the image. It
measures 56 cm x 76 cm.
Acknowledgements
Copyright
Reproduced courtesy of the Museum of New Zealand Te Papa Tongarewa
Creator
Theo Schoon, artist, c1963
Identifiers
Museum of New Zealand Te Papa Tongarewa number 1988-0052-2
TLF resource R5402
Source
Museum of New Zealand Te Papa Tongarewa, http://www.tepapa.govt.nz
The Learning Federation
Museum of New Zealand Te Papa Tongarewa
© Curriculum Corporation and Museum of New Zealand Te Papa Tongarewa, 2006, except where
indicated under Acknowledgements
75
'Black phoenix', 1984
This is a large art installation titled 'Black phoenix', created by NZ artist Ralph Hotere in 1984.
(For notes on the significance of this resource go to 'metadata record' at the end of this
description and see the 'educational value' section). The installation incorporates the firedamaged prow of a fishing boat and burnt planks of wood that lean against the wall on either
side of the prow. Other planks have been laid on the floor in front of the prow. Each plank has
had a strip of charcoal routed out to reveal the natural timber underneath. Polished brass plates
are attached to the boat's prow, and some of the planks are carved with the tribal proverb 'KA
HINGA ATU HE TËTËKURA ARA MAI HE TËTËKURA'. The installation is made from metal and
burnt wood and measures 5.00 m x 12.90 m x 5.65 m.
Acknowledgements
Copyright
Reproduced courtesy of the Museum of New Zealand Te Papa Tongarewa
Creator
Ralph Hotere, sculptor, 1984
Identifiers
Museum of New Zealand Te Papa Tongarewa number 1988-0030-1
TLF resource R6463
Source
Museum of New Zealand Te Papa Tongarewa, http://www.tepapa.govt.nz
The Learning Federation
Museum of New Zealand Te Papa Tongarewa
© Curriculum Corporation and Museum of New Zealand Te Papa Tongarewa, 2006, except where
indicated under Acknowledgements
76
'Kahuirangi', 1988
This is an acrylic painting on hardboard titled 'Kahuirangi', which was made by NZ artist Sandy Adsett in
1988. (For notes on the significance of this resource go to 'metadata record' at the end of this description
and see the 'educational value' section). The image comprises a series of repeating koru motifs arranged
within a grid that features three vertical bands and seven horizontal bands. The colours of the individual
koru motifs alternate between shades of blue, red and grey. A blue border surrounds the geometric
patterning. The painting measures 126.5 cm x 107.0 cm.
Acknowledgements
Copyright
Reproduced courtesy of the Museum of New Zealand Te Papa Tongarewa
Creator
Sandy Adsett, artist, 1988
Identifiers
Museum of New Zealand Te Papa Tongarewa number 1988-0029-1, TLF resource R6462
Source Museum of New Zealand Te Papa Tongarewa, http://www.tepapa.govt.nz
The Learning Federation, Museum of New Zealand Te Papa Tongarewa
© Curriculum Corporation and Museum of New Zealand Te Papa Tongarewa, 2006, except where indicated
under Acknowledgement
77
'Mangaweka', 1973
This is an oil painting on canvas by Robin White (1946-) completed in 1973. (For notes on the significance
of this resource go to 'metadata record' at the end of this description and see the 'educational value'
section). In the foreground is a flat-deck truck with the word 'Mangaweka' on the driver's door, and behind
it a yellow, two-storey weatherboard building with four windows (two up and two down) and a red awning.
The strong horizontals and verticals are counterbalanced by the wheels of the truck and rolling hills behind
the building. The painting measures 100.5 cm x 100.5 cm.
Acknowledgements
Copyright
Reproduced courtesy of the Museum of New Zealand Te Papa Tongarewa
Creator
Robin White, artist, 1973
Identifiers
Museum of New Zealand Te Papa Tongarewa number 1994-0013-1, TLF resource R3713
Source Museum of New Zealand Te Papa Tongarewa, http://www.tepapa.govt.nz
The Learning Federation, Museum of New Zealand Te Papa Tongarewa © Curriculum Corporation and
Museum of New Zealand Te Papa Tongarewa, 2006, except where indicated under Acknowledgements
78
At the intersection of music and visual art
By Saul Austerlitz
Globe Correspondent, January 25, 2009.
Augie Pagan's ''Sabotaged'' is part of ''Under the Influence,'' works inspired by the Beastie Boys.
If you happen to be a Beastie Boys fanatic (of which there seems to be no shortage), stepping
inside Gallery 1988, a small street front art gallery where Melrose Avenue meets La Brea, could
be a surreal experience. Beasties lyrics are everywhere written out on slabs of canvas and
sheets of paper, typed out as the titles of numerous works, or given glorious, fully-fledged life
as paintings, drawings, or sculptures. "I'll Stir Fry You in My Wok," by Andrew Wilson, has the
"Intergalactic"-era Beastie Boys (from which this pungent lyric is taken) waving off an
enormous, multiple-tentacled octopus, all drawn on a Chipotle menu. Meanwhile Dan Goodsell's
piece of the same name features anthropomorphized veggies jumping playfully into a skillet.
The competing wok-fuelled visions are part of the group show "Under the Influence: The Official
Art Tribute to Beastie Boys," which features work inspired by the band's lyrics. Meanwhile, in
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Philadelphia, the T&P Fine Arts gallery has "Side Show," exhibit featuring artistic side projects of
working musicians, and later this week Jordan's Furniture in Reading is displaying rare artworks
by John Lennon, Paul McCartney, and Ringo Starr in honour of the 45th anniversary of the
Beatles' arrival in America.
Artists whose work is inspired by music; musicians inspired to make art: What draws one to the
other? For artists, music has an accessibility and an immediacy that high art often lacks. Those
of us not entirely steeped in art's codes may find ourselves drawing a blank when looking at a
contemporary-art canvas; but if that same canvas is titled "Brass vs. Funky" and features giant
duelling monkeys, with the "Sabotage"-era Beastie Boys looming in the foreground, we possess
a frame of reference we might otherwise lack. For musicians, art can be an opportunity for
untrammelled expression. Making music is often a communal affair, in which clashing
personalities must come to an agreement. Art, by contrast, is a dictatorship of one.
"I'm a bass player," notes Drew Roulette of California rock band Dredg, whose quirky
presidential miniatures are a highlight of "Side Show." "I can't really express myself too much
with that." Some musicians would surely disagree, but many acknowledge that art can serve as
another outlet for creative impulses. "I think music is just another avenue to vent creativity,"
says Dan Smith, a tattoo designer and lead singer of rock group the Dear & Departed, who
contributed carefully crafted portraits of Robert Smith, Ian Brown, and other British rock
luminaries to "Side Show." "Music is a combination of minds and hearts that sometimes clash
but always needs compromise. Art is for you, by you."
Jensen Karp, co-owner of Gallery 1988 in LA and curator of the exhibit, sees music and art
growing increasingly simpatico. "More and more buyers of our art are musicians," he notes.
"These worlds are meshing."
At T&P in Philadelphia, the two art forms were meshed from the start. The three owners are
music-industry veterans, and they called on musicians they knew to contribute their doodles,
snapshots, and leisure-time daubings for "Side Show." Co-owner Jonathan Halperin even
planned the exhibit to coincide with musicians' vacation time over the holidays. For Halperin, a
music booker in Southern California, "Side Show" was the best way of showing another side to
the musicians he knows. "I think it's just the creative gene," he says. "I have the gene to make
it happen. Musicians, on the other hand, have the itch to create."
For some musicians, art is a hobby. Ron Wood of the Rolling Stones and Paul Stanley of Kiss
both offer a selection of their paintings for sale on their websites. Wood's work mostly sticks
close to rock hagiography, with delicately shaded portraits of his band-mates and of musical
legends incorporating a touch of Seurat and a splash of Impressionism. Stanley, by contrast, is
more of a Basquiat-Haring kind of guy, his bold, splashy canvases plumed with fanciful names
("Tokyo Rain," "After Solitude Seven") and a hint of the go-go 1980s. Music is the major selling
point here. Without the musical connection, it is unlikely that art by Wood, Stanley, or Lennon
would garner the attention, or the prices, they have received.
For other musicians, art is more of a calling. Mikey Welsh was a music lifer, a Boston-based
musician and bassist with Weezer who spent a decade on the road before calling it quits eight
years ago. For Welsh, painting has meant an uninterrupted span of quiet contemplation after the
chaos of rock 'n' roll, and an opportunity to be, unequivocally, his own boss. Art has literally
become Welsh's escape from music; the time when he's painting is the only time of day he's not
listening to opera or jazz. Even without its immediate presence in the room, though, music has
an impact on Welsh's work, which is as fractured as Picasso's and as colourful and pulsating as
mid-period Matisse. "My paintings have a lot of energy, and I think that perhaps the boldness
and the energy of my work comes from the excitement and energy of playing loud music in front
of a lot of people," he says.
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Music, by its nature, is communal. Musicians playing together form a whole greater than the
sum of its parts, and the presence of an audience gives heft to what otherwise might be mere
noodling. Art, by its nature, is a solitary process, a lone figure standing before a canvas, waiting
for inspiration to strike. What they share is the restless desire to create, to speak in a language
beyond words. Each takes its share of inspiration from the other: music's heroic intensity, art's
unfettered expression. For many musicians, and many artists, the two are inseparable halves of
the same whole.
As Gallery 1988's Karp puts it: "It's so hand-in-hand."
(From: http://www.boston.com/ae/theater_arts/articles/2009/01/25/at_the_intersection_of_music_and_visual_art/)
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