Board Endorsed October 2008 – Amended October 2015
Music
A/T/M Extension Course
Type 2
Accredited from 1 January 2009 – 31
December 2013
Written under the
Music Course
Framework 2007.
Extended 2016
-1-
Board Endorsed October 2008 – Amended October 2015
Student Capabilities
The Student Capabilities (Year 11-12), as shown below, can be mapped to the essential Learning
achievements in the Curriculum Renewal (P-10) showing a strong relationship. Student capabilities
are supported through course and unit content and through pedagogical and assessment practices.
All programs of study for the ACT Year 12 Certificate should enable students to become:
 creative and critical thinkers
 enterprising problem-solvers
 skilled and empathetic communicators
 informed and ethical decision-makers
 environmentally and culturally aware citizens
 confident and capable users of technologies
 independent and self-managing learners
 collaborative team members
and provide students with:
 a comprehensive body of specific knowledge, principles and concepts
 a basis for self-directed and lifelong learning
 personal attributes enabling effective participation in society
-2-
Board Endorsed October 2008 – Amended October 2015
Type 2 Course Accreditation/Adoption Form
B S S S
Choose one of the following:
 adoption of Type 2 course
 adoption of additional units
AUSTRALIAN CAPITAL TERRITORY
Scope: The college is entered on the National Register to award Certificates delivered by this course
 Yes  No (Adoption of V courses only)
College:
Course Title: Music
Classification:  A  T  M  V
Framework: Music
Course Area: 7410
Dates of Course Accreditation:
Unit Prefix
Course Code:
From
1 / 1 / 2009
Unit Title(s)
To
31 / 12 / 2016
Value
(1.0/0.5)
Length
Introduction to Music
1.0
S
Historical Perspectives
0.5
Q
Medieval and Renaissance Music
1.0
S
Pre-Baroque Music
0.5
Q
Baroque Music
1.0
S
Classical Music
1.0
S
Directed Studies of Classical Music
0.5
Q
Romantic Music
1.0
S
Directed Studies of Romantic Music
0.5
Q
Music of the 20th & 21st Centuries
1.0
S
Directed Studies of 20th & 21st Centuries
0.5
Q
Jazz Perspectives
1.0
S
Blues Music
1.0
S
Directed Studies of Blues Music
0.5
Q
Swing and Bebop Music
1.0
S
Swing Music
0.5
Q
Bebop Music
0.5
Q
Latin Music
1.0
S
Directed Studies of Latin Music
0.5
Q
Funk Music
1.0
S
Directed Studies of Funk Music
0.5
Q
-3-
Unit Codes
Board Endorsed October 2008 – Amended October 2015
Australian Music
1.0
S
Women in Music
1.0
S
Directed Studies of Women in Music
0.5
Q
World Music
1.0
S
Directed Studies of World Music
0.5
Q
An Instruments Repertoire
0.5
Q
Ensembles
1.0
S
Small Ensembles
0.5
Q
Large Ensembles
0.5
Q
Music for Film
1.0
S
Directed Studies of Music for Film
0.5
Q
Music and the Media
1.0
S
Rock and Pop
1.0
S
Directed Studies of Rock and Pop
0.5
Q
Music for the Theatre
1.0
S
Early Jazz
1.0
S
Directed Studies in Early Jazz
0.5
Q
Self Directed Studies
1.0
S
Individual Music Project
0.5
Q
Accreditation: The course and units named above are consistent with the goals of the Course Framework and
are signed on behalf of the
Course Development Coordinator:
Panel Chair:
/
/
/
/
OR (delete box that does not apply)
Adoption/Alteration: The adopting College has the human and physical resources to implement the course.
Written Evaluation for small changes, and details of and reasons for Adoptions, Extensions, and addition of
units are outlined on the Supporting Statement.
Principal:
College Board Chair:
/
/
/
/
-4-
Board Endorsed October 2008 – Amended October 2015
Type 2 Course Accreditation/Adoption Form
B S S S
Choose one of the following:
 adoption of Type 2 course
 adoption of additional units
AUSTRALIAN CAPITAL TERRITORY
Scope: The college is entered on the National Register to award Certificates delivered by this course
 Yes  No (Adoption of V courses only)
College:
Course Title: Music
Classification:  A  T  M  V
Framework: Music
Course Area: 7410
Dates of Course Accreditation:
Unit Prefix
Course Code:
From
1 / 1 / 2009
To
31 / 12 / 2016
Value
(1.0/0.5)
Length
Medieval and Renaissance Music
1.0
S
Pre-Baroque Music
0.5
Q
Baroque Music
1.0
S
Classical Music
1.0
S
Directed Studies of Classical Music
0.5
Q
Romantic Music
1.0
S
Directed Studies of Romantic Music
0.5
Q
Music of the 20th and 21st Centuries
1.0
S
Directed Studies of 20th & 21st Centuries
0.5
Q
Jazz Perspectives
1.0
S
Blues Music
1.0
S
Directed Studies of Blues Music
0.5
Q
Swing and Bebop Music
1.0
S
Swing Music
0.5
Q
Bebop Music
0.5
Q
Latin Music
1.0
S
Directed Studies of Latin Music
0.5
Q
Funk Music
1.0
S
Directed Studies in Funk Music
0.5
Q
Australian Music
1.0
S
Women in Music
1.0
S
Directed Studies of Women in Music
0.5
Q
Unit Title(s)
-5-
Unit Codes
Board Endorsed October 2008 – Amended October 2015
World Music
1.0
S
Directed Studies of World Music
0.5
Q
An Instruments Repertoire
Ensembles
0.5
1.0
Q
S
Small Ensembles
0.5
Q
Large Ensembles
0.5
1.0
Q
S
Music and the Media
0.5
1.0
Q
S
Rock and Pop
1.0
S
Directed Studies of Rock and Pop
Music for the Theatre
0.5
1.0
Q
S
Early Jazz
1.0
S
Directed Studies in Early Jazz
The Swing Years
0.5
1.0
Q
S
Bebop
1.0
S
Cool and Beyond
1.0
S
Cool Jazz
Self Directed Studies
0.5
1.0
Q
S
Individual Music Project
0.5
Q
Music for Film
Directed Studies of Music for Film
Accreditation: The course and units named above are consistent with the goals of the Course Framework and
are signed on behalf of the
Course Development Coordinator:
Panel Chair:
/
/
/
/
OR (delete box that does not apply)
Adoption/Alteration: The adopting College has the human and physical resources to implement the course.
Written Evaluation for small changes, and details of and reasons for Adoptions, Extensions, and addition of
units are outlined on the Supporting Statement.
Principal:
College Board Chair:
/
/
/
/
-6-
Board Endorsed October 2008 – Amended October 2015
Type 2 Course Accreditation/Adoption Form
B S S S
Choose one of the following:
 adoption of Type 2 course
 adoption of additional units
AUSTRALIAN CAPITAL TERRITORY
Scope: The college is entered on the National Register to award Certificates delivered by this course
 Yes  No (Adoption of V courses only)
College:
Course Title: Extension Music
Classification:  A  T  M  V
Framework: Music
Course Area: 7410
Dates of Course Accreditation:
Unit Prefix
Course Code:
From
1 / 1 / 2009
Unit Title(s)
To
Value
(1.0/0.5)
1.0
Medieval and Renaissance Music
Pre-Baroque Music
31 / 12 / 2016
Length
S
Baroque Music
0.5
1.0
Q
S
Classical Music
1.0
S
Directed Studies of Classical Music
0.5
1.0
Q
S
0.5
1.0
Q
S
Jazz Perspectives
0.5
1.0
Q
S
Blues Music
1.0
S
Directed Studies of Blues Music
Swing and Bebop Music
0.5
1.0
Q
S
Swing Music
0.5
Q
Bebop Music
0.5
1.0
Q
S
0.5
1.0
Q
S
Australian Music
0.5
1.0
Q
S
Women in Music
1.0
S
Directed Studies of Women in Music
World Music
0.5
1.0
Q
S
Romantic Music
Directed Studies of Romantic Music
Music of the 20th & 21st Centuries
Directed Studies 20th & 21st Centuries
Latin Music
Directed Studies of Latin Music
Funk Music
Directed Studies of Funk Music
-7-
Unit Codes
Board Endorsed October 2008 – Amended October 2015
Directed Studies of World Music
0.5
Q
An Instruments Repertoire
Ensembles
0.5
1.0
Q
S
Small Ensembles
0.5
Q
Large Ensembles
Music for Film
0.5
1.0
Q
S
Directed Studies of Music for Film
Music and the Media
0.5
1.0
Q
S
Rock and Pop
1.0
S
Directed Studies of Rock and Pop
Music for the Theatre
0.5
1.0
Q
S
Early Jazz
1.0
S
Directed Studies in Early Jazz
Self Directed Studies
0.5
1.0
Q
S
Individual Music Project
0.5
Q
Accreditation: The course and units named above are consistent with the goals of the Course Framework and
are signed on behalf of the
Course Development Coordinator:
Panel Chair:
/
/
/
/
OR (delete box that does not apply)
Adoption/Alteration: The adopting College has the human and physical resources to implement the course.
Written Evaluation for small changes, and details of and reasons for Adoptions, Extensions, and addition of
units are outlined on the Supporting Statement.
Principal:
College Board Chair:
/
/
/
/
-8-
Board Endorsed Nov 2008-Amended November 2013
Type 2 Course Accreditation/Adoption Form
B S S S
Choose one of the following:
 adoption of Type 2 course
 adoption of additional units
AUSTRALIAN CAPITAL TERRITORY
Scope: The college is entered on the National Register to award Certificates delivered by this course
 Yes  No (Adoption of V courses only)
College:
Course Title: Music
Classification:  A  T M  V
Framework: Music
Course Area: 7410
Dates of Course Accreditation:
Unit Prefix
Course Code:
From
1 / 1 / 2009
Unit Title(s)
To
Value
(1.0/0.5)
31 / 12 / 2016
Length
Classical Music M
1.0
S
Swing and Bebop Music M
1.0
S
Music for Film M
1.0
S
Unit Codes
Accreditation: The course and units named above are consistent with the goals of the Course Framework
and are signed on behalf of the
Course Development Coordinator:
Panel Chair:
/
/
/
/
OR (delete box that does not apply)
Adoption/Alteration: The adopting College has the human and physical resources to implement the course.
Written Evaluation for small changes, and details of and reasons for Adoptions, Extensions, and addition of
units are outlined on the Supporting Statement.
Principal:
College Board Chair:
/
/
/
/
-9-
Board Endorsed Nov 2008-Amended November 2013
College specific combination of units.
Unit Prefix
Unit Title
Value
(1.0)
Length





Supporting Statement
Please provide the Assessment Task Types table for the new unit combinations and how any duplication of
content will be addressed.
Reasons for Adoption of the course
For V courses indicate the certificate the college will award.
- 10 -
Board Endorsed Nov 2008-Amended November 2013
Type 2 Course Accreditation/Adoption Supporting
Statement
Provides support for information on the Course Accreditation/Adoption Form
B S S S
AUSTRALIAN CAPITAL TERRITORY
Written Evaluation for small changes, reasons for Adoption of a Type 2 course or
Addition of units
For V courses indicate the certificate the college will award.
College:
Course Code
Course Title: Music
Course Length and Composition
Number and Length of Units
Which units will your college deliver?
Available Course Patterns
Must be consistent with Table 1.1 in the Guidelines.
Implementation Guidelines
Must be consistent with the original course document.
Compulsory Units
Must remain the same as original document.
Prerequisites for the course or units within the course
Must remain the same as original document.
Arrangements for students who are continuing to study a course in this subject
The adopting college may customize this to suit their individual needs.
Units from other courses
If the original course allows the adopting college must indicate which units can be added. These will be
forwarded to the panel chair for approval.
Additional Units
The adopting college may write additional units to suit their individual needs but within policy 2.3.9.1 and
with panel approval. The course should have coherence between units of study (Policy 2.2.4).
Suggested Implementation Patterns
This must be in line with the original course document.
- 11 -
Board Endorsed Nov 2008-Amended November 2013
Contents Page
Contents Page
...................................................................12
Course Name
...................................................................14
Course Classification
...................................................................14
Course Framework
...................................................................14
Course Developers
...................................................................14
Evaluation of Previous Course
...................................................................14
Course Length and Composition
...................................................................16
Subject Rationale
...................................................................22
Goals
...................................................................23
Student Group
...................................................................23
Content
...................................................................23
Teaching and Learning Strategies
...................................................................26
Assessment
...................................................................27
Student Capabilities
...................................................................30
Unit Grades
...................................................................32
Moderation
...................................................................37
Bibliography
...................................................................38
Proposed Evaluation Procedures
...................................................................41
Examples of Assessment Items
...................................................................41
Introduction to Music (A)
Value 1.0 ....................................................42
Historical Perspectives (A)
Value 0.5 ....................................................46
Medieval and Renaissance Music (A/T/Extension Music T) Value 1.0 ...............................................50
Pre-Baroque Music (A/T/Extension Music T)
Value 0.5 ....................................................53
Baroque Music (A/T/Extension Music T)
Value 1.0 ....................................................56
Classical Music (A/T/Extension Music T)
Value 1.0 ....................................................59
Directed Studies of Classical Music (A/T/Extension Music T) Value 0.5 .............................................62
Romantic Music (A/T/Extension Music T)
Value 1.0 ....................................................65
Directed Studies of Romantic Music (A/T/Extension Music T) Value 0.5 ...........................................68
Music of the 20th & 21st Centuries (A/T/ Extension Music T) Value 1.0............................................71
Directed Studies of 20th & 21st Centuries
Value0.5 .....................................................75
Jazz Perspectives (A/T/Extension Music T)
Value 1.0 ....................................................79
Blues Music (A/T/ Extension Music T)
Value 1.0 ....................................................82
Directed Studies of BluesMusic (A/T/Extension Music T) Value 0.5 ....................................................84
Swing and Bebop Music (A/T/Extension Music T)
Value 1.0 ....................................................86
Swing Music (A/T/Extension Music T)
Value 0.5 ....................................................89
Bebop Music (A/T/Extension Music T)
Value 0.5 ....................................................91
Latin Music (A/T/Extension Music T)
Value 1.0 ....................................................93
Directed Studies of Latin Music (A/T/Extension Music T) Value 0.5 ....................................................95
Funk Music (A/T/Extension Music T)
Value 1.0 ....................................................97
Directed Studies of Funk Music (A/T/Extension Music T) Value 0.5 ....................................................99
Australian Music (A/T/Extension Music T)
Value 1.0 ..................................................101
Women In Music (A/T/Extension Music T)
Value 1.0 ..................................................105
Directed Studies of Women in Music (A/T/Extension Music T) Value 0.5 .......................................109
World Music (A/T/Extension Music T)
Value 1.0 ..................................................113
- 12 -
Board Endorsed Nov 2008-Amended November 2013
Directed Studies of World Music (A/T/Extension Music T) Value 0.5 ..................................................116
An Instrument’s Repertoire (A/T/Extension Music T)
Value 0.5 ..................................................119
Ensembles (A/T/Extension Music T)
Value 1.0 ..................................................122
Small Ensembles (A/T/Extension Music T)
Value 0.5 ..................................................126
Large Ensembles (A/T/Extension Music T)
Value 0.5 ..................................................130
Music for Film (A/T/Extension Music T)
Value 1.0 ..................................................134
Directed studies of Music for Film (A/T/Extension Music T) Value 0.5 ............................................137
Music and the Media (A/T/Extension Music T)
Value 1.0 ..................................................140
Rock and Pop (A/T/Extension Music T)
Value 1.0 ..................................................143
Directed Studies of Rock and Pop (A/T/Extension Music T) Value 0.5 ............................................146
Music for the Theatre (A/T/Extension Music T)
Value 1.0 ..................................................149
Early Jazz (A/T/Extension Music T)
Value 1.0 ..................................................152
Directed Studies in Early Jazz (A/T/Extension Music T)
Value 0.5 ..................................................155
The Swing Years (T)
Value 1.0 ..................................................158
Bebop (T)
Value 1.0 ..................................................161
Cool and Beyond (T)
Value 1.0 ..................................................164
Cool Jazz (T)
Value 0.5 ..................................................167
Self Directed Studies (A/T/Extension Music T)
Value 1.0 ..................................................169
Individual Music Project (A/T/Extension Music T)
Value 0.5 ..................................................172
Classical Music M
Value 1.0 ..................................................175
Music for Film M
Value:1.0 ..................................................178
Swing and Bebop Music M
Value 1.0 ..................................................182
- 13 -
Board Endorsed Nov 2008-Amended November 2013
Course Name
Music/ Extension Music
Course Classification
A/T/M
Course Framework
This course is presented under the 2007 Music Course Framework.
Course Developers
Name
Qualifications
College
Ron Bennett
B Ed (Music)
St. Francis Xavier College
Rod Harding
Dip Jazz, B Ed
Canberra College
Danuta Mrowka
A Mus A (singing), BCA (Music/Drama),
Dip Ed (Music/Drama)
Lake Tuggeranong
Louisa Searle
B Mus Hons (Performance), Grad Dip Ed
Narrabundah College
Chris Smith
B MusEd, M Ed
Radford College
Sandra Taylor
Dip Teach, B Ed (Expressive Arts)
Burgmann Anglican School
Catherine Le Brun
B Mus, Dip Mus Ed, A Mus A
Hawker College
This group gratefully acknowledges the work of previous developers.
Evaluation of Previous Course
Are the Course and Course Framework still consistent?
It was noted that there were many similar music courses being used throughout the system. This
course is an amalgamation of the Evolutionary Music Course, Towards Contemporary Music Course
and Music T Course.
Were the goals achieved?
The previous courses achieved all goals, however, it is believed that a streamlined and flexible course
would be more accessible to all teachers and students studying music.
Was the course content appropriate?
The course contents were all appropriate, however, some units were up-dated, and new units were
added.
Were the teaching strategies used successful?
The teaching strategies were successful and have been incorporated into this new document.
- 14 -
Board Endorsed Nov 2008-Amended November 2013
Was the assessment program appropriate?
Some of the assessment in the Evolutionary Music Course required modification. The number of
assessment items has been reduced to be consistent with the revised Music Frameworks.
Have the needs of the students been met?
The students’ needs were generally met, however, it was perceived that more flexibility in unit
choice and course structure was required in order to accommodate all students.
Was the course relevant?
Individually the courses were appropriate, however, students were limited by the individual course
structures.
How many students completed the course in each of the years of accreditation?
Music A
Minor
Major
Major Minor
Double Major
2007
52
33
0
2
2006
58
34
1
0
2005
75
29
1
0
Major
2007
Minor
54
99
Major Minor
12
Double Major
8
2006
58
80
4
4
2005
52
75
3
3
Major
2007
Minor
13
17
Major Minor
1
Double Major
0
2006
16
17
0
0
2005
17
21
0
0
Music T
Extension Music T
What improvements need to be made to the course?
As mentioned the previous courses required more flexibility to provide a relevant and expansive
program for students.
- 15 -
Board Endorsed Nov 2008-Amended November 2013
Course Length and Composition
Music A
Introduction to Music
1.0
S
Historical Perspectives
0.5
Q
Medieval and Renaissance Music
1.0
S
Pre-Baroque Music
0.5
Q
Baroque Music
1.0
S
Classical Music
1.0
S
Directed Studies of Classical Music
0.5
Q
Romantic Music
1.0
S
Directed Studies of Romantic Music
0.5
Q
Music of the 20th & 21st Centuries
1.0
S
Directed Studies of 20th & 21st Centuries
0.5
Q
Jazz Perspectives
1.0
S
Blues Music
1.0
S
Directed Studies of Blues Music
0.5
Q
Swing and Bebop Music
1.0
S
Swing Music
0.5
Q
Bebop Music
0.5
Q
Latin Music
1.0
S
Directed Studies of Latin Music
0.5
Q
Funk Music
1.0
S
Directed Studies of Funk Music
0.5
Q
Australian Music
1.0
S
Women in Music
1.0
S
Directed Studies of Women in Music
0.5
Q
World Music
1.0
S
Directed Studies of World Music
0.5
Q
An Instruments Repertoire
0.5
Q
Ensembles
1.0
S
Small Ensembles
0.5
Q
Large Ensembles
0.5
Q
Music for Film
1.0
S
- 16 -
Board Endorsed Nov 2008-Amended November 2013
Directed Studies of Music for Film
0.5
Q
Music and the Media
1.0
S
Rock and Pop
1.0
S
Directed Studies of Rock and Pop
0.5
Q
Music for the Theatre
1.0
S
Early Jazz
1.0
S
Directed Studies in Early Jazz
0.5
Q
Self Directed Studies
1.0
S
Individual Music Project
0.5
Q
- 17 -
Board Endorsed Nov 2008-Amended November 2013
Music T
Medieval and Renaissance Music
1.0
S
Pre-Baroque Music
0.5
Q
Baroque Music
1.0
S
Classical Music
1.0
S
Directed Studies of Classical Music
0.5
Q
Romantic Music
1.0
S
Directed Studies of Romantic Music
0.5
Q
Music of the 20th and 21st Centuries
1.0
S
Directed Studies of 20th & 21st Centuries
0.5
Q
Jazz Perspectives
1.0
S
Blues Music
1.0
S
Directed Studies of Blues Music
0.5
Q
Swing and Bebop Music
1.0
S
Swing Music
0.5
Q
Bebop Music
0.5
Q
Latin Music
1.0
S
Directed Studies of Latin Music
0.5
Q
Funk Music
1.0
S
Directed Studies in Funk Music
0.5
Q
Australian Music
1.0
S
Women in Music
1.0
S
Directed Studies of Women in Music
0.5
Q
World Music
1.0
S
Directed Studies of World Music
0.5
Q
An Instruments Repertoire
0.5
Q
Ensembles
1.0
S
Small Ensembles
0.5
Q
Large Ensembles
0.5
Q
Music for Film
1.0
S
Directed Studies of Music for Film
0.5
Q
Music and the Media
1.0
S
Rock and Pop
1.0
S
Directed Studies of Rock and Pop
0.5
Q
Music for the Theatre
1.0
S
- 18 -
Board Endorsed Nov 2008-Amended November 2013
Early Jazz
1.0
S
Directed Studies in Early Jazz
0.5
Q
The Swing Years
1.0
S
Bebop
1.0
S
Cool and Beyond
1.0
S
Cool Jazz
0.5
Q
Self Directed Studies
1.0
S
Individual Music Project
0.5
Q
- 19 -
Board Endorsed Nov 2008-Amended November 2013
Extension Music T
Medieval and Renaissance Music
1.0
S
Pre-Baroque Music
Baroque Music
0.5
1.0
Q
S
Classical Music
1.0
S
Directed Studies of Classical Music
0.5
1.0
Q
S
0.5
1.0
Q
S
Jazz Perspectives
0.5
1.0
Q
S
Blues Music
1.0
S
Directed Studies of Blues Music
Swing and Bebop Music
0.5
1.0
Q
S
Swing Music
0.5
Q
Bebop Music
0.5
1.0
Q
S
0.5
1.0
Q
S
Australian Music
0.5
1.0
Q
S
Women in Music
1.0
S
Directed Studies of Women in Music
World Music
0.5
1.0
Q
S
Directed Studies of World Music
0.5
Q
An Instruments Repertoire
Ensembles
0.5
1.0
Q
S
Small Ensembles
0.5
Q
Large Ensembles
0.5
Q
Music for Film
1.0
S
Directed Studies of Music for Film
0.5
Q
Music and the Media
1.0
S
Rock and Pop
1.0
S
Directed Studies of Rock and Pop
0.5
Q
Music for the Theatre
1.0
S
Early Jazz
1.0
S
Directed Studies in Early Jazz
0.5
Q
Self Directed Studies
1.0
S
Romantic Music
Directed Studies of Romantic Music
th
st
Music of the 20 & 21 Centuries
Directed Studies 20th & 21st Centuries
Latin Music
Directed Studies of Latin Music
Funk Music
Directed Studies of Funk Music
- 20 -
Board Endorsed Nov 2008-Amended November 2013
Individual Music Project
0.5
Q
Available course patterns
Course
Number of standard units to meet course requirements
Minor
Minimum of 2 units
Major
Minimum of 3.5 units
Major Minor
Minimum of 5.5 units
Double Major
Minimum of 7 units
Note:
According to BSSS requirements when students complete more than 8 standard units in their music
course(s) the units will be reported on their year 12 certificate but will not count towards the
number of units required for a year 12 certificate or TES requirements.
Implementation Guidelines
Compulsory units
Nil
Prerequisites for the course or units within the course
Music A
This course caters for students with little or no prior knowledge of musical notation and performance
skills, and allows students to pursue music at a non-tertiary level.
Music T
This course assumes students have a formal knowledge of musical notation, developed literacy and
performance skills and a general knowledge and understanding of some musical styles. The entry
level for this course is Grade 3 from a relevant examination body at the discretion of the principal.
This course will allow the student to continue the study of music at a Tertiary Institution.
Extension Music T
This course assumes that students have a highly developed knowledge and skills base in notation,
literacy, performance, composition and appraisal. This course will allow for a high degree of
specialization in performance, composition and musicology. The recommended entry level for
Extension T courses is grade 5 practical from a relevant examination body or equivalent, or at the
discretion of the principal. This course will allow the student to continue the study of music at a
Tertiary Institution.
Arrangements for students who are continuing to study a course in this subject
Students who studied the previous courses Evolutionary Music, Towards Contemporary Music or
Music T may not undertake any of the units previously studied.
Units from other courses
This course does not use any units from other courses.
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Board Endorsed Nov 2008-Amended November 2013
Negotiated Units
An opportunity to negotiate areas of study exists within this course through the Self Directed units.
These are Individual Music Project 0.5 and Self Directed Music 1.0. Self Directed units cannot be
studied for more than one semester in total and it is recommended that these units are used in Year
12.
Relationship with courses at other colleges/special institutions
Students may undertake a course of study at the Canberra School of Music as part of a major/minor
or double major. However, the students must ensure that the topics studied at the School of Music
are different to the ones studied in this course. Written evidence from the School of Music must be
provided. In the absence of such evidence only the college course will count towards the calculation
of a UAI and the School of Music course will be reported on the Year 12 Certificate as an A Course.
Suggested Implementation Patterns

Units are not sequential

The T Jazz units are sequential. This is not a separate course and units may combine with
other T units if required.
Subject Rationale
 music is a unique means of creative expression with its own aesthetic and language
 music is an aural and symbolic language using vocal, instrumental and other sounds to
communicate
 music provides a medium for communication and self expression through a powerful nonverbal language
 music through creating, performing and appraising involves rational and intuitive experiences
 music develops the complex discriminatory process of listening from the natural sense of
hearing
 music heightens student understanding and knowledge of cultural, historical, social and
environmental diversity
 music provides a unique expression of personal, social/societal, cultural values and statements
 music fosters interactions which acknowledge and build on experiences, needs and
backgrounds of all students
 music courses provide a range of skills and a base of knowledge through which students can
pursue vocational, educational and recreational pathways and extends the choices that
students can make concerning their future.
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Board Endorsed Nov 2008-Amended November 2013
Goals
This course should enable students to:
 comprehend and value the diverse cultural, social and historical contexts of music
 develop their knowledge of musical concepts and styles, the performance and written
conventions of music and the social skills for effective interaction and communication in
groups
 become analytical, critical and creative thinkers and express insights and feelings through
composition, performance and appraisal
 become independent in the use of vocal, instrumental and other sounds and symbols of the
musical language through performance, appraisal and composition
 develop their knowledge and application of vocabulary and notation skills at their level of
expertise and develop skills in composition, aural and performance, including technical fluency
and competence
 become independent learners and develop personal qualities of self reliance, commitment and
confidence
 develop skills in the use of appropriate technology and an understanding of the influence of
technology
 respond creatively and critically to musical works and develop skills in problem solving by
achieving independence in research
 pursue excellence in all aspects of music
 be equipped to make informed choices as to possible educational, vocational and recreational
pathways.
Student Group
This course caters for students who wish to study music at an A, T or Extension Music T level.
Content
Essential concepts
Repetition of key concepts through a variety of units of study, with increasing difficulty will allow
students to synthesise and understand musical ideas and evaluate music critically.
Students will study the concepts of music through learning experiences provided in Creating,
Performing and Musicology.
Creating
This is a process whereby students use vocal, instrumental and other sounds to create their own
works. The development of creating skills must represent stylistic understanding of the topic studied
and contain all musical details necessary for the performance of the task.
Tasks set should allow the students to explore, select, design, interpret, express and communicate
ideas, experiences, feelings and concepts in an original way, and involve students in:
 perceiving and expressing ideas, feelings, experiences and imaginings through a range of
musical idioms and styles
 exploring and experimenting with ideas, materials and technologies
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Board Endorsed Nov 2008-Amended November 2013
 selecting, manipulating and transforming elements of music
 organising, designing and refining these ideas and relationships
 articulating their intentions
 acquiring appropriate concepts and notation literacy (theoretical skills) to create and present
original compositions.
Context
This involves the creation of music with an understanding of its purpose, social, cultural and historical
contexts.
Performing
This is a process whereby performance knowledge and skills should be fostered through extensive
performance opportunities. Students should gain experience in both solo and ensemble
performances at an appropriate level.
Repertoire chosen must reflect a diverse range of styles. Performance repertoire must reflect some
relationship to the unit studied. Tasks set should allow the student to:
 develop a diverse performance program at an appropriate level
 acquire appropriate physical, aesthetic, cognitive and sensory skills
 acquire appropriate concepts and notation literacy to recreate and present performance works
and presentations.
 Develop audience presentation skills.
Context
This involves the performance of music with an understanding of its purpose, social, cultural and
historical contexts by:
 examining music related work/employment patterns of the past and possible vocational
pathways
 examining musical styles and traditions of the past and in contemporary society both in
Australia and internationally.
Musicology
This is the process of making an informed response to music in written and verbal forms. This
process will take place through set tasks which require students to reflect, research, analyse,
interpret, value and share musical experiences which involves them in:
 responding aesthetically to their own works/performances and those of others
 developing and evaluating criteria for making aesthetic judgements
 music criticism as they describe, analyse, interpret, judge, value and challenge musical
ideas/works
 developing their knowledge and use of music vocabulary
 verbalising and asking questions as composers, performers, listeners/consumers of music
 developing skills in the organisation of information and ideas into a coherent and logical
argument
 acquiring appropriate concepts and music notation literacy (theoretical skills) to analyse,
discuss and understand relevant musical works.
Context
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Board Endorsed Nov 2008-Amended November 2013
This involves the study/examination of music in terms of its purpose, social, cultural and historical
context which involves students in:
 recognising how societies create music
 recognising how societies record knowledge about music
 analysing, researching, understanding, interpreting and questioning music within past and
present contexts
 examining musical styles and traditions of the past and in contemporary society both in
Australia and internationally.
Essential skills
These learning experiences will involve a context of a variety of styles, periods and genres from the
recommended content.
The essential skills inherent in Music include the following:
Duration
Duration relates to the length of sounds and silences in music and involves the characteristics of
beat, rhythm, metre, pulse and absence of pulse. Through the study of duration students should be
able to understand, discuss and apply:
 metre – both regular and irregular
 tempo
 rhythmic devices including syncopation and anacrusis
 methods of notation both graphic and traditional.
Pitch
Pitch relates to the highness or lowness of sounds and the direction of movement. Through the
study of pitch students should be able to understand, discuss and apply:
 comparative pitch levels
 definite and indefinite pitch
 pitch direction
 melodic contour
 range of scales and modes
 harmony of two or more pitch levels.
Dynamics and Expressive Techniques
Dynamics and expressive techniques relate to the intensity or degree of sounds. Through the study
of dynamics and expressive techniques students should be able to understand, discuss and apply:
 a range of dynamics, including gradations
 use of common dynamic signs and directions
 use of common expressive terms and signs
 stylistic indications.
Tone colour
Tone colour relates to the production of sound and the sound source. Through the study of tone
colour students should be able to understand, discuss and apply:
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Board Endorsed Nov 2008-Amended November 2013
 recognition of individual and combinations of instruments and voices
 identification of sound sources.
Texture
Texture relates to the layering of sound and how the layers relate to one another. Through the study
of texture students should be able to understand, discuss and apply:
 the role of instruments and or voices in the layers of sound
 musical terms relevant to texture.
Structure
Structure relates to the organisation or form of music. Through the study of structure students
should be able to understand, discuss and apply:
 traditional and non traditional patterns of structure
 unity and contrast within a piece/work.
Teaching and Learning Strategies
These may include:

aural learning

learning of music theory

investigative, research and composition tasks

use of visual aids

teacher-guided learning

student-guided learning

consolidation and practice of fundamental skills and musicianship

sequenced investigations to scaffold learning

participation in group activities

visiting artists

workshop presentations

peer critique

individual problem solving

opportunities to develop practical skills

prepared and unprepared listening

use of appropriate technology to aid concept development.
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Board Endorsed Nov 2008-Amended November 2013
Assessment
Assessment Tasks elicit responses that demonstrate the degree to which students have achieved the
goals of a unit (and the course as a whole).
Assessment Task Types (with weightings) group assessment tasks in ways that reflect agreed shared
practice in the subject area and facilitate the comparison of student work across different
assessment tasks.
Assessment Criteria (the dimensions of quality that teachers look for in evaluating student work)
provide a common and agreed basis for judgement of performance against unit and course goals,
within and across colleges. Over a course, teachers use all of these criteria to assess students’
performance, but do not necessarily use all criteria on each task. Assessment criteria are to be used
holistically on a given task and in determining the unit grade.
Assessment Rubrics draw on the general course framework criteria to develop assessment criteria
for a task type and a continuum which indicates levels of student performance against each criterion.
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Board Endorsed Nov 2008-Amended November 2013
Assessment Tasks Types
Criteria
Task Types
Weighting
Weighting
T courses
A courses
30 - 40%
25-40%
30 - 40%
30-50%
Performing
Creating
One or two tasks to be composed per semester (1.0 value) or one
original task to be composed per half semester (0.5 value)
1 task
2 tasks
 Original
complete
work
Minimum:
Ext T
(48 bars –
1.0 unit
24 bars –
0.5 unit)
T (32 bars –
1.0 unit
16 bars –
0.5 unit)
A (24 bars –
1.0 unit
12 bars –
0.5 unit)
 Two
original
works
Minimum:
Ext T
24 bars each
T 16 bars each
A 12 bars each
 One
original
work
Minimum:
Ext T 24 bars
T
16 bars
A
12 bars
 One
original
work
Minimum:
Ext T 24 bars
T
16 bars
A
12 bars
 An
arrangeme
nt
Minimum:
T 24 bars
A 12 bars
 A folio of
compositio
n tasks
Minimum:
Ext T four 12
bar tasks
T four 8 bar
tasks
A four 4 bar
tasks
A minimum of two performances to be presented per standard unit
(1 value), or one work per half unit (0.5 value).
At least one work should directly relate to the unit of study.
Task types include:
 Solo or ensemble work(s)
 One movement of a work (this is equivalent to one
performance piece)
 Electronic music presentation must include a live performance
with a lecture performance presentation (see below)
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Board Endorsed Nov 2008-Amended November 2013
Criteria
Task Types
Weighting
Weighting
T courses
A courses
30 - 40%
25-40%
One or two tasks per semester (1.0 value) to be set or one task per
half semester (0.5 value).
A variety of assessment task types must be used over the course
(defined to be a minor)
Task types include:
Musicology
 Research assignment/essay minimum word count
A
500 words
T
1000 words
Ext
1500 words
Task content must include elements of historical and
analytical concepts, and music theory.
 Seminar/analysis minimum duration
A
5 mins
T
15 mins
Ext
25 mins
Task content must include elements of historical and
analytical concepts, and theory.
 Exam
The exam task must be comprehensive with a multi-focus i.e. recall,
aural/listening, analysis and application of music theory. Examples
of question styles in the exam are theory/analytical questions, short
answer questions and short essay questions.

In-class essay
Must only be used when completing more than one
musicology task per semester unit except when undertaking
a 0.5 unit. Minimum word count:
A
300 words (open book)
T
500 words
Ext
700 words
The pieces of music performed need to be of substantial nature at an extension level.
M unit/course
Criteria & Task Type Description
Task 1
Task 2
Task 3
Task 4
eg
eg
eg
eg
Creating
Performing
Composition
Performance
Seminar
Musicology
Weighting
Recital
25%
25%
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25%
25%
Board Endorsed Nov 2008-Amended November 2013
Additional Assessment Advice
It is advised that 3 to 5 assessment tasks be completed in a standard unit and 3 tasks for a half
standard unit.
Assessment Criteria
Students will be assessed on the degree to which they demonstrate the skills within the following
criteria:
 Creating
These skills should represent a development of stylistic understanding of the topic studied.
 Performing
These skills should be diverse, developmental and reflect stylistic understanding of the topic
studied.
 Musicology
These skills should represent analytical, aural, historical and theoretical understanding of the
topic studied.
Student Capabilities
Creative and critical thinkers
Students will be encouraged to develop skills in creative and critical thinking through class discussion,
composition and a range of other non-assessment items such as problem solving tasks, group work
and presentations. Assessment tasks in Music, as indicated in the tables (Task Type) found in each
unit, often include components necessitating analytical approaches and creative or critical thinking
strategies.
Enterprising problem-solvers
Students will be given opportunities to develop strategies that address concepts and issues in a
variety of scenarios. They will be encouraged to use a range of skills and resources in developing
ideas.
Skilled and empathetic communicators
Communication with peers and teachers will be built upon through formal and informal mechanisms.
Students will be involved in class discussions to create and communicate meaning through
participating in and leading small or large group dialogue. Non-verbal and written communication
and modes of formal presentations will also allow imagination and the feelings and views of others to
be understood in order to assist student development.
Informed and ethical decision-makers
Throughout the course students will be encouraged to consider many available perspectives of the
issues, concepts and skills being dealt with. Informal discussions through to formal assessment tasks
may involve students advocating specific vantages that may reflect their own values, attitudes and
beliefs, to provide supporting evidence for the point of view they are addressing.
Environmentally and culturally aware citizens
Students will show an appreciation of various cultures and their environment through the
exploration of how music has been used to protect the environment in various social contexts. They
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Board Endorsed Nov 2008-Amended November 2013
will undertake the study of compositions that focus on environmental and cultural issues. Awareness
of appropriate hearing protection in various musical environments will be developed.
Confident and capable users of technologies
In the day-to-day running of classes, students will experience multi-media such as DVD’s,
PowerPoints, interactive whiteboards, CDs, specific software packages for music, the internet and
College intranet. From this vast array of technology available students will be expected to be able to
access and evaluate information selecting the most appropriate technologies for the task.
Independent and self-managing learners
Through classroom and assessment tasks students have the opportunity to engage in independent
and self-managing learning tasks such as research assignments, compositions, rehearsals, individual
practice, performances and use of technology.
Collaborative team members
Students will, throughout their classroom and assessment tasks, develop an ability to work
cooperatively and effectively in a variety of settings. Tasks may include research assignments,
compositions, rehearsals, performances and technology-based activities.
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Board Endorsed Nov 2008-Amended October2015
Unit Grades
Unit Grade Descriptors for T courses
Grade
Creating
A
student
who
achieves
the A
grade
typically
 Produces a work of excellence that
encapsulates the style or topic of study.
 Displays outstanding exploration of
intrinsic concepts and provides detailed
performance directions.
 Demonstrates a highly sophisticated
knowledge and understanding of the
written score in a highly organised
structure.
Performing
 Displays outstanding performance skills incorporating
technical fluency, competence, articulation and
intonation appropriate to the selected repertoire.
 Displays outstanding stylistic awareness of the repertoire
presented, through a superior use of articulation,
dynamics and expressive techniques.
 Performs with highly developed personal expression,
demonstrated by the correct use of expressive
techniques and a strong sensitivity to the chosen style.
 Displays a superior awareness of ensemble/solo
techniques. Recognises the role of the soloist/ensemble
performer and communication with the
accompanist/group and the importance of balance.
A
student
who
achieves
the B
grade
typically
 Produces a work that is highly
successful in representing the style or
topic of study.
 Displays accomplished performance skills incorporating
technical fluency, competence, articulation and
intonation appropriate to the selected repertoire.
 Displays highly effective exploration of
important concepts and provides
detailed performance directions.
 Displays accurate stylistic awareness of the repertoire
presented through an accomplished use of articulation,
dynamics and expressive techniques.
 Demonstrates a sophisticated
knowledge and understanding of the
written score in a well organised
structure
 Performs with a well-developed personal expression,
demonstrated by the correct use of expressive
techniques and a sound sensitivity to the chosen style.
 Displays a strong awareness of ensemble/solo
techniques. Recognises the role of the soloist/ensemble
performer and communication with the
accompanist/group and the importance of balance.
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Musicology
 Displays a superior understanding of musical
concepts, identifies and elaborates on the
relationship between the concepts in written
and aural forms.
 Displays an extensive understanding of the
elements studied, supported by an in-depth
knowledge of and use of relevant musical
examples.
 Demonstrates refined skills in reflection,
research, analysis, interpretation, critical
thinking and evaluation.
 Displays a thorough understanding of musical
concepts, identifies and discusses the
relationship between the concepts in written
and aural forms.
 Displays a comprehensive understanding of
the elements studied, supported by a
substantial knowledge of and use of relevant
musical examples.
 Demonstrates accomplished skills in
reflection, research, analysis, interpretation,
critical thinking and evaluation
Board Endorsed Nov 2008-Amended October2015
Grade
Creating
Performing
Musicology
A
student
who
achieves
the C
grade
typically
 Produces a work that is successful in
representing the style or topic of study.
 Displays adequate performance skills. There are some
difficulties in maintaining technical fluency,
inconsistencies in articulation and intonation appropriate
to the selected repertoire.
 Displays an understanding of musical
concepts, identifies the relationship between
the concepts in written and aural forms.
 Displays sound exploration of concepts
and provides performance directions.
 Demonstrates knowledge and
understanding of the written score in
an organised structure
 Displays a sense of stylistic awareness of the repertoire
presented through the adequate use of articulation,
dynamics and expressive techniques.
 Performs with a sense of expression, attempting to use
techniques reflective of the chosen style.
 Displays a sound understanding of the
elements studied, supported by a knowledge
of and use of relevant musical examples.
 Demonstrates skills in reflection, research,
analysis, interpretation, critical thinking and
evaluation
 Displays sound, but not consistent awareness of
ensemble/solo techniques. Recognising at times the role
of the soloist/ensemble performer and communication
with the accompanist/group and the importance of
balance.
A
student
who
achieves
the D
grade
typically
 Produces a work that partially
represents the style or topic of study.
A
student
who
achieves
the E
grade
typically
 Produces work that shows limited or no
elements of the style or topic of study.
 Displays limited exploration of concepts
and provides some performance
directions.
 Demonstrates some knowledge and
understanding of the written score in
an organised structure.
 Displays a very limited understanding of
score conventions and performance
directions.
 Displays basic performance skills with frequent
difficulties maintaining technical fluency, articulation and
intonation appropriate to the selected repertoire.
 Displays a basic stylistic awareness of the repertoire
presented. Articulation, dynamics and expressive
techniques are incorrectly used.
 Displays a limited awareness of ensemble/solo
techniques with little or no balance and communication
with accompanist/group.
 Displays very limited performance skills, experiencing
major inconsistencies in technical fluency, articulation
and intonation.
 Displays limited or no stylistic awareness of the
repertoire presented.
 Displays little or no awareness of ensemble/solo
techniques.
- 33 -
 Displays a basic understanding of musical
concepts in written and aural forms.
 Displays an elementary understanding of the
music studied with some knowledge and use
of musical examples.
 Demonstrates basic skills in research and
analysis.
 Displays some knowledge of musical concepts
in written and aural forms.
 Displays limited understanding of the music
studied.
 Demonstrates minimal skills in research and
analysis
Board Endorsed Nov 2008-Amended October2015
Unit Grade Descriptors for A courses
Grade
Creating
Performing
Musicology
A
student
who
achieves
the A
grade
typically
 Produces an excellent work that
represents the style or topic of study.
 Displays strong performance skills appropriate to the
selected repertoire.
 Displays a strong understanding of musical
concepts in written and aural forms.
 Displays detailed performance
directions.
 Displays accurate stylistic awareness of the repertoire
presented.
 Demonstrates a strong knowledge and
understanding of the written score.
 Performs with personal expression and sensitivity to the
chosen style.
 Displays a comprehensive understanding of
the elements studied, supported by the use of
relevant musical examples.
A
student
who
achieves
the B
grade
typically
 Produces a work that confidently
represents the style or topic of study.
 Displays good performance skills appropriate to the
selected repertoire.
 Displays a sound understanding of musical
concepts in written and aural forms.
 Displays effective exploration of
important concepts and provides
appropriate performance directions.
 Displays stylistic awareness of the repertoire presented.
 Displays a broad understanding of the
elements studied, supported by the use of
relevant musical examples.
 Demonstrates a good knowledge and
understanding of the written score.
 Displays a good awareness of ensemble/solo techniques.
 Displays a very good awareness of ensemble/solo
techniques.
 Performs with personal expression and some sensitivity
to the chosen style.
 Demonstrates thorough skills in research,
analysis and interpretation.
 Demonstrates skills in research, analysis and
interpretation

A
student
who
achieves
the C
grade
typically
 Produces a work that is successful in
representing the style or topic of study.
 Displays adequate performance skills appropriate to the
selected repertoire.
 Displays an understanding of musical
concepts in written and aural forms.
 Displays sound exploration of concepts
and provides performance directions.
 Displays a satisfactory stylistic awareness of the
repertoire presented.
 Displays a satisfactory understanding of the
elements studied.
 Demonstrates knowledge and
understanding of the written score.
 Performs with some expression, attempting to use
techniques reflective of the chosen style.
 Demonstrates basic skills in research
 Displays sound, but not consistent awareness of
ensemble/solo techniques.
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Board Endorsed Nov 2008-Amended October2015
Grade
Creating
Performing
Musicology
A
student
who
achieves
the D
grade
typically
 Produces a work that partially
represents the style or topic of study.
 Displays basic performance skills appropriate to the
selected repertoire.
 Displays some understanding of musical
concepts in written and aural forms.
 Displays limited exploration of concepts
and provides some performance
directions.
 Displays a basic stylistic awareness of the repertoire
presented.
 Displays an elementary understanding of the
music studied.
 Displays a limited awareness of ensemble/solo
techniques
 Demonstrates limited skills in research.
A
student
who
achieves
the E
grade
typically
 Produces work that shows limited or no
elements of the style or topic of study.
 Displays very limited performance skills.
 Displays little knowledge of musical concepts
in written and aural forms.
 Demonstrates some knowledge and
understanding of the written score
 Displays a very limited understanding of
score conventions and performance
directions.
 Displays limited or no stylistic awareness of the
repertoire presented.
 Displays little or no awareness of ensemble/solo
techniques.
- 35 -
 Displays limited understanding of the music
studied.
 Demonstrates minimal skills in research.
Board Endorsed Nov 2008-Amended October2015
Unit Grade Descriptors for M courses
Grade
Descriptor
A student who
achieves the grade
A typically
 demonstrates high level of ability in the modified assessment criteria
A student who
achieves the grade
B typically
 demonstrates sound ability in the modified assessment criteria
A student who
achieves the grade
C typically
 demonstrates satisfactory ability in the modified assessment criteria
A student who
achieves the grade
D typically
 demonstrates limited ability in the modified assessment criteria
A student who
achieves the grade
E typically
 has met the minimum requirements for attendance and assessment.
 achieves all of the assessable goals of the unit
 shows a consistent ability to transfer knowledge and apply skills in
familiar and unfamiliar situations
 achieves most of the assessable goals of the unit
 shows an ability to transfer knowledge and apply skills in familiar
situations
 achieves some of the assessable goals of the unit
 shows an awareness of the need to transfer knowledge and skills
 achieves few of the assessable goals of the unit
 shows limited awareness of the need to transfer knowledge and
skills
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Board Endorsed Nov 2008-Amended October2015
Moderation
Moderation is a system designed and implemented to:
 provide comparability in the system of school-based assessment
 form the basis for valid and reliable assessment in senior secondary schools
 involve the ACT Board of Senior Secondary Studies and colleges in cooperation and partnership
 maintain the quality of school-based assessment and the credibility, validity and acceptability of
Board certificates
Moderation commences within individual colleges. Teachers develop assessment programs and
instruments, apply assessment criteria, and allocate Unit Grades, according to the relevant Course
Framework. Teachers within course teaching groups conduct consensus discussions to moderate marking
or grading of individual assessment instruments and unit grade decisions.
The Moderation Model
Moderation within the ACT encompasses structured, consensus-based peer review of Unit Grades for all
accredited courses, as well as statistical moderation of course scores, including small group procedures, for
T courses.
Moderation by Structured, Consensus-based Peer Review
Review is a subcategory of moderation, comprising the review of standards and the validation of Unit
Grades. In the review process, Unit Grades, determined for Year 11 and Year 12 student assessment
portfolios that have been assessed in schools by teachers under accredited courses, are moderated by peer
review against system wide criteria and standards. This is done by matching student performance with the
criteria and standards outlined in the unit grade descriptors as stated in the Course Framework. Advice is
then given to colleges to assist teachers with, and/or reassure them on, their judgments.
Preparation for Structured, Consensus-based Peer Review
Each year, teachers teaching a Year 11 class are asked to retain originals or copies of student work
completed in Semester 2. Similarly, teachers teaching a Year 12 class should retain originals or copies of
student work completed in Semester 1. Colleges not on a semester structure will negotiate with BSSS on
work required. Assessment and other documentation required by the Office of the BSSS should also be
kept. Year 11 work from Semester 2 of the previous year is presented for review at Moderation Day 1 in
March, and Year 12 work from Semester 1 is presented for review at Moderation Day 2 in August.
In the lead up to Moderation Day, a College Course Presentation (comprised of a document folder and a set
of student portfolios) is prepared for each A and T course offered by the school, and is sent in to the Office
of the BSSS.
The College Course Presentation
The package of materials (College Course Presentation) presented by a college for review on moderation
days in each course area will comprise the following:
 a folder containing supporting documentation as requested by the Office of the Board through
memoranda to colleges
 a set of student portfolios containing marked and/or graded written and non-written assessment
responses and completed criteria and standards feedback forms. Evidence of all assessment
responses on which the unit grade decision has been made is to be included in the student review
portfolios. Specific requirements for subject areas and types of evidence to be presented for each
moderation day will be outlined by the Office of the BSSS through memoranda and Information
Papers
- 37 -
Board Endorsed Nov 2008-Amended October2015
Bibliography
Web Sites for Suggested performance repertoire
www.nswboardofstudies music syllabus stage 6
www.vcaa.vic.edu.au curriculum and standards
www.ameb.edu.au
The following centres provide access to resources and reference materials :
AUS Music
Australian Institute for Aboriginal and Torres Strait Islanders
Australian Music Centre (Sydney)
Canberra Institute of the Arts, Acton and Manuka Campuses
National Film and Sound Archive
National Library Music Collection
University of Canberra
University of New England, Northern Rivers Campus
Reference Materials
Allan, B.C. and Dorricott, I.J. Music a Creative Approach Book I and 2 (Teachers and Student books), 1986,
Arthouse Pty Ltd. Brisbane
Bowman, D & Cole, B, 1989, Sound Matters, Schott Publishing
Bowman, D & Terry, P, 1993, Aural Matters, Schott Publishing
Bowman, D & Terry, P, 1994, Aural Matters in Practice, Schott Publishing
Brittain, S and Woollord, K. Basic Arranging for Popular Music, 1986, Wattle Park Teachers Centre
Bromhall, D. Composing in the Classroom, 1989, Opus I and 2. Hawkes Boosey and Hawkes
Bryce E.A. Harmony - A bridge from traditional to jazz related harmonic concepts. 1988, Engadine Music,
Sydney.
Chadwick, F, 1995, Baroque Composition, OTEN
Chadwick, F, 1995, Classical Composition, OTEN
Chadwick, F, 1995, Nineteenth Century Composition, OTEN
Chadwick, F, 1996, Cries and Calls, FENER Publications
Cole, B, 1996, The Composer's Handbook, Schott Publishing
Dorricott, I J & Allan, B C, 1990, In Tune With Music Book 3, McGraw-Hill
Dorricott, I J & Allan, B C, 1998, Exploring Film Music, McGraw-Hill
Dunbar-Hall, P & Hodge, G, 1991, A Guide to Music Around the World, Science Press
Education Department of South Australia Work Education Through the Arts, 1992, Government Printers SA
Fong, F, 1994, World Music in Australia, Sounds Australian
Ford, A, 1991, Australian Classical Music, Sounds Australian
Frampton, R, 1992, Australian Jazz, Sounds Australian
Gridley, M.C. Jazz Styles. 1992, Prentice Hall. New Jersey.3rd edition.
- 38 -
Board Endorsed Nov 2008-Amended October2015
Griffiths, P Guide to Electronic Music
Harris, R. and Hawksley, Elizabeth Composing in the Classroom. 1991, Cambridge University Press,
Cambridge
Howard, J. Learning to Compose (Cambridge Assignments in Music series) 1990, Cambridge University
Press, Cambridge
Kamien, R. ed The Norton Scores vol 1 and 2. 4th ed. 1993, Norton and Co. Inc. N.Y.
Kamien, R (ed.), 1999, The Norton Scores: An Anthology for Listening, Norton
Kamien, R, 1999, Music: An Appreciation, 6th edn, Norton
Lalor, S, 1995, Three Post-1970 Australian Pieces, Sounds Australian
Lowe, G, 1997, The Rock Book, McGraw-Hill
Meet the Music Resource Kits, Sydney Symphony Orchestra Education Unit
Magson, L, 1994, Symphony Da Pacem Dominie, OTEN
Palisca, C History of Western Music, 1986 Norton New York.
Pugh, A Women in Music 1991, Cambridge University Press, Cambridge
Reeves, S.D. Creative Jazz Improvisation Prentice Hall, Englewood Cliffs New Jersey
Rixon, B and Merrick, B Music Far and Wide 1991, Book and Cassette Longman Cheshire
Roy, G and Leary, D Successful Songwriting and Marketing 1989, A Greater Songs Publication, Brisbane
Smith, G, 1991, Australian Popular Music, Sounds Australian
Smyth, G. That's A Good Idea: Practical Strategies for Gender Inclusive Education in Secondary School 1991,
Department of School Education Victoria
Stock, J, 1996, World Sound Matters, Schott Publishing
Sturman, P. Harmony, Melody and Composition 1988, Longman, Burnt Hill
Tillman, J. Exploring Sound: Creative Musical Projects for Teachers 1986, Galliard, London
Twyman, B, 1997, Reading and Writing Duration, NSW Department of Education and Training, Learning
Materials Production Centre
Twyman, B, 1995, Technology and its Influence on Music, OTEN
Twyman, B, 1998, 1% Inspiration, 99% Perspiration, NSW Department of Education and Training, Learning
Materials Production Centre
Twyman, B, 1998, Listen Up, NSW Department of Education and Training, Learning Materials Production
Centre
Waldock, K, 1996, music now!, Sounds Australian
The Australian Music Centre http://www.amcoz.com.au/
Musica Viva in Schools - `Baroque On!'
Web sites
http://www.abc.net.au/music
http://www.bc.org.au/montage
Musica Viva: email musicaviva@mva.org.au
Sydney Symphony Orchestra Education Program
http://www.symphony.org.au/educat.htm
- 39 -
Board Endorsed Nov 2008-Amended October2015
Triple j: http://www.abc.net.au/triplej/.
Australia Council for the Arts: http://www.australiacouncil.gov.au/
Resources
The following resources are required to deliver this course:
 Stereo system including CD player/MP3 capable
 Recorded music including CDs
 VCR/DVD
 Microphones/microphone stands
 Amplifiers/PA
 Piano/ keyboards/Guitars etc
 Other relevant instruments for individual students
 Computers
 Composing software
 Score library
 Text books
 Digital recorder
 Video camera
 MIDI capable equipment
 Internet Access/student network
 Headphones
 Adequate practice facilities
 Multimeter/metronome
These were accurate at the time of publication.
For courses electronic means as the medium for delivery, the following physical and human resources are
mandatory:
 appropriate up-to-date software
 appropriate compatible computers
 digital recording equipment
 MIDI interface instruments or MIDI sequencing programs
 staff with qualifications and/or expertise in these areas
- 40 -
Board Endorsed Nov 2008-Amended October2015
Proposed Evaluation Procedures
Each unit will be evaluated by students and staff at its point of completion. Students will be given the
opportunity to respond to a questionnaire on the value of the unit, and hence the course. In general,
information from students will be collected on:
 Achievement of the goals
 The teaching strategies used
 The appropriateness of the assessment program
 The overall goals of the unit/course and whether the needs of the students have been met.
 Suggestions for improvement in the unit/course
 Their ideas after they have completed one year of tertiary studies.
Examples of Assessment Items
Examples of assessment items as recommended through Moderation Day can be found on the Music
myclasses page at www.bsss.act.edu.au To obtain access to this page contact Curriculum Accreditation
Officer at the Board of Senior Secondary Studies on (02) 6205 7180
- 41 -
Board Endorsed Nov 2008-Amended October2015
Introduction to Music (A)
Value 1.0
Prerequisites
As per the Music Frameworks
Specific Unit Goals
This unit should enable students to:
 develop an understanding of the basic Elements of Music (Concepts).
 develop performance skills and confidence to perform individually or as a member of an ensemble
 develop a music vocabulary that successfully appraises music of various styles
 study historical perspectives through music
 develop standard notation composition skills appropriate to the level of study.
Content
Creating
 Compose a piece of music that has a melodic line, chord structure and compositional notes.
 Complete a folio of compositional exercises.
 Develop musical notation and theoretical skills (e.g. scales, intervals, key signatures, rhythm,
terminology).
Performing
 Perform one piece appropriate to the instrument studied. These pieces can be played individually or
as a member of an ensemble.
 Develop basic presentation skills for various audiences.
 Critically analyse your musical developments and achievements and articulate future challenges.
Musicology
 Analyse a “Classic” album/work of your choice, with regard to the Elements of Music and its
historical context
 Develop aural perception and appreciation skills through various class activities.
 Aurally identify intervals and write simple 4 bar rhythmic dictations
 Explore the relationship between the development of music, historical events and technological
advances.
 Explore and create a Music and History time-line.
- 42 -
Board Endorsed Nov 2008-Amended October2015
Teaching and Learning Strategies
Some of which include:

aural learning

learning of music theory

investigative, research and composition tasks

use of visual aids

teacher-guided learning

student-guided learning

consolidation and practice of fundamental skills and musicianship

sequenced investigations to scaffold learning

participation in group activities

visiting artists

workshop presentations

peer critique

individual problem solving

opportunities to develop practical skills

prepared and unprepared listening
 use of appropriate technology to aid concept development.
Assessment
Refer to page 27.
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching
and
Learning
Assessment
creative and critical thinkers




enterprising problem-solvers




skilled and empathetic communicators



informed and ethical decision-makers


Environmentally and culturally aware citizens


confident and capable users of technologies


independent and self-managing learners


collaborative team members


- 43 -


Board Endorsed Nov 2008-Amended October2015
Specific Unit Resources
Allan, B.C. and Dorricott, I.J. Music a Creative Approach Book I and 2 (Teachers and Student books), 1986,
Arthouse Pty Ltd. Brisbane
Bowman, D & Cole, B, 1989, Sound Matters, Schott Publishing
Bowman, D & Terry, P, 1993, Aural Matters, Schott Publishing
Bowman, D & Terry, P, 1994, Aural Matters in Practice, Schott Publishing
Brittain, S and Woollord, K. Basic Arranging for Popular Music, 1986, Wattle Park Teachers Centre
Bromhall, D. Composing in the Classroom, 1989, Opus I and 2. Hawkes Boosey and Hawkes
Bryce E.A. Harmony - A bridge from traditional to jazz related harmonic concepts. 1988, Engadine Music,
Sydney.
Chadwick, F, 1995, Baroque Composition, OTEN
Chadwick, F, 1995, Classical Composition, OTEN
Chadwick, F, 1995, Nineteenth Century Composition, OTEN
Chadwick, F, 1996, Cries and Calls, FENER Publications
Cole, B, 1996, The Composer's Handbook, Schott Publishing
Dorricott, I J & Allan, B C, 1990, In Tune With Music Book 3, McGraw-Hill
Dorricott, I J & Allan, B C, 1998, Exploring Film Music, McGraw-Hill
Dunbar-Hall, P & Hodge, G, 1991, A Guide to Music Around the World, Science Press
Education Department of South Australia Work Education Through the Arts, 1992, Government Printers SA
Fong, F, 1994, World Music in Australia, Sounds Australian
Ford, A, 1991, Australian Classical Music, Sounds Australian
Frampton, R, 1992, Australian Jazz, Sounds Australian
Gridley, M.C. Jazz Styles. 1992, Prentice Hall. New Jersey.3rd edition.
Griffiths, P Guide to Electronic Music
Harris, R. and Hawksley, Elizabeth Composing in the Classroom. 1991, Cambridge University Press,
Cambridge
Howard, J. Learning to Compose (Cambridge Assignments in Music series) 1990, Cambridge University
Press, Cambridge
Kamien, R. ed The Norton Scores vol 1 and 2. 4th ed. 1993, Norton and Co. Inc. N.Y.
Kamien, R (ed.), 1999, The Norton Scores: An Anthology for Listening, Norton
Kamien, R, 1999, Music: An Appreciation, 6th edn, Norton
Lalor, S, 1995, Three Post-1970 Australian Pieces, Sounds Australian
Lowe, G, 1997, The Rock Book, McGraw-Hill
Meet the Music Resource Kits, Sydney Symphony Orchestra Education Unit
Magson, L, 1994, Symphony Da Pacem Dominie, OTEN
Stock, J, 1996, World Sound Matters, Schott Publishing
Smith, G, 1991, Australian Popular Music, Sounds Australian
Palisca, C History of Western Music, 1986 Norton New York.
Pugh, A Women in Music 1991, Cambridge University Press, Cambridge
- 44 -
Board Endorsed Nov 2008-Amended October2015
Reeves, S.D. Creative Jazz Improvisation Prentice Hall, Englewood Cliffs New Jersey
Rixon, B and Merrick, B Music Far and Wide 1991, Book and Cassette Longman Cheshire
Roy, G and Leary, D Successful Songwriting and Marketing 1989, A Greater Songs Publication, Brisbane
Smyth, G. That's A Good Idea: Practical Strategies for Gender Inclusive Education in Secondary School 1991,
Department of School Education Victoria
Sturman, P. Harmony, Melody and Composition 1988, Longman, Burnt Hill
Tillman, J. Exploring Sound: Creative Musical Projects for Teachers 1986, Galliard, London
Twyman, B, 1997, Reading and Writing Duration, NSW Department of Education and Training, Learning
Materials Production Centre
Twyman, B, 1995, Technology and its Influence on Music, OTEN
Twyman, B, 1998, 1% Inspiration, 99% Perspiration, NSW Department of Education and Training, Learning
Materials Production Centre
Twyman, B, 1998, Listen Up, NSW Department of Education and Training, Learning Materials Production
Centre
Waldock, K, 1996, music now! Sounds Australian
The Australian Music Centre http://www.amcoz.com.au/
Musica Viva in Schools - `Baroque On!'
http://www.abc.net.au/music
or
http://www.bc.org.au/montage
Musica Viva
email musicaviva@mva.org.au
Sydney Symphony Orchestra Education Program
http://www.symphony.org.au/educat.htm
Suggested Works for Study
Refer to any of the resources above which have examples of appropriate works or see the websites for
suggested performance repertoire in the bibliography.
- 45 -
Board Endorsed Nov 2008-Amended October2015
Historical Perspectives (A)
Value 0.5
This unit is the half unit equivalent to Introduction to Music 1.0
Prerequisites
As per the Music Frameworks
Specific Unit Goals
This unit should enable students to:

develop understanding of the basic Elements of Music (Concepts)

develop performance skills and confidence to perform individually or as a member of an ensemble

develop a music vocabulary that successfully appraises music of various styles

study musical examples in an historical perspective

develop standard notation composition skills appropriate to the level of study.
Content
Creating

Compose a piece of music that has a melodic line, chord structure and compositional notes OR
complete a folio of compositional exercises.

Develop musical notation and theoretical skills (e.g.. scales, intervals, key signatures, rhythm,
terminology)
Performing

Perform one piece appropriate to the instrument studied. These pieces can be played individually or as
a member of an ensemble.

Develop basic presentation skills for various audiences.

Critically analyse your musical developments and achievements and articulate future challenges.
Musicology

Analyse a “Classic” album/work of your choice, with regard to the Elements of Music and its historical
context

Develop aural perception and appreciation skills through various class activities.

Aurally identify intervals and write simple 4 bar rhythmic dictations

Explore the relationship between the development of music, historical events and technological
advances.

Explore and create a Music and History time-line.
- 46 -
Board Endorsed Nov 2008-Amended October2015
Teaching and Learning Strategies
Some of which include
 aural learning
 learning of music theory
 investigative, research and composition tasks
 use of visual aids
 teacher-guided learning
 student-guided learning
 consolidation and practice of fundamental skills and musicianship
 sequenced investigations to scaffold learning
 participation in group activities
 visiting artists
 workshop presentations
 peer critique
 individual problem solving
 opportunities to develop practical skills
 prepared and unprepared listening
 use of appropriate technology to aid concept development.
Assessment
Refer to page 27.
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching and
Learning
Assessment
creative and critical thinkers




enterprising problem-solvers




skilled and empathetic communicators



informed and ethical decision-makers


environmentally and culturally aware citizens


confident and capable users of technologies


independent and self-managing learners


collaborative team members


- 47 -


Board Endorsed Nov 2008-Amended October2015
Specific Unit Resources
Allan, B.C. and Dorricott, I.J. Music a Creative Approach Book I and 2 (Teachers and Student books), 1986,
Arthouse Pty Ltd. Brisbane
Bowman, D & Cole, B, 1989, Sound Matters, Schott Publishing
Bowman, D & Terry, P, 1993, Aural Matters, Schott Publishing
Bowman, D & Terry, P, 1994, Aural Matters in Practice, Schott Publishing
Brittain, S and Woollord, K. Basic Arranging for Popular Music, 1986, Wattle Park Teachers Centre
Bromhall, D. Composing in the Classroom, 1989, Opus I and 2. Hawkes Boosey and Hawkes
Bryce E.A. Harmony - A bridge from traditional to jazz related harmonic concepts. 1988, Engadine Music,
Sydney.
Chadwick, F, 1995, Baroque Composition, OTEN
Chadwick, F, 1995, Classical Composition, OTEN
Chadwick, F, 1995, Nineteenth Century Composition, OTEN
Chadwick, F, 1996, Cries and Calls, FENER Publications
Cole, B, 1996, The Composer's Handbook, Schott Publishing
Dorricott, I J & Allan, B C, 1990, In Tune With Music Book 3, McGraw-Hill
Dorricott, I J & Allan, B C, 1998, Exploring Film Music, McGraw-Hill
Dunbar-Hall, P & Hodge, G, 1991, A Guide to Music Around the World, Science Press
Education Department of South Australia Work Education Through the Arts, 1992, Government Printers SA
Fong, F, 1994, World Music in Australia, Sounds Australian
Ford, A, 1991, Australian Classical Music, Sounds Australian
Frampton, R, 1992, Australian Jazz, Sounds Australian
Gridley, M.C. Jazz Styles. 1992, Prentice Hall. New Jersey.3rd edition.
Griffiths, P Guide to Electronic Music
Harris, R. and Hawksley, Elizabeth Composing in the Classroom. 1991, Cambridge University Press,
Cambridge
Howard, J. Learning to Compose (Cambridge Assignments in Music series) 1990, Cambridge University
Press, Cambridge
Kamien, R. ed The Norton Scores vol 1 and 2. 4th ed. 1993, Norton and Co. Inc. N.Y.
Kamien, R (ed.), 1999, The Norton Scores: An Anthology for Listening, Norton
Kamien, R, 1999, Music: An Appreciation, 6th edn, Norton
Lalor, S, 1995, Three Post-1970 Australian Pieces, Sounds Australian
Lowe, G, 1997, The Rock Book, McGraw-Hill
Meet the Music Resource Kits, Sydney Symphony Orchestra Education Unit
Magson, L, 1994, Symphony Da Pacem Dominie, OTEN
Smith, G, 1991, Australian Popular Music, Sounds Australian
Stock, J, 1996, World Sound Matters, Schott Publishing
Palisca, C History of Western Music, 1986 Norton New York.
- 48 -
Board Endorsed Nov 2008-Amended October2015
Pugh, A Women in Music 1991, Cambridge University Press, Cambridge
Reeves, S.D. Creative Jazz Improvisation Prentice Hall, Englewood Cliffs New Jersey
Rixon, B and Merrick, B Music Far and Wide 1991, Book and Cassette Longman Cheshire
Roy, G and Leary, D Successful Songwriting and Marketing 1989, A Greater Songs Publication, Brisbane
Smyth, G. That's A Good Idea: Practical Strategies for Gender Inclusive Education in Secondary School 1991,
Department of School Education Victoria
Sturman, P. Harmony, Melody and Composition 1988, Longman, Burnt Hill
Tillman, J. Exploring Sound: Creative Musical Projects for Teachers 1986, Galliard, London
Twyman, B, 1997, Reading and Writing Duration, NSW Department of Education and Training, Learning
Materials Production Centre
Twyman, B, 1995, Technology and its Influence on Music, OTEN
Twyman, B, 1998, 1% Inspiration, 99% Perspiration, NSW Department of Education and Training, Learning
Materials Production Centre
Twyman, B, 1998, Listen Up, NSW Department of Education and Training, Learning Materials Production
Centre
Waldock, K, 1996, music now! Sounds Australian
The Australian Music Centre http://www.amcoz.com.au/
Musica Viva in Schools - `Baroque On!'
http://www.abc.net.au/music
or
http://www.bc.org.au/montage
Musica Viva
email musicaviva@mva.org.au
Sydney Symphony Orchestra Education Program
http://www.symphony.org.au/educat.htm
Suggested Works for Study
Refer to any of the resources above which have examples of appropriate works or see the websites for
suggested performance repertoire in the bibliography.
- 49 -
Board Endorsed Nov 2008-Amended October2015
Medieval and Renaissance Music (A/T/Extension Music T) Value 1.0
Prerequisites
As per the Music Frameworks
Specific Unit Goals
This unit should enable students to:
 demonstrate an understanding of the concepts of music as they relate to music of the Medieval and
the Renaissance periods through interpreting, analysing and discussing
 perform music that is characteristic of the period, and demonstrate an understanding of the style
 create and arrange music using elements found in the music of the period
 demonstrate an understanding of the role of music in the culture of the period and the influences
the culture has on the music.
Content
A course
T course
T Ext Course
Creating
Creating
Creating
 Complete compositional exercises
with specific reference to
techniques employed in the
Medieval/ Renaissance period
 Complete a compositional folio
using techniques employed in the
Medieval/ Renaissance period
(e.g. modes and scales, plainchant,
cantus firmus)
 Complete a compositional folio
using techniques employed in the
Medieval/ Renaissance period
(e.g. motet, madrigal, ricercar,
sacred and secular music)
 Compose a work that
demonstrates an understanding of
the Medieval/ Renaissance period
 Compose a work that
demonstrates a superior
understanding of the Medieval/
Renaissance period
 Demonstrate a developing
understanding of the Medieval/
Renaissance period
 Develop an understanding of early
notation and instrumentation
 Demonstrate an understanding of
early notation, instrumentation
and structures of the
Medieval/Renaissance period
Performing
Performing
 Demonstrate a superior
understanding of early notation,
instrumentation and structures of
the Medieval/ Renaissance period
Performing
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied, which will
demonstrate musical and
technical proficiency
commensurate with this level
Musicology
 Solo and/or ensemble
performance, and related practice,
appropriate to the instrument
studied, which will demonstrate
advanced musical and technical
proficiency commensurate with
this level
Musicology
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied, which will
demonstrate superior musical and
technical proficiency
commensurate with this level
Musicology
 Analyse a Medieval/ Renaissance
melody
 Analyse selected musical works
with specific reference to
Medieval/ Renaissance techniques
and structures e.g. cantus firmus,
ricercar
 Analyse in detail selected musical
works with specific reference to
Medieval/ Renaissance techniques
and structures e.g. modes, motet,
madrigal
 Listening and aural exercises
 Listening and aural exercises
 Demonstrate an understanding of
historical and contextual
perspectives
 Demonstrate an understanding of
historical and contextual
perspectives
 Listening and aural exercises
 Historical and contextual
perspectives
 Structural analysis
- 50 -
Board Endorsed Nov 2008-Amended October2015
Teaching and Learning Strategies
Some of which include:
 aural learning
 learning of music theory
 investigative, research and composition tasks
 use of visual aids
 teacher-guided learning
 student-guided learning
 consolidation and practice of fundamental skills and musicianship
 sequenced investigations to scaffold learning
 participation in group activities
 visiting artists
 workshop presentations
 peer critique
 individual problem solving
 opportunities to develop practical skills
 prepared and unprepared listening
 use of appropriate technology to aid concept development.
Assessment
Assessment
Refer to page 27.
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching
and
Learning
Assessment
creative and critical thinkers




enterprising problem-solvers




skilled and empathetic communicators


informed and ethical decision-makers


environmentally and culturally aware citizens


confident and capable users of technologies

independent and self-managing learners

collaborative team members

- 51 -


Board Endorsed Nov 2008-Amended October2015
Specific Unit Resources
Books
Bowman, D & Terry, P, 1993, Aural Matters, Schott Publishing
Bowman, D & Terry, P, 1994, Aural Matters in Practice, Schott Publishing
Cole, B, 1996, The Composer's Handbook, Schott Publishing
Dorricott, In Tune with Music, McGraw-Hill book company, NY
Kamien, R (ed.), 1999, The Norton Scores: An Anthology for Listening, Norton
Kamien, R., Music, an Appreciation, McGraw-Hill book company, NY date
Sturman, P, New Grove Dictionary of Music and Musicians, McMillan Press, South Melbourne, 1996
Music Software
Auralia
Musition II
Passport Designs Encore, Version 4.1.2, 1995
Finn, J and B, Sibelius 2 version 2.1, 2002
Gvox, Music Time Deluxe, 3.5, 2001
Sibelius
Suggested Works for Study
Guizot de Dijon: Chanterai por mon corage
Dunstable: O rosa bella
Lassus: Alma redemotoris mater
Byrd: Ave verum corpus
Holborne: Heigh-ho Holiday
Holborne: Galliarde
- 52 -
Board Endorsed Nov 2008-Amended October2015
Pre-Baroque Music (A/T/Extension Music T)
Value 0.5
This unit is the half unit equivalent to the Medieval and Renaissance Music 1.0
Prerequisites
As per the Music Framework
Specific Unit Goals
This unit should enable students to:
 demonstrate an understanding of the concepts of music as they relate to music of the Pre-Baroque
period through interpreting, analysing and discussing
 perform music that is characteristic of the period, and demonstrate an understanding of the style
 create and arrange music using elements found in the music of the period
 demonstrate an understanding of the role of music in the culture of the period and the influences
the culture has on the music.
Content
A Course
T Course
Extension Music T course
Creating
Creating
Creating
 Complete compositional
exercises with specific
reference to techniques
employed in the PreBaroque period
 Complete a compositional folio
using techniques employed in the
Pre-Baroque period (e.g. modes
and scales, plainchant, cantus
firmus)
 Complete a compositional folio using
techniques employed in the PreBaroque period (e.g. motet, madrigal,
ricercar, sacred and secular music)
 Demonstrate a developing
understanding of the PreBaroque period
 Compose a work that
demonstrates an understanding of
the Pre-Baroque period
 Develop an understanding
of early notation and
instrumentation
 Demonstrate an understanding of
early notation, instrumentation
and structures of the Pre-Baroque
period
Performing
Performing
 Compose a work that demonstrates a
superior understanding of the PreBaroque period
 Demonstrate a superior
understanding of early notation,
instrumentation and structures of the
Pre-Baroque period
Performing
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied, which
will demonstrate musical
and technical proficiency
commensurate with this
level
Musicology
 Solo and/or ensemble
performance, and related practice,
appropriate to the instrument
studied, which will demonstrate
musical and technical proficiency
commensurate with this level
 Solo and/or ensemble performance,
and related practice, appropriate to
the instrument studied, which will
demonstrate musical and technical
proficiency commensurate with this
level
Musicology
Musicology
 Analyse a Pre-Baroque
melody
 Analyse selected musical works
with specific reference to PreBaroque techniques and structures
e.g. cantus firmus, ricercar
 Analyse in detail selected musical
works with specific reference to PreBaroque techniques and structures
e.g. modes, motet, madrigal
 Listening and aural exercises
 Listening and aural exercises
 Historical and contextual
perspectives
 Demonstrate an understanding of
historical and contextual perspectives
 Listening and aural exercises
 Historical and contextual
perspectives
 Structural analysis
- 53 -
Board Endorsed Nov 2008-Amended October2015
Teaching and Learning Strategies
Some of which include:
 aural learning
 learning of music theory
 investigative, research and composition tasks
 use of visual aids
 teacher-guided learning
 student-guided learning
 consolidation and practice of fundamental skills and musicianship
 sequenced investigations to scaffold learning
 participation in group activities
 visiting artists
 workshop presentations
 peer critique
 individual problem solving
 opportunities to develop practical skills
 prepared and unprepared listening
 use of appropriate technology to aid concept development.
Assessment
Refer to page 27.
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching and
Learning
Assessment


creative and critical thinkers

enterprising problem-solvers

skilled and empathetic communicators


informed and ethical decision-makers


environmentally and culturally aware citizens


confident and capable users of technologies

independent and self-managing learners

collaborative team members

- 54 -






Board Endorsed Nov 2008-Amended October2015
Specific Unit Resources
Books
Bowman, D & Terry, P, 1993, Aural Matters, Schott Publishing
Bowman, D & Terry, P, 1994, Aural Matters in Practice, Schott Publishing
Cole, B, 1996, The Composer's Handbook, Schott Publishing
Dorricott, In Tune with Music, McGraw-Hill book company, NY
Kamien, R (ed.), 1999, The Norton Scores: An Anthology for Listening, Norton
Kamien, R., 2007, Music, an Appreciation, McGraw-Hill book company, NY.
Sturman, P, 1996, New Grove Dictionary of Music and Musicians, McMillan Press, South Melbourne.
Sadie S and Latham A, 1990, The Cambridge Music Guide, Cambridge London.
Music Software
Auralia
Musition II
Passport Designs Encore, Version 4.1.2, 1995
Finn, J and B, Sibelius 2 version 2.1, 2002
Gvox, Music Time Deluxe, 3.5, 2001
Sibelius
Suggested Works for Study
Guiot de Dijon: Chanterai por mon corage
Dunstable: O rosa bella
Lassus: Alma redemotoris mater
Byrd: Ave verum corpus
Holborne: Heigh-ho Holiday
Holborne: Galliarde
- 55 -
Board Endorsed Nov 2008-Amended October2015
Baroque Music (A/T/Extension Music T)
Value 1.0
Prerequisites
As per the Music Framework
Specific Unit Goals
This unit should enable students to:
 demonstrate an understanding of the concepts of music as they relate to Baroque Music through
interpreting, analysing and discussing
 perform music that is characteristic of the period, and demonstrate an understanding of the style
 compose and arrange music using elements found in Baroque music
 demonstrate an understanding of the role of music in the culture of the period and the influences
the culture has on the music
 develop productive practice and presentation skills to an audience.
Content
A course
T course
Extension Music T course
Creating
Creating
Creating
 Compose exercises for two parts with
specific reference to techniques
employed in the Baroque Period
 Complete a compositional folio
demonstrating use of four part
writing with specific reference to
techniques employed in the
Baroque Period
 Complete a compositional folio
demonstrating use of homophonic
and polyphonic writing with specific
reference to techniques employed
in the Baroque Period
 Compose a work that
demonstrates a developing
understanding of the Baroque
period
Performing
 Compose a work that demonstrates
a superior understanding of the
Baroque period
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied, which will
demonstrate musical and
technical proficiency
commensurate with this level
Musicology
 Solo and/or ensemble performance,
and related practice, appropriate to
the instrument studied, which will
demonstrate musical and technical
proficiency commensurate with this
level
 Analyse musical works with
specific reference to Baroque
techniques and structures (e.g.
Terraced Dynamics,
Counterpoint, Polyphony,
Ritonello Form, Concerto Gross,
basso continuo, fugue, two-part,
SATB, inventions, suites)
 Analyse in detail musical works with
specific reference to Baroque
techniques and structures (e.g.
Terraced Dynamics, Counterpoint,
Polyphony, Ritonello Form,
Concerto Gross, basso continuo,
fugue, two-part, SATB, inventions
and suites)
 Listening and aural exercises
 Listening and aural exercises
 Historical and contextual
perspectives
 Historical and contextual
perspectives
 Compose a work that demonstrates a
developing understanding of the
Baroque period
 Develop an understanding of
polyphonic music
Performing
 Solo and/or ensemble performance,
and related practice, appropriate to
the instrument studied, which will
demonstrate musical and technical
proficiency commensurate with this
level
Musicology
 Analyse musical examples of twopart writing
 Listening and aural exercises
 Historical and contextual
perspectives
 Structural analysis e.g. Theme and
Variation
- 56 -
Performing
Musicology
Board Endorsed Nov 2008-Amended October2015
Teaching and Learning Strategies
Some of which include:

aural learning

learning of music theory

investigative, research and composition tasks

use of visual aids

teacher-guided learning

student-guided learning

consolidation and practice of fundamental skills and musicianship

sequenced investigations to scaffold learning

participation in group activities

visiting artists

workshop presentations

peer critique

individual problem solving

opportunities to develop practical skills

prepared and unprepared listening
 use of appropriate technology to aid concept development.
Assessment
Refer to page 27.
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching
and
Learning
Assessment




enterprising problem-solvers



skilled and empathetic communicators

creative and critical thinkers

informed and ethical decision-makers



environmentally and culturally aware citizens

confident and capable users of technologies
independent and self-managing learners

collaborative team members

- 57 -




Board Endorsed Nov 2008-Amended October2015
Suggested Unit Resources
Books
Bowman, D & Terry, P, Aural Matters, Schott Publishing, 1993
Bowman, D & Terry, P, Aural Matters in Practice, Schott Publishing, 1994
Chadwick, F, Baroque Composition, OTEN, 1995,
Cole, B, The Composer’s Handbook, Schott Publishing, 1996
Donnington, R, Baroque Music; Style and Performance, Faber, 1996
Dorricott, In Tune with Music, (Book 3) McGraw-Hill book company, NY
Kamien, R (ed.), 1999, The Norton Scores: An Anthology for Listening, Norton
Kamien, R., 2007, Music, an Appreciation, McGraw-Hill book company, NY.
Sturman, P, New Grove Dictionary of Music and Musicians, McMillan Press, South Melbourne, 1996
Sadie S and Latham A, The Cambridge Music Guide, Cambridge London, 1990
Suggested Music Software
Auralia
Cubasis
Musition II
Passport Designs Encore, Version 4.1.2, 1995
Finn, J and B, Sibelius
Gvox, Music Time Deluxe
Sibelius
Suggested Works of Study
Bach, J S Brandenburg Concerti 1 to 6
Bach, J S French & Italian Suites
Bach, J.S, Magnificat
Bach, J.S, Well-Tempered Clavier.
Handel, G F Messiah
Handel, G F Water Music
Marcom Projects, Music and Art through the Ages
Purcell, H, Dido and Aeneas,
Vivaldi, Four Seasons
Vivaldi, A, Concerto Grosso, Opus 11 No.3,
- 58 -
Board Endorsed Nov 2008-Amended October2015
Classical Music (A/T/Extension Music T)
Value 1.0
Prerequisites
As per the Music Framework
Specific Unit Goals
This unit should enable students to:
 demonstrate an understanding of the concepts of music as they relate to Classical music through
interpreting, analysing and discussing
 perform music that is characteristic of the period, and demonstrate an understanding of the style
 create and arrange music using elements found in Classical music
 demonstrate an understanding of the role of music in the culture of the period and the influences
the culture has on the music
 develop an understanding of Classical structures including Sonata, Symphony, Concerto.
Content
A Course
T Course
Extension Music T course
Creating
Creating
Creating
 Complete compositional exercises
demonstrating a developing
understanding of specific elements
of Classical style, with reference to
techniques employed in the
Classical Period
 Complete a compositional folio
demonstrating an understanding of
specific elements of Classical style,
with reference to techniques
employed in the Classical Period
 Complete a compositional folio
demonstrating a superior
understanding of specific elements
of Classical style, with reference to
techniques employed in the
Classical Period
 Compose a musical work that
demonstrates a developing
understanding of the Classical
Period
Performing
 Solo and/or ensemble
performance, and related practice,
appropriate to the instrument
studied, which will demonstrate
musical and technical proficiency
commensurate with this level
Musicology
 Analyse a work by a Classical
composer.
 Listening and aural exercises
 Develop an understanding of
Classical musical structures e.g.
Sonata Form
 Compose a significant musical work
that demonstrates a developing
understanding of the Classical
Period
Performing
 Compose a significant musical work
with variations that demonstrates a
superior understanding of the
Classical Period
Performing
 Solo and/or ensemble
performance, and related practice,
appropriate to the instrument
studied, which will demonstrate
advanced musical and technical
proficiency commensurate with this
level
Musicology
 Solo and/or ensemble
performance, and related practice,
appropriate to the instrument
studied, which will demonstrate
superior musical and technical
proficiency commensurate with this
level
Musicology
 Analyse works by Classical
composers, with specific reference
to Classical techniques and
structures (e.g. Sonata form,
Cadenza, orchestration, instrument
ranges, homophonic texture)
 Analyse in detail works by Classical
composers, with specific reference
to Classical techniques and
structures (e.g. Sonata form,
Cadenza, orchestration, instrument
ranges, Classical concerto, Chamber
music string quartet, homophonic
texture)
 Listening and aural exercises
 Demonstrate an understanding of
historical and contextual
perspectives
- 59 -
 Listening and aural exercises
 Demonstrate superior knowledge
of historical and contextual
perspectives
Board Endorsed Nov 2008-Amended October2015
Teaching and Learning Strategies
Some of which include:

aural learning

learning of music theory

investigative, research and composition tasks

use of visual aids

teacher-guided learning

student-guided learning

consolidation and practice of fundamental skills and musicianship

sequenced investigations to scaffold learning

participation in group activities

visiting artists

workshop presentations

peer critique

individual problem solving

opportunities to develop practical skills

prepared and unprepared listening
 use of appropriate technology to aid concept development.
Assessment
Refer to page 27.
- 60 -
Board Endorsed Nov 2008-Amended October2015
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching and
Learning
Assessmen
t




enterprising problem-solvers



skilled and empathetic communicators

creative and critical thinkers
informed and ethical decision-makers




environmentally and culturally aware citizens

confident and capable users of technologies
independent and self-managing learners

collaborative team members




Specific Unit Resources
Books
Bowman, D & Terry, P, 1993, Aural Matters, Schott Publishing
Bowman, D & Terry, P, 1994, Aural Matters in Practice, Schott Publishing
Cole, B, 1996, The Composer's Handbook, Schott Publishing
Dorricott, In Tune with Music, McGraw-Hill book company, NY
Kamien, R (ed.), 1999, The Norton Scores: An Anthology for Listening, Norton
Kamien, R., 2007, Music, an Appreciation, McGraw-Hill book company, NY.
Sturman, P, 1996, New Grove Dictionary of Music and Musicians, McMillan Press, South Melbourne.
Sadie S and Latham A, 1990, The Cambridge Music Guide, Cambridge London.
Music Software
Auralia
Cubasis
Musition II
Sibelius
Finale
Suggested Works for Study
Amadeus (movie) Warner Home Video 1984
Beethoven, Symphony No5
Mozart Symphony No39 in Eflat K543
Mozart. Eine kliene Nachtmisik, K 525
Mozart, Flute Concerto in D K285
Haydn, “Surprise” Symphony
- 61 -
Board Endorsed Nov 2008-Amended October2015
Directed Studies of Classical Music (A/T/Extension Music T)Value 0.5
This unit is the half unit equivalent of Classical Music 1.0
Prerequisites
As per the Music Framework
Specific Unit Goals
This unit should enable students to:
 demonstrate an understanding of the concepts of music as they relate to Classical Music through
interpreting, analysing and discussing
 perform music that is characteristic of the period, and demonstrate an understanding of the style
 create and arrange music using elements found in Classical music
 demonstrate an understanding of the role of music in the culture of the period and the influences
the culture has on the music
 develop an understanding of Classical structures including Sonata, Symphony, Concerto.
Content
A Course
T Course
T Ext Course
Creating
Creating
Creating
 Complete compositional exercises
demonstrating a developing
understanding of specific elements
of Classical style, with reference to
techniques employed in the
Classical Period
 Complete a compositional folio
demonstrating an understanding
of specific elements of Classical
style, with reference to techniques
employed in the Classical Period
 Complete a compositional folio
demonstrating a superior
understanding of specific elements
of Classical style, with reference to
techniques employed in the
Classical Period
 Compose short extracts of music
that demonstrate a developing
understanding of the Classical
Period
Performing
 Solo and/or ensemble performance,
and related practice, appropriate to
the instrument studied, which will
demonstrate musical and technical
proficiency commensurate with this
level
Musicology
 Analyse a section of a work by a
Classical composer.
 Listening and aural exercises
 Develop some understanding of
Classical musical structures e.g.
Sonata Form
 Compose a musical work that
demonstrates an understanding of
the Classical Period
Performing
 Compose a musical work with
variations that demonstrates a
superior understanding of the
Classical Period
Performing
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied, which will
demonstrate advanced musical
and technical proficiency
commensurate with this level
Musicology
 Solo and/or ensemble performance,
and related practice, appropriate to
the instrument studied, which will
demonstrate superior musical and
technical proficiency commensurate
with this level
 Analyse works by Classical
composers, with specific reference
to Classical techniques and
structures (e.g. Sonata form,
Cadenza, orchestration,
instrument ranges, homophonic
texture)
 Analyse in detail works by Classical
composers, with specific reference
to Classical techniques and
structures (e.g. Sonata form,
Cadenza, orchestration, instrument
ranges, Classical concerto, Chamber
music string quartet, homophonic
texture)
 Listening and aural exercises
 Demonstrate an understanding of
historical and contextual
perspectives
- 62 -
Musicology
 Listening and aural exercises
 Demonstrate superior knowledge of
historical and contextual
perspectives
Board Endorsed Nov 2008-Amended October2015
Teaching and Learning Strategies
These may include:

aural learning

learning of music theory

investigative, research and composition tasks

use of visual aids

teacher-guided learning

student-guided learning

consolidation and practice of fundamental skills and musicianship

sequenced investigations to scaffold learning

participation in group activities

visiting artists

workshop presentations

peer critique

individual problem solving

opportunities to develop practical skills

prepared and unprepared listening
 use of appropriate technology to aid concept development.
Assessment
Refer to page 27.
- 63 -
Board Endorsed Nov 2008-Amended October2015
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching and
Learning
Assessment




enterprising problem-solvers



skilled and empathetic communicators

creative and critical thinkers
informed and ethical decision-makers




environmentally and culturally aware citizens

confident and capable users of technologies
independent and self-managing learners

collaborative team members





Specific Unit Resources
Books
Bowman, D & Terry, P, 1993, Aural Matters, Schott Publishing
Chadwick, F, 1995, Classical Composition, OTEN
Donnington, R, Baroque Music; Style and Performance, Faber, 1996
Dorricott, In Tune with Music, McGraw-Hill book company, NY
Kamien, R (ed.), 1999, The Norton Scores: An Anthology for Listening, Norton
Kamien, R., 2007, Music, an Appreciation, McGraw-Hill book company, NY.
Sturman, P, 1996, New Grove Dictionary of Music and Musicians, McMillan Press, South Melbourne.
Sadie S and Latham A, 1990, The Cambridge Music Guide, Cambridge London.
Music Software
Auralia
Musition II
Passport Designs Encore, Version 4.1.2, 1995
Sibelius
Gvox, Music Time Deluxe, 3.5, 2001
Suggested Works for Study
Beethoven, L van, Symphony No. 5 in C Major
Hayden, J. Symphony No. 104 in D Major, “The London”
Mozart, W. A. Symphony No. 41 in C Major, “The Jupiter”
Schubert, F Trout Quintet
Mozart Requim Mass
- 64 -
Board Endorsed Nov 2008-Amended October2015
Romantic Music (A/T/Extension Music T)
Value 1.0
Prerequisites
As per the Music Frameworks
Specific Unit Goals
This unit should enable students to:
 demonstrate an understanding of the concepts of music as they relate to Romantic Music through
interpreting, analysing and discussing
 perform music that is characteristic of the period, and demonstrate an understanding of the style
 create and arrange music using elements found in Romantic Music
 demonstrate an understanding of the role of music in the culture of the period and the influences
the culture has on the music.
Content
A Course
T Course
Extension Music T course
Creating
Creating
Creating
 Complete a compositional
folio demonstrating a
developing understanding of
specific elements of Romantic
style, with reference to
techniques employed in the
Romantic Period
 Complete a compositional folio
demonstrating an understanding of
specific elements of Romantic style,
with reference to techniques
employed in the Romantic Period
 Complete a compositional folio
demonstrating a superior
understanding of specific elements of
Romantic style, with reference to
techniques employed in the Romantic
Period
 Compose a work that
demonstrates a developing
understanding of the Romantic
Period
 Compose a significant musical work
that demonstrates an understanding
of the Romantic Period
 Demonstrate an understanding of
chromaticism and modulation
 Compose a significant musical work in
a programmatic style that
demonstrates a superior
understanding of the Romantic Period
Performing
Performing
 Demonstrate an understanding of
chromaticism, modulation and
thematic transformation
Performing
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied, which will
demonstrate musical and
technical proficiency
commensurate with this level
Musicology
 Solo and/or ensemble performance,
and related practice, appropriate to
the instrument studied, which will
demonstrate advanced musical and
technical proficiency commensurate
with this level
 Solo and/or ensemble performance,
and related practice, appropriate to
the instrument studied, which will
demonstrate superior musical and
technical proficiency commensurate
with this level
Musicology
Musicology
 Analyse a work by a Romantic
composer
 Analyse works by Romantic
composers, with specific reference to
Romantic techniques and structures
(e.g. Symphonic Poem or Song cycle,
opera, accompaniment, idée fixe,
orchestration, chromaticism)
 Analyse in detail works by Romantic
composers, with specific reference to
Romantic techniques and structures
(e.g. Concert Overture, Ballet Suite,
Opera, thematic transformation,
chromaticism, textural variants)
 Listening and aural exercises
 Listening and aural exercises
 Demonstrate an understanding of
historical and contextual perspectives
(e.g. Nationalism, program music)
 Demonstrate a superior knowledge of
historical and contextual perspectives
(e.g. Nationalism, program music)
 Listening and aural exercises
 Develop an understanding of
Romantic musical structures
e.g. nocturne, etude,
polonaise
 Demonstrate a developing
knowledge of Nationalism and
Program Music
- 65 -
Board Endorsed Nov 2008-Amended October2015
Teaching and Learning Strategies
Some of which include:

aural learning

learning of music theory

investigative, research and composition tasks

use of visual aids

teacher-guided learning

student-guided learning

consolidation and practice of fundamental skills and musicianship

sequenced investigations to scaffold learning

participation in group activities

visiting artists

workshop presentations

peer critique

individual problem solving

opportunities to develop practical skills

prepared and unprepared listening
 use of appropriate technology to aid concept development.
Assessment
Refer to page 27.
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching
and
Learning
Assessment
creative and critical thinkers




enterprising problem-solvers



skilled and empathetic communicators



informed and ethical decision-makers

environmentally and culturally aware citizens

confident and capable users of technologies

independent and self-managing learners

collaborative team members

- 66 -




Board Endorsed Nov 2008-Amended October2015
Specific Unit Resources
Books
Bowman, D & Terry, P, 1993, Aural Matters, Schott Publishing
Bowman, D & Terry, P, 1994, Aural Matters in Practice, Schott Publishing
Chadwick, F, 1995, Nineteenth Century Composition, OTEN
Dorricott, In Tune with Music, McGraw-Hill book company, NY
Kamien, R (ed.), 1999, The Norton Scores: An Anthology for Listening, Norton
Kamien, R., 2007, Music, an Appreciation, McGraw-Hill book company, NY.
Sturman, P, 1996, New Grove Dictionary of Music and Musicians, McMillan Press, South Melbourne.
Sadie S and Latham A, 1990, The Cambridge Music Guide, Cambridge London.
Music Software
Auralia
Musition II
Passport Designs Encore, Version 4.1.2, 1995
Finn, J and B, Sibelius 2 version 2.1, 2002
Gvox, Music Time Deluxe, 3.5, 2001
Suggested Works for Study
Berlioz, H Symphonie Fantastique
Liszt, F Les Preludes
Mahler, G, Resurrection Symphony
Mendelssohn, F Midsummer Night’s Dream
Rimsky- Korsakoff, R Scheherazade
Schubert, F Die Schone Mullerin
Schumann, R Kinderscenen
Smetna, B Ma Vlast
Tchaikovsky, P I Romeo & Juliet
- 67 -
Board Endorsed Nov 2008-Amended October2015
Directed Studies of Romantic Music (A/T/Extension Music T)Value 0.5
This unit is the half unit equivalent to Romantic Music 1.0
Prerequisites
As per the Music Frameworks
Specific Unit Goals
This unit should enable students to:
 demonstrate an understanding of the concepts of music as they relate to Romantic Music through
interpreting, analysing and discussing
 perform music that is characteristic of the period, and demonstrate an understanding of the style
 create and arrange music using elements found in Romantic Music
 demonstrate an understanding of the role of music in the culture of the period and the influences
the culture has on the music.
Content
A Course
T Course
Extension Music T course
Creating
Creating
Creating
 Complete a compositional folio
demonstrating a developing
understanding of specific
elements of Romantic style,
with reference to techniques
employed in the Romantic
Period OR compose a work that
demonstrates a developing
understanding of the Romantic
Period
 Complete a compositional folio
demonstrating an understanding of
specific elements of Romantic
style, with reference to techniques
employed in the Romantic Period
OR compose a significant musical
work that demonstrates an
understanding of the Romantic
Period
 Complete a compositional folio
demonstrating a superior understanding
of specific elements of Romantic style,
with reference to techniques employed
in the Romantic Period OR compose a
significant musical work in a
programmatic style that demonstrates a
superior understanding of the Romantic
Period
 Demonstrate an understanding of
chromaticism and modulation
Performing
Performing
 Demonstrate an understanding of
chromaticism, modulation and thematic
transformation
Performing
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied, which will
demonstrate musical and
technical proficiency
commensurate with this level
Musicology
 Solo and/or ensemble
performance, and related practice,
appropriate to the instrument
studied, which will demonstrate
advanced musical and technical
proficiency commensurate with
this level
Musicology
 Solo and/or ensemble performance, and
related practice, appropriate to the
instrument studied, which will
demonstrate superior musical and
technical proficiency commensurate
with this level
 Analyse a work by a Romantic
composer
 Analyse works by Romantic
composers, with specific reference
to Romantic techniques and
structures (e.g. Symphonic Poem
or Song cycle, opera,
accompaniment, idée fixe,
orchestration, chromaticism)
 Analyse in detail works by Romantic
composers, with specific reference to
Romantic techniques and structures
(e.g. Concert Overture, Ballet Suite,
Opera, thematic transformation,
chromaticism, textural variants)
 Listening and aural exercises
 Demonstrate a superior knowledge of
historical and contextual perspectives
(e.g. Nationalism, program music)
 Listening and aural exercises
 Develop an understanding of
Romantic musical structures
e.g. nocturne, etude, polonaise
 Demonstrate a developing
knowledge of Nationalism and
Program Music
 Demonstrate an understanding of
historical and contextual
perspectives (e.g. Nationalism,
program music)
- 68 -
Musicology
 Listening and aural exercises
Board Endorsed Nov 2008-Amended October2015
Teaching and Learning Strategies
Some of which include:
 aural learning
 learning of music theory
 investigative, research and composition tasks
 use of visual aids
 teacher-guided learning
 student-guided learning
 consolidation and practice of fundamental skills and musicianship
 sequenced investigations to scaffold learning
 participation in group activities
 visiting artists
 workshop presentations
 peer critique
 individual problem solving
 opportunities to develop practical skills
 prepared and unprepared listening
 use of appropriate technology to aid concept development.
Assessment
Refer to page 27.
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching
and
Learning
Assessment
creative and critical thinkers




enterprising problem-solvers



skilled and empathetic communicators



informed and ethical decision-makers

environmentally and culturally aware citizens

confident and capable users of technologies

independent and self-managing learners

collaborative team members

- 69 -




Board Endorsed Nov 2008-Amended October2015
Specific Unit Resources
Books
Bowman, D & Terry, P, 1993, Aural Matters, Schott Publishing
Bowman, D & Terry, P, 1994, Aural Matters in Practice, Schott Publishing
Chadwick, F, 1995, Nineteenth Century Composition, OTEN
Dorricott, In Tune with Music, McGraw-Hill book company, NY
Kamien, R (ed.), 1999, The Norton Scores: An Anthology for Listening, Norton
Kamien, R., 2007, Music, an Appreciation, McGraw-Hill book company, NY.
Sturman, P, 1996, New Grove Dictionary of Music and Musicians, McMillan Press, South Melbourne.
Sadie S and Latham A, 1990, The Cambridge Music Guide, Cambridge London.
Music Software
Auralia
Musition II
Passport Designs Encore, Version 4.1.2, 1995
Finn, J and B, Sibelius 2 version 2.1, 2002
Gvox, Music Time Deluxe, 3.5, 2001
Suggested Works for Study
Berlioz, H Symphonie Fantastique
Liszt, F Les Preludes
Mahler, G, Resurrection Symphony
Mendelssohn, F Midsummer Night’s Dream
Rimsky- Korsakoff, R Scheherazade
Schubert, F Die Schone Mullerin
Schumann, R Kinderscenen
Smetna, B Ma Vlast
Tchaikovsky, P I Romeo & Juliet
- 70 -
Board Endorsed Nov 2008-Amended October2015
Music of the 20th & 21st Centuries (A/T/ Extension Music T)Value 1.0
Prerequisites
As per the Music Frameworks
Specific Unit Goals
This unit should enable students to:
 demonstrate an understanding of the concepts of music as they relate to music of the 20th and 21st
centuries through interpreting, analysing and discussing
 perform music that is characteristic of the period, and demonstrate an understanding of the style
 create and arrange music using elements found in the music of the period
 demonstrate an understanding of the role of music in the culture of the period and the influences
the culture has on the music.
Content
A Course
T Course
Extension Music T course
Creating
Creating
Creating
 Compose a folio of compositional
exercises in contemporary styles
 Compose a folio of compositional
exercises using a range of
contemporary styles
 Compose a folio of compositional
exercises using a range of
contemporary styles
 Compose a piece of contemporary
music using notational software
and/or sequencing based software
 Compose a piece of contemporary
music using notational software
and/or sequencing based software
 Use alternate methods of music
notation
 Use a variety of alternate methods
of music notation
 Compose a series of 12 tone rows
based on the chromatic scale (e.g.
original row, retrograde, inversion
etc)
Performing
 Compose a series of 12 tone rows
based on the chromatic scale (e.g.
original row, retrograde, inversion
etc)
Performing
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied, which will
demonstrate advanced musical
and technical proficiency
commensurate with this level
Musicology
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied, which will
demonstrate superior musical and
technical proficiency
commensurate with this level
Musicology
 Analyse and interpret works by
contemporary composers, with
specific reference to
compositional techniques and
structures
 Analyse and interpret in detail
works by contemporary
composers, with specific reference
to compositional techniques and
structures
 Listening and aural exercises
 Listening and aural exercises
 An understanding of historical and
contextual perspectives
 A superior knowledge of historical
and contextual perspectives
 Compose a piece of contemporary
music using notational software
and/or sequencing based software
 Explore the use of alternate
methods of music notation
Performing
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied, which will
demonstrate musical and
technical proficiency
commensurate with this level
Musicology
 Analyse a work by a contemporary
composer
 Listening and aural exercises
 Structural analysis of a work from
the 20th and/or 21st Century
 Note: Contemporary styles include Expressionism, Impressionism, Serialism, Neo-Classicism, Musique
Concrete, Electronic Music, Avante Garde, Minimalism, Aleatoric Music, Polytonality
- 71 -
Board Endorsed Nov 2008-Amended October2015
Teaching and Learning Strategies
Some of which include:
 aural learning
 learning of music theory
 investigative, research and composition tasks
 use of visual aids
 teacher-guided learning
 student-guided learning
 consolidation and practice of fundamental skills and musicianship
 sequenced investigations to scaffold learning
 participation in group activities
 visiting artists
 workshop presentations
 peer critique
 individual problem solving
 opportunities to develop practical skills
 prepared and unprepared listening
 use of appropriate technology to aid concept development.
Assessment
Refer to page 27.
- 72 -
Board Endorsed Nov 2008-Amended October2015
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching and
Learning
Assessment
creative and critical thinkers




enterprising problem-solvers




skilled and empathetic communicators




informed and ethical decision-makers




environmentally and culturally aware citizens




confident and capable users of technologies




independent and self-managing learners




collaborative team members




Specific Unit Resources
Books
Bowman, D & Terry, P, 1993, Aural Matters, Schott Publishing
Bowman, D & Terry, P, 1994, Aural Matters in Practice, Schott Publishing
Cole, B, 1996, The Composer's Handbook, Schott Publishing
Dorricott, In Tune with Music, McGraw-Hill book company, NY
Kamien, R (ed.), 1999, The Norton Scores: An Anthology for Listening, Norton
Kamien, R., 2007, Music, an Appreciation, McGraw-Hill book company, NY
Sturman, P, 1996, New Grove Dictionary of Music and Musicians, McMillan Press, South Melbourne
Sadie S and Latham A, 1990, The Cambridge Music Guide, Cambridge London
Suggested Music Software
Auralia
Musition
Garage Band
Audacity
Finale Notepad
Cubasis
Soundforge
www.soundjunction.com
Passport Designs Encore
Sibelius
Gvox, Music Time Deluxe
Suggested Works for Study
Bartok, B, Music for Percussion, Strings and Celeste
Britten, B Ceremony of Carols
- 73 -
Board Endorsed Nov 2008-Amended October2015
Britten, B St Nicholas
Britten, B War Requiem
Butterley, N
Cage, J, 4’33”
Coningham, B, Ice Carving
Vine C Defying Gravity
Glass, P, The Photographer
Holst, G, The Planets
Penderecki, Threnody for the Victims of Hiroshima
Ross Edwards,
Schoenberg, Pierrot Lunaire
Sculthorpe, P, Kakadu
Stockhausen, K, Seven Days
Stravinsky, Rite of Spring
Synergy, Green Peace
We Wommen We Know No Thinge
Webern, A, Five Pieces for Orchestra
Wesley-Smith, M, Snark Hunting
Berio, L Sequenza 1-6, Universal
- 74 -
Board Endorsed Nov 2008-Amended October2015
Directed Studies of 20th & 21st Centuries
Value0.5
(A/T/Extension Music T)
This unit is the half unit equivalent to 20th and 21st Centuries Music 1.0
Prerequisites
As per the Music Frameworks
Specific Unit Goals
This unit should enable students to:
 demonstrate an understanding of the concepts of music as they relate to art music of the 20th and
21st centuries through interpreting, analysing and discussing
 perform music that is characteristic of the period, and demonstrate an understanding of the style
 create and arrange music using elements found in the music of the period
 demonstrate an understanding of the role of music in the culture of the period and the influences
the culture has on the music.
Content
A Course
T course
Extension Music T course
Creating
Creating
Creating
 Compose a folio of
compositional exercises in
contemporary styles OR
compose a piece of
contemporary music using
notational software and/or
sequencing based software
 Compose a folio of
compositional exercises using a
range of contemporary styles
OR compose a piece of
contemporary music using
notational software and/or
sequencing based software
 Compose a folio of
compositional exercises using a
range of contemporary styles
OR compose a piece of
contemporary music using
notational software and/or
sequencing based software
 Explore the use of alternate
methods of music notation
 Use alternate methods of
music notation
 Use a variety of alternate
methods of music notation
Performing
 Compose a series of 12 tone
rows based on the chromatic
scale (e.g. original row,
retrograde, inversion etc)
Performing
 Compose a series of 12 tone
rows based on the chromatic
scale (e.g. original row,
retrograde, inversion etc)
Performing
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied, which will
demonstrate musical and
technical proficiency
commensurate with this level
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied, which will
demonstrate advanced musical
and technical proficiency
commensurate with this level
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied, which will
demonstrate superior musical
and technical proficiency
commensurate with this level
- 75 -
Board Endorsed Nov 2008-Amended October2015
Musicology
Musicology
Musicology
 Analyse a work by a
contemporary composer
 Analyse and interpret works by
contemporary composers, with
specific reference to
compositional techniques and
structures
 Analyse and interpret in detail
works by contemporary
composers, with specific
reference to compositional
techniques and structures
 Listening and aural exercises
 Listening and aural exercises
 An understanding of historical
and contextual perspectives
 A superior knowledge of
historical and contextual
perspectives
 Listening and aural exercises
 Structural analysis of a work
from the 20th and/or 21st
Century
Note: Contemporary styles include Expressionism, Impressionism, Serialism, Neo-Classicism, Musique
Concrete, Electronic Music, Avante Garde, Minimalism, Aleatoric Music, Polytonality
Teaching and Learning Strategies
Some of which include:
 aural learning
 learning of music theory
 investigative, research and composition tasks
 use of visual aids
 teacher-guided learning
 student-guided learning
 consolidation and practice of fundamental skills and musicianship
 sequenced investigations to scaffold learning
 participation in group activities
 visiting artists
 workshop presentations
 peer critique
 individual problem solving
 opportunities to develop practical skills
 prepared and unprepared listening
 use of appropriate technology to aid concept development.
Assessment
Refer to page 27.
- 76 -
Board Endorsed Nov 2008-Amended October2015
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching and
Learning
Assessment
creative and critical thinkers




enterprising problem-solvers




skilled and empathetic communicators

informed and ethical decision-makers

environmentally and culturally aware citizens




confident and capable users of technologies




independent and self-managing learners

collaborative team members



Specific Unit Resources
Books
Bowman, D & Terry, P, 1993, Aural Matters, Schott Publishing
Bowman, D & Terry, P, 1994, Aural Matters in Practice, Schott Publishing
Cole, B, 1996, The Composer's Handbook, Schott Publishing
Dorricott, In Tune with Music, McGraw-Hill book company, NY
Kamien, R (ed.), 1999, The Norton Scores: An Anthology for Listening, Norton
Kamien, R., 2007, Music, an Appreciation, McGraw-Hill book company, NY
Sturman, P, 1996, New Grove Dictionary of Music and Musicians, McMillan Press, South Melbourne
Music Software
Auralia
Musition II
Passport Designs Encore, Version 4.1.2, 1995
Finn, J and B, Sibelius 2 version 2.1, 2002
Gvox, Music Time Deluxe, 3.5, 2001
Suggested works for Study
Bartok, B, Music for Percussion, Strings and Celeste
Britten, B Ceremony of Carols
Britten, B St Nicholas
Britten, B War Requiem
Butterley, N
Cage, J, 4’33”
Coningham, B, Ice Carving
Vine C Defying Gravity
- 77 -
Board Endorsed Nov 2008-Amended October2015
Glass, P, The Photographer
Holst, G, The Planets
Penderecki, Threnody for the Victims of Hiroshima
Ross Edwards,
Schoenberg, Pierrot Lunaire
Sculthorpe, P, Kakadu
Stockhausen, K, Seven Days
Stravinsky, Rite of Spring
Synergy, Green Peace
We Wommen We Know No Thinge
Webern, A, Five Pieces for Orchestra
Wesley-Smith, M, Snark Hunting
Berio, L Sequenza 1-6, Universal,
- 78 -
Board Endorsed Nov 2008-Amended October2015
Jazz Perspectives (A/T/Extension Music T)
Value 1.0
Prerequisites
As per the Music Frameworks
Specific Unit Goals
This unit should enable students to:
 research the history and development of Jazz Music
 demonstrate an understanding of the musical elements within the different Jazz genres
 develop an understanding and interpretation of musical elements/vocabulary from this unit of study
 develop an understanding of the impact and influence of significant Jazz musicians/ composers/
bands, on society
 perform pieces within the Jazz genre demonstrating an understanding of improvisation techniques.
Content
A Course
T Course
Extension Music T course
Creating
Creating
Creating
 Compose melodies based on the
12 bar blues chord structure.
 Compose melodies based on the
12 bar blues chord structure
 Listen to various examples of
music from the Jazz period.
Blues, Ragtime, Swing Bebop and
Beyond.
 Complete a folio of compositional
exercises
 Compose melodies based on the 12 bar
blues chord structure including
suggested solos
 Develop musical notation and
theoretical skills appropriate to
Jazz. Blues scale, Blues intervals
and improvisation
 Listen to various examples of
music from the Jazz period. Blues,
Ragtime, Swing Bebop and
Beyond.
 Complete a folio of compositional
exercises.
 Listen to various examples of music
from the Jazz period. Blues, Ragtime,
Swing Bebop and Beyond.
 Develop musical notation and
theoretical skills appropriate to
Jazz.
 Develop musical notation and
theoretical skills appropriate to Jazz.
 Study of the blues scale in various
keys.
 Rhythms for improvisation.
 Study of the blues scale in various keys.
 Diminished and augmented chords.
Performing
 Rhythms for improvisation
Performing
 Perform pieces appropriate to
the instrument studied.
 Perform pieces appropriate to the
instrument studied.
 Perform pieces appropriate to the
instrument studied.
 Perform within the blues genre
as part of an ensemble.
 Perform within the blues genre as
part of an ensemble.
 Perform within the blues genre as part
of an ensemble.
 Perform musical excerpts from
various jazz periods.
 Perform musical excerpts from
various jazz periods.
 Perform musical excerpts from various
jazz periods.
 Develop performance skills
through various class ensemble
activities.
Musicology
 Develop performance skills
through various class ensemble
activities.
Musicology
 Develop performance skills through
various class ensemble activities.
 Research a jazz song.
 Research jazz band/solo artists.
 Research jazz band/solo artist.
 Describe the structure of various
jazz pieces of music.
 Arrange Jazz music for various
ensembles.
 Arrange Jazz music for various
ensembles.
 Analyse and interpret music from
the jazz period.
 Analyse and interpret in detail various
examples of music from the jazz period
- 79 -
Performing
Musicology
Board Endorsed Nov 2008-Amended October2015
Teaching and Learning Strategies
Some of which include:
 Teacher directed learning tasks
 Introduction to Rock and Pop music
 Rehearsing a public recital
 Individual Performance workshops
 Ensemble performance workshop
 Analysis of examples of the music styles from the historical period.
 Viewing of live and recorded performances
 Composition technique workshops
 Class discussions
 Orals
 Seminars
 Library research
 Theory papers
Assessment
Refer to page 27.
- 80 -
Board Endorsed Nov 2008-Amended October2015
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching and
Learning
Assessment







skilled and empathetic communicators


informed and ethical decision-makers


environmentally and culturally aware citizens

creative and critical thinkers
enterprising problem-solvers
confident and capable users of technologies



independent and self-managing learners




collaborative team members




Specific Unit Resources
Books
Bowman, D, Cole, B., 1990, Sound Matters, Teachers Manual and Music Book, Schott Educational
Publications, London.
Charlton, K., 1990, Rock Music Styles - A History of, Wm. C. Brown, America.
Cole, B., 1996, The Composer’s Handbook, Schott Educational Publications, London.
Dorricott, I.J, Allan, B.C., 1993, In Tune With Music Book Three, McGraw-Hill Book Company, Sydney.
Dunbar-Hall, P, Hodge, G., 1995, A Guide to Jazz, Folk and Australian Music, Science Press, Australia.
Kamien, R, 1999, Music: An Appreciation, 6th edn, Norton.
The New Real Book, 1988, Sher Music Co.
Suggested Works for Study
Milestones - Miles Davis
Cheesecake - Louis Armstrong
A Child Is Born - Thad Jones
Naima - John Coltrane
Bernies Tune - Charlie Parker
Watermelon Man - Herbie Hancock
There are many other works for study for this unit in The New Real Book as listed above.
- 81 -
Board Endorsed Nov 2008-Amended October2015
Blues Music (A/T/ Extension Music T)
Value 1.0
Prerequisites
As per the Music Frameworks
Specific Unit Goals
This unit should enable students to:
 demonstrate through performance the skills needed to construct a coherent, musical improvised
solo over the Blues Jazz form
 demonstrate skills in composition and arrangement, reflecting the Blues style
 critically analyse the form and characteristic of the Blues style
 develop knowledge of the performance and written conventions for Jazz ensembles.
Content
A Course
T Course
Extension Music T course
Creating
Creating
Creating
 Create a simple
improvised solo in the
Blues style
 Create an improvised solo
demonstrating an understanding
of the Blues form, scale and chord
structure.
 Create an improvised solo
demonstrating significant
understanding of the Blues form,
scale and chord structure.
 Arrange a Blues melody
for voice and guitar
 Arrangement of a Blues Melody, in  Arrangement of a Blues Melody, in
the Mixolydian mode, for solo
the Mixolydian mode, for solo
instrument and ensemble.
instrument and ensemble.
Performing
 Lyrics in Jazz- create an
arrangement for a song using
blues scales.
Performing
 Lyrics in Jazz- create an
arrangement for a song using
blues scales.
Performing
 Perform works in the
Blues style.
 Perform works in the Blues Style
with an improvised solo.
 Perform works in the Blues Style
with an improvised solo.
 Play and read one chart
as part of the class
ensemble.
 Play the following around the
circle of fifths: Major scales, Blues
scales, Major 7th arpeggios and
Dominant 7th arpeggios.
 Play the following around the
circle of fifths: Major scales, Blues
scales, Major 7th arpeggios and
Dominant 7th arpeggios.
Musicology
 Play and accurately read charts as
part of the class ensemble.
Musicology
 Play and accurately read charts as
part of the class ensemble.
Musicology
 Introduction to the
development of Blues.
 Introduction to the development
of Blues
 Introduction to the development
of Blues
 Explore the social
context and significant
performers/composers
of the Blues style.
 Explore the social context and
significant performers/composers
of the Blues style.
 Explore the social context and
significant performers/composers
of the Blues style.
 Analyse one
arrangement.
 Analyse and interpret the Big Band  Analyse and interpret in detail the
arrangements, referring to guide
Big Band arrangements, referring
tones, minor/modal blues scales
to guide tones, minor/modal
and harmony
blues scales and harmony
- 82 -
Board Endorsed Nov 2008-Amended October2015
Teaching and Learning Strategies
Some of which include:
 Teacher directed learning
 Perform with an ensemble
 Develop skills in improvisation
 Rehearsing a Jazz ensemble
 Analysis of music examples
 Viewing live performances
 Composition techniques
Assessment
Refer to page 27.
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching and
Learning
Assessment




enterprising problem-solvers



skilled and empathetic communicators

creative and critical thinkers

informed and ethical decision-makers
environmentally and culturally aware citizens


confident and capable users of technologies




independent and self-managing learners




collaborative team members




Specific Unit Resources
Gridley, Mark C., 2000, Jazz Styles History & Analysis, Prentice Hall
Gelly, Dave, 2003, Icons of Jazz The Brown Referencing Group
The New Real Book, 1988, Sher Music Co.,
http://historymatters.gmu.edu/mse/sia/blues.htm, July 2002.
Suggested Works for Study
Spirituals and Gospel songs
Backwater Blues - Bessie Smith
Basin Street Blues - Spencer Williams
Heartbreak Hotel - Elvis Presley
Tombstone Blues - Bob Dylan
Monday Morning Blues - Elmore James.
There are many other works for study for this unit in The New Real Book as listed above.
These were accurate at the time of publication.
- 83 -
Board Endorsed Nov 2008-Amended October2015
Directed Studies of BluesMusic (A/T/Extension Music T)
Value 0.5
This unit is the half unit equivalent to Blues Music 1.0.
Prerequisites
As per the Music Frameworks
Specific Unit Goals
This unit should enable students to:

demonstrate through performance the skills needed to construct a coherent, musical improvised
solo over the Blues Jazz form

demonstrate skills in composition and arrangement, reflecting the Blues style

critically analyse the form and characteristic of the Blues style

develop knowledge of the performance and written conventions for Jazz ensembles.
Content
A Course
T Course
Extension Music T course
Creating
Creating
Creating
 Create a simple improvised
solo in the Blues style
 Create an improvised solo
demonstrating an
understanding of the Blues
form, scale and chord structure
Performing
 Create an improvised solo
demonstrating an
understanding of the Blues
form, scale and chord
structure.
Performing
 Perform one work in the Blues
style
Musicology
 Perform one work in the Blues
Style with an improvised solo.
Musicology
 Perform one work in the Blues
Style with an improvised solo.
Musicology
 Introduction to the
development of Blues.
 Introduction to the
development of Blues
 Introduction to the
development of Blues
 Explore the social context and
significant
performers/composers of the
Blues style.
 Analyse and interpret the
social context and significant
performers/composers of the
Blues style.
 Analyse and interpret in detail
the social context and
significant
performers/composers of the
Blues style
- 84 -
Performing
Board Endorsed Nov 2008-Amended October2015
Teaching and Learning Strategies
Some of which include:
 Teacher directed learning
 Perform with an ensemble
 Develop skills in improvisation
 Rehearsing a Jazz ensemble
 Analysis of music examples
 Viewing live performances
 Composition techniques
Assessment
Assessment
Refer to page 27.
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching
and Learning
Assessment




enterprising problem-solvers



skilled and empathetic communicators

Creative and critical thinkers

informed and ethical decision-makers
environmentally and culturally aware citizens


confident and capable users of technologies




independent and self-managing learners




collaborative team members




Specific Unit Resources
Gridley, Mark C., 2000, Jazz Styles History & Analysis, Prentice Hall
Gelly, Dave, 2003, Icons of Jazz The Brown Referencing Group
The New Real Book, 1988, Sher Music Co.,
Suggested Works for Study
Spirituals and Gospel songs
Backwater Blues - Bessie Smith
Basin Street Blues - Spencer Williams
Heartbreak Hotel - Elvis Presley
Tombstone Blues - Bob Dylan
Monday Morning Blues - Elmore James.
There are many other works for study for this unit in The New Real Book as listed above.
- 85 -
Board Endorsed Nov 2008-Amended October2015
Swing and Bebop Music (A/T/Extension Music T)
Value 1.0
Prerequisites
As per the Music Frameworks
Specific Unit Goals
 critically analyse and recognise aurally and in print Swing and Bebop Jazz forms
 demonstrate an understanding of the genres Swing & Bebop and their social and geographical origins
 demonstrate an understanding of Swing & Bebop rhythms and create composition tasks reflecting
these styles
 increase their practical skills through performance of solo and ensemble works at a standard
commensurate with the level of study.
Content
A Course
T Course
Extension Music T course
Creating
Creating
Creating
 Composing simple melodic
lines in Mixolydian and Dorian
Modes
 Use of major scale/ triads.
Mixolydian mode
 Use of major scale/ triads.
Mixolydian mode
 Triplets and Dorian Mode
 Triplets and Dorian Mode
 Guide Tones and Simple
Heads
 Guide Tones and Simple Heads
 Syncopation using ties
 7th and other chords
 7th chords
Performing
 Syncopation using ties
Performing
Performing
 Solo and ensemble works in
Swing & Bebop style at a
standard commensurate with
the level of study
 Solo and ensemble works in
Swing & Bebop style at a
standard commensurate with
the level of study
 Demonstrate the ability to
improvise, play extended
solos, and read heads.
 Demonstrate the ability to
improvise, play extended solos,
and read heads.
 Developing Solos
 Developing Solos
Musicology
Musicology
Musicology
 Explore musical examples of
Swing & Bebop styles
 Analyse and interpret musical
examples of Swing & Bebop
styles
 Analyse and interpret in detail
musical examples of Swing &
Bebop styles
 Elements of Tempo/Pulse and
Swing rhythm
 Compare various arrangements
 Comparative analysis of
arrangements
 Elements of Tempo/Pulse and
Swing rhythm
 Solo and ensemble works in
the Swing & Bebop styles
which may be at the basic
style.
 Developing solos
 Elements of Tempo/ Pulse and
Swing rhythm
- 86 -
 In depth comparative analysis of
arrangements
Board Endorsed Nov 2008-Amended October2015
Teaching and Learning Strategies
Some of which include
 Teacher directed learning
 Student directed learning
 Performance workshops
 Listening and score reading activities

Analysis of musical examples
 Viewing live and recorded performances
 Performance of ensemble instrumental/vocal works
 Creating workshops of composition tasks
Assessment
Refer to page 27.
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching and
Learning
Assessment




enterprising problem-solvers



skilled and empathetic communicators

Creative and critical thinkers

informed and ethical decision-makers
environmentally and culturally aware citizens


confident and capable users of technologies





independent and self-managing learners




collaborative team members




Specific Unit Resources
Gridley, Mark C., 2000, Jazz Styles History & Analysis, Prentice Hall
Gelly, Dave, 2003, Icons of Jazz The Brown Referencing Group
The New Real Book, 1988, Sher Music Co.,
Suggested Works for Study
Hit The Road Jack - Percy Mayfield
Jumpin' At The Woodside - Count Basie
Take The A Train - Billy Strayhorn
What Is This Thing Called Love - Cole Porter
It Had To Be You - Isham Jones
Well You Needn't - Thelonius Monk
Anthropology - Charlie Parker
- 87 -
Board Endorsed Nov 2008-Amended October2015
Groovin' High - Dizzy Gillespie
Au Privave - Max Roach
Oleo - Sonny Rollins
There are many other works for study for this unit in The New Real Book as listed above.
- 88 -
Board Endorsed Nov 2008-Amended October2015
Swing Music (A/T/Extension Music T)
Value 0.5
This unit is the half unit equivalent of Swing and Bebop Music 1.0
Prerequisites
As per the Music Frameworks
Specific Unit Goals
This unit will enable students to:

critically analyse and recognise aurally and in print Swing Jazz forms

demonstrate an understanding of the genre Swing and its social and geographical origins

demonstrate an understanding of Swing rhythms and create composition tasks reflecting the style

increase practical skills through performance of solo and ensemble works at a standard
commensurate with the level of study.
Content
A Course
T Course
Extension Music T course
Creating
Creating
Creating
 Composing simple melodic lines
in Mixolydian and Dorian Modes
 Use of major scale/ triads.
Mixolydian mode
 Use of major scale/ triads.
Mixolydian mode
 Triplets and Dorian Mode
 Triplets and Dorian Mode
 Guide Tones and Simple Heads
Performing
 Guide Tones and Simple Heads
Performing
 Developing solos
 Solo and ensemble works in
Swing style at a standard
commensurate with the level
of study
 Solo and ensemble works in
Swing style at a standard
commensurate with the level
of study
 Demonstrate the ability to
improvise, play extended
solos, and read heads.
 Demonstrate the ability to
improvise, play extended
solos, and read heads.
Musicology
 Developing Solos
Musicology
 Developing Solos
Musicology
 Explore musical examples of
Swing
 Analyse and interpret musical
examples of Swing
 Analyse and interpret in detail
musical examples of Swing
 Elements of Tempo/Pulse and
Swing rhythm
 Elements of Tempo/Pulse and
Swing rhythm
 Elements of Tempo/Pulse and
Swing rhythm
Performing
 Solo and ensemble works in the
Swing style which may be at the
basic style.
- 89 -
Board Endorsed Nov 2008-Amended October2015
Teaching and Learning Strategies
Some of which include:
 Teacher directed learning
 Student directed learning
 Performance workshops
 Listening and score reading activities

Analysis of musical examples
 Viewing live and recorded performances
 Performance of ensemble instrumental/vocal works
 Creating workshops of composition tasks
Assessment
Refer to page 27.
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching and
Learning
Assessment




enterprising problem-solvers



skilled and empathetic communicators

Creative and critical thinkers

informed and ethical decision-makers
environmentally and culturally aware citizens


confident and capable users of technologies




independent and self-managing learners




collaborative team members




Specific Unit Resources
Gridley, Mark C., 2000, Jazz Styles History & Analysis, Prentice Hall
Gelly, Dave, 2003, Icons of Jazz The Brown Referencing Group
The New Real Book, 1988, Sher Music Co.,
Suggested Works of Study
Hit The Road Jack - Percy Mayfield
Jumpin' At The Woodside - Count Basie
Take The A Train - Billy Strayhorn
What Is This Thing Called Love - Cole Porter
It Had To Be You - Isham Jones
There are many suggested works for study for this unit in The New Real Book as listed above.
- 90 -
Board Endorsed Nov 2008-Amended October2015
Bebop Music (A/T/Extension Music T)
Value 0.5
This unit is the half unit equivalent to Swing and Bebop Music 1.0.
Prerequisites
As per the Music Frameworks
Specific Unit Goals
critically analyse and recognise aurally and in print Bebop Jazz forms
demonstrate an understanding of the Bebop genre and its social and geographical origins
demonstrate an understanding of Bebop rhythms and create composition tasks reflecting the style
increase practical skills through performance of solo and ensemble works at a standard
commensurate with the level of study.
Content
A Course
T Course
Extension Music T course
Creating
Creating
Creating
 Composing simple melodic lines
in Mixolydian and Dorian
Modes
 Use of major scale/ triads.
Mixolydian mode
 Use of major scale/ triads.
Mixolydian mode
 Triplets and Dorian Mode
 Triplets and Dorian Mode
 Guide Tones and Simple
Heads
 Guide Tones and Simple Heads
 Syncopation using ties
 7th chords
Performing
 Solo and ensemble works in the
Bebop style which may be at
the basic style.
 Demonstrate a basic level of
musicianship and technical skill.
 Developing Solos
 Syncopation using ties
 7th chords and other chords
Performing
Performing
 Solo and ensemble works in
Bebop style at a standard
commensurate with the level
of study
 Solo and ensemble works in
Bebop style at a standard
commensurate with the level of
study
 Demonstrate the ability to
improvise, play extended
solos, and read heads
 Demonstrate the ability to
improvise, play extended solos,
and read heads.
 Developing Solos
Musicology
Musicology
Musicology
 Explore musical examples of
Bebop styles
 Analyse and interpret musical
examples of Bebop styles
 Elements of Tempo/ Pulse and
rhythm
 Elements of Tempo/Pulse and
rhythm
 Analyse and interpret in detail
musical examples of Bebop
styles
 Compare various arrangements
 Comparative analysis of
arrangements
- 91 -
 Elements of Tempo/Pulse and
rhythm
 In depth comparative analysis
of arrangements
Board Endorsed Nov 2008-Amended October2015
Teaching and Learning Strategies
Some of which include:
 Teacher directed learning
 Student directed learning
 Performance workshops
 Listening and score reading activities

Analysis of musical examples
 Viewing live and recorded performances
 Performance of ensemble instrumental/vocal works
 Creating workshops of composition tasks
Assessment
Refer to page 27.
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching and
Learning
Assessment




enterprising problem-solvers



skilled and empathetic communicators

Creative and critical thinkers

informed and ethical decision-makers
environmentally and culturally aware citizens


confident and capable users of technologies




independent and self-managing learners




collaborative team members




Specific Unit Resources
Gridley, Mark C., 2000, Jazz Styles History & Analysis, Prentice Hall
Gelly, Dave, 2003, Icons of Jazz The Brown Referencing Group
The New Real Book, 1988, Sher Music Co.,
Suggested Works for Study
Well You Needn't - Thelonius Monk
Anthropology - Charlie Parker
Groovin' High - Dizzy Gillespie
Au Privave - Max Roach
Oleo - Sonny Rollins
There are many other works for study for this unit in The New Real Book as listed above.
- 92 -
Board Endorsed Nov 2008-Amended October2015
Latin Music (A/T/Extension Music T)
Value 1.0
Prerequisites
As per the Music Frameworks
Specific Unit Goals
This unit should enable students to:
 critically analyse and recognize both aurally and in print the Jazz style, Latin
 demonstrate an understanding of the geographical, cultural and musical elements of Latin Jazz, in
particular Brazilian and Cuban music and its influence on the Jazz genre
 demonstrate an understanding of the hand percussion used in Latin music and be able to identify
and play these percussion instruments, creating composition tasks in this genre
 increase practical skills through the performances of Latin pieces, developing an appropriate skill in
solo and ensemble playing/singing.
Content
A Course
T Course
Extension Music T course
Creating
Creating
Creating
 Major Scales
 Major Scales: analysing
‘Cantaloupe Island’ and ‘Quien
Sera’
 Major and other Scales
 Developing solos within the
Latin Structure.
 Compositions using any of the
modes
 Basic solos in the Latin
structure
 Simple composition in the
Dorian mode
 Developing solos within the
Latin Structure.
Performing
 Compositions using Dorian and
Mixolydian modes
Performing
 Solo and ensemble works,
one of which must be in the
Latin Jazz style and be at a
standard commensurate with
the level of study
 Solo and ensemble works, one
of which must be in the Latin
Jazz style and be at a standard
commensurate with the level of
study.
 Demonstrate a basic level of
technical skill and
musicianship.
Musicology
 Demonstrate a high level of
technical skill and musicianship.
 Demonstrate superior musical
and technical proficiency
commensurate with this level.
Musicology
Musicology
 Introduction of Latin Music
and its geography
 Introduction to Latin Music and
its geography
 Introduction to Latin Music and
its geography
 Elements of hand percussion
and the history of Brazilian
and Cuban Music.
 Elements of hand percussion
and the history of Brazilian
Music.
 Elements of hand percussion
and the history of Brazilian
Music.
 History of Danzon.
 History of Danzon
 History of Danzon
 Structures of Latin Music.
 Study of Clave
 Study of Clave
 Structures of Latin Music
 Analyse in detail the structures
of Latin Music
- 93 -
Performing
 Solo and ensemble works, in the
Latin Jazz style and be at a
standard commensurate with
the level of study.
Board Endorsed Nov 2008-Amended October2015
Teaching and Learning Strategies
 Teacher directed learning
 Student directed learning
 Performance workshops
 Listening and score reading activities

Analysis of musical examples
 Viewing live and recorded performances
 Performance of ensemble instrumental/vocal works
 Creating workshops of composition tasks
Assessment
Refer to page 27.
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching
and
Learning
Assessment




enterprising problem-solvers



skilled and empathetic communicators

Creative and critical thinkers


informed and ethical decision-makers

environmentally and culturally aware citizens
confident and capable users of technologies





independent and self-managing learners




collaborative team members




Specific Unit Resources
Gridley, Mark C., 2000, Jazz Styles History & Analysis, Prentice Hall
Gelly, Dave, 2003, Icons of Jazz The Brown Referencing Group
The New Real Book, 1988, Sher Music Co.
Suggested Works for Study
Mambo Inn - Mario Bauza
Little Sunflower - Freddie Hubbard
Song For My Father - Horace Silver
Oye Como Va - Tito Puente
Spain – Chick Corea
There are many other works for study for this unit in The New Real Book as listed above.
- 94 -
Board Endorsed Nov 2008-Amended October2015
Directed Studies of Latin Music (A/T/Extension Music T)
Value 0.5
This unit is the half unit equivalent of Latin Music 1.0.
Prerequisites
As per the Music Frameworks
Specific Unit Goals
This unit should enable students to:

critically analyse and recognize both aurally and in print the Jazz style, Latin

demonstrate an understanding of the geographical, cultural and musical elements of Latin Jazz, in
particular Brazilian and Cuban music and its influence on the Jazz scene

demonstrate an understanding of the hand percussion used in Latin music and be able to identify
and play these percussion instruments, creating composition tasks in this genre

increase practical skills through the performances of Latin pieces, developing an appropriate skill in
solo and ensemble playing/singing.
Content
A Course
T Course
Creating
Creating
 Major Scales
 Major Scales: analysing
‘Cantaloupe Island’ and ‘Quien
Sera’
 Basic solos in the Latin
structure
Extension Music T course
Creating
 Major and other Scales
 Developing solos within the
Latin Structure.
Performing
 Developing solos within the
Latin Structure.
Performing
 One solo or ensemble work,
which must be in the Latin Jazz
style and be at a standard
commensurate with the level
of study
 One solo or ensemble work, of
must be in the Latin Jazz style
and be at a standard
commensurate with the level
of study.
 Demonstrate a basic level
musical and technical
proficiency commensurate
with this level
Musicology
 Demonstrate superior musical
and technical proficiency
commensurate with this level
Musicology
Musicology
 Introduction of Latin Music and
its geography
 Introduction to Latin Music and
its geography
 Introduction to Latin Music and
its geography
 Elements of hand percussion
and the history of Brazilian and
Cuban Music.
 Elements of hand percussion
and the history of Brazilian
Music.
 Elements of hand percussion
and the history of Brazilian
Music.
Performing
 Solo and ensemble works, in
the Latin Jazz style and be at a
standard commensurate with
the level of study.
 Demonstrate superior musical
and technical proficiency
commensurate with this level.
 Study the structures of Latin
music
- 95 -
Board Endorsed Nov 2008-Amended October2015
Teaching and Learning Strategies
 Teacher directed learning
 Student directed learning
 Performance workshops
 Listening and score reading activities
 Analysis of musical examples
 Viewing live and recorded performances
 Performance of ensemble instrumental/vocal works
 Creating workshops of composition tasks
Assessment
Refer to page 27.
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching
and
Learning
Assessment




enterprising problem-solvers



skilled and empathetic communicators

creative and critical thinkers


Informed and ethical decision-makers

environmentally and culturally aware citizens
confident and capable users of technologies





independent and self-managing learners




collaborative team members




Specific Unit Resources
Gridley, Mark C., 2000, Jazz Styles History & Analysis, Prentice Hall
Gelly, Dave, 2003, Icons of Jazz The Brown Referencing Group
The New Real Book, 1988, Sher Music Co.
Suggested Works for Study
Mambo Inn - Mario Bauza
Little Sunflower - Freddie Hubbard
Song For My Father - Horace Silver
Oye Como Va - Tito Puente
Spain – Chick Corea
There are many other works for study for this unit in The New Real Book as listed above.
- 96 -
Board Endorsed Nov 2008-Amended October2015
Funk Music (A/T/Extension Music T)
Value 1.0
Prerequisites
As per the Music Frameworks
Specific Unit Goals
This unit should enable students to
 demonstrate through performance the skills needed to construct a coherent improvised solo over
Jazz/Funk styles and forms
 demonstrate skills in composition true to the genre of Jazz/ Funk
 critically analyse the elements and structure of Jazz/ Funk
 develop an understanding of the instrumental structures for Jazz/ Funk ensembles.
Content
A Course
T Course
Creating
Creating
Extension Music T course
Creating
 Create simple 16th note lines
 Create complex 16th note lines
 Create complex 16th note lines
 Create a simple bass part for a
melody in the Dorian mode.
 Study modes and bass lines for
Funk genre
 Study modes and bass lines for
Funk genre
 Arrangement for two
instruments.
 Arrangement for three
instruments
 Arrangement for three
instruments.
Performing
Performing
Performing
 Perform works from the Funk
genre with a simple improvised
solo which will demonstrate
musical and technical
proficiency commensurate with
this level.
 Perform works from the Funk
genre with an improvised solo
demonstrating an
understanding of the form,
scales and chord structure
which will demonstrate
advanced musical and technical
proficiency commensurate with
this level.
 Perform works from the Funk
genre with an improvised solo
demonstrating an
understanding of the form,
scales and chord structure
which will demonstrate superior
musical and technical
proficiency commensurate with
this level.
Musicology
Musicology
Musicology
 Introduction to the music style,
Funk
 Introduction to the music style,
Funk
 Introduction to the music style,
Funk
 Explore the influences and
fusion styles found in Funk
 Explore the influences and
fusion elements found in Funk.
 Explore the influences and
fusion elements found in Funk.
 Analyse instrumental forms of
Funk.
 Analyse instrumental forms of
Funk.
 Analyse instrumental forms of
Funk.
- 97 -
Board Endorsed Nov 2008-Amended October2015
Teaching and Learning Strategies
Some of which include:
 Teacher directed learning tasks
 Performing with an ensemble
 Introduction to improvisation
 Rehearsing a Jazz ensemble
 Performance workshops
 Analysis of music examples
 Viewing live performances
 Composition techniques
Assessment
Refer to page 27.
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching and
Learning
Assessment







skilled and empathetic communicators


informed and ethical decision-makers


creative and critical thinkers
enterprising problem-solvers
environmentally and culturally aware citizens

confident and capable users of technologies




independent and self-managing learners




collaborative team members




Specific Unit Resources
Graue, B. Keepnews, O. 1969, A pictorial history of Jazz, Hamlyn publishing
Shadwick, K. 1991, The Illustrated story of Jazz, Golden Press PTY LTD
Burns, Ken. Jazz, a film by Ken Burns. ABC DVD
The Ultimate Jazz Fakebook, 1998, Hal Leonard Corp
The Standards Real Book. 2000, Sher music Co.
The New Real Book, 1988, Sher Music Co.
Suggested Works for Study
Funky Broadway - Arlester Christian
Birdland - Josef Zawinul
Cantaloupe Island - Herbie Hancock
Chameleon - Herbie Hancock
There are many other works for study for this unit in The New Real Book as listed above.
- 98 -
Board Endorsed Nov 2008-Amended October2015
Directed Studies of Funk Music (A/T/Extension Music T)
Value 0.5
This unit is the half unit equivalent of Funk Music 1.0.
Prerequisites
As per the Music Frameworks
Specific Unit Goals
This unit should enable students to

Demonstrate through performance the skills needed to construct a coherent improvised solo over
Jazz/Funk styles and forms

Demonstrate skills in composition true to the genre of Jazz/ Funk

Critically analyse the elements and structure of Jazz/ Funk

Develop an understanding of the instrumental structures for Jazz/ Funk ensembles.
Content
A Course
T Course
Extension Music T course
Creating
Creating
Creating
 Create simple 16th note lines
 Create complex 16th note lines
 Create a simple bass part for a
melody in the Dorian mode.
 Study modes and bass lines of
the Funk genre
 Create complex 16th note
lines
 Study modes and bass lines of
the Funk genre
Performing
Performing
 Explore arrangements for
various instruments
Performing
 Perform a work from the Funk
genre with a simple improvised
solo which will demonstrate
musical and technical
proficiency commensurate with
this level
Musicology
 Perform works from the Funk
genre with an improvised solo
demonstrating an
understanding of the form,
scales and chord structure
which will demonstrate
advanced musical and technical
proficiency commensurate with
this level
Musicology
 Perform works from the Funk
genre with an improvised solo
demonstrating an
understanding of the form,
scales and chord structure
which will demonstrate
superior musical and technical
proficiency commensurate
with this level
Musicology
 Introduction to the music style
– Funk
 Introduction to the music style
– Funk
 Introduction to the music
style – Funk
 Explore the influences and
fusion styles found in Funk
 Explore the influences and
fusion elements found in Funk.
 Analyse and interpret in detail
the influences and fusion
elements found in Funk.
Teaching and Learning Strategies
Some of which include:

Teacher directed learning tasks

Performing with an ensemble
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Board Endorsed Nov 2008-Amended October2015

Introduction to improvisation

Rehearsing a Jazz ensemble

Performance workshops

Analysis of music examples

Viewing live performances

Composition techniques
Assessment
Refer to page 27.
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching and
Learning
Assessment







skilled and empathetic communicators


informed and ethical decision-makers


creative and critical thinkers
enterprising problem-solvers

environmentally and culturally aware citizens
confident and capable users of technologies




independent and self-managing learners




Collaborative team members




Specific Unit Resources
Graue, B. Keepnews, O. 1969, A pictorial history of Jazz, Hamlyn publishing
Shadwick, K. 1991, The Illustrated story of Jazz, Golden Press PTY LTD
Audio Visual Material
Burns, Ken. Jazz, a film by Ken Burns. ABC DVD
The Ultimate Jazz Fakebook, 1998, Hal Leonard Corp
The Standards Real Book. 2000, Sher music Co.
The New Real Book, 1988, Sher Music Co.
Suggested Works for Study
Funky Broadway - Arlester Christian
Birdland - Josef Zawinul
Cantaloupe Island - Herbie Hancock
Chameleon - Herbie Hancock
There are many other works for study for this unit in The New Real Book as listed above.
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Board Endorsed Nov 2008-Amended October2015
Australian Music (A/T/Extension Music T)
Value 1.0
Prerequisites
As per the Music Frameworks
Specific Unit Goals
This unit should enable students to:
 compose original works that will demonstrate an understanding of various styles of Australian Music
 work cooperatively in an ensemble whilst performing original student compositions
 perform with musical and technical proficiency commensurate with appropriate level
 respond aesthetically to their own works/performances and those of others
 develop skills in analysing, understanding and interpreting musical works in a wide variety of
Australian social, cultural and historical contexts in verbal and written
 communicate legibly and precisely with musical notation demonstrating technical proficiency
 explore the development of Australian Indigenous, Folk Music, Classical, Rock, Pop and experimental
Music.
Content
A Course
T Course
Extension Music T course
Creating
Creating
Creating
 Compose a piece of music,
which has been influenced by
an Australian theme.
 Compose a piece of music for
more than one instrument,
which has been influenced by an
Australian theme.
 Compose an extended piece of
music, which has been
influenced by an Australian
theme.
 Present a seminar to explain
the development of the
composition above.
Performing
 Present a seminar to explain the  Present a seminar to explain
development of the composition
the development of the
above.
composition above.
Performing
Performing
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied which will
demonstrate musical and
technical proficiency
commensurate with this level
Musicology
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied which will
demonstrate advanced musical
and technical proficiency
commensurate with this level
Musicology
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied which will
demonstrate superior musical
and technical proficiency
commensurate with this level
Musicology
 Research a well-known
Australian song.
 Research and analyse a wellknown Australian song.
 Listen to a variety of musical
pieces by Australian
composers
 Listen to and analyse a variety of
musical pieces by Australian
composers
 Research and analyse in detail
a composition by an Australian
composer.
 Develop musical notation and
theoretical skills through
various aural dictation and
appreciation activities.
 Develop musical notation and
theoretical skills through
arrangement and aural
appreciation activities.
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 Listen to and analyse a broad
range of musical pieces by
Australian composers
 Develop musical notation and
theoretical skills through
arrangement and aural
appreciation activities.
Board Endorsed Nov 2008-Amended October2015
Teaching and Learning Strategies
Some of which include:
 Teacher directed learning tasks
 Introduction to Australian Music.
 Rehearsing a public recital
 Individual Performance workshops
 Ensemble performance workshop
 Analysis of examples of the music styles from the historical period.
 Viewing of live and recorded performances
 Composition technique workshops
 Class discussions
 Orals
 Seminars
 Library research
 Theory papers
Assessment
Refer to page 27.
Student Capabilities
Evidence could be in:
Student Capabilities
creative and critical thinkers
Goals
Content
Teaching
and
Learning
Assessment








enterprising problem-solvers
skilled and empathetic communicators



informed and ethical decision-makers
environmentally and culturally aware citizens



confident and capable users of technologies




independent and self-managing learners



collaborative team members



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
Board Endorsed Nov 2008-Amended October2015
Specific Unit Resources
Books
Bennett, R, 1995, Investigating Musical Styles, Cambridge University Press
Bennett, R, 1996, Fortissimo, Cambridge University Press
Bowman, D & Cole, B, 1989, Sound Matters, Schott Publishing
Bowman, D & Terry, P, 1993, Aural Matters, Schott Publishing
Bowman, D & Terry, P, 1994, Aural Matters in Practice, Schott Publishing
Bromhall, D, 1989, Composing in the Classroom, Opus I and 2, Boosey and Hawkes
Chadwick, F, 1995, Nineteenth Century Composition, OTEN
Cole, B, 1996, The Composer's Handbook, Schott Publishing
Dorricott, I J & Allan, B C, 1990, In Tune With Music Book 3, McGraw-Hill
Fong, F, 1994, World Music in Australia, Sounds Australian
Ford, A, 1991, Australian Classical Music, Sounds Australian
Griffiths, P Guide to Electronic Music.
Lalor, S, 1995, Three Post-1970 Australian Pieces, Sounds Australian
Lowe, G, 1997, The Rock Book, McGraw-Hill
Pugh, A, 1991, Women in Music Cambridge University Press, Cambridge
Stock, J, 1996, World Sound Matters, Schott Publishing
Stowasser, Helen, 1989, Discover Music Making, Longman Cheshire
Twyman, B, 1995, Technology and its Influence on Music, OTEN
White, Paul, 1997, Music Technology, Sanctuary Publishing
Hutchison, Tracee 1992, Your Name Is On the Door, Australian Music in the 80s ABC Enterprises
Amphlett, C, 2005, Pleasure and Pain: My Life, Hodder
Edwards, Belinda, 2003, 1961- The great Aussie Fact Book, Pennon Publishing
Suggested Works for study
Holy Grail- Hunters and Collectors
Click Go the Shears, Boys (trad)
Lachlan Tigers (trad)
Limejuice Tub (trad)
A Thousand Miles Away – Charles Flower
Under the Milky Way – Steven Kilbey
I Still Call Australia Home – Peter Allen
Waltzing Matilda – lyrics by Banjo Patterson
Better Be Home Soon – Neil Finn
Tomorrow – Silverchair
Passenger – Powderfinger
Blue Sky Mining – Midnight Oil
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Board Endorsed Nov 2008-Amended October2015
Back In Black - ACDC
In The Head The Fire (1966) – Nigel Butterly
Goldfish Through Summer Rain (1979) – Anne Boyd
Oboe Conerto (2002) – Ross Edwards
Australian Up-Country Song: for unaccompanied mixed chorus – Percy Grainger
Piano Sonata – Dulcie Holland
Fantasia On Waltzing Matilda – Miriam Hyde
Kakadu – Peter Skulthorpe
Port Essington – Peter Skulthorpe
Three Scenes from Aboriginal Life – Larry Sitsky
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Board Endorsed Nov 2008-Amended October2015
Women In Music (A/T/Extension Music T)
Value 1.0
Prerequisites
As per the Music Frameworks
Specific Unit Goals
This unit should enable students to:
 compose original short works that demonstrate an understanding of the various compositions
studied by women.
 communicate legibly and precisely with musical notation demonstrating technical proficiency.
 perform with musical and technical proficiency commensurate with this level.
 respond aesthetically to works/performances by women from various cultures.
 develop skills in analysing, understanding and interpreting musical works in a wide variety of social,
cultural and historical contexts in verbal and written forms.
 recognise and appreciate the past and present contributions of women to music composition,
education and performance.
Content
A Course
T Course
Extension Music T course
Creating
Creating
Creating
 Develop musical notation and
theoretical skills.
 Develop musical notation and
theoretical skills.
 Develop musical notation and
theoretical skills.
 Explore the effect of key
changes on melody and
harmony.
 Develop a knowledge of the
effect of key changes on
melody and harmony.
 Demonstrate an understanding
of the effect of key changes on
melody and harmony.
 Competently write and read
music in a range of key
signatures.
 Competently write and read
music in a range of key
signatures.
 Competently write and read
music in a range of key
signatures.
 Complete a folio of
compositional exercises
Performing
 Complete a folio of
compositional exercises
Performing
 Complete a folio of
compositional exercises
Performing
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied, which will
demonstrate musical and
technical proficiency
commensurate with this level
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied, which will
demonstrate advanced musical
and technical proficiency
commensurate with this level
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied, which will
demonstrate superior musical
and technical proficiency
commensurate with this level
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Board Endorsed Nov 2008-Amended October2015
Musicology
Musicology
Musicology
 Explore music by women
composers.
 Listen to and analyse various
examples of music by women
composers.
 Listen to and critically analyse
various examples of music by
women composers.
 Explore the cultural and
historical contexts in which
women have composed and/or
performed.
 Explore and evaluate the
cultural and historical contexts
in which women have
composed and/or performed.
 Explore the role of women in
music and create a Music/
History time-line that identifies
some important female
musicians and outlines their
contribution to music.
 Explore and evaluate the role
of women in music and create
a Music/ History time-line that
identifies some important
female musicians and outlines
their contribution to music.
 Develop aural perception and
appreciation skills through
various class activities.
 Display superior aural
perception and appreciation
skills through various class
activities.
 Explore the cultural and
historical contexts in which
women have composed and/or
performed.
 Explore the role of women in
music and create a Music/
History time-line that identifies
some important female
musicians and outlines their
contribution to music.
 Develop aural perception and
appreciation skills through
various class activities.
 Study female vocal ranges and
vocal ensemble music
throughout the ages.
 Demonstrate an understanding
of female vocal ranges and
vocal ensemble music
throughout the ages.
Teaching and Learning Strategies
These some of which include:
 aural learning
 learning of music theory
 investigative, research and composition tasks
 use of visual aids
 teacher-guided learning
 student-guided learning
 consolidation and practice of fundamental skills and musicianship
 sequenced investigations to scaffold learning
 participation in group activities
 visiting artists
 workshop presentations
 peer critique
 individual problem solving
 opportunities to develop practical skills
 prepared and unprepared listening
 use of appropriate technology to aid concept development.
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 Demonstrate a thorough
understanding of female vocal
ranges and vocal ensemble
music throughout the ages.
Board Endorsed Nov 2008-Amended October2015
Assessment
Refer to page 27.
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching and
Learning
Assessment
creative and critical thinkers




enterprising problem-solvers




skilled and empathetic communicators

informed and ethical decision-makers




environmentally and culturally aware citizens




confident and capable users of technologies

independent and self-managing learners

collaborative team members




Specific Unit Resources
Books
Bennett, R., 1995, Investigating Musical Styles, Cambridge University Press
Bowman, D & Terry, P, 1993, Aural Matters, Schott Publishing
Bowman, D & Terry, P, 1994, Aural Matters in Practice, Schott Publishing
Bromhall, D, 1989, Composing in the Classroom, Opus I and 2, Boosey and Hawkes
Chadwick, F, 1995, Nineteenth Century Composition, OTEN
Cole, B, 1996, The Composer's Handbook, Schott Publishing
Dorricott, I J & Allan, B C, 1990, In Tune With Music Book 3, McGraw-Hill
Fiske, R., 1969, Score Reading, Book 1 & 2, Oxford University Press
Fong, F, 1994, World Music in Australia, Sounds Australian
Ford, A, 1991, Australian Classical Music, Sounds Australian.
Kamien, R (ed.), 1999, The Norton Scores: An Anthology for Listening, Norton
Kamien, R, 1999, Music: An Appreciation, 6th edn, Norton
Lalor, S, 1995, Three Post-1970 Australian Pieces, Sounds Australian
Pugh, A, 1991, Women in Music, Cambridge University Press, Cambridge
Sturman, P. 1988, Harmony, Melody and Composition Longman, Burnt Hill
Web sites
Musica Viva in Schools - `Baroque On!'
http://www.abc.net.au/music
or
http://www.bc.org.au/montage
Musica Viva email musicaviva@mva.org.au
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

Board Endorsed Nov 2008-Amended October2015
Sydney Symphony Orchestra Education Program
http://www.symphony.org.au/educat.htm
Works for Study
Variations (Aristide Farrenc) Op. 2 – Louise Farrenc
Three Romances for Violin and Piano – Clara Schumann
Hermit Thrush piano pieces (1922) – Amy Beach
Offertoire – Marie Grandval
Sonata for Violin and Piano (1926) Ruth Crawford Seeger
Possible Sky (2003) – Meredith Monk
Plague Mass – End of the Epidemic (1984) – Diamanda Galas
The Sporting Life (1994) – Diamanda Galas and John Paul Jones
Nobody Does It Better – Carly Simon
Big Yellow Taxi – Joni Mitchell
It’s Only The Beginning – Debra Conway
Winter – Tori Amos
You Oughta Know – Alanis Morissette
Farewell Song – Janis Joplin (lyrics)
St Louis Blues as recorded by Bessie Smith
Lady Sings The Blues – Billie Holiday
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Board Endorsed Nov 2008-Amended October2015
Directed Studies of Women in Music (A/T/Extension Music T) Value 0.5
This unit is the half unit equivalent to Women in Music 1.0.
Prerequisites
As per the Music Frameworks
Specific Unit Goals
This unit should enable students to:
 compose original short works that demonstrate an understanding of the various compositions
studied by women
 communicate legibly and precisely with musical notation demonstrating technical proficiency
 perform with musical and technical proficiency commensurate with this level
 respond aesthetically to works/performances by women from various cultures
 develop skills in analysing, understanding and interpreting musical works in a wide variety of social,
cultural and historical contexts in verbal and written forms
 recognise and appreciate the past and present contributions of women to music composition,
education and performance.
Content
A Course
T Course
Extension Music T course
Creating
Creating
Creating
 Develop musical notation and
theoretical skills.
 Develop musical notation and
theoretical skills.
 Develop musical notation and
theoretical skills.
 Explore the effect of key changes
on melody and harmony.
 Develop a knowledge of the
effect of key changes on melody
and harmony.
 Develop an understanding of the
effect of key changes on melody
and harmony.
 Competently write and read
music in a range of key signatures
 Competently write and read music
in a range of key signatures.
 Complete a folio of
compositional exercises
Performing
 Complete a folio of compositional
exercises
Performing
 Complete a folio of compositional
exercises
Performing
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied
 Demonstrate musical and
technical proficiency
commensurate with this level
Musicology
 Demonstrate advanced musical
and technical proficiency
commensurate with this level
Musicology
 Solo and/or ensemble
performance, and related practice,
appropriate to the instrument
studied, which will demonstrate
superior musical and technical
proficiency commensurate with
this level
 Listen to examples of music by
women composers.
 Listen to and analyze various
examples of music by women
composers.
 Listen to and critically analyse in
detail various examples of music by
women composers.
 Explore the cultural and historical
contexts in which women have
composed and/or performed.
 Explore and evaluate the cultural
and historical contexts in which
women have composed and/or
performed.
 Competently write and read
music in a range of key
signatures.
 Explore the cultural and
historical contexts in which
women have composed and/or
performed.
- 109 -
Musicology
Board Endorsed Nov 2008-Amended October2015
Teaching and Learning Strategies
Some of which include:

aural learning

learning of music theory

investigative, research and composition tasks

use of visual aids

teacher-guided learning

student-guided learning

consolidation and practice of fundamental skills and musicianship

sequenced investigations to scaffold learning

participation in group activities

visiting artists

workshop presentations

peer critique

individual problem solving

opportunities to develop practical skills

prepared and unprepared listening
 use of appropriate technology to aid concept development.
Assessment
Refer to page 27.
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching
and
Learning
Assessment
creative and critical thinkers




enterprising problem-solvers




skilled and empathetic communicators

informed and ethical decision-makers




environmentally and culturally aware citizens




confident and capable users of technologies

independent and self-managing learners

collaborative team members

- 110 -





Board Endorsed Nov 2008-Amended October2015
Specific Unit Resources
Books
Bennett, R., 1995, Investigating Musical Styles, Cambridge University Press
Bowman, D & Terry, P, 1993, Aural Matters, Schott Publishing
Bowman, D & Terry, P, 1994, Aural Matters in Practice, Schott Publishing
Bromhall, D, 1989, Composing in the Classroom, Opus I and 2, Boosey and Hawkes
Chadwick, F, 1995, Nineteenth Century Composition, OTEN.
Cole, B, 1996, The Composer's Handbook, Schott Publishing
Dorricott, I J & Allan, B C, 1990, In Tune With Music Book 3, McGraw-Hill
Fiske, R., 1969, Score Reading, Book 1 & 2, Oxford University Press
Fong, F, 1994, World Music in Australia, Sounds Australian
Ford, A, 1991, Australian Classical Music, Sounds Australian.
Kamien, R (ed.), 1999, The Norton Scores: An Anthology for Listening, Norton
Kamien, R, 1999, Music: An Appreciation, 6th edn, Norton
Lalor, S, 1995, Three Post-1970 Australian Pieces, Sounds Australian
Pugh, A, 1991, Women in Music, Cambridge University Press, Cambridge
Sturman, P. 1988, Harmony, Melody and Composition Longman, Burnt Hill
Web sites
Musica Viva in Schools - `Baroque On!'
http://www.abc.net.au/music or
http://www.bc.org.au/montage
Musica Viva: email musicaviva@mva.org.au
Sydney Symphony Orchestra Education Program
http://www.symphony.org.au/educat.htm
Works for Study
Variations (Aristide Farrenc) Op. 2 – Louise Farrenc
Three Romances for Violin and Piano – Clara Schumann
Hermit Thrush piano pieces (1922) – Amy Beach
Offertoire – Marie Grandval
Sonata for Violin and Piano (1926) Ruth Crawford Seeger
Possible Sky (2003) – Meredith Monk
Plague Mass – End of the Epidemic (1984) – Diamanda Galas
The Sporting Life (1994) – Diamanda Galas and John Paul Jones
Nobody Does It Better – Carly Simon
Big Yellow Taxi – Joni Mitchell
It’s Only The Beginning – Debra Conway
Winter – Tori Amos
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Board Endorsed Nov 2008-Amended October2015
You Oughta Know – Alanis Morissette
Farewell Song – Janis Joplin (lyrics)
St Louis Blues as recorded by Bessie Smith
Lady Sings The Blues – Billie Holiday
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Board Endorsed Nov 2008-Amended October2015
World Music (A/T/Extension Music T)
Value 1.0
Prerequisites
As per the Music Frameworks
Specific Unit Goals
This unit should enable students to:
 demonstrate an understanding of the musical, geographical and social origins of the chosen culture
 present clear and well researched creative and written tasks, reflecting a knowledge and
understanding of the characteristics relevant to music and instruments studied
 appreciate, critically analyse, understand and interpret a variety of works and stylistic components
from the chosen culture aurally and in print though oral, aural and written expression
 examine the fusion of World Music into western music styles of the 20th and 21st centuries.
Content
A Course
T Course
Extension Music T course
Creating
Creating
Creating
 Build skills for basic
composition to create a
composition for two
instruments in the style being
studied.
 Consolidate skills for composing
through theory exercises to
complete a three part
arrangement for instrument and
voice, in the style being studied.
 Extend skills for composing
through theory exercises to
complete a three part
arrangement for instrument and
voice, in the style being studied.
 Select a rhythm from another
culture and write a piece for a
small percussion ensemble.
Performing
 Create a work based on a
melodic and/or rhythmic feature
from another culture and embed
it into a contemporary ensemble.
Performing
 Create a work based on melodic
and/or rhythmic features from
another culture and embed these
into a contemporary ensemble.
Performing
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied, which will
demonstrate musical and
technical proficiency
commensurate with this level
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied, which will
demonstrate advanced musical
and technical proficiency
commensurate with this level
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied, which will
demonstrate superior musical
and technical proficiency
commensurate with this level
Musicology
Musicology
Musicology
 Explore musical elements
relevant to the culture/s
studied.
 Display a knowledge of musical
elements relevant to the
culture/s studied.
 Demonstrate an understanding
of musical elements relevant to
the culture/s studied.
 Explore origin/history of
music and instruments in
music of another culture.
 Display a knowledge of
origin/history of music and
instruments music of other
cultures.
 Display a knowledge of
origin/history of music and
instruments music of other
cultures.
 Listen to and analyse music from
various cultures.
 Listen to and critically analyse
music from various cultures.
 Research the influence of World
Music on Western music styles.
 Research and evaluate the
influence of World Music on
Western music styles.
 Listen to music from various
cultures.
 Research the influence of
World Music on Western
music styles.
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Board Endorsed Nov 2008-Amended October2015
Teaching and Learning Strategies
Some of which include:
 Teacher directed learning
 Student directed learning
 Performance directed
 Performance workshops
 Listening and research activities
 Appreciation and critical analysis of musical examples
 View live and recorded performances
 Performance of ensemble and instrumental work
 Seminar presentations
Assessment
Refer to page 27.
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching
and
Learning
Assessment
creative and critical thinkers




enterprising problem-solvers




skilled and empathetic communicators

informed and ethical decision-makers




environmentally and culturally aware citizens




confident and capable users of technologies

independent and self-managing learners

collaborative team members





Specific Unit Resources
Books
Bennett, R, 1995, Investigating Musical Styles, Cambridge University Press
Bowman, D & Cole, B, 1989, Sound Matters, Schott Publishing
Bowman, D & Terry, P, 1994, Aural Matters in Practice, Schott Publishing
Bromhall, D, 1989, Composing in the Classroom, Opus I and 2, Boosey and Hawkes
Cole, B, 1996, The Composer's Handbook, Schott Publishing
Dorricott, I J & Allan, B C, 1990, In Tune With Music Book 3, McGraw-Hill
Fong, F, 1994, World Music in Australia, Sounds Australian
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
Board Endorsed Nov 2008-Amended October2015
Ford, A, 1991, Australian Classical Music, Sounds Australian
Griffiths, P Guide to Electronic Music.
Lalor, S, 1995, Three Post-1970 Australian Pieces, Sounds Australian
Lowe, G, 1997, The Rock Book, McGraw-Hill
Pugh, A, 1991, Women in Music Cambridge University Press, Cambridge
Stock, J, 1996, World Sound Matters, Schott Publishing
Stowasser, Helen, 1989, Discover Music Making, Longman Cheshire
Twyman, B, 1995, Technology and its Influence on Music, OTEN
White, Paul, 1997, Music Technology, Sanctuary Publishing
Suggested Works for Study
Black Magic Women – Carlos Santana
The Buena Vista Club – Ry Cooder, Israel Lopez
The Story of the Weeping Camel (film) music by Marcel Leniz
Sakura – Japanese folksong
The Water Is Wide – old Scottish folksong
Down By The Sally Gardens – trad Irish
Anavis Foties - Despina Vandi
Redemption Song – Bob Marley
Katyusha – Matvei Blanter
Canto de Entrada – Paco Pena
Suite Andalucia (Movt 6 – Malaguena) – Ernesto Lecuona
Jarabe Tapatío (the Mexican hat Dance) - Jesús González Rubio
Havah Nagila – trad Jewish folksong; lyrics by Abraham Zevi (Zvi) Idelsohn
Music for the film ‘Ghandi’ – Ravi Shankar
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Board Endorsed Nov 2008-Amended October2015
Directed Studies of World Music (A/T/Extension Music T) Value 0.5
This unit is the half unit equivalent to World Music 1.0.
Prerequisites
As per the Music Frameworks
Specific Unit Goals
This unit should enable students to:
 demonstrate an understanding of the musical, geographical and social origins of the chosen culture
 present clear and well researched creative and written tasks, reflecting a knowledge and
understanding of the characteristics relevant to music and instruments studied
 appreciate, critically analyse, understand and interpret a variety of works and stylistic components
from the chosen culture aurally and in print though oral, aural and written expression
 examine the fusion of World Music into western music styles of the 20th and 21st centuries.
Content
A Course
T Course
Extension Music T course
Creating
Creating
Creating
 Select a rhythm from another
culture and write a piece for a
small percussion ensemble.
 Create a work based on a
melodic and/or rhythmic
feature from another culture
and embed it into a
contemporary ensemble.
Performing
 Create a work based on a
melodic and/or rhythmic
feature from another culture
and embed it into a
contemporary ensemble.
Performing
 Perform solo and/or ensemble
works: one must relate
directly to the area of study
and be at a standard
commensurate with the level
of study which will
demonstrate a basic level of
technical skill and
musicianship.
 Perform solo and/or ensemble
works: one must relate directly
to the area of study and be at a
standard commensurate with
the level of study which will
demonstrate a level of technical
skill and musicianship.
 Perform solo and/or ensemble
works: one must relate directly
to the area of study and be at a
standard commensurate with
the level of study which will
demonstrate a basic level of
technical skill and
musicianship.
Musicology
Musicology
Musicology
 Explore musical elements
relevant to the culture/s
studied.
 Display a knowledge of musical
elements relevant to the
culture/s studied.
 Display a knowledge of musical
elements relevant to the
culture/s studied.
 Explore origin/history of music
and instruments in music of
another culture.
 Display a knowledge of
origin/history of music and
instruments music of other
cultures.
 Demonstrate an understanding
of origin/history of music and
instruments music of other
cultures.
 Analyse and interpret music
from various cultures.
 Analyse and interpret in detail
music from various cultures
Performing
 Listen to music from various
cultures.
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Board Endorsed Nov 2008-Amended October2015
Teaching and Learning Strategies
Some of which include:
 Teacher directed learning
 Student directed learning
 Performance directed
 Performance workshops
 Listening and research activities
 Appreciation and critical analysis of musical examples
 View live and recorded performances
 Performance of ensemble and instrumental work
 Seminar presentations
Assessment
Refer to page 27.
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching
and
Learning
Assessment
creative and critical thinkers




enterprising problem-solvers




skilled and empathetic communicators

informed and ethical decision-makers




environmentally and culturally aware citizens




confident and capable users of technologies

independent and self-managing learners

collaborative team members





Specific Unit Resources
Books
Bennett, R, 1995, Investigating Musical Styles, Cambridge University Press
Bowman, D & Cole, B, 1989, Sound Matters, Schott Publishing
Bowman, D & Terry, P, 1994, Aural Matters in Practice, Schott Publishing
Bromhall, D, 1989, Composing in the Classroom, Opus I and 2, Boosey and Hawkes
Cole, B, 1996, The Composer's Handbook, Schott Publishing
Dorricott, I J & Allan, B C, 1990, In Tune With Music Book 3, McGraw-Hill
Fong, F, 1994, World Music in Australia, Sounds Australian
- 117 -

Board Endorsed Nov 2008-Amended October2015
Ford, A, 1991, Australian Classical Music, Sounds Australian
Griffiths, P Guide to Electronic Music.
Lalor, S, 1995, Three Post-1970 Australian Pieces, Sounds Australian
Lowe, G, 1997, The Rock Book, McGraw-Hill
Pugh, A, 1991, Women in Music Cambridge University Press, Cambridge
Stock, J, 1996, World Sound Matters, Schott Publishing
Stowasser, Helen, 1989, Discover Music Making, Longman Cheshire
Twyman, B, 1995, Technology and its Influence on Music, OTEN
White, Paul, 1997, Music Technology, Sanctuary Publishing
Suggested Works for Study
Black Magic Women – Carlos Santana
The Buena Vista Club – Ry Cooder, Israel Lopez
The Story of the Weeping Camel (film) music by Marcel Leniz
Sakura – Japanese folksong
The Water Is Wide – old Scottish folksong
Down By The Sally Gardens – trad Irish
Anavis Foties - Despina Vandi
Redemption Song – Bob Marley
Katyusha – Matvei Blanter
Canto de Entrada – Paco Pena
Suite Andalucia (Movt 6 – Malaguena) – Ernesto Lecuona
Jarabe Tapatío (the Mexican hat Dance) - Jesús González Rubio
Havah Nagila – trad Jewish folksong; lyrics by Abraham Zevi (Zvi) Idelsohn
Music for the film ‘Ghandi’ – Ravi Shankar
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Board Endorsed Nov 2008-Amended October2015
An Instrument’s Repertoire (A/T/Extension Music T)
Value 0.5
Prerequisites
As per the Music Frameworks
Specific Unit Goals
This unit should enable students to:
 research and understand the historic and stylistic developments, of solo and ensemble instrumental
music.
 discuss the characteristics of instrumental music from the Renaissance to the 21st Century periods.
 identify important composers in each music period.
 perform cooperatively and successfully as a soloist and as part of a small ensemble.
 compose a melody for their particular instrument of study
 aurally identify and discuss media, structure, tone colour, melody and texture in instrumental music
compositions.
Content
A Course
T Course
Extension Music T course
Creating
Creating
Creating
 Explore the pitch ranges of
various instruments and their
tone colour.
 Study the pitch ranges of various
instruments and their tone
colour.
 Study the pitch ranges of various
instruments and their tone colour.
 Compose for an instrument
 Compose for two instruments in
C concert pitch
 Compose for two instruments of
varying concert pitch
Performing
 Develop transposing skills
Performing
 Develop and manipulate
transposing skills
Performing
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied which will
demonstrate musical and
technical proficiency
commensurate with this level
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied which will
demonstrate advanced of
musical and technical proficiency
commensurate with this level
 Solo and/or ensemble
performance, and related practice,
appropriate to the instrument
studied which will demonstrate
superior musical and technical
proficiency commensurate with this
level
Musicology
Musicology
Musicology
 Explore the development of
instruments through ensemble
music.
 Study the development of
instruments through ensemble
music.
 Study the development of
instruments through ensemble
music.
 Research the historical
development of a particular
instrument.
 Research the historical
development of a particular
instrument.
 Research the historical
development of a particular
instrument.
 Analyse a piece of instrumental
music in regard to the presence
and use of musical concepts
(aural/scored).
 Analyse an ensemble piece in
regard to the presence and use
of music concepts (aural/scored).
 Analyse an ensemble piece in
regard to the presence and use of
music concepts (aural/scored).
 Consolidate musical notation
and theoretical skills.
 Consolidate musical notation and
theoretical skills.
 Develop transposing skills.
 Develop transposing skills.
 Develop musical notation and
theoretical skills.
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Board Endorsed Nov 2008-Amended October2015
Teaching and Learning Strategies
Some of which include:
 Teacher directed learning tasks
 Performing with a class ensemble
 Introduction to music throughout history
 Rehearsing for a public performance
 Performance workshops
 Audio music appreciation and analysis
 Viewing live performances
 Composition techniques worksheets
 Modelling of successful compositions
 Aural Theory workbook tasks
 Classroom notes, discussions and evaluation
 Self evaluation in journal entries
 Excursions to see other concert bands
 Individual performance tuition and practice
 Assignment presentations to the class
Assessment
Refer to page 27.
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Board Endorsed Nov 2008-Amended October2015
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching
and
Learning
Assessment
creative and critical thinkers




enterprising problem-solvers




skilled and empathetic communicators



informed and ethical decision-makers



environmentally and culturally aware citizens
confident and capable users of technologies

independent and self-managing learners
collaborative team members









Specific Unit Resources
Books
Bennett, R, 1995, Investigating Musical Styles, Cambridge University Press
Dorricott, I. J, & Allan, B.C, 1990, In Tune With Music Book 3, McGraw-Hill
Dunbar-Hall, P & Hodge, G, 1991, A Guide to Music Around the World, Science Press
Howard, J. 1990, Learning to Compose (Cambridge Assignments in Music series) Cambridge University
Press, Cambridge
Kamien, R, 1999, Music: An Appreciation, 6th edn, Norton
Palisca, C, 1986, History of Western Music, Norton New York
Twyman, B, 1997, Reading and Writing Duration, NSW Department of Education and Training, Learning
Materials Production Centre
White, Paul, 1998, Live for the Performing Musician, Sanctuary Publishing
These were accurate at time of publication.
Suggested Works for Study
Bartok, Bella gerr Gerhard Braun 18 Duos for two flutes
Spiewak T Clareniet Duets 1, 2 or 3
Bach J Trio for two flutes and Basso continuo BWV 1039
Poulenc F Sonata for Brass
Prokofiev S Anxiety from Nights in Egyptian Suite
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Board Endorsed Nov 2008-Amended October2015
Ensembles (A/T/Extension Music T)
Value 1.0
Prerequisites
As per the Music Framework
Specific Unit Goals
This unit should enable students to:
 demonstrate knowledge of the techniques of performing, composing and arranging for an
instrumental or vocal ensemble
 score and arrange music for several instruments (including transposing instruments) and voices
 demonstrate an ability to read, critically analyse and understand a variety of instrumental and vocal
ensemble works through oral, aural and written expression
 competently analyse and appraise musical performances
 demonstrate knowledge of and use of the elements of music through the creation, presentation and
evaluation of musical works
 develop skills associated with group and solo performances such as sensitivity to balance of
instruments, intonation and dynamics
 research, discuss and demonstrate an awareness of the historic and stylistic development of a wide
variety of instrumental and vocal ensemble music from various periods
 perform as part of an ensemble.
Content
A Course
T Course
Creating
Creating
 Complete a folio of
compositional exercises
which explores arranging
techniques for various
ensembles.
 Complete a folio of compositional
exercises which builds skills for
composing for ensembles in
various stylistic genres
 Compose/arrange a work
which demonstrates a
developing understanding of
ensemble pieces
Performing
 Score music for several
instruments using appropriate
notation
 Compose/arrange a work which
demonstrates a developing
understanding of ensemble
pieces
Performing
 Solo and/or ensemble
 Solo and/or ensemble
performance, and related
performance, and related
practice, appropriate to the
practice, appropriate to the
instrument studied, which
instrument studied, which will
will demonstrate musical and
demonstrate advanced musical
technical proficiency
and technical proficiency
commensurate with this level
commensurate with this level
- 122 -
Extension Music T course
Creating
 Extend skills for composing for
ensembles through exercises
covering various stylistic genres
 Score music for several
instruments using appropriate
notation
 Compose/arrange an extended
work which demonstrates an
understanding of ensemble
pieces
Performing
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied, which will
demonstrate superior musical
and technical proficiency
commensurate with this level
Board Endorsed Nov 2008-Amended October2015
Musicology
Musicology
Musicology
 Develop an understanding of
the stylistic elements in
various types of ensembles.
 Research and study the ensemble
forms with particular reference to
the analysis of musical elements
 Develop appropriate musical
notation and theoretical
skills.
 Consolidate appropriate musical
notation, scoring and theoretical
skills.
 Research and study in detail the
ensemble forms with particular
reference to the analysis of
musical elements
 Develop aural skills with
particular reference to tone
colour and texture
 Develop aural skills with
particular reference to tone
colour and texture
 Research and study the
ensemble forms through
various music periods e.g.
quartets, orchestras, choirs
 Research and demonstrate a
knowledge of the ensemble forms
through various music periods
e.g. quartets, trios, bands,
orchestras, choirs (various
groupings)
 Extend appropriate musical
notation, scoring and theoretical
skills.
 Extend aural skills with particular
reference to tone colour and
texture
 Research and demonstrate a
knowledge of the ensemble forms
through various music periods
e.g. trios to octets, bands,
orchestras, choirs (various
groupings)
Teaching and Learning Strategies
Some of which include:
 Teacher directed learning tasks
 Introduction to small and large, instrumental and vocal ensembles from various Music Periods.
 Rehearsing for public performance
 Individual Performance workshops
 Ensemble Performance workshop
 Analysis of examples of the ensemble music styles.
 Viewing of live and recorded performances
 Composition/arranging technique workshops
 Class discussions
 Orals
 Seminars
 Library research
 Theory
Assessment
Refer to page 27.
- 123 -
Board Endorsed Nov 2008-Amended October2015
Student Capabilities
Evidence could be in:
Student Capabilities
creative and critical thinkers
enterprising problem-solvers
Skilled and empathetic communicators
Goals
Content
Teaching
and
Learning
Assessment











informed and ethical decision-makers

environmentally and culturally aware citizens

confident and capable users of technologies



independent and self-managing learners




collaborative team members




Suggested Unit Resources
Books
Allan, B.C. and Dorricott, I.J, 1986, Music a Creative Approach, Book I and 2 (Teachers and Student books),
Arthouse Pty Ltd. Brisbane
Appleby, Amy and Pickow, Peter, 2000, The Guitarist’s Bookshelf, Amsco
Baker, David, 1988, Arranging and Composing, for the Small Ensemble: Jazz - R&B - Jazz & Rock, Alfred
Publishing
Bennett, R, 1995, Investigating Musical Styles, Cambridge University Press
Bowman, D & Cole, B, 1989, Sound Matters, Schott Publishing
Bowman, D & Terry, P, 1993, Aural Matters, Schott Publishing
Bowman, D & Terry, P, 1994, Aural Matters in Practice, Schott Publishing
Brittain, S and Woollord, K. 1986, Basic Arranging for Popular Music, Wattle Park Teachers Centre
Bromhall, D, 1989, Composing in the Classroom, Opus I and 2, Boosey and Hawkes
Dorricott, I. J, & Allan, B.C, 1990, In Tune With Music Book 3, McGraw-Hill
Dorricott, I. J, & Allan, B.C, 1998, Exploring Film Music, McGraw-Hill
Dunbar-Hall, P, & Hodge, G, 1991, A Guide to Music Around the World, Science Press
Eduardo, Chalo & Kumor, Frank 2001, Drum Circle: A Guide to World Percussion, Alfred Publishing USA
Garcia, Ritchie Gajate, Play congas Now – The Basics and Beyond, 2000 Warner Bros.
Fiske, Roger, 1970, Score Reading, Book 1 & 2, Oxford University Press
Ford, A, 1991, Australian Classical Music, Sounds Australian
Hal Leonard, 2003, Bass Tab White Pages
Jeaneret, N, 1996, Australian a Cappella, Fener Publications
Kamien, R, 1999, Music: An Appreciation, 6th edn, Norton
Lowe, G, 1997, The Rock Book, McGraw-Hill
- 124 -
Board Endorsed Nov 2008-Amended October2015
Meet the Music Resource Kits, Sydney Symphony Orchestra Education University.
Palisca, C, 1986, History of Western Music, Norton New York
Rixon, B and Merrick, 1991, B Music Far and Wide, Book and Cassette, Longman Cheshire
Russell, Mark and Young, James, 2000, Film Music Screencraft, RotoVision
Smith, G, 1991, Australian Popular Music, Sounds Australian
Sturman, P, 1988, Harmony, Melody and Composition, Longman, Burnt Hill
Twyman, B, 1995, Technology and its Influence on Music, OTEN
Suggested Works for Study
Suite No II in B Minor – J.S. Bach
String Quartet Op. 76, No. 3 ‘Emperor’ – Haydn
String Quartet No 8 in E minor, Op. 55, No 2 – Beethoven
String Quartet No. 19 in C Major, K.465 – Mozart
Trio for Piano, Violin and Cello Bb Major, D 898 – Schubert
Octet in E flat, Op. 20 – Mendelssohn
Trout Piano Quintet – Schubert
String Quartet – Webern
Sixth String Quartet – Bartok
Piano Trio, Op. 49 – Mendelssohn
String quartet, Op. 28 - Anton Webern
Quartet for End of Time - Oliver Messiaen
Oblibion for violin cello and piano - Astor Piazzolla
String Quartet No.11 “Jabiru Dreaming” - Peter Sculthorpe
White Cockatoo Sprit Dance for String quartet - Ross Edwards
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Board Endorsed Nov 2008-Amended October2015
Small Ensembles (A/T/Extension Music T)
Value 0.5
Prerequisites
As per the Music Framework
Specific Unit Goals
This unit should enable students to:
 demonstrate knowledge of the techniques of performing, composing and arranging for small
instrumental or vocal ensembles
 score and arrange music for a small vocal and/or instrumental ensemble (including transposing
instruments)
 demonstrate an ability to read, critically analyse and understand a variety of small ensemble
instrumental and vocal works through oral, aural and written expression
 competently analyse and appraise musical performances
 demonstrate knowledge of and use of the elements of music though the creation, presentation and
evaluation of musical works
 develop skills associated with group and solo performances such as sensitivity to balance of
instruments, intonation and dynamics
 Research, discuss and demonstrate an awareness of the historic and stylistic development of small
instrumental and vocal ensemble music from various periods
 Perform as part of a small ensemble.
Content
A Course
T Course
Extension Music T course
Creating
Creating
Creating
 Complete a folio of
compositional exercises which
explores arranging techniques
for various small ensembles.
 Complete a folio of
compositional exercises which
builds skills and music writing
techniques for small ensembles
in various stylistic genres
 Extend skills for composing for
ensembles through exercises
covering various stylistic genres
 Compose/arrange a work
which demonstrates a
developing understanding of
small ensemble pieces
 Score music for several
instruments using appropriate
notation
 Compose/arrange a work which
demonstrates a developing
understanding of small ensemble
pieces
Performing
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied which will
demonstrate musical and
technical proficiency
commensurate with this level
 Score music for several
instruments using appropriate
notation
 Compose/arrange an extended
work which demonstrates an
understanding of ensemble piece
Performing
Performing
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied which will
demonstrate advanced musical
and technical proficiency
commensurate with this level
- 126 -
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied which will
demonstrate superior musical
and technical proficiency
commensurate with this level
Board Endorsed Nov 2008-Amended October2015
Musicology
Musicology
Musicology
 Develop an understanding of
the stylistic elements in
various types of small
ensembles.
 Research and study the small
ensemble forms with particular
reference to the analysis of
musical elements
 Research and study the
ensemble forms with particular
reference to the analysis of
musical elements
 Develop appropriate musical
notation and theoretical skills.
 Consolidate appropriate musical
notation, orchestration, scoring
and theoretical skills.
 Extend appropriate musical
notation, scoring and theoretical
skills.
 Develop aural skills with
particular reference to tone
colour and texture
 Extend aural skills with particular
reference to tone colour and
texture
 Research and demonstrate a
knowledge of small ensemble
forms through various music
periods
 Research and demonstrate a
knowledge of the small
ensemble forms through various
music periods e.g. trios to octets,
bands, orchestras, choirs
(various groupings)
 Develop aural skills with
particular reference to tone
colour and texture
 Research and study small
ensemble forms through
various music periods
Teaching and Learning Strategies
Some of which include:
 Teacher directed learning tasks
 Introduction to small instrumental and vocal ensembles from various Music Periods.
 Rehearsing for public performance
 Individual Performance workshops
 Ensemble Performance workshop
 Analysis of examples of small ensemble music styles.
 Viewing of live and recorded performances
 Composition/arranging technique workshops
 Class discussions
 Orals
 Seminars
 Library research
 Theory
Assessment
Refer to page 27.
- 127 -
Board Endorsed Nov 2008-Amended October2015
Student Capabilities
Evidence could be in:
Student Capabilities
creative and critical thinkers
enterprising problem-solvers
Skilled and empathetic communicators
Goals
Content
Teaching
and
Learning
Assessment











informed and ethical decision-makers

environmentally and culturally aware citizens

confident and capable users of technologies



independent and self-managing learners




collaborative team members




Suggested Unit Resources
Allan, B.C. and Dorricott, I.J, 1986, Music a Creative Approach, Book I and 2 (Teachers and Student books),
Arthouse Pty Ltd. Brisbane
Appleby, Amy and Pickow, Peter, 2000, The Guitarist’s Bookshelf, Amsco
Baker, David, 1988, Arranging and Composing, for the Small Ensemble: Jazz - R&B - Jazz & Rock, Alfred
Publishing
Bennett, R, 1995, Investigating Musical Styles, Cambridge University Press
Bowman, D & Cole, B, 1989, Sound Matters, Schott Publishing
Bowman, D & Terry, P, 1993, Aural Matters, Schott Publishing
Bowman, D & Terry, P, 1994, Aural Matters in Practice, Schott Publishing
Brittain, S and Woollord, K. 1986, Basic Arranging for Popular Music, Wattle Park Teachers Centre
Bromhall, D, 1989, Composing in the Classroom, Opus I and 2, Boosey and Hawkes
Dorricott, I. J, & Allan, B.C, 1990, In Tune With Music Book 3, McGraw-Hill
Dorricott, I. J, & Allan, B.C, 1998, Exploring Film Music, McGraw-Hill
Dunbar-Hall, P, & Hodge, G, 1991, A Guide to Music Around the World, Science Press
Fiske, Roger, 1970, Score Reading, Book 1 & 2, Oxford University Press
Ford, A, 1991, Australian Classical Music, Sounds Australian
Hal Leonard, 2003, Bass Tab White Pages
Jeaneret, N, 1996, Australian a Cappella, Fener Publications
Kamien, R, 1999, Music: An Appreciation, 6th edn, Norton
Lowe, G, 1997, The Rock Book, McGraw-Hill
Meet the Music Resource Kits, Sydney Symphony Orchestra Education University.
Palisca, C, 1986, History of Western Music, Norton New York
Rixon, B and Merrick, B 1991, Music Far and Wide, Book and Cassette, Longman Cheshire
- 128 -
Board Endorsed Nov 2008-Amended October2015
Russell, Mark and Young, James, 2000, Film Music Screencraft, RotoVision
Smith, G, 1991, Australian Popular Music, Sounds Australian
Sturman, P, 1988, Harmony, Melody and Composition, Longman, Burnt Hill
Twyman, B, 1995, Technology and its Influence on Music, OTEN
Suggested Works for Study
Suite No II in B Minor – J.S. Bach
String Quartet Op. 76, No. 3 ‘Emperor’ – Haydn
String Quartet No 8 in E minor, Op. 55, No 2 – Beethoven
String Quartet No. 19 in C Major, K.465 – Mozart
Trio for Piano, Violin and Cello Bb Major, D 898 – Schubert
Octet in E flat, Op. 20 – Mendelssohn
Trout Piano Quintet – Schubert
String Quartet – Webern
Sixth String Quartet – Bartok
Piano Trio, Op. 49 – Mendelssohn
String quartet, Op. 28 - Anton Webern
Quartet for End of Time - Oliver Messiaen
Oblibion for violin cello and piano - Astor Piazzolla
String Quartet No.11 “Jabiru Dreaming” - Peter Sculthorpe
White Cockatoo Sprit Dance for String quartet - Ross Edwards
String quartet No 3 – Carl Vine
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Board Endorsed Nov 2008-Amended October2015
Large Ensembles (A/T/Extension Music T)
Value 0.5
Prerequisites
As per the Music Framework
Specific Unit Goals
This unit should enable students to:
 demonstrate knowledge of the techniques of performing, composing and arranging for large
instrumental or vocal ensembles
 score and arrange music for a large vocal and/or instrumental ensemble (including transposing
instruments)
 demonstrate an ability to read, critically analyse and understand a variety of large ensemble
instrumental and vocal works through oral, aural and written expression
 competently analyse and appraise musical performances
 demonstrate knowledge of and use of the elements of music though the creation, presentation and
evaluation of musical works
 develop skills associated with group and solo performances such as sensitivity to balance of
instruments, intonation and dynamics
 Research, discuss and demonstrate an awareness of the historic and stylistic development of large
instrumental and vocal ensemble music from various periods
 Perform as part of a live or recorded large ensemble.
Content
A Course
T Course
Extension Music T course
Creating
Creating
Creating
 Complete a folio of
compositional exercises which
explores arranging techniques
for various large ensembles.
 Complete a folio of
compositional exercises which
builds skills for composing for
large ensembles in various
stylistic genres
 Extend skills for composing for
ensembles through exercises
covering various stylistic genres
 Compose a work which
demonstrates a developing
understanding of large
ensemble pieces
 Score music for several
instruments using appropriate
notation
Performing
 Compose/arrange a work which
demonstrates a developing
understanding of large
ensemble pieces
Performing
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied, which will
demonstrate musical and
technical proficiency
commensurate with this level
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied, which will
demonstrate advanced musical
and technical proficiency
commensurate with this level
- 130 -
 Score music for several
instruments using appropriate
notation
 Compose/arrange an extended
work which demonstrates an
understanding of ensemble
pieces
Performing
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied which will
demonstrate superior musical
and technical proficiency
commensurate with this level
Board Endorsed Nov 2008-Amended October2015
Musicology
Musicology
Musicology
 Develop an understanding of
the stylistic elements in various
types of large ensembles.
 Research and study large
ensemble forms with particular
reference to the analysis of
musical elements
 Research and study the ensemble
forms with particular reference to
the analysis of musical elements
 Develop appropriate musical
notation and theoretical skills.
 Develop aural skills with
particular reference to tone
colour and texture
 Research and study large
ensemble forms through
various music periods
 Consolidate appropriate
musical notation, orchestration,
scoring and theoretical skills.
 Develop aural skills with
particular reference to tone
colour and texture
 Research and demonstrate a
knowledge of large ensemble
forms through various music
periods
 Extend appropriate musical
notation, scoring and theoretical
skills.
 Extend aural skills with particular
reference to tone colour and
texture
 Research and demonstrate a
knowledge of the large ensemble
forms through various music
periods e.g. trios to octets, bands,
orchestras, choirs (various
groupings)
Teaching and Learning Strategies
Some of which include:
 Teacher directed learning tasks
 Introduction to large instrumental and vocal ensembles from various Music Periods.
 Rehearsing for public performance
 Individual Performance workshops
 Ensemble Performance workshop
 Analysis of examples of large ensemble music styles.
 Viewing of live and recorded performances
 Composition/arranging technique workshops
 Class discussions
 Orals
 Seminars
 Library research
 Theory
Assessment
Refer to page 27.
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Board Endorsed Nov 2008-Amended October2015
Student Capabilities
Evidence could be in:
Student Capabilities
creative and critical thinkers
enterprising problem-solvers
Skilled and empathetic communicators
Goals
Content


Assessment

Teaching
and
Learning







informed and ethical decision-makers

environmentally and culturally aware citizens

confident and capable users of technologies




independent and self-managing learners




collaborative team members




Suggested Unit Resources
Allan, B.C. and Dorricott, I.J, 1986, Music a Creative Approach, Book I and 2 (Teachers and Student books),
Arthouse Pty Ltd. Brisbane
Appleby, Amy and Pickow, Peter, 2000, The Guitarist’s Bookshelf, Amsco
Baker, David, 1988, Arranging and Composing, for the Small Ensemble: Jazz - R&B - Jazz & Rock, Alfred
Publishing
Bennett, R, 1995, Investigating Musical Styles, Cambridge University Press
Bowman, D & Terry, P, 1994, Aural Matters in Practice, Schott Publishing
Brittain, S and Woollord, K. 1986, Basic Arranging for Popular Music, Wattle Park Teachers Centre
Bromhall, D, 1989, Composing in the Classroom, Opus I and 2, Boosey and Hawkes
Dorricott, I. J, & Allan, B.C, 1990, In Tune With Music Book 3, McGraw-Hill
Dorricott, I. J, & Allan, B.C, 1998, Exploring Film Music, McGraw-Hill
Dunbar-Hall, P, & Hodge, G, 1991, A Guide to Music Around the World, Science Press
Fiske,Roger,1970, Score Reading, Book 1 & 2, Oxford University Press
Ford, A, 1991, Australian Classical Music, Sounds Australian
Hal Leonard, 2003, Bass Tab White Pages
Jeaneret, N, 1996, Australian a Cappella, Fener Publications
Kamien, R, 1999, Music: An Appreciation, 6th edn, Norton
Lowe, G, 1997, The Rock Book, McGraw-Hill
Meet the Music Resource Kits, Sydney Symphony Orchestra Education University.
Palisca, C, 1986, History of Western Music, Norton New York
Rixon, B and Merrick, 1991, B Music Far and Wide, Book and Cassette, Longman Cheshire
Russell, Mark and Young, James, 2000, Film Music Screencraft, RotoVision
Smith, G, 1991, Australian Popular Music, Sounds Australian
Sturman, P, 1988, Harmony, Melody and Composition, Longman, Burnt Hill
- 132 -
Board Endorsed Nov 2008-Amended October2015
Suggested Works for Study
Suite No II in B Minor – J.S. Bach
String Quartet Op. 76, No. 3 ‘Emperor’ – Haydn
String Quartet No 8 in E minor, Op. 55, No 2 – Beethoven
String Quartet No. 19 in C Major, K.465 – Mozart
Trio for Piano, Violin and Cello Bb Major, D 898 – Schubert
Octet in E flat, Op. 20 – Mendelssohn
Trout Piano Quintet – Schubert
String Quartet – Webern
Sixth String Quartet – Bartok
Piano Trio, Op. 49 – Mendelssohn
String quartet, Op. 28 - Anton Webern
Quartet for End of Time - Oliver Messiaen
Oblibion for violin cello and piano - Astor Piazzolla
String Quartet No.11 “Jabiru Dreaming” - Peter Sculthorpe
White Cockatoo Sprit Dance for String quartet - Ross Edwards
String quartet No 3 – Carl Vine
- 133 -
Board Endorsed Nov 2008-Amended October2015
Music for Film (A/T/Extension Music T)
Value 1.0
Prerequisites
As per the Music Frameworks
Specific Unit Goals
This unit should enable students to:
 demonstrate a knowledge and understanding of the function and importance of music to film and
the ability to respond and create written and compositional tasks reflecting these traits
 appreciate, critically analyse and understand both aurally and from printed music works related to
film and respond through oral, written expression
 examine the impact of technology for the composer in all genres
 the role and importance of the composer in film
 increase technical practical skills through performance of solo/ensemble works at a standard
commensurate with their level of study.
Content
A Course
T Course
Extension Music T course
Creating
Creating
Creating
 Complete a folio of
compositional exercises
appropriate for music of a
film.
 Compose a theme song for a film
with an instrumental
accompaniment.
 Compose a theme song for a film
with an instrumental
accompaniment.
 Arrange music for two film
characters portrayed through
four or more instruments.
 Arrange music for two film
characters portrayed through
four or more instruments.
Performing
 Compose a piece of program
music which reflects mood and
character of a particular film
genre, using melody and
accompaniment. A rationale
must be provided.
Performing
 Compose a piece of program
music which reflects mood and
character of a particular film
genre, using melody and
accompaniment. A rationale
must be provided.
Performing
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied, which will
demonstrate musical and
technical proficiency
commensurate with this level
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied, which will
demonstrate musical and
technical proficiency
commensurate with this level
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied, which will
demonstrate musical and
technical proficiency
commensurate with this level
 Develop music reading and
writing skills using basic
notation.
 Compose a work which
demonstrates a developing
understanding of film music
- 134 -
Board Endorsed Nov 2008-Amended October2015
Musicology
Musicology
Musicology
 Explore the evolution and
function of music sounds for
film scores within the four
genres: comedy, romance,
drama and action.
 Research and analyse the
evolution and function of music
sounds for film scores within the
four genres: comedy, romance,
drama and action.
 Research and analyse in detail
the evolution and function of
music sounds for film scores
within the four genres: comedy,
romance, drama and action.
 Develop an understanding of
the role and purpose of the
musical score in creating a
sense of time and place.
 Develop an understanding of the
role and purpose of the musical
score in creating a sense of time
and place.
 Develop an understanding of the
role and purpose of the musical
score in creating a sense of time
and place.
 Examine the relationship
between the composer and
the director.
 Examine and articulate the
relationship between the
composer and the director.
 Examine and articulate the
relationship between the
composer and the director.
 Listen to and analyse
examples from a variety of
composers/genres and
significant, historical
soundtracks.
 Listen to and critically analyse
examples from a variety of
composers/genres and
significant, historical
soundtracks.
 Listen to and critically analyse
examples from a variety of
composers/genres and
significant, historical
soundtracks.
Teaching and Learning Strategies
Some of which include:
 Teacher directed learning
 Student directed learning
 Listening, viewing and score reading activities
 Analysis of musical examples
 Viewing recorded and live performances
 Viewing and analysing the importance of sound in films
 Creating workshops on compositional tasks
Assessment
Refer to page 27.
- 135 -
Board Endorsed Nov 2008-Amended October2015
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching
and
Learning
Assessment
creative and critical thinkers




enterprising problem-solvers




skilled and empathetic communicators

informed and ethical decision-makers


environmentally and culturally aware citizens

confident and capable users of technologies

independent and self-managing learners

collaborative team members






Specific Unit Resources
Books
Dorricot, I., Allan, B., Exploring Film Music, McGraw Hill Book Company, Sydney, 2001
Dorricott, I., Allan, B., Exploring Film Music Score Reading, McGraw Hill Book Company, Sydney, 2001
Web sites
http://www.filmscoremonthly.com/
http://www.filmmusic.com/
Musical examples from the following films are suggested for study:
Mission Impossible
Doctor Zhivago
Shine
Fifth Element
Terminator 3
Magnificent Seven
Gladiator
One Perfect Day
Great Escape
Schindler’s List
Bend It Like Beckham
Matrix
Star Wars
Master and Commander
The English Patient
Gallipoli
Lord of the Rings
- 136 -
Board Endorsed Nov 2008-Amended October2015
Directed studies of Music for Film (A/T/Extension Music T) Value 0.5
This unit is the half unit equivalent to Music for Film 1.0.
Specific Unit Goals
This unit should enable students to:
 demonstrate a knowledge and understanding of the function and importance of music to film
and the ability to respond and create written and compositional tasks reflecting these traits
 appreciate, critically analyse and understand both aurally and from printed music, works
related to film and respond through oral, written expression
 examine the impact of technology for the composer in all genres
 the role and importance of the composer in film
 increase technical practical skills through performance of solo/ensemble works at a standard
commensurate with their level of study.
Content
A Course
T Course
Creating
Creating
Extension Music T course
Creating
 Complete a folio of
compositional exercises
appropriate for music of a film.
 Compose a theme song for a
film with an instrumental
accompaniment.
 Compose a theme song for a
film with an instrumental
accompaniment.
 Develop music reading and
writing skills using basic
notation.
 Arrange music for two film
characters portrayed through
four or more instruments.
 Arrange music for two film
characters portrayed through
four or more instruments.
 Compose a work which
demonstrates a developing
understanding of film music
Performing
 Compose a piece of program
music which reflects mood and
character of a particular film
genre, using melody and
accompaniment. A rationale
must be provided.
Performing
 Compose a piece of program
music which reflects mood and
character of a particular film
genre, using melody and
accompaniment. A rationale
must be provided.
Performing
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied, which will
demonstrate musical and
technical proficiency
commensurate with this level
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied, which will
demonstrate advanced musical
and technical proficiency
commensurate with this level
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied, which will
demonstrate superior musical
and technical proficiency
commensurate with this level
- 137 -
Board Endorsed Nov 2008-Amended October2015
Musicology
Musicology
Musicology
 Explore the evolution and
function of music sounds for
film scores within the four
genres: comedy, romance,
drama and action.
 Research and analyse the
evolution and function of music
sounds for film scores within the
four genres: comedy, romance,
drama and action.
 Research and analyse the
evolution and function of music
sounds for film scores within the
four genres: comedy, romance,
drama and action.
 Develop an understanding of
the role and purpose of the
musical score in creating a sense
of time and place.
 Develop an understanding of
the role and purpose of the
musical score in creating a sense
of time and place.
 Develop an understanding of
the role and purpose of the
musical score in creating a sense
of time and place.
 Examine the relationship
between the composer and the
director.
 Examine and articulate the
relationship between the
composer and the director.
 Examine and articulate the
relationship between the
composer and the director.
 Listen to and analyse examples
from a variety of
composers/genres and
significant, historical
soundtracks.
 Listen to and critically analyse
examples from a variety of
composers/genres and
significant, historical
soundtracks.
 Listen to and critically analyse
examples from a variety of
composers/genres and
significant, historical
soundtracks.
Teaching and Learning Strategies
Some of which include

Teacher directed learning

Student directed learning

Listening, viewing and score reading activities

Analysis of musical examples

Viewing recorded and live performances

Viewing and analysing the importance of sound in films

Creating workshops on compositional tasks
Assessment
Refer to page 27.
- 138 -
Board Endorsed Nov 2008-Amended October2015
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching
and
Learning
Assessment
creative and critical thinkers




enterprising problem-solvers




skilled and empathetic communicators

informed and ethical decision-makers


environmentally and culturally aware citizens

confident and capable users of technologies

independent and self-managing learners

collaborative team members






Specific Unit Resources Books:
Dorricot, I., Allan, B., Exploring Film Music, McGraw Hill Book Company, Sydney, 2001
Dorricott, I., Allan, B., Exploring Film Music Score Reading, McGraw Hill Book Company, Sydney, 2001
Web sites
http://www.filmscoremonthly.com/
http://www.filmmusic.com/
Musical examples from the following films are suggested for study:
Mission Impossible
Bend it like Beckham
Fifth Element
Master and Commander
Gladiator
Lord of the Rings
Schindler’s List
Shine
Star Wars
Magnificent Seven
Gallipoli
Great Escape
Doctor Zhivago
Matrix
Terminator 3
The English Patient
One Perfect Day
- 139 -
Board Endorsed Nov 2008-Amended October2015
Music and the Media (A/T/Extension Music T)
Value 1.0
Prerequisites
As per the Music Frameworks
Specific Unit Goals
This unit should enable students to:
 create music suitable to a particular mood or audience
 perform themes and jingles from familiar films and television programs
 discuss the important role of music in films, television series and advertisements
 develop an understanding and appreciation for the way in which music is used to enhance film,
television and advertising
 work cooperatively in an ensemble
 record music.
Content
A Course
T Course
Extension Music T course
Creating
Creating
Creating
 Compose and record your
own advertisement music for
a product of your choice.
Include voice-overs and
written score.
 Compose and record your own
advertisement music for a
product of your choice. Include
voice-overs, written score and
feature a specific instrument to
enhance the advertisement.
 Compose and record your own
advertisement music for a
product of your choice. Include
voice-overs, written score and
feature a specific instrument to
enhance the advertisement.
 Develop musical notation and
theoretical skills.
 Complete a folio of
compositional exercises focusing
 Complete a folio of
on the development of various
compositional exercises to
music techniques used to
study the development of
incorporate music into the
various music techniques used
Media.
to incorporate music into the
Media.
 Develop musical notation and
theoretical skills.
 Complete a folio of
compositional exercises focusing
on the development of various
music techniques used to
incorporate music into the
Media.
Performing
Performing
 Consolidate musical notation and
theoretical skills.
Performing
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied which will
demonstrate musical and
technical proficiency
commensurate with this level
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied which will
demonstrate advanced musical
and technical proficiency
commensurate with this level
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied which will
demonstrate superior musical
and technical proficiency
commensurate with this level
- 140 -
Board Endorsed Nov 2008-Amended October2015
Musicology
Musicology
Musicology


 Use appropriate elements of
music terminology to describe
music from films and television.

Review a commercial
assignment. Study its’
themes, visual and musical
content. Present your
views on the
appropriateness of these
for the commercial.

Aural: Use appropriate
elements of music
terminology to describe
music from films and
television.

Use appropriate elements of
music terminology to describe
music from films and
television.
Review a film. Study its’
opening and closing themes.
Present your views on the
appropriateness of these
themes for the film. Create a
one-page worksheet for the
class to complete during your
seminar that summarises your
research.
Aural: Use appropriate
elements of music
terminology to describe music
from films and television.
 Review a film. Study its’ opening
and closing themes. Present
your views on the
appropriateness of these themes
for the film. Create a one-page
worksheet for the class to
complete during your seminar
that summarises your research.
 Aural: Use appropriate elements
of music terminology to describe
music from films and television.
Teaching and Learning Strategies
Some of which include:
 Teacher directed learning tasks
 Introduction to Music of the Media.
 Rehearsing a public recital
 Individual Performance workshops
 Ensemble performance workshop
 Analysis of examples of the music styles from the historical period.
 Viewing of live and recorded performances
 Composition technique workshops
 Class discussions
 Orals
 Seminars
 Library research
 Theory papers
Assessment
Refer to page 27.
- 141 -
Board Endorsed Nov 2008-Amended October2015
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching
and
Learning
Assessment
creative and critical thinkers




enterprising problem-solvers




skilled and empathetic communicators




informed and ethical decision-makers

environmentally and culturally aware citizens



confident and capable users of technologies




independent and self-managing learners




collaborative team members





Specific Unit Resources
Books
Bowman, D, Cole, B., Sound Matters, Teachers Manuel and Music Book, Schott Educational
Publications, London, 1990
Cole, B., The Composer’s Handbook, Schott Educational Publications, London, 1996
Dorricott, I.J, Allan, B.C., In Tune With Music Book Three, McGraw-Hill Book Company, Sydney, 1993
Dorricott, I., Allan, B., Exploring Film Music Score Reading, McGraw Hill Book Company, Sydney, 2001
Suggested Works for Study
Henry Mancini, Peter Gunn Theme, The Music from Peter Gunn (1958-1961 TV Series), Buddah,
B00000JC79, (1999)
John Williams, Lost in Space, Lost In Space: Original Television Soundtrack, Volume One, Gnp
Crescendo, B000001P1R, (1997)
S. Prokofiev, Lieutenant Kijé Suite Prokofiev: Lieutenant Kijé Suite; Symphony No. 5, Telarc,
B000ZU98EE, (2008)
Laurie Johnson, The Avengers Theme, The Avengers & other 60's TV Themes, Sbme Castle Us,
B00005Y1MW, (2002)
Ron Grainer, Doctor Who: At the BBC Radiophonic Workshop, Vol. 1, Grey Area, B0009JOPHQ, (2005)
Stewart Copeland, Dead Like Me Theme, Dead Like Me - The Complete First Season, MGM,
B0001GF2F6, (2003) DVD
Wendy & Lisa, Heroes Title, Heroes OST [Soundtrack], Warner, B001713CN8, (2008)
Bear McCreary, Black Market, La La Land Records, LLLCD 1049, (2006) – Battlestar Gallactica
John Blow, Oveture, Venus and Adonis, England: Baroque, harmoni mundi, HMX 2908174, (2005)
Mozart, Act I: scene 8 No. 10 Figaro Aria Non pui andrai, The Marriage of Figaro, Classical Style: The
First Viennese School, harmonia mundi, HMX 2908177, (2005)
- 142 -
Board Endorsed Nov 2008-Amended October2015
Rock and Pop (A/T/Extension Music T)
Value 1.0
Prerequisites
As per the Music Frameworks
Specific Unit Goals
This unit should enable students to:

Research the history and development of Rock and Popular Music

Demonstrate an understanding of musical elements involved in Rock and Pop Music

Develop an understanding and interpretation of musical elements/vocabulary from this unit
of study

Develop an understanding of the impact and influence of significant musicians/ composers/
bands, on Contemporary society

Perform in the style of Rock and Popular Music.
Content
A Course
T Course
Extension Music T course
Creating
Creating
Creating
 Compose a rock/pop song,
including the words and
musical notation.
 Compose contrasting rock/pop
songs, including the lyrics and
musical notation.
 Compose contrasting rock/pop
songs, including the lyrics and
musical notation.
 Complete a folio of
compositional exercises
focusing on the development
of various rock music
techniques. Rhythms, Riffs,
vocal and instrumental
techniques.
 Complete a folio of
compositional exercises focusing
on the development of various
rock music techniques. Rhythms,
Riffs, vocal and instrumental
techniques.
 Complete a folio of
compositional exercises focusing
on the development of various
rock music techniques. Rhythms,
Riffs, vocal and instrumental
techniques.
 Develop musical notation and
theoretical skills. Melody,
Rhythm, Chords, Rock
Terminology, Structure.
 Develop musical notation and
theoretical skills. Melody,
Rhythm, Chords, Rock
Terminology, Structure.
Performing
Performing
Performing
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied which will
demonstrate musical and
technical proficiency
commensurate with this level
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied which will
demonstrate advanced musical
and technical proficiency
commensurate with this level
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied which will
demonstrate superior musical
and technical proficiency
commensurate with this level
 Develop musical notation and
theoretical skills. Melody,
Rhythm, Chords, Rock
Terminology, Structure.
- 143 -
Board Endorsed Nov 2008-Amended October2015
Musicology
Musicology
Musicology

Explore the musical
developments in the
history of Rock and Popular
Music since 1950.
 Explore the musical
developments in the history of
Rock and Popular Music since
1950.
 Explore the musical
developments in the history of
Rock and Popular Music since
1950.

Research a well-known
rock/ pop song. Discuss
the lyric content and
musical style.
 Appreciate the contributions of
significant composers and
performers from 1950 to
present.
 Appreciate the contributions of
significant composers and
performers from 1950 to
present.

Describe the structure of
rock and pop music

Aural appreciation of the
various styles of rock
music.
 Research, analyse and discuss the  Research, analyse and discuss the
music of Rock and Popular Music
music of Rock and Popular Music
artists.
artists.

Develop standard and TAB
notation writing and
reading skills.
 Demonstrate an understanding
of the musical concepts of Rock
and Popular music
 Demonstrate an understanding
of the musical concepts of Rock
and Popular music
 Aural appreciation of the various
styles of rock music.
 Aural appreciation of the various
styles of rock music.
 Develop standard and TAB
notation writing and reading
skills.
 Develop standard and TAB
notation writing and reading
skills.
Teaching and Learning Strategies
Some of which include:

Teacher directed learning tasks

Introduction to Music of the Media.

Rehearsing a public recital

Individual Performance workshops

Ensemble performance workshop

Analysis of examples of the music styles from the historical period.

Viewing of live and recorded performances

Composition technique workshops

Class discussions

Orals

Seminars

Library research
Assessment
Refer to page 27.
- 144 -
Board Endorsed Nov 2008-Amended October2015
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching
and
Learning
Assessment




enterprising problem-solvers



skilled and empathetic communicators

creative and critical thinkers


informed and ethical decision-makers

environmentally and culturally aware citizens
confident and capable users of technologies




independent and self-managing learners




collaborative team members




Specific Unit Resources
Books
Bowman, D, Cole, B., 1990, Sound Matters, Teachers Manuel and Music Book, Schott Educational
Publications, London
Charlton, K., 1990, rock Music Styles a History of, Wm. C. Brown, America
Cole, B., 1996, The Composer’s Handbook, Schott Educational Publications, London
Dorricott, I.J, Allan, B.C., 1993, In Tune With Music Book Three, McGraw-Hill Book Company, Sydney
Dunbar-Hall, P, Hodge, G., 1995, A Guide to Jazz, Folk and Australian Music, Science Press, Australia
Dunbar-Hall, P., Hodge, G., 1999, A guide to Rock ‘N’ Pop, Science Press, Australia
Lowe, G., 1997, The Rock book, McGraw-Hill Companies, Australia
Suggested Works for Study
Carole King/Gerry Goffin, Will You Love Me Tomorrow, The Shirelles, Girl Crazy: 28 Ultimate Girl
Group Classics, EMI gold, 7243 4 72311 2 1, (2004)
Spectre/Greenwich/Barry, Chapel of Love, Dixie Cups, Girl Crazy: 28 Ultimate Girl Group Classics, EMI
gold, 7243 4 72311 2 1, (2004)
Tony Hatch, Downtown, Petula Clarke, hits of the 60’s, Music Club, MCCD 028
Solomon Burke/Jerry Wexler/Bert Russell, Everybody Needs Somebody to Love, The Rolling Stones
No. 2, Decca, (1965)
Jimmy Hendrix, Voodoo Chile, Electric Ladyland, Record Plant Studios, MCA, (1968)
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Board Endorsed Nov 2008-Amended October2015
Directed Studies of Rock and Pop (A/T/Extension Music T) Value 0.5
This unit is the half unit equivalent to Rock and Pop 1.0.
Specific Unit Goals
This unit should enable students to:

Explore and research the history and development of Rock and other Contemporary Music
Styles, presenting clear, well reasoned analytical research tasks

Demonstrate an understanding of musical elements involved in Rock and other
Contemporary Music Styles

Develop an understanding and interpretation of musical elements/ vocabulary from this
unit of study

Develop an understanding of the impact and influence of society on Rock and other
Contemporary styles and the legacy of significant musicians/composers and bands.
Content
A Course
Creating
T Course
Creating
Extension Music T course
Creating
 Compose a rock/pop song,
including the words and
musical notation.
 Compose contrasting
rock/pop songs, including the
lyrics and musical notation.
 Compose contrasting rock/pop
songs, including the lyrics and
musical notation.
 Complete a folio of
compositional exercises
focussing on the development
of various rock music
techniques. Rhythms, Riffs,
vocal and instrumental
techniques.
 Complete a folio of
compositional exercises
focussing on the development
of various rock music
techniques. Rhythms, Riffs,
vocal and instrumental
techniques.
 Complete a folio of
compositional exercises
focussing on the development of
various rock music techniques.
Rhythms, Riffs, vocal and
instrumental techniques.
 Develop musical notation and
theoretical skills. Melody,
Rhythm, Chords, Rock
Terminology, Structure.
Performing
 Develop musical notation and
theoretical skills. Melody,
Rhythm, Chords, Rock
Terminology, Structure.
Performing
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied which will
demonstrate musical and
technical proficiency
commensurate with this level
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied which will
demonstrate advanced musical
and technical proficiency
commensurate with this level
- 146 -
 Develop musical notation and
theoretical skills. Melody,
Rhythm, Chords, Rock
Terminology, Structure.
Performing
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied which will
demonstrate superior musical
and technical proficiency
commensurate with this level
Board Endorsed Nov 2008-Amended October2015
Musicology
Musicology
Musicology
 Explore the musical
developments in the history of
Rock and Popular Music since
1950.
 Explore the musical
developments in the history of
Rock and Popular Music since
1950.
 Explore the musical
developments in the history of
Rock and Popular Music since
1950.
 Research a well-known rock/
pop song. Discuss the lyric
content and musical style.
 Appreciate the contributions of  Appreciate the contributions of
significant composers and
significant composers and
performers from 1950 to
performers from 1950 to
present.
present.
 Describe the structure of rock
and pop music
 Aural appreciation of the
various styles of rock music.
 Develop standard and TAB
notation writing and reading
skills.
 Research, analyse and discuss
the music of Rock and Popular
Music artists.
 Research, analyse and discuss
in detail the music of Rock and
Popular Music artists.
 Demonstrate an understanding
of the musical concepts of
Rock and Popular music
 Demonstrate an understanding
of the musical concepts of
Rock and Popular music
 Aural appreciation of the
various styles of rock music.
 Aural appreciation of the
various styles of rock music.
 Develop standard and TAB
notation writing and reading
skills.
 Develop standard and TAB
notation writing and reading
skills.
Teaching and Learning Strategies
Some of which include:
 Teacher directed learning
 Student directed learning
 Listening, viewing and score reading activities
 Analysis of musical examples
 Viewing recorded and live performances
 Performance of ensemble/ solo works in Rock and other Contemporary styles.
 Seminar Presentations and research tasks.
Assessment
Refer to page 27.
- 147 -
Board Endorsed Nov 2008-Amended October2015
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching and
Learning
Assessment




enterprising problem-solvers



skilled and empathetic communicators

creative and critical thinkers

informed and ethical decision-makers
environmentally and culturally aware citizens


confident and capable users of technologies




independent and self-managing learners




collaborative team members




Specific Unit Resources
Books
Bowman, D, Cole, B., 1990, Sound Matters, Teachers Manuel and Music Book, Schott Educational
Publications, London
Charlton, K., 1990, rock Music Styles a History of, Wm. C. Brown, America
Cole, B., 1996, The Composer’s Handbook, Schott Educational Publications, London
Dorricott, I.J, Allan, B.C., 1993, In Tune With Music Book Three, McGraw-Hill Book Company, Sydney
Dunbar-Hall, P, Hodge, G., 1995, A Guide to Jazz, Folk and Australian Music, Science Press, Australia
Dunbar-Hall, P., Hodge, G., 1999, A guide to Rock ‘N’ Pop, Science Press, Australia
Lowe, G., 1997, The Rock book, McGraw-Hill Companies, Australia
Suggested Works for Study
Carole King/Gerry Goffin, Will You Love Me Tomorrow, The Shirelles, Girl Crazy: 28 Ultimate Girl
Group Classics, EMI gold, 7243 4 72311 2 1, (2004)
Spectre/Greenwich/Barry, Chapel of Love, Dixie Cups, Girl Crazy: 28 Ultimate Girl Group Classics, EMI
gold, 7243 4 72311 2 1, (2004)
Tony Hatch, Downtown, Petula Clarke, hits of the 60’s, Music Club, MCCD 028
Solomon Burke/Jerry Wexler/Bert Russell, Everybody Needs Somebody to Love, The Rolling Stones
No. 2, Decca, (1965)
Jimmy Hendrix, Voodoo Chile, Electric Ladyland, Record Plant Studios, MCA, (1968)
- 148 -
Board Endorsed Nov 2008-Amended October2015
Music for the Theatre (A/T/Extension Music T)
Value 1.0
Prerequisites
As per the Music Frameworks
Specific Unit Goals
This unit should enable students to:
 compose original works that will demonstrate an understanding of Opera and Musical in terms
of structure, balance and form
 work cooperatively in an ensemble
 perform with musical and technical proficiency commensurate with appropriate level
 respond aesthetically to their own works/performances and those of others
 develop skills in analysing, understanding and interpreting musical works in a wide variety of
social, cultural and historical contexts in verbal and written
 communicate legibly and precisely with musical notation demonstrating technical proficiency
 explore the development of vocal theatre entertainment and discuss how it has reflected the
needs of each historical society.
Content
A Course
T Course
Extension Music T course
Creating
Creating
Creating
 Compose a song in the style of
musical theatre (musical or
opera), including the words
and accompaniment.
Describe the scene it depicts.
 Compose a vocal work (song /
recitative & aria) in the style of
musical theatre (musical or
opera) including the words and
notated accompaniment.
 Compose an extended vocal work
(song / recitative & aria) in the
style of musical theatre (musical
or opera) including the words
and notated accompaniment.
 Complete a folio of
compositional exercises.
 Complete a folio of
compositional exercises.
 Complete a folio of
compositional exercises.
 Develop musical notation and  Develop musical notation and
theoretical skills in song
theoretical skills in song writing,
writing, dynamics, structure of
dynamics, structure of operas
musicals, performing media.
and musicals, performing media.
Performing
Performing
 Develop musical notation and
theoretical skills in song writing,
dynamics, structure of operas
and musicals, performing media.
Performing
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied which will
demonstrate musical and
technical proficiency
commensurate with this level
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied which will
demonstrate advanced musical
and technical proficiency
commensurate with this level
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied which will
demonstrate superior musical
and technical proficiency
commensurate with this level
- 149 -
Board Endorsed Nov 2008-Amended October2015
Musicology
Musicology
Musicology
 Research a well-known
musical or operetta. Discuss
the lyric content and musical
style as well as details about
the composer and
performances.
 Research a well-known opera or
operetta. Discuss the libretto
content, orchestration and
musical style, as well as details
about the composer and
performances.
 Research a well-known opera or
operetta. Discuss the libretto
content, orchestration and
musical style, as well as details
about the composer and
performances.
 Describe the structure of an
opera, operetta and musical.
 Demonstrate an understanding
of the structure of an opera,
operetta and musical.
 Demonstrate an understanding
of the structure of an opera,
operetta and musical.
 Aurally assess and discuss
verbally and in writing music
examples of short excerpts from
opera, operetta and musicals.
 Aurally assess and discuss in
detail verbally and in writing
music examples of short excerpts
from opera, operetta and
musicals.
 Aurally assess and discuss
music examples of short
excerpts from opera, operetta
and musicals.
Teaching and Learning Strategies
Some of which include:

Teacher directed learning tasks

Introduction to Music of the Media.

Rehearsing a public recital

Individual Performance workshops

Ensemble performance workshop

Analysis of examples of the music styles from the historical period.

Viewing of live and recorded performances

Composition technique workshops

Class discussions

Orals

Seminars

Library research

Theory papers
Assessment
Refer to page 27.
- 150 -
Board Endorsed Nov 2008-Amended October2015
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching
and
Learning
Assessment
creative and critical thinkers




enterprising problem-solvers




skilled and empathetic communicators




informed and ethical decision-makers


environmentally and culturally aware citizens


confident and capable users of technologies



independent and self-managing learners




collaborative team members




Specific Unit Resources
Books
Bowman, D, Cole, B., 1990, Sound Matters, Teachers Manuel and Music Book, Schott Educational
Publications, London
Charlton, K., 1990, rock Music Styles a History of, Wm. C. Brown, America
Cole, B., 1996, The Composer’s Handbook, Schott Educational Publications, London
Dorricott, I.J, Allan, B.C., 1993, In Tune With Music Book Three, McGraw-Hill Book Company, Sydney
Leek, S, 1998, Australian Choral Music Kit, Stephen Leek Productions
Leek, S, & Morton, G, 1990, Voice works, Morton Music
Suggested Works for Study
Stewart Copeland, Dead Like Me Theme, Dead Like Me - The Complete First Season, MGM,
B0001GF2F6, (2003) DVD
Wendy & Lisa, Heroes Title, Heroes OST [Soundtrack], Warner, B001713CN8, (2008)
Bear McCreary, Black Market, La La Land Records, LLLCD 1049, (2006) – Battlestar Gallactica
John Blow, Oveture, Venus and Adonis, England: Baroque, harmoni mundi, HMX 2908174, (2005)
Mozart, Act I: scene 8 No. 10 Figaro Aria Non pui andrai, The Marriage of Figaro, Classical Style: The
First Viennese School, harmonia mundi, HMX 2908177, (2005)
- 151 -
Board Endorsed Nov 2008-Amended October2015
Early Jazz (A/T/Extension Music T)
Value 1.0
Prerequisites
As per the Music Frameworks
Specific Unit Goals
This unit should enable students to:
 demonstrate through performance the skills needed to construct a coherent improvised solo
over the Blues and Early Jazz forms
 demonstrate skills in composition true to early Jazz and Blues styles
 critically analyse the characteristics of Early Jazz
 describe the development of Early Jazz from Blues and Ragtime influences
 develop knowledge of the performance and written conventions for Jazz ensembles.
Content
A Course
T Course
Extension Music T course
Creating
Creating
Creating
 Create a simple improvised
solo in the Blues style
 Create an improvised solo
demonstrating an understanding
of the Blues form, scale and
chord structure
 Create an improvised solo
demonstrating significant
understanding of early Jazz/Blues
form, scale and chord structure
 Compose a piece typical of the
early Jazz/Blues genre for two or
more instruments/voice
 Compose a piece typical of the
early Jazz/Blues genre to be
played in a class ensemble
 Arrange an early Jazz/Blues
melody for a solo instrument
demonstrating an understanding
of appropriate style
 Arrange an early Jazz/Blues
melody for a solo instrument and
rhythm section demonstrating an
understanding of appropriate
style
Performing
 Arrange a melody in early
Jazz/Blues style for voice and
guitar
Performing
 Perform works in Blues or
Dixieland style
 Play and read one chart as
part of the class ensemble.
Performing
 Perform works in Blues or
Dixieland style with an
improvised solo.
 Perform works in Blues or
Dixieland style with an
improvised solo.
 Play the following around the
circle of fifths: Major scales,
Blues scales, Major 7th arpeggios
and Dominant 7th arpeggios.
 Play the following around the
circle of fifths: Major scales,
Blues scales, Major 7th arpeggios
and Dominant 7th arpeggios.
 Play and accurately read charts
as part of the class ensemble.
 Play and accurately read charts
as part of the class ensemble.
- 152 -
Board Endorsed Nov 2008-Amended October2015
Musicology
 Introduction to the
development of early Jazz
styles.
 Explore the social context and
significant
performers/composers of the
early Jazz style.
 Analyse one arrangement.
Musicology
Musicology
 Introduction to the development
of early Jazz styles including
Blues, Dixieland, Ragtime and
New Orleans Jazz.
 Introduction to the development
of early Jazz styles including
Blues, Dixieland, Ragtime and
New Orleans Jazz
 Explore the social context and
significant
performers/composers of the
early Jazz styles.
 Explore the social context and
significant
performers/composers of the
early Jazz styles.
 Analyse and interpret band
arrangements, referring to guide
tones, minor/modal blues scales
and harmony
 Analyse and interpret in detail a
selection of band arrangements,
referring to guide tones,
minor/modal blues scales and
harmony
Teaching and Learning Strategies
Some of which include:

Teacher directed learning tasks

Performing with an ensemble

Introduction to improvisation

Rehearsing a Jazz ensemble

Performance workshops

Analysis of music examples

Viewing live performances

Composition techniques
Assessment
Refer to page 27.
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching
and
Learning
Assessment




enterprising problem-solvers



skilled and empathetic communicators

creative and critical thinkers

informed and ethical decision-makers

environmentally and culturally aware citizens

confident and capable users of technologies



independent and self-managing learners




collaborative team members




- 153 -
Board Endorsed Nov 2008-Amended October2015
Suggested Unit Resources
Books
Grauer, B. Keepnews, O. 1969, A pictorial history of Jazz, Hamlyn publishing
Gridley, Mark. 2000, Jazz Styles History & Analysis, Prentice Hall
Gelly, Dave, 2003, Icons Of Jazz, The Brown Referencing
Shadwick, K. 1991, The Illustrated story of Jazz, Golden Press pty ltd
The Ultimate Jazz fakebook. 1998, Hal Leonard Corp
The Standards Real Book. 2000, Sher Music Co.
The New Real Book, 1988, Sher Music Co
Audio visual Material
Burns, Ken. Jazz, a film by Ken Burns. ABC DVD
Suggested Works for Study
Backwater Blues - Bessie Smith
Basin Street Blues - Spencer Williams
Heartbreak Hotel - Elvis Presley
Tombstone Blues - Bob Dylan
Monday Morning Blues - Elmore James
All of Me – Roger Holmes
Ace In The Hole – George Strait
Bye Bye Blackbird – Ray Henderson
There are many other suggested works for study for this unit in The New Real Book as listed above.
- 154 -
Board Endorsed Nov 2008-Amended October2015
Directed Studies in Early Jazz (A/T/Extension Music T)
Value 0.5
This unit is the half unit equivalent to Early Jazz 1.0.
Prerequisites
As per the Music Frameworks
Specific Unit Goals
This unit should enable students to:

demonstrate through performance the skills needed to construct a coherent improvised solo
over the Blues and Early Jazz forms

demonstrate skills in composition true to early Jazz and Blues styles

critically analyse the characteristics of Early Jazz

describe the development of Early Jazz from Blues and Ragtime influences

develop knowledge of the performance and written conventions for jazz ensembles.
Content
A Course
T Course
Extension Music T course
Creating
Creating
Creating
 Create a simple
improvised solo in the
Blues style
 Create an improvised solo
demonstrating an understanding
of the Blues form, scale and chord
structure
 Create an improvised solo
demonstrating significant
understanding of early Jazz/Blues
form, scale and chord structure
 Arrange an early Jazz/Blues
melody for a solo instrument
demonstrating an understanding
of appropriate style
 Arrange an early Jazz/Blues melody
for a solo instrument and rhythm
section demonstrating an
understanding of appropriate style
Performing
Performing
Performing
 Perform works in Blues or
Dixieland style
 Perform works in Blues or
Dixieland style with an improvised
solo.
 Perform works in Blues or Dixieland
style with an improvised solo.
 Arrange a melody in early
Jazz/Blues style for voice
and guitar
 Play and read one chart as
part of the class ensemble.
 Play and accurately read charts as
part of the class ensemble.
 Play and accurately read charts as
part of the class ensemble.
Musicology
Musicology
Musicology
 Explore the social context
and significant
performers/composers of
the early Jazz styles.
 Explore the social context and
significant performers/composers
of the early Jazz styles including
Blues, Dixieland, Ragtime and
New Orleans Jazz.
 Explore the social context and
significant performers/composers of
the early Jazz styles including Blues,
Dixieland, Ragtime and New Orleans
Jazz.
 Analyse and interpret band
arrangements, referring to guide
tones, minor/modal blues scales
and harmony
 Analyse and interpret in detail a
selection of band arrangements,
referring to guide tones,
minor/modal blues scales and
harmony
 Analyse one arrangement.
- 155 -
Board Endorsed Nov 2008-Amended October2015
Teaching and Learning Strategies
Some of which include:
 Teacher directed learning tasks
 Performing with an ensemble
 Introduction to improvisation
 Rehearsing a Jazz ensemble
 Performance workshops
 Analysis of music examples
 Viewing live performances
 Composition techniques
Assessment
Refer to page 27.
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching and
Learning
Assessment




enterprising problem-solvers



skilled and empathetic communicators

creative and critical thinkers

informed and ethical decision-makers

environmentally and culturally aware citizens

confident and capable users of technologies



independent and self-managing learners




collaborative team members




Suggested Unit Resources
Books
Grauer, B. Keepnews, O. 1969, A pictorial history of Jazz, Hamlyn publishing
Gridley, Mark. 2000, Jazz Styles History & Analysis, Prentice Hall
Gelly, Dave, 2003, Icons Of Jazz, The Brown Referencing
Shadwick, K. 1991, The Illustrated story of Jazz, Golden Press pty ltd
The Ultimate Jazz fakebook. 1998, Hal Leonard Corp
The Standards Real Book. 2000, Sher music Co.
The New Real Book, 1988, Sher Music Co.
- 156 -
Board Endorsed Nov 2008-Amended October2015
Audio visual Material
Burns, Ken. Jazz, a film by Ken Burns. ABC DVD
Suggested Works for Study
Backwater Blues - Bessie Smith
Basin Street Blues - Spencer Williams
Heartbreak Hotel - Elvis Presley
Tombstone Blues - Bob Dylan
Monday Morning Blues - Elmore James
All of Me – Roger Holmes
Ace In The Hole – George Strait
Bye Bye Blackbird – Ray Henderson
There are many other suggested works for study for this unit in The New Real Book as listed above.
- 157 -
Board Endorsed Nov 2008-Amended October2015
The Swing Years (T)
Value 1.0
Prerequisites
Early Jazz
Specific Unit Goals
This unit should enable students to:
 demonstrate through performance the skills needed to construct a coherent improvised solo
on pieces from the Swing era
 demonstrate skills in composition true to the Swing era
 critically analyse the characteristics of Swing music
 describe the development of the Swing area
 develop knowledge of the performance and written conventions for jazz ensembles.
Content
Creating
 Create an improvised solo demonstrating an understanding of the Swing style using standard
chord progressions from the era
 Compose a piece typical of the swing genre to be played by the class ensemble
 Arrange standards from the Swing era for the class ensemble
Performing
 Perform two works (one from the Swing era) with an improvised solo demonstrating an
understanding of form, scales and chord structure
 Play a selection of Swing standards and be able to improvise on them
 Play the following around the circle of fifths:
 Dorian scales
 Mixolydian Scales
 Minor 7th arpeggios
 Play and accurately read new charts in the class ensemble
Musicology
 Research the birth and duration of the Swing era.
 Distinguish the differences between the Swing style and early Jazz
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Board Endorsed Nov 2008-Amended October2015
Teaching and Learning Strategies
Some of which include:
 Teacher directed learning tasks
 Performing with an ensemble
 Introduction to improvisation
 Rehearsing a Jazz ensemble
 Performance workshops
 Analysis of music examples
 Viewing live performances
 Composition techniques
Assessment
Refer to page 27.
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching and
Learning
Assessment




enterprising problem-solvers



skilled and empathetic communicators

creative and critical thinkers

informed and ethical decision-makers

environmentally and culturally aware citizens

confident and capable users of technologies



independent and self-managing learners




collaborative team members




Suggested Unit Resources
Books
Grauer, B. Keepnews, O. 1969, A pictorial history of Jazz, Hamlyn publishing
Gridley, Mark., 2000, Jazz Styles History & Analysis, Prentice Hall
Gelly, Dave, 2003, Icons Of Jazz, The Brown Referencing
Shadwick, K. 1991, The Illustrated story of Jazz, Golden Press pty ltd
The Ultimate Jazz fakebook. 1998, Hal Leonard Corp
The Standards Real Book. 2000, Sher Music Co.
The New Real Book, 1988, Sher Music Co.
Audio visual Material
Burns, Ken. Jazz, a film by Ken Burns. ABC DVD
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Board Endorsed Nov 2008-Amended October2015
Suggested Works for Study
There are many suggested works for study in the New Real Book as listed above.
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Board Endorsed Nov 2008-Amended October2015
Bebop (T)
Value 1.0
Prerequisites
Early Jazz, The Swing Years
Specific Unit Goals
This unit should enable students to:
 demonstrate through performance the skills needed to construct a coherent improvised solo
in the Bebop style
 demonstrate skills in composition true to the Bebop style
 critically analyse the characteristics of Bebop
 describe the development of Bebop
 develop knowledge of the performance and written conventions for jazz ensembles.
Content
Creating
 Create an improvised solo demonstrating an understanding of the Bebop style including the
use of modes.
 Compose a piece typical of the Bebop genre to be played by the class ensemble.
 Arrange pieces from the Bebop era for the class ensemble
Performing
 Perform two works (one from the Bebop genre) with an improvised solo demonstrating an
understanding of form, scales and chord structure.
 Play a selection of Bebop tunes and be able to improvise on them.
 Play the following around the circle of fifths:
 Aeolian Scales
 Lydian Scales
 Half diminished 7th arpeggios
 Diminished 7th arpeggios
 Play and accurately read new charts in the class ensemble
Musicology
 Research the Development of the Bebop era.
 Explore the social context that produced the development of the Bebop style.
 Distinguish the differences between Bebop and the styles of the Swing era.
 Transcription of an improvised solo.
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Board Endorsed Nov 2008-Amended October2015
Teaching and Learning Strategies
Some of which include:
 Teacher directed learning tasks
 Performing with an ensemble
 Introduction to improvisation
 Rehearsing a Jazz ensemble
 Performance workshops
 Analysis of music examples
 Viewing live performances
 Composition techniques
Assessment
Refer to page 27.
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching and
Learning
Assessment




enterprising problem-solvers



skilled and empathetic communicators

creative and critical thinkers

informed and ethical decision-makers

environmentally and culturally aware citizens

confident and capable users of technologies



independent and self-managing learners




collaborative team members




Suggested Unit Resources
Books
Grauer, B. Keepnews, O. 1969, A pictorial history of Jazz, Hamlyn publishing
Gridley, Mark., 2000, Jazz Styles History & Analysis, Prentice Hall
Gelly, Dave, 2003, Icons Of Jazz, The Brown Referencing
Shadwick, K. 1991, The Illustrated story of Jazz, Golden Press pty ltd
The Ultimate Jazz fakebook. 1998, Hal Leonard Corp
The Standards Real Book. 2000, Sher Music Co.
The New Real Book, 1988, Sher Music Co
Audio visual Material
Burns, Ken. Jazz, a film by Ken Burns. ABC DVD
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Board Endorsed Nov 2008-Amended October2015
Suggested Works for Study
Hit The Road Jack
Jumpin' At The Woodside
Take The A Train
What Is This Thing Called Love
It Had To Be You
There are many suggested works for study for this unit in The New Real Book as listed above.
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Board Endorsed Nov 2008-Amended October2015
Cool and Beyond (T)
Value 1.0
Prerequisites
Early Jazz, The Swing Years, Bebop
Specific Unit Goals
This unit should enable students to:
 demonstrate through performance the skills needed to construct a coherent improvised solo
in the cool, funk and modern styles
 demonstrate skills in composition true to the Cool and Modern eras of Jazz
 critically analyse the characteristics of the progression of Jazz from the Cool era to today
 describe the development of the Cool and Modern styles
 develop knowledge of the performance and written conventions for jazz ensembles.
Content
Creating
 Create an improvised solo demonstrating an understanding of the Cool and modern styles
 Compose a piece that encompasses the Cool years or beyond
 Arrangement of Cool and Modern standards for the class ensemble
Performing
 Perform two works (one from the Cool era) including an improvised solo demonstrating an
understanding of form, scales and chord structure
 Play a selection of Cool and Modern Tunes
 Play the following around the circle of fifths:
 Harmonic minor scales
 Diminished Scales
 Scale tone 7ths
 Play and accurately read new charts in the class ensemble
Musicology
 Research the Development of the Cool style and the progression towards modern Jazz
 Explore the social context that produced the desire to push the boundaries of modern Jazz
 Distinguish the differences between Modern Jazz and previous styles
 Transcription of an improvised solo
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Board Endorsed Nov 2008-Amended October2015
Teaching and Learning Strategies
Some of which include:
 Teacher directed learning tasks
 Performing with an ensemble
 Introduction to improvisation
 Rehearsing a Jazz ensemble
 Performance workshops
 Analysis of music examples
 Viewing live performances
 Composition techniques
Assessment
Refer to page 27.
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching and
Learning
Assessment




enterprising problem-solvers



skilled and empathetic communicators

creative and critical thinkers

informed and ethical decision-makers

environmentally and culturally aware citizens

confident and capable users of technologies



independent and self-managing learners




collaborative team members




Suggested Unit Resources
Books
Grauer, B. Keepnews, O. 1969, A pictorial history of Jazz, Hamlyn publishing
Gridley, Mark. 2000, Jazz Styles History & Analysis, Prentice Hall
Gelly, Dave, 2003, Icons Of Jazz, The Brown Referencing
Shadwick, K. 1991, The Illustrated story of Jazz, Golden Press pty ltd
The Ultimate Jazz fakebook. 1998, Hal Leonard Corp
The Standards Real Book. 2000, Sher Music Co.
The New Real Book, 1988, Sher Music Co
Audio visual Material
Burns, Ken. Jazz, a film by Ken Burns. ABC DVD
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Board Endorsed Nov 2008-Amended October2015
Suggested Works for Study
Milestones - Miles Davis
Cheesecake - Louis Armstrong
A Child Is Born - Thad Jones
Naima - John Coltrane
Bernies Tune - Charlie Parker
Watermelon Man - Herbie Hancock
Birth of the Cool Theme – Gil Evans
Boplicity – Miles Davis
Take Five – Dave Brubeck
Girl From Ipanema – Stan Getz
There are many suggested works for study for this unit in The New Real Book as listed above.
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Board Endorsed Nov 2008-Amended October2015
Cool Jazz (T)
Value 0.5
Prerequisites
As per the Music Frameworks
Specific Unit Goals
This unit should enable students to:
 demonstrate through performance the skills needed to construct a coherent improvised solo
in the Cool genre
 demonstrate skills in composition true to the Cool era
 critically analyse the characteristics of the progression of Jazz from the Cool era to today
 describe the development of the Cool style
 develop knowledge of the performance and written conventions for jazz ensembles.
Content
Creating

Create an improvised solo demonstrating an understanding of the Cool style

Compose a piece that encompasses the Cool years

Arrangement of Cool era standards for the class ensemble
Performing

Perform one work from the Cool era including an improvised solo demonstrating an
understanding of form, scales and chord structure

Play a selection of Cool and Modern Tunes

Play and accurately read new charts in the class ensemble
Musicology

Research the Development of the Cool style and the progression towards modern Jazz

Distinguish the differences between Cool Jazz and previous styles
Teaching and Learning Strategies
Some of which include:
 Teacher directed learning tasks
 Performing with an ensemble
 Introduction to improvisation
 Rehearsing a Jazz ensemble
 Performance workshops
 Analysis of music examples
 Viewing live performances
 Composition techniques
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Board Endorsed Nov 2008-Amended October2015
Assessment
Refer to page 27.
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching
and
Learning
Assessment




enterprising problem-solvers



skilled and empathetic communicators

creative and critical thinkers

informed and ethical decision-makers

environmentally and culturally aware citizens

confident and capable users of technologies



independent and self-managing learners




collaborative team members




Suggested Unit Resources
Books
Grauer, B. Keepnews, O. 1969, A pictorial history of Jazz, Hamlyn publishing
Gridley, Mark. 2000, Jazz Styles History & Analysis, Prentice Hall
Gelly, Dave, 2003, Icons Of Jazz, The Brown Referencing
Shadwick, K. 1991, The Illustrated story of Jazz, Golden Press pty ltd
The Ultimate Jazz fakebook. 1998, Hal Leonard Corp
The Standards Real Book. 2000, Sher Music Co.
The New Real Book, 1988, Sher Music Co
Audio visual Material
Burns, Ken. Jazz, a film by Ken Burns. ABC DVD
Suggested Works for Study
Birth of the Cool Theme – Gil Evans
Boplicity – Miles Davis
Take Five – Dave Brubeck
Girl From Ipanema – Stan Getz
There are many other suggested works for study for this unit in The New Real Book as listed above.
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Board Endorsed Nov 2008-Amended October2015
Self Directed Studies (A/T/Extension Music T)
Value 1.0
Prerequisites
As per the Music Frameworks
Specific Unit Goals
This unit should enable students to:
 complete a folio of original short works that will demonstrate an understanding of the
negotiated Music Topic.
 communicate in detail and legibly with musical notation demonstrating technical proficiency.
 perform pieces that relate specifically to the Music Topic demonstrating musical and technical
proficiency commensurate with their level of study.
 perform to an audience.
 respond aesthetically to their own works/performances and those of others.
 develop skills in analysing, understanding and interpreting musical works in a wide variety of
social, cultural and historical contexts in verbal and written forms.
 improve their independent learning and research skills.
 develop a vocabulary that successfully appraises music of various styles.
 research historical events and gain perspectives through music.
Content
A Course
T Course
Creating
Creating
Extension Music T course
Creating
 Compose music demonstrating
a breadth of influences from the
techniques characteristic of the
Music Topic.
 Compose music demonstrating
a breadth of influences from the
techniques characteristic of the
Music Topic.
 Compose music demonstrating
a breadth of influences from the
techniques characteristic of the
Music Topic.
 Provide notes demonstrating an
understanding of the
compositional techniques
researched and employed.
 Provide notes demonstrating an
understanding of the
compositional techniques
researched and employed.
 Provide notes demonstrating an
understanding of the
compositional techniques
researched and employed.
Performing
Performing
Performing
 Perform appropriate to the
instrument studied and to the
Music Topic. Perform these
pieces to an audience.
 Perform appropriate to the
instrument studied and to the
Music Topic. Perform these
pieces to an audience.
 Perform appropriate to the
instrument studied and to the
Music Topic. Perform these
pieces to an audience.
 Develop productive practice and
audience presentation skills.
 Develop productive practice and
audience presentation skills.
 Develop productive practice and
audience presentation skills.
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Board Endorsed Nov 2008-Amended October2015
Musicology
Musicology
Musicology
 Analyse and interpret a
composer’s/bands work, with
regard to the composer’s
intentions including structure,
pitch, duration, texture, timbre,
dynamic and expression,
musical cohesion and
development of a theme.
 Analyse and interpret a
composer’s/bands work, with
regard to the composer’s
intentions including structure,
pitch, duration, texture, timbre,
dynamic and expression,
musical cohesion and
development of a theme.
 Analyse and interpret in detail a
composer’s/bands work, with
regard to the composer’s
intentions including structure,
pitch, duration, texture, timbre,
dynamic and expression,
musical cohesion and
development of a theme.
 Research the cultural and
historical contexts of the Music
Topic.
 Research the cultural and
historical contexts of the Music
Topic.
 Research the cultural and
historical contexts of the Music
Topic.
 Undertake some critical
research and analysis pertaining
to the context of the Music
Topic with a view to writing a
lecture style presentation or
discussion essay.
 Undertake some critical
research and analysis pertaining
to the context of the Music
Topic with a view to writing a
lecture style presentation or
discussion essay.
 Undertake some critical
research and analysis pertaining
to the context of the Music
Topic with a view to writing a
lecture style presentation or
discussion essay.
Teaching and Learning Strategies
Some of which include:
 aural learning
 learning of music theory
 investigative, research and composition tasks
 use of visual aids
 teacher-guided learning
 student-guided learning
 consolidation and practice of fundamental skills and musicianship
 sequenced investigations to scaffold learning
 participation in group activities
 visiting artists
 workshop presentations
 peer critique
 individual problem solving
 opportunities to develop practical skills
 prepared and unprepared listening
 use of appropriate technology to aid concept development.
Assessment
Refer to page 27.
- 170 -
Board Endorsed Nov 2008-Amended October2015
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching
and
Learning
Assessment
creative and critical thinkers




enterprising problem-solvers




skilled and empathetic communicators




informed and ethical decision-makers




environmentally and culturally aware citizens




confident and capable users of technologies



independent and self-managing learners



collaborative team members
Specific Unit Resources
Refer to Bibliography on page 38.
- 171 -

Board Endorsed Nov 2008-Amended October2015
Individual Music Project (A/T/Extension Music T)
Value 0.5
Prerequisites
As per the Music Frameworks
Specific Unit Goals
This unit should enable students to:
 complete a folio of original short works that will demonstrate an understanding of the
negotiated Music Topic
 compose a complete music work that will demonstrate an understanding of the negotiated
Music Topic
 communicate in detail and legibly with musical notation demonstrating technical proficiency
 perform pieces that relate specifically to the Music Topic demonstrating musical and technical
proficiency commensurate with this level
 perform to an audience
 respond aesthetically to their own works/performances and those of others
 develop skills in analysing, understanding and interpreting musical works in a wide variety of
social, cultural and historical contexts in verbal and written forms
 improve their independent learning and research skills
 develop a vocabulary that successfully appraises music of various styles
 research historical events and gain perspectives through music.
Content
A Course
T Course
Creating
Creating
Extension Music T course
Creating
 Compose music demonstrating
a breadth of influences from
the techniques characteristic
of the Music Topic.
 Compose music demonstrating a
breadth of influences from the
techniques characteristic of the
Music Topic.
 Compose music demonstrating
a breadth of influences from the
techniques characteristic of the
Music Topic.
 Provide notes demonstrating
an understanding of the
compositional techniques
researched and employed.
 Provide notes demonstrating an
understanding of the
compositional techniques
researched and employed.
 Provide notes demonstrating an
understanding of the
compositional techniques
researched and employed.
Performing
Performing
Performing
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied, which will
demonstrate musical and
technical proficiency
commensurate with this level
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied, which will
demonstrate musical and
technical proficiency
commensurate with this level
 Solo and/or ensemble
performance, and related
practice, appropriate to the
instrument studied, which will
demonstrate musical and
technical proficiency
commensurate with this level
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Board Endorsed Nov 2008-Amended October2015
Musicology
Musicology
Musicology
 Analyse and interpret a
composer’s/bands work, with
regard to the composer’s
intentions including structure,
pitch, duration, texture,
timbre, dynamic and
expression, musical cohesion
and development of a theme.
 Analyse and interpret a
composer’s/bands work, with
regard to the composer’s
intentions including structure,
pitch, duration, texture, timbre,
dynamic and expression, musical
cohesion and development of a
theme.
 Analyse and interpret in detail a
composer’s/bands work, with
regard to the composer’s
intentions including structure,
pitch, duration, texture, timbre,
dynamic and expression,
musical cohesion and
development of a theme.
 Research the cultural and
historical contexts of the Music
Topic.
 Research the cultural and
historical contexts of the Music
Topic.
 Research the cultural and
historical contexts of the Music
Topic.
 Undertake some critical
research and analysis
pertaining to the context of
the Music Topic with a view to
writing a lecture style
presentation or discussion
essay.
 Undertake some critical research
and analysis pertaining to the
context of the Music Topic with a
view to writing a lecture style
presentation or discussion essay.
 Undertake some critical
research and analysis pertaining
to the context of the Music
Topic with a view to writing a
lecture style presentation or
discussion essay.
Teaching and Learning Strategies
Some of which include:
 aural learning
 learning of music theory
 investigative, research and composition tasks
 use of visual aids
 teacher-guided learning
 student-guided learning
 consolidation and practice of fundamental skills and musicianship
 sequenced investigations to scaffold learning
 participation in group activities
 visiting artists
 workshop presentations
 peer critique
 individual problem solving
 opportunities to develop practical skills
 prepared and unprepared listening
 use of appropriate technology to aid concept development.
Assessment
Refer to page 27.
- 173 -
Board Endorsed Nov 2008-Amended October2015
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching
and
Learning
Assessment
creative and critical thinkers




enterprising problem-solvers




skilled and empathetic communicators




informed and ethical decision-makers




environmentally and culturally aware citizens




confident and capable users of technologies



independent and self-managing learners



collaborative team members
Specific Unit Resources
Refer to Bibliography on page 38.
- 174 -

Board Endorsed Nov 2008-Amended October2015
Classical Music M
Value 1.0
Student Profile
Student with mild to moderate intellectual disability.
Prerequisites
As per the Music Framework
Specific Unit Goals
A unit before Modification
M unit after Modification
This unit should enable students to:
This unit should enable students to:
 demonstrate an understanding of the concepts
of music as they relate to Classical music
through interpreting, analysing and discussing
 demonstrate an understanding of the concepts of
music as they relate to Classical music through
interpreting and discussing
 perform music that is characteristic of the
period, and demonstrate an understanding of
the style
 perform music that is characteristic of the period,
and demonstrate features of style
 create and arrange music using elements found
in Classical music
 Arrange music using elements found in Classical
music
 demonstrate an understanding of the role of
music in the culture of the period and the
influences the culture has on the music
 demonstrate an understanding of the role of
music in the culture of the period
Content
A unit before Modification
Creating
M unit after Modification
Creating
 Complete compositional exercises demonstrating
a developing understanding of specific elements
of Classical style, with reference to techniques
employed in the Classical Period
 Complete simple compositional exercises
demonstrating a developing understanding of
specific elements of Classical style
 Compose a musical work that demonstrates a
developing understanding of the Classical Period
Performing
 Arrange a musical work that demonstrates a
developing understanding of the Classical Period
Performing
 Solo and/or ensemble performance, and related
practice, appropriate to the instrument studied,
which will demonstrate musical and technical
proficiency commensurate with this level
Musicology
 Solo and/or ensemble performance, and related
practice, appropriate to the instrument studied,
which will demonstrate musical and technical
proficiency commensurate with this level
Musicology
 Analyse a work by a Classical composer.
 Listening and aural exercises
 Listening and aural exercises
 Develop an understanding of Classical musical
structures e.g. Sonata Form
 Develop an understanding of Classical musical
structures e.g. Sonata Form
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Board Endorsed Nov 2008-Amended October2015
Teaching and Learning Strategies
Students with special educational needs will be provided with opportunities to engage in successful
and challenging learning experiences in all key learning areas. The outcomes for them will be
appropriate to their abilities and needs.
A unit before Modification
M unit after Modification
Some of which include:
Some of which include:
 aural learning
 aural learning
 learning of music theory
 learning of music theory
 investigative, research and composition tasks
 investigative, research and composition tasks
 use of visual aids
 use of visual aids
 teacher-guided learning
 teacher-guided learning
 student-guided learning
 consolidation and practice of fundamental skills
and musicianship
 consolidation and practice of fundamental skills
and musicianship
 sequenced investigations to scaffold learning
 sequenced investigations to scaffold learning
 participation in group activities
 participation in group activities
 visiting artists
 visiting artists
 workshop presentations
 workshop presentations
 opportunities to develop practical skills
 peer critique
 prepared and unprepared listening
 individual problem solving
 use of appropriate technology to aid concept
development.
 opportunities to develop practical skills
 prepared and unprepared listening
 use of appropriate technology to aid concept
development.
Assessment
Refer to page 27.
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching
Assessment




enterprising problem-solvers



skilled and empathetic communicators

creative and critical thinkers

informed and ethical decision-makers



environmentally and culturally aware citizens

confident and capable users of technologies
independent and self-managing learners

collaborative team members

- 176 -



Board Endorsed Nov 2008-Amended October2015
Specific Unit Resources
Books
Bowman, D & Terry, P, 1993, Aural Matters, Schott Publishing
Bowman, D & Terry, P, 1994, Aural Matters in Practice, Schott Publishing
Cole, B, 1996, The Composer's Handbook, Schott Publishing
Dorricott, In Tune with Music, McGraw-Hill book company, NY
Kamien, R (ed.), 1999, The Norton Scores: An Anthology for Listening, Norton
Kamien, R., 2007, Music, an Appreciation, McGraw-Hill book company, NY.
Sturman, P, 1996, New Grove Dictionary of Music and Musicians, McMillan Press, South Melbourne.
Sadie S and Latham A, 1990, The Cambridge Music Guide, Cambridge London.
Music Software
Auralia
Cubasis
Musition II
Sibelius
Finale
Suggested Works for Study
Amadeus (movie) Warner Home Video 1984
Beethoven, Symphony No5
Mozart Symphony No39 in Eflat K543
Mozart. Eine kliene Nachtmisik, K 525
Mozart, Flute Concerto in D K285
Haydn, “Surprise” Symphony
These were accurate at the time of publication.
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Board Endorsed Nov 2008-Amended October2015
Music for Film M
Value: 1.0
Student Profile
A student with a mild to moderate intellectual disability.
Prerequisites
Nil
Specific Unit Goals
This unit should enable students to
A unit before Modification
M unit after modification

demonstrate a knowledge and
understanding of the function and
importance of music to film and the
ability to respond and create written and
compositional tasks reflecting these traits

identify the role and importance of music
to film and create written and
compositional tasks reflecting this role

appreciate, critically analyse and
understand both aurally and from printed
music works related to film and respond
through oral, written expression

identify music related to film

examine the impact of technology for the
composer in all genres

describe the impact of technology for the
composer in all genres

the role and importance of the composer
in film

describe the role and importance of the
composer in film

increase technical practical skills through
performance of solo/ensemble works at a
standard commensurate with their level
of study

increase practical skills through
performance of solo/ensemble works at a
standard commensurate with their level
of study
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Board Endorsed Nov 2008-Amended October2015
Content
A Course
A Course
Creating
Creating
 Complete a folio of compositional exercises
appropriate for music of a film.
 Compose 1-2 simple pieces of music using a
digital program appropriate for a section of a
film
 Develop music reading and writing skills using
basic notation.
 Compose a work which demonstrates a
developing understanding of film music
Performing
Performing
 Solo and/or ensemble performance, and
 Solo and/or ensemble performance, and
related practice of music which will
related practice, appropriate to the instrument
demonstrate musical and technical proficiency
studied, which will demonstrate musical and
commensurate with this level
technical proficiency commensurate with this
level
Musicology
Musicology
 Explore the evolution and function of music
sounds for film scores within the four genres:
comedy, romance, drama and action.
 Explore the evolution and function of music
sounds for film scores within the four genres:
comedy, romance, drama and action.
 Develop an understanding of the role and
purpose of the musical score in creating a
sense of time and place.
 Develop an understanding of the role and
purpose of the musical score in creating a sense
of time and place.
 Examine the relationship between the
composer and the director.
 Listen to and analyse examples from a variety
of composers/genres and significant, historical
soundtracks.
 Explore the relationship between the composer
and the director.
 Explore examples from a variety of
composers/genres and significant, historical
soundtracks.
Teaching and Learning Strategies
Students with special educational needs will be provided with opportunities to engage in successful
and challenging learning experiences. The outcomes for them will be appropriate to their abilities
and needs.
A unit before Modification
M unit after modification
 Teacher directed learning
 Teacher directed learning
 Student directed learning
 Listening and viewing activities
 Listening, viewing and score reading
activities
 Exploring musical examples
 Viewing recorded and live performances
 Analysis of musical examples
 Viewing and examining the importance of
sound in films
 Viewing recorded and live performances
 Viewing and analysing the importance of
sound in films
 Creating workshops on compositional tasks
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Board Endorsed Nov 2008-Amended October2015
Assessment
Refer to page 27.
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching
and
Learning
Assessment
creative and critical thinkers




enterprising problem-solvers




skilled and empathetic communicators

informed and ethical decision-makers


environmentally and culturally aware citizens

confident and capable users of technologies

independent and self-managing learners

collaborative team members






Specific Unit Resources
Books
Dorricot, I., Allan, B., Exploring Film Music, McGraw Hill Book Company, Sydney, 2001
Dorricott, I., Allan, B., Exploring Film Music Score Reading, McGraw Hill Book Company, Sydney, 2001
Web sites
http://www.filmscoremonthly.com/
http://www.filmmusic.com/
Musical examples from the following films are suggested for studyMission Impossible
Fifth Element
Gladiator
Schindler’s List
Star Wars
Gallipoli
Doctor Zhivago
Terminator 3
One Perfect Day
Bend It Like Beckham
Master and Commander
Lord of the Rings
Shine
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Board Endorsed Nov 2008-Amended October2015
Magnificent Seven
Great Escape
Matrix
The English Patient
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Board Endorsed Nov 2008-Amended October2015
Swing and Bebop Music M
Value 1.0
Student Profile
Students with mild to moderate intellectual disability.
Prerequisites
As per the Music Framework
Specific Unit Goals
A unit before Modification
M unit after Modification
This unit should enable students to:
 critically analyse and recognise aurally
and in print Swing and Bebop Jazz forms
This unit should enable students to:
 recognise aurally and in print Swing and
Bebop Jazz forms
 demonstrate an understanding of the
genres Swing & Bebop and their social and
geographical origins
 demonstrate an understanding of the
genres Swing & Bebop and their origins
 demonstrate an understanding of
Swing & Bebop rhythms and create
composition tasks reflecting these styles
 demonstrate an understanding of Swing
& Bebop rhythms and create composition
tasks reflecting these styles
 increase their practical skills through
performance of solo and ensemble works
at a standard commensurate with the
level of study.
 increase their practical skills through
performance of solo and ensemble works
at a standard commensurate with the level
of study.
Content
A unit before Modification
Creating

Composing simple melodic lines in
Mixolydian and Dorian Modes
Performing
M unit after Modification
Creating

Composing simple melodic lines in
Mixolydian and Dorian Modes
Performing

Solo and ensemble works in the
Swing & Bebop styles which may be
at the basic style.

Solo and ensemble works in the
Swing & Bebop styles which may be
at the basic style.

Developing solos

Developing solos
Musicology

Explore musical examples of Swing
& Bebop styles
Musicology

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Explore musical examples of Swing
& Bebop styles
Board Endorsed Nov 2008-Amended October2015

Elements of Tempo/ Pulse and
Swing rhythm

Elements of Tempo/ Pulse and
Swing rhythm

Compare various arrangements

Compare various arrangements
Teaching and Learning Strategies
Students with special educational needs will be provided with opportunities to engage in successful
and challenging learning experiences. The outcomes for them will be appropriate to their abilities
and needs.
A unit before Modification
M unit after Modification
Some of which include:
Some of which include:
 aural learning
 learning of music theory
 investigative, research and
composition tasks
 use of visual aids
 teacher-guided learning
 consolidation and practice of
fundamental skills and musicianship
 sequenced investigations to scaffold
learning
 participation in group activities
 visiting artists
 workshop presentations
 opportunities to develop practical
skills
 prepared and unprepared listening
















aural learning
learning of music theory
investigative, research and
composition tasks
use of visual aids
teacher-guided learning
student-guided learning
consolidation and practice of
fundamental skills and musicianship
sequenced investigations to
scaffold learning
participation in group activities
visiting artists
workshop presentations
peer critique
individual problem solving
opportunities to develop practical
skills
prepared and unprepared listening

use of appropriate technology to
aid concept development.
Assessment
Refer to page 27.
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use of appropriate technology to aid
concept development.
Board Endorsed Nov 2008-Amended October2015
Student Capabilities
Evidence could be in:
Student Capabilities
Goals
Content
Teaching
Assessment
creative and critical thinkers




enterprising problem-solvers



skilled and empathetic communicators


informed and ethical decision-makers



environmentally and culturally aware citizens

confident and capable users of technologies
independent and self-managing learners

collaborative team members




Specific Unit Resources
Books
Bowman, D & Terry, P, 1993, Aural Matters, Schott Publishing
Bowman, D & Terry, P, 1994, Aural Matters in Practice, Schott Publishing
Cole, B, 1996, The Composer's Handbook, Schott Publishing
Dorricott, In Tune with Music, McGraw-Hill book company, NY
Kamien, R (ed.), 1999, The Norton Scores: An Anthology for Listening, Norton
Kamien, R., 2007, Music, an Appreciation, McGraw-Hill book company, NY.
Sturman, P, 1996, New Grove Dictionary of Music and Musicians, McMillan Press, South Melbourne.
Sadie S and Latham A, 1990, The Cambridge Music Guide, Cambridge London.
Music Software
Auralia
Cubasis
Musition II
Sibelius
Finale
Suggested Works for Study
Amadeus (movie) Warner Home Video 1984
Beethoven, Symphony No5
Mozart Symphony No39 in Eflat K543
Mozart. Eine kliene Nachtmisik, K 525
Mozart, Flute Concerto in D K285
Haydn, “Surprise” Symphony
These were accurate at the time of publication.
- 184 -