SAMPLE COURSE OUTLINE
MUSIC – CONTEMPORARY
ATAR YEAR 11
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© School Curriculum and Standards Authority, 2014
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2014/19856v4
1
Sample course outline
Music – Contemporary – ATAR Year 11
Unit 1 – Rock
Written component – Key teaching points
Practical component
Week
1–3
Aural
Theory and Composition
Sight singing: to be continued consistently
throughout the semester. Examples in both
treble and bass clef based on scales and
intervals stipulated
Scales: Major pentatonic, minor
pentatonic, Major, Blues scale
Intervals: m2, M2, m3, M3, P4, P5, m6, M6,
m7, M7, P8ve (melodic and ascending only)
Imitation and Call and response: up to
4 bars based on rhythms, scales and
intervals covered
Chords: power chords/tonic and dominant,
major chords: I, IV and V or chord names
(e.g. C, F and G)
Theory
 Identify and write intervals, scales and
chords in treble and bass clef, major keys,
up to two sharps and flats
Chords
 Chord recognition and analysis; major
and minor triads, dominant 7th chords,
I, IV and V using Roman numerals and
chord names
 Provide chords to a given melody/song
 12 bar blues progression and structure
Rhythmic exercises
 Identify and write syncopated rhythms,
focusing on the use of ties, anticipation
and delay
 Rhythm regrouping exercises using
syncopation and rests
 Provide a rhythmic scansion for given
lyrics
Arranging
 Discuss score layout, examining sample
scores and notation (conventional,
slash-rhythm guitar, TAB, drum set)
 Identify the use of music elements in a
blues melodic style analysing given
melodies
Rhythmic dictation:
,
,
or
 rhythms including
,
Melodic dictation: 4 bars, treble and bass
clef, up to one sharp and one flat, based on
scales covered. Rhythm and some pitch
provided
Cultural and historical analysis
Introduction to style – what is Rock?
Listen to a range of examples to prompt
discussion about elements of rock music.
The Blues – background and characteristics
 syncopation
 call and response
 improvisation
 blues scale and ‘blue notes’
 12 bar structure
Discuss the socio-cultural context in 1950s
America.
 Watch The invention of the teenager
(DVD – ‘James Mays’ 20th century’)
 Rock’n’roll – the ‘whitening’ of African
American rhythm and blues, influence of
country and western music
 Elvis Presley – background and
controversy surrounding TV appearances
 Australian Rock in the 1950s
Aural and visual analysis of designated
work.
 Comparison with other rock’n’roll songs
of the ‘50s; (Elvis Presley, Lil’ Richard,
Buddy Holly, Jerry Lee Lewis etc.)
Performance or
Composition portfolio
Distribute technical lists and
recommended repertoire from
the Music: Resource package
for the practical component.
Outline assessment
requirements for the semester
in consultation with
instrumental teachers,
ensemble directors and/or
composition portfolio
supervisors.
Sample course outline | Music – Contemporary | ATAR Year 11
2
Written component – Key teaching points
Practical component
Week
Aural
Theory and Composition
Cultural and historical analysis
Scales: natural minor/aeolian mode, Blues
scale
Intervals: add harmonic intervals: P4, P5,
P8
Chords: root position (block), arpeggio
(broken), major, minor, dominant 7th,
maj 7th
 add V7, vi in major keys
 Standard Blues progressions I, IV, V and
V7
Modulation: relative major/minor
Theory
 Identify and write natural minor/Aeolian
and Blues scales and related intervals in
minor keys
 Identify modulations to the relative
minor and major in melodic excerpts
 Rhythm exercises in compound time
Chords
 Introduce vi in major keys
 I, vi, IV, V progression– listen to and
analyse examples using this progression.
Harmonise given melodies using the
progression and write a melody to fit the
progression
Arranging – Bass lines
 Listen to and analyse Bass lines – various
styles and typical pop bass lines such as
walking bass or country style (root/5th
common notes, passing notes and linking,
passages/notes)
 Select and write appropriate bass lines
for given melodies in different styles
 Add a stylistically appropriate bass line to
a given melody, lyrics and chord
progression
Drum Kit Notation
 Identify and demonstrate different parts
of the drum set, reading and performing
simple rock patterns
 Teach swing/shuffle feel – blues music
 Discuss the demise of rock’n’roll and the
rise of the producer
 Overview of music in the late ‘50s – Phil
Spector and the wall of sound, girl
groups, teen pop, folk rock, and surf rock
 Listen to a range of examples to compare
and contrast rock and pop
 The British Invasion – what was new?
Discuss the background of British pop in
the late ‘50s, the influence of skiffle
music on the Beatles and American
influences, in particular Buddy Holly and
early rock’n’roll
 The Beatles – examine and discuss
their impact on American music (watch
the Beatles perform on the Ed Sullivan
Show in 1964)
 discuss The Rolling Stones as an
alternative ‘bad-boy’ image
 compare the look, performance style
of and the music of both bands
 listen to other bands included in the
British Invasion identifying either
‘Beatles–style’ or ‘Rolling Stones-style’
 discuss the influence of the Chicago
electric blues tradition on the Rolling
Stones – British Blues revival
 compare and contrast with other
bands in the same style – The
Yardbirds, The Animals, The Kinks,
The Who etc.
Aural and visual analysis of second
designated work.
Rhythmic dictation: simple time
,
,
,
 compound time
4–6
rests, including
,
and
– basic rhythms and
and
Melodic dictation: 4–8 bars, minor keys
Discrepancies: treble/bass clef, 4 bars,
4 discrepancies in either pitch or rhythm
Aural analysis: recognition of music
elements in short extracts (form, metre,
dynamics/expressive devices, tempo,
instrumentation)
Skeleton score: 2–4 parts, 4–8 bars
Sample course outline | Music – Contemporary | ATAR Year 11
Performance or
Composition portfolio
Week 5: Performance
3
Written component – Key teaching points
Practical component
Week
Aural
Theory and Composition
Cultural and historical analysis
Performance or
Composition portfolio
 Identify and analyse (aurally and visually)
different drum techniques –side stick, rim
shot, double kick, open and closed hi-hat
 Drum fill – how to notate and when it is
appropriate
 Analyse and write drum parts using
appropriate notation, add drum part to
given melody
Task 1: Aural test (3%)
Task 2: Theory test (2%)
Comparative aural and visual analysis of
familiar and unfamiliar songs.
Performance Task 1 –
Prepared repertoire (2%)
Composition portfolio Task 1 –
Composition assessment (5%)
Scales: harmonic minor
Intervals: add harmonic intervals: m2, M2,
m3, M3, m6, M6, m7, M7
Chords: ii in Major keys
 minor chord progressions
 Roman numerals
o minor: i, iv, V and V7
 chord names (as indicated)
o minor: Am, Dm, E and E7
 minor Blues progression
o i, iv, V and V7
Modulation: to the dominant
Rhythmic dictation: 8 bars, anacrusis/
upbeat/pick-up, syncopation, ties
Theory
 Identify and write scales, including
harmonic minor
Chords
 Chord recognition, analysis and
harmonisation of given melodies in keys
up to three sharps and three flats
 Roman numerals
o Major: I, ii, IV, V, V7 and vi
o minor: i, iv, V and V7
 Chord names (as indicated in C)
o Major: C, Dm, F, G, G7 and Am
o minor: Am, Dm, E and E7
 Identify and write standard Blues
progressions I, IV, V and V7
 Recognise passing notes (diatonic and
chromatic)
Week 9: Task 3 – Cultural and historical
analysis (3%)
 Examine the development of hard rock
following the Rolling Stones – Led
Zeppelin, Deep Purple etc.
 Psychedelia – new ways to experience the
world. The youth culture and drugs – Ken
Kesey, Timothy Leary and LSD
 musical expression of Psychedelia –
Sergeant Pepper’s Lonely Hearts Club
Band album release and impact. The
Beach Boys and ‘Smiley Smile’, the San
Francisco scene (Jefferson Airplane,
The Grateful Dead etc.), Woodstock
and the rock festival phenomenon.
 Progressive Rock – extension of the
hippie aesthetic, influence of Western Art
Music and Jazz
 listening examples: Pink Floyd, Yes,
Emerson, Lake and Palmer, King
Crimson etc.
Week 10: Performance Task 2 –
Sight reading or Improvisation
(3%)
7
8–10
Simple time:
Compound:
,
,
,
,
Sample course outline | Music – Contemporary | ATAR Year 11
4
Written component – Key teaching points
Practical component
Week
Aural
Theory and Composition
Cultural and historical analysis
Melodic dictation: 8 bars, treble and bass
clef, two sharps and two flats, based on
scales covered
Imitation and Call and response: up to
4 bars
Discrepancies: treble/bass clef, 4 bars,
4 discrepancies in either pitch or rhythm
Aural analysis: identification of style, form,
instruments, voice types, instrumental and
vocal techniques
Composition and arrangement
 Identify and analyse guitar techniques
and notation; bend, slide, palm mute,
harmonics, vibrato
 Transcribe and write TAB notation for
guitar and bass
 Analyse the role of the lead guitar or
keyboard as a melodic instrument in
blues examples, identifying spaces in the
12 bar structure for improvisation or lead
playing
 Analyse and write short guitar examples
using appropriate notation
 Revise symbols and terminology for
tempo, dynamics and expressive
elements for accents, articulations and
ornamentations
 Discuss the big business of rock in the
mid ‘70s – investment in record
companies, money made from album
sales and concerts held in arenas and
stadiums. Friction between creativity and
economic concerns – perceived or
reality?
 Introduce Rock from an Australian
perspective, discussing the pub rock
scene in Australia and ACDC
 formed in 1973 – influences drawn
from ‘70s hard rock and the British
Blues Revival. Considered pioneers of
heavy metal
 aural and score analysis of Highway to
Hell. Comparison with other Australian
bands such as Cold Chisel, The Angels
etc.
, ,
Melody writing
 Analyse a range of Contemporary/rock
melodies, identifying melodic shape, use
of repetition, syncopation, passing notes
(chromatic and diatonic) and scale types
 Compose an 8 bar melody over given
chords, incorporating features identified
and discussed in analysis tasks. Add
expressive elements such as accents,
articulations, ornamentations where
stylistically appropriate
Sample course outline | Music – Contemporary | ATAR Year 11
Performance or
Composition portfolio
5
Written component – Key teaching points
Practical component
Week
Aural
Theory and Composition
Cultural and historical analysis
Task 4: Formal assessment – Aural analysis
(2%)
Scales: chromatic
Intervals: all intervals in isolation or part of
a melodic excerpt.
Harmonic intervals: m6, M6, m7, M7
Harmony: ii in Major keys, VI in minor keys
Interrupted cadences in minor keys
V-VI, V7-VI (keyboard and vocal style)
Rhythmic dictation
Simple time signatures
Theory
 Identify and write chromatic scales in
treble and bass clef
Chords/Harmony
 Identify and write major 7th and minor 7th
chords in keys up to 3 sharps and
3 flats
 Identify and write Standard Blues
progressions (I, IV, V and V7)
 Identify and write passing notes (diatonic
and chromatic)
 Identify and write circle of fifths/fourths
Modulation
 Recognise and transpose given extracts to
either the relative major or minor and
dominant
 Compose a melody that contains a
modulation to the relative major/minor
Composition
 Listen to and analyse examples of
harmonisation, harmony lines, rhythmic
figures and counter-melodies in different
styles of rock music, particularly in
progressive rock
 Add appropriate chords to a given melody
 Create a harmony part to given melodies
(or melodies students have written in
previous weeks)
 Discuss the roots of Punk music as an
underground reaction to the big business
of rock in the mid ‘70s. Discuss the origins
of the punk scene in New York – The
Velvet Underground, Patti Smith, The
Ramones etc.
 Listen to and discuss the look, music and
performing style of The Sex Pistols and
the British Scene, noting that British punk
also developed as a reaction to the
economic conditions of the time
 Examine the rise of the New Wave –
removal of the more negative and antisocial aspects of British punk. Listen to
examples from Elvis Costello, Devo, The
Clash, Blondie, Talking Heads etc.
 Discuss the development of rock music in
the ‘80s. Examine the influence of MTV in
contributing to the growth in importance
of the music video to sell music and
achieve success and popular appeal in the
music industry
 REM and the development of the college
rock underground – lack of affiliation with
major labels, small independent labels,
college radio stations played recordings
released by the bands themselves;
non-commercial
 Examine the development of Heavy Metal
and Rap in the early ‘80s – image
representing a disenfranchised societal
group
Compound:
11–13
,
,
,
Melodic dictation: chromatic passing notes
Discrepancies: treble/bass clef, 4–8 bars,
4 discrepancies in both pitch and rhythm
Skeleton score: compositional devices,
dictations, chords, cadences
Performance or
Composition portfolio
Sample course outline | Music – Contemporary | ATAR Year 11
6
Written component – Key teaching points
Practical component
Week
Aural
Theory and Composition
Cultural and historical analysis
Performance or
Composition portfolio
 Look at the rise of the metal mega-stars
and ‘hair bands’ – Bon Jovi, Guns and
Roses, Metallica etc.
 Alternative Rock – a reaction to the
visually-oriented MTV stars and the flashy
heavy metal bands as well as a style that
embraced the return-to-simplicity
aesthetic of ‘70s British punk.
Characterised by casual fashion, rejection
of long virtuosic guitar solos and usually
not affiliated with major record labels
 Background to Nirvana and the Seattle
grunge scene
 analysis of Smells Like Teen Spirit.
Resource: Covach, pp. 502–503
 Listen to other grunge bands such as
Pearl Jam, Foo Fighters, Soundgarden etc.
14–15
Revise all scales, intervals and chords
Harmony
Modulation: relative major/relative minor,
using a range of examples
Rhythmic dictation
Simple metres: 8 bars, including
syncopation and anacrusis
Compound metres: 8 bars
,
,
Melodic dictation: 8 bars, chromatic
passing notes
Discrepancies: treble/bass clef, 4–8 bars,
4 discrepancies in both pitch and rhythm
Week 14 – Task 6: Formal assessment –
Score analysis and Melody writing (2%)
Scales
 Revision of all scales, modes and intervals
up to three sharps and three flats
Chords
 Revision of major and minor triads, major
7th, minor 7th and dominant 7th chords in
keys up to three sharps and three flats
 Chord recognition and analysis of major
and minor chord progressions
 Roman numerals
o Major: I, ii, IV, V, V7 and vi
o Minor: i, iv, V and V7
Sample course outline | Music – Contemporary | ATAR Year 11
Week 14 – Task 5: submit summary table
and 1000 word essay (2%)
Complete analysis of final designated work.
Revision of Semester 1: using familiar and
unfamiliar excerpts, focusing on the
designated works.
Week 14: Performance Task 3 –
Recital practice (3%)
Week 15: Performance Task 4 –
Instrumental teacher report
(2%)
Week 15: Composition Task 2 –
Composition portfolio
supervisor report (5%)
7
Written component – Key teaching points
Practical component
Week
Aural
Skeleton score: compositional devices,
dictations, chords
Revision of Semester 1 work for exams
Theory and Composition
Cultural and historical analysis
Performance or
Composition portfolio
Composition/arranging
 Revise instrumental and vocal techniques
 Revise drum notation, slash notation
 Symbols and terminology for tempo,
dynamics, accents and articulation
 Melody-writing and harmonisation
practice
Revision of Semester 1 work for exams
Task 7: Semester 1 examination
Task 7: Semester 1 examination
Task 7: Semester 1 examination
Performance Task 5 –
Semester 1 performance
examination (15%)
16
Composition portfolio Task 3 –
submission of composition
portfolio (15%)
Sample course outline | Music – Contemporary | ATAR Year 11
8
Unit 2 – Folk
Written component – Key teaching points
Practical component
Week
1–3
Aural
Theory and Composition
Cultural and historical analysis
Sight singing: to be continued consistently
throughout the semester. Examples in both
treble and bass clef based on scales and
intervals stipulated
Scales: revise Major/do pentatonic,
minor/la pentatonic, Major/ionian mode,
natural minor, harmonic minor
Intervals: revise all intervals in isolation
and as part of a melodic line
Harmony: chord progressions
 4 to 8 bars, major and minor keys up to
2 sharps and 2 flats
 Major:
 Roman numerals: I, IV, V, V7 and vi
 chord names: C, F, G, G7 and Am
 minor:
 Roman numerals: i, iv, V and V7
 chord names: C, F, G and G7
Rhythmic dictation: simple time including
Theory
 Identify and write intervals and scales in
treble and bass clef, Major keys, up to
two sharps and flats
Harmonisation
 Analyse chords in given 4–8 bar extracts
 Harmonise given melodies at phrase
endings
Rhythmic scansion/Melody writing
 Complete a word scansion task, providing
an appropriate rhythm for given lyrics
 Compose a suitable 8 bar melody in a
folk style to fit the rhythmic scansion.
Incorporate syncopation and word
painting
 Compose an 8 bar melody from a given
motif or chord progression, incorporating
a modulation to the relative major or
minor
Introduction to folk music
 Definitions of folk music – starting with
the purist view of songs belonging ‘to the
musical heritage of a particular people,
(having) no known composer, and
(having) been passed orally from one
generation to another or from one group
of people to another’ (Dorricott – In Tune
With Music Bk 3). Basic music elements
of folk music with listening examples
(include aural recognition of major
pentatonic scale)
 Listen to several musical examples of
Contemporary folk and identify the music
elements that distinguish it from other
styles. Generate a discussion of the
blurred lines between Folk, Rock, Pop,
Country etc.
 Use of Venn diagram (or similar graphic
representation) to illustrate the general
characteristics of Contemporary folk in
comparison to other Contemporary
styles
Begin analysis of designated work
,
,
,
Melodic dictation: 8 bars, treble and bass
clef, up to two sharps and flats, based on
scales stipulated. (Some pitch and/or
rhythm provided.)
Discrepancies: treble/bass clef, 4 bars,
4 discrepancies in either pitch or rhythm
Sample course outline | Music – Contemporary | ATAR Year 11
Performance or
Composition portfolio
Outline assessment
requirements for the semester
in consultation with
instrumental teachers and/or
composition portfolio
supervisors.
9
Written component – Key teaching points
Practical component
Week
Aural
Theory and Composition
Scales: revise natural/Aeolian mode,
harmonic and melodic minor, Blues scale
Intervals: revise all harmonic intervals
Harmony: chord progressions
 4 to 8 bars, key signatures up to
2 sharps and 2 flats
 Add chord ii in major keys
Modulation: relative major/minor and
dominant
Rhythmic dictation: include anacrusis and
syncopation:
simple time
4–6
compound time
,
,
,
Melodic dictation: 4–8 bars, based on
minor scales and Blues scale, treble and
bass clef
Aural analysis: recognition of music
elements in short extracts (form, metre,
dynamics/expressive devices, tempo,
instrumentation)
Skeleton score: 2–4 parts, 4–8 bars
Theory
 Identify and write natural minor/aeolian
mode and harmonic minor scales and
related intervals in minor keys
Harmonisation
 Chords revision – Major, minor,
dominant 7th, major 7th, minor 7th
 Recognition of chords aurally and visually
 Provide chords to given melodies
Melody writing/arranging
 Write a melody to a given chord
progression in a folk style
 Harmonise the melody writing a suitable
counter melody/descant
Modulation
 Identify modulations to the dominant
and relative major/minor a range of
examples
 Compose an 8–12 bar melody that
includes a modulation
Cultural and historical analysis
 Folk in the 1940s and ‘50s – Woody
Guthrie and Pete Seeger and their appeal
to college students in the USA as
opposed to the teen pop market
 Watch first half of No Direction Home,
the Martin Scorsese film about Dylan as
an introduction to folk, country,
rock‘n’roll in the ‘50s. Great background
to Bob Dylan and his influences. Good
insight into the ‘beatnik’ culture and
Greenwich Village in the early ‘60s
 Protest song – the ‘Weavers’ and the folk
revival. Folk song as protest. The
McCarthy era and the blacklist. Some
good footage and background
information about Pete Seeger in No
Direction Home
 The Kingston Trio and ‘Peter, Paul and
Mary’ – folk-pop. Some good footage of
Peter, Paul and Mary in No Direction
Home
 Listening – comparison between Bob
Dylan and Peter, Paul and Mary in
Blowin’ in the Wind. Use as an exercise in
identifying chord progressions
Resources:
 YouTube for versions of Blowin’ in the
Wind
 No Direction Home (Martin Scorsese film)
Performance or
Composition portfolio
Week 5: Performance
Task 6 – Prepared repertoire
(2%)
Sample course outline | Music – Contemporary | ATAR Year 11
10
Written component – Key teaching points
Practical component
Week
Aural
Theory and Composition
Performance or
Composition portfolio
Task 8: Formal assessment – Aural test
(3%)
Arranging
 Review of arrangement techniques and
notation-bass lines, passing notes,
auxiliary notes, slash notation for guitar
 Listen to and analyse guitar and bass
guitar techniques-slap, walking bass etc.
and drum parts and drum kit notation
 More on ‘protest’ song – from 1963 and
Martin Luther King’s speech in
Washington to Woodstock in 1969
 The Vietnam War – watch Joan Baez and
performances by other folk singers at
Woodstock – use songs as Aural analysis
activities – chord recognition etc.
Resources:
 No Direction Home
 What’s that Sound? first edition by John
Covach
 ‘Rockin’ Out – Popular Music in the USA’
by Reebee Garofalo
 ‘The Jazz and Rock Resource’ by Geoff
Lowe
 Woodstock – The Music DVD
Analysis of designated work: folk
characteristics, chords, lyrics, performance
style
Composition portfolio
Task 4 – Composition
assessment (5%)
Scales: Blues, chromatic
Chords
 Recognition of major, minor, dominant
7th, minor7 and maj7 chords
Chord progressions
 4–8 bars, with some chords given
 Identifying the chords below a given
melody
 Roman numerals
 major: I, ii, IV, V, V7 and vi
 minor: I, iv, V and V7
 Chord names (as indicated)
 major: C, Dm, F, G, G7 and Am
 minor: Am, Dm, E and E7
 Standard Blues progression
 I, I7, IV, IV7, V and V7
Week 8 – Task 9: Formal Theory test (2%)
Theory
 Identify and write Blues and chromatic
scales
Chords
 Analyse Blues progressions and provide
chords to a given Blues melody
 Identify and write Standard Blues
progressions (I, IV, V and V7)
 Identify and write passing notes (diatonic
and chromatic)
 Identify and write circle of fifths/fourths
Week 8 – Task 10: Aural and visual
analysis test (2%)
 Search YouTube and listen to covers of
folk songs and compare with originals,
discussing stylistic differences
 Listen to other songs by the same artist,
compare and analyse compositional and
stylistic characteristics
 Bob Dylan – New directions. The British
invasion and its effect on Dylan. The new
sound of Like a Rolling Stone – good
footage and background in No Direction
Home
 Newport Folk Festival 1965
 The development of folk-rock
Week 9: Performance
Task 7 – Technical work (2%)
7
8–10
Cultural and historical analysis
Sample course outline | Music – Contemporary | ATAR Year 11
11
Written component – Key teaching points
Practical component
Week
Aural
Theory and Composition
Rhythmic dictation: 8 bars, include
anacrusis and some syncopation
Simple metre rhythms for dictations:
,
Compound:
,
,
,
,
,
Melodic dictation: 8 bars, treble and bass
clef, up to two sharps and two flats, based
on scales covered. Incorporate at least 2
challenging sections – rhythms/ties/larger
intervals. Include examples with chord
progressions
Discrepancies: treble/bass clef,
4 discrepancies in either pitch or rhythm
Aural analysis: recognition of music
elements, form, compositional devices,
instrumentation, instrumental techniques
11–13
Harmony: revise all chords in major and
minor keys
 Standard Blues progression
 I, I7, IV, IV7, V and V7
 Minor Blues progression
 i, i7, iv, iv7, V and V7
Modulation: relative major/minor and
dominant in a range of examples
Rhythmic dictation: 8 bars, simple time
continued, include syncopation
Compound:
,
,
Melody writing and arranging
 Write a Blues style melody to a given
chord Blues progression, incorporating
appropriate syncopation and articulation
 Arrange a given melody and chord
progression for a folk ensemble,
incorporating counter melody, suitable
guitar and bass guitar parts, drum part,
using appropriate notation, articulation
and stylistic indications
Melody writing
 Rhythmic scansion and Melody writing
for given lyrics
 Write an 8 bar melody for a given chord
progression
 Complete an 8 bar melody from a given
motif
Composition/arranging
 Revise instrumental and vocal techniques
 Revise drum notation, slash notation
 Symbols and terminology for tempo,
dynamics, accents and articulation
Cultural and historical analysis
Performance or
Composition portfolio
 Compare and contrast Mr Tambourine
Man by The Byrds and Dylan
 Folk after the ‘60s – Altimont, Kent State
University and the end of the hippie
aesthetic
 Nixon’s America in the ‘70s
 Current trends and the revival of folk in
the ‘roots’ genre
 Archie Roach and Australian folk music
 Back to ‘What is Folk?’
Revision of Semester 1
Sample course outline | Music – Contemporary | ATAR Year 11
12
Written component – Key teaching points
Practical component
Week
Aural
Theory and Composition
Melodic dictation: 8 bars, treble and bass
clef, based on scales covered, including
chromatic passing notes
Discrepancies: treble/bass clef, 4–8 bars,
4 discrepancies in both pitch and rhythm
Skeleton score: 3–4 parts, mixed
ensembles; identifying compositional
devices, dictations, chords
Week 12 – Task 12: Aural test (4%)
Week 12 – Task 11: Melody and
accompaniment writing (2%)
Revise all scales, intervals and chords
Harmony: revise all cadence types in major
and minor keys
Modulation: relative major/relative minor
and dominant, using a range of examples
Rhythmic dictation
Simple metres: 8 bars, including
syncopation and anacrusis
Revision for exam: transposition exercises,
scales, chords, melody-writing and
arrangement exercises.
Review year’s work
Cultural and historical analysis
Week 14 – Task 13: Cultural and historical
analysis (3%)
Week 14: Performance
Task 8 – Recital practice (3%)
Revision of Semester 2, using familiar and
unfamiliar excerpts, focusing on the
designated works.
Week 15: Performance
Task 9 – Instrumental teacher
report (3%)
Week 15: Composition
Task 5 – Composition portfolio
supervisor report (5%)
14–15
Compound time: ,
,
,
Melodic dictation: 8 bars, chromatic
passing notes
Discrepancies: treble/bass clef, 4–8 bars,
4 discrepancies in both pitch and rhythm.
Skeleton score: mixed parts and ensembles
–compositional devices, dictations, chords
Revision of year’s work
Task 14: Semester 2 examination
Performance or
Composition portfolio
Task 14: Semester 2 examination
16
Sample course outline | Music – Contemporary | ATAR Year 11
Task 14: Semester 2 examination
Performance Task 10
Semester 2 – Performance
examination (15%)
Composition portfolio Task 6 –
Submission of final
composition portfolio (15%)