SAMPLE COURSE OUTLINE
MUSIC – WESTERN ART MUSIC
ATAR YEAR 11
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2014/13516v4
1
Sample course outline
Music – WAM – ATAR Year 11
Unit 1 – Development of the symphony
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: Major/do pentatonic, minor/la
pentatonic, Major
Intervals: m2, M2, m3, M3, P4, P5, m6, M6, m7,
M7, P8ve (melodic only)
Harmony: I, IV and V, perfect and plagal
cadences in Major keys
Rhythmic dictation: simple metre rhythms
Theory
 Identify and write intervals, scales, perfect
and plagal cadences in treble and bass clef,
Major keys, up to two sharps and flats
Harmonisation
 Analyse a given score (up to four parts) using
primary triads in root position
 Provide chords to a given melody
 Harmonise given melodies at cadence
points/phrase endings
Melody writing
 Examine and analyse given melodies,
discussing structure, balance, composer and
era related features and suitability for
instrument/voice
 Write a 4 bar melody to a given rhythmic
pattern, and perform to the class
Development of the symphony
 Examine and discuss the development of the
symphony over at least two eras, noting
changes in form, instrumentation and
orchestration
 Introduction to the Classical era
(architecture, art, literature and social/
political features)
Aural and visual/score analysis
 Comparative listening exercises using
excerpts from works over different eras to
show the development of the genre
 Analyse sonata form in different examples,
beginning with simple piano sonatas
Task 5: Due Term 2, Week 14
Write a 1000 word essay discussing the
development of the symphony based on a
summary table which is to be submitted with
your essay
Theory
 Identify and write natural and harmonic
minor scales, related intervals and perfect
and plagal cadences in minor keys
 Identify modulations to the relative minor
and major in melodic excerpts
 Rhythm exercises in compound time
 Overview of composer of first designated
work and his contribution to the
development of the symphony
 Listen to selected excerpts from other
symphonies by the same composer and
compare and contrast
Designated work: detailed analysis of the first
movement – sonata form and third movement
– minuet and trio form
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
Scales: natural and harmonic minor
Intervals: add harmonic intervals: P4, P5, P8
Harmony: add V7, i, iv and V, perfect and plagal
cadences in minor keys
Modulation: relative major/minor
4–6
Rhythmic dictation: simple time
,
,
,
and
compound time–basic rhythms and rests
Melodic dictation: 4–8 bars, minor keys
,
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 and/or
composition portfolio supervisors.
Sample course outline | Music – WAM | ATAR Year 11
2
Written component – Key teaching points
Practical component
Week
Aural
Theory and Composition
Performance or
Composition portfolio
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
Harmonisation
 Identify and write major, minor, augmented
and diminished triads and first inversions of
major and minor chords
 Analyse chords in given scores up to 4 parts
 Recognise unaccented passing
notes/appoggiaturas
Melody writing
 Analyse given melodies, identifying phrase
structure, motivic development, sequence,
scale patterns and form
 Continue a given motif to compose an 8–16
bar melody
Listen to excerpts from representative works,
noting significant contributions made by other
composers, comparing and contrasting the
symphonies of Haydn, Mozart and Beethoven
noting differences in instrumentation,
orchestration, form, texture, thematic material
and use of music elements.
Task 1: Aural test (3%)
Task 2: Theory test (2%)
Review of the development of the symphony
from Rococo to Beethoven, focusing on the
designated works.
Comparative aural and visual analysis of
familiar and unfamiliar symphonic works.
Performance Task 1 – Prepared
repertoire (2%)
Week 9: Task 3 – Development of the
symphony and designated works (3%)
Development of the Romantic symphony: listen
to a selection of examples from the following
composers: Berlioz, Mahler, Tchaikovsky,
Brahms and Schubert.
Note significant features e.g. form and
structure, use of thematic material,
instrumentation and orchestration, texture,
dynamics, rhythmic, melodic and harmonic
elements.
Week 10: Performance Task 2 – Sight
reading or Improvisation (3%)
7
8–10
Cultural and historical analysis
Scales: melodic minor
Intervals: A4/D5 melodic and harmonic
Harmony
 Recognition of major, minor, augmented and
diminished triads in isolation
 vi in Major keys
 Interrupted cadences, Major keys V–vi, V7–vi
(keyboard and vocal style)
Rhythmic dictation: 8 bars, simple metre
rhythms for dictations
compound:
,
,
,
,
,
Sample course outline | Music – WAM | ATAR Year 11
Theory
 Identify and write all minor scale forms,
focussing on melodic minor
 Identify and write interrupted cadences in
major keys, using appropriate voice leading
principles in both keyboard and vocal style
 alto and tenor clef transposition
Harmonisation
 Identify and write first and second inversions
of major and minor chords
 Harmonic analysis of given scores up to
4 parts using root position, first and second
inversion chords in major and minor keys
 Short harmonisation exercises given the bass
or soprano line, using I, IV, V, V7 and vi in
major keys and i, iv, V and V7 in minor keys
Revision of relevant symphonic forms in
familiar and unfamiliar examples.
Composition portfolio Task 1 –
Composition assessment (5%)
3
Written component – Key teaching points
Practical component
Week
Aural
11–13
Theory and Composition
Melodic dictation: 8 bars, treble and bass clef,
up to two sharps and two flats, based on scales
covered
Discrepancies: treble/bass clef, 4 bars,
4 discrepancies in either pitch or rhythm
Aural analysis: recognition of music elements,
form, compositional devices, instrumentation,
instrumental techniques
Piano accompaniment
 Analyse a range of piano examples with
different accompaniment patterns from a
variety of eras and genres
Melody writing
Write a melody in ternary or rondo form,
incorporating use of sequence, cadence points
and phrasing.
Week 13: Task 4 – 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
 Transposition exercises for alto and tenor clef
Harmony
 Harmonic analysis and harmonisation
exercises using I, ii, IV, V, V7 and vi and i, iv,
V, V7 and VI in minor keys
 Identify and write interrupted cadences in
minor keys, using appropriate voice leading
principles in both keyboard and vocal style
Piano accompaniment
 Harmonise given melodies, analyse style and
melodic structure and write suitable
accompaniment patterns using alberti bass,
arpeggiated chords or vamping bass
 Continue a given accompaniment pattern in a
similar style
Modulation: relative major/relative minor,
using choral and orchestral examples
Compound:
,
,
,
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
Cultural and historical analysis
Performance or
Composition portfolio
Development of the symphony in the
20th century. Listen to excerpts and discuss
significant features e.g. form and structure, use
of thematic material, instrumentation and
orchestration, texture, dynamics, rhythmic,
melodic and harmonic elements.
Listen to excerpts from representative
composers such as; Shostakovich, Sibelius,
Vaughan-Williams, Stravinsky, Schoenberg,
Webern, Glass, Penderecki.
Introduction to Neo-classicism. Correlate
musical features with characteristics of
Neo-Classicism in art (Cubism), literature,
dance/choreography and film.
Listen to and study representative Neo-Classical
works and composers; Stravinsky, Satie,
Poulenc, Hindemith.
Listen to and begin analysis of designated work.
Sample course outline | Music – WAM | ATAR Year 11
4
Written component – Key teaching points
Practical component
Week
Aural
Theory and Composition
Revise all scales, intervals and chords
Harmony: revise all cadence types and chords
in major and minor keys
Modulation: relative major/relative minor,
using a range of examples
Rhythmic dictation
Simple metres: 8 bars, including syncopation
and anacrusis
Compound metres: 8 bars
14–15
Cultural and historical analysis
Task 5: submit summary table and 1000 word
essay (2%)
Complete analysis of final designated work.
Melodic dictation: 8 bars, chromatic passing
notes
Discrepancies: treble/bass clef, 4–8 bars,
4 discrepancies in both pitch and rhythm
Skeleton score: compositional devices,
dictations, chords
Revision of Semester 1 work for exams
Task 6: Formal assessment– Score analysis and
melody writing (2%)
Harmony
 Harmonic analysis and harmonisation
exercises using first and second inversion
chords in major and minor keys
 Identify and write imperfect cadences in
major and minor keys in keyboard and vocal
style
Piano accompaniment
 Harmonise given melodies, analyse melodic
structure and style and write suitable
accompaniment patterns using alberti bass,
arpeggiated chords or vamping bass
Melody writing
 Compose an 8–16 bar melody from a given
motif or chord progression, incorporating
sequence and modulation to the relative
major or minor
Revision of Semester 1 work for exams
Task 7: Semester 1 examination
Task 7: Semester 1 examination
Task 7: Semester 1 examination
,
,
16
Sample course outline | Music – WAM | ATAR Year 11
Revision of Semester 1: the development of
the symphony, using familiar and unfamiliar
excerpts, focussing on the designated works.
Performance or
Composition portfolio
Week 14: Performance Task 3 –
Recital practice (3%)
Week 15: Performance Task 4 –
Instrumental teacher report (2%)
Week 15: Composition portfolio
Task 2 – Composition portfolio
supervisor report (5%)
Performance Task 5 Semester 1 –
performance examination (15%)
Composition portfolio Task 3 –
submission of composition portfolio
(15%)
5
Unit 2 – Opera
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
Intervals: revise all intervals in isolation and as
part of a melodic line
Harmony: chord progressions
 4 to 8 bars, key signatures up to 2 sharps and
2 flats
 major: I, ii, IV, V, V7 and vi
 revise perfect and plagal cadences in major
keys
Rhythmic dictation: simple time including
Theory
 Identify and write intervals, scales, perfect
and plagal cadences 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 cadence
points/phrase endings
 Identify and incorporate harmonic devices:
accented and unaccented passing notes and
appoggiaturas in analysis and harmonisation
tasks
Melody writing
 Complete a word scansion task, providing an
appropriate rhythm for given lyrics, and then
compose a suitable 8 bar melody
 Incorporate word painting and a sequence
 Compose an 8–16 bar melody from a given
motif or chord progression, incorporating
sequence and modulation to the relative
major or minor
Development of opera
Baroque Period
 Introduction to the Baroque period
(architecture, art, literature, social, political
and cultural features)
 Listen to a selection of representative works
noting Baroque musical features
Development of opera
 Discuss the role of opera in Baroque society,
contributions of different composers and
their influence on the development of opera
 Discuss the rise of the castrati. Watch
excerpts from the film Faranelli (1994)
 Discuss the development of opera and
associated forms: Recitative, Aria and Chorus,
listening to Baroque examples:
Purcell: Dido and Aeneas–Sorceress
Chorus/Witches Chorus, With Drooping
Wings; Thy hand Belinda, Dido’s Lament
Handel: excerpts from operas, such as
Rinaldo (Lascia ch'io pianga), Alcina, Guilio
Cesare, Serse, Acis and Galatea
Begin analysis of designated work
 Visual and aural analysis of set sections,
identifying forms, musical features, use of
instrumentation and orchestration, word
painting, vocal techniques and compositional
devices
 Identify salient characteristics of composer’s
writing style and era specific stylistic features
,
,
Melodic dictation: 8 bars, treble and bass clef,
up to two sharps and flats, based on scales
stipulated. (Some pitch and/or rhythm provided
provided.)
Discrepancies: treble/bass clef, 4 bars,
4 discrepancies in either pitch or rhythm
Performance or
Composition portfolio
Outline assessment requirements for
the semester in consultation with
instrumental teachers and/or
composition portfolio supervisors.
Sample course outline | Music – WAM | ATAR Year 11
6
Written component – Key teaching points
Practical component
Week
4–6
Aural
Theory and Composition
Cultural and historical analysis
Scales: revise natural, harmonic and melodic
minor
Intervals: revise all harmonic intervals
Harmony: chord progressions
 4 to 8 bars, key signatures up to 2 sharps and
2 flats
 minor: i, iv, V, V7 and VI
 revise perfect and plagal cadences in minor
keys
Modulation: relative major/minor and
dominant
Theory
 Identify and write natural and harmonic
minor scales, related intervals and perfect
and plagal cadences in minor keys
Harmonisation
 Continue harmonic analysis and
harmonisation tasks in major and minor keys
up to 2 sharps and flats
Accompaniment writing
 Harmonise a given 4–8 bar melody and
compose a suitable accompaniment pattern
 Compose a melody to a given
accompaniment pattern
Modulation
 Identify modulations to the dominant and
relative major/minor a range of examples
 Compose an 8–12 bar melody that includes a
modulation
Complete analysis of designated work
Overview of the development of Opera Seria
and Opera Buffa. Discuss Mozart’s contribution
to the development of opera in the Classical
period and listen to selections from key operas
such as: Don Giovanni, Marriage of Figaro,
Magic Flute, Così fan tutte.
Orchestration
 Transposition exercises from key to key and
clef to clef, using treble, bass alto and tenor
clefs
 Review of string instruments: instrument
ranges, idiomatic writing and playing
techniques, bowings. Aural and visual
analysis of given excerpts
 Arrange a given piano excerpt for string
ensemble, incorporating bowings and string
playing techniques
 Discuss the development of opéra comique,
noting the influence of vaudeville and the
French Revolution
 Outline the main features of verismo opera,
listening to and examining representative
scores (Leoncavallo, Puccini)
 Discuss the role of Carmen as a bridge
between opera comique and verismo
 Outline contributing characteristics of the
period (architecture, art, literature, social,
political and cultural features)
Rhythmic dictation: simple time
compound time
,
,
,
Melodic dictation: 4–8 bars, minor keys
Aural analysis: recognition of music elements in
short extracts (form, metre,
dynamics/expressive devices, tempo,
instrumentation).
Skeleton Score: 2–4 parts, 4–8 bars
Task 8: Formal assessment – Aural test (3%)
7
Sample course outline | Music – WAM | ATAR Year 11
Performance or
Composition portfolio
Week 5: Performance Task 6 –
Prepared repertoire (2%)
Complete analysis of comparative examples of
recitative, aria and chorus, to demonstrate
development of form, vocal style and
techniques, instrumentation and orchestration
across eras.
Composition portfolio Task 4 –
Composition assessment (5%)
7
Written component – Key teaching points
Practical component
Week
Aural
Theory and Composition
Scales: chromatic
Harmony:
 Recognition of major, minor, augmented and
diminished triads in isolation
 Interrupted cadences, Major keys V-vi, V7-vi
(keyboard and vocal style)
Rhythmic dictation: 8 bars, include anacrusis
and some syncopation
Simple metre rhythms for dictations:
8–10
Compound:
,
,
,
,
,
Melodic dictation: 8 bars, treble and bass clef,
up to two sharps and two flats, based on scales
covered. Incorporate at least two challenging
sections – rhythms/ties/larger intervals
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
 Imperfect cadences in keyboard and vocal
style
 major keys: I–V, I–V7
 minor keys i–V, i–V7
Modulation: relative major/minor and
dominant in a range of examples
Week 8: Task 9 – Theory test (2%)
Theory
 Visual identification, reading and writing of
all intervals, scales in key signatures up to
and including 6 sharps and 6 flats, including
chromatic scale
 Identify and write major, minor, augmented
and diminished triads and first inversions of
major and minor chords
Melody and accompaniment writing
 Provide a Piano accompaniment to a given
melody
 Compose a melody form a given motif,
harmonise and write a suitable Piano
accompaniment
Orchestration
 Review of woodwind instruments: ranges,
transposition, timbral features
 2–4 bar arrangement of a piano score for
three or four woodwind instruments
(including one Bb, and a non-transposing
woodwind instrument)
 Identifying, analysing and realising
instrumental devices and techniques for up
to four instruments/voices
Harmony
 Identify and write all cadence types in major
and minor keys, using appropriate voice
leading principles in both keyboard and vocal
style
 Harmonic analysis of given scores up to
4 parts using root position, first and second
inversion chords in major and minor keys
Cultural and historical analysis
Week 8: Task 10 – Aural and visual analysis
test (2%)
Begin analysis of designated work
 Watch DVD of performances of designated
sections, or whole opera if time, in class or as
an out of class activity
 Visual and aural analysis of set sections
identifying forms, musical features, use of
instrumentation and orchestration, word
painting, vocal techniques and compositional
devices
 Identify salient characteristics of composer’s
writing syle and opéra comique and verismo
stylistic features
Performance or
Composition portfolio
Week 9: Performance Task 7 –
Technical work (2%)
Brief discussion about the development of
Romantic opera, importance of leitmotif,
thematic transformation: Verdi, Wagner.
Unseen analysis of opera excerpts across
different eras. Analysis of opera type, section
(aria, recitative, chorus, ensemble), use of the
orchestra and features/characteristics of
different composers.
Sample course outline | Music – WAM | ATAR Year 11
8
Written component – Key teaching points
Practical component
Week
Aural
Rhythmic dictation: 8 bars, simple time
continued, include syncopation
Compound:
,
,
,
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: compositional devices,
dictations, chords, cadences
Week 12: Task 12 – Aural test (4%)
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
14–15
Theory and Composition
 Harmonic analysis and harmonisation
exercises given bass or soprano part, using
I, ii, IV, V, V7 and vi in major keys and i, iv,
V, V7 and VI in minor keys
Orchestration
 Review of brass instruments: ranges,
transposition, timbral features and effects
 Transcribing 4 bar excerpt for piano from a
brass ensemble up to four parts
Cultural and historical analysis
Performance or
Composition portfolio
Complete analysis of final designated work
Revision of Semester 1: the development of
the symphony, using familiar and unfamiliar
excerpts, focussing on the designated works.
Week 12: Task 11 – Melody and
accompaniment writing (2%)
Orchestration
Arrangement tasks for mixed ensembles
(strings, wind, brass) including at least two
transposing instruments.
Review year’s work
Week 14: Task 13 –Development of the
symphony and opera (3%)
Revision of Semester 2: the development of
opera, using familiar and unfamiliar excerpts,
focussing on the designated works
Week 14: Performance Task 8 – Recital
practice (3%)
Week 15: Performance Task 9 –
Instrumental teacher report (3%)
Week 15: Composition Task 5 –
Composition portfolio supervisor
report (5%)
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: compositional devices,
dictations, chords
Revision of year’s work
Task 14: Semester 2 examination
16
Sample course outline | Music – WAM | ATAR Year 11
Task 14: Semester 2 examination
Task 14: Semester 2 examination
Performance Task 10 – Semester 2
performance examination (15%)
Composition portfolio Task 6 –
submission of final composition
portfolio (15%)