Assessment objectives

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This sample has been compiled by the QCAA to assist and support teachers to match evidence in student responses to the characteristics described in the instrument-specific marking guide (ISMG).

Assessment objectives — musicology and performance

This assessment instrument is used to determine student achievement in the following objectives:

1. demonstrate technical skills in performance specific to the instrument or sound source

2. explain the use of music elements and concepts to communicate meaning through the performance choices made

4. analyse music to examine and consider the constituent parts and relationship between music elements, concepts and stylistic characteristics and the ways in which they represent musical narratives

6. apply literacy skills using music terminology relevant to genre/style, and use referencing and language conventions to communicate music ideas in a coherent work that integrates the two components

7. interpret music elements and concepts in performance of music that conveys a narrative

8. evaluate music to justify a viewpoint relating to narrative in film music, television music, game music, musical theatre, opera or program music 9. realise music ideas to communicate meaning in the performance of narrative music (will be assessed if performance is selected as

specialisation in project).

Note: Objectives 3, 5 and 10 are not assessed in this instrument.

Music 2019 v1.2

IA3 high-level annotated sample response

September 2018

Integrated project (35%)

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Criterion: Analysing and evaluating music

4. analyse music to examine and consider the constituent parts and relationship between music elements, concepts and stylistic characteristics and the ways in which they represent musical narratives

8. evaluate music to justify a viewpoint relating to narrative in film music, television music, game music, musical theatre, opera or program music

The student work has the following characteristics: Marks

 analysis of music establishes the interconnectivity between music elements, concepts and stylistic characteristics

 evaluation of music synthesises findings that are valid, reasoned and support a viewpoint 7–8

 analysis of music is detailed and shows an accurate understanding of music elements, concepts and stylistic characteristics

 evaluation of music is logical and provides evidence to justify a viewpoint 5–6

 analysis of music examines and considers the constituent parts and relationship between music elements, concepts and stylistic characteristics and the ways in which they represent musical narratives

 evaluation of music justifies a viewpoint relating to narrative in film music, television music, game music, musical theatre, opera or program music

3–4

 makes connections between music elements and concepts and their purpose in communicating intent

 simple statements made about the purpose and context of ideas and concepts evident in repertoire 1–2

 does not satisfy any of the descriptors above. 0

Instrument-specific marking guide (ISMG)

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 application of literacy skills through articulated ideas, controlled structure and the sequence of information that enhance communication

of meaning in the topic 3

 application of literacy skills using music terminology relevant to genre/style, and use of referencing and language conventions to

communicate music ideas in a coherent work that integrates the two components 2

 application of literacy skills to describe ideas 1

Criterion: Applying literacy skills

Assessment objective

6. apply literacy skills using music terminology relevant to genre/style, and use of referencing and language conventions to communicate music ideas in a coherent work that integrates the two components

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 demonstration of technical skills that present a fluent and cohesive performance 7–8

 demonstration of technical skills that display accuracy and control 5–6

 demonstration of technical skills in performance specific to the instrument or sound source 3–4

 demonstration of technical skills to present sections from a music work 1–2

Criterion: Demonstrating technique

Assessment objective

1. demonstrate technical skills in performance specific to the instrument or sound source

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 interpretation of music elements and concepts shows an individualised style 5–6

 interpretation of music elements and concepts displays stylistic awareness 4

 interpretation of music elements and concepts in performance of music that conveys a narrative 3

 interpretation of some music elements and concepts in the performance of repertoire 2

 use of music elements and concepts 1

Criterion: Interpreting music elements and concepts

Assessment objective

7. interpret music elements and concepts in performance of music that conveys a narrative

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 realisation of music ideas through the sustained use of chosen expressive devices and performance choices 9–10

 realisation of music ideas to communicate meaning through selection of expressive devices 7–8

 explanation of the use of music elements and concepts to communicate meaning through the performance choices made

 realisation of music ideas to communicate meaning in performance of narrative music 5–6

 description of meaning communicated in the performance

 presentation of music ideas relevant to the performance of repertoire 3–4

 simple statements made about the music

 evidence of a music idea 1–2

 does not meet any of the standards described above. 0

Criterion: Communicating meaning

Assessment objectives

2. explain the use of music elements and concepts to communicate meaning through the performance choices made 9. realise music ideas to communicate meaning in the performance of narrative music

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Task

Create an integrated project that establishes a viewpoint of the expressive powers of music to convey narrative through an examination of no more than two of the following: setting, characterisation, drama and/or action, and mood or atmosphere. You will complete a musicological analysis and evaluation of a chosen work from film, television, video game, music theatre, opera or program music. This will then inform and influence the development of either a composition or performance that assists you to justify your

viewpoint. You must then complete either a statement of compositional intent or a performance statement.

Ensure that:

• the statement of compositional intent explains the use of music elements and compositional devices in shaping the purpose and execution of the composition

or

• the performance statement explains the use of music elements and concepts to communicate meaning

through the performance choices made.

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Sample response

The annotations show the match to the instrument-specific marking guide (ISMG) performance-level descriptors.

Criterion Marks allocated Result

Analysing and evaluating music

Assessment objectives 4, 8 8 8

Applying literacy skills

Assessment objective 6 3 3

Demonstrating technique

Interpreting music elements and concepts

Communicating meaning

Assessment objectives 2, 9 10 10

Total 35 35

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THE MUSIC OF PAINTING

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THE MUSIC OF PAINTING?

Both music and paintings tell some form of a story, but if they have the same subject, do they do this by manipulating the same themes?

This project will investigate the

connections between Impressionist

art and music more specifically what

narrative themes are shared between

them. I will analyse and evaluate the

themes that I see exist between

Monet’s Impression, Sunrise and

Debussy’s Voiles. I will then apply

these themes to my performance of

The Girl with Flaxen Hair (Debussy) to

assist me communicate this narrative

of the work.

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The themes framing my analysis and evaluation, and informing my performance, are based on the way in which Impressionism suggests atmosphere, conveys the mood and emotion aroused by the subject, rather

than offer a detailed picture (Rubin, 1999). This effect can be seen in both art and music.

The main characteristics that I propose as essential in establishing the atmosphere, mood and emotion of Impressionism are:

1. fluidity

2. impermanence, and 3. intangibility.

These characteristics can be seen in both Impressions, Sunrise and Voiles. Debussy’s clever use and application of music elements and compositional devices in Voiles can be matched to Monet’s Impressions, Sunrise, with both pieces provoking a narrative of boats on a misty lake. The translation of the French word

‘voiles’ is in fact ‘veils’ or ‘sails’, which links both pieces together with a similar narrative.

Claude Monet, Impression, Sunrise, (1872)

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Impressionist painters used “contrasting colours, effect of light on an object, blurry foreground and background, flattening perspective to make us focus our attention on the overall impression” (Michael, 2006).

This is evident throughout the works of

Claude Monet, Pierre-Auguste Renoir, Edgar Degas, Vincent can Gogh and Paul Cezanne.

Some of their works can be seen in the gallery to the right.

Musically, Impressionist composers explored:

non-traditional scales such as the whole tone, and pentatonic scale; vagueness in pulse; the manipulation of intervals of a 4

^th

and 9

^th

, and the emphasis of primary

intervals (octaves, fourths and fifths) in parallel motion.

Together, the works of both music and art use the themes of fluidity, impermanence and intangibility to communicate their narratives.

Claude Monet, Water Lilies, (1919)

Pierre-Auguste Renior, Two Sisters (On the Terrace), (1881)

Claude Monet, Woman with a Parasol – Madame Monet and Her Son, (1875)

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Analysing and evaluating music [8]

analysis of music establishes the interconnectivity between the music elements, concepts and stylistic characteristics Examination of the

interconnectivity between melodic contour and instrumental

technique to create fluidity.

Applying literacy skills [3]

application of literacy skills through articulated ideas, controlled structure and the sequence of information that enhance communication of meaning in the topic

There is a use of music terminology relevant to Impressionism. Grammar, paragraphing and sentence structure are clear and ideas are well articulated.

Analysing and evaluating music [8]

analysis of music establishes the interconnectivity between the music elements, concepts and stylistic characteristics Examination of the

interconnectivity between rhythmic patterns, tempo and metre to create fluidity.

Claude Monet, Impression, Sunrise, (1872)

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Analysing and evaluating music [8]

evaluation of music synthesises findings that are valid, reasoned and support a viewpoint Valid and reasoned judgments support the viewpoint.

analysis of music establishes the

interconnectivity between music elements, concepts and stylistic characteristics Examination of tonality is detailed and establishes the relationship to the style.

evaluation of music

synthesises findings that

are valid, reasoned and

support a viewpoint

Findings are logical and

evidence justifies the

viewpoint.

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(Background image) Claude Monet, Water Lilies, (1919)

Analysing and evaluating music [8]

evaluation of music synthesises findings that are valid, reasoned and support a viewpoint Valid and reasoned judgments support the viewpoint.

analysis of music establishes the

interconnectivity between music elements, concepts and stylistic characteristics Examination of harmony and tonality is detailed and

accurate and establishes interconnectivity between music elements.

evaluation of music

synthesises findings that

are valid, reasoned and

support a viewpoint

Findings are logical and

evidence justifies the

viewpoint.

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Intangibility is also shown through a range of soft dynamics, ranging mostly from piano and pianissimo which deteriorate quickly, providing a sensation of transparency and thinness. Overall, when applied to the melody of Voiles it does not provide

something for us as listeners to reach out and ‘grab on to’ musically.

On the whole, Voiles connects to the narrative content of Impression, Sunrise. Through the use of music elements and compositional devices,

Debussy communicates the narrative of his piece in a way similar to that of Monet. There are strong connections between music and painting, and in many ways, Debussy’s Voiles could be seen to be a musical painting of Monet’s Impression, Sunrise.

Claude Monet, Impression, Sunrise, (1872)

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Demonstrating technique [8]

demonstration of technical skills that present a fluent and cohesive performance

Technique is refined and secure.

Demonstration of damper pedal is controlled. Touch is light and shows contrast, variety and clarity in voicing of chords. Balance between hands create cohesion.

Interpreting music elements and concepts [6]

interpretation of music elements and concepts shows an

individualised style

Use of rubato and dynamics show stylistic awareness. Fluidity in the melodic line and flexibility in

rhythmic patterns demonstrates an individualised style. Interpretation of texture and timbre shows an individualised style.

Communicating meaning [10]

realisation of music ideas through the sustained use of chosen expressive devices and performance choices

Expression of music ideas is sensitive and communicates the delicate and fragile nature of the work. Musical phrases are shaped beautifully to convey meaning.

Performance

The Girl with Flaxen Hair is one of Debussy’s famous preludes.

The title describes the piece, typical of the Impressionist era, with the narrative about a girl with flaxen hair. Debussy, along with many other impressionist composers, also used poetry to aid their creative thinking (this piece was inspired by Leconte de Lisle’s ‘La fille aux cheveux de lin’).

By considering the finding of the analysis and evaluation, the aspects of fluidity, intangibility and impermanence are integrated into the performance to better communicate the narrative of longing to be near the girl with flaxen hair.

Following is a statement concerning the meaning I attempted to communicate in the work and the performance choices made.

Please note that footage of one performance has been used as sample student evidence for both Summative internal assessment 1 and Summative internal assessment 3 for copyright reasons. Students will need to perform a new piece of repertoire for Summative internal assessment 3 as part of their project response.

Click the image for video.

This video can also be viewed at https://www.qcaa.qld.edu.au/downloads/portal/media/snr_music_19_ia3_performance.mp4

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Great Music Leaders, 2009, viewed 28 August 2015, [http://www.greatmusicleaders.org/home].

Michael, K. (2006, Impressionism, The Dictionary of Music, second edition, revised, Joyce Bourne, associate editor (Oxford and New York: Oxford

University Press, 2006).

Rubin, J.H. (1999). Impressionism. London: Phaidon.

Bibliography

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