Marking key for sample assessment task 1 – Unit 1wace1516.scsa.wa.edu.au/__data/assets/word_doc/... · Web viewThis task requires the completion of a summary table outlining the

SAMPLE ASSESSMENT TASKS

MUSIC – WESTERN ART MUSICATAR YEAR 11

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2014/12202v5

1

Sample assessment taskMusic – WAM – ATAR Year 11Task 1 – Unit 1

Assessment type: Aural

The paper will consist of seven questions and will cover the following concepts: identification of scales/modes and intervals chord progression recognition of tonality and modulation rhythmic and melodic dictations

ConditionsTime for the task: 60 minutesFormal in class assessment, Week 7

Task weighting3% of the school mark for this pair of units________________________________________________________________________________________________________

Name:____________________________________ Mark: / 40

Question 1 (4 marks)

Interval recognition

Identify the four bracketed intervals and write your answers in the spaces underneath the score.

(i) __________________________________ (ii) __________________________________

(iii) __________________________________ (iv) __________________________________

Sample assessment tasks | Music – WAM | ATAR Year 11

2Question 2 (2 marks)

Scale recognition

Identify the scale or mode that occurs in the following extracts. Tick (ü) the correct answer.

(a)

(b)


Tonality and modulation

(a) Identify the tonality at the beginning of this extract. Circle the correct answer.

Major pentatonic Minor pentatonic Major Minor

(b) Identify the modulation (if any) that occurs in this extract. Tick the correct answer.

To the relative major

To the relative minor

To the dominant

No modulation


(ü)

Major

Harmonic minor

Chromatic

Minor pentatonic

Melodic minor

(ü)

Major

Harmonic minor

Chromatic

Minor pentatonic

Melodic minor


Harmonic progression

Complete the following harmonic progression providing the Roman numerals for the missing chords. The tonic chord will be played prior to the progression being heard.


Identify two compositional devices evident in the following recording

(i)___________________________________ (ii)_____________________________________

Question 6

Rhythmic dictation (10 marks)

The following extract will be heard six times. Insert the time signature, bar lines and rhythm to the pitches given. There are 8 bars in total.



Melodic dictation

Complete the following melodic dictation to be played six times. The tonic chord and note will be played prior to the dictation.


5

Marking key for sample assessment task 1 – Unit 1


Interval recognitionIdentify the four bracketed intervals and write your answers in the spaces underneath the score.

(i) minor 6th (ii) perfect 4th (iii) minor 7th (iv) Major 6th


Scale recognitionIdentify the scale or mode that occurs in the following extracts. Tick (ü) the correct answer.

Description MarkChromatic 1Melodic minor 1

Total /2


Tonality and modulation (a) Identify the tonality at the beginning of this extract. Circle the correct answer.

Major pentatonic Minor pentatonic Major Minor

(b) Identify the modulation (if any) that occurs in this extract. Tick the correct answer.

ü To the relative major

To the relative minor

No modulation

Dominant


6



Harmonic progressionComplete the following harmonic progression providing the Roman numerals for the missing chords. The tonic chord will be played prior to the progression being heard.

1 mark for each chord, 1 mark for 7th


Identify two compositional devices evident in the following recording

(i) pedal/pedal point/pedal note (ii) sequence

Question 6

Rhythmic dictation (10 marks)The following extract will be heard six times. Insert the time signature, bar lines and rhythm to the pitches given. There are 8 bars in total.

1 mark for each beat, bars 1–7 and 1 mark for bar 8 = 15 1 mark for triplet 4 marks for 8 correct bar lines, 3 marks for 6–7 correct bar lines, 2 marks for 4–5 correct bar

lines,1 mark for 2–3 correct bar lines and 0 marks for less than 2 correct bar lines Divide the total mark of 20 out of 2 for a final mark out of 10



Melodic dictationComplete the following melodic dictation to be played six times. The tonic chord and note will be played prior to the dictation.

1 mark for each pitch: 20 marks, divided by 2 for a mark out of 10 1 mark for each rhythm to be completed: 8 marks, divided by 4 for a mark out of 2 Add the two marks together for a total mark out of 12.


9


Assessment type: Performance – Sight reading or Improvisation

Perform a sight reading task from a given excerpt, observing articulation/bowings, phrasing and dynamics

Perform an improvised solo over a given chord progression demonstrating shape, stylistically appropriate rhythmic and melodic creativity, and understanding of the chord sequence and harmonic context

ConditionsTime for the task: five minutes, including two minutes preparationFormal in class assessment, Week 10

Task weighting3% of the school mark for this pair of units________________________________________________________________________________________________________

Sight reading: You will be given two minutes to look at a short musical excerpt during which time you must not play/sing any notes. You will then be given two opportunities to perform the extract, noting articulation/bowings, phrasing and dynamics. Marks will only be awarded for your second playing if you choose to select the option of playing it twice.

OR

Improvisation: You will be required to play an improvised solo over a given chord progression using a backing CD, backing band or instrumentalist. You will then be given two opportunities to perform the extract, demonstrating shape, stylistically appropriate rhythmic and melodic creativity and understanding of the chord sequence and harmonic context. Marks will only be awarded for your second playing if you choose to select the option of playing it twice.


10


Name:________________________________________ Mark: /34 (3%)

Performance – Sight readingDescription Marks

Rhythm /10Performs with consistent rhythmic accuracy and tempo control 9–10Performs with only very slight rhythmic lapses in rhythm and/or tempo 7–8Performs with competent rhythmic accuracy and maintains a suitable tempo, demonstrating an ability to recover from minor inaccuracies 5–6

Performs with several rhythmic inaccuracies yet manages to maintain a sense of metre, and/or minor fluctuations in tempo 3–4

Performs with many rhythmic errors, displaying an inconsistent pulse and/or significant fluctuations in tempo 1–2

Pitch and intonation /10Performs with consistently accurate pitch and intonation 9–10Performs with excellent pitch and intonation with only occasional slight lapses 7–8Performs with competent pitch and intonation, demonstrating an ability to recover from minor inaccuracies 5–6

Performs with several inconsistencies in pitch and intonation, but manages to maintain a sense of tonality 3–4

Performs with several errors in pitch and intonation, and little sense of tonality 1–2Tone /6Performs confidently, displaying excellent tonal control 5–6Performs with reasonable confidence, but experiences some difficulty with tonal control 3–4Performs with little or no confidence, and experiences great difficulty with tonal control 1–2Dynamics, phrasing and bowings/articulation /8Performs repertoire with excellent sensitivity, musically and accurately interpreting dynamics, phrasing and bowings/articulation 7–8

Performs repertoire with generally accurate interpretation of dynamics, phrasing and bowings/articulation 5–6

Performs repertoire with inconsistent attention and/or some errors with dynamics, phrasing, and bowings/articulation 3–4

Performs repertoire with minimal attention and/or several errors with dynamics, phrasing, and bowings/articulation 1–2

Total mark /34Note: Zero will be used when there is no evidence demonstrated relating to each criterion.


11Name:________________________________________ Mark: /34 (3%)

Performance – ImprovisationDescription Marks

Rhythm /10Performs with consistent rhythmic accuracy and tempo control 9–10Performs with only very slight rhythmic lapses in rhythm and/or tempo 7–8Performs with competent rhythmic accuracy and maintains a suitable tempo, demonstrating an ability to recover from minor inaccuracies 5–6

Performs with several rhythmic inaccuracies yet manages to maintain a sense of metre, and/or minor fluctuations in tempo 3–4

Performs with many rhythmic errors, displaying an inconsistent pulse and/or significant fluctuations in tempo 1–2

Pitch and intonation /10Performs with consistently accurate pitch and intonation 9–10Performs with excellent pitch and intonation with only occasional slight lapses 7–8Performs with competent pitch and intonation, demonstrating an ability to recover from minor inaccuracies 5–6

Performs with several inconsistencies in pitch and intonation, but manages to maintain a sense of tonality 3–4

Performs with several errors in pitch and intonation, and little sense of tonality 1–2Tone /6Performs confidently, displaying excellent tonal control 5–6Performs with reasonable confidence, but experiences some difficulty with tonal control 3–4Performs with little or no confidence, and experiences great difficulty with tonal control 1–2Improvisatory skills /8Performs a well-shaped, effective and imaginative improvisation which clearly outlines the chord changes, using clear rhythmic and melodic shapes and voicings, use of repeated motives and a good understanding of the chord sequence and harmonic context

7–8

Performs a mostly effective improvisation, demonstrating consistency with rhythmic and melodic aspects of the style and an understanding of the chord sequence and harmonic context 5–6

Performs an improvisation, demonstrating a basic sense of shape with some rhythmic and melodic aspects of the style, and some understanding of the chord sequence and harmonic context 3–4

Performs an inconsistent and mostly ineffective improvisation, demonstrating a limited awareness of style, inconsistent application of rhythmic and melodic ideas and a limited understanding of the chord sequence and harmonic context

1–2

Total mark /34Note: Zero will be used when there is no evidence demonstrated relating to each criterion.


12


Assessment type: Cultural and historical analysis

This task requires the completion of a summary table outlining the development of the Symphony and a 1000 word essay based on given criteria, using the table as a starting point. You will be given eight weeks to complete the task, submitting both the in Week 14.

ConditionsPeriod allowed for completion of the task: 8 weeksCompleted table and essay to be submitted in Week 14

Task weighting2% of the school mark for this pair of units

_________________________________________________________________________________________

The Development of the Symphony

You will be required to write a 1000 word essay discussing the development of the symphony from the Rococo period through to the twentieth century, based on the summary table: Development of the Symphony, which is to be submitted with your essay. The essay must outline the contribution made by both composers of the designated works to the development of the symphony, supported by reference to musical evidence from the designated and related works studied this semester.

Part 1: To assist in structuring and planning your essay, you are required to complete the table on the following page: Development of the symphony. This table will summarise developments and changes in instrumentation/orchestration, form, tonality/melody, rhythm, harmony, texture and other special features in the symphony from the Rococo period to the twentieth century.

Part 2: Complete the essay according to the following criteria:

Discuss the origin and development of the symphony from the Baroque, through to the twentieth century, noting changes to the number of movements, associated form and tempi and use of thematic material.

Outline the musical changes in the symphony referring to at least four music elements outlined in the table; rhythm, tonality/melody, harmony, dynamics and expression, texture.

Discuss changes made to the orchestra and how these influenced the composer’s use of instrumentation and orchestration techniques, for example, the contribution made by the Mannheim orchestra.

Outline cultural, historical and social features that contributed to the development of the symphony, noting the influence of other Arts and the changing role and status of the composer.

Outline the importance of the contribution made by the composers of the designated works to the development of the symphony, making specific reference to musical evidence from the symphonies studied throughout the semester and additional works where necessary, to support your discussion. Include at least a paragraph for each composer.

Include a bibliography which correctly references books and websites used to complete the table and the essay. Use correct referencing throughout the essay where necessary.


13

Development of the symphony

PRE-CLASSICAL CLASSICAL ROMANTIC 20th CENTURY

Instrumentation/orchestration

Form

Tonality/melody

Rhythm

Harmony

Texture

Dynamics and other special features


14

Development of the symphony

PRE-CLASSICAL CLASSICAL ROMANTIC 20th CENTURY

Instrumentation/orchestration

Dominating strings, playing most of the melody, double woodwind; 2 fl, 2 ob, 2 bsn, 2 fr hrns, 2 trumpets, 2 timpani (tuned to tonic/dom), basso continuo (harpsichord and bass)

Dominating strings, playing most of the melody, double woodwind; 2 fl, 2 ob, introduced 2 cl, 2 bsn, 2 fr hrns, 2 trumpets, 2 timpani (tuned to tonic/dom), no basso continuo, wider use of contrasting instrumental timbres

Increased size – technological improvements – expansion in number and variety of instruments, explored rich, lower timbres.Added piccolo, cor anglais, contra bassoon, trombone, tuba, increased percussion

Unusual instrumental combinations, extensive percussion, innovative techniques and timbres, electronic sounds

Form

3 movements (fast, slow, fast), contrasting themes – beginning of sonata form, binary, ritornello, fugue

Standardisation of 4 movement structure (Haydn):1 – fast – sonata2 – slow – theme and variations, binary3 – moderately fast – minuet and trio4 – very fast – sonata, rondo, sonata – rondo

Expansion, extra and extended movements, free use of established forms, programmatic works, one movement symphonic poem, suite, concert overture, nationalism, thematic transformation and unity

New and free forms – arch, neo-classical – return to forms of previous eras

Tonality/melody

Clear tonality-modal, major/minor, simple motivic melodies, predominantly scalic, Baroque features – ornamentation, sequential writing, mostly regular phrasing

Firmly established major/minor tonality, simple clear melodies – no excess or extravagance, thematic contrast, regular and balanced phrases

Tonality/tonal centre not always clear, frequent and often unexpected modulations, excessive dissonance, complex chords with added chromatic notes, long, lyrical and irregular phrases

Inconsistent, wide variety of melodic styles, fragmentary, pointillistic texture, modal, atonal

Rhythm

Elements of both Baroque – motivic, driving, repetitive rhythms, and rococo – simple, clear, metrical and regular, strong accents

Simple, clear metres and rhythms, rhythmic motives, some syncopation and rhythmic variety

Contrasting metres, metre changes within movements, greater variety of rhythms, complex rhythmic patterns, syncopation

Frequently changing metres, polymetric, greater variety of metres and rhythmic patterns, complex rhythms, polyrhythms, rhythmic focus, featuring percussion

Harmony

Simple, clear harmony melody in one par – usually strings, accompanied by other instruments

Predominantly clear and simple functional harmony, clear cadence points

New and complex chords and progressions, non-functional harmony, excessive chromaticism, frequent use of altered and non-tonal chords

Atonal, neo-tonal, excessive chromaticism and dissonance, twelve tone, inconsistent, non-functional harmony

Texture

Baroque – polyphonic, imitative counterpoint,Rococo – mainly homophonic

Predominantly homophonic, with some counterpoint for contrast

Contrasting homophonic and polyphonic textures, more dense, thick textures, exploring new and innovative timbres and timbral combinations, rich complex counterpoint

Large variety of contrasting textures within movements, complex counterpoint, pointillistic/fragmentary, minimalistic, sporadic and inconsistent

Dynamics and other special features

Terraced dynamics and beginnings of gradual contrasts, alberti bass

Slow introduction, rise of inner parts, conductor, Mannheim orchestra

Extreme dynamic contrasts, gargantuan and miniature, nationalism, programmatic

New and innovative techniques and sounds, emphasis on individuality, ‘isms’ – impressionism, neo-classicism, twelve tone, atonal, one movement symphonic works


15

Marking key for sample assessment task 5 – Unit 1 Description Marks

Completes Development of the Symphony table /5Accurately and comprehensively completes the Development of the Symphony table 5Completes most points of the Development of the Symphony table in detail, with some inconsistencies 4

Completes the Development of the Symphony table, but only provides simple and sometimes inconsistent responses 3

Provides an incomplete Development of the Symphony table with several inaccuracies 2Provides a mostly incomplete and inaccurate Development of the Symphony table 1Discusses the origin and development of the symphony /5Provides detailed and insightful discussion about the origin and development of the symphony across all eras, accurately referring to all of the required points 5

Provides detailed discussion about the origin and development of the symphony across most eras, accurately referring to a number of the required points 4

Provides some discussion about the origin and development of symphony across most eras, referring to some of the required points 3

Provides inconsistent discussion about the origin and development of symphony across most eras referring to some of the required points with several inaccuracies 2

Provides limited discussion about the origin and development of the symphony across some eras, inaccurately or inappropriately referring to few of the required points 1

Outlines musical changes in the symphony referring to at least four music elements outlined in the table /4Makes specific and insightful reference to at least four music elements outlined in the table to describe musical changes to the symphony 4

Makes some reference to at least three music elements outlined in the table to describe musical changes to the symphony 3

Makes minimal reference to one or two music elements outlined in the table or refers to some of them incorrectly when describing musical changes to the symphony 2

Makes limited reference, or mostly incorrect and/or inappropriate references to the music elements outlined in the table, that do not adequately describe musical changes to the symphony 1

Discusses changes to the orchestra and resulting influences on orchestration and instrumentation techniques

/3Provides an accurate and detailed discussion about changes to the orchestra and resulting influences on orchestration and instrumentation techniques 3

Provides a generally accurate discussion about changes to the orchestra and outlines some resulting influences on orchestration and instrumentation techniques 2

Provides a mostly inaccurate and incomplete discussion about changes to the orchestra and resulting influences on orchestration and instrumentation techniques 1

Outlines cultural, historical and social features that contributed to the development of the symphony /4Provides a detailed discussion, comprehensively outlining the cultural, historical and social features that contributed to the development of the symphony, noting the influence of other Arts and the changing role and status of the composer

4

Provides a mostly detailed discussion, outlining several cultural, historical and social features that contributed to the development of the symphony, with reference to the influence of other Arts and the changing role and status of the composer

3

Provides some discussion, outlining a few cultural, historical and social features that contributed to the development of the symphony, with little reference to the influence of other Arts and the changing role and status of the composer

2

Provides limited discussion, making sporadic or no reference to the influence of other Arts and the changing role and status of the composer, with several errors 1


16


17

Description Marks

Outlines contributions made by the composers/arrangers of the designated works to the development of the symphony /4Provides specific and insightful discussion outlining contributions made by both composers of the designated works to the development of the symphony with specific reference to supportive works

4

Provides discussion, outlining contributions made by both composers of the designated works to the development of the symphony, or detailed discussion outlining the contribution of only one composer with reference to supportive works

3

Provides little discussion outlining contributions made by one or both composer/s of the designated works to the development of the symphony with insufficient reference to selected works or reference to works that are inappropriate

2

Provides limited discussion which is mostly incorrect or inappropriate, with little or no reference to supportive works 1

Cites musical examples from designated and additional works /4Makes detailed reference to musical examples from each of the designated works and additional works in support of the question 4

Makes reference to musical examples from most of the designated works and some additional works in support of the question 3

Makes little reference to musical examples from the designated works and does not refer to additional works 2

Makes limited reference to musical examples from the designated works and/or additional works 1Coherent well-structured response /3Presents a coherent, well-structured and articulate response supporting the main aims of the question 3

Presents an adequate response, but at times lacks clarity of meaning and/or is not of a sufficient quantity to fully express ideas or support the main aims of the question 2

Provides a simple response offering little support for the main aims of the question 1Provides limited or no support to the main aims of the question 0Bibliography and referencing /3Includes correct referencing in the text and a comprehensive and accurate bibliography 3Includes mostly correct referencing in the text and bibliography 2Incorrectly uses referencing in the text and Includes a limited and/or irrelevant bibliography 1Does not include referencing in the text and does not include a bibliography 0

Total /35


18


Assessment type: Theory and composition The paper will consist of three questions and will cover the following concepts: Visual analysis: key signatures, modulation, interval and triad recognition, form, articulation and

expressive devices Cadence identification and writing Harmonisation: SATB setting Melody writing from a given motif

ConditionsTime for the task: 60 minutesFormal in class assessment, Week 14

Task weighting2% of the school mark for this pair of units

________________________________________________________________________________________________________

Name:_____________________________________ Mark: / 45

Question 1: Visual analysis (15 marks)

[Source: Dutch folk song]


19(a) Identify the opening key of the given extract. _________________________________

(1 mark)

(b) Identify the key in bars 6–8. _______________________________________________(1 mark)

(c) Name the relationship between the opening key and the identified key in bars 6–8.

______________________________________________________________________(1 mark)

(d) State the form of the given extract. Using letter-names (A, B) mark the appropriate sections in the score.

Form: ________________________________________________________________ (2 marks)

(e) Identify the triads (indicated by brackets) as major, minor, diminished or augmented.

________________________________________________________________

________________________________________________________________(2 marks)

(f) Insert the following into the score as indicated:

(i) a term which means with the mute, at bar 9(ii) a sign which indicates an up bow above the anacrusis(iii) a turn above the first note in bar 10(iv) the symbol for a pause at the end of bar 10.

(4 marks)

(g) Name the interval formed underneath the square bracket indicated at:

a. ___________________ b. ___________________ c. ___________________(3 marks)

(h) Which cadence would best fit with the melody line at bar 11, beat 4 – bar 12?

______________________________________________________________________(1 mark)


20Question 2: SATB harmonisation and cadences (17 marks)

(a) Identify the key of the following extract and write it in the space provided.(1 mark)

(b) Write Roman numerals for the chords indicated by a line beneath the stave indicating inversions where necessary.

(8 marks)

(c) Complete this SATB setting with appropriate cadences at the phrase endings.

(8 marks)


21

Question 3: Melody writing (13 marks)

Continue one of the following motifs to complete an 8 bar melody for an instrument of your choice. You must address each of the parts below.

Name the instrument for which the melody is written. ______________________________________________________________________________________________________________________________________________________

(a) Ensure that the melody is within the instrument’s range and technical capabilities.(1 mark)

(b) Indicate an appropriate tempo (1 mark)

(c) Use appropriate dynamics and bowings/articulation indications (3 marks)

(d) Ensure consistent stylistic and motivic continuity (melodic and rhythmic) (2 marks)

(e) Incorporate effective melodic contour with a clear climax (3 marks)

(f) Include a melodic sequence and mark it clearly on the score (2 marks)

(g) Present a neat and accurate score. (1 mark)


22


Question 1: Visual analysis (15 marks)

Description Marks

(a) F Major 1(b) C Major 1(c) modulates to the dominant 1(d) A B A’ or Ternary Form

1 mark for correct form name, 1 mark for correctly labelling each section onto the score2

(e) (i) Major (ii) Diminished

1 mark for each chord2

(f) (i) con sordino (ii) (iii) (iv)

1 mark for each example

4

(g) a. Major 2nd b. Perfect 4th c. minor 7th1 mark per interval

3

(h) Perfect cadence 1

Total /15

Question 2: SATB setting and harmonisation (17 marks)

Description No. Mark

(a) 1 mark for F major 1 1(b) 1 mark for each correct chord and 1 mark for each of the inversions and

seventh being correctly identified and indicated – vi, Vb, IVb, ii, V7 8 8

(c) selects correct cadence and correlating chords (example provided),

notes are correct for chords indicated – 1 mark for each chord adheres to appropriate harmonisation rules e.g. voice leading, parallel 5ths

and 8ves (1 mark for each cadence)

5

3

5

3

Total /17

See score on the next page


23Question 2: continued


24Question 3: Melody writing (13 marks)

Description Marks

(a) Instrument range and technical capabilities /1Selects an appropriate instrument and writes within the instrument’s range and technical capabilities 1

Selects an appropriate instrument but makes several errors and does not write within the range and/or technical capabilities of the instrument 0

(b) Tempo /1Indicates an appropriate tempo 1Does not indicate a tempo, or provides an inappropriate tempo 0(c) Uses appropriate dynamics and bowings/articulation indications /3Effectively uses dynamics and bowings/articulation indications 3Uses appropriate dynamics and bowings/articulation indications 2Uses some appropriate dynamics and bowings/articulation indications 1Uses little or no appropriate dynamics and bowings/articulation indications, or uses them inappropriately 0

(d) Maintains consistent stylistic and motivic continuity, both melodic and rhythmic /2Maintains consistent stylistic and motivic continuity throughout (melodic and rhythmic) 2Inconsistently utilises stylistic and motivic continuity throughout (melodic and rhythmic) 1Does not maintain consistent stylistic and motivic continuity throughout (melodic and rhythmic) 0(e) Incorporates effective melodic contour and a clear climax /3Incorporates a consistent and effective melodic contour and a clear climax 3Incorporates an adequate melodic contour and climax with some ineffective sections 2Incorporates an inconsistent melodic contour and an ineffective climax 1Incorporates an ineffective melodic contour and the climax is unprepared and inadequate or not evident 0

(f) Includes a clearly marked melodic sequence /2Includes an accurate and effective melodic sequence which is clearly marked on the score 2Includes a melodic sequence but does not mark it on the score or includes a melodic sequence which is ineffective or incorrect 1

Does not include a melodic sequence 0(g) Score presentation /1Presents a neat and accurate score 1Presents an untidy score with several inaccuracies 0

Total /13


Documents

Marking key for sample assessment task 1 – Unit 1wace1516.scsa.wa.edu.au/__data/assets/word_doc/... · Web viewThis task requires the completion of a summary table outlining the