Interactive Unit Planner - Te Kete Ipurangi
Rock It Man
|YEAR |CURRICULUM LEVEL |NCEA LEVEL |
|11 |6 |1 |
This unit was created using the NCEA Interactive Unit Planner
AIM:
The aim of this unit is to foster the ability of students to inquire and reflect on their own and others' values (moral, social, cultural, aesthetic and economic) and appreciate artistic diversity through the analysis of a selection of New Zealand contemporary rock and popular music from a range of styles and genres. Students will also investigate the historical, social and cultural contexts in which the music was written and performed. They will also consider and reflect on how the music studied may influence their own music creating and making.
DURATION:
20 lessons (approximately)
SUMMARY OF UNIT FOCUSING QUESTIONS:
• What kinds of expression (e.g. personal and group identities, values, musical, extra-musical) are found in rock/popular music culture?
• How does New Zealand's rock and popular music reflect the cultural diversity (as found in our different cultures, languages and heritages), values and traditions of our inhabitants?
• How will analysing a range of songs from various genres/styles help us to appreciate music more and make us more reflective in our own music creating and making?
• How can examining Kiwi rock/popular music help us to learn about our own and others' values?
• What processes do we need to learn about to be able to critically evaluate sources of information that will help build our understanding of rock/popular music in New Zealand?
SUMMARY OF UNIT LEARNING OUTCOMES:
Students will:
• Listen to, view, read about, research and analyse a range of New Zealand rock/popular music from several eras to gain a broad knowledge of the development of New Zealand music.
• Reflect on the power/influence of music in helping us to learn about our own and others' values.
• Identify features of music (from a selected era in New Zealand rock/popular music history) that could be described as particularly 'Kiwi flavoured."
• Listen to, view, read about, research and analyse a range of New Zealand rock/popular
music from several eras to gain a broad knowledge of the development of New Zealand music.
• Consider the knowledge and processes needed to be able to evaluate sources of information that will help build more in-depth understanding of New Zealand rock/popular music.
• Explain the main musical features of music (in rock and popular songs) from a selected era in New Zealand rock/popular music history.
• Identify key repertoire and artists from a selected era in New Zealand rock/popular music history.
• Describe the performance styles of a performer/s from a selected era in New Zealand rock/popular music history.
• Consider relationships between rock music, arts, fashion, industry, culture and society in New Zealand from particular eras and share ideas about how identity is expressed in popular culture.
• Share ideas about how New Zealand rock and popular music reflects the cultural diversity, values and traditions found here.
• Analyse the elements and features of selected New Zealand rock/popular songs considering beat/tempo, speed/feel, tone colours, rhythm, melody, key, compositional devices, from/structure, mood/impact/meaning and production techniques.
• Apply knowledge of the features and stylistic conventions of a range of New Zealand rock and popular music through an integration of aural perception and practical and theoretical skills.
• Recall (sing or play back, and/or notate) rhythm patterns, without syncopation, of four bars length in simple time (2/4, 3/4 or 4/4).
• Recall (sing back or play back, and/or notate) melodies of four bars length in a major key.
• Identify (orally or in written form) chords I, IV, V and VI in a major key.
• Present a case study from one category of New Zealand music, one aspect of case study in detail, and an individual profile of one musician from the case study.
• Consider how new learnings from this unit of work may helps us to interpret music with depth and provide models for future music creating and making.
ACHIEVEMENT OBJECTIVES: MUSIC - SOUND ARTS
|Understanding Music - Sound Arts in Context |Students will: |
| | |
| |Level 6: analyse music from a range of sound environments, styles, and |
| |genres, in relation to historical, social, and cultural contexts. |
| |Level 6: consider and reflect on the influence of music in their own |
| |music making and in their lives. |
|Communicating and Interpreting in Music - Sound Arts |Students will: |
| | |
| |Level 6: reflect on the expressive qualities of music and evaluate their |
| |own and others' music, both live and recorded. |
|Developing Practical Knowledge in Music - Sound Arts | |
| |Students will: |
| | |
| | |
| |Level 6: apply knowledge of expressive features, stylistic conventions, |
| |and technologies through an integration of aural perception and practical|
| |and theoretical skills and describe how they are used in a range of |
| |music. |
ACTIVITY ONE (2-3 lessons)
|Focusing Question |
|What kinds of expression (e.g. personal and group identities, values, musical, extra-musical) are found in rock/popular music culture? |
|Learning Outcomes |
| |
|Listen to, view, read about, research and analyse a range of New Zealand rock/popular |
|music from several eras to gain a broad knowledge of the development of New Zealand music. |
|Reflect on the power/influence of music in helping us to learn about our own and others' values. |
|Identify features of music (from a selected era in New Zealand rock/popular music history) that could be described as particularly 'Kiwi |
|flavoured." |
|Activity 1a |
|Introduce the unit of work on New Zealand rock/popular music by asking students to list their Top NZ 10 rock/popular songs of all time. Ask them|
|to give reasons for their choices. Have them complete the values reflection, below. Consider playing a range of songs (eg from Nature’s Best CD)|
|and use the copy-master from "Sweet II: Another Taste of New Zealand Music" in order for students to record their impressions, especially if |
|they are unfamiliar with key repertoire. |
|Assessment Approach – Reflecting on our values |
|SELF-REFLECTION: What do I value in NZ rock/popular music that has influenced my choice? (e.g. driving beat, melody, instrumentation, lyric |
|content, artist presentation, song video, and artist’s 'real life' actions.) Why might this be so? (Consider influence of parents, peers, and |
|the media.) |
| |
|Activity 1b |
|Locate the APRA Top 100 NZ songs of all time: and listen to the Top 10 Songs. In groups of 5, ask |
|students to suggest criteria that may explain the APRA Top 10 ranking. Share perspectives with the class. In different groups of 5, use one of |
|the criteria shared by a group, or develop new criteria to come up with a clearly defined Top 10 listing that everyone in the group agrees |
|matches the criteria. |
|Share the criteria (and perhaps ranking of songs known) with the class. Have students complete the reflection, below. |
|Assessment Approach – Relating to Others & Participating & Contributing |
|SELF-REFLECTION: I contributed to my group's creation of a selection criteria for explaining the APRA Top 10 ranking by: |
|5 4 3 2 1 |
| |
|1. staying on task |
| |
|2. encouraging others to stay on task |
| |
|3. accepting other people's ideas |
| |
|4. challenging other people's ideas |
| |
|5. negotiating and/or clarifying other's ideas |
| |
|Rate yourself out of 5 for each using: 5=always; 4=mostly; 3=sometimes; 2=rarely; 1=never. Describe your actions (evidence) that led you to |
|making decisions about how you scored yourself. |
|Activity 1c |
|Share ideas and discuss the notion of IDENTITY. Share ideas about the identities of students' favourite bands/artist. Consider the following |
|questions as part of a classroom or small group discussion - How is identity expressed through music and lyrics, the artists' image or the |
|artist's image through the lens of the media? How do we define our own identity? How do we define the identity of others - what indicators might|
|we use? What is the relationship between influence and identity? Consider viewing a You Tube video on 'Influence and Identity': |
| |
|Is identity an individual or a group phenomenon? Does identity remain static or does it change - how, why? How is ‘New Zealand-ness’ or what it |
|means to be a New Zealander expressed in rock/popular music? What songs can you think of are particularly kiwi flavoured? Why? |
|Assessment Approach - Thinking |
|SELF-REFLECTION: As you listened, contributed to and thought about the discussion on identity, think about your own attitudes, values, skills |
|and ways of seeing the world. In this discussion, were you: |
| |
|1. Self-aware - acknowledging when your thinking may have been influenced by self-interest, others or your emotions? |
| |
|5 4 3 2 1 |
| |
|2. Genuine - being honest in what you believe to be true? |
| |
|5 4 3 2 1 |
| |
|3. Careful and prudent - knowing your own ideas; not being judgemental when others present new ideas and information? |
| |
|5 4 3 2 1 |
| |
|4. Curious and inquisitive - looking for reasons, new meanings to broaden your understanding? |
| |
|5 4 3 2 1 |
| |
|5. Logical - not jumping to conclusions, but using the information presented to make sense of things? |
| |
|5 4 3 2 1 |
| |
|6. Creative - offering alternative insights or suggesting new ways of thinking about things? |
| |
|5 4 3 2 1 |
| |
|Rate yourself for each using: 5=always; 4=mostly; 3=sometimes; 2=rarely; 1=never. |
|Share with a partner what actions (evidence) led you to how you to decide on your scoring. |
| |
| |
| |
|ACTIVITY TWO (4-5 lessons) |
|Focusing Question |
|How does New Zealand's rock and popular music reflect the cultural diversity (as found in our different cultures, languages and heritages), |
|values and traditions of our inhabitants? |
|Learning Outcomes |
|Listen to, view, read about, research and analyse a range of New Zealand rock/popular |
|music from several eras to gain a broad knowledge of the development of New Zealand music. |
|Consider the knowledge and processes needed to be able to evaluate sources of information that will help build more in-depth understanding of |
|New Zealand rock/popular music. |
|Explain the main musical features of music (in rock and popular songs) from a selected era in New Zealand rock/popular music history. |
|Identify key repertoire and artists from a selected era in New Zealand rock/popular music history. |
|Describe the performance styles of a performer/s from a selected era in New Zealand rock/popular music history. |
|Consider relationships between rock music, arts, fashion, industry, culture and society in New Zealand from particular eras and share ideas |
|about how identity is expressed in popular culture. |
|Share ideas about how New Zealand rock and popular music reflects the cultural diversity, values and traditions found here. |
|Activity 2a |
|Listen to and view (on video or DVD) a variety of NZ rock/popular music from the 1960s to the present day. Consider using the MoE/NZ Music |
|Industry Commission resource Give It A Whirl. For each song listened to and/or viewed, get students to share their first impressions and analyse|
|the characteristic musical features of each song. Use the 'Listen' copy-master from "Sweet II: Another Taste of New Zealand Music" for students |
|to record their ideas and observations. Consider modeling the analysis of several songs and then have student complete analyses in groups, then |
|pairs and then individually. Share back ideas. |
|Assessment Approach – Managing Self |
|ANALYSIS SELF-REFLECTION: |
|1. I am able to get to grips with the meanings of lyrics. What strategies do you use to help |
|you understand lyric content (eg. text analysis, relating text to emotion of the music. |
|through talking with others, specific literacy strategies.) |
|5 4 3 2 1 |
| |
|2. I am able to analyse the structure/form of songs. |
|5 4 3 2 1 |
| |
| |
|3. I am able to sing or playback or notate the melody of songs. |
|5 4 3 2 1 |
| |
|4. I am able to hear or work out the chords used in songs. |
|5 4 3 2 1 |
| |
|5. I am able to say what recording techniques are used in songs (eg. reverb, distortion, EQ |
|etc.) |
|5 4 3 2 1 |
|Circle the number which best represents your responses using: 5=with ease; 4=most of the time; 3=sometimes; 2=rarely; 1=never. |
|From this, consider goals that will help you to improve in aspects where you need to. What strategies might be helpful for you to improve? (e.g.|
|working in groups, practise in specific aspects etc.) |
| |
|Activity 2b |
|Consider the images and messages that rock and pop videos portray. Get students, in groups, to imagine they were in a rock band about to make a |
|music video for TV or the web. Decide what style of music the band plays, the target audience, and then consider what 'look and feel' they want |
|for the video to effectively portray the image and message to their target audience. |
| |
|Focus on NZ rock and popular of the 1970s. This was the time of growth in the pub band culture. Discuss the musical and social impact of pubs |
|being open later as opposed to the six o'clock closing during the 1960s. What were the pros and cons of the 'six o'clock swill'? |
|Assessment Approach – Participating and Contributing |
|SELF-REFLECTION: I contributed to my group's creation of a music video concept and contributed to classroom discussion by: |
|staying on task |
|2. encouraging others to stay on task |
|3. accepting other people's ideas |
|4. challenging other people's ideas |
|5. negotiating and/or clarifying other's ideas |
|6. contributing my own ideas |
|7. making connections to what we have learned so far in this unit of work |
| |
|Give yourself a score out of 5 for each. 5=always; 4=mostly; 3=sometimes; 2=rarely; 1=never. |
|Describe your actions (evidence) that led you to making decisions about how you scored yourself. |
| |
|Activity 2c |
|View a variety of music videos from the 1970s - especially by Space Waltz, Dragon, Split Enz, Shona Laing, Netherworld Dancing Toys and Hello |
|Sailor. Divide students into 4-5 groups or pairs. Ask each group/pair to select one of the following topics: 1. Rock/pop music in NZ in the |
|1970s; 2. The visual or the fine arts in NZ during the 1970s; 3. Fashion in NZ during the 1970s; 4. The NZ Music Industry in NZ in the 1970s; OR|
|5. NZ culture and society during the 1970s. |
|Use MOE resources, Digistore, year-books and the internet to support the students as they research information about their topic. Each |
|group/pair is to give a five-minute presentation to the class on what they found out in relation to their topic. |
|Assessment Approach – Critically Evaluating Sources of Information |
|RESEARCH SELF OR GROUP REFLECTION: |
|1. I/We chose the topic because ... |
|2. I/We collected information from the following source(s): ... |
|3. The most valuable sources of information for my/our research was ... because ... |
|4. I/We selected information from our sources by ... |
|5. I/We found the most useful sources were ... because ... |
|Activity 2d |
|Follow this up with an in-class discussion where students consider the relationships between rock music, arts, fashion, industry and culture and|
|society in New Zealand during the 1970s. Students may also want to make such links with rock music and other aspects of culture in the present |
|day. Get them to talk to relations and friends about this and follow up with a further discussion that draws in other perspectives. |
|Share ideas, debate and discuss how New Zealand rock/popular music reflects the cultural diversity, values and traditions found here now. Ask |
|students to keep notes from the discussion to help them prepare for Task 1 of AS 90017. Share this task with students so that they may begin |
|preparations for completing it. Refer to page 15. |
|Assessment Approach - Relating to Others & Participating & Contributing |
|DISCUSSION SELF-REFLECTION: |
|In this discussion, I was able to: |
| |
|5 4 3 2 1 |
|1. Recognise other people's points of view |
| |
|2. See the relationships, links with other ideas |
| |
|3. Listen when I needed to |
| |
|4. Challenge others' ideas respectfully |
| |
|5. See the bigger picture |
| |
|6. Expand on my own knowledge and understandings |
| |
|Rate yourself out of 5 for each using: 5=with ease; 4=most of the time; 3=sometimes; 2=rarely; 1=never. |
|Consider the aspects that you scored highly in. What has helped you to relate to others so effectively? Share your ratings with a peer - do they|
|agree with you? Why/why not? |
| |
| |
|ACTIVITY THREE (6-8 lessons) |
| |
|Focusing Question |
|How will analysing a range of songs from various genres/styles help us to appreciate music more and make us more reflective in our own music |
|creating and making? |
|Learning Outcomes |
|Analyse the elements and features of selected New Zealand rock/popular songs considering beat/tempo, speed/feel, tone colours, rhythm, melody, |
|key, compositional devices, from/structure, mood/impact/meaning and production techniques. |
|Apply knowledge of the features and stylistic conventions of a range of New Zealand rock and popular music through an integration of aural |
|perception and practical and theoretical skills. |
|Recall (sing or play back, and/or notate) rhythm patterns, without syncopation, of four bars length in simple time (2/4, 3/4 or 4/4). |
|Recall (sing back or play back, and/or notate) melodies of four bars length in a major key. |
|Identify (orally or in written form) chords I, IV, V and VI in a major key. |
|Activity 3a |
|Cooperatively analyse a range of songs from 'The Little Black Kiwi Songbook' to co-construct deeper understandings about the music and lyric |
|content, and in particular focusing on the kinds of values embedded within lyrics: |
| |
|1. Listen to 'French Letter' several times. Use the 'Listen' copy-master from "Sweet II: Another Taste of New Zealand Music" for students to |
|record their ideas and observations. Discuss the meaning of the lyrics. Consider how the message in this song reflects individual and collective|
|values regarding a nuclear free New Zealand. What might be the moral, social, political and economic implications of holding such values? |
|Listen to the song 'There is No Depression in New Zealand'. What connections, if any, are there between this song (musically and lyrics-wise) |
|and 'French Letter'? |
| |
|2. Listen to 'I'll Say Goodbye (Even Tho I'm Blue)' several times. Use the 'Listen' copy-master from "Sweet II: Another Taste of New Zealand |
|Music" for students to record their ideas and observations. Discuss the meaning of the lyrics with the students. have them sing along with the |
|song. Get them to try and work out the melody of the chorus, which starts on E and is in E major. Have them work out the chord sequence for the |
|chorus, which uses A, B, E and C#m. In pairs - using a guitar and voice (or a keyboard) - get them to put the melody and chords together. Have |
|them try the verses once they have experienced success with the chorus. |
|Consider recreating the songs as a class or in several groups. Try the song in F or Eb major. |
| |
|3. Listen to 'Violent' several times. Use the 'Listen' copy-master from "Sweet II: Another Taste of New Zealand Music" for students to record |
|their ideas and observations. Discuss the meaning of the lyrics with the students. Have them sing along with the song. Get them to try and work |
|out the melody of the chorus, which starts on F and is in C major. Have them work out the chord sequence for the chorus, which uses Eb, F, Bb |
|and C. In pairs - using a guitar and voice (or a keyboard) - get them to put the melody and chords together. Have them try the verses once they |
|have experienced success with the chorus. |
|Consider recreating the songs as a class or in several groups. Try the song in D major. |
| |
|4. Listen to 'April Sun in Cuba' several times. Use the 'Listen' copy-master from "Sweet II: Another Taste of New Zealand Music" for students to|
|record their ideas and observations. Discuss the meaning of the lyrics with the students. What connections, if any, are there between this song |
|(musically and lyrics-wise) and 'French Letter' or 'There is No Depression in New Zealand'? Have them sing along with the song. Get them to try |
|and work out the melody of the chorus, which starts on F# and is in D major. Have them work out the chord sequence for the chorus, which begins |
|on G (maj7). In pairs - using a guitar and voice (or a keyboard) - get them to put the melody and chords together. Have them try the verses once|
|they have experienced success with the chorus. Consider recreating the songs as a class or in several groups. Try the song in another key. |
| |
|Consider using similar processes to examine and analyse some of the following songs: |
|'Bring Change' by Shapeshifter from the album 'Soulstice' (p28); |
|'Dance All Around the World' by Blerta (p34) |
|'Long White Cross' by Pluto (p79) |
|'No Ordinary Thing' by Op Shop (p92) |
|'One Step Ahead' by Split Enz (p98) |
|'Reverse Resistance' by King Kapisi (p120) |
|'Verona' by Elemeno P (p146) |
|Assessment Approach – Managing Self |
|ANALYSIS SELF-REFLECTION: |
|1. I am able to get to grips with the meanings of lyrics. What strategies do you use to help |
|you understand lyric content (eg. text analysis, relating text to emotion of the music. |
|through talking with others, specific literacy strategies.) |
|5 4 3 2 1 |
| |
|2. I am able to analyse the structure/form of songs. |
|5 4 3 2 1 |
| |
|3. I am able to sing or playback or notate the melody of songs. |
|5 4 3 2 1 |
| |
|4. I am able to hear or work out the chords used in songs. |
|5 4 3 2 1 |
| |
|5. I am able to say what recording techniques are used in songs (eg. reverb, distortion, EQ |
|etc.) |
|5 4 3 2 1 |
| |
|Circle the number which best represents your responses using: 5=with ease; 4=most of the time; 3=sometimes; 2=rarely; 1=never. |
|From this, consider the goals that you decided on in Activity 2a. How have you improved? What strategies helped you to improve? (e.g. working |
|in groups, practise in specific aspects etc.) |
| |
|Activity 3b |
|Practise comparative analyses of songs using the 'Compare' copy-master in "Sweet II: Another Taste of New Zealand Music". This will enable |
|students to prepare for Task 2 of AS 90017. See page 15. Give out the task at completion of this activity. Students must complete individual |
|analysis of two songs not cooperatively analysed in class. |
| |
|Consider using any of the songs analysed in Activity 3b, or any other TWO songs from 'The Little Black Kiwi Songbook' (ensuring that they are in|
|2/4, 3/4 or 4/4 and that they are in keys up to and including three sharps or three flats) for assessing Element 1 of US 18816. You may need to |
|consider transposing the songs. Melodies need to include intervals that fall within the octave only. Chords to assessed are I, IV, V and VI. If |
|the song uses chords outside of this range, then supply these to the students. Refer to assessment tasks on page 21. |
|Assessment Approach – Managing Self: Preparing for US 18816 |
|After having tried to work out melodies and chords of songs that we have listened to and analysed in class, I need to set goals for working |
|towards US 18816. Write 3 goals focused on: |
| |
|1. Recalling a 4 bar rhythm - can I do this by ear and clap back? Can I represent this |
|graphically? Can I write this out using traditional notation? Do I find this easy, moderately |
|difficult or really challenging? Why is this so? |
|2. Recalling a 4 bar melody - can I do this by ear and sing or playback? Can I represent this |
|graphically? Can I write this out using traditional notation? Do I find this easy, moderately |
|difficult or really challenging? Why is this so? |
|3. Recalling a chord progression - can I identify chords I, IV, Vi and VI and/or play them back |
|on a guitar or keyboard? Do I find this easy, moderately difficult or challenging? |
|Why is this so? |
|4. What do I need to do now? (What strategies will I use to improve my ability?) What is the |
|time-frame I have set to achieve this? What resources will I use to help me achieve my |
|goals? |
| |
| |
| |
|ACTIVITY FOUR (4-5 periods) |
| |
|Focusing Questions |
|How can examining Kiwi rock/popular music help us to learn about our own and others' values? |
|What processes do we need to learn about to be able to critically evaluate sources of information that will help build our understanding of |
|rock/popular music in New Zealand? |
|Learning Outcomes |
|Present a case study from one category of New Zealand music, one aspect of case study in detail, and an individual profile of one musician from |
|the case study. |
|Consider how new learnings from this unit of work may helps us to interpret music with depth and provide models for future music creating and |
|making. |
|Prepare students for their case study, as a requirement of US 12831. Before they begin work on the case study, they will need to submit a short |
|(250 words) report outlining: |
|• how and why they have selected the category for the case study |
|• the resources they will use, and how will obtain access to these |
|• personnel support required (e.g. teacher(s), librarian, etc.) |
|• music required for listening and analysis (Recordings, scores) |
|• support agencies they may contact to help them in their work (e.g. SOUNZ) |
|• decide how they will present their work and why? |
|• A description of the process they will undertake to complete the case study – this might include a time-line with the goals they need to work|
|towards, when they will achieve these and how they will achieve these. |
| |
|Discuss the categories of case study available to the students: Maori music OR Ethnic music other than Maori (e.g. Pacific Island, Asian, Fijian|
|Indian) OR Popular music OR Art music (e.g. ‘ serious’ /contemporary music – choral, orchestral, chamber, electronic etc) OR Music Industry |
|(e.g. Film/TV/radio music, music engineers, music in the media, song writers etc), emphasising that Popular Music, the Music Industry and |
|perhaps Maori or Polynesian music best reflects the categories studied in this unit. Make available to the students the resources listed in this|
|unit. Have students work in groups to research, using the internet, the music examples they might use in their case study. Consider presenting |
|information on the various industry agencies that support the case study topic the students have selected. |
| |
|Show students how to reference the materials (using APA - ) they access and use information |
|from: When recording where they have got their information from – they should follow the format below: |
|Acknowledge the source of all ideas, words and images copied (quoted from), paraphrased or adapted. Abusing intellectual property is THEFT. |
|Referencing involves stating: |
|• WHO it belongs to |
|• WHAT it’ s called |
|• WHERE it was found |
| |
|Lead a discussion on how best to present the case study. Students may choose from 1. Seminar with music examples that you will share with |
|others; 2. Booklet with a list of music examples that you have listened to; 3 Script for a C4 or MTV programme; 4. Website, blog or wiki; 5. CD |
|Rom or 6. Radio programme. Consider the pros and cons of each presentation method asking students to share ideas on this. Provide students with |
|starters or questions to consider for each aspect in each of the three elements being assessed. Refer to the US12831 Task and Schedule on the |
|Arts Online Teacher Resource Exchange. See |
| |
|Ensure that students have set a time-frame for working towards the various aspects in the assessment, considering what they will need to do and |
|where they might get information or ideas from. Share work in progress and provide time for students to share with each other and time for |
|questions. Refer to assessment tasks on page 24. |
|Create a work-plan that will enable you to manage your time and preparation for achieving the three elements for US12831. |
| |
|Element 1: Present a case study of one category of New Zealand music. |
|1.1 Presentation provides brief chronological overview of study, including significant musicians and their contributions. |
|• How will you obtain this information and how will you present it? |
|1.2 Presentation describes significant musical characteristics of selected study, including repertoire and performance style. |
|• How will you decide what the significant musical features are - through listening, research, reviews? |
|1.3 Presentation identifies features, which may be described as specifically ‘ New Zealand’. |
|• How will you decide what is specifically 'New Zealand' - performance style, lyric content, talking to others? |
| |
|Element 2: Present one aspect of the case study in detail. |
|2.1 Presentation provides brief overview of aspect. |
|• What will you include in your overview? |
|2.2 Presentation identifies at least three musical features of aspect in terms of their significance to aspect and case study. |
|• How will you decide on what musical features are significant? |
|2.3 Presentation identifies at least three musicians of aspect in terms of their contributions to aspect and case study. |
|• What criteria will you use to select three significant musicians? |
| |
|Element 3: Present an individual profile of one musician from the case study. |
|3.1Presentation provides historical setting of musician, including major influences on musician’ s musical output. |
|• Where will you locate this information and how will you know what the major influences might be? |
|3.2 Presentation provides brief musical biography of musician. |
|• What will you include? Leave out? |
|3.3 Presentation evaluates contribution of musician to New Zealand music history. |
|• What criteria will you use to decide this? |
| |
|In groups, write descriptors for the kind of evidence you will provide for each element, which you deem fair and reasonable in order to gain an |
|achievement for each element. For example: 3.2 Clear and concise information on the training, experience, compositions and/or performances of |
|the chosen musician will be provided. |
|PERSONAL REFLECTION: |
|How has discussing, researching, analysing and playing a range of New Zealand rock/popular music helped you in your learning? |
|Think about: |
|1. Your understanding of the development of NZ rock/popular music; |
|2. The kinds of things that NZ songwriters write and sing about; |
|3. How songs are put together or structured; |
|4. How you might apply what you have learned in your own performing and composing; |
|5. How the choice of musical style from an artist can affect the way we feel and relate to that |
|music; |
|6. What you have learned about yourself and others throughout this unit. |
KEY TERMINOLOGY
Students may want to add their won definitions to the following terms:
|Term |Definition |
|elements and musical features |Elements are the key ingredients of music (e.g. beat, rhythm, pitch, tempo, tone colour or timbre, |
| |dynamics). Composers feature these in distinctive and unique ways in their compositions. |
|musical features/characteristics |The way that composers use the elements and language of music is distinctive and therefore their |
| |music often displays particular musical features or characteristics that are ‘fingerprints’ of their |
| |style. |
|performance style |The performance conventions that are associated with a particular style of music and that affect how |
| |a musical work is interpreted and presented. |
|compositional devices |Devices used in constructing a piece of music (e.g. motif, phrase, sequence, repetition, variation, |
| |cadence). |
|genre |A broad category of music (e.g., rock, jazz, choral music); or a particular type of music that has a |
| |tradition or history and is identifiable by specific characteristics (e.g. the sonata, rock opera) |
SUMMARY OF KEY COMPETENCIES EMBEDDED IN UNIT
|Thinking |Consider the kinds of values that are expressed through rock/popular music in New Zealand and how this contributes |
| |to a wider understanding of the music. Consider how personal experiences and challenges to our own personal values |
| |system can be a stimulus for creative thought and action. Consider personal goals in music and how the knowledge |
| |shared and built upon in this unit may be integrated into own personal practice, identity and expertise. |
|Participating and |Consider how sharing ideas with others helps to build our own perspectives. Consider how respecting other people's |
|contributing |ideas builds our capacity to listen more intently, recognise different points of view and negotiate solutions. |
| |Consider how the way we relate to others in discussion can challenge our own thinking and lead to new approaches, |
| |ideas and ways of thinking. |
|Using language, symbols, and|Consider how lyrics and music combine to express and communicate ideas, emotions and experiences. Consider how the |
|texts |language of music and its symbolic representation are to communicate musical understandings. Consider how choice of|
| |musical language can affect the way people feel and relate to music. Consider how music can help us to tap into |
| |experiences, thoughts and actions and help us to make meaning in our lives. |
|Managing self |Consider readiness for assessment, particularly US 18816, deciding in consultation with the teacher, preparation |
| |and readiness for playback aural tasks. Consider how we set personal goals, make work plans and manage our time to |
| |meet work goals in order to achieve and experience success. Consider the effectiveness of the strategies we devise |
| |to help us reach our goals and our disposition to ask for help and support from our peers and teachers when we need|
| |to. |
|Relating to others |Consider our ability to effectively listen to what others say in and through their music to help us recognise other|
| |ways of being. Consider how we share ideas with our peers, which can lead to the creation of new understandings, |
| |approaches and ideas. |
RESOURCES
Print
• New Zealand Music Industry Commission & Ministry of Education. (2002, 2004). Sweet: A Taste of New Zealand Music, and Sweet II: Another Taste of New Zealand Music. (Book, CD, poster, and CD-ROM).
• New Zealand Music Industry Commission & Ministry of Education (2005). Making Music: Te Puoro: New Zealand musicians play their songs and talk about their work. (Book and videos).
• New Zealand Music Industry Commission (2004). Give it a Whirl. Wellington: Learning Media. (Book, videos and DVD).
• Peter, S. (Ed.). (2007). The Little Black Kiwi Songbook. Victoria: Wise Publications.
• Dix, J. (2005). Stranded in paradise: New Zealand rock and roll 1955 to the modern era, Auckland: Penguin.
• Eggleton, D. (2003). Ready to fly: the story of New Zealand rock music. Nelson: Craig Potton Publishing.
• Spittle, G. (1997). Counting the beat: a history of New Zealand song. Wellington: GP Publications.
• Staff, B., Ashley, S. (2002). For the record: a history of the recording industry in New Zealand. Auckland: David Bateman.
Arts Online
• Teacher Resource Exchange – AS 90017 Task and Schedule
• Teacher Resource Exchange - US 18816 Task and Schedule
• Teacher Resource Exchange - US 12831 Task & Schedule
• Teacher Resource Exchange - US 12831: Student Workbook and Mark-sheet
• Teacher Resource Exchange - Counting the Beat
Web Resources
• NZ Musician - nzmusician.co.nz
• NZ History - .nz/the_history_classroom
• NZ Music Month - nzmusicmonth.co.nz
• NZ Music Chart - lovemusic.co.nz
• NZ On Air - kiwihits.co.nz
• NZ Music Month: 2005 - .nz/r/hot_topics/nzmm_e.php
• NZ Music -
• More on NZ Music - cheeseontoast.co.nz
• My Space Music -
• NZ Music Services Directory - musicnz.co.nz/
• Centre for NZ Music - .nz
• NZ Music Industry Commission - .nz/
• APRA - apra.co.nz/
• RIANZ - .nz/rianz/rianz_homepage.asp
APRA Top 10 of all time -
• TVNZ On Demand -
• Christchurch Gig Scene -
• NZ Music of the 60s, 70s and 80s - .au/nzmusic.html
• Music Industry Related Stuff - stuff.co.nz/4355865a1860.html
• Links to Alternative NZ Rock - vol6/geo.html
• Failsafe Records site - history/intro.htm
• NCEA Programme Planning -
• NCEA Planning and Assessment Resources -
School/Community Resources
• Community Artists for Education -
• Artists in Schools Project -
• There may be Kiwi music buffs on your staff that may be a valuable source of knowledge and inspiration!
Other Resources
• New Zealand Music Downloads -
• Freeware and Software -
• Commercial Resources -
• Software for Learning -
• Digistore -
TEACHER BACKGROUND READING
• Assessing in the Arts
• Strategies for Success: Engaging Students in Secondary Schools
• Effective Instructional Practices Enhance Student Achievement
• Gender Bias in Education
• Te Kotahitanga
• Towards Making Achieving Cool: Achievement in Multi Cultural High Schools (AIMHI)
• Pasifika Friendly Pedagogy: Relationship Building and Cultural Inclusiveness
ONGOING ASSESSMENT TOWARDS ACHIEVING AS 90017
Demonstrate knowledge of music works
|Achievement Standard |90017 |Version |2 |Level |1 |
|Assessment Mode |Internal |Credits |4 |Due Date | |
Submission Requirements
Students will submit their response to both tasks on their own written paper. They may use a template in the form of a comparative table, supplied by the teacher, for Task 2
Note: This assessment contributes evidence towards the final grade of Achievement Standard 90017 (Music 1.6). The final grade will be determined on completion of this activity and an assessment activity involving score analysis.
CONDITIONS
Pre-requisites: There are no pre-requisites or co-requisites for AS 90017. Duration: 4-5 weeks
Homework: Regular homework will be required for both tasks for AS 90017.
Presentation of Work: For Task 1 of AS 90017 students must present their work in written paragraphs. For Task 2, students must use a comparative analysis template provided.
Assessment for AS 90017 will come towards the end of a unit of teaching and learning on rock and popular music in New Zealand, Aotearoa. Students must have had the opportunity to have listened to, discussed and analysed a range of Kiwi rock and popular music from the 1960s through to the present day. They should also have had the opportunity to research, debate and discuss the relationship between rock music, arts, fashion, industry, culture and society in New Zealand during this period. Through doing this, students will explore the values that underpin the beliefs of individuals and groups who are involved in the creative industries. Task 1 for AS 90017 requires classroom time - opportunity should be given for students to access information and discuss and debate points researched. Task 2 for AS 90017 requires classroom and homework time. Audio recordings should be made available to the students
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AS 90017 – Demonstrate knowledge of music works
STUDENT TASKS:
Students must present evidence of their response to the following two tasks.
Task 1: Historical Context – Kiwi Rock Music from a Selected Era - This task requires students to select a particular era in NZ rock music history (i.e. the 60s, 70s, 80s, 90s or 00s) and demonstrate their knowledge of the significant musical characteristics of this era, including key musicians/bands, repertoire and performance style/s and to identify any musical features that may be specifically identified as being ‘ kiwi’ .
This task is to be completed in class over 1 week.
Choose a particular era in NZ rock music history (i.e. the 60s, 70s, 80s, 90s or 00s).
Find out about this particular era. Listen to some music from this period. Carry out some research into the era using texts and websites suggested by your teacher, and any other resources you find. Consider the relationship between rock music, arts, fashion, culture and society in New Zealand during this period. Keep notes of any points you find that are relevant – you will need these to answer the task below.
Once you have completed the above, demonstrate your knowledge of Kiwi rock/popular music from this era.
Explain the:
• Main musical features of the music from the chosen era. This should be a broad general statement. Eg in NZ pop music of the 19xxs, the music was usually simple and catchy. Songs were short and had predictable structures. There were many solo acts. Rock n’ roll still had an influence on the styles of the music in terms of instruments used. NZ musicians tended to copy what was happening overseas, and there was very little originality…
Write a one to two pages of A4 on this.
• The sort of repertoire from this era – list the key pieces of music and artists and say why you think they were important. You may like to consider referring to the musical content of pieces to back up your comments on the musical features you have described in the first bullet. You may do this by: annotating a score, providing a recording accompanied by notes that explain the musical features and clearly refer to sections of the music using timings. E.g. From 1’ 12” – 1” 45” you can hear the ‘ ice cream’ chord progression.
Write two pages of A4 on this.
• The performance style/s in this era – if you can, view videos of performances and describe the style of the music (eg soul) and the on-stage style of the performer(s) (eg Ray Columbus and the Invaders – these performers were static on stage, except for the classic 60s head movement. Dance movements were not innovative, and reflected learnt patterns with very little original, ‘ free’ movement. Dress codes were very formal, reflecting the fact that NZ was concerned that pop idols would present a respectable image for teenyboppers to follow.)
Write one page on this.
Identify any features of the music that could be described as particularly ‘ Kiwi flavored’ . This may include:
• Lyric content of songs (eg referring to aspects of Kiwi way of life)
• Musical features that suggest an aspect of New Zealand (e.g. geography)
• Performance venues (e.g. pubs, town halls, universities)
Write up to one page on this.
Task 2: Listening Analysis of the Elements and Features of the Music - this task requires students to demonstrate an knowledge of the elements and features of TWO songs, selected by the student, through listening, using a comparative analysis template.
This task is to be completed in class or for homework over 1 week.
This task requires you to demonstrate your knowledge of the elements and features of TWO songs, selected by you, through listening, using a comparative analysis template.
Consider the elements of:
• Beat/Tempo/Speed/Feel
• Tone Colours – voices, instruments, effects
• Rhythm – smooth, spiky, even, quavers, dotted, even etc.
• Melody – think about how you would describe it.
• Key – major/minor/modal
• Compositional devices that extend and develop the musical ideas in the song
• Form/Structure
• Mood/Impact/Meaning
• Other: this is your choice, eg purpose of the song, production techniques such as multi-layering, reverb, EQ etc.
Analyse and describe how these elements are featured in the TWO songs using the template on the next page.
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|Distinctive Features |SONG 1 |SONG 2 |
| |Title: |Title: |
| |Artist: |Artist: |
|Beat/Tempo/ | | |
|Speed/Feel | | |
| | | |
| | | |
|Tone Colours | | |
| | | |
| | | |
| | | |
|Rhythm | | |
| | | |
| | | |
| | | |
|Melody | | |
| | | |
| | | |
| | | |
|Key | | |
| | | |
| | | |
| | | |
|Compositional devices | | |
| | | |
| | | |
|Form/Structure | | |
| | | |
| | | |
| | | |
|Mood/Impact/ | | |
|Meaning | | |
| | | |
| | | |
|Other | | |
| | | |
| | | |
| | | |
|Achievement |Achievement with Merit |Achievement with Excellence |
|Demonstrate knowledge of elements and features |Demonstrate knowledge of a range of elements and|Demonstrate knowledge of a wide range of |
|of music works. |features of music works. |elements and features of music works. |
|TASK ONE: |TASK ONE: |TASK ONE: |
|Responses identify valid, factual information |• Responses explain a range of valid, factual |• In-depth responses explain a wide range of |
|about Kiwi rock music from a selected era; |information with some detail about Kiwi rock |factual information with detail about Kiwi rock |
|Personal response describes some features as |music from a selected era; Personal response |music from a selected era; Perceptive and |
|particularly ‘ Kiwi flavoured’ |describes with some detail features as |insightful personal response describes features |
| |particularly ‘ Kiwi flavoured’ |as particularly ‘ Kiwi flavoured’ |
| | | |
|TASK TWO: |TASK TWO: |TASK TWO: |
|Knowledge of features of TWO songs demonstrated |• Some depth of knowledge of features of TWO |• Depth of knowledge of features of TWO songs |
|through valid, accurate responses to musical |songs demonstrated through some detailed and |demonstrated through detailed, accurate and wide|
|elements. |accurate responses to musical elements. |ranging responses to musical elements. |
|EVIDENCE: |
|Task One provides information on Kiwi rock music from a selected era |
|Task Two provides description of elements and features of TWO songs using comparative analysis template. |
The assessment contributes evidence towards the final grade of Achievement Standard 90017 (Music 1.6). The final grade will be determined on completion of this activity and an assessment activity involving score analysis.
AUTHENTICATION: The work that has been submitted for assessment is entirely my own work.
|Student signature | |Date: | |
TEACHER'S COMMENT
|FORMATIVE GRADE | |Resubmission Date: | |
|Student’s signature | |Date: | |
|Teacher's signature | |Date: | |
| |Self-Assessment |Teacher Assessment |
|Strengths | | |
|Next Steps - ways to improve| | |
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ONGOING ASSESSMENT TOWARDS ACHIEVING US 18816
Demonstrate aural recall skills to an elementary level
|Unit Standard |18816 |Version |2 |Level |1 |
|Assessment Mode |Internal |Credits |3 |Due Date | |
Submission Requirements
Students will present themselves for individual assessment when they are ready. They may use their own instrument, piano or guitar to try out the rhythm, melody or chord progression before they play back, identify and/or notate their responses.
Note: This assessment contributes evidence towards the final grade of Unit Standard 18816.
The final grade will be determined on completion of this activity and Element 1.4: Demonstration displays ability to identify the application of a range of performance directions, and Element 2.1: Identify music materials through listening to music without complexity - Identification demonstrates knowledge of timbre, texture, and form in a music excerpt of no more than 12 bars.
CONDITIONS
Pre-requisites: There are no pre-requisites or co-requisites for US 18816. Time signatures assessed in this unit standard will include 2/4, 3/4, 4/4. Key signatures will be up to, and including, three sharps or three flats. Chords covered are based on the primary triads of tonic (I), sub-dominant (IV), dominant (V), and sub-mediant (VI). Intervals include the octave, and those that fall within the octave.
US 18816 requires ongoing collection of student evidence throughout the unit that shows that students can: Task 1 - Recall (sing back, play back or write down) two rhythm patterns without syncopation in simple time (2/4, 3/4 or 4/4); Task 2 - Recall (sing back, play back or write down) two melodies in a major key; Task 3 - Identify (orally or in written form) chords I, IV, V and VI in a major key. Evidence of achievement should be collected over the 8 weeks of the unit. Readiness to be assessed for each task should be determined by the student in consultation with the teacher. Student work should be retained in a portfolio. If a student is assessed though play back or orally, student responses must be recorded and kept as evidence. Note that this is not the complete list of elements required for this unit standard.
Duration: 6 -8 weeks to practise aural recall skills.
Homework: No specific homework is required for US 18816, however students should be encouraged to play the melodies and chords of the songs they listen to, to give them further practice for in-class assessment.
Special requirements: Teachers will need audio or audio-visual equipment to record evidence for US 18816.
Presentation of Work: For US 18816, students must present their work through live playback.
Note: This assessment contributes evidence towards the final grade of Unit Standard 18816. The final grade will be determined on completion of this activity and an assessment activity for 1.4 and Element 2.
US 18816 – Demonstrate aural recall skills to an elementary level
STUDENT TASKS:
|Assessment Task 1.1 |
|You must playback a simple rhythm of 4 bars length using the note values and time signatures listed below. The pattern will be played as necessary |
|within a 5-minute time limit. You may hear the pattern as many times as you need within a 5-minute period. Crotchet clicks will be given each time |
|the extract is played. The time signature will be given. |
| |
|Notes: |
|• Whole note (semibreve) |
|• Half note (minim) |
|• Quarter note (crotchet) |
|• Eighth notes (quavers) |
|• Sixteenth note (semiquaver) |
|• Dotted minim, dotted crotchet and dotted quaver |
| |
|Rests: |
|• Semibreve, minim crotchet only |
| |
|Time signatures: |
|• 2/4, 3/4 or 4/4 |
| |
|The rhythm will start on the first beat of the bar. |
|Judgement Statement showing Evidence required to Achieve 1.1 |
|You will recall a rhythmic pattern without syncopation in simple time. The rhythmic pattern will be recalled with complete accuracy in three of the |
|four bars. |
|Assessment Task 1.2 |
|You must recall a melody in a major key using the following keys, note values, time signatures and rests listed below. The extract will be in a key |
|up to 3 sharps or 3 flats. You will be given the key signature for the melody and asked to name the key of the extract. The time signature, key |
|signature and starting note(s) will be given. |
| |
|You will individually recall the melody in one of the following ways: |
|• By playing back on an instrument. The melody will be transposed up or down an octave as necessary, to fall within the range of the chosen |
|instrument, but will stay in the same key. |
|• By singing back. The starting note may be transposed to ensure the melody falls into a comfortable range for the student to sing. |
| |
|The extract will be played as necessary within a 5-minute time limit. You may hear the extract as many times as you need within a 5-minute period. |
| |
|Keys: |
|• Major keys of up to three sharps and flats |
| |
|Note values: |
|• Semibreve, minims, dotted minims crotchets and quavers only. |
| |
|Time signature: |
|• 4/4 or 3/4 |
|• The melody may begin on the first or last beat of the bar. |
| |
|Melodic Range |
|• All leaps will be within an octave |
|• The melody may move above or below the tonic |
|Judgement Statement showing Evidence required to Achieve 1.2 |
|You will recall a melody in major key, with no more than three errors of pitch, allowing for minor errors in intonation when playing or singing |
|back. |
|Assessment Task 1.3 |
|You will identify and recall chords in root position. |
| |
|Chords must be recalled accurately, within the parameters below: |
|• I, IV, V, vi in major keys of up to three sharps and flats |
|• Chords may be identified using Roman numerals (I, IV, V and vi) or by using jazz/rock terminology (eg C, F, G, Am) |
| |
|You will identify and recall 6 chords played on guitar, piano or keyboard with melody above. The assessment will be a melody up to 8 bars in length |
|with chords underneath. The opening chord and some other chords in the extract will be given. You will individually identify and recall each of the |
|chords in one of the following ways: |
|• By playing back the chords on keyboard or piano (voicing of the chords may be in close position or any position convenient for you) |
|• By playing back the chords on guitar (voicing of chords may be in any way convenient for you) |
|• By writing them down (using Roman numerals or jazz/rock chords) |
| |
|For those choosing to identify the chords by transcription, the extract will be played as many times as you wish within a 5 minute span with a 15-30|
|second gap between each playing. For those choosing the playback option, you will be given a recording of the music and five minutes to prepare your|
|answer. |
|Judgement Statement showing Evidence required to Achieve 1.3 |
|You will accurately recall four of the six primary chords in root position. |
Note: This assessment contributes evidence towards the final grade of Unit Standard 18816. The final grade will be determined on completion of this activity and an assessment activity for 1.4 and Element 2.
TEACHER'S COMMENT
|GRADE FOR ELEMENT 1 | |Resubmission Date: | |
|Student signature | |Date: | |
|Teacher's signature | |Date: | |
SUMMATIVE ASSESSMENT FOR US 12831
Demonstrate rudimentary knowledge of New Zealand music
|Unit Standard |12831 |Version |3 |Level |1 |
|Assessment Mode |Internal |Credits |3 |Due Date | |
Submission Requirements
Students need to submit a report showing work undertaken in preparing for this standard. Students may present their work in a number of ways. See presentation of work.
CONDITIONS
Assessment for US 12831 will occur after a significant period of listening to New Zealand music and reading/researching a chosen category of New Zealand music. Students should know and be conversant with the terminology used in the assessment and the standard, and have prepared a case study selection after discussions in class with the teachers and their peers. Students will need to document this preparation in a report submitted with their case study. This assessment will be individually assessed. It will involve classroom work (through discussion and research) and homework.
Three - four weeks should be spent on preparing for and writing up the case study. Students will be offered the opportunity to resubmit any elements that are not achieved. Teachers will support students with appropriate resources. Students need to submit a report showing work undertaken in preparing for this standard, at least a week before embarking on the case study. This will enable the teacher to assess their readiness to undertake the task. This is a vital part of the process, where critical feedback can be given to the student, and clarification of the requirements can be given.
Pre-requisites: There are no pre-requisites or co-requisites for US 12831.
Duration: 8 weeks
Homework: Students will have to spend homework time preparing for and writing up the New Zealand music case study for US 12831.
Presentation of Work: For US 12831, students may present their case study as ONE of the following:(1) Seminar with music examples that can be shared with others; (2) Booklet with a list of music examples listened to; (3) Script for a C4 or MTV programme; (4) Website; (5) CD Rom or (6) Radio programme
ELEMENTS AND PERFORMANCE CRITERIA FOR US 12831
|Element 1 |
|Present a case study of one category of New Zealand music. Range: one of Mãori, ethnic music other than Mãori, popular, art music, music |
|industry |
|1.1 Presentation provides brief chronological overview of study, including significant musicians and their contributions. |
|1.2 Presentation describes significant musical characteristics of selected study, including repertoire and performance style. |
|1.3 Presentation identifies features, which may be described as specifically ‘New Zealand’. |
|Element 2 |
|Present one aspect of the case study in detail. Range: one of: musical style, historical period, genre, activity |
|2.1 Presentation provides brief overview of aspect. |
|2.2 Presentation identifies musical features of aspect in terms of their significance to aspect and case study. Range - at least three musical |
|features |
|2.3 Presentation identifies musicians of aspect in terms of their contributions to aspect and case study. Range - at least three musicians |
|Element 3 |
|Present an individual profile of one musician from the case study. Range: any New Zealand musician, alive or dead |
|3.1 Presentation provides historical setting of musician, including major influences on musician’s musical output. |
|3.2 Presentation provides brief musical biography of musician. Range - training, experience, compositions and/or performances |
|3.3 Presentation evaluates contribution of musician to New Zealand music history. |
Students seeking credit for this unit standard will be expected to submit a report showing work undertaken in preparing for this standard.
US 12831 – Demonstrate rudimentary knowledge of New Zealand music
STUDENT TASKS:
|Assessment Task 1.1 |
| |
|You are to present a case study of New Zealand Music. Choose ONE topic from: |
|• Maori music |
|• Ethnic music other than Maori (e.g. Pacific Island, Asian, Fijian Indian) |
|• Popular music |
|• Art music (e.g. ‘ serious’ /contemporary music – choral, orchestral, chamber, electronic etc) |
|• Music Industry (e.g. Film/TV/radio music, musician engineers, music in the media, song writers etc) |
| |
|You may consider using the music we are listening to, analysing and playing in class. In any case, after you have chosen your topic, let your |
|teacher know, so that they can support you with resources, information and helpful tips! |
| |
|1.1 Provide a brief chronological overview of study, including significant musicians and their contributions. You will need: An opening paragraph |
|stating what topic you have chosen with relevant information about this … and how you are going to narrow it down to something manageable that you |
|will examine in more detail. Eg You might decide that you are going to do NZ Rock music, but narrow it down to 1960s pop music, which shows the |
|influence of The Beatles for example. Then you would have to work out who the important Kiwi musicians of the 1960s were and investigate why they |
|were important by looking at the things they did and the influence of their music (their contribution to the development of Kiwi rock music.) What |
|ever you decide to do, all information must be presented in chronological order – this must be done as a time-line. |
|Judgement Statement showing Evidence required to Achieve 1.1 |
|Presentation provides brief chronological overview of study, including significant musicians and their contributions. This is evidenced through: |
|• An opening paragraph |
|• Key information shown as chronological time-line. |
|Assessment Task 1.2 |
|1.2 Describe the significant musical characteristics of selected study, including repertoire and performance style. |
|Once you have narrowed down your topic of investigation, you now need to find lots of musical examples and listen carefully to all of them, listing |
|your ideas using the following headings: |
|• Main musical features of the music from the chosen era/topic of study. This should be a broad general statement. Eg in NZ pop music of the 1960s, |
|the music was usually simple and catchy. Songs were short and had predictable structures. There were many solo acts. Rock n’ roll still had an |
|influence on the styles of the music in terms of instruments used. NZ musicians tended to copy what was happening overseas, and there was very |
|little originality… |
|• Repertoire – list the key pieces of music and say why you think they were important. You may like to consider referring to the musical content of|
|pieces to back up your comments on the musical features you have described, above. You may do this by: annotating a score, providing a recording |
|accompanied by notes that explain the musical features and clearly refer to sections of the music using timings. E.g. From 1’ 12” – 1” 45” you can |
|hear the ‘ ice cream’ chord progression. |
|• Performance style – if you can, view videos of performances and describe the style of the music (eg soul) and the on-stage style of the |
|performer(s) (eg Ray Columbus and the Invaders – these performers were static on stage, except for the classic 60s head movement. Dance movements |
|were not innovative, and reflected learned patterns with very little original, ‘ free’ movement. Dress codes were very formal, reflecting the fact |
|that NZ was concerned that pop idols would present a respectable image for teenyboppers to follow.) |
|Judgement Statement showing Evidence required to Achieve 1.2 |
|Presentation describes significant musical characteristics of selected study, including repertoire and performance style. This is evidenced through:|
| |
|• Relevant musical features are noted |
|• Key repertoire list provided |
|• Brief statements on performance style |
|Assessment Task 1.3 |
| |
|1.3 Identify features, which may be described as specifically ‘ New Zealand’ |
|You need to identify features of the music (refer to 1.2) that could be associated with the uniqueness of New Zealand. This may include: |
|• Lyric content of songs (eg referring to aspects of Kiwi way of life) |
|• Musical features that suggest an aspect of New Zealand (E.g. geography) |
|• Performance venues (e.g. pubs, town halls, universities) |
| |
|Judgement Statement showing Evidence required to Achieve 1.3 |
|Presentation identifies features, which may be described as specifically ‘ New Zealand’. This is evidenced through: |
|• Brief discussion/personal response on considered interpretations of this element |
|Assessment Task 2.1 |
| |
|From the information you have collected and written about, now choose and present ONE of the following aspects of the case study in detail. |
|• Musical style (eg rock n’ roll, blues, soul, pop, disco, punk, serious, contemporary etc) |
|• Historical period (eg 1960s pop) |
|• Genre – which is a category of a music form that has a tradition or kaupapa and is identified by certain characteristics (eg opera, pop song, |
|concerto, symphony) |
|• Activity – eg making CDs/videos, touring, promotion, roadies etc |
| |
|Your presentation of this aspect must include: |
| |
|2.1 A brief overview, you may summarise this using bullet points. You should include at least FIVE major points in this. (e.g. 1960s – The 1960s saw|
|a loosening up of attitudes and morals. Rock and popular music was emerging, and parents were starting to become aware of the power of this |
|phenomenon. NZ Rock stars were starting to emerge. It was an age of huge technological advance with the introduction of TV to NZ, and significant |
|world events (eg assassination of President Kennedy, moon landing)… |
|Judgement Statement showing Evidence required to Achieve 2.1 |
|Presentation provides brief overview of aspect. This is evidenced through: |
|At least five relevant points provided that show some understanding of the selected aspect. |
|Assessment Task 2.2 |
| |
|2.2 identify at least THREE musical features of the aspect (eg genre) in terms of their significance and the relationship to the case study as a |
|whole (eg 1960s pop). |
|You need to be more specific here and back up your comments referring to music examples. Consider using the elements of music to help structure your|
|ideas in this section. |
|(e.g. In 1960s, NZ Pop music – tempi were usually pretty fast, to encourage dancing. Limbo Dancing was typical. Rhythm was regular and |
|uncomplicated. Harmonies were uncomplicated, with few chords used, but repeated in progressions in the songs. Melodies were simple, repetitive, and |
|memorable. The range was narrow. The instruments used were… . |
|Judgement Statement showing Evidence required to Achieve 2.2 |
|Presentation identifies musical features of aspect in terms of their significance to the aspect and case study. This is evidenced through: |
|At least three musical features provided that show some understanding of the selected aspect and case study. |
|Assessment Task 2.3 |
|2.3 Identify at least THREE musicians in terms of their contributions to the chosen aspect (eg genre) and case study (eg 1960s pop). e.g. Three ‘ |
|big’ musicians, that led the way in the 60s were… .. Musician A continued with using the typical features of 60s pop (as described above). This |
|musician followed overseas trends, though sold xx thousand copies of sheet music, and stayed at number one for several weeks with their hit, “ NCEA |
|Blues” . Musician B… … . |
| |
|Judgement Statement showing Evidence required to Achieve 2.3 |
|Presentation identifies at least three musicians in terms of their contributions to aspect and case study. |
|Assessment Task 3.1 |
|The last thing to do is to choose and present an individual profile of one New Zealand musician (alive or dead) from the case study. |
| |
|The profile must provide: |
|3.1 The background of the musician, including major influences on musician’ s musical output. Here, you should state the styles of music that the |
|musicians was in to, and relate this to the musician’ s own musical work. Make THREE clear and relevant statements. |
|Judgement Statement showing Evidence required to Achieve 3.1 |
|Presentation provides historical setting of musician, including major influences on musician’ s musical output. This is evidenced through: |
|Clear and concise information on the background of the musician chosen including major influences on their style and musical output |
|Assessment Task 3.2 |
|3.2 Give a brief musical biography of musician, including training, experience, compositions and/or performances. Here, you should give dates of |
|birth/death, family background, educational background, area(s) of interest, work experience, musical talents (eg instruments they play) and track |
|their music career. List significant compositions/performances and the dates they were written/performed. Write a maximum of 200 WORDS on this. |
|Judgement Statement showing Evidence required to Achieve 3.2 |
|Presentation provides brief musical biography of musician. This is evidenced through: |
|Clear and concise information on the training, experience, compositions and/or performances of the chosen musician |
|Assessment Task 3.3 |
|3.3 Provide an evaluation of the contribution of the chosen musician to New Zealand music history. Here you are to refer to critics who have made |
|statements on their contribution to the NZ music scene. You should agree or disagree with such statements, giving clear reasons. You may also like |
|to give your own personal view on this as well, as long as it is backed up with valid evidence from the music, or from other sources. |
|Judgement Statement showing Evidence required to Achieve 3.3 |
|Presentation evaluates contribution of musician to New Zealand music history. This is evidenced through: |
|A brief, supported statement explaining the significance of the chosen musician within NZ music history |
AUTHENTICATION: The work that has been submitted for assessment is entirely my own work.
|Student signature | |Date: | |
STUDENT COMMENT
TEACHER'S COMMENT
|GRADE | |Resubmission Date: | |
|Student signature | |Date: | |
|Teacher's signature | |Date: | |
EVALUATION
Next Learning Steps
|Students might: |
|• Perform a selection of rock/popular music in groups, contributing evidence towards |
|AS90013 |
|• Transcribe a selection of rock/popular music in preparation for AS 90015 |
|• Study scores from a selection of rock/popular music in preparation for AS 90016 |
|• Increase their knowledge of the music industry in New Zealand and prepare for US 12832 |
|• Recreate a cover version of a selection of rock/popular music studied in the unit in |
|preparation for US 20747 |
|• Choose a rock/popular song studied during that unit and create an instrumental version |
|• Compare and contrast a selection of New Zealand rock/popular music with similar genres |
|originating from Australia, Britain or the USA |
|Strengths |Further Development |
|Evaluate delivery strategies that worked effectively |Identify delivery strategies to revise or implement |
|To be completed by the teacher |To be completed by the teacher |
| | |
|Evaluate learning experiences that worked well |Identify learning experiences that need development |
|To be completed by the teacher |To be completed by the teacher |
|Identification of students: Use assessment information to identify students underperforming, and those who could be challenged further. |
|Students/groups |Strategies to meet student needs: |
|To be completed by the teacher |To be completed by the teacher |
|To be completed by the teacher |To be completed by the teacher |
|To be completed by the teacher |To be completed by the teacher |
Moderation Feedback
|To be completed by the teacher once a moderation report for any of the standards has been received. |
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