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-610552539116000Sample Course OutlineMusic – ContemporaryATAR Year 11Copyright? School Curriculum and Standards Authority, 2018This document – apart from any third party copyright material contained in it – may be freely copied, or communicated on an intranet, for non-commercial purposes in educational institutions, provided that the School Curriculum and Standards Authority is acknowledged as the copyright owner, and that the Authority’s moral rights are not infringed.Copying or communication for any other purpose can be done only within the terms of the Copyright Act 1968 or with prior written permission of the School Curriculum and Standards Authority. Copying or communication of any third party copyright material can be done only within the terms of the Copyright Act 1968 or with permission of the copyright owners.Any content in this document that has been derived from the Australian Curriculum may be used under the terms of the Creative Commons Attribution-NonCommercial 4.0 Australia licenceDisclaimerAny resources such as texts, websites and so on that may be referred to in this document are provided as examples of resources that teachers can use to support their learning programs. Their inclusion does not imply that they are mandatory or that they are the only resources relevant to the course.Sample course outlineMusic – Contemporary – ATAR Year 11Units 1 and 2 delivered as a pairUnit 1 – PopWeekWritten component – Key teaching pointsPractical componentAuralTheory and CompositionCultural and historical analysisPerformance orComposition portfolio1–3Sight-singing: to be continued consistently throughout the semester. Examples in both treble and bass clef based on scales and intervals stipulatedScales: Major pentatonic, minor pentatonic, major (ionian mode)Intervals: m2, M2, m3, M3, P4, P5, m6, M6, m7, M7, P8ve (melodic and ascending only)Imitation and Call and response: up to 4 bars based on rhythms, scales and intervals coveredChords: power chords/tonic and dominant, major primary triads: I, IV and V (and V7) or chord names (e.g. C, F and G).Major triad, dominant 7th, major 7thRhythmic dictation: dictations of ostinatos in simple time signatures:, Notes, rests and subdivisions of crotchet beat:,,,, , ,,,, ,,,,,Melodic dictation: simple time, 4 bars, treble and bass clef, using major and major pentatonic scales up to three sharps and flats. Rhythm and some pitch providedTheoryKnowledge and function of treble and bass clefs including leger linesIdentify and write intervals, scales (major, major and minor pentatonic) and chords in treble and bass clef, major keys, up to four sharps and flatsScale degree numbers and their application in scales, intervals and chordsTerminology/symbol for tempo and modifications of tempoAdditional rests for simple/compound ChordsChord recognition and analysis; major triad, I, IV, V and V7 using Roman numerals and chord namesMajor triad, dominant 7th and major 7th chordsProvide chords to a given melody/songRhythmic exercisesIdentify and write syncopated rhythms, focusing on the use of ties, anticipation and delayRhythm re-grouping exercises using syncopation and restsProvide a rhythmic for given lyricsMelody writingShort melodic fragments. Writing by contour, by chord, by scale or to fit a phrase of wordsFrom a given motif, 4–8 bars in major or minor keys, in simple and compound time, in treble or bass clefFor a given 4 bar rhythmic patternWrite a lead sheet using Contemporary conventions and compositional devicesArrangingDiscuss score layout, examining sample scores and notation (conventional, slash-rhythm guitar, TAB, drum set, including percussion clef)Identify the use of music elements in a blues melodic style analysing given melodiesInclude visual and aural analysis tasks and comparative analysis with unfamiliar works to reinforce teaching of music styles and associated characteristicsPop versus Rock. Play clips of Kylie Minogue and Queens of the Stone Age to identify similarities and differencesRevision of music elements for analysis: instrumentation, timbre, texture, metre, genre, style, tempo, dynamics, tonality, form, rhythmic, melodic and harmonic elements, articulations, compositional devicesAnalysis explosion on board – apply to Rock and Pop and discuss definitions of each, using examples such as the following to assist: (Whip It, Roundabout, One Way or Another, Superstition, Bohemian Rhapsody)Late 1950s and early 1960s background to pop music – the backlash to early Rock & Roll and the evolution and marketing of the teen idol. Brill Building Pop – listen to examples like Frankie Avalon, Pat Boone etc. Discuss the ‘good boy’ image of Boone as opposed to the early Elvis persona. Use these songs for aural recognition of chord progressions. Note the prevalent use of the I–vi–IV–V chord progressionThe Rise of the Producer – Leiber and Stoller and Phil Spector. Discuss the relationship between the musician and the producer. Increased focus on the recording studio and the sounds it could produce. Look at Phil Spector’s ‘Wall of Sound’ approach (listen to The Crystals and The Ronettes for Spector girl-group sound)British InvasionEarly Beatles and the British InvasionEarly influences on the development of Pop music – include Elvis, Little Richard and Chuck Berry, in addition to Leiber and Stoller and Phil Spector. Other influences included Beatlemania (1963–1966), British Invasion bands and groups that followed, such as Gerry and the Pacemakers, Herman’s Hermits and The HolliesDesignated Work 1I Saw Her Standing There – The BeatlesAural and visual analysis of the workDistribute technical lists and recommended repertoire from the Music Performance Resource PackageOutline assessment requirements for the semester in consultation with instrumental teachers, ensemble directors and/or composition portfolio supervisorsWeek 3: submit proposed repertoire/draft proposal for Practical Task 14–7Week 6: Task 1 – Aural test (4%)Scales: natural minor (aeolian mode), blues scaleIntervals: add harmonic intervals: P4, P5, P8Chords: root position (block), arpeggio (broken). Minor triad, minor 7th chordadd secondary triads: ii and vi in major keysStandard blues progressions I, IV, V and V7Modulation: relative major/minorRhythmic dictation: simple time add, , , , ,Correct grouping of rhythms and rests within the barSwing/shuffle feelMelodic dictation: simple time, 4–8 bars, minor pentatonic and natural minorDiscrepancies: treble/bass clef, 4 bars,4 discrepancies in either pitch or rhythmAural analysis: recognition of music elements in short extracts (form, metre, dynamics, expressive devices, tempo, instrumentation)Week 7: Task 2 – Melody and accompaniment writing (3%)TheoryIdentify and write natural minor (aeolian mode) and blues scales and related intervals in minor keysIdentify modulations to the relative minor and major in melodic excerptsRhythm exercises in compound timeExpressive devices: general dynamic descriptions. Terminology/symbol for dynamics, changes in intensity of sound and accents, articulations and ornamentationsChordsMinor triad and minor 7th chord12-bar blues progression and structureIntroduce ii, iii and vi in major keysI, vi, IV, V progression– listen to and analyse examples using this progression. Harmonise given melodies using the progression and write a melody to fit the progressionMelody writingFor a given chord structure, 4–8 barsFor given lyrics, creating an appropriate rhythm, 4–8 barsFor a given scale to imitate a style or mood, 4–8 bars, for a solo instrument or voiceArranging – Bass linesListen to and analyse bass lines – various styles and typical pop bass lines such as walking bass or country style (root/5th common notes, passing notes and linking passages/notes)Select and write appropriate bass lines for given melodies in different stylesAdd a stylistically appropriate bass line to a given melody, lyrics and chord progression Drum kit notationIdentify and demo different parts of drum set Read and perform simple pop patternsTeach swing/shuffle feel – blues musicIdentify and analyse (aurally and visually) different drum techniques – side stick, rim shot, double kick, open and closed hi-hatDrum fill – notation and when it is appropriateAnalyse and write drum parts using appropriate notation, add drum part to given melodyMotown The impact of the British Invasion and the demise of some African-American pop musicBerry Gordy, Motown and commercial success – producing crossover music aimed at the white teen market, modelled on the Brill Building approach. Gordy’s control over the Motown artists, both musically and in their public persona The Funk Brothers – studio band for most of the Motown hits in the 60sListen to: The Temptations, The Supremes and Martha and the VandellasDiscuss common perception of Motown as having ‘sold out’ to White AmericaListen to Stevie Wonder and discuss how he and Marvin Gaye gained significant artistic control over their music – acting as producersSecond British Invasion, new Romantic scene Designated work 2Rocket Man – Elton JohnAural and visual analysis of the work.Elton JohnEarly career as a songwriterPartnerships with lyricists Bernie Taupin and Tim RiceBecame known for flamboyant performance style inspired by glam rockBreakthrough Your Song from self-titled second album in 1970Performed at Live Aid in 1985Knighthood and charitable work – Elton John AIDS FoundationSongs for The Lion KingCandle In the Wind at royal funeralAwards, sales records, etc.Week 5: Performance Task 1 –Prepared repertoire (2%)Week 5: Composition Task 1 –Composition proposal (5%)Week 6: negotiate repertoire, form ensembles and begin rehearsals for Ensemble Performance8–10Scales: harmonic minorIntervals: add harmonic intervals: m2, M2, m3, M3, m6, M6, m7, M7Chords: primary triads and chord progressions in minor keys:Roman numerals minor: i, iv, V and V7 chord names (as indicated)minor: Am, Dm, E and E7minor blues progressioni, iv, V and V7Modulation: to the dominantRhythmic dictation: Introduce compound time: , , Notes, rests and subdivisions of the dotted crotchet beat:,, ,,,,, ,,,,Melodic dictation: compound time, 8 bars, treble and bass clef using harmonic minor scaleImitation and call and response: up to 4 bars Discrepancies: treble/bass clef, 4 bars, 4 discrepancies in either pitch or rhythmAural analysis: identification of style, form, instruments, voice types, instrumental and vocal techniquesTheoryIdentify and write scales, including harmonic minorTexture: single line, melody with accompaniment, multi-voiceForm/structure: binary (AB), call and response, ternary (ABA), song form (AABA), 8 bar structure, 12-bar structure, 16-bar structure, 12-bar bluesSigns/symbols:bar line, double bar lines, final bar line, repeat signs, 1st and 2nd time barsbpm, pause, fine, coda, dal segno, D.C. al coda, D.S. al coda, segueRevise symbols and terminology for tempo, dynamics and expressive elements for accents, articulations and ornamentations , , ,,ChordsChord recognition, analysis and harmonisation of given melodies in keys up to four sharps and flatsRoman numeralsMajor: I, ii, iii, IV, V, V7 and viminor: i, iv, V and V7Chord names (as indicated in C) Major: C, Dm, Em, F, G, G7 and Amminor: Am, Dm, E and E7Identify and write standard blues progressions I, IV, V and V7Recognise passing notes (diatonic/chromatic)Composition and arrangementIdentify and analyse guitar techniques and notation; bend, slide, palm mute, harmonics, vibratoTranscribe and write TAB notation for guitar and bassAnalyse the role of the lead guitar or keyboard as a melodic instrument in blues examples, identifying spaces in the 12-bar structure for improvisation or lead playingAnalyse and write short guitar examples using appropriate notationMelody writingAnalyse a range of Contemporary/Pop melodies, identifying melodic shape, use of repetition, syncopation, passing notes (chromatic and diatonic) and scale typesCompose an 8-bar melody over given chords, incorporating features identified and discussed in analysis tasks. Add expressive elements such as accents, articulations, ornamentations as stylistically appropriateWeek 9: Task 3 – Summary table and extended responses (2%)Rock and Pop Interface – 70sRound-up of Contemporary rock music in the early 70s – progressive rock, heavy rock, glam rock, singer-songwriters (Elton John)Note ABBA’s influence as the most popular pop music recording act of the 70sListen to examples and watch video clipsDiscuss the ‘Euro pop’ style and the wall of sound recording techniquePop in the 80sMTV and blockbuster movies reshaped pop cultureBeginning of the computer age, more explicit use of technology in Pop musicPopularisation and idealisation of consumerism in Western countriesMadonna, the Queen of Pop, and the Like a Virgin album (1984) that established her as an iconImportance of image and the music videoDesignated work 3Material Girl – MadonnaAural and visual analysis of worknote lyric themes typical of 1980s societyheavy synthesizer instrumentation and inclusion of robotic backing vocal soundWeek 8: Performance Task 2 – Ensemble performance (3%)Week 10: Performance Task 3 – Sight-reading or Improvisation (3%)11–13Week 12: Task 4 – Aural analysis (4%)Scales: chromaticTonal qualities: identifying and describing all scales studiedIntervals: introduce tritone. Revise all intervals in isolation or part of a melodic excerptRhythmic dictation: compound time add,,,,,,Melodic dictation: simple or compound, chromatic passing notes in major and minor pentatonic, major, natural minor and harmonic minor (not blues or chromatic)Discrepancies: treble/bass clef, 4–8 bars,4 discrepancies in both pitch and rhythmAural analysis: including tonality, textural features, articulations, compositional devices, and rhythmic, melodic and harmonic elementsTheoryTritone, augmented 4th and diminished 5thIdentify and write chromatic scale and dorian mode in treble and bass clefSimple metre: or Accidentals including double sharps and double flatsEnharmonic note equivalentsForm/structure:Song sections: bridge, chorus, hook, intro, middle 8, outro, pre-chorus, verse, soloCompositional devices: ostinato/riff, pedal note, sequence, imitationChords/harmonyIdentify/write major 7th and minor 7th chordsIdentify/write standard blues progressions (I, IV, V and V7)Identify/write passing notes (diatonic and chromatic)Identify and write circle of fifths/fourthsModulationRecognise and transpose given extracts to either the relative major or minor and dominantCompose a melody that contains a modulation to the relative major/minorCompositionListen to and analyse examples of harmonisation, harmony lines, rhythmic figures and counter-melodies in different styles of Pop musicAdd appropriate chords to a given melody. Include B flat transposing instrumentsCreate a harmony part to given melodies (or melodies students have written in previous weeks)Pop in the 90s and beyondDiscuss the impact of hip hop music and culture on pop music in the 90sExamine the rise of contemporary R&B with artists like Mariah Carey and Janet Jackson, and links to the gospel music traditionDiscuss the rise of the Spice Girls and boy bands like Backstreet Boys – link back to Motown and Brill Building groupsMadonna’s continuing influence in PopLady Gaga: flamboyant costumes, performances and videos, and her tendency to reinvent her sound and image in a similar way to MadonnaDigital downloads and the importance of instant access to music. Consumers download songs immediately as a result of TV/radio appearances and online videosAdele: English singer-songwriter discovered through Myspace. Three highly-successful albums (19, 21 and 25) with numerous awards and sales recordsDesignated work 4Skyfall – AdeleAural and visual analysis of workCo-written and richly orchestratedMovie theme songs and the mutual benefit to musician and filmWeek 11: discuss repertoire and/or composition progress Week 13: Performance Task 4 – Recital practice (3%)Week 13: Composition Task 2 – Composition assessment (4%)14–15Revise all scales, intervals and chords Modulation: relative major/relative minor, to the dominant, using a range of examplesRhythmic dictationRevise simple metres: 8 bars, including ties, syncopation and anacrusisCompound metres add:,,,,,,,,Melodic dictation: 8 bars, chromatic passing notesDiscrepancies: treble/bass clef, 4–8 bars, 4 discrepancies in both pitch and rhythmRevision of Semester 1 work for examsTheoryRevision of timbre including all instruments listed in syllabusScalesRevision of all scales, modes and intervals up to four sharps and flatsChordsRevision of major and minor triads, major 7th, minor 7th and dominant 7th chordsChord recognition and analysis of major and minor chord progressionsComposition/arrangingRevise instrumental and vocal techniquesRevise drum notation, slash notationSymbols and terminology for tempo, dynamics, accents and articulationMelody-writing and harmonisation practiceRevision of Semester 1 work for examsWeek 14 – Task 5: Cultural and historical analysis (3%)Revision of Semester 1: using familiar and unfamiliar excerpts, focusing on the designated works.Performance Task 5 – Semester 1 performance examination (15%)Composition Task 3 – Submission of composition portfolio (15%)16Task 6: Semester 1 written examinationTask 6: Semester 1 written examinationTask 6: Semester 1 written examinationUnit 2 – FolkWeekWritten component – Key teaching pointsPractical componentAuralTheory and CompositionCultural and historical analysisPerformance or Composition portfolio1–3Sight-singing: to be continued consistently throughout the semester. Examples in both treble and bass clef based on scales and intervals stipulatedScales: revise major/do pentatonic, minor/la pentatonic, major/ionian mode, natural minor, harmonic minorIntervals: revise all intervals in isolation and as part of a melodic lineHarmony: chord progressions4–8 bars, major and minor keysMajor:Roman numerals: I, IV, V, V7 and vichord names: C, F, G, G7 and Amminor:Roman numerals: i, iv, V and V7chord names: C, F, G and G7Rhythmic dictation: simple time, revise all notes, rests and subdivisionsMelodic dictation: 8 bars, treble and bass clef, up to three sharps and flats, based on major pentatonic and major scales (some pitch and/or rhythm provided.) Simple and compound metres throughout semesterDiscrepancies: treble/bass clef, 4 bars, 4 discrepancies in either pitch or rhythmTheoryIdentify and write intervals and scales in treble and bass clef, major keys, up to four sharps and flatsHarmonisationAnalyse chords in given 4–8 bar extractsHarmonise given melodies at phrase endingsWord setting and melody writingComplete a word setting task, providing an appropriate rhythm for given lyricsCompose a suitable 8 bar melody in a folk style to fit the established rhythm.Incorporate syncopation and word painting Compose an 8 bar melody from a given motif or chord progression, incorporating a modulation to the relative major or minorIntroduction to folk musicDefinitions of folk music – starting with the purist view of songs belonging ‘to the musical heritage of a particular people, (having) no known composer, and (having) been passed orally from one generation to another or from one group of people to another’ (Dorricott – In Tune With Music Bk 3). Basic music elements of folk music with listening examples (include aural recognition of major pentatonic scale)Listen to several musical examples of Contemporary folk and identify the music elements that distinguish it from other styles. Generate a discussion of the blurred lines between Folk, Rock, Pop, Country etc.Use of Venn diagram (or similar graphic representation) to illustrate the general characteristics of Contemporary folk in comparison to other Contemporary stylesJoan Baez, music with a social justice or protest theme. An early performer of and advocate for Bob Dylan Designated work 1We Shall Overcome – Joan BaezAural and visual analysis of workOutline assessment requirements for the semester in consultation with instrumental teachers and/or composition portfolio supervisorsWeek 2: submit proposed repertoire/progress report on composition task4–7Week 7: Task 8 – Aural test (4%)Scales: revise natural minor/aeolian mode, harmonic minor, blues scaleIntervals: revise all harmonic intervalsHarmony: chord progressions4–8 bars, key signatures up to 3 sharps and 3 flatsModulation: relative major/minor and dominantRhythmic dictation: simple time, including anacrusis and syncopationMelodic dictation: 4–8 bars, based on minor pentatonic, natural minor and harmonic minor scales, treble and bass clefAural analysis: recognition of music elements in short extracts (form, metre, dynamics/expressive devices, tempo, instrumentation)Week 6: Task 7 – Theory test (2%)TheoryIdentify and write natural minor/aeolian mode and harmonic minor scales and related intervals in minor keysHarmonisationChords revision – major, minor, dominant 7th, major 7th, minor 7thRecognition of chords aurally and visuallyProvide chords to given melodiesMelody writingWrite a melody to a given chord progression in a folk styleHarmonise the melody writing a suitable counter melodyModulationIdentify modulations to the dominant and relative major/minor in a range of examplesCompose an 8–12 bar melody that includes a modulationArrangingReview of arrangement techniques and notation-bass lines, passing notes, auxiliary notes, slash notation for guitarListen to and analyse guitar and bass guitar techniques: slap, pop, walking bass, etc. and drum parts and drum kit notationFolk in the 1940s and 50s – Woody Guthrie and Pete Seeger and their appeal to college students in the USA as opposed to the teen pop marketWatch first part of No Direction Home, the Martin Scorsese film about Dylan as an introduction to folk, country, rock‘n’roll in the 50s. Good insight into the ‘beatnik’ culture and Greenwich Village in the early 60sProtest song – The Weavers and the folk revival. Folk song as protest. The McCarthy era and the blacklist. Some good footage and background information about Pete Seeger in No Direction HomeThe Kingston Trio and Peter, Paul and Mary – folk-pop. Some good footage of Peter, Paul and Mary in No Direction HomeListening – comparison between Peace Train and Blowin’ in the Wind (Bob Dylan and Peter, Paul and Mary versions). Use as an exercise in identifying chord progressionsDesignated work 2Peace Train – Cat StevensAural and visual analysis of workResources: YouTube for versions of Peace Train and others aboveNo Direction Home (Martin Scorsese film)More on ‘protest’ song – from 1963 and Martin Luther King’s speech in Washington to Woodstock in 1969The Vietnam War – watch Joan Baez and performances by other folk singers at Woodstock – use songs as Aural analysis activities – chord recognition, etc. What’s that sound? first edition by John Covach ‘Rockin’ Out – Popular Music in the USA’ by Reebee GarofaloThe Jazz and Rock Resource by Geoff LoweWoodstock – The Music DVDWeek 5: Performance Task 6 – Prepared repertoire (2%)Week 5: Composition Task 4 – Composition presentation (5%)Week 7: performers submit proposed list of technical work8–10Scales: blues, chromaticChords: recognition of major, minor, dominant 7th, minor7 and maj7 chordsChord progressions4–8 bars, with some chords givenIdentifying the chords below a given melodyRoman numerals major: I, IV, V, V7 and viminor: i, iv, V and V7Chord names (as indicated) major: C, Dm, F, G, G7 and Amminor: Am, Dm, E and E7Standard Blues progressionI, I7, IV, IV7, V and V7Rhythmic dictation: compound time, 8 bars, revise all notes, rests and subdivisionsMelodic dictation: 8 bars, treble and bass clef, in major and minor pentatonic, major, natural minor and harmonic minor (not blues or chromatic). Incorporate at least two challenging sections – rhythms/ties/larger intervals. Include examples with chord progressionsDiscrepancies: treble/bass clef,4 discrepancies in either pitch or rhythmAural analysis: recognition of music elements, form, compositional devices, instrumentation, instrumental techniquesIdentify and write blues and chromatic scalesChordsAnalyse blues progressions Identify and write standard blues progressions (I, IV, V and V7)Identify and write passing notes (diatonic and chromatic)Identify and write circle of fifths/fourthsMelody writing and arranging Write a blues-style melody to a given blues progression, incorporating appropriate syncopation and articulationArrange a given melody and chord progression for a folk ensemble, incorporating counter melody, suitable guitar and bass guitar parts, drum part, using appropriate notation, articulation and stylistic indicationsWeek 8: Task 9: Analysis (2%)Search YouTube and listen to covers of folk songs and compare with originals, discussing stylistic differencesListen to other songs by the same artist, compare and analyse compositional and stylistic characteristicsNewport Folk FestivalThe development of folk-rockFolk after the ‘60s – Altimont, Kent State University and the end of the hippie aestheticCompare and contrast Took the Children Away – Archie Roach with Treaty – Yothu YindiArchie Roach and Australian folk music. Protest music in an Australian context: Aboriginal and environmental issues.Designated work 3Took the Children Away – Archie RoachAural and visual analysis of workWeek 9: Performance Task 7 – Technical work (4%)11–13Harmony: revise all chords in major and minor keysModulation: relative major/minor and dominant in a range of examplesRhythmic dictation: 8 bars, all metres, include syncopation and anacrusisMelodic dictation: 8 bars, treble and bass clef, based on scales covered, including chromatic passing notesDiscrepancies: treble/bass clef, 4–8 bars,4 discrepancies in both pitch and rhythmWeek 11: Task 10 – Theory and composition test (3%)Melody writingRhythmic word settingMelody writing for given lyricsWrite an 8 bar melody for a given chord progressionComplete an 8 bar melody from a given motif Composition/arrangingRevise instrumental and vocal techniquesRevise drum notation, slash notationSymbols and terminology for tempo, dynamics, accents and articulationWeek 12 – Task 11: Cultural and historical analysis (3%)Current trends and the revival of folk in the ‘roots’ genreBack to ‘What is Folk?’ How does modern folk relate to 60s folk?Compare modern artists such as Mumford and Sons, Iron and Wine, Bon Iver, Ani Di Franco to older artists such as Woody Guthrie, Leonard Cohen, Joni Mitchell, Simon and Garfunkel.Designated work 4Bridal Train – The WaifsAural and visual analysis of workRevision of Semester 1Week 13: Performance Task 8 – Recital practice (3%)Week 13: Composition Task 5 – Composition assessment (6%)14–15Revision of year’s work Revise all scales, intervals and chordsModulation: relative major/relative minor and dominant, using a range of examplesRhythmic dictation: all metres, 8 barsMelodic dictation: 8 bars, include chromatic passing notesDiscrepancies: treble/bass clef, 4–8 bars,4 discrepancies in both pitch and rhythmRevision of year’s work Revision for exam: transposition exercises, scales, chords, melody writing and arrangement exercisesRevision of Semester 2, using familiar and unfamiliar excerpts, focusing on the designated works.Performance Task 9 – Performance examination (15%)Composition portfolio Task 6 – Submission of final composition portfolio (15%)16Task 12: Semester 2 written examinationTask 12: Semester 2 written examinationTask 12: Semester 2 written examination ................
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