Unit 2: Music Performance

In this unit students build their performance and musicianship skills. They present performances of
selected group and solo music works using one or more instruments. Students study the work of other
performers through listening and analysis and use specic strategies to optimise their own approach to
performance. They also study strategies for developing technical and expressive performance skills.
They identify technical, expressive and stylistic challenges relevant to works they are preparing for
performance and practise related technical work. They develop skills in performing previously unseen
music and study specic concepts to build their musicianship knowledge and skills. Students also
devise an original composition or improvisation.

SELECTION OF INSTRUMENT OR VOICE

In this study design, the term instrument includes voice.

The choice of instrument may vary within a unit or between units. Students who work with more than
one instrument should select a main instrument for solo performance.

WORKS SELECTED FOR STUDY

In Unit 2 students select a program of group and solo works. Students are free to select these works
from a range of sources. The program should allow the student to demonstrate a range of technical,
stylistic and interpretative demands and should be appropriate to their level of technical expertise.
Works chosen for group performance may, but are not required to, be selected from the Units 3 and 4
Prescribed List of Group Works. Works chosen for solo performance may, but are not required to,
be selected from the Units 3 and 4 Prescribed List of Notated Solo Works. The prescribed lists are
published annually on the Victorian Curriculum and Assessment Authority website.
Throughout the study the term program refers to one or more programs, and the term style refers
to one or more styles.

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AREA OF STUDY 1

Performance
In this area of study students develop knowledge and skills that are required to present music
performances in a group and as a soloist. They develop their ability to present musically engaging
performances in a variety of performance contexts. Through regular performance they explore ways
to expressively shape their chosen works and build on their ability to communicate artistic intentions
convincingly to an audience. Students develop their instrumental skills through regular individual
practice and develop ensemble skills through rehearsal with other musicians.
Outcome 1
On completion of this unit the student should be able to prepare and perform a musically engaging
program of group and solo works.

To achieve this outcome the student will draw on key knowledge and key skills outlined in Area of
Study 1.
Key knowledge
This knowledge includes:

strategies for optimising effective performance practice routines relevant to selected group and
solo works that are representative of a range of styles and diversity of character
strategies for optimising effectiveness of rehearsals with other musicians
idiomatic tone qualities and ways to achieve expressiveness, clarity and artistic variation of tone
strategies for developing uency and control in group and solo performance
strategies for developing expressively shaped, cohesive interpretations of works that demonstrate
appropriate balance between relevant personal, ensemble, stylistic, practical, technological,
historical and cultural inuences
ways of achieving shape in music through artistic variation of expressive elements of music
historical and contemporary conventions and contextual inuences relevant to interpretation and
performance of selected works
strategies for developing communication, interaction, cooperation and empathy with other musicians
as appropriate to performance of selected works
stylistic characteristics, musical structures and textures in works being prepared for performance
and how elements of music can be interpreted to realise the character of the work
roles of, and relationships between, instrumental voices in selected group works, or parts within
the texture of solo works
presentation techniques, including conventions of performance that are appropriate to the
instrument/s, ensemble/s, works, styles and performance space.
Key skills
These skills include the ability to:

implement effective performance practice routines

rehearse effectively with other musicians
prepare and perform a program of group and solo works that demonstrates a range of music styles
and diversity of character
demonstrate uency and control in the performance of selected works

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demonstrate idiomatic tone quality and artistic variation of tone in the performance of selected
works
expressively and cohesively perform selected works demonstrating appropriate balance between
personal, stylistic, practical, technological, historical and cultural inuences
vary expressive elements of music to shape the performance of selected works and achieve artistic
intentions
present historically informed and contemporary interpretations of selected works using appropriate
performance conventions
demonstrate communication, interaction, cooperation and empathy with other musicians as
appropriate to the performance of selected work/s
demonstrate understanding stylistic characteristics in selected works
communicate awareness of musical structures and textures in the performance of selected works
demonstrate understanding of the roles of, and relationships between, instrumental voices in selected
group work/s, or parts within the texture of solo work/s
demonstrate presentation techniques and conventions of performance that are appropriate to the
instrument/s, ensemble/s, works, styles and performance space/s.

AREA OF STUDY 2

Performance technique
This area of study focuses on continuous development of techniques for group and solo performance.
Students systematically practise technical work and exercises to enhance their ability to realise the
character and style of selected group and solo works. They trial different rehearsal strategies and
identify those that achieve the most effective outcomes. Students research and trial performance
and interpretation strategies used by other performers and apply approaches to optimise their own
performances. They build their skills in unprepared performance and apply these when learning and
rehearsing group and solo works.
Outcome 2
On completion of this unit the student should be able to demonstrate instrumental techniques used in
performance of selected works, demonstrate unprepared performance skills and describe inuences
on their approach to performance.

To achieve this outcome the student will draw on key knowledge and key skills outlined in Area of
Study 2.
Key knowledge
This knowledge includes:

strategies for developing effective instrumental practice routines, including ways of incorporating
use of ICT
strategies for developing effective rehearsals with other musicians
strategies for developing instrumental techniques relevant to specic technical, expressive and/or
stylistic challenges in selected group and/or solo works
strategies for developing control of instrumental techniques
strategies for practising exercises and technical work for development and maintenance of uency
and control across the range of styles represented in selected group and/or solo works

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links between selected technical work and exercises and achieving uency and control in the
performance of selected group and/or solo works
strategies to research interpretations of selected works by other performers
strategies for incorporating research ndings from recordings, scores and/or transcription into
preparing performance of works
strategies used by other performers to optimise performance outcomes
ways of improving identied aspects of own performance ability, including reection and
evaluation
strategies for achieving systematic development of unprepared performance skills, including, as
appropriate, sight reading, imitation and/or improvisation.
Key skills
These skills include the ability to

implement effective instrumental practice routines

rehearse effectively with other musicians
prepare and perform a program of technical work and exercises relevant to achieving uency and
control when performing selected group and/or solo works
describe the impact of studying selected technical work and exercises on performance outcomes
for selected group and/or solo works
identify, describe and evaluate strategies used by other performers to optimise performance outcomes
describe how use of selected strategies to develop technical skill has improved identied aspects
of own performance ability
systematically develop unprepared performance skills, including, as appropriate, sight reading and/
or improvisation skills
present a uent unprepared performance by either sight reading previously unseen music or imitating
within a set style or spontaneously improvising within a set style.

AREA OF STUDY 3

Musicianship
In this area of study students build their knowledge and skills in music theory, aural comprehension
and music analysis. Students build on their knowledge and skills through systematic study of aural
and theoretical concepts in isolation and in the context of performing or listening. They develop their
ability to sing intervals, scales, triads and short melodic phrases from sight and memory, and they
extend their ability to identify, recognise, notate and transcribe short music excerpts. Students practise
and rene their ability to notate music by hand. They investigate and comment on a variety of ways
in which elements of music can be interpreted to achieve expressive outcomes in the performance of
music works.
Outcome 3
On completion of this unit the student should be able to identify, re-create, notate and transcribe elements
of music, and describe how selected elements of music have been interpreted in performance.

To achieve this outcome the student will draw on key knowledge and key skills outlined in Area of
Study 3.

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Key knowledge
This knowledge includes:

a system to assist the singing of scales, intervals, chords, melodic phrases, rhythmic phrases and
diatonic chord progressions
music notation conventions, including:
pitch identication in treble and/or bass clefs, key signatures, accidentals and chord symbols
rhythmic notation of semibreve, minim, crotchet, quaver, semi-quaver and associated rests,
simple and compound time signatures, bar lines, rhythmic grouping and beaming
music terminology and language to identify and describe the interpretation of elements of music
Pitch (melody and harmony)
scales/modes:
naming conventions used to identify scale degrees
concepts of tonality and key
sound and intervallic structure of ascending and descending forms of the major, natural minor,
harmonic minor, melodic minor, major (do) pentatonic, minor (la) pentatonic and blues (minor
pentatonic plus at 5) scales
intervals:
naming conventions used to identify size and quality of intervals
sound and structure of ascending and descending major, minor, perfect, diminished and
augmented intervals within the compass of one octave, presented aurally, in isolation and in
melodic contexts
chords:
sound and intervallic structure of major, minor, augmented and diminished triads and dominant
7th chords
diatonic harmony:
naming conventions used to identify quality and diatonic function of chords within a key
sound, structure and function of
tonic (I major), supertonic (ii minor), mediant (iii minor), sub-dominant (IV major), dominant
(V major) and sub-mediant (vi minor) triads in a major key
tonic (i minor), supertonic (ii diminished), sub-dominant (iv minor), dominant (V major)
and sub-mediant (VI major) triads in a minor key where the basis for chord building is the
harmonic minor scale
dominant 7th chord in major keys and minor keys where the basis for chord building is the
harmonic minor scale
strategies to identify and notate diatonic, root position chord progressions in major keys and minor
keys where the basis for chord building is the harmonic minor scale
Duration (pulse, beat, meter, rhythm)
naming conventions used to identify rhythmic values
conventions of rhythmic notation, including grouping and beaming
organisation, value and subdivision of beat and pulse in simple duple, triple and quadruple meters
and compound duple meter
strategies to identify and notate simple and compound rhythm patterns

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Interpretation
structural aspects of works chosen for performance, including melodic, harmonic and/or rhythmic
organisation, form/sections, use of patterns and textural characteristics
ways that expressive outcomes in the performance of music works may be developed by
exploring
idiomatic qualities and variations of instrumental tone colour, including ways in which
instrumental voices blend to create tone colour
the relative balance of different music parts/lines
the structural and expressive roles of instrumental voices within the texture of the work
use of articulation, ornamentation/embellishment (melodic, harmonic and rhythmic), dynamic
range and shape, phrase shaping and tempo choices
strategies to identify and describe ways in which performers interpret expressive elements of
music, including tone color, blend of instrumental voices, balance of music parts/lines, articulation
patterns, ornamentation/embellishment (melodic, harmonic and rhythmic), dynamic range and
shape, phrase shaping and tempo choices in order to achieve expressive outcomes.
Key skills
These skills include the ability to:

identify the size and quality of intervals that are presented either aurally or in writing, in treble
and/or bass clef and in isolated and melodic contexts
identify ascending and descending major, natural minor, harmonic minor, melodic minor, major
(do) and minor (la) pentatonic and blues (minor pentatonic plus at 5) scales that are presented
either aurally or in writing in treble and/or bass clef
recognise and identify the tonality of a melody that is based on a major, melodic minor, major
pentatonic or minor pentatonic scale, and presented aurally or in writing in treble and/or bass
clef
use conventional music notation to write intervals, scales and chords in treble and/or bass clef
use a system to sing intervals, scales, short melodic phrases and chord-tone arpeggios
use a process to imitate and/or improvise on three- or four-note melodic motifs by singing, humming
or playing
use a process to imitate and/or improvise on one- or two-bar rhythmic patterns by clapping, tapping
or playing
use conventional music notation to transcribe up to two bars of a two-bar diatonic melody that is
based on a major or melodic minor scale, in keys that use up to two sharps or two ats, presented
in treble clef, in simple duple, simple triple, simple quadruple or compound duple meter and where
the pitch of the rst note and the rhythm of the melody are given
identify major, minor, augmented and diminished triads, and dominant 7th chords presented aurally
in block harmony and as arpeggios
identify diatonic progressions of up to three chords in major keys or in minor keys where the basis
for chord building is the harmonic minor scale, that are in keys that use up to two sharps or two
ats, that use combinations of root position triads and dominant 7th chords, that are presented
homophonically, and that conclude with common cadences that end on either the tonic, dominant
or submediant chords
aurally recognise, and identify from a series of written alternatives, two bars of rhythm from a
four-bar phrase presented by non-pitched percussion instruments in two parts and in simple duple,
simple triple, simple quadruple or compound duple meter

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transcribe rhythms of up to two bars from an excerpt that is no longer than four bars, and that is
in simple duple, simple triple, simple quadruple or compound duple meter
listen analytically to excerpts of pre-recorded works and identify ways in which expressive
elements of music, including tone colour, blend of instrumental voices, balance of music parts/lines,
articulation, ornamentation/embellishment (melodic, harmonic and rhythmic), dynamic range and
shape, phrase shaping and tempo choices, have been interpreted to achieve expressive outcomes
use appropriate music terminology and language to describe ways in which expressive elements
of music may be interpreted to achieve expressive outcomes in works selected for performance.

AREA OF STUDY 4

Organisation of sound
This area of study focuses on devising original work as a composition or an improvisation, inspired
by analysis of music in selected works being prepared for performance.

The creative process is individual and has many starting points for inspiration. Students study and
listen to a wide variety of music. They explore a range of strategies to generate and extend music
ideas, for example improvisation. Students are encouraged to use a broad structural element to focus
their creative work, for example a key, chord progression, instrument and/or mood.
As part of the process of generating music ideas, students analyse works they are preparing for
performance. They identify characteristics that can be used in their composition or improvisation and
relevant inuences on composers/performers. Students use various strategies to experiment with,
develop and rene the musical ideas.
Aspects of music language used in devising original work include range and characteristics of selected
instruments; use of instruments in combination, including balance of dynamics and tones, and blend
of tones; music forms and structures, such as binary, ternary and popular song; conventions in staff
notation, including shape of music notes, groupings, phrase marks, treble and bass clefs, relevant key
signatures and time signatures. Where possible, students should practise notating music on manuscript
to develop their skill in writing notation.
Information and communications technology tools should be used for keying-in (sequencing), review,
playback and renement, as appropriate.
Outcome 4
On completion of this unit the student should be able to devise a composition or an improvisation that
uses music language evident in work/s being prepared for performance.

To achieve this outcome the student will draw on knowledge and related skills outlined in Area of
Study 4.
Key knowledge
This knowledge includes

melodic, harmonic, rhythmic, structural and expressive aspects of music language used in work/s
being prepared for performance
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For composition
techniques for composing melodies
techniques for composing harmonic parts that can be performed in combination with a melody
techniques for harmonising a given melody using appropriate chords
conventions in notation, including shape of music notes, grouping, phrase marks, treble and bass
clefs, relevant key signatures and time signatures
techniques to input and edit work, including transposition as appropriate, using appropriate ICT
OR
For improvisation
techniques for improvising using a given structure or source material such as motif/s, patterns or
a chord progression
techniques for improvising over progressions that feature a range of triads and seventh chords and
their associated scale patterns
techniques for improvising on selected memorised structures using spontaneously created rhythmic
and/or melodic motifs or patterns
techniques to record the improvised performance and edit by, for example, using appropriate
ICT hardware and software such as a computer, digital keyboard and a sequencing software
application.
Key skills
These skills include the ability to
aurally and/or visually analyse music language of work/s being prepared for performance

AND
For composition
use composition and part-writing techniques to compose and notate a short, original work based
on analysis of works being prepared for performance
input and edit work using ICT
OR
For improvisation
improvise using given source material
improvise over a range of triads and seventh chords and their associated scale patterns
improvise on selected structures that are memorised, spontaneously creating rhythmic and/or
melodic motifs or patterns
record the improvised performance and edit using appropriate ICT.

ASSESSMENT

The award of satisfactory completion for a unit is based on a decision that the student has demonstrated
achievement of the set of outcomes specied for the unit. This decision will be based on the teachers
assessment of the students overall performance on assessment tasks designated for the unit.
The key knowledge and key skills listed for each outcome should be used as a guide to course design and
the development of learning activities. The key knowledge and key skills do not constitute a checklist
and such an approach is not necessary or desirable for determining the achievement of outcomes. The
elements of key knowledge and key skills should not be assessed separately.

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Assessment tasks must be a part of the regular teaching and learning program and must not unduly add
to the workload associated with that program. They must be completed mainly in class and within a
limited timeframe. Teachers should select a variety of assessment tasks for their assessment program to
reect the key knowledge and key skills being assessed and to provide for different learning styles.
For this unit students are required to demonstrate achievement of four outcomes. As a set these outcomes
encompass all areas of study.
Demonstration of achievement of Outcomes 1, 2, 3 and 4 must be based on the students performance
on a selection of assessment tasks. Where teachers allow students to choose between tasks they must
ensure that the tasks they set are of comparable scope and demand.
Assessment tasks for this unit are:
Performances of three works including at least one group work and one solo work with
accompaniment as appropriate. The duration of the performances will vary depending on the works
selected.
A demonstration of technical work and exercises, for example an assessment task that includes a
test or other performance context.
An explanation of how selected technical work and exercises support the students development
as an instrumentalist and their preparation of works performed for Outcome 1. The explanation
may be presented in one or more of the following formats
oral
multimedia
written.
A performance of unprepared material.
Aural, written and practical tasks, for example
a folio of exercises
or
a test
a workbook of class activities.
Composition and/or improvisation exercises and accompanying documentation that describes use
of music language in the exercise/s. The documentation may be presented in one or more of the
following formats
multimedia
written.

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