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					Music External assessment: Practical component

2008/35111[v5]

Music: External Assessment: Practical Component

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Copyright © Curriculum Council, 2008 This document—apart from any third party copyright material contained in it—may be freely copied, or communicated on an intranet, for non-commercial purposes by educational institutions, provided that it is not changed in any way and that the Curriculum Council is acknowledged as the copyright owner. Copying or communication for any other purpose can be done only within the terms of the Copyright Act or by permission of the Curriculum Council. Copying or communication of any third party copyright material contained in this document can be done only within the terms of the Copyright Act or by permission of the copyright owners. Disclaimer Any 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.

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Music: External Assessment: Practical Component

External Assessment: Practical Component This document contains guidelines about the requirements for the external assessment component in Music for students enrolled from 2010 in a pair of Stage 2 or Stage 3 units. Teachers must ensure that they adhere to the guidelines outlined in the current accredited course in addition to the specific requirements detailed in this booklet. The Curriculum Council is responsible for supervising and conducting the external assessment process in a centralised metropolitan location to ensure equity and consistency through standardised conditions and marking comparability. Further advice on matters related to the administration of Curriculum Council assessment will be published in the Curriculum Council WACE circular. Teachers should also refer to the TEE/WACE examination policy published in Section 7 of the WACE manual on the Curriculum Council website. External examination weightings Stage 2 and Stage 3 In Music, the external examination weightings are as follows: Written examination paper (2.5 hours) Practical component 50% 50%

Reporting achievement Schools are required to submit a mark out of 100 for each unit to the Curriculum Council. The school course mark is calculated by the Curriculum Council by averaging the mark out of 100 for the two units completed in the final year of study. The examination mark (a combination of the practical and written components) statistically moderates the school course mark. In 2010, the Curriculum Council will report a WACE course mark which is determined by averaging the standardised moderated school course mark and the standardised examination mark. For the purpose of ranking students for tertiary entrance, the average of the standardised moderated school mark and the standardised examination mark is scaled. Principles of external assessment 1. The marking process preserves the anonymity of the candidate and the candidate’s school. This requires that:  candidates and their work are identified only by their randomly allocated a Curriculum Council student number  marking occurs in central locations where the work can be displayed and not be identified with a particular school  the marking of the performance examinations will take place in the Term 3 holidays, prior to the commencement of the written examinations in Term 4  performances will be marked independently by a panel of markers and then reconciled  the panel will contain specialists of the relevant instrument and designated context. 2. The authenticity of the candidate’s work in the submitted composition or research portfolios must be guaranteed. It is essential that:  the main development of work takes place in school time  work completed away from school is regularly monitored by the teacher  each candidate signs a declaration of authenticity form (Appendix 1) witnessed by the supervising teacher and the principal to endorse the originality/authenticity of the submitted portfolio  a copy of the signed declaration of authenticity (a legal document) is kept by the teacher on record at the school  under no circumstances can another person work directly on any part of the student submission.

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this work is not to be submitted by the candidate for any other WACE course, endorsed program or VET (vocational education and training) program only previously recorded material submitted to the Curriculum Council is permitted to be presented to the markers the teacher/supervisor has a significant role in monitoring student progress and in providing ongoing feedback and assessment throughout the process. In assessing the portfolio as part of the class assessment, an assessment timeline should be provided to ensure consistent and adequate coverage of work across the entire school year. At the completion of each unit, it is recommended that the student present all completed assessment work as part of the semester exam.

3. Markers apply a consistent standard to assess the candidate’s work. This requires:  marking keys for Stage 2 and Stage 3 units  attendance at a training meeting prior to the commencement of marking  trial marking of work to ensure a common understanding of the marking guide  each candidate’s work is double marked to ensure the independence of individual markers. The Chief Marker ensures consistency throughout by monitoring the marking process and reconciling significant differences where necessary.

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Music: External Assessment: Practical Component

Practical component
The practical component comprises 50% of the external examination mark. Detailed information about the practical component is available in the separate course document, Music External Assessment: Practical Component. For Stage 2 and Stage 3, candidates must select ONE of the following options:
Options Examination type Performance examination Candidates can perform: (a) one context, one instrument OR (b) one context, two instruments OR (c) two contexts, one instrument OR (d) two contexts, two instruments Composition portfolio 2 50% Weighting Stage 2  Minimum of two contrasting pieces for each performance  Warm-up/set up/tuning (5 mins)  Performance (a) 10–15 minutes; all other performances 5–8 minutes for each examination Stage 3  Minimum of two contrasting pieces for each performance  Warm-up/set up/tuning (5 mins)  Performance (a) 15–20 minutes; all other performances 5–10 minutes for each examination

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50%

 3–5 compositions with a total minimum combined time of 12 minutes  Minimum of two original compositions or arrangements for an ensemble containing at least 3 parts  Part A: 3 000 words (40%)  Part B: Practical application of research through performance or composition (10%)  Minimum of two contrasting pieces  Warm-up/set up/tuning (5 mins)  Performance (5–8mins)  2–3 compositions with a total minimum combined time of seven minutes  Minimum of one original composition or arrangement for an ensemble containing at least 3 parts  Minimum of two contrasting pieces  Warm-up/set up/tuning (5 mins)  Performance (5–8 mins)  Part A: 1 500 words (20%)  Part B: Practical application of research through performance or composition (5%)  2–3 compositions with a total minimum combined time of seven minutes  Minimum of one original composition or arrangement for an ensemble containing at least 3 parts  Part A: 1 500 words (20%)  Part B: Practical application of research through performance or composition (5%)

 3–5 compositions with a total minimum combined time of 16 minutes  Minimum of two original compositions for a quartet or larger ensemble combination and a maximum of one composition for a solo instrument  Part A: 5 000 words (40%)  Part B: Practical application of research through performance or composition (10%)  Minimum of two contrasting pieces  Warm-up/set up/tuning (5 mins)  Performance (5–10 mins)  2–4 compositions with a total minimum combined time of 10 minutes  Minimum of one original composition for a quartet or larger ensemble combination  Minimum of two contrasting pieces  Warm-up/set up/tuning (5 mins)  Performance (5–10 mins)  Part A: 2 500 words (20%)  Part B: Practical application of research through performance or composition (5%)  2–4 compositions with a total minimum combined time of 10 minutes  Minimum of one original composition for a quartet or larger ensemble combination  Part A: 2 500 words (20%)  Part B: Practical application of research through performance or composition (5%)

Research portfolio 3

50%

Performance examination/

25%

4

Composition portfolio 25%

Performance examination/

25%

5 Research portfolio 25%

Composition portfolio /

25%

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Research portfolio

25%

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Guidelines for Music practical examinations Stage 2 and Stage 3
Performance examinations Stage 2 and Stage 3 Examination procedure Candidates are to arrive at the venue (to be advised by the Curriculum Council) 20 minutes before the scheduled time of the examination. After reporting to the supervisor to verify their examination advice, candidates will be able to warm-up and prepare in allocated rooms. The examination advice is to be taken to the examination room, where the candidate will be asked to state their student number to the markers at the commencement of the examination. A list and copies of the required repertoire to be performed is to be presented to the markers. Candidates are permitted up to five minutes to set up, warm up and tune prior to the commencement of the examination. The markers will stop a performance once a candidate plays over the maximum time allocated. Once candidates have completed their examination they must leave the examination area, and are not to have any contact with other candidates waiting to be examined. Candidates will require:  the performance examination advice containing their student number  three copies of the performing score, (or explanatory notes if a score is not required) for the markers. It is preferable to have a copy of the original published score, with any extra photocopies to be retained by the examiners and disposed of at the conclusion of the examination period  their own accompanist/s appropriate to the selected repertoire, with no more than eight ensemble members to be allowed  any additional equipment required for their performance examination. The Curriculum Council provides the equipment listed below: o a piano (an extra piano will be provided if required to suit individual repertoire needs, but must be formally requested) o percussion equipment (for percussion candidates only), drum set, including snare drum, bass drum, floor tom-tom, two mounted tom-toms, hi-hat cymbal, two crash cymbals, one ride cymbal, timpani, xylophone, marimba o PA system (vocal candidates may prefer to use their own microphone) o amplifier for electric guitar and bass guitar candidates only o CD player  neat, appropriate and comfortable clothing to be worn. Uniforms or other items of clothing or equipment that may be identified with a school are not permitted in the examination. Candidates are required to submit information regarding the instrument/s, designated context/s, accompanist/s and any further information which may be required, to the Curriculum Council in the first week of August (in the year in which the candidate is to be examined). Students who choose either Option 4 or Option 5 must present their performance independently of their composition/research portfolio. Context requirements Candidates must ensure that:  for Jazz instrumentalists, the majority of the repertoire performed must demonstrate appropriate improvisational techniques  for Contemporary instrumentalists, repertoire may include improvisation where appropriate.

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Music: External Assessment: Practical Component

Composition portfolio Stage 2 and Stage 3 Candidates are required to submit to the Curriculum Council:  the complete portfolio which includes a list of the composition titles, recordings of all compositions and performance directions and notes related to the compositions in the first week of August (in the year in which the candidate is to be examined). Late submissions will not be accepted and candidates who do not submit a portfolio will not be examined  a signed Declaration of Authenticity form, (see sample in Appendix 1). Authentication forms act as legal documents and proper records need to be maintained by the school  a student statement (see sample in Appendix 2). The statement, which is no more than 300 words in length, is a concise explanation of the composition. The statement will be read in conjunction with the submitted portfolio and will not be assessed as it serves only to provide clarification of the ideas communicated in the portfolio. The statement will explain the rationale for conceptual development and realisation of ideas and should include the following: o the instrumentation and orchestration for each piece o a summary of the compositional process for each piece, outlining the application and combination of musical elements o contextual/stylistic characteristics and influential composers o the generation, development and refining of musical ideas and the development of an individual style of composition. Candidates must ensure that:  all work is carefully and securely packaged and labelled with their student number  the portfolio is clearly labelled as Music composition portfolio  support documents or equipment submitted do not contain the candidate’s name or names of persons associated with the candidate’s school or family  video recordings of performances do not contain identifiable school uniforms or other items of clothing or equipment that may be identified with a school  documents do not contain any teacher comments or markings. The following guidelines are to be observed by composition portfolio candidates:  the composition portfolio should demonstrate a variety of idioms and styles and contain pieces using different instruments/voices and instrumental/vocal combinations  compositions may be written in more than one context  working notes together with a commentary which acknowledge the influences on the composition are required and any non-original input must be acknowledged  the presentation of scores and recorded material must be coordinated and properly indexed, with each item annotated with either an indication of its duration or a spoken introduction to each section  scores should be set out in standard format appropriate to the selected context and genre  where appropriate, resources such as electronic equipment, specific texts or computer software should be listed  where possible, all compositions should be recorded for the instruments/voices for which they have been composed. Teachers are responsible for keeping copies of all portfolio materials at the school.

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Research portfolio Stage 2 and Stage 3 Candidates are required to submit to the Curriculum Council:  the complete portfolio in the first week of August (in the year in which the candidate is to be examined)  a signed Declaration of Authenticity form (see sample in Appendix 1). Authentication forms act as legal documents and proper records need to be maintained by the school  a student statement outlining the rationale and process for the research in the portfolio (Appendix 2). The statement should include the following: o a reflection on the research process, and rationale for the choice of topic o acknowledging contextual and other influences on the work, and the development of an individual perspective and point of view on the topic researched o creative application of the research in the form of a musical analysis, composition/ arrangement or performance discussing the utilisation and combination of musical elements within a context, style or genre  a research essay or essays of the required length (see Part A below) on a specified topic  a list of the composition/arrangement titles and accompanying scores and recordings or a recording of the performance/s  performance directions and notes related to the compositions or performance/s. Candidates must ensure that:  all work is carefully and securely packaged and labelled with their student number  the portfolio is clearly labelled as Music research portfolio  support documents or equipment submitted do not contain the candidate’s name or names of persons associated with the candidate’s school or family  video recordings of performances do not contain identifiable school uniforms or other items of clothing or equipment that may be identified with a school  documents do not contain any teacher comments or markings. Research portfolios must follow the specified guidelines outlined below: Part A 3 000 words for Stage 2 candidates and 5 000 words for Stage 3 candidates consisting of: o documentation of the selected topic o a detailed analysis of the selected research topic Part B o either an original composition, an arrangement or a performance reflecting the topic of research presented with scores and recordings
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the research essay/documentation should be written as a number of essay structured responses or as an individual research response to a specific topic use of supportive musical materials, examples and quotations will assist in enhancing discussion and conclusions, and must be accurately acknowledged and consistently referenced using a standard citations style all documentation is to be well bound and clearly presented, with an index, bibliography and /or discography if necessary the presentation of scores and recorded material must be coordinated and properly indexed, with recordings presented in the same order as the written material. Each item is to be annotated with either an indication of its duration or a spoken introduction to each section scores should be set out in standard format, appropriate to the selected context and genre where appropriate, resources such as electronic equipment, specific texts or computer software should be listed.

Teachers are responsible for keeping copies of all portfolio materials at the school.

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Music: External Assessment: Practical Component

Appendix 1: Sample Declaration of Authenticity form

DECLARATION OF AUTHENTICITY 2010 External Assessment Music
Candidate Declaration Name: Student number: Category of the work: As a candidate for the Music examination in 2010, I declare that I completed all the work for the research/portfolio submitted during 2010 and that to the best of my knowledge all the information provided is correct, all references have been acknowledged and attached. School code:

Signed:

Date:

Please note: 1. To maintain anonymity, this declaration form must accompany but must not be attached to the submitted work. 2. Source materials used in the submitted works must be clearly referenced. 3. Teachers must keep a copy of this form on official school records. School candidates: Teacher and Principal Declaration This section is to be completed by the candidate’s teacher and the school principal. The candidate’s work will not be marked if the declaration is not signed. I declare that, to the best of my knowledge, the work contained in this submission was:  completed by the candidate in 2010  developed mainly in school time, and any work away from school was regularly monitored  not worked upon directly by a teacher or any other person  not submitted for assessment in any other WACE course. Teacher’s signature: Teacher’s name: Principal’s signature: Date: Date:

Private Candidates A Commissioner of Declarations needs to witness your signature and complete this section. Commissioner of Declarations Name: Address: Signed: Date:

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Appendix 2: Sample Student Statement Cover Sheet

Student statement Music research portfolio/Music composition portfolio

Instructions to candidates A student statement is a concise explanation of your composition or research portfolio. In 300 words or less, provide a supportive rationale for your portfolio which gives the markers an insight into the process and creative application of musical ideas resulting in your final submission.

Student Number:

Option:

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Music: External Assessment: Practical Component