Assignment Cover Sheet

School of Education
Student details

Student name: Timothy Henderson Student ID number: 18804209

Unit and tutorial details

Unit name: Secondary Curriculum Music 2A Unit number: 102090

Tutorial group: 01 Tutorial day and time: Tuesday 3:00pm
Lecturer or Tutor name: Dr Sarah Powell

Assignment details

Title: Assignment 1: Marking

Around 1000
Length: Words Due date: 16th of March Date submitted: 14th March
Home campus (where you are enrolled): Penrith: Kingswood

Declaration

I hold a copy of this assignment if the original is lost or damaged.

I hereby certify that no part of this assignment or product has been copied from any other students
work or from any other source except where due acknowledgement is made in the assignment.
I hereby certify that no part of this assignment or product has been submitted by me in another
(previous or current) assessment, except where appropriately referenced, and with prior permission
from the Lecturer / Tutor / Unit Coordinator for this unit.
No part of the assignment/product has been written/produced for me by any other person except
where collaboration has been authorised by the Lecturer / Tutor /Unit Coordinator concerned.
I am aware that this work will be reproduced and submitted to plagiarism detection software programs
for the purpose of detecting possible plagiarism (which may retain a copy on its database for future
plagiarism checking).

Students signature: Timothy Henderson

Note: An examiner or lecturer / tutor has the right to not mark this assignment if the above declaration has
not been signed.

 Responses and Marking

Student 1:

Question A:
Stick with cowbell for one bar phrases 2 bars
Monophonic soprano voice female mostly repeated
Homophonic harmony singers 3rd lower
Polyphonic - sustains the notes, then singer
Female singer strong.
Added texture throughout the song
Little contrast in notes; mostly in steps.
Cowbell is throughout the song.
There was 2 phrases both repeated 4 times each with added texture

6 5 4 3 2 1

Part (a) Demonstrates Demonstrates highly Demonstrates Demonstrates Demonstrates Demonstrates

Phrasing comprehensive developed developed satisfactory limited unsatisfactory
and Texture understanding of understanding of understanding of understanding of understanding of understanding of
phrasing and phrase and texture. phrase and texture. phrase and texture. phrase and texture. phrase and texture.
texture.
Must identify different Must identify different Must identify at least Identifies a layer Attempts to identify
Must identify layers and layers and two different layers and instrument. different layers and
different layers instrumentation. instrumentation. and the instruments Identifies phrase phrases.
and Justifies phrase Justifies phrase of these layers. structure and Attempts to justify
instrumentation. structure and length. structure and length. Justifies phrase length. Attempts to phrase structure
Justifies phrase Accurate use of Mostly Accurate use structure and length. use terminology. and length.
structure and terminology. of terminology. Some use of Supports answers
length. Clearly articulated Mostly clear terminology with some
Accurate use of responses with articulated responses Clear responses with examples.
terminology. reference to specific with reference to reference to specific
Clearly articulated examples to support examples to support examples to support
responses with answers. answers. answers.
reference to
specific examples
to support
answers.

Mark: 4/6

Comments:

The texture was demonstrated through the understanding of
instrumentation and the added layers throughout the piece. Phrases were
illustrated by the understanding of the repeated female vocal phrases four times
in the piece and how the cowbell repeated throughout the piece with a one bar
pattern.
Suggestions would be to lay out the texture with a graphic design or list in
a sequence of dot points so the marker can see your understanding of the growth
in texture. For phrasing a greater detail was needed, for example the cowbell is a
syncopated ostinato that is a one bar phrase, repeated throughout the whole
piece and the vocals are in a four bar phrase etc.

 Question B:
Opened with female singing then added texture
Bongos are being used, more beats per bar
Singer is singing higher and stronger
The back-up singers 5th lower, shortens note value
Main singer sustains her notes longer note values than previous
The texture at the beginning was\monophonic when only the soprano
was singing but when drums and harmony singers came in it changed to
polyphonic. Unlike the first part that kept on adding new texture.
Dynamics decrescendo and crescendo used
Melisma is used and other decorations are added each time she repeats
the same words - use of chromaticism
More use of notes range, more variety of pitch, note values and
dynamics
Higher key
Crescendos are\ used for last note of back-up singers; also note has added
note value
10 9 - 8 7 6 - 5 4 - 0
Part (b) Demonstrates Demonstrates highly Demonstrates developed Demonstrates satisfactory Demonstrates
All musical comprehensive developed understanding of understanding of contrast unsatisfactory
concepts understanding of understanding of contrast by discussing all by discussing all concepts understanding of contrast
contrast by discussing all contrast by discussing concepts of music with of music with reference to by discussing all concepts
concepts of music with all concepts of music reference to both both excerpts (a) and (b). of music with reference to
reference to both with reference to both excerpts (a) and (b). Provides an example to both excerpts (a) and (b).
excerpts (a) and (b). excerpts (a) and (b). Provides some examples support response. Mostly Provides inadequate
Provides multiple Provides multiple to support response. accurate use of examples to support
detailed examples to examples to support Accurate use of terminology. response. Mostly accurate
support response. response. Accurate terminology. use of terminology.
Accurate use of use of terminology.
terminology.

Mark: 8/10

Comments:

This response provided a discussion of pitch, duration, structure,
dynamics & expressive techniques and texture in significant detail. The use of
music terminology in this response was significant in aiding the marker with
your ideas.
Suggestions for this response would be to ensure that you talk about tone
colour also when all musical concepts are being provided. What does the bongos
sound like? What does the main vocals sound when she hits the high notes?
Another suggestion would be to make sure the marker explicitly knows how this
excerpt contrasts with the previous excerpt


 Student 2:

Question A:
Starts off with a capella solo voice, with drums
As the music progresses, more voices are put in giving texture, singing the
same phrase over and over against or with one another
Towards the end you get this rich effect when the lower register voices
are added giving a padding effect and filling out the sound, adding texture
as well.
The drums accompaniment with the voices is wooden in tone colour and
provides an ostinato throughout. With the extra voices, it also provides
harmony
Voices singing sustained notes underneath or on top of the phrases gives
It, again more texture.
6 5 4 3 2 1

Part (a) Demonstrates Demonstrates highly Demonstrates Demonstrates Demonstrates Demonstrates

Phrasing comprehensive developed developed satisfactory limited unsatisfactory
and Texture understanding of understanding of understanding of understanding of understanding of understanding of
phrasing and phrase and texture. phrase and texture. phrase and texture. phrase and texture. phrase and texture.
texture.
Must identify different Must identify different Must identify at least Identifies a layer Attempts to identify
Must identify layers and layers and two different layers and instrument. different layers and
different layers instrumentation. instrumentation. and the instruments Identifies phrase phrases.
and Justifies phrase Justifies phrase of these layers. structure and Attempts to justify
instrumentation. structure and length. structure and length. Justifies phrase length. Attempts to phrase structure
Justifies phrase Accurate use of Mostly Accurate use structure and length. use terminology. and length.
structure and terminology. of terminology. Some use of Supports answers
length. Clearly articulated Mostly clear terminology with some
Accurate use of responses with articulated responses Clear responses with examples.
terminology. reference to specific with reference to reference to specific
Clearly articulated examples to support examples to support examples to support
responses with answers. answers. answers.
reference to
specific examples
to support
answers.

Mark: 2/6

Comments:

Through texture the identification of some instruments was done plus the
build of texture as the piece goes along was understood. An understanding of the
same phrase was repeated over and over again and the ostinato of the drums
was also demonstrated in this answer.
Suggestions would be to avoid answering tone colour and pitch related
answers to a texture and phrasing question. A further development of
demonstrating the texture through music terminology such as homophonic,
polyphonic and monophonic would have assisted in the understanding of texture
in this piece. In terms of phrasing, how long is that ostinato? How many times
does it repeat? Is there another ostinato in another instrument that repeats?


 Question B:
In this excerpt:
There is a female solo vocalist accompanied by several female voices.
These voices underneath provide long, sustained chords, providing
harmony and added texture.
The female solo vocalist improvises the main phrase sung in the first
excerpt. She uses scatting and extends the pitch range. She also uses
glissandos
The bongo drums provide rhythm without being too piercing again an
ostinato
This excerpt is different because you dont get the gradual giving of
texture, it stays the same the whole way through
Lots of dynamic contrast in the female vocalist and accompaniment
voices. As the soloist gets louder the pitch becomes higher. This give a
suspenseful
10 9 - 8 7 6 - 5 4 - 0
Part (b) Demonstrates Demonstrates highly Demonstrates developed Demonstrates satisfactory Demonstrates
All musical comprehensive developed understanding of understanding of contrast unsatisfactory
concepts understanding of understanding of contrast by discussing all by discussing all concepts understanding of contrast
contrast by discussing all contrast by discussing concepts of music with of music with reference to by discussing all concepts
concepts of music with all concepts of music reference to both both excerpts (a) and (b). of music with reference to
reference to both with reference to both excerpts (a) and (b). Provides an example to both excerpts (a) and (b).
excerpts (a) and (b). excerpts (a) and (b). Provides some examples support response. Mostly Provides inadequate
Provides multiple Provides multiple to support response. accurate use of examples to support
detailed examples to examples to support Accurate use of terminology. response. Mostly accurate
support response. response. Accurate terminology. use of terminology.
Accurate use of use of terminology.
terminology.

Mark: 4/10

Comment:

This response provides an in depth understanding of the texture that was
in the piece of music and whilst providing an understanding of pitch, dynamics
and expressive techniques.
Suggestions would be to make sure to focus on other musical concepts
that also assist in talking about contrasting the first excerpt. A small discussion
was had on how this excerpt was different from the original, but instead had
more of a discussion of some musical concepts in the piece. These are all good
points, just how do these provide a difference compared to the original excerpt?





 Student 3:
Question A:
Texture gradually builds, beginning with only a xylophone keeping the
beat and solo female lead. Then a 2nd voice enters and a 3rd in harmony.
As more vocals enters a 3rd texture becomes more defined with vocals
singing lead and accompaniment different parts but still homophonic.
Phrasing is in question and answer form, the same phrase is repeated 4
times.
6 5 4 3 2 1

Part (a) Demonstrates Demonstrates highly Demonstrates Demonstrates Demonstrates Demonstrates

Phrasing comprehensive developed developed satisfactory limited unsatisfactory
and Texture understanding of understanding of understanding of understanding of understanding of understanding of
phrasing and phrase and texture. phrase and texture. phrase and texture. phrase and texture. phrase and texture.
texture.
Must identify different Must identify different Must identify at least Identifies a layer Attempts to identify
Must identify layers and layers and two different layers and instrument. different layers and
different layers instrumentation. instrumentation. and the instruments Identifies phrase phrases.
and Justifies phrase Justifies phrase of these layers. structure and Attempts to justify
instrumentation. structure and length. structure and length. Justifies phrase length. Attempts to phrase structure
Justifies phrase Accurate use of Mostly Accurate use structure and length. use terminology. and length.
structure and terminology. of terminology. Some use of Supports answers
length. Clearly articulated Mostly clear terminology with some
Accurate use of responses with articulated responses Clear responses with examples.
terminology. reference to specific with reference to reference to specific
Clearly articulated examples to support examples to support examples to support
responses with answers. answers. answers.
reference to
specific examples
to support
answers.

Mark: 3/6

Comment:

The instrumentation listed and the building of the texture in this response
shows the understanding of texture. For phrasing it is very basic due to only
demonstrating that it is in question and answer form (call and response) and
that the same phrase is repeated four times, more detail is needed.
Suggestions for better marks in regards to texture would be listing how
the piece goes from monophonic to polyphonic then interchanges between
homophonic and polyphonic. For phrasing, identify what phrasing is in call and
response form and what phrasing is repeated over four times. You could say that
the vocals are in a four bar ostinato/phrase that is repeated four times in the
piece.








 Question B:
Female lead vocal singing improv/ scatting over other voices and
instruments
Bongo drum is keeping beat instead of xylophone
Texture has more layers and is slightly polyphonic
Clappingis also keeping beat with bongo
In different form: lead and back-up vocals
More use of expressive techniques such as scatting and melismas and
glissandos and vibrato
Lead gives wider range, reaching lower note
Duration is shorter, giving a more upbeat feeling
Tonality is in a similar major key
Xylophone also enters adding another layer of texture
Texture builds very quickly with only clapping to begin with, then most
layers enter together at once
10 9 - 8 7 6 - 5 4 - 0
Part (b) Demonstrates Demonstrates highly Demonstrates developed Demonstrates satisfactory Demonstrates
All musical comprehensive developed understanding of understanding of contrast unsatisfactory
concepts understanding of understanding of contrast by discussing all by discussing all concepts understanding of contrast
contrast by discussing all contrast by discussing concepts of music with of music with reference to by discussing all concepts
concepts of music with all concepts of music reference to both both excerpts (a) and (b). of music with reference to
reference to both with reference to both excerpts (a) and (b). Provides an example to both excerpts (a) and (b).
excerpts (a) and (b). excerpts (a) and (b). Provides some examples support response. Mostly Provides inadequate
Provides multiple Provides multiple to support response. accurate use of examples to support
detailed examples to examples to support Accurate use of terminology. response. Mostly accurate
support response. response. Accurate terminology. use of terminology.
Accurate use of use of terminology.
terminology.

Mark: 6/10

Comment:

The change in texture, duration, pitch, dynamics and expressive
techniques, and structure were all discussed in this response. The use of music
terminology was also used effectively in this response.
Whilst most of the concepts were discussed, you did miss tone colour.
Including this, a more in depth discussion between the contrasting factors of
both pieces were needed to have a stronger response. For tone colour and
contrasting talk about the overall sound or individual sounds of the
instrumentation or piece compared to the other piece.





 Student 4:
Question A:
There is a cowbell that starts and does a constant beat throughout whole
extract, rhythmic accompaniment, monophonic
There is a lead vocalist that comes in; polyphonic texture is added when
other voices start singing underneath
There is a repeated phrase throughout the whole song
Breaking that phrase into little phrase
Unison with other singing, staccato with voices
Texture starts simple, more harmonic layers build up (voices) Long sustained
notes are sung in first part, 2nd part of phrase is short
This is drumbeat
6 5 4 3 2 1

Part (a) Demonstrates Demonstrates highly Demonstrates Demonstrates Demonstrates Demonstrates

Phrasing comprehensive developed developed satisfactory limited unsatisfactory
and Texture understanding of understanding of understanding of understanding of understanding of understanding of
phrasing and phrase and texture. phrase and texture. phrase and texture. phrase and texture. phrase and texture.
texture.
Must identify different Must identify different Must identify at least Identifies a layer Attempts to identify
Must identify layers and layers and two different layers and instrument. different layers and
different layers instrumentation. instrumentation. and the instruments Identifies phrase phrases.
and Justifies phrase Justifies phrase of these layers. structure and Attempts to justify
instrumentation. structure and length. structure and length. Justifies phrase length. Attempts to phrase structure
Justifies phrase Accurate use of Mostly Accurate use structure and length. use terminology. and length.
structure and terminology. of terminology. Some use of Supports answers
length. Clearly articulated Mostly clear terminology with some
Accurate use of responses with articulated responses Clear responses with examples.
terminology. reference to specific with reference to reference to specific
Clearly articulated examples to support examples to support examples to support
responses with answers. answers. answers.
reference to
specific examples
to support
answers.

Mark: 3/6

Comment:

The identification of the piece starting with a monophonic cowbell that is
repeated throughout the piece then when the vocalist comes in it creates
polyphony and the grasping of a thicker texture, is a perfect example of texture.
For phrasing, an understanding has begun with knowing that there is a phrase
throughout the piece.
Some of these answers are very vague (this is drumbeat) and hard to
give further marks to the response. In terms of texture you were on the right
track but needed to identify more instrumentation. In terms of phrasing
demonstration of how long the phrase is and what is playing that phrase is need.
Also demonstrating how many times its repeated will assist in more marks.



 Question B:
There is more of lead vocals being heard, group of voices singing a high
pitch, repeated phrase
Long sustained notes over 2 bars scatting
Louder dynamics, improvisation, melisma used by lead vocalist
Lead vocalist slides her voice
More percussion, 2 drums. Adding layers of sound, shorter duration of
lead vocalist notes
Rhythmic accompaniment has extra layers of drum added, bongos
Dynamics become softer in back-up singing, then near end of extract it
becomes louder at very end. As the choir becomes softer, so does lead
vocalists
Throughout, group singing repeat a phrase, with third part harmony
Pitch has become higher in this extract than other
Womens voices melt together
10 9 - 8 7 6 - 5 4 - 0
Part (b) Demonstrates Demonstrates highly Demonstrates developed Demonstrates satisfactory Demonstrates
All musical comprehensive developed understanding of understanding of contrast unsatisfactory
concepts understanding of understanding of contrast by discussing all by discussing all concepts understanding of contrast
contrast by discussing all contrast by discussing concepts of music with of music with reference to by discussing all concepts
concepts of music with all concepts of music reference to both both excerpts (a) and (b). of music with reference to
reference to both with reference to both excerpts (a) and (b). Provides an example to both excerpts (a) and (b).
excerpts (a) and (b). excerpts (a) and (b). Provides some examples support response. Mostly Provides inadequate
Provides multiple Provides multiple to support response. accurate use of examples to support
detailed examples to examples to support Accurate use of terminology. response. Mostly accurate
support response. response. Accurate terminology. use of terminology.
Accurate use of use of terminology.
terminology.

Mark: 7/10

Comment:

Understanding the texture change with now a lead vocalist and added
drums (bongos), demonstrates the knowledge of the contrast between both
pieces. By also illustrating the dynamic and expressive techniques changes
further elaborates on the contrasting features of the two excerpts.
Suggestions would be to further elaborate on the contrasts with more
musical concepts. Begin to demonstrate what changes have been made in terms
of tone colour (sounds of the instruments compared to the first excerpt) and
overall structure of the piece. Make sure these contrasts are explicitly stated
within your response.




 Student 5:
Question A:
The texture used gradually builds up, it starts with one musical
instrument, like a tin can or xylophone, with a voice coming in. Then a
second one making the harmony, till finally a third male voice comes in
and the texture is more defined and louder. First the vocals are womens
leads, then an accompaniment. Still homophonic.
Phrasing question/answer, then repeats building up with extra vocals.
And it is all smoother and flowing. Rhythmic bass doesnt change. The
same phrase is repeated 4 times. Its in 4/4.
6 5 4 3 2 1

Part (a) Demonstrates Demonstrates highly Demonstrates Demonstrates Demonstrates Demonstrates

Phrasing comprehensive developed developed satisfactory limited unsatisfactory
and Texture understanding of understanding of understanding of understanding of understanding of understanding of
phrasing and phrase and texture. phrase and texture. phrase and texture. phrase and texture. phrase and texture.
texture.
Must identify different Must identify different Must identify at least Identifies a layer Attempts to identify
Must identify layers and layers and two different layers and instrument. different layers and
different layers instrumentation. instrumentation. and the instruments Identifies phrase phrases.
and Justifies phrase Justifies phrase of these layers. structure and Attempts to justify
instrumentation. structure and length. structure and length. Justifies phrase length. Attempts to phrase structure
Justifies phrase Accurate use of Mostly Accurate use structure and length. use terminology. and length.
structure and terminology. of terminology. Some use of Supports answers
length. Clearly articulated Mostly clear terminology with some
Accurate use of responses with articulated responses Clear responses with examples.
terminology. reference to specific with reference to reference to specific
Clearly articulated examples to support examples to support examples to support
responses with answers. answers. answers.
reference to
specific examples
to support
answers.

Mark: 4/6

Comment:

The understanding of the layers of sound, including instrumentation and
build up of texture in terms of loudness provides a beginning groundwork for
texture. In terms of phrasing understanding that the piece eventually becomes
question/answer, plus repeats with extra vocals over time and that the phrase is
repeated four times is a good response.
Suggestions for next time would be to list all the instruments that are in
the piece as there are more than a percussion instrument and three vocalists,
watch out for unison vocalists. For phrasing, justify how long and what the
structure of the phrase is. Ensure that your answers are clear to marker; cause
rhythmic bass doesnt change is very confusing.





 Question B:
All three voices are singing at once
The female lead breaks off and sings above the other two making
harmony
There are bongo drums keeping the beat
The form is different with lead and back-up vocals
Texture is more layered and a little bit polyphonic
Theres clapping
Expressive techniques used like glissandos, vibrato
Shorter length of notes
Dynamics pretty much stay the same throughout
Texture builds quickly with only one then layers come in together
A lot of things happen
Texture stays the same
One of the voices are lower compared to the first time, so one higher, two
lower
10 9 - 8 7 6 - 5 4 - 0
Part (b) Demonstrates Demonstrates highly Demonstrates developed Demonstrates satisfactory Demonstrates
All musical comprehensive developed understanding of understanding of contrast unsatisfactory
concepts understanding of understanding of contrast by discussing all by discussing all concepts understanding of contrast
contrast by discussing all contrast by discussing concepts of music with of music with reference to by discussing all concepts
concepts of music with all concepts of music reference to both both excerpts (a) and (b). of music with reference to
reference to both with reference to both excerpts (a) and (b). Provides an example to both excerpts (a) and (b).
excerpts (a) and (b). excerpts (a) and (b). Provides some examples support response. Mostly Provides inadequate
Provides multiple Provides multiple to support response. accurate use of examples to support
detailed examples to examples to support Accurate use of terminology. response. Mostly accurate
support response. response. Accurate terminology. use of terminology.
Accurate use of use of terminology.
terminology.

Mark: 5/10

Comment:

The understanding of most of the musical concepts in the response was
shown to portray their ideas. Hearing the instrumentation change, dynamic and
expressive techniques, structure and pitch changes were all developed within
this answer.
Suggestions would be to make sure there is a clear connection between
the contrasting aspects of the question. Instead of just stating the musical
concepts, make sure to illustrate how this is different from the first excerpt, this
is the main area you lost marks. Also make sure to discuss tone colour and
duration, as they are part of the musical concepts.



 Student 6:
Question A:
Gradual build up of texture, begins with one traditional instrument;
syncopation
Then single female voice joined with second, third in harmony, 4th in
harmony making up a chord like structure. RICH HARMONY. RICH TEXTURE.
Phrasing for the accompaniment are quite different; the traditional
instrument is quite short/ staccato while the voice has a smooth line followed
by an uneven
6 5 4 3 2 1

Part (a) Demonstrates Demonstrates highly Demonstrates Demonstrates Demonstrates Demonstrates

Phrasing comprehensive developed developed satisfactory limited unsatisfactory
and Texture understanding of understanding of understanding of understanding of understanding of understanding of
phrasing and phrase and texture. phrase and texture. phrase and texture. phrase and texture. phrase and texture.
texture.
Must identify different Must identify different Must identify at least Identifies a layer Attempts to identify
Must identify layers and layers and two different layers and instrument. different layers and
different layers instrumentation. instrumentation. and the instruments Identifies phrase phrases.
and Justifies phrase Justifies phrase of these layers. structure and Attempts to justify
instrumentation. structure and length. structure and length. Justifies phrase length. Attempts to phrase structure
Justifies phrase Accurate use of Mostly Accurate use structure and length. use terminology. and length.
structure and terminology. of terminology. Some use of Supports answers
length. Clearly articulated Mostly clear terminology with some
Accurate use of responses with articulated responses Clear responses with examples.
terminology. reference to specific with reference to reference to specific
Clearly articulated examples to support examples to support examples to support
responses with answers. answers. answers.
reference to
specific examples
to support
answers.

Mark: 3/6

Comment:

The layers of sounds have definitely been understood in this response;
showing instrumentation, syncopation of that percussion instrument and how
they gradually come together to make a rich texture. In terms of phrasing the
understanding that there are two types of phrases in this piece and identifying
their characteristics were provided, however, needs to be further developed.
Further details in terms of phrasing and texture will assist your marks.
For texture, start using music terminology such as, monophonic, polyphonic,
homophonic and ostinatos to demonstrate a more developed understanding. For
phrasing, understanding the length and structure of the phrase would assist in
your response, extending further than just the characteristics of the phrase.






 Question B:
The texture has been further built with more accompanying instruments
and a lead vocal over the original harmony
The melody for the lead vocal seems very improvised with a lot of
chromaticism and slides from one note to the next
The harmony changes to a single rhythmic pattern in harmony (chord
like) while lead vocal explore vocal range
Expressive techniques slides, melismas, explores vocal range unlike the
first section which was very set
The tone colour is very dense, with rounded percussion notes and nasally
lead vocal
A LOT of syncopation throughout with a new percussion instrument
The texture has been built and doesnt change throughout
Dynamics are used by accompanying and lead vocal. A lot louder when
she is in the higher register but quiet in lower register

10 9 - 8 7 6 - 5 4 - 0
Part (b) Demonstrates Demonstrates highly Demonstrates developed Demonstrates satisfactory Demonstrates
All musical comprehensive developed understanding of understanding of contrast unsatisfactory
concepts understanding of understanding of contrast by discussing all by discussing all concepts understanding of contrast
contrast by discussing all contrast by discussing concepts of music with of music with reference to by discussing all concepts
concepts of music with all concepts of music reference to both both excerpts (a) and (b). of music with reference to
reference to both with reference to both excerpts (a) and (b). Provides an example to both excerpts (a) and (b).
excerpts (a) and (b). excerpts (a) and (b). Provides some examples support response. Mostly Provides inadequate
Provides multiple Provides multiple to support response. accurate use of examples to support
detailed examples to examples to support Accurate use of terminology. response. Mostly accurate
support response. response. Accurate terminology. use of terminology.
Accurate use of use of terminology.
terminology.

Mark: 7/10

Comment:

By illustrating the musical concepts in this excerpt and how this differs
from the other excerpt shows a highly developed understanding of the question.
The change of texture, expressive techniques, dynamics, and tone colour, were
all demonstrated in this response.
Suggestions would be to talk about the structure of the piece and how it
was contrasting from the first. This is done through graphic notations or dots
points illustrating how the structure is built over time in the first excerpt and
how it is quite instantly thick in the second excerpt. Also talk about the duration
changes in the phrases. Remember that contrasting with the other piece was half
of this question.


 Student 7:
Question A:
The texture started with a solo percussion instrument, then voice then
became solo and choir
Beat on cowbell, solo soprano female voice then harmony; alto voices sing
in harmony, male tenor also singing harmony
the phrases are long and the solo alto sings the same two bar phrase over
with the other vocals building texture and harmony around with a
harmony line
the cowbell pattern keeps going throughout the piece
ostinato is used throughout the piece on the cowbell and the main melody
4/4 the phrases are 4 bars each. There is much syncopation in both the
rhythmic accompaniment and the main melody
6 5 4 3 2 1

Part (a) Demonstrates Demonstrates highly Demonstrates Demonstrates Demonstrates Demonstrates

Phrasing comprehensive developed developed satisfactory limited unsatisfactory
and Texture understanding of understanding of understanding of understanding of understanding of understanding of
phrasing and phrase and texture. phrase and texture. phrase and texture. phrase and texture. phrase and texture.
texture.
Must identify different Must identify different Must identify at least Identifies a layer Attempts to identify
Must identify layers and layers and two different layers and instrument. different layers and
different layers instrumentation. instrumentation. and the instruments Identifies phrase phrases.
and Justifies phrase Justifies phrase of these layers. structure and Attempts to justify
instrumentation. structure and length. structure and length. Justifies phrase length. Attempts to phrase structure
Justifies phrase Accurate use of Mostly Accurate use structure and length. use terminology. and length.
structure and terminology. of terminology. Some use of Supports answers
length. Clearly articulated Mostly clear terminology with some
Accurate use of responses with articulated responses Clear responses with examples.
terminology. reference to specific with reference to reference to specific
Clearly articulated examples to support examples to support examples to support
responses with answers. answers. answers.
reference to
specific examples
to support
answers.

Mark: 5/6

Comment:

The identification of instrumentation and the layers of sound were
brilliant and show a great understanding. For phrasing the developed
understanding of the ostinatos and the repetition of these with also the length of
these shows deep knowledge.
Suggestions would be to go into a little more detail in the answer.
Providing a graphic notation of your ideas or even elaborating on your list by
stating the nature of the texture such as monophonic, homophonic and
polyphonic would provide more marks to the response. For phrasing provide a
contour of the shape of the melody throughout that phrase in terms of pitch
movement and how the phrase starts and ends.



 Question B:
Soprano, choir more rhythmic accompaniment, phrases changed
Pitch now an alto with an extended range
The piece is in the same key. There is still a melody and accompaniment;
no chromaticism
The piece starts with the soprano upbeat; then the rest of the rhythmic
accompaniment and vocal harmony comes in. The duration is very similar
for the harmony vocals but the soprano has extended the duration of the
notes and added more melismas and things expressive techniques
structure is different in this piece as all the instruments and vocals begin
at the same time whereas in the first piece there was a gradual
introduction of the different layers of sound
the phrasing of the main melody has also changed with shorter phrases;
while the phrasing of the backing vocals remains the same
the tone colour in the second excerpt is different; there is use of a lower
female voice and there is also different rhythmic instruments, causing a
shift in the overall piece
Dynamics and expressive techniques: the dynamics in the first part were
a crescendo throughout the piece, but little change in the second; in the
second part the main female lead is adding many vibratos and falls off
notes as expressive techniques, as well as many melismas for effect.
10 9 - 8 7 6 - 5 4 - 0
Part (b) Demonstrates Demonstrates highly Demonstrates developed Demonstrates satisfactory Demonstrates
All musical comprehensive developed understanding of understanding of contrast unsatisfactory
concepts understanding of understanding of contrast by discussing all by discussing all concepts understanding of contrast
contrast by discussing all contrast by discussing concepts of music with of music with reference to by discussing all concepts
concepts of music with all concepts of music reference to both both excerpts (a) and (b). of music with reference to
reference to both with reference to both excerpts (a) and (b). Provides an example to both excerpts (a) and (b).
excerpts (a) and (b). excerpts (a) and (b). Provides some examples support response. Mostly Provides inadequate
Provides multiple Provides multiple to support response. accurate use of examples to support
detailed examples to examples to support Accurate use of terminology. response. Mostly accurate
support response. response. Accurate terminology. use of terminology.
Accurate use of use of terminology.
terminology.

Mark: 10/10

Comment:

This response cleverly provides an aspect of each musical concept that has been
contrasted in the two excerpts. The response is done in a list form, going through
all the concepts one by one, making it easy for the marker to see this
comprehensive understanding.
A minor suggestion would be to go into further detail with every musical
concept. For example, are you sure the backing vocals phrasing stays the same
throughout? Or does the phrasing change slightly from four bars to two bars,
little details to be wary of that can make this response perfect.
 Student 8:
Question A:
The phrasing is expressed every time the repeated sentence is said
Texture varies throughout the piece, starting off with just a continual beat,
sounding metallic. Then gradually one voice is added and the piece continues
building up voice texture with multiple harmonies and back-up vocals. The
layers of texture finish with the addition of a round. The phrase finishes
every time the voice says Mama. The phrase lasts for 6 bars, adding texture
every time it is repeated. The beat is synchronised.
6 5 4 3 2 1

Part (a) Demonstrates Demonstrates highly Demonstrates Demonstrates Demonstrates Demonstrates

Phrasing comprehensive developed developed satisfactory limited unsatisfactory
and Texture understanding of understanding of understanding of understanding of understanding of understanding of
phrasing and phrase and texture. phrase and texture. phrase and texture. phrase and texture. phrase and texture.
texture.
Must identify different Must identify different Must identify at least Identifies a layer Attempts to identify
Must identify layers and layers and two different layers and instrument. different layers and
different layers instrumentation. instrumentation. and the instruments Identifies phrase phrases.
and Justifies phrase Justifies phrase of these layers. structure and Attempts to justify
instrumentation. structure and length. structure and length. Justifies phrase length. Attempts to phrase structure
Justifies phrase Accurate use of Mostly Accurate use structure and length. use terminology. and length.
structure and terminology. of terminology. Some use of Supports answers
length. Clearly articulated Mostly clear terminology with some
Accurate use of responses with articulated responses Clear responses with examples.
terminology. reference to specific with reference to reference to specific
Clearly articulated examples to support examples to support examples to support
responses with answers. answers. answers.
reference to
specific examples
to support
answers.

Mark: 4/6

Comment:

The listing of the instruments, what they specifically do, like syncopation,
and how the texture is built, is a specifically good way of describing texture in a
piece of music. Stating that the vocal phrase repeats at the end of their sung
sentence with the word mama and then how it is repeated through the piece
shows a beginning understanding of phrasing.
Suggestions in terms of texture would be to define the structure of the
texture further. Explaining how the piece moves from monophonic, polyphonic,
and homophonic as the texture builds would provide greater detail. For phrasing
make sure to count out the sentence that was repeated in the vocals, as the piece
is in 6/8 the sentence repeats every four bars. The use of more musical
terminology would also assist your answers.






 Question B:
In the second\excerpt, the soloist sings an alternate melody above the
original melody. The soloist sings with an almost scatting effect. It
explores her range over the harmonic vocal accompaniment.
There is also a tag where a section of the original phrase is extracted and
repeated until the end of the piece of music.
There is more rhythmic accompaniment in the second excerpt with the
additional drums
The harmony still exists underneath the solo voice. There is no suggestion
of a round
The second excerpt emphasizes the soloist more than the first
There are more crescendos in the solo voice
There is no evident texture variations in the 2nd excerpt.
10 9 - 8 7 6 - 5 4 - 0
Part (b) Demonstrates Demonstrates highly Demonstrates developed Demonstrates satisfactory Demonstrates
All musical comprehensive developed understanding of understanding of contrast unsatisfactory
concepts understanding of understanding of contrast by discussing all by discussing all concepts understanding of contrast
contrast by discussing all contrast by discussing concepts of music with of music with reference to by discussing all concepts
concepts of music with all concepts of music reference to both both excerpts (a) and (b). of music with reference to
reference to both with reference to both excerpts (a) and (b). Provides an example to both excerpts (a) and (b).
excerpts (a) and (b). excerpts (a) and (b). Provides some examples support response. Mostly Provides inadequate
Provides multiple Provides multiple to support response. accurate use of examples to support
detailed examples to examples to support Accurate use of terminology. response. Mostly accurate
support response. response. Accurate terminology. use of terminology.
Accurate use of use of terminology.
terminology.

Mark: 7/10

Comment:

A demonstration of the change in instrumentation was specifically strong
in this response by illustrating that there is now lead vocalist and change of
percussion instrument. The demonstration of the texture variation from excerpt
A and excerpt B is shown by stating that the texture doesnt change in excerpt B.
Suggestions would be to discuss more concepts of music, more
contrasting aspects, and use more music terminology. When talking about
scatting, it is actually the use of melismas, specific details help. Also with the
dynamic changes in the crescendos, does this mean the whole time the solo voice
sings she is crescendo-ing or is she is using both decrescendos and crescendos
through the phrases?




 Student 9:
Question A:
Texture: cowbell syncopated. Wooden sticks. Voice. Harmony
Voice + 1 layer. 1st giving the rhythmic accompaniment; female voice comes
in singing the main melody. Then a second voice comes in to harmonise with
the first voice. Another voice comes in providing extra harmony.
Phrasing: the main melody is sung in 2 phrases which are repeated. The
rhythmic accompaniment is one phrase repeated over and over again. The
second harmonic line has longer phrases which extend over the main melody.
Echo voice
Bass voice underneath
- rhythmic 1 phrase
- main melody time, 4 bars1, 4 bars phrase 2
- same phrase but in harmony (3rds)
- echo voice adding syncopated sections in breaks from melody
6 5 4 3 2 1

Part (a) Demonstrates Demonstrates highly Demonstrates Demonstrates Demonstrates Demonstrates

Phrasing comprehensive developed developed satisfactory limited unsatisfactory
and Texture understanding of understanding of understanding of understanding of understanding of understanding of
phrasing and phrase and texture. phrase and texture. phrase and texture. phrase and texture. phrase and texture.
texture.
Must identify different Must identify different Must identify at least Identifies a layer Attempts to identify
Must identify layers and layers and two different layers and instrument. different layers and
different layers instrumentation. instrumentation. and the instruments Identifies phrase phrases.
and Justifies phrase Justifies phrase of these layers. structure and Attempts to justify
instrumentation. structure and length. structure and length. Justifies phrase length. Attempts to phrase structure
Justifies phrase Accurate use of Mostly Accurate use structure and length. use terminology. and length.
structure and terminology. of terminology. Some use of Supports answers
length. Clearly articulated Mostly clear terminology with some
Accurate use of responses with articulated responses Clear responses with examples.
terminology. reference to specific with reference to reference to specific
Clearly articulated examples to support examples to support examples to support
responses with answers. answers. answers.
reference to
specific examples
to support
answers.
Mark: 5/6

Comment:

In terms of texture, the development of instrumentation was shown in the
response, syncopation, and also the instruments roles. For phrasing the
understanding of how long the two phrases in the piece were and how it was
repeated throughout the piece over and over again was clearly demonstrated.
Suggestions would be specifically use music terminology. Try
understanding the texture further by demonstrating the structure of the piece
with a graphic notation illustrating monophony, homophony and polyphony.
With phrasing demonstrate the contour of the melodic line in terms of pitch
movement would help the marker understand the length of the phrase plus the
shape of the phrase. Also relating back to music terminology discuss that this is a
two repeated ostinato phrases, one in the percussion and one in the vocals.

 Question B:
Pitch higher improvised section above melody
Echos in harmony with main/ harmonized melody. Wider vocal range
explored than in excerpt 1
Duration more notes sung adding a thicker layer, increasing texture
Echo voice from extract 1 gone and section put on top increasing pitch
Texture more percussion added, bongo drums still in syncopation
The main melody from excerpt 1 was softened and seemed to be vocal
accompaniment for improvised/higher voice on top
Dynamics, Exp techniques louder dynamics, thicker tone colour.
Melismas used, repetition. Wider range explored than in excerpt 1
Form she sings in many different phrases and repeats lots of them
changing them each time with differing dynamics and expressive
techniques
Texture remains the same the whole way. No instruments or voices
added this time.
10 9 - 8 7 6 - 5 4 - 0
Part (b) Demonstrates Demonstrates highly Demonstrates developed Demonstrates satisfactory Demonstrates
All musical comprehensive developed understanding of understanding of contrast unsatisfactory
concepts understanding of understanding of contrast by discussing all by discussing all concepts understanding of contrast
contrast by discussing all contrast by discussing concepts of music with of music with reference to by discussing all concepts
concepts of music with all concepts of music reference to both both excerpts (a) and (b). of music with reference to
reference to both with reference to both excerpts (a) and (b). Provides an example to both excerpts (a) and (b).
excerpts (a) and (b). excerpts (a) and (b). Provides some examples support response. Mostly Provides inadequate
Provides multiple Provides multiple to support response. accurate use of examples to support
detailed examples to examples to support Accurate use of terminology. response. Mostly accurate
support response. response. Accurate terminology. use of terminology.
Accurate use of use of terminology.
terminology.

Mark: 9/10

Comment:

The exploration of all the concepts (duration, pitch, texture, tone colour,
dynamics and expressive techniques, and structure) has been stated in the
response. Through most of the answers, contrasting factors were illustrated to
help assist the response.
Suggestions would be to add further details towards your answers.
Texture/structure could be talking about the change of monophony, polyphony,
and homophony. Talking about dynamics, explaining what you mean by louder
dynamics. Does this mean that the piece is louder? Are you sure that the piece
doesnt use more dynamic changes than just being louder? In terms of duration
talk about how the lyrics are held longer compared to excerpt A.


 Student 10:
Question A:
Voice creates harmony and also contrast against drums. Bongo drums keep
rhythm
Phrasing lasts for 2 or 3 bars after the word mama. It changes slightly
Starts with 3 taps of drum
3 types of voices female alto, female soprano, male tenor
6 5 4 3 2 1

Part (a) Demonstrates Demonstrates highly Demonstrates Demonstrates Demonstrates Demonstrates

Phrasing comprehensive developed developed satisfactory limited unsatisfactory
and Texture understanding of understanding of understanding of understanding of understanding of understanding of
phrasing and phrase and texture. phrase and texture. phrase and texture. phrase and texture. phrase and texture.
texture.
Must identify different Must identify different Must identify at least Identifies a layer Attempts to identify
Must identify layers and layers and two different layers and instrument. different layers and
different layers instrumentation. instrumentation. and the instruments Identifies phrase phrases.
and Justifies phrase Justifies phrase of these layers. structure and Attempts to justify
instrumentation. structure and length. structure and length. Justifies phrase length. Attempts to phrase structure
Justifies phrase Accurate use of Mostly Accurate use structure and length. use terminology. and length.
structure and terminology. of terminology. Some use of Supports answers
length. Clearly articulated Mostly clear terminology with some
Accurate use of responses with articulated responses Clear responses with examples.
terminology. reference to specific with reference to reference to specific
Clearly articulated examples to support examples to support examples to support
responses with answers. answers. answers.
reference to
specific examples
to support
answers.

Mark: 1/6

Comment:

Knowing that there is percussion type instrument and three types of
vocals developed a beginning understanding of texture. In terms of phrasing,
understanding that the phrase repeats at the end of the word mama is a good
starting block.
It is very hard to tell what you are trying to portray in this response. Your
answer was close in some regards but initially the piece starts with seven taps of
the percussion instrument (cowbell) and the phrase for the vocals last for four
bars not two or three bars. The identification of all the instruments would have
assisted the use of texture. The use of music terminology in the right context will
also assist in your response further. For phrasing identify how many phrases are
in the piece of music; how long are both of these and how many times they are
repeated. Even drawing out the contour of the melodic phrase can demonstrate
to the marker that you understand how long the phrases are.






Question B:
Starts with 3 claps then voices in harmony. Female alto main part singing
extended version of what soprano sang
Range is higher
Use of bongos as soon as voice comes, creating rhythm again
About 3 bar phrasing like first
3 beats of bass drum then use of stick (shaky thing) for 3 times
Having a light drum but in between each one creating a rhythm of only 5
beats
10 9 - 8 7 6 - 5 4 - 0
Part (b) Demonstrates Demonstrates highly Demonstrates developed Demonstrates satisfactory Demonstrates
All musical comprehensive developed understanding of understanding of contrast unsatisfactory
concepts understanding of understanding of contrast by discussing all by discussing all concepts understanding of contrast
contrast by discussing all contrast by discussing concepts of music with of music with reference to by discussing all concepts
concepts of music with all concepts of music reference to both both excerpts (a) and (b). of music with reference to
reference to both with reference to both excerpts (a) and (b). Provides an example to both excerpts (a) and (b).
excerpts (a) and (b). excerpts (a) and (b). Provides some examples support response. Mostly Provides inadequate
Provides multiple Provides multiple to support response. accurate use of examples to support
detailed examples to examples to support Accurate use of terminology. response. Mostly accurate
support response. response. Accurate terminology. use of terminology.
Accurate use of use of terminology.
terminology.

Texture stays same the whole way by repeating the rhythm

Mark: 1/10

Comment:

An attempt to talk about the changes in instrumentation and phrase
lengths/structure is demonstrated in this response.
A suggestion would be to talk about all the musical concepts such as
dynamics, tone colour, structure, expressive techniques and duration whilst also
contrasting this to the previous excerpt. The previous question was about
texture and phrasing and it seems that this response only relates to those two
categories. Clearer answers would also aid in the response of this question. The
use of music terminology is also non-existent to this response, which can aid the
response if used correctly.







 500 Word statement linking assessment to teaching and learning
theories:

Cognitive learning theory is significant to a teacher in developing the students
ideas of the content knowledge and knowing when to apply this. There are three
aspects of cognitive learning which are declarative knowledge, procedural
knowledge, and conditional knowledge. Schunk (2012) illustrates that
declarative and procedural knowledge refers to the facts and procedures of the
content. However, conditional knowledge is knowing when and why to apply
declarative and procedural knowledge to fit task goals (Schunk, 2012).
Therefore, by using cognitive theory, specifically conditional knowledge, the
teacher uses assessment to ensure that students have understood the declarative
and procedural knowledge. The teacher can then reflect and assess their
pedagogies if the declarative and procedural knowledge is not evident in the
assessment, which is the conditional knowledge.

The use of formative assessment allows for a student to demonstrate their
previously learnt knowledge from the classroom and apply these to exam.
Having the students reapply the knowledge into an exam allows for teachers to
understand the progression of their students whilst also having them reiterating
what they have learnt. Black and Wiliam (Cited by Gardner, 2011) further
support this claim by stating that use of formative assessment is a powerful way
to raise standards in the classroom. Therefore, by using the assessment, it allows
the students to develop a deeper knowledge of the content. Boyle and Charles
(2013) further assist this claim by saying the use of formative assessment allows
teachers to see if their pedagogy is effective and allow the learning by the
students to be deeper and sustained.

Formative assessment further allows for the teacher to improve on their
pedagogy. Teachers improve their strategies if it is noted that the students have
not learned what was required for the assessment, shown through the lack of
understanding in the declarative and procedural knowledge. Teachers should
use assessment data to shape their classroom practice allowing for effective
pedagogical techniques to further develop student learning (Griffin, 2014).
Further supported through Black & Wiliam (1998), Shepard (2005), and
Torrance & Pryor (1998), is the idea that assessment is designed to provide
information about student performance that can be used to support learning and
to modify teaching (Cited in Parr & Timperley, 2010). Therefore, through the
use of assessment, teachers can improve their teaching whilst also using it to
improve their students development in education (Sun & Suzuki, 2013).

Overall, by implementing cognitive theory, teachers use assessments to further
aid teaching and learning. The ability to use the assessment task to understand
how far the students knowledge has grown or been retained, through
understanding the declarative and procedural areas from the assessment, allows
for teachers to manipulate their classroom strategies, thus, making sure the
information is understood by the student and evidently demonstrating that they
know when and why to use specific information. The change of classroom
strategies constantly with also reflection allows for the teacher to further aid the
students in their educational development. Hence, Shepard (2000, p. 36) states
that assessment is an overall effort that allows the ability to raise standards and
improve the quality of education.














References:

Boyle, B. & Charles, M. (2013). Formative assessment for teaching & learning (1st
ed.). SAGE.

Gardner, J. (2011). Assessment and Learning (2nd ed.). SAGE.

Griffin, P. (2014). Assessment for Teaching (1st ed.). Cambridge University Press.

Parr, J. & Timperley, H. (2010). Feedback to writing, assessment for teaching and
learning and student progress. Assessment Writing, 15(2), 68-85.

Schunk, D. (2012). Learning theories (6th ed.). Boston: Pearson.

Shepard, L. (2000). The Role of Classroom Assessment in Teaching and
Learning (p. 36). Los Angeles: University of California.

Sun, Y. & Suzuki, M. (2013). Diagnostic Assessment for Improving Teaching
Practice. International Journal Of Information And Education
Technology, 3(6), 607-610. http://dx.doi.org/10.7763/ijiet.2013.v3.345