Tamara Craig 102087 Secondary Curriculum 1A: Music

19173128 Professional Task

Secondary Music Curriculum 1A Professional Task

Contents
Stage 4 - Mandatory Course ................................................................................................................... 1
Music of a Culture: Australian Aboriginal Music................................................................................. 1
Music of a Culture: Contemporary Australian Aboriginal Music ........................................................ 2
Classical Music .................................................................................................................................... 2
Popular Music ..................................................................................................................................... 3
Stage 5- Elective Course .......................................................................................................................... 4
Australian Popular Music .................................................................................................................... 4
Supplementary Listening ................................................................................................................ 4
Popular Music ..................................................................................................................................... 4
Website ........................................................................................................................................... 4
Supplementary Listening ................................................................................................................ 5
19th Century Music ............................................................................................................................. 5
19th Century Music ............................................................................................................................. 6
Music of a Culture ............................................................................................................................... 6

Stage 4 - Mandatory Course

Music of a Culture: Australian Aboriginal Music
Tiddas: Innanay https://open.spotify.com/track/5dITJtuoQo3GuRl7SYG9do
Innanay is an Australian Aboriginal vocal piece with unclear origins, most likely a children’s song or
lullaby. The lyrics come from the Yorta Yorta language but no clear translations exist. The song most
likely has travelled from the Torres Strait Islands with the migration of people from the North of
Australia.

Focus Concept: Duration with a focus on syncopation and backbeats

Performance
The performance aspect related to this song would be learning the melody (and harmonies) and
placing it together with the clapping part and clap sticks part. The melody is simple and would be
taught through demonstration and repetition. The lyrics may or may not be provided for the
students. The clapping part could then be taught through demonstration and repetition. Students
who find the clapping and singing part difficult could just sing or clap. Students should develop their
listening skills through the call and response style learning.

Composition
The compositional task related to this piece would be related to the percussion part in the
background. Students would be provided a simple melody and then they would have to create a

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simple clapping part to accompany the melody. This rhythmic part should focus on the use of
syncopation and ‘off-beat’ rhythms such as those featured in the original piece.

Listening
The listening activity for this piece would focus on notating basic rhythms. Students should listen to
the piece focusing on the clapping and clap-stick parts. Through guided listening and teacher
support, students should notate the percussion parts. More capable students may also notate
additional sound sources.

Music of a Culture: Contemporary Australian Aboriginal Music

Geoffrey Gurrumul Yunupingu: Gurrumul History (I Was Born Blind)
https://open.spotify.com/track/3r24k7qWctJSe0ugwUl6Wp

Focus Concepts: Duration with a focus on simple quadruple time

Pitch with a focus on melody writing and chord changes

Performance
The teacher should facilitate guided listening getting students to notate the melody. Once students
have notated their melody they should sing or play the melody making corrections as they go. This
activity should be completed as a class and links to elements of listening and composition.

Composition
Students should complete some basic research on the ways that elements of traditional aboriginal
music have been incorporated into contemporary Aboriginal music. This may include the use of
native language or use of indigenous instruments such as the didgeridoo. Students should then
choose one element to incorporate into a piece of their creation. When creating their song students
should start by creating a simple two-three chord pattern. Each chord should last one bar in simple
quadruple time. Students should then add a melody using the notes featured in their chords. The
student should also incorporate their chosen element of aboriginal music in some way. Each song
should be recorded either as a chord chart or notated score. Students may choose to perform their
piece for the class- this would relate closely to the element of performance.

Listening
Students will listen to the opening of the song. Ask the students to stand up. Each time they hear the
bassline change they should jump. This will help them focus on the bass part and the chord changes.
Another variation could include clapping on the first beat on the bar. Students should be able to
draw the link between when major chord changes occur and the importance of beat one in simple
quadruple time.

Classical Music
Wolfgang Amadeus Mozart: 12 Variations in C Major 'Ah Vous dirai-je, Maman' K.265 (Twinkle,
Twinkle Little Star) https://open.spotify.com/track/4WQfXmJorTaIv8RqFbVOWj

Focus Concept: Structure with focus on ‘theme and variation’

Performance
Students should learn to play the melody of the theme on the keyboard or tuned percussion
instrument. Students should be provided with an incomplete notation of the melody then using their
ears and assistance students should complete the melody. This could be completed either
individually or in a group. Struggling students may benefit from working in small groups with more

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advanced students. More advanced players may find this activity straightforward and therefore may
benefit from learning a simple harmony part in the left hand. Throughout this exercise, it is
important to highlight how phrases repeat themselves.

Composition
Students, having learned the main melody, should create their own simple variation of the melody.
Students may like to perform this task individually or in groups depending on confidence. In the task
briefing discuss some ways that students may change the melody including alternating the rhythm
with additional notes, changing pitches and the way that the notes are played. Students should
present their variations to the class. It may be useful to provide samples or complete the listening
activity first.

Listening
This is activity would focus on understanding how the melody is transformed and manipulated
within each variation. Students would listen to the theme and then one of the variations and then
identify how the selected variation differs from the theme. For example- ‘In the third variation the
melody and accompaniment parts are played staccato’ or ‘In variation Blah the melody is being
played in the left hand rather than the right hand as is the case in the theme (approx. 6mins 10
secs).’

Popular Music
Michael Jackson: Beat It https://open.spotify.com/track/1OOtq8tRnDM8kG2gqUPjAj

Focus Concepts: Texture with focus on layers of sound and their role
Pitch with focus on melody and accompaniment parts

Performance
Students should learn the basic guitar chords (Em, D, C) as a class. While students who are beginner
students practice each chord more advanced or skilled pupils may choose to learn the bassline or
riff. This may be teacher guided or individual practice with private tutors. The class should then
come to together to play the song together with the original song. It may be advantageous to
students for the lyrics, chords and tabs to be displayed.

Composition
Students are to create their own composition based on the same chords used in ‘Beat It’ (Em, D, C).
Their pieces should include a melody and accompaniment part to be played on either guitar or
keyboard. The composition should last at least eight. Students should create either a chord chart or
lead sheet for their composition. It may be advantageous for students to perform their work for
peers.

Listening
Students should listen to the song and make notes of what instruments they can hear. They should
then try to describe what each instrument is doing; the piano plays chords, for example. The teacher
should then guide students through each of the layers of sound expanding on each observation. At
the conclusion of the activity students should be able to describe what instruments feature in each
layer and what their role is within the piece.

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Stage 5- Elective Course

Australian Popular Music
Benny Davis: Another Four Chord https://open.spotify.com/track/6BRkhgt9GtEnGvnHCOcFgb

This piece is performed by Benny Davis, a key member of the Australian band Axis of Awesome.
‘Another Four Chords’ uses the same idea of ‘4 Chords’ performed by Axis of Awesome where
various songs are mashed up to form a new work showcasing how many popular songs use the same
chord progression. ‘Another Four Chord’ uses the progression i-III-vii-IV. I have selected this version
over the original as it is lyrically more age appropriate.

Focus Concepts: Pitch with focus on chord progressions and minor tonality.
Structure with focus on through composition

Performance
Students, with guidance, should choose a simple four chord song to learn and perform in the class.
These songs could include ‘Can You Feel The Love Tonight’ by Elton John or ‘Perfect’ by Pink. The
teacher should guide students in learning, practicing and rehearsing their selected piece. In the
process of learning their pieces links should be drawn to the foundational and repeated nature of
the chords. This task would be most suitable for older students.

Composition
Small groups of students should complete an eight-bar composition using the progression I-V-vi-IV.
Each chord should fill the space of one bar, with the progression occurring twice. The melody of the
piece should contain lyrics. Then as a class place the compositions in order to form a longer piece. It
may be useful to use a random number generator to order the pieces. The teacher should then assist
students in devising strategies to create a link between each of the sections, for example, a drum
beat or strumming pattern. Inspiration may be taken from ‘Another Four Chord’. The class should
then perform the completed song. This activity also closely relates to performance.

Listening
Students should first listen to the whole song and make note of how many different songs are
featured within the piece. There are ten pieces. Students should then listen to an excerpt of the
piece focusing on how each of the individual parts is linked together and made cohesive. Students
may then form groups and compare their findings and present to the class. The teacher should also
guide students to observe the minor key and the repeated chord progression. Students should also
make note of the structural element of through-composition where each section flows on the next.

Supplementary Listening
Axis of Awesome: 4 Chords (explicit) https://open.spotify.com/track/6yk79gDdiqe76K6qOWwvFV

Popular Music
The Beatles: While My Guitar Gently Weeps
https://open.spotify.com/track/389QX9Q1eUOEZ19vtzzI9O

Website
This piece is the focus of my website. https://tammiey7.wixsite.com/curriculum-a1

Focus Concepts: Texture with a focus on identifying layers of sound and comparing differences in
texture. (listening task)

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Pitch with a focus on melody writing (composition task)

Performance
Students would learn the piece using a mixture of aural and notated techniques. Students should
practice their individual parts before putting the piece together as a class. The score is provided on
the website. The performance of student compositions may also serve as a suitable performance
activity.

Composition
Students would be provided with the lyrics and chords for the chorus of ‘While My Guitar Gently
Weeps.’ It may help to ask students if they have previously heard the song. In small groups should
create their own arrangement of the chorus using the provided stimulus. Students should not listen
to the song before completing the task. Once students have completed their arrangement they
should listen to the song and compare the differences between their version and the original
version. Students should focus on the differences in pitch.

Listening
Students are asked to compare two excerpts from ‘While My Guitar Gently Weeps’ compare how
the performance media and how the use of texture and duration differ. The excerpts should both
come from the same section of the song, for example, the chorus. Students should first write down
their individual observations and then compare with other students in the class. Guided discussion
may help students create additional depth. This activity may also be linked with the composition task
where students are asked to create their own version of the piece.

Supplementary Listening
Nigel Kennedy; ‘While My Guitar Gently Weeps’
https://open.spotify.com/track/6nkAU7z4f3UzLq50gXFCri

19th Century Music

Edvard Grieg: Peer Gynt Suite No. 1, Op. 46: 1. Morning Mood (1876)
https://open.spotify.com/track/5ib9giBSAv5Mcgr25qZtra

Focus Concept: Dynamics and Expressive Techniques with focus on notating and understanding
various dynamics and expressive techniques

Performance
Students should play the main melody on a mallet percussion instrument. They should be provided a
notated score with different versions of the melody using different dynamics and expressive
techniques include a forte, staccato and legato version. The students should play the melody in
these various styles and discuss the effect on the tone of the piece. For example, what does the
melody sound like when playing staccato or loud or fast etc. It is also important for the teacher to
draw links between the notation and the sound.

Composition
Students should listen to the melody in the opening section. While listening to this excerpt students
should try to notate the melody either on notation paper or using a tool such as noteflight.com or
musescore. Students should provide as much detail as possible. Once students have completed their
transcriptions they should play it through with the aim of improving accuracy of their notation.

Listening

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Students will complete a listening task focused on dynamics and expressive techniques. The class
should first list as many examples of dynamics and expressive techniques to provide a starting place
for the listening. Students should then listen to an excerpt and write about the dynamics and
expressive techniques used including the featured instruments. It may be useful to have students
work in groups and present their findings to the class.

19th Century Music

John Philip Sousa: The Thunderer (1889)
https://open.spotify.com/track/1K61HDvBsUKGySbhpY6moc

Focus Concepts: Texture with a focus on identifying layers of sound and their role within the
orchestra and concert band. This is also supported through the discussion of structure within the
listening activity.
Duration with a focus on simple duple and quadruple time and tempo.

Performance
Students should perform a simplified arrangement of ‘The Thunderer’ which features the melody
and bassline. This may be done on mallet percussion or keyboards. Half the class should play the
melody and the other half should play the crotchet bassline part. If students are capable it may be
worthwhile playing through with the recording. Students should compare how the texture is thinner
compared to the original recording.

Composition
Students would be asked to create a simple 4/4 or 2/4 melody for high wind instrument such flute,
trumpet, clarinet accounting for factors such as range. Students should then write a simple bass part
for their melody on a different lower wind instrument such as bass clarinet, trombone or baritone
horn. Once complete students should also complete a simple percussion part featuring a snare
drum, concert bass drum, and crash cymbals. Students should notate their composition on a
program such as noteflight.com. The composition should be in the style of a march and at an
appropriate march tempo.

Listening
Students in small groups should listen to different sections of the piece and create a diagram of the
texture of their section including the instruments that are playing and their roles. Sections could
include the opening and A section, the middle B section and the return of the A section. Each group
should then present their section of the piece and place it in order. The class should then listen to
the piece while looking at the diagram and work to provide more detail where possible.

The diagrams should represent the overall contour of the melody and show the melody, bassline,
some inner voicings also give an idea of when the percussion part plays.
Inspiration for diagrams: https://www.youtube.com/watch?v=4xfneQEQJhA

Music of a Culture
Anoushka Shankar: Hamsadhwani Tabla Duet
https://open.spotify.com/track/5fZcM3wYoRYntxABMfFklz

Focus Concepts: Pitch with a focus on modes and use of microtones

Duration with a focus on complex rhythms and polyrhythms

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Performance
Performance aspect should link to the counting and rhythm, especially complex rhythm. Students
should stand in a circle around the room. Going around the circle one at a time each student should
clap their own improvised rhythmic patterns while the other class members hum a drone. Students
should then repeat the clapping pattern back to creator. Each student should have the chance to
present their own improvised rhythm inspired by the listening example.

Composition
Create a pitch using a mode. Students are provided with a mode, they should then write a short
melody using notes only included in the mode. The melody should last approximately four bars.
More able students may be able to produce longer melodies. Students should also notate their
composition using a form of graphic notation that they devise. It should be clear enough that other
students should be able to understand and play the composition.

Listening
Students should listen to the piece and take notes of the different ways that pitch, and duration is
used compared to Western Music styles that they are familiar with. Acceptable examples may
include the use of microtones, tuning, and polyrhythms. Students may initially describe the effect
without the terminology. Terminology should be provided and discussed. It may work well as a class
discussion or group work.

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