MUSIC SOLO PERFORMANCE

Transcription

1 MUSIC SOLO PERFORMANCE End-of-year performance examination Units 3 and 4 Description Duration of examination a maximum of 25 minutes Contribution to study score 50 per cent Students will present a program of approved solo works on an approved solo instrument in a live performance. The program of approved solo works will draw on knowledge and skills from Unit 3 Outcome 1 and Unit 4 Outcome 1 in the VCE Music Study Design for Solo performance. The program of works should be selected from the instrument list in the current (2008) Prescribed List of Notated Solo Works as published online at Prescribed list The program for the recital performance examination must contain works selected from the 2008 Prescribed List of Notated Solo Works or works approved as Alternative Works. Works that are not selected from the prescribed list or approved Alternative Works will not be considered in the assessment of the examination. Refer also to Examination Details for Solo works performance. Performance program Students will be notified through the school of their individual time for the Solo performance examination. In 2008, Examination Advice Slips will be available in schools from Monday 11 August. Students are required to complete a proforma entitled 2008 Recital Performance Program Sheet. The 2008 Performance Program sheet will also be available in schools from 11 August. The program will include at least four works for: accordion, bagpipes, baritone, bassoon, clarinet B flat soprano, clarinet bass, cornet in B flat, flugelhorn, baritone and euphonium (TC), cornet in E flat and tenor horn in E flat, double bass, flute, guitar classical, guitar contemporary popular, harp, harpsichord, horn, oboe, organ electronic, organ pipe, pianoforte, recorder, saxophone alto, saxophone tenor, saxophone baritone, synthesizer, trombone, trumpet, tuba, viola, violin, violoncello five works for: contemporary piano, percussion six works for: contemporary double bass, drum kit, electric bass, voice classical, voice contemporary popular. Further details are provided in the VCE Music Study Design, pages Requirements for the performance program The program will include at least two of the works which will be examples of twentieth or twenty-first century music. one which will be an unaccompanied work. two which will be works performed with piano accompaniment, except for performances on synthesizer, fretted stringed instruments, some folk and traditional instruments, non-pitched percussion, and keyboard instruments other than keyboard percussion (that is, no accompaniment is required for accordion, bagpipes, contemporary piano, guitar classical, harpsichord, organ electronic, organ pipe, pianoforte and synthesizer). Details about which instruments may be used for accompaniment are provided in the introduction to the lists for each instrument on the prescribed list. For some works on some instrument lists, students must perform works with a pre-recorded backing. For other works on some instrument lists, students may choose to use a pre-recorded backing. VICTORIAN CURRICULUM AND ASSESSMENT AUTHORITY 2008

2 Students who perform with an accompanist are expected to demonstrate musical interaction with the accompaniment as appropriate to the works performed. Accompaniments for voice should not double the melody of the solo voice. Works on the program must be selected in accordance with the requirements of one specific instrument list with regard to performance of works from particular categories. The work cited in the prescribed list must be performed in its entirety. Singers must perform all works from memory. Some lists require at least one work to be performed from a particular category. Other lists may require the student to perform on more than one instrument. Specific details regarding which sections, movements and/or parts of works must be performed are included on the prescribed list. These requirements must be followed. Alternative works The application form for Alternative Works can be downloaded at the Music Solo performance study page of the VCAA website. Examination criteria The examination criteria listed below are the only criteria used to assess the performance. All criteria are applied with equal weighting to the performance of the complete recital examination. Where the program does not meet the requirements of the task, a penalty will be applied across the assessment criteria for the examination. In the performance examination, each student will be assessed against each criterion. The extent to which the solo recital performance demonstrates: 1. Compliance with the requirements and conditions of the task See requirements for the Performance program above. 2. Differentiation of a range of styles and characters in the program Performance of works in the program demonstrates a range of styles and characters represented in the list. This includes the ability to use performance techniques to make each work in the program sound different in style and character. 3. Accuracy and clarity in performance of the works as notated Accuracy and clarity of the rhythm, pitch, articulation, timing and phrasing as notated in each of the notated works in the program. As appropriate to the instrument, this includes accuracy and clarity in string bowing and diction, and coordination of fi ngers and hands. 4. Fluency and control in a range of performance techniques Fluency in performance of a range of performance techniques and control used to execute a wide degree and range of performance techniques. The range of performance techniques should refl ect the range of works in the prescribed list. As appropriate to the instrument, this includes maintaining a strict tempo, and artistic use of accent, crescendo, diminuendo, staccato, silence, legato, tenuto, rubato, ritardando, accelerando and pitch bending. 5. Characteristic tone, artistic variation of tone and expressiveness in tone Performance of the works in the program demonstrates a range of tone that refl ects the range of works in the prescribed list. Performance of these works demonstrates projection of tone, use of tone that is refl ective of best practice on the instrument, clarity of tone, use of contrasting tones appropriate to different feelings and styles, use of a variety of expressiveness in tone MUSIC: SOLO PERFORMANCE CRITERIA 2

3 6. Skill in shaping and expressively communicating music ideas, as appropriate to the style of each work in the program Skill in providing shape to the beginning and ending, high/low points of musical motifs/motives, phrases, sentences and sections of a work as appropriate to the style. Skill in expressively communicating music ideas beyond the notation of the work by the use of appropriate artistic nuances. 7. Differentiation of the parts of the structure and characteristics of each work Performance of each work in the program demonstrates the range of structures represented in the prescribed list. Performance of these works differentiates each part of the structure of each work through the use of artistic variation of tone, fluency, contrast and artistic performance techniques. This may include making the main musical idea more expressive through slightly changing the dynamic level, tempo, forward motion and/or intensity of tone; phrasing consistently in a section, creating maximum interest when performing the main musical ideas and giving less emphasis to musical ideas of lesser importance in the work. 8. Artistic interaction, balance and coordination between the parts, the solo and the accompaniment, and between the main melody and accompaniment, as appropriate to the instrument and style of each work Artistic interaction includes consistent interpretation of the work and the spontaneous communication of musical nuances. Balance includes the relative dynamics between the parts and performers and artistic variations of dynamics, and setting of appropriate volume levels of recorded backing tracks. Coordination includes the skill in performing more than one part and maintaining a different shape and character in each part, and the skill in varying tempo and articulation and maintaining precision between the parts and performers. 9. Skill in historical and/or authentic interpretation in performance and use of contemporary conventions in interpretation Historical and/or authentic interpretation of a range of styles, eras and/or geographical locations represented in the prescribed list is demonstrated through the use of artistic variation of tone, duration, tempo, articulation, fl uency, contrast and artistic performance techniques. Historical interpretation and/or authentic performance applies from the time the work was fi rst conceived and performed. These skills in historical and/or authentic interpretation include different past performance practices compared with today s practices such as difference between original instruments and today s instruments, knowledge of ways the work was originally thought to be performed, individual composer s style, infl uences that shape the creation of the work and the original artist s style of performing as relevant to selected works. Contemporary conventions are changes from the historical and authentic performance that refl ect accepted practice by other performers through the use of artistic variation of tone, duration, tempo, articulation, fl uency, contrast and artistic performance techniques. These skills include modifi cation of historical performance practice for modern instruments, new associations of the work inspired by different images and contexts, or an individual artist s style of performing as relevant to selected works. 10. Skill in personal interpretation and projection of musical intentions in performance These skills in personal interpretation include a range of personal expression in performance within the constraints of the style and character of the work established by the composer or original creator and the student s own style of performing. This may include the realisation of a new interpretation. The projection of musical intentions enables effective communication by performers to listeners as appropriate to the venue and acoustics. 11. Presentation techniques appropriate to the styles represented in the works and to the conventions of performance in a formal recital Includes presentation techniques for adjusting to performance conditions, structure and continuity of the program as a whole as appropriate to the instrument and the styles represented in the program. Conventions of performance for non-contemporary popular styles include demonstrating poise and focus throughout the performance and the appropriate performance etiquette. Conventions of performance for contemporary popular styles include incorporating presentation elements into the performance throughout the program MUSIC: SOLO PERFORMANCE CRITERIA 3

4 amuse VCE Music Solo Performance March 21, 2010 End of Year Performance Exam A few notes about the end of year performance exam This General Assessment (GA2) is the major focus of Music Solo Performance with a weighting of 50%. Being a self- selecting study, the standard of performance is often very high, with many students coming into the study with ten years or more experience on their instrument. It is clear from the statistics of this exam that many students who take on this study are extremely committed to a very disciplined practice regime, and have had much experience in performing on their chosen instrument. Assessors often comment on how the standard is continually becoming higher and higher every year. Performances at the highest level are often at a tertiary standard of playing, and fully exploit the assessment criteria for this exam within the 25 minutes allowed. The above statistics of the 2009 performance exam show that 15 percent of students achieved an A+, and the median grade was a B+. This is a somewhat unusual graph for an external exam, which would in most subjects look more like a bell curve with a median around a C grading. The VCAA accepts that this subject is self selecting, ie. students usually undertake it

5 only if they are already quite good at the subject. The reason there is such a large number of high marks is to do with the caliber of the students themselves. This was exemplified in the Top Class concerts last weekend. Most Solo Performance students are very clear about the structure and rules of the exam, and their programs are selected to fulfill the published criteria to the maximum level. A few words regarding the actual 2009 exam! Firstly, it was very pleasing to note a marked improvement in compliance last year. In fact the number of students who had issues with compliance was half the number in So students were better informed and more fully aware of what it was that they were required to do. Secondly, of the large cohort of students who played contemporary instruments, there were more who had approached their learning in a very disciplined manner. Thirdly, it was also apparent that many students took very seriously, the importance of building a secure and controlled technique, which was able to service their musical intentions. Students were quite clearer about the use of appropriate stylistic conventions and their performances demonstrated that they were well informed historically. From the comments I have received from assessors, many students in fact presented inspired performances. Most assessors commented on the incredible privilege it was to hear such wonderful high quality work from the students. Many of the problems which occurred in the 2009 examination period, stemmed from schools enrolling students in the wrong instrument. A disturbing numbers of students presented for their exam on a different instrument than the one they were enrolled in. A VCE coordinator may not think there is much difference between a classical guitar, a contemporary guitar and a bass guitar for example, so they perhaps take a guess at it. So as you can imagine, this can be very disruptive to the smooth scheduling of the exams and in many cases a re- schedule was required for the student. I suggest that teachers check and double check that these details are correctly entered on to VASS. Other problems included students choosing programs that were too difficult for them. In some cases students ran out of stamina before the completion of the program, perhaps from working too hard in the warm up or else they didn t have the physical stamina to complete their performance, even though in their practice, they could perform each individual piece well. The best advice I can give to students and teachers in preparing for the 2010 Music Solo Performance examination, is to carefully read the Study Design, Prescribed List, and particularly the Examination Criteria to ensure they are completely on task with the requirements of the performance exam. Through an understanding of the criteria, they hopefully will realize the importance of being able to demonstrate a diversity of styles, genres, techniques, tones and structures both in their program selection and in their performance. For more detailed advice and tips in relation to each criteria, as well as some specific advice for students of a range of instrument groups, you are encouraged to download the Chief Assessors Report and read this carefully. Finally I would like to affirm the fine work that you as teachers are doing. It is evident in the work that students are presenting. I wish you and your students well for the coming year.