MUSIC 1 ASSESSMENT 2: UNIT OF WORK

Student: Josephine Gleeson

RATIONALE
According to the NSW Board of Studies Music Syllabus (200!" the three #ey aspects of $usical education
are %istening" &o$posing and 'erfor$ing( )he inclusion of all of these acti*ities is therefore crucial to not
only de$onstrate a ne+ style,genre of $usic but to solidify and de*elop a student-s $usical #no+ledge( )he
purpose of this curriculu$ is to pro*ide students +ith *aried and inclusi*e content that +ill .engage and
challenge all students to $a/i$ise their indi*idual talents and capabilities for lifelong learning0 (200" p(1!(
)he initial learning tas# +ithin the sub2ect of )heatre Music allo+s students to hone their listening s#ills
+hile also de$onstrating an e/a$ple of Musical )heatre for their continued understanding( )he syllabus
inti$ates that students should .de*elop #no+ledge" understanding and s#ills in the $usical concepts through
listening as a $eans of e/tending aural a+areness and co$$unicating ideas about $usic30(200" p(2!(
)he pri$ary tas# includes a co$posing aspect +ith a $inor perfor$ance for students to de*elop s#ills and
understanding through co$posing and perfor$ing (200" p(045!(
6n order to pro*ide a fully inclusi*e classroo$" so$e $inor alterations can be $ade to the assess$ent tas#
and the structure of the classroo$ acti*ities( 7or a student +ith di*erse abilities" the co$position tas# could
include outco$es slightly ad2usted (eg( A student e/peri$ents $a#ing" representing and recording $usical
sounds and engages in perfor$ing" co$posing and listening e/ercised for en2oy$ent!( )he inclusion of
instru$ents rather than co$puter technology could also pro*ide a $ore inclusi*e and accessible learning
en*iron$ent for a student +ith di*erse needs( As +ell as this" the co$bination of indi*idual and +hole4class
acti*ities +ould pro*ide a di*erse en*iron$ent to suit a student +ith challenging beha*iours and #eep the$
engaged +ith the learning( )hese ad2ust$ents allo+ for significance +ithin the classroo$ and assists in
$a#ing learning $eaningful for a range of students (NSW 8uality )eaching 7ra$e+or#" 200" p( 50!(
)he constant reinforce$ent of literacy and nu$eracy +ithin the classroo$ is de$onstrated through +riting
tas#s (note4ta#ing" collaborati*e sessions" reflections" lyric4co$posing! and a focus on $athe$atical
understanding (note *alues" addition" ti$e signatures" rhyth$ and te$po!( As +ell as this" the inclusion of
6&) co$ponents (use of co$puters for co$posing! allo+s for cross4curriculu$ co$ponents to be
reinforced(
With each tas#" the teacher clearly and thoroughly e/plains the para$eters and e/pectations associated +ith
it( )his reinforce$ent of intellectual 9uality is crucial to the nurturing of high4order thin#ing and deep
#no+ledge and understanding a$ongst students (200" p50!(
LESSON PLANS
LESSON 1
Class/Stage: :ear 50,Stage 1 Lesson/Perio: 5,'eriod ; Lesson Lengt!: ;0 $ins
To"i#/Main Con#e"t/T!e$e: 6ntroduction to )heatre Music
S%LLA&US CONTENT to be co*ered
)heatre $usic and its purpose(
%istening to theatre $usic and identifying distinguishing features of )heatre Music through understanding of
$usical concepts(
S%LLA&US OUTCOMES to be co*ered
5.7 de$onstrates an understanding of $usical concepts through analysis" co$parison" and critical
discussion of $usic fro$ different stylistic" social" cultural and historical conte/ts(
5.9 de$onstrates an understanding of $usical literacy through the appropriate application of notation"
ter$inology" and the interpretation and analysis of scores used in )heatre Music(
St'ents (ill learn to:
listen to" analyse and co$pare a range
of repertoire characteristic of )heatre
Music
identify" co$pare and discri$inate
bet+een +ay in +hich $usical concepts
ha*e been used and $anipulated in
)heatre Music(
St'ents (ill learn a)o't:
analysing and co$paring $usic of *arious styles"
periods and genres characteristic of )heatre Music(
6dentifying and discri$inating bet+een +ays in
+hich $usical concepts ha*e been used and
$anipulated(
Learning
E*"erien#es
Per+or$ing Co$"osing Listening
M'si#al Con#e"ts
,'ration Pit#! ,-na$i#s an e*"ressi.e te#!ni/'es
Tone Colo'r Te*t're Str'#t're
Cross C'rri#'l'$
Content
ICT A)original an
Inigeno's
Wor01
E$"lo-$ent
an Enter"rise
Ci.i#s an Citi2ens!i"
,i++eren#e an
,i.ersit-
En.iron$ent 3ener
Ke- Co$"eten#ies
Colle#ting
Anal-sing an
organising
in+or$ation
Co$$'ni#ating
ieas an
In+or$ation
Planning an
organising
a#ti.ities
Wor0ing (it! ot!ers in
tea$s
Using
$at!e$ati#al
ieas an
te#!ni/'es
Sol.ing
"ro)le$s
Using
Te#!nolog-
Litera#- N'$era#-
Writing obser*ations fro$ listening tas# 6dentifying inter*als using pitch" note *alues and te$po
using duration
Consierations/Pre"aration
Prior
Kno(lege/E*"erien#e
4understanding and
application of $usical
concepts through listening(
Reso'r#es/Materials/Te#!nolog-
+hiteboard
playbac# de*ice,spea#ers
listening +or#sheet (using e/a$ple of past
<S& e/a$ paper!
http:,,+++(boardofstudies(ns+(edu(au,hsc
=e/a$s,hsc200>e/a$s,pdf=doc,$usic=5=
0>(pdf
Ke- 5o#a)
stylistic indications
alto and tenor clefs
phrasing" articulation
dense,sparse te/ture"
orchestra" band"
soprano" alto" tenor"
baritone" bass
the$es" *ariation"
solo(
Sa+et- Ris0
?use of electric e9uip$ent
Ke- 6'estions
What are the
per*ading stylistic
features of theatre
$usic@
6s there a unifor$
sound to theatre
$usic@
STA3E OF LESSON TEAC7ER ACTIONS
STU,ENT
ACTIONS
6UESTION
IN3/
UN,ERSTA
N,IN38
TIME RESOURCES
5( %6NA6NG
?Biscuss the concept of
theatre $usic and if
students ha*e any
e/posure,#no+ledge of it(
?Ce*ise pre*ious
listening e/ercises for
other styles of $usic
co*ered and reinforce
specific stylistic features
of different styles(
?Cespond to
discussion4 offer
idea on +hat
they thin#
theatre $usic is(
?&ontribute to
re*ision on
pre*ious styles
of $usic and
their specific
characteristics(
1 $ins Whiteboard for notes
on re*ision(
2(6N)CDBE&)6DN
)eacher e/plains the
purpose of theatre $usic(
)o enhance" acco$pany"
illustrate" narrate(
Students engage
+ith ne+ content
and e/planation
of Musical
8uestions
fro$ students
regarding the
+ide range
50
$ins
Whiteboard for notes(
)eacher e/plains the
range of $usic co*ered
(ballet" plays" $usical
theatre etc! and then
focuses on Musical
)heatre as the $ain
$ediu$ studied(
F/plains the structure of
pieces and the confor$ing
narrati*e style of Musical
)heatre especially
focusing on lyrics and
other $ethods of telling a
story ie dyna$ics"
instru$entation(
Brief bac#ground on the
$usical You're A Good
Man Charlie Brown(
)heatre( of styles
+ithin
Musical
)heatre(
;( BDB:
Bistribute sheet $usic
and lyric sheet for GMy
Ne+ 'hilosophyG fro$
:ouGre A Good Man
&harlie Bro+n and play
recording t+ice for
students to respond to
listening +or#sheet
acti*ities(
%isten to
recording of GMy
Ne+ 'hilosophyG
and +ith the aid
of the lyrics and
sheet $usic"
ans+er 9uestions
on listening
+or#sheet(
51
$ins
Sheet $usic and
lyrics for GMy Ne+
'hilosophyG
(appendi/ B!
%istening tas#
+or#sheet (appendi/
&!
Cecording of GMy
Ne+ 'hilosophy(G
1( &DN&%ES6DN )eacher opens discussion
on +hat concepts of
$usic +ere percei*ed in
the recording and ho+
they relate to )heatre
Music( )eacher creates a
$ind4$ap on +hiteboard
to solidify ideas(
)eacher hands out brief
for assess$ent tas# (see
Assess$ent 7or %earning!
Students engage
in the discussion
and present their
ideas(
1 $ins Whiteboard for
$ind4$ap ans+ers
'ac# up(
>( FHA%EA)6DN
CF7%F&)6DN
F*aluation on the
progress of each student
and any ad2ust$ents that
$ay need to be $ade for
students +ith di*erse
abilities(
LESSON 2
Class/Stage: :ear 50,Stage 1 Lesson/Perio: 2,'eriod 5 Lesson Lengt!: ;0 $ins
To"i#/Main Con#e"t/T!e$e: &o$posing a piece for theatre
S%LLA&US CONTENT to be co*ered
)heatre $usic and its purpose(
&o$posing theatre $usic de$onstrating an understanding of the topic and of the $usical concepts
S%LLA&US OUTCOMES to be co*ered
1(; de$onstrates an understanding of the $usical concepts through i$pro*ising" arranging and
co$posing in the style of )heatre Music
1(1 notates o+n co$positions" applying for$s of notation appropriate to the $usic selected for study
1(> uses different for$ of technology in the co$position process
St'ents (ill learn to:
i$pro*ise and arrange both indi*idually
and in groups in the style of )heatre
Music
i$pro*ise and co$pose $usical ideas
both indi*idually and in groups
characteristic of )heatre Music
St'ents (ill learn a)o't:
i$pro*ising and arranging $usic in the style of
)heatre Music
creating co$positions both indi*idually and in
groups characteristic of )heatre Music(
Notating co$positions using *arious for$s of
traditional and non4traditional notation and
technologies(
Learning
E*"erien#es
Per+or$ing Co$"osing Listening
M'si#al Con#e"ts
,'ration Pit#! ,-na$i#s an e*"ressi.e te#!ni/'es
Tone Colo'r Te*t're Str'#t're
Cross C'rri#'l'$
Content
ICT A)original an
Inigeno's
Wor01
E$"lo-$ent
an Enter"rise
Ci.i#s an Citi2ens!i"
,i++eren#e an
,i.ersit-
En.iron$ent 3ener
Ke- Co$"eten#ies
Colle#ting
Anal-sing an
organising
in+or$ation
Co$$'ni#ating
ieas an
In+or$ation
Planning an
organising
a#ti.ities
Wor0ing (it! ot!ers in
tea$s
Using
$at!e$ati#al
ieas an
te#!ni/'es
Sol.ing
"ro)le$s
Using
Te#!nolog-
Litera#- N'$era#-
Writing notes in preparation for co$posing
and,or +riting lyrics for co$position(
&o$posing using notation and rhyth$4 understanding ti$e
signatures and note *alues(
Consierations/Pre"aration
Prior
Kno(lege/E*"erien#e
4understanding and
application of $usical
concepts through
co$posing(
?understanding of
co$position (note *alues"
pitch" instru$entation
etc(!
Reso'r#es/Materials/Te#!nolog-
+hiteboard
co$puters +ith notation progra$
(F(g( 7inale" Sibelius!
Ke- 5o#a)
notation (note *alues" pitch!
treble and bass clefs(
phrasing" articulation
dense,sparse te/ture"
orchestra" band" soprano"
alto" tenor" baritone" bass
the$es" *ariation" solo(
Sa+et- Ris0
?use of electric
e9uip$ent
Ke- 6'estions
<o+ is )heatre Music co$posed@
STA3E OF
LESSON
TEAC7ER
ACTIONS
STU,ENT ACTIONS
6UESTIONI
N3/
UN,ERSTAN
,IN38
TIME RESOURCES
5( %6NA6NG
)eacher lin#s to
pre*ious lesson on
the aspects of
)heatre Music(
Also lin#s to
pre*ious
co$position
acti*ities(
Fngage in re*ision of
pre*iously co*ered
ideas(
1 $ins Whiteboard
2(6N)CDBE&)6DN
)eacher clarifies
any confusion +ith
assess$ent tas# and
outlines guidelines
for $ar#ing and
due date of
assess$ent( )eacher
reinforces the
i$portance of
establishing
audience for the
co$position tas#(
Students engage in
e/planation of
assess$ent tas#
Students as#
any 9uestions
regarding the
assess$ent
tas# and
clarification on
the $usical
theatre style
1 $ins Whiteboard"
assess$ent tas#
handout(
;( BDB:
)eacher directs
students to begin
co$position tas#
using co$puters(
)eacher assists
students
indi*idually as
needed and $a#es
ad2ust$ents +here
needed for students
+ith di*erse
abilities(
Students begin
co$position tas#(
21
$ins
&o$puters +ith
notation progra$"
#eyboards,guitars
if re9uired by
students
1( &DN&%ES6DN
)eacher open
discussion on
progress and
ans+ers any
9uestions regarding
the style or
co$position
Students engage in
discussion on progress
and as# any rele*ant
9uestions(
1 $ins
process( 'ac# up(
>( FHA%EA)6DN
CF7%F&)6DN
)eacher to e*aluate
any ad2ust$ents to
the assess$ent that
$ay need to be
$ade for students
+ith a range of
abilities(
LESSON 9
Class/Stage: :ear 50,Stage 1 Lesson/Perio: ,'eriod Lesson Lengt!: ;0 $ins
To"i#/Main Con#e"t/T!e$e: &o$posing and 'erfor$ing for Music )heatre(
S%LLA&US CONTENT to be co*ered
)heatre $usic and its purpose(
&o$posing and perfor$ing in the style of Music )heatre de$onstrating understanding of the style and
rele*ant $usical concepts(
S%LLA&US OUTCOMES to be co*ered
5.4 de$onstrates an understanding of the $usical concepts through i$pro*ising" arranging and co$posing in
the style of )heatre Music
5.1 perfor$s repertoire +ith increasing le*els of co$ple/ity in the style of )heatre Music
5.2 perfor$s repertoire in a range of styles and genres de$onstrating interpretation of $usical notation and the
application of different types of technology(
St'ents (ill learn to:
i$pro*ise and co$pose $usical ideas
both indi*idually and in groups
characteristic of )heatre Music
notate co$positional +or# using a
range of notational for$s and
technologies
perfor$ $usical co$positions and
arrange$ents indi*idually characteristic
of )heatre Music
St'ents (ill learn a)o't:
creating co$positions both indi*idually and in
groups characteristic of theatre $usic
notating co$positions using *arious for$s of
traditional and non4traditional notation and
technologies
understanding ho+ the $usical concepts are used
and $anipulated in co$positions in the style of
)heatre Music
Learning
E*"erien#es
Per+or$ing Co$"osing Listening
M'si#al Con#e"ts
,'ration Pit#! ,-na$i#s an e*"ressi.e te#!ni/'es
Tone Colo'r Te*t're Str'#t're
Cross C'rri#'l'$
Content
ICT A)original an
Inigeno's
Wor01
E$"lo-$ent
an Enter"rise
Ci.i#s an Citi2ens!i"
,i++eren#e an
,i.ersit-
En.iron$ent 3ener
Ke- Co$"eten#ies
Colle#ting
Anal-sing an
organising
in+or$ation
Co$$'ni#ating
ieas an
In+or$ation
Planning an
organising
a#ti.ities
Wor0ing (it! ot!ers in
tea$s
Using
$at!e$ati#al
ieas an
te#!ni/'es
Sol.ing
"ro)le$s
Using
Te#!nolog-
Litera#- N'$era#-
Students co$plete their lyrics and +ritten
feedbac# on acti*ity
Students engage in for$s of notation re9uiring
understanding of ti$e" rhyth$ and addition(
Consierations/Pre"aration
Prior Kno(lege/E*"erien#e
?understanding and application
of $usical concepts through
co$posing
?understanding of $usical
concepts through perfor$ing
Reso'r#es/Materials/Te#!nolog-
?co$puters +ith notation
progra$s
?#eyboards" guitars and other
basic $elodic instru$ents for
co$posing and perfor$ing
?+hiteboard
Ke- 5o#a)
4pitch" duration" dyna$ics and
e/pressi*e techni9ues(
?perfor$ing
Sa+et- Ris0
?use of electronic e9uip$ent
and loud sounds
Ke- 6'estions
<o+ is )heatre Music perfor$ed
and,or presented to an audience@
STA3E OF
LESSON
TEAC7ER
ACTIONS
STU,ENT
ACTIONS
6UESTIONIN
3/
UN,ERSTAN
,IN38
TIME RESOURCES
5( %6NA6NG
)eacher succinctly
re*ises pre*ious
t+o lessons on the
)heatre Music style
Students engage
+ith re*ision
Students as# any
9uestions
regarding
2 $ins Whiteboard
and ans+er any
9uestions fro$
students
pre*ious
learning
2(6N)CDBE&)6DN
)eacher introduces
the tas# of
perfor$ing the
co$positions
(inco$plete! either
through the
notation progra$
or on an
instru$ent(
Students engage
+ith ne+ tas#
2 $ins Whiteboard
( BDB:
)eacher directs
students to spend
so$e ti$e of
furthering their
co$position +ith
the ai$ of ha*ing it
close to co$plete(
)eacher as# for
perfor$ances fro$
students of a s$all
section (or all! of
their co$position
Students
continue +ith
their
co$position
Students
perfor$ part (or
all! of their
co$positions in
front of the class
Students clarify
any
discrepancies
regarding to
style and
e/ecution of the
co$position
0 $ins
&o$puters
+ith notation
progra$"
instru$ents
(#eyboards"
guitars etc!"
+hiteboard(
1( &DN&%ES6DN )eacher pro*ides
feedbac# to
students on their
perfor$ance and
the progress of
their co$position(
Birects students to
co$plete reflection
and e*aluation
Students recei*e
reflection sheet(
> $ins F*aluation and
reflection
response sheet
(appendi/ B!
>( FHA%EA)6DN
CF7%F&)6DN
)eacher e*aluates
the success of the
tas# and $a#es
ad2ust$ents to
future tas#s +ith
regards to the
perfor$ance of
students
ASSESSMENT FOR LEARNIN3 TASK
T!eatre M'si#: Co$"osition an Per+or$an#e Tas0
%ear 1:
,'e ,ate: 1;
t!
Ma-
Conte*t:
6n this unit of +or#" students ha*e underta#en a study of the characteristics of )heatre Music +ith a
particular focus on Music )heatre and co$posing a piece of $usic that +ould assist in the $usical theatre
narrati*e( Students listened to and analysed a Musical )heatre piece My New Philosophy fro$ You!re A
Good Man Charlie Brown! and then discussed the stylistic properties of the piece and the process of
co$posing a piece for theatre prior to co$pleting the tas#(
O't#o$es:
A student:
1(; de$onstrates an understanding of the $usical concepts through i$pro*ising" arranging and
co$posing in the style of )heatre Music
1(1 notates o+n co$positions" applying for$ of notation appropriate to )heatre Music
1(I de$onstrates an understanding of $usical concepts through aural identification" discri$ination"
$e$orisation and notation in )heatre Music(
,es#ri"tion o+ a#ti.it-:
Students co$pose a short (5>420 bar! piece of Musical )heatre" +hich includes at least one *ocal
line and co$plete a reflection and e*aluation of their learning( Students should pay attention to
the stylistic characteristics of Musical )heatre +ith attention to Byna$ics" Structure and 'itch(
)he co$position +ill be co$pleted using co$puter notation(
Criteria +or assessing learning
Students +ill be assessed on their ability to:
co$pose a short piece of $usic for the chosen instru$ents (including *oice!
utilise techni9ues such as dyna$ics" correct pitch for the *ocal line and structure appropriate for the
style
de$onstrated their understanding of the style of )heatre Music" the concepts of $usic and $usical
literacy through notation(
6nclude all necessary perfor$ance directions on their score(
'ro*ide a thoughtful response and reflection on their perfor$ance in the tas#(
3'ielines +or $ar0ing
<See A""eni* A=
REFERENCES
%ippa" A (5JJI! My Ne+ 'hilosophy (song! fro$ You're A Good Man Charlie Brown. Jere$y Music 6nc(
Sheet $usic accessed at +++($usicnotes(co$ on 52 June 2052( %yrics accessed at
http:,,+++(stlyrics(co$,lyrics,youreagood$ancharliebro+n,$yne+philosophy(ht$ on 5 May 205;(
NFW SDE)< WA%FS BDACB D7 S)EB6FS( (200!( Musi" Years 7#1$ %ylla&us( Sydney" Australia:
Board of Studies(
NFW SDE)< WA%FS BDACB D7 S)EB6FS( (200!( Musi" Years 7#1$ %ylla&us Ad'i"e on Pro(ra))in(
and Assess)en*. Sydney" Australia: Board of Studies(
NFW SDE)< WA%FS BF'AC)MFN) D7 FBE&A)6DN ANB )CA6N6NG( (200!( +uali*y ,ea"hin( in
New %ou*h -ales Pu&li" %"hools# .is"ussion Paper. Sydney" Australia: Bepart$ent of Fducation and
)raining(
APPEN,I> A
3'ielines +or $ar0ing
A st'ent: Progressing
1?;
Satis+a#tor-
@?1:
7ig!
11?1;
? co$poses a short piece
of $usic for the chosen
instru$ents (including
*oice!
? utilises techni9ues
including dyna$ics"
correct pitch for the
*ocal line and structure
appropriate for the style
? de$onstrates their
understanding of the
style of )heatre Music"
the concepts of $usic
and $usical literacy
through notation(
? includes all necessary
perfor$ance directions
?co$pletes a reflection
and e*aluation of the
tas#
APPEN,I> &
M- Ne( P!iloso"!-? %o'Are A 3oo Man C!arlie &ro(n
KSA%%:L
Moh" yeah( )hatGs +hat you thin#(M
KS&<CDFBFCL
What@
KSA%%:L
)hatGs $y ne+ philosophy: MDh" yeah@
)hatGs +hat you thin#NM
KS&<CDFBFCL
Well" +hy are you telling $e@
KSA%%:L
What@
KS&<CDFBFCL
Why are you telling $e@
KSA%%:L
MWhy are you telling $e@M 6 li#e itN
)hatGs a good philosophy: MWhy are you telling $e@M
Why are you telling $e@M
MWhy are you telling $e@M
My ne+ philosophy
)he teacher ga*e a MBM on last +ee#Gs ho$e+or#
She said" MMiss Sally Bro+n"
:our grades are going do+n(M
6 could ha*e told her4
KS&<CDFBFCL
:our ne+ philosophy@
KSA%%:L
My ne+ philosophyN
Kas teacherL
Miss B@
Kas herselfL
6G$ she
%oo# see(
A MB@M
A MB(M
Well" +hy are telling $e@
And thatGs $y ne+ philosophyN
KS&<CDFBFCL
)hatGs your ne+ philosophy@
KSA%%:L
Why are you telling $e@
My ne+ philosophyN
KS&<CDFBFCL
)hatGs great" Sally" but 6G*e gotta go practi*e &hopinGs
Nocturne in B47lat $inor(
KSA%%:L
NoNN 6 li#e itN MNoNM )hatGs a good philosophy(
MNoNM MNoNM MNoNM
KS&<CDFBFCL
)hatGs you ne+ philosophy" huh@
KSA%%:L
:es( 6 $ean44 MNoNM
Just li#e a bust bee
Fach ne+ philosophy
&an fly fro$ tree to tree and #eep $e $o*ing
When lifeGs a diOOy $aOe
Dn alternating days
6 choose a different phrase4
KS&<CDFBFCL
:our ne+ philosophy@
KSA%%:L
My ne+ philosophyN
KS&<CDFBFCL
SallyN
So$e philosophies are si$ple:
MMan does not eat by bread alone(M
So$e philosophies are clear:
KSA%%:L
M%ea*e your $essage at the sound of the tone(M
KBD)<L
So$e philosophies pic# and choose
Beciding +hat goes in it(
KS&<CDFBFCL
So$e ta#e a lifeti$e"
KSA%%:L
Mine ta#e a $inute(
KS&<CDFBFCL
But" Sally" anything that ta#es only a $inute canGt be
*ery lasting( 7or instance" Beetho*en too# o*er t+o years
to co$plete his brilliant Ninth S:$phony(
KSA%%:L
MNoNM
KS&<CDFBFCL
6 canGt stand itN
KSA%%:L
M6 canGt stand itNM 6 li#e itN
6tGs li#e a gurantee(
My ne+ philosophy(
And things are sure to be a +hole ot brighter
MDh" yeah@ )hatGs +hat you thin#NM
MWhy are you telling $e@M
MNoNM
M6 canGt stand itNM
No+ life is free and easy"
Much $ore philosophy4Oy"
With $y brand ne+4
:ou #no+" so$eone had said that +e should li*e e*ery day as
if it +ere the last day of our life(
K%E&: (passing by and o*erhearing!L
AaughN )his is the last dayNN )his is itNN 6 only ha*e
t+enty4four hours leftNN <elp $eN <elp $eN )his is the last
dayNN AaughN
KSA%%:L
&learly" so$e philosophies arenGt for all people(
And thatGs $y ne+ philosophyN
APPEN,I> C
With reference to dyna$ics and e/pressi*e techni9ues" describe ho+ the piece tells a story@
Boes the te/ture of the piece (instru$ents used,co$bination of sounds etc! add to the dra$a of the song@ <o+@
APPENDIX D
Student reflection and self-evaluation
What compositional techniques did you employ in creating your Musical Theatre piece?
What aspect of the composition did you find most challenging?
How did this activity help you understanding the style of Theatre Music?
The areas I need to improve for next time are:
The strengths of my composition and performance were:
My piece was successful because:
Overall I rate my experience of this task as being:
(1 is not very successful, to 10, very successful)
1 2 3 4 5 6 7 8 9 10