/The-arts/Achievement-objectives/Music-sound-arts-AOs/L8-music-sound-arts-AOs/CEs-L8-music-sound-artsContext elaborations – level 8 music – sound arts

• Inquiry and perspective
• Imagination and connection
• Production and transformation

The context elaborations mirror culturally responsive pedagogies.

Each context elaboration is coded, using the summary notation recorded with each strand. A bold strand code indicates a dominant strand in the given context. If both or all codes are bold, they are considered to have equal weighting in the given context.

Inquiry and perspective

The contexts for learning outlined below make links to the music – sound arts key concept of inquiry and perspective.

Possible context – harakeke

(UC, PK, CI)

• The work in this context demonstrates independent inquiry or tino rangatiratanga.
• Select and investigate a personally significant music work from personal cultural background/s.
• Research the musical characteristics of the selection and formulate a representation of the piece (written, audiovisual, digital, graphic).
• Look for ways to make subtle changes to “rules” in order to knit or weave in ideas or characteristics of music you find personally inspiring.
• A deep level of understanding of all the forms of music you are weaving together will be necessary, so that they may be crafted in combination.
• Undertake a learning inquiry to find information about the traditional materials used in instrument construction, costumes, props, and facial or body adornments associated with the music (and if relevant, dance).
• Perform this cultural musical harakeke to an audience and deliver a short seminar explaining the characteristics of each genre and a rationale for the decisions made in the selection.

Possible context – criteria for reviews

(CI, UC)

• This context enables working together or ako.
• From a range of media sources, study and compare past and present reviews of concert performances.
• As a class/group, develop criteria for evaluating a public music performance.
• Consider the acoustical and physical context or setting of the performance, the intended audience, and other aspects of production (lighting, audio recording, microphone setup, amp placements).
• Select a wide range of performance contexts and use the criteria to complete in-depth reviews of contrasting performances.

Possible context – transcribing

(CI, PK, UC)

• This context demonstrates whanaungatanga and manaakitanga.
• Listen to a variety of musical works and transcribe a section, showing the tonality and harmony (using roman numerals and/or jazz terminology) and adding in all performance directions.
• Perform the transcription to “test” for accuracy and evaluate the success of the transcription process.
• Record the performance and compare this to the original to compare and contrast the two recordings.

Possible context – acoustic considerations

(UC, PK)

• Carry out an inquiry about sound production and acoustic considerations in new buildings.
• Conduct interviews with an architect and acoustic expert if possible (via Skype or in an email interview).
• If possible arrange to go and play in differing acoustic situations and record the effect on the sound production, for example, in an empty wooden hall, a carpeted room with a high ceiling, an auditorium with a year level as audience, in the same auditorium with no one present, at an outdoor open venue, in a small reverberant rich space (like a shower), etc.
• Share these recordings with the class and evaluate the properties enhanced and reflected in each space.

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Imagination and connection

The contexts for learning outlined below make links to the music – sound arts key concept of imagination and connection.

Possible context – New Zealand writers

(DI, PK)

• Choose a poem by a New Zealand poet, for example: J.K. Baxter, Jacqui Sturm, Sam Hunt, Jenny Bornholdt, Bill Manhire, Hone Tuwhare, Ian Wedde.
• Investigate techniques for word setting and create two possible rhythm plans for the selected poem, in different time signatures, for example, 5/4 and 6/8.
• Create one harmonic progression of 16 bars and devise an expressive vocal line for each rhythmic plan (keeping the harmonic progression as the basis for both).
• Keep a journal detailing each decision made regarding timbre, tonality/modality, melody/pitch, tempo, expression, and compositional devices suited to text setting including word painting, tessitura, hocketing, and texture.
• Evaluate the strengths of each version of your word setting.

Possible context – staging a music showcase

(PK, CI, UC)

• This context demonstrates manaakitanga.
• Plan a music showcase for parents and the local community in which Individuals will prepare and rehearse extended pieces and assemble a running order for the concert.
• Present and record the performances and critique/evaluate them in relation to technical skills, fluency, and musicianship.
• Research the conventions and performance practices associated with the genre and the context and key characteristics of the music.
• Keep a digital portfolio of the research, self-evaluations, and complete reflective evaluations of other professional live performances.

Possible context – compare and contrast

(UC, PK)

• Critically analyse and evaluate contrasting scores from different genres, eras, and aesthetic origins, such as a Tongan Lakalaka, “Carol to St Stephen” by Jack Body, a transcription of a Beatles song, etc.
• Present your evaluation to the class, including descriptions of the influence of historical and social contexts on each work.
• Discuss the intent of the composer (and if appropriate, the performer/s).
• Discuss the purpose and function of the music, the related social customs and conventions, and the use of structural devices.

Possible context – refining an arrangement

(DI, PK)

• This context demonstrates whanaungatanga.
• Arrange a popular song for instruments and technologies available in your class group.
• Refine your creative ideas by work-shopping your arrangement at least two times with the instrumentalists.
• Seek feedback from peers or community networks regarding the effectiveness of each part and use this to further strengthen, develop, and refine your arrangement.

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Production and transformation

The contexts for learning outlined below make links to the music – sound arts key concept of production and transformation.

Possible context – comparing performing groups

(UC, CI)

• This context demonstrates ako.
• Compare a range of recordings and/or live performances of similar groups, for example, the New Zealand Trio, the New Zealand String Quartet, or the Auckland Chamber Orchestra.
• Listen to and identify the production effects evident in the sound, for example, amplification, reverb, EQ.
• Evaluate how these have had an impact on the expressive qualities of the message and intent of the composer and performers.

Possible context – evaluating collaborations

(UC)

• This context demonstrates tangata whenuatanga.
• The Auckland Philharmonic Orchestra (APO) has worked on collaborative projects where connections are made between some of our most successful composers and contemporary singer songwriters. They seek to bring together differing perspectives in music to create something that can connect seemingly unconnected audiences.
• Locate reviews from different media about the fusion between Little Bushman and the APO. Watch clips including the documentary about the project featuring Warren Maxwell (song writer) and John Psathas (arranger).
• Describe the success (or not) of such collaborations and evaluate whether the essential elements of each musical form retain their integrity in the new context.

Possible context – a new arrangement

(DI, PK)

• Arrange a popular song for instruments, voice types, and technologies available in your class group.
• Refine your creative ideas by work-shopping your arrangement at least twice with the musicians.
• Seek feedback from your classmates regarding the effectiveness of each part.

 Use the feedback to strengthen, develop, and refine your arrangement.

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Last updated March 23, 2023

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