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 2B Unit number: 102091

Tutorial group: 01 Tutorial day and time: Wednesday 3:00pm
Lecturer or Tutor name: Dr Anne Power

Assignment details

Title: Assignment 1: Design and Aural Exam

Length: 1000 Words Due date: 24th of March Date submitted: th
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.

 Music 2


Musicology and Aural
Skills Exam



Total Marks 17

Attempt Questions 1 & 2









Name:



Number:



Total Marks - 17
Attempt Questions 1 & 2

All instructions, musical examples, and pauses for reading and writing are included
on the recording.
Answer the questions in the spaces provided. These spaces provide guidance for the
expected length of response.


Question 1 (8 Marks)

This question is based on Etude No. 13 from Etudes for piano vol. 2 (2014) by Philip
Glass.

Music Source: https://www.youtube.com/watch?v=5wbFDu34aZ0

The score of Etude No. 13 is Score Attachment A.

You will have ONE minute to look at the score.

The piece will be played THREE times for you to answer part (a).

Times: First Playing - 1 minute pause
Second Playing - 2 minute pause
Third Playing - 3 minute pause

a) Explore how compositional devices are achieved in this excerpt. 4

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Question 1 continues on page 2

Question 1 continued

Music Source: https://www.youtube.com/watch?v=5wbFDu34aZ0 0:00 1:31

Bars 1-34 (Score Attachment A) will be played THREE times for you to answer part
b)

Times: First Playing - Short pause
Second Playing - 30 second pause
Third Playing - 3 minute pause

b) In bars 1-34, explain how pitch is used in this excerpt. In your answer, 4
make specific reference to the score.

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End of Question 1









Question 2 (9 Marks)

This question is based on Nocturne Op. 55 No. 1 (1844) by Frederic Chopin.

Music Source: https://www.youtube.com/watch?v=e3yrEEM5j_s 1:01 1:35

Note: There is no score attachment for this question.

Part a) is based on a 9 bar excerpt from Nocturne Op. 55 No. 1.

The excerpt will be played SIX times for you to answer part a).

Times: First playing 10 second pause
Second playing 30 second pause
Third playing 1 minute pause
Fourth playing 1 minute pause
Fifth playing 2 minute pause
Sixth playing 2 minute pause


a) Notate the pitch and rhythm of the right hand piano in the staves 5
provided

Question 2 continues of page 4



 Question 2 continued

Music Source: https://www.youtube.com/watch?v=e3yrEEM5j_s 2:13 4:07

Part b) is based on bars 1-34 (Score Attachment B) excerpt from Nocturne Op. 55
No.1

Times: First Playing - 30 second pause
Second Playing - 1 minute pause
Third Playing - 2 minute pause

b) Explain how dynamics and expressive techniques are used to 4
create musical interest in this piece.

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End of Question 2

End of Paper







Music 2




Score Attachments


















 Score Attachment A:

Etude No. 13 by Philip Glass (2014)
 Score Attachment B

Nocturne Op. 55 No. 1 by Frederic Chopin (1884)




Music 2



Musicology and Aural
Skills Exam Answers


















 Answers:

Question 1 (a)
4 3 2 1

Question 1 (a): Demonstrates Demonstrates developed Demonstrates limited exploration Demonstrates unsatisfactory
Exploration of the comprehensive exploration exploration of compositional of compositional devices exploration of compositional
compositional of compositional devices devices. devices
devices - Identifies a compositional
- Must identify different - Must identify some different device - Attempts to identify different
compositional devices compositional devices - Identifies the use of these compositional devices
- Justifies the use of these - Justifies the use of these devices - Attempts to justify the use of
devices devices - Attempts to use terminology these devices
- Accurate use of - Mostly Accurate use of - Supports answers with some
terminology terminology examples from the score
- Clearly articulated - Mostly clear articulated
responses with reference to responses with reference to
specific examples in the examples in the score
score

Answers could include:

The rhythmic Ostinato used in the bass hand of the piano is used throughout
the piece, moving through harmonies (eg. bars 1-8 and bars 17-34)
Repetition is used in the excerpt with the use of a repeat sign (eg. bars 5-8
and bars 45-48)
Further use of repetition is used with the words back to Fig. 1 (with repeat)
and back to Fig. 12 (with repeat) (bar 16)
Sequence used in the chordal progress in the right hand (eg. Bars 9-16)
Rhythmic Inversion used in the right hand with the scalic quaver progression
(bars 37-44)
Contrary Motion used in Fig. 15 near the end of the piece














 Question 1 (b)
4 3 2 1

Question 1 (b): Demonstrates comprehensive Demonstrates developed Demonstrates limited Demonstrates unsatisfactory
Explains the use of explanation of the use of pitch explanation of the use of pitch explanation of the use of pitch explanation of the use of pitch
pitch with specific
reference to the - Must identify multiple - Must identify some different - Identifies a style of pitch - Attempts to identify styles of
score different areas in the style of areas in the style of pitch - Attempts to use terminology pitch
pitch - Mostly Accurate use of - Supports answers with some - Attempts to justify the use of
- Accurate use of terminology terminology examples from the score these devices
- Clearly articulated responses - Mostly clear articulated
with reference to specific responses with reference to
examples in the score examples in the score

Answer could include:

Complete piece is in traditional notation form
Right hand changes to bass clef (bar 19) and returns to treble two bars later
(bar 21)
Left hand interchanges from treble and bass clef (eg. Bars 23-34)
The excerpt is uses a mixture of conjunct and disjunct motions (bars 1-34)
The left hand begins in disjunct motion then moves to conjunct motion and
returns back to disjunct motion (bars 1-8 then bars 9-16 and returning bars
17-34)
Use of chromatic notes throughout the left hand and right hand (eg. Bar one,
the dyad chord in the left hand the top note interchanges from sharp to
natural)
The pitch of the excerpt is using definite pitch
The piano range is typically in the mid-range of the piano











 Question 2 (a)



5 4 3 2 1

Question 2 (a): Notates pitch and rhythm Notates pitch and Notates pitch and Notates pitch and Notates pitch and
Notates pitch with accuracy rhythm with substantial rhythm with reasonable rhythm with basic rhythm with limited
and rhythm of accuracy accuracy accuracy accuracy
excerpt

Sample Answer:

 Question 2 (b)

4 3 2 1

Question 2 (b): Demonstrates comprehensive Demonstrates developed Demonstrates limited Demonstrates unsatisfactory
Explains dynamics explanation of the use of explanation of the use of explanation of the use of explanation of the use of
and expressive dynamics and expressive dynamics and expressive dynamics and expressive dynamics and expressive
techniques and techniques to create musical techniques to create musical techniques to create musical techniques to create musical
how it creates interest interest interest interest
musical interest
- Must identify multiple - Must identify some different - Identifies a style of dynamic - Attempts to identify styles of
different dynamics and dynamics and expressive and expressive techniques dynamic and expressive
expressive techniques techniques to create musical - Identify how it creates techniques
- Justifies how it creates interest musical interest - Attempts to justify the
musical interest Justifies how it creates musical - Attempts to use terminology musical interest
- Accurate use of terminology interest - Supports answers with some
- Clearly articulated responses - Mostly Accurate use of examples from the score
with examples in the score terminology
- Mostly clear articulated
responses with examples in the
score


Answers could include:

Ritenuto to slow down the piece (bar 40)
a Tempo (bar 41) to return it back to normal speed
Decrescendos and crescendos throughout the excerpt
Damper pedal press and release points
Piu mosso (bar 48) to pick up the speed of the piece
The use of a Trill (bar 46) on a note
Rallentando (bar 70) to gradually slow down the piece
Slurs added to notes to smoothen and connect sounds















 500 Word Amplification Referring to Learning Theories that Frame Aural
Skills

Teachers can connect with the process of improving aural skills through the use of
theories, such as social cognitive theory and the cognitive learning process theory.
Aural skills are the process of aural discrimination, aural recognition and other
specific auditory skills, which are necessary for a musician. Teachers use these
theories listed above to enable the students with best opportunity to showcase
these developed aural skills. Cleland and Dobrea-Grindahl (2014, p. 6) state that, the
importance of aural skills assists in the learning how to make, understand, and
express aesthetic judgements that define effective musical communication.
Therefore, it is significant for teachers to provide an education through theories to
improve their students aural skills.

The significance of using social cognitive theory to enhance aural skills is
demonstrated by the teachers ability to provide examples of how to hone in the
answer. Bandura (1986) expresses that social cognitive theory is demonstrated by
observing through modelling. Schunk (2012, p.121) supports these claims by stating
that the learning occurs either enactively through actual doing or vicariously by
observing models perform. Enactively is the learning that is done from the
consequence when doing the task and vicariously is that learning that is done
through observing or listening to models (Schunk, 2012, p. 121). Therefore,
illustrating how the listen to aural excerpts and hone in on the frame of aural skills,
social cognitive theory allows for improvement within the student.

Cognitive learning process theory assists with the development of the declarative,
procedural and conditional knowledge to retain and store information. Phillips and
Soltis (cited by Isbell, 2011, p. 20) state that the use of cognitive learning is the
process of categorization, organization, storage, and retrieval of information.
Teachers must develop the students knowledge about aural skills by using
declarative and procedural knowledge, the knowledge of fact and procedures
(Schunk, 2012). Whilst also providing conditional knowledge, ensuring students
understand when and why to apply the declarative and procedural knowledge
(Schunk, 2012). Therefore, by using these knowledge processes, students have the
ability to store that information when gathering further information, whilst also
retaining it for when they discuss aural aspects in a musical excerpt (Anderson,
1984; Mandler, 1984 as cited in Bruning, Schraw, & Norby, 2011).

Overall, by using learning theories, specifically the social cognitive theory and
cognitive learning process theory, a teacher can develop the framework of their
aural skills. If a teacher, through the social cognitive theory, demonstrates how to
illustrate aural discrimination and aural recognition in the musical excerpt, students
can begin to develop their aural skills themselves. With the use of cognitive learning
process theory, students can store the knowledge they have developed in class that
determines aural skills, and have the ability to use this information when is
necessary and understand why they are using this information. Therefore, through
learning theories, teachers can connect the process of aural discrimination, aural
recognition and specific auditory skills to develop their students understanding.


















Resources:

Bandura, A. (1986). Social foundations of thought and action: A social cognitive
theory. Englewood Cliffs, NJ: Prentice-Hall.

Bruning, R. H., Schraw, G. J., & Norby, M. M. (2011). Sensory, short term, and working
memory. In Cognitive psychology and instruction (5th ed., pp. 13-36). Boston,
MA: Pearson.

Cleland, K. & Dobrea-Grindahl, M. (2014). Developing musicianship through aural
skills (1st ed., p. 6). Routledge.

Isbell, D. (2011). Learning Theories: Insights for Music Educators. General Music
Today, 25(2), 19-23.

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