Teacher guidance
This Internal Assessment Activity meets all of the requirements of the Achievement Standard. It may be used unchanged, or can be adapted by the teacher. If adaptations are made, teachers need to ensure that all achievement levels can be met in the activity and are reflected in the Assessment Schedule. Assessor judgements need to align with the Achievement Standard.
This Internal Assessment Activity meets all of the requirements of the Achievement Standard. It may be used unchanged, or can be adapted by the teacher. If adaptations are made, teachers need to ensure that all achievement levels can be met in the activity and are reflected in the Assessment Schedule. Assessor judgements need to align with the Achievement Standard.
Māori music forms, whether contemporary or more traditional, carry mana and mauri, and can also contain kaupapa that have mana, or are even tapu. This means the mahi within this Assessment Activity needs to be guided by tikanga. Working within tikanga means ākonga can safely navigate not only lyrical and musical parameters, but also correct and respectful ways of engaging with kapa haka waiata forms, their physical formations, and other performance protocols. Tikanga also includes an awareness of the whakapapa of the music and its style, including the composer and the kaupapa within the music. Encourage ākonga to see if there is someone in their school, whānau, or community that can walk alongside them as they grow their understanding of tikanga for this project.
Checkpoints can occur regularly with ākonga, in order to review their progress, help them to reflect on their stylistic decisions, support them in their group-work dynamics, and to guide them in their skill development. It is especially important to have conversations with ākonga working in pairs or small groups during the process, to enable you to ascertain individuals’ skill development and contributions.
Find out from ākonga what forms of feedback they would find helpful to their musical journeys going forward. Also, have a discussion early on about how ākonga would like to present their arrangement, to ensure that the appropriate technology is available, and that each ākonga is allowed enough time for recording prior to submission.
Encourage ākonga to wānanga with people as they work so that they are continually building on their understanding of waiata styles, kapa haka forms, te ao Māori music features, including whakapapa, tikanga, te reo Māori, taonga puoro, and physical and facial practices. It is also entirely appropriate to bounce creative ideas off others, as long as the final arrangement is their own work. Although ākonga have engaged in wānanga, workshops, and research, they must then pull ideas together in their own way, using their own skills.
Māori music forms, whether contemporary or more traditional, carry mana and mauri, and can also contain kaupapa that have mana, or are even tapu. This means the mahi within this Assessment Activity needs to be guided by tikanga. Working within tikanga means ākonga can safely navigate not only lyrical and musical parameters, but also correct and respectful ways of engaging with kapa haka waiata forms, their physical formations, and other performance protocols. Tikanga also includes an awareness of the whakapapa of the music and its style, including the composer and the kaupapa within the music. Encourage ākonga to see if there is someone in their school, whānau, or community that can walk alongside them as they grow their understanding of tikanga for this project.
Checkpoints can occur regularly with ākonga, in order to review their progress, help them to reflect on their stylistic decisions, support them in their group-work dynamics, and to guide them in their skill development. It is especially important to have conversations with ākonga working in pairs or small groups during the process, to enable you to ascertain individuals’ skill development and contributions.
Find out from ākonga what forms of feedback they would find helpful to their musical journeys going forward. Also, have a discussion early on about how ākonga would like to present their arrangement, to ensure that the appropriate technology is available, and that each ākonga is allowed enough time for recording prior to submission.
Encourage ākonga to wānanga with people as they work so that they are continually building on their understanding of waiata styles, kapa haka forms, te ao Māori music features, including whakapapa, tikanga, te reo Māori, taonga puoro, and physical and facial practices. It is also entirely appropriate to bounce creative ideas off others, as long as the final arrangement is their own work. Although ākonga have engaged in wānanga, workshops, and research, they must then pull ideas together in their own way, using their own skills.
Assessment schedule
[ File Resource ]
- Title: MU 1.1a Assessment Schedule
- Description: Music 1.1a Assessment Schedule
- File URL: https://ncea-live-3-storagestack-53q-assetstorages3bucket-2o21xte0r81u.s3.amazonaws.com/s3fs-public/2024-12/MU%201.1a%20Assessment%20Schedule.docx?VersionId=9mhaCrBcV.U.TtGpcoGJh7TrVCm0gQvz
- File Extension: docx
- File Size: 57KB
- MU 1.1a Assessment Schedule.docx
- Description: Music 1.1a Assessment Schedule
