[ File Resource ]
- Title: MU Learning Matrix
- Description: Music Learning Matrix
- File URL: https://ncea-live-3-storagestack-53q-assetstorages3bucket-2o21xte0r81u.s3.amazonaws.com/s3fs-public/2023-04/MU%20Learning%20Matrix.pdf?VersionId=jozga9YDKaJGRdmbTGy9bYM4bI7tau81
- File Extension: pdf
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- MU Learning Matrix.pdf
- Description: Music Learning Matrix
What is Music about?
[ Video Resource ]
- Title: Music
- Description: Music Subject Expert Group members discuss their experiences in the Review of Achievement Standards
- Video Duration: 5 minutes
- Video URL: https://player.vimeo.com/video/571921115
- Transcript: In conversation with Jeni Little Lee Harford Liam Boyle Transcript below: I think ultimately these new Standards are going to allow for more inclusivity. The things that we know already happening in schools to be able to be assessed more authentically
In conversation with
Jeni Little
Lee Harford
Liam Boyle
Transcript below:
I think ultimately these new Standards are going to allow for more inclusivity. The things that we know already happening in schools to be able to be assessed more authentically, or in a better way. I think it's not going to be big changes necessarily. But it'll allow for more students to be recognised for the things that they're doing. We've gone from the teacher-centred to the student-centred approach.
The inclusivity is just across the board. There's the rural, the urban, the neurodiverse and neurotypical kids. There's your kids, there's my kids. We're looking after all of them. The number of assessments is not the big driver anymore. It's the learning. It's the deep knowledge that we're after now. It's great for the kids that they're not going to be worried about assessments, over every subject now. That's wonderful, that part.
I think the mātauranga Māori. It's wonderful that we're intrinsically putting in the values and beliefs of our indigenous people through all of our learning, across the Curriculum. Music is a great way to incorporate the values and beliefs. It's fabulous that we're acknowledging those kids in all of our areas. We cater to one, we cater to all, by taking those values and beliefs. It's fabulous. It's about the realness of music. We're not stuck in that knowledge space.
Yeah. Stuck around one knowledge is valued more than all the other knowledges. What I'm most happy about is that we are reflecting the kids in our class. Where we are, the fact that we're in the heart of Polynesia. Honouring all the rich and diverse knowledge bases that we haven't really done before.
The Learning Matrix. Because it's intrinsic throughout all of our areas, you can't get away from it. It's a wonderful thing to be doing, a wonderful thing to include. Finally.
Despite the fact that we're designing assessment, having to really think about, okay, what are the things that we really value in music education? But we obviously don't want to, or can't assess every part of that. Where do we need to place these to get a good overview of what's happening in our classrooms? What do students deserve to know?
Nicely put, yeah.
Exactly, what do our kids deserve?
Yeah, that's it.
It's been hard work, but it's rewarding work. Because of the changes we're wanting to make we are having to come to agreement. There's such a range of people in the room. I'm really pleased with our SEG. I've stated again and again that we're a really good mix of people. But it is hard work, because we have to challenge each other. We're also aware that we're just this little microcosm of the sector.
Ultimately that's where the feedback to us, or to the things that then go out to the sector is really important. We can start to work with that as well.
Yeah, I'm finding it's an honour that we're in this position. An honour to make changes in students' lives. It's a humongous deal. It's moving what we do. Because what we're doing in our little space is making change in every single classroom in New Zealand.
I feel I've picked up some new tricks that I'm going to take into my school. New ways of doing things, in some of the task designs. Some considerations I hadn't thought of before. I'm going to apply them tomorrow when I'm back in the classrooms. I think the thing is to not freak out about it. Not to go, everything's got to change and I've got to re-learn to teach. We know that we know how to teach. We know what to teach. We need to remember to keep placing our students at the centre of that. These assessments are just that. They're a mode to take that snapshot of what they're doing. It doesn't need to drive total change to your everyday practice.
We'd want to reassure everyone that we all know how to teach music. We all know how to teach kids. It's not going to be as scary as some people are anticipating.
That's it.
The panel has teachers. We're speaking on your behalf. We've asked for the resources. We've said, staff are going to be concerned about this and that. We've covered those bases.
Exactly what Liam said. Don't be scared. These changes are awesomely awesome. Embrace it, take it, roll with it. It's going to be fantastic.
Subject-specific terms can be found in the glossary.
Music is a rich part of the diverse cultures of Aotearoa New Zealand. It is a vital part of life for many communities and is an art form that can be used to express histories, knowledge bases, local contexts, language, and aspirations.
Through music, ākonga can develop a deeper understanding of themselves, and explore different contexts and kaupapa. Music can be a waka for ākonga to connect with their whakapapa and engage with contexts, spirituality, emotions, and the ideas of others. They can build confidence as artists by bringing their own experiences and cultures to their music making.
In Music, it is anticipated that ākonga ways of being in the world are harnessed to shape teaching, learning, and assessment. The experiences, knowledges, values, and worldviews of ākonga within te ao Māori and the Pacific region are integral to musical understanding and engagement in this subject. This means that a wide and inclusive range of musical concepts will be visible and drawn upon within teaching and learning programmes.
Ākonga can learn about music as a language, with its own structures, elements, and symbols. They will also build an understanding of how music forms and engagement within te ao Māori are guided by tikanga, and how music forms and engagement by Pacific peoples are informed by Pacific worldviews and values. They will also learn to express and interpret ideas within diverse creative, technological, and cultural frameworks. This can include exploring music concepts related to various music contexts. Ākonga may work both independently and collaboratively as they continually develop their craft through feedback, reflection, and dedication.
In this subject, ākonga can develop confidence in their ability to express themselves creatively and emotionally through making original music and performing to an audience.
Participating in music enhances personal wellbeing. An aspiration for music educators is to encourage ākonga to be active participants in music, rather than passive consumers of it. Ākonga can start to understand how learning music can contribute to future study and work pathways across a wide range of areas, including the arts and media, business, community services, education, social sciences, and technology.
Subject-specific terms can be found in the glossary.
Music is a rich part of the diverse cultures of Aotearoa New Zealand. It is a vital part of life for many communities and is an art form that can be used to express histories, knowledge bases, local contexts, language, and aspirations.
Through music, ākonga can develop a deeper understanding of themselves, and explore different contexts and kaupapa. Music can be a waka for ākonga to connect with their whakapapa and engage with contexts, spirituality, emotions, and the ideas of others. They can build confidence as artists by bringing their own experiences and cultures to their music making.
In Music, it is anticipated that ākonga ways of being in the world are harnessed to shape teaching, learning, and assessment. The experiences, knowledges, values, and worldviews of ākonga within te ao Māori and the Pacific region are integral to musical understanding and engagement in this subject. This means that a wide and inclusive range of musical concepts will be visible and drawn upon within teaching and learning programmes.
Ākonga can learn about music as a language, with its own structures, elements, and symbols. They will also build an understanding of how music forms and engagement within te ao Māori are guided by tikanga, and how music forms and engagement by Pacific peoples are informed by Pacific worldviews and values. They will also learn to express and interpret ideas within diverse creative, technological, and cultural frameworks. This can include exploring music concepts related to various music contexts. Ākonga may work both independently and collaboratively as they continually develop their craft through feedback, reflection, and dedication.
In this subject, ākonga can develop confidence in their ability to express themselves creatively and emotionally through making original music and performing to an audience.
Participating in music enhances personal wellbeing. An aspiration for music educators is to encourage ākonga to be active participants in music, rather than passive consumers of it. Ākonga can start to understand how learning music can contribute to future study and work pathways across a wide range of areas, including the arts and media, business, community services, education, social sciences, and technology.
Big Ideas and Significant Learning
This section outlines the meaning of, and connection between, the Big Ideas and Significant Learning, which together form the Learning Matrix. It then explains each Music Big Idea.
The Arts Learning Area, including its whakataukī, informs this subject's Significant Learning – learning that is critical for ākonga to know, understand, and do in a subject by the end of each Curriculum Level. This covers knowledge, skills, competencies, and attitudes. It also includes level-appropriate contexts ākonga should encounter in their Level 6 learning. The Learning Area's whakataukī is:
Te toi whakairo, ka ihiihi, ka wehiwehi, ka aweawe te ao katoa
Artistic excellence makes the world sit up in wonder
Music provides the environment and opportunity for ākonga to experiment, develop, and express their own artistic identity so they can flourish into creators, performers, and audiences of music. The whakataukī speaks of how a creative outcome can evoke a powerful response. Through artistic experiences, musicians and audiences are inspired, challenged, and enriched.
Music connects the past, present, and future and can bridge the physical and spiritual. Through musical exploration and experience, ākonga can develop understanding of mātauranga Māori and Pacific knowledges within the diverse world of music.
The subject's Big Ideas and Significant Learning are collated into a Learning Matrix for Curriculum Level 6. Teachers can use the Learning Matrix as a tool to construct learning programmes that cover all the not-to-be-missed learning in a subject. There is no prescribed order to the Learning Matrix. A programme of learning might begin with a context that is relevant to the local area of the school or an idea that ākonga are particularly interested in. This context or topic must relate to at least one Big Idea and may also link to other Big Ideas.
There are five Big Ideas in Music. The nature of this subject as a discipline means aspects of Significant Learning often cross over multiple Big Ideas, and vice versa.
This section outlines the meaning of, and connection between, the Big Ideas and Significant Learning, which together form the Learning Matrix. It then explains each Music Big Idea.
The Arts Learning Area, including its whakataukī, informs this subject's Significant Learning – learning that is critical for ākonga to know, understand, and do in a subject by the end of each Curriculum Level. This covers knowledge, skills, competencies, and attitudes. It also includes level-appropriate contexts ākonga should encounter in their Level 6 learning. The Learning Area's whakataukī is:
Te toi whakairo, ka ihiihi, ka wehiwehi, ka aweawe te ao katoa
Artistic excellence makes the world sit up in wonder
Music provides the environment and opportunity for ākonga to experiment, develop, and express their own artistic identity so they can flourish into creators, performers, and audiences of music. The whakataukī speaks of how a creative outcome can evoke a powerful response. Through artistic experiences, musicians and audiences are inspired, challenged, and enriched.
Music connects the past, present, and future and can bridge the physical and spiritual. Through musical exploration and experience, ākonga can develop understanding of mātauranga Māori and Pacific knowledges within the diverse world of music.
The subject's Big Ideas and Significant Learning are collated into a Learning Matrix for Curriculum Level 6. Teachers can use the Learning Matrix as a tool to construct learning programmes that cover all the not-to-be-missed learning in a subject. There is no prescribed order to the Learning Matrix. A programme of learning might begin with a context that is relevant to the local area of the school or an idea that ākonga are particularly interested in. This context or topic must relate to at least one Big Idea and may also link to other Big Ideas.
There are five Big Ideas in Music. The nature of this subject as a discipline means aspects of Significant Learning often cross over multiple Big Ideas, and vice versa.
Big Idea Body:
This idea acknowledges the mauri of the ākonga and how music connects people to their cultural identity. Ākonga can explore how music allows for the expression and communication of their sense of self. This can be through reflecting on the place of music in culture or negotiating their ‘space and place’ in a music group or education setting.
Music is an expression of, and a way of connecting with, language, identity, and culture
This idea acknowledges the mauri of the ākonga and how music connects people to their cultural identity. Ākonga can explore how music allows for the expression and communication of their sense of self. This can be through reflecting on the place of music in culture or negotiating their ‘space and place’ in a music group or education setting.
Big Idea Body:
Music is a creative form of communication through organised sound that has its own concepts and whakapapa, and can be created and experienced by people from any cultural context.
By recognising that music is a language, ākonga can learn to understand the signs and symbols of the language of sound. When, where, and by whom a music work was created influences how music concepts are used to convey meaning. This understanding can enable a deeper exploration into the tikanga and reo features of Māori music.
Music is a sonic language born of context
Music is a creative form of communication through organised sound that has its own concepts and whakapapa, and can be created and experienced by people from any cultural context.
By recognising that music is a language, ākonga can learn to understand the signs and symbols of the language of sound. When, where, and by whom a music work was created influences how music concepts are used to convey meaning. This understanding can enable a deeper exploration into the tikanga and reo features of Māori music.
Big Idea Body:
It is important to recognise that deliberate decisions are made during the composition and performance of music. These decisions are based on the creator's understanding of how music concepts resonate with the self and how the experience of music can produce an intended effect.
Music communicates intent through the organisation of sound
It is important to recognise that deliberate decisions are made during the composition and performance of music. These decisions are based on the creator's understanding of how music concepts resonate with the self and how the experience of music can produce an intended effect.
Big Idea Body:
Music involves the development of skills and knowledges, drawing on broad cultural contexts. By developing these skills, learners can achieve a deeper musical understanding and appreciation of the world and are better equipped to construct meaning out of it through sound. Ākonga will be able to explore how meaning can be constructed through creation, re-creation, and analysis of music.
Music is a craft that enables people to construct meaning
Music involves the development of skills and knowledges, drawing on broad cultural contexts. By developing these skills, learners can achieve a deeper musical understanding and appreciation of the world and are better equipped to construct meaning out of it through sound. Ākonga will be able to explore how meaning can be constructed through creation, re-creation, and analysis of music.
Big Idea Body:
Music can resonate with people in different ways and can provide a means for them to express their thoughts and feelings through sound. Music allows people to draw on and communicate their experiences and perspectives, and to express themselves in relation to their place in the world.
Music enables people to experience and express feelings
Music can resonate with people in different ways and can provide a means for them to express their thoughts and feelings through sound. Music allows people to draw on and communicate their experiences and perspectives, and to express themselves in relation to their place in the world.
Key Competencies in Music
Music provides learners with opportunities to develop the curriculum Key Competencies in practical and engaging contexts.
Thinking
Students of Music will:
- reflect on the impact of decisions they make during the creative process and use this knowledge to inform their future decision-making in music
- think about how people’s diverse experiences and ideas enable the ongoing creation of rich and varied musical outputs across cultures.
Using language, symbols and texts
Students of Music will:
- start to understand the symbols and signs within the language of music
- develop understanding of how music makers convey intent and meaning through the organisation and use of music symbols and language.
Relating to others
Students of Music will:
- reflect on how music can elicit different feelings and sensations from the people who make it and those who listen to it
- understand how other people create and experience music
- gain insight into how audiences engage with music and develop understanding of how listeners are a valuable part of musical experience.
Managing self
Students of Music will:
- develop understanding of the impact music can have on their own feelings and wellbeing
- develop the ability to complete successful music projects
- build confidence in upholding the integrity of their musical output
- think about how they can engage with music-making in a way that enhances their own personal wellbeing.
Participating and contributing
Students of Music will:
- experience the creative process of music as an individual and in collaboration with others
- develop skills of the craft independently and in collaboration with others
- reflect on how music projects contribute to communities, depending on whether they are developed independently or in collaboration with others
- think about how they are engaging with the wider music community, including which aspects of learning about music are a personal experience and which may be shared experience.
- think about how they are engaging with the wider music community, including considering which aspects of learning about music are a personal experience and which may be shared experience.
Key Competencies
This section of The New Zealand Curriculum Online offers specific guidance to school leaders and teachers on integrating the Key Competencies into the daily activities of the school and its Teaching and Learning Programmes.
Music provides learners with opportunities to develop the curriculum Key Competencies in practical and engaging contexts.
Thinking
Students of Music will:
- reflect on the impact of decisions they make during the creative process and use this knowledge to inform their future decision-making in music
- think about how people’s diverse experiences and ideas enable the ongoing creation of rich and varied musical outputs across cultures.
Using language, symbols and texts
Students of Music will:
- start to understand the symbols and signs within the language of music
- develop understanding of how music makers convey intent and meaning through the organisation and use of music symbols and language.
Relating to others
Students of Music will:
- reflect on how music can elicit different feelings and sensations from the people who make it and those who listen to it
- understand how other people create and experience music
- gain insight into how audiences engage with music and develop understanding of how listeners are a valuable part of musical experience.
Managing self
Students of Music will:
- develop understanding of the impact music can have on their own feelings and wellbeing
- develop the ability to complete successful music projects
- build confidence in upholding the integrity of their musical output
- think about how they can engage with music-making in a way that enhances their own personal wellbeing.
Participating and contributing
Students of Music will:
- experience the creative process of music as an individual and in collaboration with others
- develop skills of the craft independently and in collaboration with others
- reflect on how music projects contribute to communities, depending on whether they are developed independently or in collaboration with others
- think about how they are engaging with the wider music community, including which aspects of learning about music are a personal experience and which may be shared experience.
- think about how they are engaging with the wider music community, including considering which aspects of learning about music are a personal experience and which may be shared experience.
Key Competencies
This section of The New Zealand Curriculum Online offers specific guidance to school leaders and teachers on integrating the Key Competencies into the daily activities of the school and its Teaching and Learning Programmes.
Connections
Music is connected to all subjects in The Arts Learning Area. Through music, as in other art forms, ākonga can experience the creative process and learn how ideas and emotions can be expressed in different contexts.
Music is connected to all subjects in The Arts Learning Area. Through music, as in other art forms, ākonga can experience the creative process and learn how ideas and emotions can be expressed in different contexts.
Learning Pathway
At school
Studying Music at secondary level provides ākonga with a broad range of skills that offer progression for specialisation. Students also develop widely transferable capabilities and knowledge, such as self-management, collaboration, and articulation of creative concepts.
Ākonga may be intrigued by original composition and performance due to their favourite musicians, film scores, video game soundtracks, or cultural performance groups. Others may want to understand how music evokes an emotional reaction. Ceremonial practices involving sound may also be of interest to ākonga studying music.
At Tertiary level
Progression within the music sphere may lead ākonga towards areas of interest within music composition, musicology, or performance. The broad foundation of music and sound theory allows students to engage with Music in conjunction with many other spheres of knowledge. This may present unique opportunities for ingenuity in cross-disciplinary industries.
Ākonga may be interested in the overlap of sound design and modern technology, such as virtual reality or Foley artistry. Others may wish to explore how sounds and music have therapeutic applications. Some may wonder how animals create and interpret sounds, such as echolocation or territorial displays. Yet more may wish to learn how sound is used in explorative or medical science, such as sonar techniques and ultrasound.
Learning for life and the world of work
Listening to, composing, and performing music may allow ākonga to build a sense of connection with a community. Original performance allows students to gain confidence and cultivate ways of expressing ideas. Ākonga with group performance backgrounds may be well-suited to more collaborative and people-centric occupations.
Further occupations and pathways for Music learners include:
- Musical performer such as:
- Soloist
- Group performer such as in orchestra/jazz ensemble/cultural groups
- Band/solo artist
- Musical composer
- Musicologist
- Theatre
- Conducting
- Music critic
- Therapist (music/sound therapy)
- Music teacher
- Music lecturer, technician or tutor
- Film/videogame score composer
- Technology developer (hardware and software).
At school
Studying Music at secondary level provides ākonga with a broad range of skills that offer progression for specialisation. Students also develop widely transferable capabilities and knowledge, such as self-management, collaboration, and articulation of creative concepts.
Ākonga may be intrigued by original composition and performance due to their favourite musicians, film scores, video game soundtracks, or cultural performance groups. Others may want to understand how music evokes an emotional reaction. Ceremonial practices involving sound may also be of interest to ākonga studying music.
At Tertiary level
Progression within the music sphere may lead ākonga towards areas of interest within music composition, musicology, or performance. The broad foundation of music and sound theory allows students to engage with Music in conjunction with many other spheres of knowledge. This may present unique opportunities for ingenuity in cross-disciplinary industries.
Ākonga may be interested in the overlap of sound design and modern technology, such as virtual reality or Foley artistry. Others may wish to explore how sounds and music have therapeutic applications. Some may wonder how animals create and interpret sounds, such as echolocation or territorial displays. Yet more may wish to learn how sound is used in explorative or medical science, such as sonar techniques and ultrasound.
Learning for life and the world of work
Listening to, composing, and performing music may allow ākonga to build a sense of connection with a community. Original performance allows students to gain confidence and cultivate ways of expressing ideas. Ākonga with group performance backgrounds may be well-suited to more collaborative and people-centric occupations.
Further occupations and pathways for Music learners include:
- Musical performer such as:
- Soloist
- Group performer such as in orchestra/jazz ensemble/cultural groups
- Band/solo artist
- Musical composer
- Musicologist
- Theatre
- Conducting
- Music critic
- Therapist (music/sound therapy)
- Music teacher
- Music lecturer, technician or tutor
- Film/videogame score composer
- Technology developer (hardware and software).
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Introduction to Sample Course Outlines
Sample Course Outlines are being produced to help teachers and schools understand the new NCEA Learning Matrix and Achievement Standards. Examples of how a year-long Music course could be constructed using the new Learning Matrix and Achievement Standards are provided here. They are indicative only and do not mandate any particular context or approach.
Sample Course Outlines are being produced to help teachers and schools understand the new NCEA Learning Matrix and Achievement Standards. Examples of how a year-long Music course could be constructed using the new Learning Matrix and Achievement Standards are provided here. They are indicative only and do not mandate any particular context or approach.
Assessment Matrix
Conditions of Assessment for internally assessed standards
These Conditions provide guidelines for assessment against internally assessed Achievement Standards. Guidance is provided on:
- specific requirements for all assessments against this Standard
- appropriate ways of, and conditions for, gathering evidence
- ensuring that evidence is authentic.
Assessors must be familiar with guidance on assessment practice in learning centres, including enforcing timeframes and deadlines. The NZQA website offers resources that would be useful to read in conjunction with these Conditions of Assessment.
The learning centre’s Assessment Policy and Conditions of Assessment must be consistent with NZQA’s Assessment Rules for Schools with Consent to Assess. This link includes guidance for managing internal moderation and the collection of evidence.
Gathering Evidence
Internal assessment provides considerable flexibility in the collection of evidence. Evidence can be collected in different ways to suit a range of teaching and learning styles, and a range of contexts of teaching and learning. Care needs to be taken to allow students opportunities to present their best evidence against the Standard that is free from unnecessary constraints.
Collection of evidence for the internally assessed Standards could include, but is not restricted to, an extended task, digital evidence, or a portfolio of evidence.
It is recommended that the design of assessment reflects and reinforces the ways students have been learning. Effective assessment should suit the nature of the learning being assessed, provide opportunities to meet the diverse needs of all students, and be valid and fair.
Ensuring Authenticity of Evidence
Authenticity of student evidence needs to be assured regardless of the method of collecting evidence. This must be in line with the learning centre’s policy and NZQA’s Assessment Rules for Schools with Consent to Assess.
Ensure that the student’s evidence is individually identifiable and represents the student’s own work. This includes evidence submitted as part of a group assessment and evidence produced outside of class time or assessor supervision. For example, an investigation carried out over several sessions could include assessor observations, meeting with the student at a set milestone, or student’s use of a journal or photographic entries to record progress.
These Conditions provide guidelines for assessment against internally assessed Achievement Standards. Guidance is provided on:
- specific requirements for all assessments against this Standard
- appropriate ways of, and conditions for, gathering evidence
- ensuring that evidence is authentic.
Assessors must be familiar with guidance on assessment practice in learning centres, including enforcing timeframes and deadlines. The NZQA website offers resources that would be useful to read in conjunction with these Conditions of Assessment.
The learning centre’s Assessment Policy and Conditions of Assessment must be consistent with NZQA’s Assessment Rules for Schools with Consent to Assess. This link includes guidance for managing internal moderation and the collection of evidence.
Gathering Evidence
Internal assessment provides considerable flexibility in the collection of evidence. Evidence can be collected in different ways to suit a range of teaching and learning styles, and a range of contexts of teaching and learning. Care needs to be taken to allow students opportunities to present their best evidence against the Standard that is free from unnecessary constraints.
Collection of evidence for the internally assessed Standards could include, but is not restricted to, an extended task, digital evidence, or a portfolio of evidence.
It is recommended that the design of assessment reflects and reinforces the ways students have been learning. Effective assessment should suit the nature of the learning being assessed, provide opportunities to meet the diverse needs of all students, and be valid and fair.
Ensuring Authenticity of Evidence
Authenticity of student evidence needs to be assured regardless of the method of collecting evidence. This must be in line with the learning centre’s policy and NZQA’s Assessment Rules for Schools with Consent to Assess.
Ensure that the student’s evidence is individually identifiable and represents the student’s own work. This includes evidence submitted as part of a group assessment and evidence produced outside of class time or assessor supervision. For example, an investigation carried out over several sessions could include assessor observations, meeting with the student at a set milestone, or student’s use of a journal or photographic entries to record progress.
Evidence submitted for 91949, 91950, or 91951 cannot be submitted as evidence for this Standard, or vice versa.
Assessor involvement during the assessment event is limited to monitoring students’ progress closely and familiarising themselves with students’ evolving work. This is especially important for students working in groups.
Students may work in small groups on projects, but each student’s evidence must be individually identifiable and represent the student’s own work. This includes evidence produced outside of class time or teacher supervision.
Students may access any materials, resources or tools that would support their understanding and skill development necessary for engaging with and completing Assessment Activities. However, this excludes resources that could artificially create the evidence assessed, such as software, websites, or any AI technologies.
The length or size of the skills-based submission will be substantial enough to provide sufficient evidence against the standard. The volume of evidence will vary depending on the nature of the activity. A musical recording could be up to one minute, while an annotated score could be approximately 32 bars in length.
Submission formats include:
- a sound or video recording
- Screencast
- annotated or notated score
- slideshow with embedded files (but not links)
- a live presentation, recorded for moderation purposes.
Submitted materials should be accompanied by a written or spoken description about the skills they have developed in the project, and the musical and stylistic decisions they have made. A spoken description would be recorded for moderation purposes. Students working in a small group must also include an explanation of their own contributions. Each group member will submit their own description.
Students may perform on any instrument, including voice.
Live or recorded accompaniment and digital devices or tools may be used in their performance.
The performance can be a solo, as part of a duo, or as part of a group, as appropriate to the style, setting, and aspirations of the student or students. In a group performance, it is important that the students can be clearly seen and heard in order to be assessed accurately. The assessor may be present in a rehearsal and gain video or audio evidence to supplement the live performance or take other steps to ascertain the different contributions the students are making to their group, in order to gain clear evidence for marking and moderation.
Leading up to the performance event, assessors may take a teaching and mentoring role to help students be well prepared for their performance.
Students may access any materials that would support their understanding and skill development necessary for engaging with and completing Assessment Activities.
The performance needs to be long enough to provide evidence for assessment to take place. Two to four minutes could be appropriate, but longer or shorter lengths could be acceptable depending on the type of material being presented.
Students will have the opportunity to complete the activity within a timeframe set by the kaiako.