[ File Resource ]
- Title: Draft for Implementation
- Description: Music Learning Matrix
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- Draft for Implementation.pdf
- Description: Music Learning Matrix
Past Matrices:
[ File Resource ]
- Title: Draft for Pilot 2023
- Description: Music Learning Matrix
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- File Extension: pdf
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- Draft for Pilot 2023.pdf
- Description: Music Learning Matrix
[ File Resource ]
- Title: Draft for Implementation
- Description: Music Learning Matrix
- File URL: https://ncea-live-3-storagestack-53q-assetstorages3bucket-2o21xte0r81u.s3.amazonaws.com/s3fs-public/2023-09/MU%20Learning%20Matrix.pdf?VersionId=SE2zfwLJKCre.9GxTXqtGshnn1W_Dnzw
- File Extension: pdf
- File Size: 216KB
- Draft for Implementation.pdf
- Description: Music Learning Matrix
[ File Resource ]
- Title: Draft for Pilot 2023
- Description: Music Learning Matrix
- File URL: https://ncea-live-3-storagestack-53q-assetstorages3bucket-2o21xte0r81u.s3.amazonaws.com/s3fs-public/2023-09/MU%20Learning%20Matrix%202023.pdf?VersionId=gLg_BioN99ZwGqTz1fAAfMepzLyW_MRM
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- Draft for Pilot 2023.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 build an understanding of how music forms and musical engagement within te ao Māori are guided by tikanga. Similarly, music forms and musical 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.
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. Ākonga may work both independently and collaboratively as they continually develop their craft through feedback, reflection, and dedication.
Participating in music enhances personal and collective 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 build an understanding of how music forms and musical engagement within te ao Māori are guided by tikanga. Similarly, music forms and musical 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.
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. Ākonga may work both independently and collaboratively as they continually develop their craft through feedback, reflection, and dedication.
Participating in music enhances personal and collective 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 can connect the past, present, and future, and can also span 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 can connect the past, present, and future, and can also span 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:
Music is created, experienced, and understood in relation to cultural, social, historical, and environmental contexts. Engaging in music from diverse contexts can deepen our understanding of people and cultures all over the world.
Through exploring a wide range of music more locally, we can appreciate and develop understanding of our diverse heritages in Aotearoa New Zealand. Engaging with customary and contemporary music from te ao Māori and the broader Pacific region is central to developing a musical identity that is special to our region of the world and is uniquely ours.
This Big Idea also acknowledges the mauri of the learner. It encourages ākonga to seek out and embrace the rich music of their communities, homes, and heritages. Ākonga can learn to negotiate their space and place in educational, social, and cultural settings as they explore their identities and stories through music.
Music is an expression of, and a way of connecting with, culture, identity, place, and time
Music is created, experienced, and understood in relation to cultural, social, historical, and environmental contexts. Engaging in music from diverse contexts can deepen our understanding of people and cultures all over the world.
Through exploring a wide range of music more locally, we can appreciate and develop understanding of our diverse heritages in Aotearoa New Zealand. Engaging with customary and contemporary music from te ao Māori and the broader Pacific region is central to developing a musical identity that is special to our region of the world and is uniquely ours.
This Big Idea also acknowledges the mauri of the learner. It encourages ākonga to seek out and embrace the rich music of their communities, homes, and heritages. Ākonga can learn to negotiate their space and place in educational, social, and cultural settings as they explore their identities and stories through music.
Big Idea Body:
As a sound art, music is a form of communication that has its own concepts and whakapapa. In music, meaning is conveyed through organising and making sense of a variety of sounds, such as those generated by musical instruments, voices, and electronic technologies through to natural and found sounds. In te ao Māori, the voice, body and taonga puoro enable the generation of vibrations and sounds to communicate meaning and intent, both in the physical and the spiritual.
Many cultures have well established aural systems for retaining, transmitting, and passing music on. There are also systems for visually representing music through the use of a vast range of signs, symbols and formats. As ākonga develop their music making capabilities, they can also expand their ability to understand and use systems of visual representation.
Music is a sensory language that organises sound and can be visually represented with signs and symbols
As a sound art, music is a form of communication that has its own concepts and whakapapa. In music, meaning is conveyed through organising and making sense of a variety of sounds, such as those generated by musical instruments, voices, and electronic technologies through to natural and found sounds. In te ao Māori, the voice, body and taonga puoro enable the generation of vibrations and sounds to communicate meaning and intent, both in the physical and the spiritual.
Many cultures have well established aural systems for retaining, transmitting, and passing music on. There are also systems for visually representing music through the use of a vast range of signs, symbols and formats. As ākonga develop their music making capabilities, they can also expand their ability to understand and use systems of visual representation.
Big Idea Body:
Music is a creative artform that is expressed through the application of music literacies. These literacies can be expanded and strengthened through processes of participation, reflection, evaluation, and iteration. The nature of music literacies varies because they whakapapa back to different settings and contexts. Music literacies include listening and aural capabilities, playing and performance, music creation, technical and theoretical skills, and wider musical and cultural knowledges and functions.
Through continual development and refinement of their musical craft, ākonga can expand their capacity to communicate ideas, intent, and emotion through music, and interpret and construct meaning as engaged listeners. They can also look to the music of those who have gone before them to help inform how they will engage as musicians today and into the future.
Music is a craft that can be continually developed and refined
Music is a creative artform that is expressed through the application of music literacies. These literacies can be expanded and strengthened through processes of participation, reflection, evaluation, and iteration. The nature of music literacies varies because they whakapapa back to different settings and contexts. Music literacies include listening and aural capabilities, playing and performance, music creation, technical and theoretical skills, and wider musical and cultural knowledges and functions.
Through continual development and refinement of their musical craft, ākonga can expand their capacity to communicate ideas, intent, and emotion through music, and interpret and construct meaning as engaged listeners. They can also look to the music of those who have gone before them to help inform how they will engage as musicians today and into the future.
Big Idea Body:
Music is a waka for musicians to express and communicate feelings, ideas, stories, and knowledges. Composers and performers may develop their own creative voice as they draw on experiences and perspectives in relation to their special place in the world.
Ākonga make deliberate decisions about how to communicate their intent through the imaginative use of music concepts during the creation or sharing of music. These decisions are based on a growing understanding of how music concepts can be combined and manipulated to produce intended effects to resonate with the audience.
Expressing and sharing emotions and intent through music can involve an exchange of the intangible, such as the ihi, wehi, and wana within te ao Māori. This involves the energy and personal magnetism of the performer, which heightens the emotional experience for all involved.
Music expresses emotions and communicates ideas and intent
Music is a waka for musicians to express and communicate feelings, ideas, stories, and knowledges. Composers and performers may develop their own creative voice as they draw on experiences and perspectives in relation to their special place in the world.
Ākonga make deliberate decisions about how to communicate their intent through the imaginative use of music concepts during the creation or sharing of music. These decisions are based on a growing understanding of how music concepts can be combined and manipulated to produce intended effects to resonate with the audience.
Expressing and sharing emotions and intent through music can involve an exchange of the intangible, such as the ihi, wehi, and wana within te ao Māori. This involves the energy and personal magnetism of the performer, which heightens the emotional experience for all involved.
Big Idea Body:
Although music is primarily a sound art, it can be experienced through multiple senses. Drawing on The Arts whakataukī and acknowledging te ao Māori concepts such as ihi, wehi, and wana, this Big Idea recognises the sensory nature of music. Ideas, feelings, and perspectives can be experienced through the sharing of music in both tangible and intangible ways. At its peak, music can inspire a sense of awe and wonder, or wehi, which can deeply affect the composer, the performer, and the audience.
A composer or performer recognises that their music can resonate with audiences differently, depending on personal perspectives and life experiences. Meaning can be constructed by the person experiencing the music. Emotions and memories can be stimulated, and the audience can be moved to respond in unique ways.
Music evokes emotions and responses
Although music is primarily a sound art, it can be experienced through multiple senses. Drawing on The Arts whakataukī and acknowledging te ao Māori concepts such as ihi, wehi, and wana, this Big Idea recognises the sensory nature of music. Ideas, feelings, and perspectives can be experienced through the sharing of music in both tangible and intangible ways. At its peak, music can inspire a sense of awe and wonder, or wehi, which can deeply affect the composer, the performer, and the audience.
A composer or performer recognises that their music can resonate with audiences differently, depending on personal perspectives and life experiences. Meaning can be constructed by the person experiencing the music. Emotions and memories can be stimulated, and the audience can be moved to respond in unique ways.
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
- develop and enhance interpersonal relationships necessary when collaborating to create, rehearse, present, or share music.
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
- learn to self-manage as they commit to regular instrumental practice, rehearsal and performance schedules, and to complete creative projects.
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
- develop and enhance interpersonal relationships necessary when collaborating to create, rehearse, present, or share music.
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
- learn to self-manage as they commit to regular instrumental practice, rehearsal and performance schedules, and to complete creative projects.
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 provides an environment where ākonga can experience the creative process and learn how ideas and emotions can be expressed in a variety of modes and in many different social and cultural contexts. This is true of all subjects in The Arts Learning Area, and also connects to a range of subjects within other learning areas.
Linking to Learning Languages and Te Reo Māori learning areas, studying Music may enhance language acquisition, as well as understanding and appreciation of other cultures. This can be reciprocal as the study of languages can in turn benefit understanding of music, including vocal works.
In Technology, as in Music, ākonga develop their understanding of the creative process, including overall artistic concept and design, as they engage in cycles of reflection, iteration, and problem-solving. Skills and knowledges developed in Technology may also enhance understanding of technological aspects of instruments and other music technologies.
Links between learning within the Sciences Learning Area and Music include the physics of sound, and anatomy as it relates to breathing and vocal production.
Connections between Music and Mathematics have long been acknowledged. Music is highly numerical because it involves divisions of time, rhythm, and tempo, all of which are inextricably linked with Mathematics.
Word-painting is central to song writing where the essence and natural flow of the lyrics are embodied in the music. Working with lyrics when song writing may connect to important learning in English as well as the development of literacy skills.
As in Music, performance is an important aspect of Physical Education, where ākonga are encouraged to reflect on their performance and apply strategies to improve or enhance their performance.
Music provides an environment where ākonga can experience the creative process and learn how ideas and emotions can be expressed in a variety of modes and in many different social and cultural contexts. This is true of all subjects in The Arts Learning Area, and also connects to a range of subjects within other learning areas.
Linking to Learning Languages and Te Reo Māori learning areas, studying Music may enhance language acquisition, as well as understanding and appreciation of other cultures. This can be reciprocal as the study of languages can in turn benefit understanding of music, including vocal works.
In Technology, as in Music, ākonga develop their understanding of the creative process, including overall artistic concept and design, as they engage in cycles of reflection, iteration, and problem-solving. Skills and knowledges developed in Technology may also enhance understanding of technological aspects of instruments and other music technologies.
Links between learning within the Sciences Learning Area and Music include the physics of sound, and anatomy as it relates to breathing and vocal production.
Connections between Music and Mathematics have long been acknowledged. Music is highly numerical because it involves divisions of time, rhythm, and tempo, all of which are inextricably linked with Mathematics.
Word-painting is central to song writing where the essence and natural flow of the lyrics are embodied in the music. Working with lyrics when song writing may connect to important learning in English as well as the development of literacy skills.
As in Music, performance is an important aspect of Physical Education, where ākonga are encouraged to reflect on their performance and apply strategies to improve or enhance their performance.
Learning Pathway
At school
Music learning is relevant for students who are studying a wide range of other subjects where skills relating to creative processes, language, technology, performance, self-management, and building relationships are all important.
Studying Music at secondary level provides ākonga with a broad range of widely transferable skills, capabilities and knowledges, as well as offering progression for specialisation.
While at school, ākonga will develop abilities in songwriting, performance, musical knowledges, including musical concepts, to provide broad foundational learning to support specialisation.
Ākonga may wish to continue their music learning because they have become intrigued by original composition and performance due to favourite musicians, orchestras or bands, film scores, video game soundtracks, cultural performance groups and public performances. Some ākonga may want to understand more deeply how music is connected to emotional expression and response, or how it is embedded in social and cultural contexts such as ceremonial practices or social gatherings.
At Tertiary level
Progression in music may lead ākonga towards areas of interest within music creation, performance, production, music technology, analysis, instrument making, or other areas of specialisation, and across a range of social and cultural contexts. Ākonga may choose to undertake formal music studies in tertiary institutions, or continue their musical development within contexts such as bands, cultural performance groups, choirs, or orchestras. They may seek to engage in supplementary instrumental and vocal studies, or to work towards instrumental, vocal or performing arts diplomas.
Within te ao Māori there are opportunities to progress learning in Ngā Toi (Māori performing arts) to develop technical, creative, performance, and leadership skills and knowledges. This may encompass research, contributing to the body of Māori performance art, growing as kaitiaki, and supporting whānau, hapū and iwi with performing arts projects.
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. This could include investigating the overlap of sound design and modern technology, connecting musical and technological knowledges to lighting, sound and stage design, exploring how sounds and music have therapeutic applications, or investigating scientific contexts such as echolocation, sonar techniques, or ultrasound.
Learning for life and the world of work
Engaging in music-related activities may allow ākonga to build a sense of connection with a community. Individual or group composition or performance allows ākonga to gain confidence, cultivate ways of expressing ideas, collaborate, and problem-solve. There are many enduring competencies gained through active engagement in Music that naturally transfer to a variety of life and work contexts.
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 theatre
- Composer
- Ngā Toi practitioner
- Kapa haka performer
- Musicologist
- Conductor or music director
- Sound/lighting/stage designer
- Music producer
- Therapist (music/sound therapy)
- Music teacher, lecturer, technician, or tutor
- Film/videogame score composer
- Studio or session musician
- Technology developer (hardware and software)
- Arts journalist or reviewer
- Music critic
- Music publisher, copyrighter
- Researcher.
At school
Music learning is relevant for students who are studying a wide range of other subjects where skills relating to creative processes, language, technology, performance, self-management, and building relationships are all important.
Studying Music at secondary level provides ākonga with a broad range of widely transferable skills, capabilities and knowledges, as well as offering progression for specialisation.
While at school, ākonga will develop abilities in songwriting, performance, musical knowledges, including musical concepts, to provide broad foundational learning to support specialisation.
Ākonga may wish to continue their music learning because they have become intrigued by original composition and performance due to favourite musicians, orchestras or bands, film scores, video game soundtracks, cultural performance groups and public performances. Some ākonga may want to understand more deeply how music is connected to emotional expression and response, or how it is embedded in social and cultural contexts such as ceremonial practices or social gatherings.
At Tertiary level
Progression in music may lead ākonga towards areas of interest within music creation, performance, production, music technology, analysis, instrument making, or other areas of specialisation, and across a range of social and cultural contexts. Ākonga may choose to undertake formal music studies in tertiary institutions, or continue their musical development within contexts such as bands, cultural performance groups, choirs, or orchestras. They may seek to engage in supplementary instrumental and vocal studies, or to work towards instrumental, vocal or performing arts diplomas.
Within te ao Māori there are opportunities to progress learning in Ngā Toi (Māori performing arts) to develop technical, creative, performance, and leadership skills and knowledges. This may encompass research, contributing to the body of Māori performance art, growing as kaitiaki, and supporting whānau, hapū and iwi with performing arts projects.
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. This could include investigating the overlap of sound design and modern technology, connecting musical and technological knowledges to lighting, sound and stage design, exploring how sounds and music have therapeutic applications, or investigating scientific contexts such as echolocation, sonar techniques, or ultrasound.
Learning for life and the world of work
Engaging in music-related activities may allow ākonga to build a sense of connection with a community. Individual or group composition or performance allows ākonga to gain confidence, cultivate ways of expressing ideas, collaborate, and problem-solve. There are many enduring competencies gained through active engagement in Music that naturally transfer to a variety of life and work contexts.
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 theatre
- Composer
- Ngā Toi practitioner
- Kapa haka performer
- Musicologist
- Conductor or music director
- Sound/lighting/stage designer
- Music producer
- Therapist (music/sound therapy)
- Music teacher, lecturer, technician, or tutor
- Film/videogame score composer
- Studio or session musician
- Technology developer (hardware and software)
- Arts journalist or reviewer
- Music critic
- Music publisher, copyrighter
- Researcher.
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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.