VCE+Solo+performance+final+exam+page

What do examiners expect in your final recital? How do you ensure a best performance? Is it a performance or exam? What do you get from your performance?

Be a great performer on stage does not necessarily mean a good mark!!!!!
First lets look at the assessment criteria, this is the only way we know what do they want in your recital:

2010 MUSIC SOLO PERFORMANCE
Examination criteria > criteria for the examination.
 * All criteria are applied with equal weighting to the performance of the complete recital examination.
 * Where the program does not meet the requirements of the task, a penalty will be applied across the assessment

In the performance examination, each student will be assessed against each criterion. The extent to which the solo recital performance demonstrates:

. Compliance with the requirements and conditions of the task *
 * 1**

(See the end of this page) The majority of students fully satisfied this criterion and were awarded full marks. Some typical issues included: • poorly timed programs where a required work was not performed within the 25-minute time allocation • use of CD backing that was not the one prescribed (some contemporary popular [CP] instruments have a specific backing that is required) • performing an accompanied work without accompaniment (or omitting an unaccompanied work) • selecting the wrong piece (a different arrangement to the one specified or a different opus/catalogue number to the one specified) • omitting a required movement or section (for example, where two movements are specified ‘to be counted as one work’) • not presenting the minimum required works (there was some confusion for electric bass students who performed the required minimum for guitar – contemporary popular) • singers using sheet music when memory was required • voice – classical singers omitting the required recitative and performing only the aria • playback equipment not brought to the assessment or not tested with the student’s burnt CD (in some cases this meant that students did not perform any of the required accompanied works). If performing a 20th century work where two movements are to count as one work, then a second work must also be performed in order to comply with the rule that two 20th century works must be performed.

2. Differentiation of a range of styles and characters in the program Performance of works in the program demonstrates a range of styles and characters represented in the list. This includes the ability to use performance techniques to make each work in the program sound different in style and character. > for the performer to explore > style, or in a very dry and clinical manner). Accuracy and clarity of the rhythm, pitch, articulation, timing and phrasing as notated in each of the notated works in the program. As appropriate to the instrument, this includes accuracy and clarity in string bowing and diction, and coordination of fingers and hands. > notated music. For some contemporary popular instruments, an amount of improvisation is allowed in demonstrating a > stylistic understanding of the music; however, this is not an assessed part of the performance. Students should ensure Fluency in performance of a range of performance techniques and control used to execute a wide degree and range of performance techniques. The range of performance techniques should reflect the range of works in the prescribed list. As appropriate to the instrument, this includes maintaining a strict tempo, and artistic use of accent, crescendo, diminuendo, staccato, silence, legato, tenuto, rubato, ritardando, accelerando and pitch bending. > through limited performance programs. Some also displayed much hesitation in their performance. Others, while > maintaining basic fluency, clearly lacked fluent technical resources and control in their performance. This became > particularly evident in __attempts to alter tempo to create tension or release__, resulting in unevenness in the playing. Poor > fluency in technique was also reflected in the limited range of dynamics used, as well as performances that were clearly > under tempo.
 * Many students who did not achieve a high mark in this criterion failed to adequately explore the range of styles in the list.
 * Students who achieved the highest marks performed programs that were extremely well thought out. Each piece had a different style
 * Some students chose works of varying styles, but performed them all in a similar style (for example, all in a ‘romantic’
 * Apart from having the most varied programs, students who achieved the highest marks in this criterion also approached each piece in a unique way.
 * These performers obviously had a keen aural awareness of different styles, perhaps through listening extensively to both live and recorded performances.
 * They approached each work in a unique manner, using a range of different performance techniques to demonstrate their ability to play in different styles.
 * 3. Accuracy and clarity in performance of the works as notated**
 * Students should remember that the Music Solo Performance examination is a recital task; that is, the recitation of
 * Dont took too much liberty with the notated work.(comtemporary)
 * 4. Fluency and control in a range of performance techniques**
 * Students who did not gain high marks for this criterion failed to display a wide range of performance techniques

5. Characteristic tone, artistic variation of tone and expressiveness in tone Performance of the works in the program demonstrates a range of tone that reflects the range of works in the prescribed list. Performance of these works demonstrates projection of tone, use of tone that is reflective of best practice on the instrument, clarity of tone, use of contrasting tones appropriate to different feelings and styles, use of a variety of expressiveness in tone.
 * to perform using a wide range of tonal effects reflective of the works in the prescribed list.
 * having a refined technique that enables a performer to create the best tone possible across a variety of different tonal effects.
 * able to control the tone of instrument to the highest level and create the greatest diversity of tonal effects.

6. Skill in shaping and expressively communicating music ideas, as appropriate to the style of each work in the program. Skill in providing shape to the beginning and ending, high/low points of musical motifs/motives, phrases, sentences and sections of a work as appropriate to the style. Skill in expressively communicating music ideas beyond the notation of the work by the use of appropriate artistic nuances. > elements such as silence, surprise and predictability. Performance of each work in the program demonstrates the range of structures represented in the prescribed list. Performance of these works differentiates each part of the structure of each work through the use of artistic variation of tone, fluency, contrast and artistic performance techniques. This may include making the main musical idea more expressive through slightly changing the dynamic level, tempo, forward motion and/or intensity of tone; phrasing consistently in a section, creating maximum interest when performing the main musical ideas and giving less emphasis to musical ideas of lesser importance in the work.
 * expressively create shape in phrases in much the same way as a good orator tells a story.
 * Tension and release are created through a variety of elements such as changes in dynamics, articulation and tempi, as well as the use of
 * enhancing a notated dynamic or tempo change to build tension. In other cases, it involved particularly effective use of rubato or accent.
 * 7. Differentiation of the parts of the structure and characteristics of each work**
 * able to follow themes and motifs with sensitivity and consistency.
 * a clear sense of the major climax(es) within a work through the use of dynamics, forward motion and/or variation
 * a wide variety of different types of musical structures, enabling maximum opportunity to demonstrate each of these different challenges.

8. Artistic interaction, balance and coordination between the parts, the solo and the accompaniment, and

between the main melody and accompaniment, as appropriate to the instrument and style of each work Artistic interaction includes consistent interpretation of the work and the spontaneous communication of musical nuances. Balance includes the relative dynamics between the parts and performers and artistic variations of dynamics, and setting of appropriate volume levels of recorded backing tracks. Coordination includes the skill in performing more than one part and maintaining a different shape and character in each part, and the skill in varying tempo and articulation and maintaining precision between the parts and performers.
 * musical understanding to create appropriate balance between melody and accompaniment, and between the parts and structures of the score.
 * able to ‘orchestrate’ the various musical textures and demonstrate their understanding of the complexity of the parts and structures.
 * perform this complex ‘orchestration’ of a score, and thus
 * dont create a performance that was confusing and difficult for the listener to understand.

9. Skill in historical and/or authentic interpretation in performance and use of contemporary conventions in interpretation
 * Styles again!!!!
 * Know your piece!!!!
 * Give a good reason why you apply contemporary conventions, otherwise do not bother!!!

10. Skill in personal interpretation and projection of musical intentions in performance These skills in personal interpretation include a range of personal expression in performance within the constraints of the style and character of the work established by the composer or original creator and the student’s own style of performing. This may include the realisation of a new interpretation. The projection of musical intentions enables effective communication by performers to listeners as appropriate to the venue and acoustics. > either deliberately or accidentally. > personal expression.
 * Any performer who knows the work they are presenting with absolute confidence and security will apply their own interpretation to a performance,
 * maintained the tension of performing within strict guidelines of accuracy and stylistic conventions, and performing as a means of
 * Do not let ‘personal interpretation’ off task in many of the other criteria, where these interpretations made little reference to the original notation.
 * Do not over look the word ‘skill’ in the criterion

11. Presentation techniques appropriate to the styles represented in the works and to the conventions of performance in a formal recital

Includes presentation techniques for adjusting to performance conditions, structure and continuity of the program as a whole as appropriate to the instrument and the styles represented in the program. Conventions of performance for non-contemporary popular styles include demonstrating poise and focus throughout the performance and the appropriate performance etiquette. Conventions of performance for contemporary popular styles include incorporating presentation elements into the performance throughout the program.
 * Prepare everything! Check them before leave home and after arrive
 * get there early, leave planty of time to warm up and to be ready!
 * Musically address to the audience while the posture and performence style is appropriate.
 * On stage, make big space for yourself, dont leave RUBBISH around you!
 * Where to leave your neccessary things on stage? do you need a water bottle?

Description
> website.
 * Duration of examination – a maximum of 25 minutes
 * Contribution to study score – 50 per cent
 * Students will present a program of approved solo works on an approved solo instrument in a live performance.
 * selected from the instrument list in the current (2010) Prescribed List of Notated Solo Works as published on the VCAA

The program will include at least

• four works for: accordion, bagpipes, bassoon, clarinet – B flat soprano, clarinet – bass, cornet in B flat, flugelhorn, baritone and euphonium (TC), cornet in E flat and tenor horn in E flat, double bass, flute, guitar – classical, guitar – contemporary popular, harp, harpsichord, horn, oboe, organ – pipe, pianoforte, recorder, saxophone – alto, saxophone – tenor, saxophone – baritone, trombone, trumpet, tuba, viola, violin, violoncello • five works for: contemporary piano, percussion • six works for: contemporary double bass, drum kit, electric bass, voice – classical, voice – contemporary popular. Further details are provided in the VCE Music Study Design, pages 96–98. For alternative instruments, the number of works is specified in the letter approving the use of the instrument. Requirements for the performance program The program will include at least • two of the works which will be examples of twentieth or twenty-first century music. • one which will be an unaccompanied work. • two which will be works performed with piano accompaniment or other accompaniment by another instrument as specified in the introduction to the relevant instrument list, except for performances on fretted stringed instruments, some folk and traditional instruments, non-pitched percussion, and keyboard instruments other than keyboard percussion (that is, no accompaniment is required for accordion, bagpipes, contemporary piano, guitar – classical, harpsichord, organ – pipe and pianoforte). Details about which instruments may be used for accompaniment are provided in the introduction to the lists for each instrument on the prescribed list. © VICTORIAN CURRICULUM AND ASSESSMENT AUTHORITY 2010 June 2010