Assessor Resource

CUSMCP502A
Compose music for screen

Assessment tool

Version 1.0
Issue Date: April 2024


Screen composers write music to synchronise with film and video sequences. Music is used in a range of ways, for example, to create mood, a sense of location, an historical period or film genre. It is also used to link scenes and complement action sequences, such as car chases. Because music for film is usually written and recorded very late in the process, screen composers work to extremely tight deadlines. In addition to music compositional skills, they need thorough understanding of the screen production process since they work closely with producers, directors, sound recordists and post-production personnel.

This unit describes the performance outcomes, skills and knowledge required to compose music for screen productions.

You may want to include more information here about the target group and the purpose of the assessments (eg formative, summative, recognition)

Prerequisites

Not applicable

Employability Skills

Not applicable



Evidence Required

List the assessment methods to be used and the context and resources required for assessment. Copy and paste the relevant sections from the evidence guide below and then re-write these in plain English.

The Evidence Guide provides advice on assessment and must be read in conjunction with the performance criteria, required skills and knowledge, range statement and the Assessment Guidelines for the Training Package.

Overview of assessment

Critical aspects for assessment and evidence required to demonstrate competency in this unit

Evidence of the ability to:

prepare an appropriate response to at least two screen music composition briefs

compose music for at least two screen productions

apply well-developed aural skills to the composition process

work creatively, collaboratively and constructively in a team environment.

Context of and specific resources for assessment

Assessment must ensure:

access to screen productions that require the composition of music

access to industry-current software, hardware and audio equipment for composing, orchestrating and setting down music

use of culturally appropriate processes, and techniques appropriate to the language and literacy capacity of the candidate and the work being performed.

Method of assessment

The following assessment methods are appropriate for this unit:

evaluation of work plans and responses to screen music composition briefs prepared by the candidate

direct observation of the candidate composing musical pieces using electronic media

written or oral questioning to assess candidate's understanding of musical elements and compositional techniques

written or oral questioning to test knowledge as listed in the required knowledge section of this unit

case studies and scenarios as a basis for discussion of issues and challenges that typically arise in the context of composing music for screen productions.

Guidance information for assessment

Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended, for example:

CUFCMP501A Manage and exploit copyright arrangements

CUSMCP501A Compose music using electronic media

CUSSOU505A Compile music for soundtracks.

Submission Requirements

List each assessment task's title, type (eg project, observation/demonstration, essay, assingnment, checklist) and due date here

Assessment task 1: [title]      Due date:

(add new lines for each of the assessment tasks)

Assessment Tasks

Copy and paste from the following data to produce each assessment task. Write these in plain English and spell out how, when and where the task is to be carried out, under what conditions, and what resources are needed. Include guidelines about how well the candidate has to perform a task for it to be judged satisfactory.

Required skills

communication and teamwork skills sufficient to:

discuss compositional requirements in a collaborative manner

read and interpret screen music briefs and film shot lists

document plans for screen composition projects

respond positively to constructive feedback on own work

provide constructive feedback to others involved in the screen music composition and soundtrack compilation process

listening skills in the context of:

using aural imagination when manipulating musical elements

analysing music instrumentation

applying aural-perception skills to improve compositional outcomes

initiative and enterprise skills in the context of:

relating sounds to images and concepts in a creative way

phrasing and shaping music appropriately

expressing appropriate musical nuance

demonstrating originality and innovative approaches in the use and organisation of musical elements

experimenting with the synthesis of musical ideas and materials from a range of sources

learning skills sufficient to keep up to date with new versions of software applications relevant to composing music

planning, self-management and organisational skills sufficient to:

prioritise work tasks

meet deadlines

plan the composition of musical pieces in a logical sequence

work within established budgets and timeframes

demonstrate reliability in all agreed work commitments

problem-solving skills sufficient to plan for contingencies

technology skills sufficient to use industry-standard software applications and computer hardware relevant to composing music

Required knowledge

well-developed understanding of:

principles and techniques involved in composing and compiling music for screen productions

computer technologies relevant to composing music

film-making aesthetics, processes, personnel and technologies

issues and challenges that typically arise in the context of composing music for screen productions

music knowledge, including:

musical styles

musical concepts and ideas in the context of composing music for screen productions

typical formats for music composition plans

instrumentation and orchestration

musical protocols and customs for setting down music

features of a range of hardware and software tools/packages for composing music

musical terminology, systems, elements and genres

copyright law and permissions

OHS principles of:

safe listening, including safeguards against hearing loss

using a computer and keyboard for periods of time

The range statement relates to the unit of competency as a whole. It allows for different work environments and situations that may affect performance. Bold italicised wording, if used in the performance criteria, is detailed below. Essential operating conditions that may be present with training and assessment (depending on the work situation, needs of the candidate, accessibility of the item, and local industry and regional contexts) may also be included.

Appropriate personnel may include:

musician

performer

composer

musical assistant

music mixer

music supervisor

effects editor

effects mixer

sound recordist

re-recording mixer

audio operator and dubbing machine operator

audio and sound engineer

broadcaster, e.g. remote broadcast engineer

director

producer

post-production editor

program manager

sound designer

lighting designer

film/video crew.

Aspects of the brief may include:

nature of music required

relationship between the composer, producer, director and technical staff

responsibility for and access to necessary equipment and assistance

remuneration, including:

payment and payment details for the composer

contingency details

consideration of own and possible on-costs in generating the music

copyright, royalty and licensing issues

levels of responsibility

timelines

budgets

materials and facilities

production schedule.

Production values may include:

artistic style and quality

overall sound quality aligned with production vision

performance quality manifested in recordings

position and blend of sound sources

relative levels of sound sources

transitions between sound sources

overall sound balance

clarity of sound

colour of sound and sound textures

texture

timbre

orchestration

attack

articulation

dynamics

melody and harmony

mood/phrasing and expression.

Resources may include:

music recording and mixing equipment

MIDI

electronic hardware and software for generating or orchestrating music

sequencers

DAT

sound effects

personnel.

Productions may include:

feature films

documentaries

animated productions

short films

commercials

filmed events or performances

music videos

television productions of any type.

Aspects to be covered in the work plan may include:

duration, general vision for and scope of the composition material

text and any associated collaboration required

timelines

budget

instrumental and performing resources required for the work

timetable that allows for unexpected developments and contingencies

communication plan that ensures ongoing discussion and confirmation of the music being composed

plan of music components and any text components

map that clearly indicates duration requirements for sections of the work.

Aspects to be covered in a contract may include:

milestones and payment schedule

materials and facilities provided by both parties

responsibilities of both parties

role of any subcontracted personnel

process for negotiating variations to the contract.

Briefing others may involve:

allocating work in line with project requirements

providing specifications

agreeing on standards of work and monitoring procedures

providing technical and financial information

agreeing on payment schedules

discussing reporting mechanisms and arrangements for dealing with contingencies

negotiating process for providing feedback on work in progress.

Compositional techniques may include:

applying the theory and practice of harmony and counterpoint

composing heads as starting points for jazz improvisation

instrumentation

generating workable rhythm section parts

writing note combinations that sound good to the ear

contrary motion

writing parts

creating introductions and endings

using countermelodies

re-harmonising chord progressions

developing musical themes or motifs.

Musical elements may include:

acoustics

aesthetic qualities

articulation

attack

beat

cultural context

duration

dynamics

expression

form

harmony/chords

instrumentation

interpretation

intonation

melody

notation

nuance

orchestration

ornamentation

phrasing

pitch

relationship to song lyrics

rhythm

scales

shape

sound production

suspensions

tempo

texture

timbre/tone colour

time signatures

tonality

transposition

unity and contrast

voicing

volume.

Copy and paste from the following performance criteria to create an observation checklist for each task. When you have finished writing your assessment tool every one of these must have been addressed, preferably several times in a variety of contexts. To ensure this occurs download the assessment matrix for the unit; enter each assessment task as a column header and place check marks against each performance criteria that task addresses.

Observation Checklist

Tasks to be observed according to workplace/college/TAFE policy and procedures, relevant legislation and Codes of Practice Yes No Comments/feedback
In consultation with appropriate personnel, clarify all aspects of screen music composition briefs, including production values 
As required, undertake research into the style and other aspects of music appropriate to the content or storyline of the screen production 
Use a shot list to map musical events and durations to film shots 
Determine which moving image sequences require theme and incidental music 
Establish a routine with the director and film editor for viewing material which has been shot to keep track of any implications for the composition of music 
Organise resources required for composing music in line with production requirements 
Prepare a plan for completing work in line with the requirements of the brief and negotiate a contract as required 
Brief other people involved in the composition project as required 
Generate a range of musical ideas or starting points and experiment with options for realising them 
Investigate the potential of basic structural elements for achieving desired effects 
Discuss options with appropriate personnel and refine ideas as required 
Apply a range of compositional techniques to organise musical elements into working versions of theme and incidental music 
Orchestrate sound and themes appropriately for the context of each sequence and to ensure musical continuity through the whole soundtrack 
Where live music is to be used, ensure that all parts are available to appropriate personnel in a timely manner 
Listen to work in progress with appropriate personnel and seek feedback on how well compositions meet creative and technical requirements 
Incorporate ideas and suggestions into final compositions 
Collaborate with appropriate personnel on the compilation of the final music soundtrack 
In consultation with appropriate personnel identify aspects of the composition and soundtrack compilation process that worked well and those that could be improved 
Evaluate the quality and success of the music soundtrack in meeting production requirements and planned outcomes 
Evaluate own role in operations and note areas for improvement 
Provide feedback to team members on their performance as required 
Use results of evaluation to improve own work practices 

Forms

Assessment Cover Sheet

CUSMCP502A - Compose music for screen
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Assessment Record Sheet

CUSMCP502A - Compose music for screen

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