Compose music for screen Evidence Guide

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Evidence Guide: CUSMCP502A - Compose music for screen

Student: __________________________________________________

Signature: _________________________________________________

Tips for gathering evidence to demonstrate your skills

The important thing to remember when gathering evidence is that the more evidence the better - that is, the more evidence you gather to demonstrate your skills, the more confident an assessor can be that you have learned the skills not just at one point in time, but are continuing to apply and develop those skills (as opposed to just learning for the test!). Furthermore, one piece of evidence that you collect will not usualy demonstrate all the required criteria for a unit of competency, whereas multiple overlapping pieces of evidence will usually do the trick!

From the Wiki University

CUSMCP502A - Compose music for screen

What evidence can you provide to prove your understanding of each of the following citeria?

Participate in pre-production phase of screen productions

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

In consultation with appropriate personnel, clarify all aspects of screen music composition briefs, including production values

Completed
Date:

Teacher:

Evidence:

As required, undertake research into the style and other aspects of music appropriate to the content or storyline of the screen production

Completed
Date:

Teacher:

Evidence:

Use a shot list to map musical events and durations to film shots

Completed
Date:

Teacher:

Evidence:

Determine which moving image sequences require theme and incidental music

Completed
Date:

Teacher:

Evidence:

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

Completed
Date:

Teacher:

Evidence:

Organise resources required for composing music in line with production requirements

Completed
Date:

Teacher:

Evidence:

Generate ideas for screen music

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

Prepare a plan for completing work in line with the requirements of the brief and negotiate a contract as required

Completed
Date:

Teacher:

Evidence:

Brief other people involved in the composition project as required

Completed
Date:

Teacher:

Evidence:

Generate a range of musical ideas or starting points and experiment with options for realising them

Completed
Date:

Teacher:

Evidence:

Investigate the potential of basic structural elements for achieving desired effects

Completed
Date:

Teacher:

Evidence:

Discuss options with appropriate personnel and refine ideas as required

Completed
Date:

Teacher:

Evidence:

Create and orchestrate theme and incidental music

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

Apply a range of compositional techniques to organise musical elements into working versions of theme and incidental music

Completed
Date:

Teacher:

Evidence:

Orchestrate sound and themes appropriately for the context of each sequence and to ensure musical continuity through the whole soundtrack

Completed
Date:

Teacher:

Evidence:

Where live music is to be used, ensure that all parts are available to appropriate personnel in a timely manner

Completed
Date:

Teacher:

Evidence:

Listen to work in progress with appropriate personnel and seek feedback on how well compositions meet creative and technical requirements

Completed
Date:

Teacher:

Evidence:

Incorporate ideas and suggestions into final compositions

Completed
Date:

Teacher:

Evidence:

Collaborate with appropriate personnel on the compilation of the final music soundtrack

Completed
Date:

Teacher:

Evidence:

Evaluate work

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

In consultation with appropriate personnel identify aspects of the composition and soundtrack compilation process that worked well and those that could be improved

Completed
Date:

Teacher:

Evidence:

Evaluate the quality and success of the music soundtrack in meeting production requirements and planned outcomes

Completed
Date:

Teacher:

Evidence:

Evaluate own role in operations and note areas for improvement

Completed
Date:

Teacher:

Evidence:

Provide feedback to team members on their performance as required

Completed
Date:

Teacher:

Evidence:

Use results of evaluation to improve own work practices

Completed
Date:

Teacher:

Evidence:

Assessed

Teacher: ___________________________ Date: _

Signature: ________________________________________________

Comments:

Instructions to Assessors

Evidence Guide

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.

Required Skills and Knowledge

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

OHS principles of:

safe listening, including safeguards against hearing loss

using a computer and keyboard for periods of time

Range Statement

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.

NTISthis.com

Evidence Guide: CUSMCP502A - Compose music for screen

Student: __________________________________________________

Signature: _________________________________________________

Tips for gathering evidence to demonstrate your skills

CUSMCP502A - Compose music for screen

Participate in pre-production phase of screen productions

Generate ideas for screen music

Create and orchestrate theme and incidental music

Evaluate work

Assessed

Teacher: ___________________________________ Date: _________

Signature: ________________________________________________

Comments:

Instructions to Assessors

Teacher: ___________________________ Date: _