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Evidence Guide: CUSMPF505A - Perform improvisation for audiences

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

 

CUSMPF505A - Perform improvisation for audiences

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

Prepare for ensemble improvisation

  1. Confirm improvisation requirements in consultation with relevant personnel
  2. Agree on strategies for clear communication within the group during the improvisation to allow the music to flow
  3. Rehearse aspects of the performance as required
Confirm improvisation requirements in consultation with relevant personnel

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Agree on strategies for clear communication within the group during the improvisation to allow the music to flow

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Rehearse aspects of the performance as required

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Contribute to the work of ensemble

  1. Ensure that own contribution extends and enhances the overall piece
  2. Support and enhance the contribution of others to achieve best performance outcomes
  3. Make improvisation sensitive to the needs of other performers to stimulate the whole ensemble
Ensure that own contribution extends and enhances the overall piece

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Support and enhance the contribution of others to achieve best performance outcomes

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Make improvisation sensitive to the needs of other performers to stimulate the whole ensemble

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Contribute solo improvisation

  1. Respond accurately to starting cues
  2. Sustain musical impetus in the solo improvisation through dynamic use of musical elements
  3. Maintain stylistic cohesion in the realisation of harmony, melody, and/or rhythm and musical expression
  4. Listen carefully to other performers, respond aurally to their work and adjust own performance appropriately
  5. Provide a clear cue to the ensemble to finish the solo section
  6. Ensure that the duration of the solo section accords with the custom and practice of the group and/or musical style
  7. Acknowledge applause according to the custom and practice of the group and/or musical style
Respond accurately to starting cues

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Sustain musical impetus in the solo improvisation through dynamic use of musical elements

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Maintain stylistic cohesion in the realisation of harmony, melody, and/or rhythm and musical expression

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Listen carefully to other performers, respond aurally to their work and adjust own performance appropriately

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Provide a clear cue to the ensemble to finish the solo section

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Ensure that the duration of the solo section accords with the custom and practice of the group and/or musical style

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Acknowledge applause according to the custom and practice of the group and/or musical style

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Evaluate improvisation

  1. Establish measures and methods that contribute to objective assessment for evaluating the success of the work in its context
  2. Assess and confirm with appropriate people the extent to which the improvisation has explored fully its potential in terms of content, style and structure
  3. Record performances where possible for evaluation purposes
  4. Measure performance against previous performances to assess development of self and ensemble
  5. Seek and use feedback to adjust performance
  6. Analyse performance for its potential contribution to further work
  7. Consider strengths and weaknesses to inform future performance
Establish measures and methods that contribute to objective assessment for evaluating the success of the work in its context

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Assess and confirm with appropriate people the extent to which the improvisation has explored fully its potential in terms of content, style and structure

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Record performances where possible for evaluation purposes

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Measure performance against previous performances to assess development of self and ensemble

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Seek and use feedback to adjust performance

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Analyse performance for its potential contribution to further work

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Consider strengths and weaknesses to inform future performance

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:

perform improvisations on at least three occasions using a range of improvisation styles in area of specialisation

respond creatively to cues

use aural imagination to develop musical materials

collaborate effectively with other members of a performance ensemble.

Context of and specific resources for assessment

Assessment must ensure:

access to relevant instruments and equipment

performance opportunities as part of an ensemble

appropriate venue with adequate space and acoustic qualities

an audience

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:

observation of performance where the candidate is performing an improvisation

written or oral questioning on the music structures of improvisation

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

relevant samples of artistic work with candidate's evaluation

authenticated details of relevant artistic and/or commercial achievements

video or audio recordings of performance or practice sessions where the candidate is performing an improvisation

case studies and scenarios as a basis for discussing issues about performing improvisations.

Guidance information for assessment

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

CUSMLT402A Articulate ideas about music

CUSMPF402A Develop and maintain stagecraft skills

CUSMPF506A Develop technical skills and expand repertoire.

Required Skills and Knowledge

Required skills

communication, listening and teamwork skills in the context of:

responding appropriately to aural and written cues

using aural imagination to develop and embellish themes in performance

working collaboratively with other members of the ensemble

giving and receiving constructive feedback on own performance and that of the group

technical skills in the context of:

demonstrating technical facility with the performance medium

using a range of improvisation techniques and styles in area of specialisation

using a variety of rhythms, time signatures, beat patterns and rhythmic styles in area of specialisation

initiative and creativity in the context of:

demonstrating originality and innovative approaches in improvisation

developing musical themes

listening critically to continuously evaluate and adjust the musical work

phrasing and shaping music appropriately

understanding and expressing appropriate musical nuance

applying appropriate styles or interpretation

working creatively with individual differences

responding appropriately to the unexpected in a live performance situation

self-management and learning skills in the context of:

monitoring and evaluating own improvisations

improving performance through experimentation and practice

responding appropriately to the pressures of performing live

Required knowledge

music knowledge, including:

well-developed understanding of chosen styles and genres and their musical forms and conventions for improvisation

chord schemes, rhythmic patterns and rhythmic conventions as they apply to improvisation

musical and performance protocols

issues and challenges that arise in the context of performing improvisations

OHS issues as they relate to performing live in a range of venues

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.

Improvisation requirements may include:

context

purpose

starting point

duration

scope

practice and rehearsal times.

Relevant personnel may include:

ensemble member

musical director

conductor

sound engineer.

Cues may include:

verbal

physical gestures

musical.

Musical elements may include:

melody

chords and chord progressions

intervals

harmony

rhythm

notes

chord-scale relationships

expression

motifs

tone.