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Below are all of the messages posted to the Dance forum.
Sender: Kristen
Subject: Core comp
Date: 09-MAY-2003
Attachment: N/A
Message: My music is exactly 3 minutes is that to short and
should i add more to the music?
Sender: Janet Ayre
Subject: Re: Core comp
Date: 09-MAY-2003
Attachment: N/A
Message: >My music is exactly 3 minutes is that to short and
>should i add more to the music?

Three minutes is the minimum time limit , so it is
fine to have a three minute dance.

You would only want to add more music if you feel
there is a need to say more about your intent and you
feel that the dance needs to be longer.
Sender: jo
Subject: concepts/themes
Date: 08-MAY-2003
Attachment: N/A
Message: Could you please define the difference between the
CONCEPT for Core/Major comp and the THEME for Major
Performance AND since concepts in Core are manifested
in motifs and developed, what differentiating treatment
should be applied to the theme for Major Performance.
Sender: Janet Ayre
Subject: Re: concepts/themes
Date: 08-MAY-2003
Attachment: N/A
Message: >Could you please define the difference between the
>CONCEPT for Core/Major comp and the THEME for Major
>Performance AND since concepts in Core are manifested
>in motifs and developed, what differentiating treatment
>should be applied to the theme for Major Performance.

The concept of the core composition is one of the
central driving forces behind the creation of the
movement. All movement that is generated from the
process of improvisation to the development of the motif
and phrases is governed by the intent. Phrases are a
result of the manipulation of the motif in space, time
and dynamics, and those manipulations need to be seen
throughout the phrase.
The difference with the major study performance theme is
that it does not necessarily drive the creation of all
of the movement. The marking guidelines for performance
are differentiated into performane of technique and
perforance quality, and the theme is about interpreting
an idea or flavour or storyline etc through the
performance quality aspect of the dance.
Sender: Kristen
Subject: Core Comp
Date: 08-MAY-2003
Attachment: N/A
Message: When answering the viva voce will you be assessed on
your vocabulary of dance terminology?
Sender: Janet Ayre
Subject: Re: Core Comp
Date: 08-MAY-2003
Attachment: N/A
Message: >When answering the viva voce will you be assessed on
>your vocabulary of dance terminology?

If you demonstrate through your use of dance language
that you have a good understanding of the question, then
you will be rewarded. Use of terminology that does not
apply to what the question is asking will not assist you.
The focus of your response needs to be on discussing the
key aspects of the question and applying it to your work.
Sender: stephanie
Subject: core comp
Date: 07-MAY-2003
Attachment: N/A
Message: Is 3mins the min or max length for core compostition? i
have found my music but it goes for 4 mins 34 would this
be to long or should i cut it off and stick to 3mins?
Sender: Janet Ayre
Subject: Re: core comp
Date: 07-MAY-2003
Attachment: N/A
Message: >Is 3mins the min or max length for core compostition? i
>have found my music but it goes for 4 mins 34 would
this
>be to long or should i cut it off and stick to 3mins?

The exam specifications in the syllabus will help you.
All core components of the practical exam, i.e.
performance and compostion are 3 to 5 minutes in length.
This means that your 4 minute 34 sec piece of music is
long enough without being cut. Also think about whether
you are going to be able to say what you want to say in
that amount of time. Check this length
of music against the form and structure of the dance.
Sender: Sheree Elwin
Subject: Safe dance and core comp.
Date: 07-MAY-2003
Attachment: N/A
Message: If a student has a movement in their core comp. that
would perhaps be considered unsafe for core perf., is it
OK to use it for comp.? Will their marks be affected if
the markers see it as an unsafe movement as this is
sometimes very subjective in comp.?
Sender: Janet Ayre
Subject: Re: Safe dance and core comp.
Date: 07-MAY-2003
Attachment: N/A
Message: >If a student has a movement in their core comp. that
>would perhaps be considered unsafe for core perf., is
it
>OK to use it for comp.? Will their marks be affected
if
>the markers see it as an unsafe movement as this is
>sometimes very subjective in comp.?

Movement that is inherently unsafe should be avoided,
whether you are dancing a performance or composition.
Students should be able to devise manipulations of
movement so that they are safe. It is especially
important when students are having someone else dance
their composition. What some dancers consider safe for
themslves could be unsafe on another body.
Safe dance practice is one of the underpinning
philosophies of the dance syllabus and it should be
encouraged and adhered to in all components of the
course.
Sender: Nicole
Subject: Composition Viva Voce
Date: 03-MAY-2003
Attachment: N/A
Message: When doing a viva voce for composition, what sort of
questions might be asked? To what depth do we need to go
into phrases, sequencing, etc?
Sender: crystal gleave
Subject: Re: Composition
Date: 06-MAY-2003
Attachment: N/A
Message: when composing a major composition,how much contact
improvisation is commonoly used?i noticed at call back
conact improvisation was very common in major
compositions.is it marked highly?
Sender: Janet Ayre
Subject: Re: Composition
Date: 07-MAY-2003
Attachment: N/A
Message: >when composing a major composition,how much contact
>improvisation is commonoly used?i noticed at call back
>conact improvisation was very common in major
>compositions.is it marked highly?

This forum is really meant to be about core
composition, however, when you are crafting your major
study composition, you are working your dancers in the
space, so that they have a relationship to each other
that is a reflection of the motif(s)and the intent. This
relationship will occur between the dancers and your
manipulation of the dancer's through space, time and
dynamics. Look at the major composition section of
NSWHSC online, and it will give you more information on
relationships of 2-3 dancers.

Think about how the works you saw at callback used the
dancers and the space and how this was a response to
their intent. The works at callback have been selected
for a number of reasons. Most of them demonstrate
successful use of the process of composition as a whole.
Sender: kara way
Subject: composition music
Date: 06-MAY-2003
Attachment: N/A
Message: should you only stick to instrumental music when
deciding on your music for compositon or is ok to use
any sort of music that relates to your intent???
Sender: Janet Ayre
Subject: Re: composition music
Date: 07-MAY-2003
Attachment: N/A
Message: >should you only stick to instrumental music when
>deciding on your music for compositon or is ok to use
>any sort of music that relates to your intent???


The second half of your question is the correct
assumption.There are similar questions posted here on
the forums, which are asking the same questions. Check
these in relation to the use of the music and the
intent. Also be aware of the need to pay attention to
the nature of the lyrics in terms of their explicit and
appropriate nature.
Sender: Janet Ayre
Subject: Re: composition music
Date: 06-MAY-2003
Attachment: N/A
Message: >should you only stick to instrumental music when
>deciding on your music for compositon or is ok to
use
>any sort of music that relates to your intent???

You have really answered your own question. Your
choice of music is determined by your intent and
your choice of movement. Your music choice should
allow you to manipulate space time and dynamics to
help support your intent. Sometimes choosing
music with lyrics will enhance your ability to
manipulate the movement, but also it can
sometimes limit you. You have to carefully examine
the movement that you are creating and look at its
potential to be manipulated.
Sender: jennifer
Subject: Theme of composition
Date: 05-MAY-2003
Attachment: N/A
Message: When looking at Call back I noticed a lot of abstract
pieces of work such as clocks, birds etc. Is it wrong to
base your work on something more emotional? Do the
examiners want something that is completley 'out there',
or can it be something that impacts emotionally on an
audience.
Sender: Janet Ayre
Subject: Re: Theme of composition
Date: 05-MAY-2003
Attachment: N/A
Message: >When looking at Call back I noticed a lot of abstract
>pieces of work such as clocks, birds etc. Is it wrong
to
>base your work on something more emotional? Do the
>examiners want something that is completley 'out
there',
>or can it be something that impacts emotionally on an
>audience.

The marking of core composition is based on your clear
presentation of the intent of your dance through the
manipulation of the elements of space, time and
dynamics. It is also marked on your clear motif(s) and
manipulations of the motifs and phrases. Your choice of
intent is purely personal and there is no
differentiation made between emotional or abstract
intents. You need to be always aware that your motif(s)
need to be based on your intent and the motif(s) must be
able to be manipulated, as this forms the basis of the
dance. The works that you saw at Callback were there
because they successfully demonstrated the process of
composition and not because of their choice of stmulus
and intents.
Sender: Janet Ayre
Subject: Re: Composition Viva Voce
Date: 05-MAY-2003
Attachment: N/A
Message: >When doing a viva voce for composition, what sort
of
>questions might be asked? To what depth do we
need to go
>into phrases, sequencing, etc?

The viva voce question comes from the syllabus
under the section called areas of study. In
composition, there are four sections: manipulation of
the elements of dance, generating movement,
organising the movement and organising the
dance. There are dot points under each of these
headings and the viva question can be taken from
any of these dot points. It is important that you
understand the meaning of each of these dot points
and can discuss these in relation to the process of
composition. You need also to be able to discuss
where you have used this process in you own work
and be able to demonstrate it in your work.
Lets take an example of a viva question.
You may. for example, be asked about the process
of
developing phrases. You would need to discuss
what a phrase is and perhaps demonstrate a
phrase from your work. You would need to discuss
how you developed that phrase from the stimulus
and motif, and discuss all aspects of that
development. You would also need to demonstrate
how the motif is used in the phrase and expalin how
this relates to your intent. If the question also asked
about how the phrases are used in the dance, you
would need to dicuss other phrases and how they
are used to make a unified dance.
Sender: dance dance
Subject: Re: Composition Viva Voce
Date: 08-MAY-2003
Attachment: N/A
Message: what happens if we don't talk for the whole 5 mins?
Sender: Janet Ayre
Subject: Re: Composition Viva Voce
Date: 08-MAY-2003
Attachment: N/A
Message: >what happens if we don't talk for the whole 5 mins?

If you go blank, and cannot think of what else to say in
your viva. Look back at the question, and what you have
written in your preparation notes and check whether you
have made a response to all of the points that you have
written there. Think about other examples in your dance
that could help to reinforce what you have said and this
might help you think about other points.

Practice answering viva questions, and this will help
you time whta you want to say.
Sender: crystal gleave
Subject: Re: Composition
Date: 06-MAY-2003
Attachment: N/A
Message: when choreograghing for 2-3 dancers, what do the
examiners like to see?
Sender: Janet Ayre
Subject: Re: Composition
Date: 06-MAY-2003
Attachment: N/A
Message: >when choreograghing for 2-3 dancers, what do the
>examiners like to see?

This is not really a core composition question, as
choreographing for 2–3 dancers is only for Major
study. However, the markers are looking for your
ability to compose movement that has originality,
and is based on your intent., similar to your core
composition. In addition, they are looking for your
ability to reflect your intent, create movement and
structure your work for more than one body based
on the manipulation of space time and dynamics
and the clear use of the morif(s) and phrases.
Sender: lauren murphy
Subject: Re: Composition Viva Voce
Date: 06-MAY-2003
Attachment: N/A
Message: Are there any deductions for the use of lyrics in a
core composition ?
Do examiners prefer instrumentals?
Is it more effective to use more than one song in a
composition ?
Sender: Janet Ayre
Subject: Re: Composition Viva Voce
Date: 06-MAY-2003
Attachment: N/A
Message: >Are there any deductions for the use of lyrics in a
>core composition ?
>Do examiners prefer instrumentals?
>Is it more effective to use more than one song in a
>composition ?

The use of lyrics has no effect on the marking of your
composition. What you need to be aware of is, if you
are using msuic that contains lyrics, the lyrics should
have some relationship to the intent. If there is no
link between the music, lyrics and the intent, then
you need to ask yourself why are you using that
music?

There is an issue with the use of explicit language
in music and unsafe or inappropriate movement.

Your choice of musical accompaniment, whether it is
one song or more should be based solely on your
chosen structure for your dance, which is based
solely on your intent.

Marking of the HSC exams is based on achivement
of the outcomes and criteria of the marking
guidelines.
Sender: crystal gleave
Subject: Re: Composition Viva Voce
Date: 06-MAY-2003
Attachment: N/A
Message: >>When doing a viva voce for composition, what sort
>of
>>questions might be asked? To what depth do we
>need to go
>>into phrases, sequencing, etc?
>
>The viva voce question comes from the syllabus
>under the section called areas of study. In
>composition, there are four sections: manipulation of
>the elements of dance, generating movement,
>organising the movement and organising the
>dance. There are dot points under each of these
>headings and the viva question can be taken from
>any of these dot points. It is important that you
>understand the meaning of each of these dot points
>and can discuss these in relation to the process of
>composition. You need also to be able to discuss
>where you have used this process in you own work
>and be able to demonstrate it in your work.
>Lets take an example of a viva question.
>You may. for example, be asked about the process
>of
>developing phrases. You would need to discuss
>what a phrase is and perhaps demonstrate a
>phrase from your work. You would need to discuss
>how you developed that phrase from the stimulus
>and motif, and discuss all aspects of that
>development. You would also need to demonstrate
>how the motif is used in the phrase and expalin how
>this relates to your intent. If the question also
asked
>about how the phrases are used in the dance, you
>would need to dicuss other phrases and how they
>are used to make a unified dance.

could you explain the word abstraction and how it is
applied to motif development?
Sender: Cassie Robinson
Subject: Re: Composition Viva Voce
Date: 06-MAY-2003
Attachment: N/A
Message: hi when demonstrating motifs and movements from your
dance how long and many should you do if appropriate?
Sender: Janet Ayre
Subject: Re: Composition Viva Voce
Date: 06-MAY-2003
Attachment: N/A
Message: >hi when demonstrating motifs and movements
from your
>dance how long and many should you do if
appropriate?

What you choose to demonstrate will depend on
what you are being asked in the viva voce. The
demonstration should be used as another way of
showing your understanding of the question and
what you know about your work and the process of
developing your composition. When you are
planning the answer to the question, in your two
minute preparation time, think about where in your
dance there are examples of what the question is
asking. This will help you decide how much
demonstration that you would like to do.
Sender: Janet Ayre
Subject: Welcome to the dance forum on core composition
Date: 01-MAY-2003
Attachment: N/A
Message: Hello and welcome to the Dance forum.

My name is Janet Ayre. I will be the moderator for this
forum.
I am the Professional Support and Curriculum
Dance consultant for the Department of Education. I
am also a senior marker for the HSC dance practical
exams.
This forum will focus on core composition content
and issues. During this week you will be able to post
questions which will be answered by a panel of
experienced HSC markers

Post your questions here, and we will provide a
response within 48 hours. This will be a great
opportunity for dance students throughtout NSW to
discuss concerns and share experiences related to
the development of your composition.
Sender: Emma
Subject: Composition.
Date: 06-MAY-2003
Attachment: N/A
Message: I noticed at callback that most of the composition
items were theatrical, some were almost like a drama
movement piece. I don't understand how these pieces are
exemplorary according to the marking guidelines. Please
clarify this for me.
Sender: Janet Ayre
Subject: Re: Composition.
Date: 08-MAY-2003
Attachment: N/A
Message: >I noticed at callback that most of the composition
>items were theatrical, some were almost like a
drama
>movement piece. I don't understand how these
pieces are
>exemplorary according to the marking guidelines.
Please
>clarify this for me.

The marking guidelines state that marks are
allocated according to the your ability to compose
movement in a personal style, which is based on a
concept or intent.. Then organise that movement
from the motif into phrases, by manipulating the
elements of space, time and dynamics. Then
structure the phrases and form the dance into a
unified whole by utilising sequencing,transitions,
variety and contrast. The concept of personalised
movement that reflects the intent is central to
composition. It is movement that conveys meaning,
that has been abstracted from literal or conventional
movement . It is movement that demonstrates
manipulation of the elements of dance and explores
movement as a response to an idea/intent.
Composition is about exploring movement that has
no stylistic boundaries.

Works at callback are examples of successfully
achieving the process of composition in one or more
of the areas of study, and outlined in the marking
guidelines.
Sender: Sarah
Subject: Viva Voce demonstration
Date: 06-MAY-2003
Attachment: N/A
Message: In previous years what has been the most common amount
of phrases demonstrated and how much of your viva time
do you recomend devoting to demonstration?
Sender: Janet Ayre
Subject: Re: Viva Voce demonstration
Date: 06-MAY-2003
Attachment: N/A
Message: >In previous years what has been the most common amount
>of phrases demonstrated and how much of your viva time
>do you recomend devoting to demonstration?

How much demonstration is used by the student is really
only relevant to each student. Demonstration in the viva
is used as a means of showing the markers your knowledge
of the process of composition. The demonstration is
equivilant to writing an example in a written essay. It
is used to further the explanation of the question.
Sender: Kristy Pryjma
Subject: Re: Composition
Date: 05-MAY-2003
Attachment: N/A
Message: I was just wondering about form in dance. I have dine
most of my composition in ternary form but the middle
section doesn't seem to be really contrasted in
accompaniment and timing. Is this seen as a negative to
markers?
Sender: Janet Ayre
Subject: Re: Composition
Date: 06-MAY-2003
Attachment: N/A
Message: >I was just wondering about form in dance. I have dine
>most of my composition in ternary form but the middle
>section doesn't seem to be really contrasted in
>accompaniment and timing. Is this seen as a negative to
>markers?

The form of your composition does not need to be any of
the familiar known forms. The form of your dance should
be decided by what you want to show through the
structuring of the phrases and how you want to interpret
your intent. The middle section of the known ternary
form does not necessarily have to be a direct contrast
with the first section, it can be seen in how you
manipulate the elements of dance, e.g. by contrasting
the dynamic. Make sure that what you are trying to
develop is clearly seen in the use and manipulation of
the motif, the phrases and what ever
sections that you decide you need to have.
Sender: Cassie Robinson
Subject: Re: Composition
Date: 06-MAY-2003
Attachment: N/A
Message: In compostion if props are used eg rope are marks
deducted or added for this?
Sender: Janet Ayre
Subject: Re: Composition
Date: 06-MAY-2003
Attachment: N/A
Message: >In compostion if props are used eg rope are marks
>deducted or added for this?

Props can only be used in a major study. Make sure that
you check the exam specifications in the syllabus. They
are towards the back of the syllabus. It is here that
you will find the things that you need to know about the
conduct of the exams. In all core components of the
exam, you cannot use props or costumes. If these are
used there is a penalty involved.
Sender: lauren murphy
Subject: Re: Composition
Date: 06-MAY-2003
Attachment: N/A
Message: In major composition is it ok to touch on a narrative,
or is it best to avoid this ?
Sender: Janet Ayre
Subject: Re: Composition
Date: 06-MAY-2003
Attachment: N/A
Message: >In major composition is it ok to touch on a narrative,
>or is it best to avoid this ?


This is not really a core composition question. However,
the form that your major study takes will be determined
by your intent. It can take whatever form that you think
is the best representation of your movement ideas, motif
(s)and structure.
Sender: lauren murphy
Subject: Re: Composition
Date: 06-MAY-2003
Attachment: N/A
Message: In major composition,would you recomend the use of two
or three dancers?
Approximately how much of the piece should be performed
in unison ?
Sender: Janet Ayre
Subject: Re: Composition
Date: 07-MAY-2003
Attachment: N/A
Message: >In major composition,would you recomend the use of two
>or three dancers?
>Approximately how much of the piece should be performed
>in unison ?

This is really a major study composition question, and
this
forum is meant to discuss core composition questions.
However, your choice of the number of dancers is
dependant only on your intent. Think carefully about
whether your intent needs two or three dancers, e.g is
the intent about two contasting characters or ideas or
is the intent about a story line that may suit three
dancers? The answer to these questions will determine
the number of dancers that you choose.

In response to the question about unison. There is no
definitive answer to this question. How you craft the
work relies on your development of the phrases and the
structure of the sections and your manipulation of
space, time and dynamics. You deal with these while
keepinng in mind how it all
relates to how you want to portray the intent.
Sender: Cassie Robinson
Subject: Re: Composition
Date: 06-MAY-2003
Attachment: N/A
Message: What are the common types of music that people have
been using? Are they instrumental, include lyrics or
just plain dark music? Are there many compositions
based on death or something close to that?
Sender: Janet Ayre
Subject: Re: Composition
Date: 07-MAY-2003
Attachment: N/A
Message: >What are the common types of music that people have
>been using? Are they instrumental, include lyrics or
>just plain dark music? Are there many compositions
>based on death or something close to that?

Stutents use all types of music for their compositions.
When you are choosing music, you should base your
decision only on the ability of the music to reflect
your chosen intent. In relation to the lyrics in music.
Be aware that lyrics should closely align with the
intent and be able to either support the intent or be
used to further abstract the intent.

The intent (or theme) is what you are dancing about. You
always have to have at the forefront of your thinking
when composing, whether the intent is able to be moved
and manipulated. Some themes are very broad and need to
be narrowed down, by perhaps focussing on an aspect of
that broad theme. Ask yourself, what is it about the
theme that you can move and dance about.
Sender: -
Subject: 'original movements'
Date: 07-MAY-2003
Attachment: N/A
Message: looking at the syllabus, it appears that it is very
important to use 'original movements' in your
composition... however i find that no movement can
actually be classified as original as it has all been
used somewhere before. So when they ask you about
original movements, do you just appropriate/re-create
movements already been done before? E.g. use foundations
of a step, but change the way you use your arms to
represent your intent/motif
Sender: Janet Ayre
Subject: Re: 'original movements'
Date: 08-MAY-2003
Attachment: N/A
Message: >looking at the syllabus, it appears that it is very
>important to use 'original movements' in your
>composition... however i find that no movement can
>actually be classified as original as it has all been
>used somewhere before. So when they ask you
about
>original movements, do you just
appropriate/re-create
>movements already been done before? E.g. use
foundations
>of a step, but change the way you use your arms to
>represent your intent/motif

The process of composition is asking for a
movement response to a stimulus and intent. The
movement is generated by taking the literal
movement response and turning it into something
that is more symbolic. When creating movement and
abstracting and improvising, explore all the
movement possibilities, using all off the body and
the space in front, behind, overhead etc. In this way
there are no steps as such. It simply becomes
movement that explores space, time and dynamics.
There are no limits. The movement becomes
personal to you, the intent and the motif, upon which
the composition is built.
Sender: jenn
Subject: phrasing
Date: 06-MAY-2003
Attachment: N/A
Message: What exactly is a phrase...i know what it is, but
technically am i correct in saying that it really doesnt
have a specific length/duration in time (like a certain
number of counts)....because when using an example of a
phrase in your comp, how do you know how big this phrase
should be? and how much movement to talk about? does
phrasing go according to phrases in the music? or
phrases in your movement? thanks
Sender: Janet Ayre
Subject: Re: phrasing
Date: 07-MAY-2003
Attachment: N/A
Message: >What exactly is a phrase...i know what it is, but
>technically am i correct in saying that it really
doesnt
>have a specific length/duration in time (like a certain
>number of counts)....because when using an example of a
>phrase in your comp, how do you know how big this
phrase
>should be? and how much movement to talk about? does
>phrasing go according to phrases in the music? or
>phrases in your movement? thanks

You are correct in saying that the phrase does not have
a specific length. It is imporatant to know that the
phrase is as long as it needs to be to relate something
about the intent. The phrase is like a sentence in a
paragraph. It is a complete statement about the whole
dance.

Sometimes phrases will match the musical structure, but
that does not mean that they always will. The phrases
may carry across more that one musical phrase. Phrases
are always driven by the motif as the motivating force,
and the motif is seen and manipulated throughout the
phrase to make a complete statement about the intent.
Sender: Adrian
Subject: Penalties
Date: 08-MAY-2003
Attachment: N/A
Message: How many marks do the examiners take away if your dancer
steps over the line?
Sender: Janet Ayre
Subject: Re: Penalties
Date: 08-MAY-2003
Attachment: N/A
Message: >How many marks do the examiners take away if your
dancer
>steps over the line?

If the dancer steps once outside the space, there is no
penalty awarded. To help ensure that the dancer is aware
of the space, there is time given to you at the exam
centre to view the space, and walk your dancer through
the space before the morning session and afternoon
sessions begin. Make use of that, especially for your
dancer.

Also ensure that your use of the performance space in
creating your phrases has purpose and your dancer
understands that purpose.

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