Unit of competency Outline
Date retreived
22/07/2026 1:06 PM AWST
22/07/2026 1:06 PM AWST
Whilst all efforts are made to provide accurate and timely information from the relevant source/documentation, please be aware that the information supplied may not be the most current version. The accuracy of the detail has not been confirmed by the Department and therefore should not be relied upon without first confirming the contents.
Present a music performance
Present a music performance
Unit of competency
National Code
CUSMPF601A
CUSMPF601A
State Code
D2947
D2947
TGA Status
Replaced
Replaced
DTWD Status
Replaced
Replaced
State Implementation and Classification
Approved Date
28/06/2010
Field of Education
100101 - Music
Original Release Date
28/06/2010
Nominal Hours
63
Description
This unit describes the performance outcomes, skills and knowledge required to present music performances in all musical genres. The unit also describes the well-developed stagecraft skills and high-level technical and musicianship skills required to engage audiences, which will involve a wide range of repertoire in the area of specialisation.
Notes
Elements and Performance Criteria
1. Plan music performance program
- 1.1 In consultation with appropriate personnel, clarify expectations with regard to the music performance
- 1.2 Assess own repertoire to identify appropriate components that may contribute to the music performance program and research new repertoire possibilities
- 1.3 Sequence components of the music performance program to maximise audience engagement and to meet own physical requirements in presenting the performance
- 1.4 Assess each component of the music performance program against own strengths and weaknesses in performance, taking advice from others as required
- 1.5 Assess and obtain resources that may be required to present the piece
- 1.6 Finalise the music performance program in consultation with appropriate personnel as required
2. Prepare for the music performance
- 2.1 Engage in coaching, private practice and/or rehearsal sessions to ensure that the required performance standard is achieved
- 2.2 Where accompanists or other artists are involved in the performance, ensure that close rapport and musical empathy are developed through rehearsals in time to achieve the required performance standard
- 2.3 Seek and incorporate advice during performance preparation to ensure the best possible performance
3. Develop interpretation
- 3.1 Analyse the repertoire to interpret its scope, possibilities and underlying intention
- 3.2 Exploit a variety of interpretations in preparing the performance to develop musical expression and to identify the most appropriate interpretations within the constraints of own technical ability
- 3.3 Demonstrate awareness of the performing space and the intended audience in preparing the musical interpretation
4. Warm up for the music performance
- 4.1 Secure an appropriate warm-up space to tune instruments and check all other resources
- 4.2 Warm up physically to ensure that sound production is secure from the beginning of the performance
- 4.3 Centre thoughts to focus positively on the performance and relax effectively using techniques for overcoming performance anxiety
5. Perform before an audience
- 5.1 Maintain communication with the audience, other artists and stage personnel using appropriate eye contact and other body language as required to ensure a cohesive performance
- 5.2 Adjust own performance as required to ensure that instrumental/vocal tuning, sound production and technical performance standard are maintained throughout the performance
- 5.3 Sustain interpretation and expressive communication with the audience coherently and consistently, and maintain energy and focus throughout the performance
- 5.4 Recover errors in performance with minimum disruption to performance and audience experience
- 5.5 Respond to the audience as required by the custom or tradition of the performance context in entering and leaving the stage, accepting applause, acknowledging other artists or relevant personnel and providing encores
- 5.6 Present the performance with due regard to OHS considerations
6. Evaluate the music performance
- 6.1 Use objective measures to evaluate the success of the music performance
- 6.2 Measure own performance against previous work to assess technical and artistic development
- 6.3 Identify and note weaknesses and errors in the performance for analysis and remediation
- 6.4 Assess feedback and use for possible adjustment in future work
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:
musical director
performer
mentor
teacher
coach
tutor
conductor
producer
agent
client
sound engineer.
Expectations may include:
duration
purpose
scope
venue
style of music
number of performers
rehearsals
whether music is to be recorded
publicity and promotion
target audience.
Repertoire may include:
pieces appropriate to the selected instrument
solo and ensemble pieces
improvised pieces
works from a range of genres and styles.
Resources may include:
sheet music or scores for own use and that of other performers
instruments:
acoustic or electronic
voice
stringed
keyboards
wind
tuned and untuned percussion
instrumental accessories:
reeds
strings
plectrums
mouth pieces
sticks, mallets, brushes and beaters
stands
pedals
microphones
amplifiers
samplers
mixers
enhancers
practice, rehearsal, coaching and music venues
répétiteurs, accompanists and other performers
electronic or electrical sound equipment
microphones
leads and racks
packing cases
music stands
lighting
props and stage decorations, including floral arrangements
gifts required for presentations at the conclusion of the music
costumes and personal accessories
trolleys or other lifting and carrying equipment
transport
stage personnel.
OHS considerations may include:
correct posture to support facility and longevity in practice
ensuring that practice sessions are of reasonable duration to avoid fatigue
hearing protection
protection of body against overuse injury
safe lifting techniques
strategies to overcome performance anxiety, such as:
focussing on a single element or action at a time
relaxation techniques, such as meditation and deep breathing
focussing on patterns rather than individual notes
warm-up routines.
Appropriate personnel may include:
musical director
performer
mentor
teacher
coach
tutor
conductor
producer
agent
client
sound engineer.
Expectations may include:
duration
purpose
scope
venue
style of music
number of performers
rehearsals
whether music is to be recorded
publicity and promotion
target audience.
Repertoire may include:
pieces appropriate to the selected instrument
solo and ensemble pieces
improvised pieces
works from a range of genres and styles.
Resources may include:
sheet music or scores for own use and that of other performers
instruments:
acoustic or electronic
voice
stringed
keyboards
wind
tuned and untuned percussion
instrumental accessories:
reeds
strings
plectrums
mouth pieces
sticks, mallets, brushes and beaters
stands
pedals
microphones
amplifiers
samplers
mixers
enhancers
practice, rehearsal, coaching and music venues
répétiteurs, accompanists and other performers
electronic or electrical sound equipment
microphones
leads and racks
packing cases
music stands
lighting
props and stage decorations, including floral arrangements
gifts required for presentations at the conclusion of the music
costumes and personal accessories
trolleys or other lifting and carrying equipment
transport
stage personnel.
OHS considerations may include:
correct posture to support facility and longevity in practice
ensuring that practice sessions are of reasonable duration to avoid fatigue
hearing protection
protection of body against overuse injury
safe lifting techniques
strategies to overcome performance anxiety, such as:
focussing on a single element or action at a time
relaxation techniques, such as meditation and deep breathing
focussing on patterns rather than individual notes
warm-up routines.
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:
plan at least two music performances
confidently present at least two music performances on the selected instrument in area of specialisation
use aural discrimination to monitor and adjust own performance to achieve the required sound
respond positively to constructive feedback on own performance.
Context of and specific resources for assessment
Assessment must ensure:
access to relevant instrument and equipment
opportunities to present music performances before an audience
access to suitable acoustic space
use of culturally appropriate processes, and techniques appropriate to the language and literacy capacity of learners and the work being performed.
Method of assessment
The following assessment methods are appropriate for this unit:
observation of candidate presenting a music performance
video and/or audio recordings of candidate presenting a music performance
self-evaluation sheets
case studies and scenarios to discuss the identification of technical methods, strategies and issues in music performance and how to deal with them in performance.
Guidance information for assessment
Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended, for example:
CUSMPF602A Manage stagecraft aspects of performance
CUSMPF603A Refine performance techniques and expand repertoire
CUSMPF605A Develop advanced vocal techniques.
Overview of assessment
Critical aspects for assessment and evidence required to demonstrate competency in this unit
Evidence of the ability to:
plan at least two music performances
confidently present at least two music performances on the selected instrument in area of specialisation
use aural discrimination to monitor and adjust own performance to achieve the required sound
respond positively to constructive feedback on own performance.
Context of and specific resources for assessment
Assessment must ensure:
access to relevant instrument and equipment
opportunities to present music performances before an audience
access to suitable acoustic space
use of culturally appropriate processes, and techniques appropriate to the language and literacy capacity of learners and the work being performed.
Method of assessment
The following assessment methods are appropriate for this unit:
observation of candidate presenting a music performance
video and/or audio recordings of candidate presenting a music performance
self-evaluation sheets
case studies and scenarios to discuss the identification of technical methods, strategies and issues in music performance and how to deal with them in performance.
Guidance information for assessment
Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended, for example:
CUSMPF602A Manage stagecraft aspects of performance
CUSMPF603A Refine performance techniques and expand repertoire
CUSMPF605A Develop advanced vocal techniques.
Replaced By
| State Code | National Code | Title | Type |
|---|---|---|---|
| AWH98 | CUAMPF601 | Present a music performance | Unit of competency |
| State Code | National Code | Title | Type |
|---|---|---|---|
| D363 | CUS60109 | Advanced Diploma of Music | Qualification |