Unit of competency Outline
Date retreived
22/07/2026 3:09 PM AWST
22/07/2026 3:09 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.
Compose music for screen
Compose music for screen
Unit of competency
National Code
CUSMCP502A
CUSMCP502A
State Code
D2895
D2895
TGA Status
Replaced
Replaced
DTWD Status
Replaced
Replaced
State Implementation and Classification
Approved Date
19/09/2012
Field of Education
100101 - Music
Original Release Date
19/09/2012
Nominal Hours
34
Description
This unit describes the performance outcomes, skills and knowledge required to compose music for screen productions.
Notes
Elements and Performance Criteria
1. Participate in pre-production phase of screen productions
- 1.1 In consultation with appropriate personnel, clarify all aspects of screen music composition briefs, including production values
- 1.2 As required, undertake research into the style and other aspects of music appropriate to the content or storyline of the screen production
- 1.3 Use a shot list to map musical events and durations to film shots
- 1.4 Determine which moving image sequences require theme and incidental music
- 1.5 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
- 1.6 Organise resources required for composing music in line with production requirements
2. Generate ideas for screen music
- 2.1 Prepare a plan for completing work in line with the requirements of the brief and negotiate a contract as required
- 2.2 Brief other people involved in the composition project as required
- 2.3 Generate a range of musical ideas or starting points and experiment with options for realising them
- 2.4 Investigate the potential of basic structural elements for achieving desired effects
- 2.5 Discuss options with appropriate personnel and refine ideas as required
3. Create and orchestrate theme and incidental music
- 3.1 Apply a range of compositional techniques to organise musical elements into working versions of theme and incidental music
- 3.2 Orchestrate sound and themes appropriately for the context of each sequence and to ensure musical continuity through the whole soundtrack
- 3.3 Where live music is to be used, ensure that all parts are available to appropriate personnel in a timely manner
- 3.4 Listen to work in progress with appropriate personnel and seek feedback on how well compositions meet creative and technical requirements
- 3.5 Incorporate ideas and suggestions into final compositions
- 3.6 Collaborate with appropriate personnel on the compilation of the final music soundtrack
4. Evaluate work
- 4.1 In consultation with appropriate personnel identify aspects of the composition and soundtrack compilation process that worked well and those that could be improved
- 4.2 Evaluate the quality and success of the music soundtrack in meeting production requirements and planned outcomes
- 4.3 Evaluate own role in operations and note areas for improvement
- 4.4 Provide feedback to team members on their performance as required
- 4.5 Use results of evaluation to improve own work practices
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.
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.
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.
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.
Replaced By
| State Code | National Code | Title | Type |
|---|---|---|---|
| AWI49 | CUAMCP502 | Compose music for screen | Unit of competency |
| State Code | National Code | Title | Type |
|---|---|---|---|
| D363 | CUS60109 | Advanced Diploma of Music | Qualification |
| D360 | CUS50109 | Diploma of Music | Qualification |