Unit of competency Outline
Date retreived
22/07/2026 2:47 PM AWST
22/07/2026 2:47 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.
Provide musical leadership in performance
Provide musical leadership in performance
Unit of competency
National Code
CUSMPF508A
CUSMPF508A
State Code
D2946
D2946
TGA Status
Replaced
Replaced
DTWD Status
Replaced
Replaced
State Implementation and Classification
Approved Date
14/06/2010
Field of Education
100101 - Music
Original Release Date
14/06/2010
Nominal Hours
34
Description
This unit describes the performance outcomes, skills and knowledge required to lead a group in ensemble or other musical performance. This leadership role includes being responsible for motivating others to give their best in performance. This involves applying a range of musicianship skills, such as stagecraft; understanding the performance capabilities of instruments; and providing solutions to performance problems that arise during rehearsals and performances.
Notes
Elements and Performance Criteria
1. Extend music techniques
- 1.1 Adapt acquired techniques and technical skills to the context of the chosen style or playing environment to achieve best outcomes for self and others
- 1.2 Establish and undertake regular practice regimes to ensure that technique and skills are maintained and further developed to meet leadership requirements
- 1.3 Develop and extend skills and techniques as required in a range of different working contexts and their requirements
- 1.4 Develop intellectual and emotional response to, and understanding of, music through exposure to a wide range of stimuli
- 1.5 Focus listening skills in all musical experiences to enable analysis of content and musical intent to enhance musical outcomes for self and others
- 1.6 Develop aural memory and exercise consistently in all musical experiences
- 1.7 Analyse a diverse range of works to develop broad and specialised repertoire knowledge for self and others
2. Facilitate the expression of ideas and concepts in performance
- 2.1 Adapt, combine and integrate techniques, disciplines and skills flexibly to enable the appropriate physical expression of concepts
- 2.2 Focus and clearly project interpretive response to relevant performers
- 2.3 Demonstrate spatial awareness in a range of playing areas and give directions creatively and effectively to achieve best performance outcomes for self and others
- 2.4 Develop stagecraft skills by evaluating and using the physical components of performance effectively for self and others
3. Evaluate performances
- 3.1 Participate in debriefing sessions with relevant personnel to identify strengths and weaknesses of performances
- 3.2 Document the outcome of debriefing sessions according to enterprise procedures
- 3.3 Reflect on own performance and note areas for improvement
- 3.4 Respond appropriately to audience and peer feedback on performances
4. Enhance professional practice
- 4.1 In consultation with relevant personnel, identify professional development opportunities
- 4.2 Participate in professional development activities to improve work performance and ensure currency of industry knowledge
- 4.3 Use industry affiliations and strategic alliances to support and maintain professional practice
- 4.4 Seek and apply constructive criticism from others to improve own technical and conceptual skills
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.
Technical skills in area of specialisation may include:
physical mastery of instruments and musical materials
facility with techniques to control and enhance music making
proficiency to produce appropriate instrumental/vocal performance style and standard
musical elements and compositional techniques appropriate to style of music making
taking into account technical requirements of specific instruments.
Leadership requirements may include:
practising performance, composition and musical directing and conducting
communicating with peers using physical and electronic means
contributing to and participating in festivals and conferences relevant to area of specialisation
participating in groups or associations relevant to area of specialisation
being involved in a range of music-making activities relevant to area of specialisation
listening critically to a wide range of live and recorded music.
Requirements may include:
goals, values, objectives, processes and appropriate practices
ethical standards of industry, employer, agent, client or audience
current Copyright Act and amendments
licensing laws
time management
contingency planning
problem solving.
Listening may include:
listening to adjust the sound in solo or group performance
aural imagination to identify and develop interpretive options
pattern and sequence recognition and memory
recognising music systems and practices relevant to area of specialisation
chords and keys in tonal or other musical systems in area of specialisation
reproducing sequences from memory in area of specialisation
instrument tuning in area of specialisation.
Repertoire may include:
pieces appropriate to the selected instrument in area of specialisation
solo pieces in area of specialisation
ensemble pieces in area of specialisation
improvised pieces in area of specialisation.
Stagecraft skills may include:
interaction with audiences and performers
grooming
observing stage etiquette
stage make-up
energy
movement
acting
maintaining fitness
observing OHS requirements
facial expressions
way of holding instruments or equipment, such as microphones
effective use of performance space and props.
Relevant personnel may include:
producer
sound engineer
performer
stage manager
music critic
mentor
composer
musical director
sound designer
production manager
manager
client.
Professional development opportunities may include:
mentoring
coaching
structured or formal training
listening to and evaluating the work of others
conferences.
Technical skills in area of specialisation may include:
physical mastery of instruments and musical materials
facility with techniques to control and enhance music making
proficiency to produce appropriate instrumental/vocal performance style and standard
musical elements and compositional techniques appropriate to style of music making
taking into account technical requirements of specific instruments.
Leadership requirements may include:
practising performance, composition and musical directing and conducting
communicating with peers using physical and electronic means
contributing to and participating in festivals and conferences relevant to area of specialisation
participating in groups or associations relevant to area of specialisation
being involved in a range of music-making activities relevant to area of specialisation
listening critically to a wide range of live and recorded music.
Requirements may include:
goals, values, objectives, processes and appropriate practices
ethical standards of industry, employer, agent, client or audience
current Copyright Act and amendments
licensing laws
time management
contingency planning
problem solving.
Listening may include:
listening to adjust the sound in solo or group performance
aural imagination to identify and develop interpretive options
pattern and sequence recognition and memory
recognising music systems and practices relevant to area of specialisation
chords and keys in tonal or other musical systems in area of specialisation
reproducing sequences from memory in area of specialisation
instrument tuning in area of specialisation.
Repertoire may include:
pieces appropriate to the selected instrument in area of specialisation
solo pieces in area of specialisation
ensemble pieces in area of specialisation
improvised pieces in area of specialisation.
Stagecraft skills may include:
interaction with audiences and performers
grooming
observing stage etiquette
stage make-up
energy
movement
acting
maintaining fitness
observing OHS requirements
facial expressions
way of holding instruments or equipment, such as microphones
effective use of performance space and props.
Relevant personnel may include:
producer
sound engineer
performer
stage manager
music critic
mentor
composer
musical director
sound designer
production manager
manager
client.
Professional development opportunities may include:
mentoring
coaching
structured or formal training
listening to and evaluating the work of others
conferences.
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:
provide musical leadership in rehearsal and performance on at least three occasions
apply high levels of music literacy and repertoire knowledge
continuously improve performances through ongoing evaluation
motivate others involved in performances to achieve their best.
Context of and specific resources for assessment
Assessment must ensure:
access to relevant instruments and equipment
access to scores, charts or other written music resources
access to participants, such as performers and technical crew
access to appropriate performance venues with adequate space and acoustic qualities
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 musical performances led by the candidate
written or oral questioning to test knowledge as listed in the required knowledge section of this unit
authenticated musical recordings where the candidate provided musical leadership
case studies and scenarios as a basis for discussion about issues and challenges that arise in the context of providing musical leadership in performances.
Guidance information for assessment
Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended, for example:
CUSIND501A Apply music knowledge and artistic judgement
CUSMLT501A Refine aural-perception skills
CUSMPF402A Develop and maintain stagecraft skills
CUSMPF410A Perform music from written notation
CUSMPF501A Prepare a program for performance.
Overview of assessment
Critical aspects for assessment and evidence required to demonstrate competency in this unit
Evidence of the ability to:
provide musical leadership in rehearsal and performance on at least three occasions
apply high levels of music literacy and repertoire knowledge
continuously improve performances through ongoing evaluation
motivate others involved in performances to achieve their best.
Context of and specific resources for assessment
Assessment must ensure:
access to relevant instruments and equipment
access to scores, charts or other written music resources
access to participants, such as performers and technical crew
access to appropriate performance venues with adequate space and acoustic qualities
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 musical performances led by the candidate
written or oral questioning to test knowledge as listed in the required knowledge section of this unit
authenticated musical recordings where the candidate provided musical leadership
case studies and scenarios as a basis for discussion about issues and challenges that arise in the context of providing musical leadership in performances.
Guidance information for assessment
Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended, for example:
CUSIND501A Apply music knowledge and artistic judgement
CUSMLT501A Refine aural-perception skills
CUSMPF402A Develop and maintain stagecraft skills
CUSMPF410A Perform music from written notation
CUSMPF501A Prepare a program for performance.
Replaces
| State Code | National Code | Title | Type |
|---|---|---|---|
| C3995 | CUSLRN01A | Provide musical leadership in performance | Unit of competency |
Replaced By
| State Code | National Code | Title | Type |
|---|---|---|---|
| AWH95 | CUAMPF507 | Provide musical leadership in performance | Unit of competency |
| State Code | National Code | Title | Type |
|---|---|---|---|
| D363 | CUS60109 | Advanced Diploma of Music | Qualification |
| D360 | CUS50109 | Diploma of Music | Qualification |