Unit of competency details

Version 

Comments 

CUAMPF302A

This version first released with CUA11 Live Performance Training Package version 1.0

Element 

Performance Criteria 

Elements describe the essential outcomes of a unit of competency.

Performance criteria describe the performance needed to demonstrate achievement of the element. Where bold italicised text is used, further information is detailed in the required skills and knowledge section and the range statement. Assessment of performance is to be consistent with the evidence guide.

1. Apply safe voice practices

1.1. Apply understanding of basic anatomy and physiology  to breath control, voice production and articulation for speech and singing

1.2. Apply correct physical posture and stance  to enhance efficient breathing and voice production

1.3. Discuss with relevant personnel  activities and factors  that inhibit or damage voice, voice projection and singing

1.4. Perform relaxation and warm-up routines  suitable for the voice in performance

1.5. Follow OHS procedures 

2. Practise technical control and vocal range

2.1. Apply vocal techniques  to show freeing and breathing exercises, and flexibility and control of articulation

2.2. Reinforce strengths of voice and throat by undertaking ongoing exercises  to maintain and develop posture, breathing control and vocal range

2.3. Explore personal potential by practising intricate arrays of sound through speech and voice exercises

2.4. Express various sounds using a range of the body’s resonators  in voice and speech exercise

2.5. Identify and implement methods for maintaining and developing vocal register and resonance

3. Practise vocal expression required for a range of text types

3.1. Interpret a variety of meanings and vocal expressions in a range of dramatic text styles and performance circumstances 

3.2. Examine texts and determine where specific vocal characterisations and dramatic or emotive nuances are

3.3. Apply appropriate control of vocal techniques in a range of vocal expressions  from a variety of dramatic text

3.4. Explore comic and dramatic qualities in a range of texts

3.5. Observe correct protocols and cultural maintenance  where text or stories of cultural content are to be used in performance

4. Apply relevant dramatic vocal techniques in a range of performance circumstances

4.1. Practise diction, timing, voice adaptation, dialects and accents through a variety of performance texts

4.2. Apply understanding of the principles of non-verbal communication  to changes of tone, timbre of voice and projection of vocal sound

4.3. Apply dramatic or emotive nuances  when performing appropriate vocal expression of a character from text

4.4. Adapt use of voice, speech, body, emotions and dramatic licence appropriate to context of the text in a range of solo and ensemble performances

4.5. Use pitch, pace and pause skilfully and imaginatively

4.6. Apply range, inflection and tone to convey meaning

4.7. Discuss performance with relevant personnel and use feedback  to identify and develop ways to improve own vocal performance techniques

Overview of assessment 

Critical aspects for assessment and evidence required to demonstrate competency in this unit 

Evidence of the ability to:

• apply knowledge of anatomy and physiology to vocal exercise routines
• articulate non-verbal communication in relation to written or spoken text
• correctly perform vocal exercises while employing appropriate posture and breathing techniques
• improvise performance in an appropriate manner
• follow safe vocal practices
• respond appropriately to feedback and evaluation.

Context of and specific resources for assessment 

Assessment must ensure access to:

• performance texts and opportunities
• appropriate venue with adequate space, acoustic qualities and safe flooring.

Method of assessment 

A range of assessment methods should be used to assess practical skills and knowledge. The following examples are appropriate for this unit:

• direct questioning combined with review of portfolios of evidence
• third-party workplace reports of on-the-job performance
• evaluation of live or recorded performances
• verbal or written questioning to test knowledge as listed in the required skills and knowledge section of this unit
• case studies and scenarios as a basis for discussion of issues and challenges that arise in the context of developing vocal techniques for performances
• group discussion
• journal work, including recording and evaluating the exercise methodology, and evaluating the performance
• direct observation or video recording of candidate in rehearsals and performances.

Assessment methods should closely reflect workplace demands (e.g. literacy) and the needs of particular groups (e.g. people with disabilities and people who may have literacy or numeracy difficulties, such as speakers of languages other than English, remote communities and those with interrupted schooling).

Guidance information for assessment 

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

• CUAMPF301A Employ music and singing in performance
• CUAPRF301A Create and tell stories
• CUAPRF302A Develop basic acting skills
• CUAPRF304A Develop audition techniques.

Anatomy and physiology  may include:

• articulators
• flexible front of the tongue
• larynx
• lips
• lungs
• middle or back of the tongue
• root of the tongue
• thoracic muscles
• trachea and muscles
• windpipe
• vocal folds within the larynx.

Physical posture and stance  may relate to:

• chest comfortably raised
• feet slightly apart
• flat abdomen
• head facing straight ahead
• hips rotated forward
• knees bent
• shoulders down and back
• spine aligned.

Relevant personnel  may include:

• client
• musical director
• producer
• performer
• mentor
• teacher
• coach
• tutor
• conductor
• agent
• medical personnel
• psychologist.

Factors  may include:

• breathiness
• differences in individual size, such as:

• body
• features
• vocal cords

• gender
• genetic disorders
• lesions and growths
• speech impediments
• unhealthy behaviours, such as substance abuse.

Vocal warm-up routines  may include:

• deep breathing exercises, especially for abdominal breathing
• exercises to loosen mouth, such as:

• tongue
• lips
• soft palate

• exercises to loosen face muscles, such as:

• cheek
• eye
• jaw

• gentle open vowel singing
• maintaining good throat hydration with gentle gargling
• tongue twisters
• whole body relaxation exercises, such as:

• tai chi
• yoga

• vocalising exercises beginning in mid-range before extending to upper and lower registers.

OHS procedures  may include:

• air control, inside and outside facilities
• wearing appropriate workwear
• awareness of own health status before and during activity
• awareness of repetitive movement, fatigue and prevention of injuries
• commitment to regular exercise to protect the body from injury
• gender-specific exercises to protect the body from injury
• identifying hazards and assessing risks
• lighting, heating and air-conditioning that meet regulations
• maintaining sufficient hydration
• identifying and addressing specific health implications, such as:

• smoking
• eating disorders

• sufficient and effective warm-up and cool-down techniques
• volume levels for self and others.

Vocal techniques  may include:

• application of different vocal timbres
• breathing
• emphasis
• intonation
• maintaining vocal range, such as:

• upper register
• middle register
• lower register

• pace
• phrasing
• pitch placement
• resonance
• rhythm
• timing.

Exercises  may include:

• acquiring vocal techniques, such as:

• legato
• staccato
• control of dynamics
• rapid figurations
• learning to comfortably sing wide intervals

• appropriate physical posture
• audibility, diction clarity, articulation and vocal placement
• developing:

• vocal strength
• stamina
• range
• projection

• flexibility developing breath control:

• setting up control period (suspension)
• controlled exhalation period (phonation)
• recovery period

• imagery or visualisation techniques to enhance performances
• study of acoustic phonetics.

Resonators  may include:

• chest
• tracheal tree
• larynx
• pharynx
• oral cavity
• nasal cavity
• sinuses.

Dramatic text styles and performance circumstances  may include:

• formal debating
• plays on a stage
• plays or sketches in the round or outdoors
• presentation of information to an audience
• speech styles, such as:

• accent
• dialect
• phonetics

• text styles, such as:

• comedy
• plays
• poetry
• songs
• speeches.

Protocols and cultural maintenance  include:

• rules of behaviour, which include governing communication, access to and use of cultural information and practices that form the heritage of the diverse range of Aboriginal and Torres Strait Islander societies
• following community protocols and rules of behaviour, including:

• obtaining and sharing information and materials
• visiting individuals and communities and requesting permission for activities

• strategies may include:

• non-verbal techniques, such as gestures
• display of positive regard and respect
• non-judgemental approaches
• forming partnerships with cultural groups to achieve particular work goals

• monitoring and reflecting on own actions to ensure cultural values are not imposed on others
• protection and sustainability of:

• natural and cultural integrity
• stories
• song lines
• spiritual practices
• artefacts
• sites of significance
• language
• responsibilities and obligations to individuals, country and the community

• authentic replication of approved:

• cultural stories
• music in the dance form for demonstration of culture outside the community environment

• issues relating to protection and exploitation of cultural heritage material may include:

• Indigenous communal rights
• Indigenous cultural and intellectual property
• laws relating to fraud and forgery
• import and export of culturally significant objects

• issues that may threaten beliefs and knowledge related to traditional land, sea-lore, law, family and ancestors.

Non-verbal communication principles  may include:

• body language
• emotional vocal sounds, such as:

• grunts
• silence
• space

• time or timing
• eye contact
• facial expression
• gestures and touch
• physical posture
• voice quality and speaking style.

Dramatic or emotive nuances  may include:

• physical posture and body language
• gestures and touch
• facial expression and eye contact
• environment and objects, such as:

• clothing
• props
• hairstyles
• symbols or graphics

• voice quality and speaking style
• interpretation of emotion
• vocal sounds, including:

• grunts
• silence
• space

• timing.

Feedback  may refer to:

• audience feedback
• evaluation from teachers
• 360 degree feedback
• mentor relationship
• listening to own and others’ performances
• observations of performances.