# Sources, original media and local authority · 30 September 2026

| Item | Actual verification/use | Rights and limit |
| --- | --- | --- |
| [ACARA v9 workbook](https://www.australiancurriculum.edu.au/content/dam/en/curriculum/ac-version-9/downloads/curriculum-workbook.xlsx) | Fresh direct 200, 2,049,917 bytes, exact canonical SHA; actual E/J rows 21218/21227/21237/21246 checked against imported records. | Core curriculum © ACARA 2010–present, CC BY 4.0 subject to [ACARA terms/exceptions](https://www.australiancurriculum.edu.au/copyright-and-terms-of-use). Official content retains its own terms; no endorsement or logo use. |
| [QCAA Prep Music alignment](https://www.qcaa.qld.edu.au/downloads/aciqv9/the-arts/curriculum/ac9_arts_music_prep_as_cd_alignment.pdf) | Fresh official indexed one-page text read; direct GET 403, no PDF downloaded. Exact codes/rows and aspect mapping confirmed. | © State of Queensland (QCAA) 2023, CC BY 4.0 with [QCAA copyright conditions/exceptions](https://www.qcaa.qld.edu.au/copyright); ACARA material retains its terms. |
| [ACARA Arts overview](https://www.australiancurriculum.edu.au/curriculum-information/understand-this-learning-area/the-arts) | Fresh official page text read: Music listening/composing/performing and aural practice; local flexibility and varied contexts. | Paraphrase and link only; no lesson/score copied. |
| [QCAA May 2026 example plan](https://www.qcaa.qld.edu.au/downloads/aciqv9/the-arts/planning/ac9_arts_music_prep_cap_example.pdf) | Fresh official indexed four-page text read; direct 403, no PDF download. FC01/CO1 typo noted accurately. | Planning example, not mandated timetable/repertoire or clearance for cultural works. No score/activity copied. |
| [QCAA v9 Music page](https://www.qcaa.qld.edu.au/p-10/aciq/version-9/learning-areas/p-10-the-arts/music) and [ACARA Music examples](https://www.australiancurriculum.edu.au/support-resources/learning-area-resources/music_examples_of_knowledge_and_skills) | Retained linked planning pointers; no new successful fetch asserted in this leaf. | Linked only. |
| [Creative Australia First Nations ICIP protocols](https://creative.gov.au/first-nations-arts/protocols-for-using-first-nations-cultural-and-intellectual-property-in-the-arts) | Linked local authority/permission pathway. | Relevant cultural authority, accurate context and permission required for First Nations work; public availability and ordinary copyright alone do not supply that authority. No First Nations knowledge, translation or motif authored here. |
| A–F kit, unchanged fresh K/L/key, ten scripts, 30 routes, 20 swaps, 20 bridges, eight A4 pairs and original three synthetic PCM WAVs | Original pack material. Fresh key/check bytes and old cue bytes preserved by [baseline](PRESERVED-BASELINE.json). | © NeuroForgeIO Pty Ltd 2026, CC BY 4.0. No child data is captured. |
| **Little Window Rhythm** and three new synthesized pulse/rhythm/together WAV candidates | SubjectNest by NeuroForgeIO Pty Ltd, computer-created named graphic model/source/media dated 2026-09-30; underlying A pattern existed earlier. Author purpose: invite children to try rhythm inside four beats for own opening/ending/music alone. | Original CC BY 4.0, not borrowed composition/sample, named human composer/performer or community repertoire. Documented purpose is not achieved effect. All six candidates **NOT CLEARED** pending human listening/device/volume/stop review. |
| DejaVu Sans | Embedded searchable PDF font subsets, no full font supplied. | [DejaVu/Bitstream Vera notice](print/dejavu-font-copyright.txt) retains its licence. |

[Fetch receipts](SOURCE-RECEIPTS.json) and the [crosswalk](CURRICULUM-CROSSWALK.md) document actual methods. A title/card does not prove a child encountered/responded to a source; record exact work/version/date/observer/route/help and own response only if actual. The supplied organisational model supports a narrow purpose discussion, not varied people/community coverage. Additional works use the [local source slot](AUTHENTIC-SOURCE-SLOT.md).

Local staff review familiar live sources for handling, reach, sound comfort and stop access with child choice. A tap cannot sustain LONG; no compulsory source/voice/body action/rate/instrument/purchase. Human candidate listening on intended equipment, actual live making, actual child response and actual audience sharing are four separate events. Digital peaks, generator completion and desk tests clear none of them. No compulsory recording, learner data collection, family/community disclosure or translation. Any later external work, recording, adaptation or child artifact needs its own rights/privacy/cultural/suitability check.