RATIONALE According to the NSW Board of Studies Music Syllabus (200!" the three #ey aspects of $usical education are %istening" &o$posing and 'erfor$ing( )he inclusion of all of these acti*ities is therefore crucial to not only de$onstrate a ne+ style,genre of $usic but to solidify and de*elop a student-s $usical #no+ledge( )he purpose of this curriculu$ is to pro*ide students +ith *aried and inclusi*e content that +ill .engage and challenge all students to $a/i$ise their indi*idual talents and capabilities for lifelong learning0 (200" p(1!( )he initial learning tas# +ithin the sub2ect of )heatre Music allo+s students to hone their listening s#ills +hile also de$onstrating an e/a$ple of Musical )heatre for their continued understanding( )he syllabus inti$ates that students should .de*elop #no+ledge" understanding and s#ills in the $usical concepts through listening as a $eans of e/tending aural a+areness and co$$unicating ideas about $usic30(200" p(2!( )he pri$ary tas# includes a co$posing aspect +ith a $inor perfor$ance for students to de*elop s#ills and understanding through co$posing and perfor$ing (200" p(045!( 6n order to pro*ide a fully inclusi*e classroo$" so$e $inor alterations can be $ade to the assess$ent tas# and the structure of the classroo$ acti*ities( 7or a student +ith di*erse abilities" the co$position tas# could include outco$es slightly ad2usted (eg( A student e/peri$ents $a#ing" representing and recording $usical sounds and engages in perfor$ing" co$posing and listening e/ercised for en2oy$ent!( )he inclusion of instru$ents rather than co$puter technology could also pro*ide a $ore inclusi*e and accessible learning en*iron$ent for a student +ith di*erse needs( As +ell as this" the co$bination of indi*idual and +hole4class acti*ities +ould pro*ide a di*erse en*iron$ent to suit a student +ith challenging beha*iours and #eep the$ engaged +ith the learning( )hese ad2ust$ents allo+ for significance +ithin the classroo$ and assists in $a#ing learning $eaningful for a range of students (NSW 8uality )eaching 7ra$e+or#" 200" p( 50!( )he constant reinforce$ent of literacy and nu$eracy +ithin the classroo$ is de$onstrated through +riting tas#s (note4ta#ing" collaborati*e sessions" reflections" lyric4co$posing! and a focus on $athe$atical understanding (note *alues" addition" ti$e signatures" rhyth$ and te$po!( As +ell as this" the inclusion of 6&) co$ponents (use of co$puters for co$posing! allo+s for cross4curriculu$ co$ponents to be reinforced( With each tas#" the teacher clearly and thoroughly e/plains the para$eters and e/pectations associated +ith it( )his reinforce$ent of intellectual 9uality is crucial to the nurturing of high4order thin#ing and deep #no+ledge and understanding a$ongst students (200" p50!( LESSON PLANS LESSON 1 Class/Stage: :ear 50,Stage 1 Lesson/Perio: 5,'eriod ; Lesson Lengt!: ;0 $ins To"i#/Main Con#e"t/T!e$e: 6ntroduction to )heatre Music S%LLA&US CONTENT to be co*ered )heatre $usic and its purpose( %istening to theatre $usic and identifying distinguishing features of )heatre Music through understanding of $usical concepts( S%LLA&US OUTCOMES to be co*ered 5.7 de$onstrates an understanding of $usical concepts through analysis" co$parison" and critical discussion of $usic fro$ different stylistic" social" cultural and historical conte/ts( 5.9 de$onstrates an understanding of $usical literacy through the appropriate application of notation" ter$inology" and the interpretation and analysis of scores used in )heatre Music( St'ents (ill learn to: listen to" analyse and co$pare a range of repertoire characteristic of )heatre Music identify" co$pare and discri$inate bet+een +ay in +hich $usical concepts ha*e been used and $anipulated in )heatre Music( St'ents (ill learn a)o't: analysing and co$paring $usic of *arious styles" periods and genres characteristic of )heatre Music( 6dentifying and discri$inating bet+een +ays in +hich $usical concepts ha*e been used and $anipulated( Learning E*"erien#es Per+or$ing Co$"osing Listening M'si#al Con#e"ts ,'ration Pit#! ,-na$i#s an e*"ressi.e te#!ni/'es Tone Colo'r Te*t're Str'#t're Cross C'rri#'l'$ Content ICT A)original an Inigeno's Wor01 E$"lo-$ent an Enter"rise Ci.i#s an Citi2ens!i" ,i++eren#e an ,i.ersit- En.iron$ent 3ener Ke- Co$"eten#ies Colle#ting Anal-sing an organising in+or$ation Co$$'ni#ating ieas an In+or$ation Planning an organising a#ti.ities Wor0ing (it! ot!ers in tea$s Using $at!e$ati#al ieas an te#!ni/'es Sol.ing "ro)le$s Using Te#!nolog- Litera#- N'$era#- Writing obser*ations fro$ listening tas# 6dentifying inter*als using pitch" note *alues and te$po using duration Consierations/Pre"aration Prior Kno(lege/E*"erien#e 4understanding and application of $usical concepts through listening( Reso'r#es/Materials/Te#!nolog- +hiteboard playbac# de*ice,spea#ers listening +or#sheet (using e/a$ple of past <S& e/a$ paper! http:,,+++(boardofstudies(ns+(edu(au,hsc =e/a$s,hsc200>e/a$s,pdf=doc,$usic=5= 0>(pdf Ke- 5o#a) stylistic indications alto and tenor clefs phrasing" articulation dense,sparse te/ture" orchestra" band" soprano" alto" tenor" baritone" bass the$es" *ariation" solo( Sa+et- Ris0 ?use of electric e9uip$ent Ke- 6'estions What are the per*ading stylistic features of theatre $usic@ 6s there a unifor$ sound to theatre $usic@ STA3E OF LESSON TEAC7ER ACTIONS STU,ENT ACTIONS 6UESTION IN3/ UN,ERSTA N,IN38 TIME RESOURCES 5( %6NA6NG ?Biscuss the concept of theatre $usic and if students ha*e any e/posure,#no+ledge of it( ?Ce*ise pre*ious listening e/ercises for other styles of $usic co*ered and reinforce specific stylistic features of different styles( ?Cespond to discussion4 offer idea on +hat they thin# theatre $usic is( ?&ontribute to re*ision on pre*ious styles of $usic and their specific characteristics( 1 $ins Whiteboard for notes on re*ision( 2(6N)CDBE&)6DN )eacher e/plains the purpose of theatre $usic( )o enhance" acco$pany" illustrate" narrate( Students engage +ith ne+ content and e/planation of Musical 8uestions fro$ students regarding the +ide range 50 $ins Whiteboard for notes( )eacher e/plains the range of $usic co*ered (ballet" plays" $usical theatre etc! and then focuses on Musical )heatre as the $ain $ediu$ studied( F/plains the structure of pieces and the confor$ing narrati*e style of Musical )heatre especially focusing on lyrics and other $ethods of telling a story ie dyna$ics" instru$entation( Brief bac#ground on the $usical You're A Good Man Charlie Brown( )heatre( of styles +ithin Musical )heatre( ;( BDB: Bistribute sheet $usic and lyric sheet for GMy Ne+ 'hilosophyG fro$ :ouGre A Good Man &harlie Bro+n and play recording t+ice for students to respond to listening +or#sheet acti*ities( %isten to recording of GMy Ne+ 'hilosophyG and +ith the aid of the lyrics and sheet $usic" ans+er 9uestions on listening +or#sheet( 51 $ins Sheet $usic and lyrics for GMy Ne+ 'hilosophyG (appendi/ B! %istening tas# +or#sheet (appendi/ &! Cecording of GMy Ne+ 'hilosophy(G 1( &DN&%ES6DN )eacher opens discussion on +hat concepts of $usic +ere percei*ed in the recording and ho+ they relate to )heatre Music( )eacher creates a $ind4$ap on +hiteboard to solidify ideas( )eacher hands out brief for assess$ent tas# (see Assess$ent 7or %earning! Students engage in the discussion and present their ideas( 1 $ins Whiteboard for $ind4$ap ans+ers 'ac# up( >( FHA%EA)6DN CF7%F&)6DN F*aluation on the progress of each student and any ad2ust$ents that $ay need to be $ade for students +ith di*erse abilities( LESSON 2 Class/Stage: :ear 50,Stage 1 Lesson/Perio: 2,'eriod 5 Lesson Lengt!: ;0 $ins To"i#/Main Con#e"t/T!e$e: &o$posing a piece for theatre S%LLA&US CONTENT to be co*ered )heatre $usic and its purpose( &o$posing theatre $usic de$onstrating an understanding of the topic and of the $usical concepts S%LLA&US OUTCOMES to be co*ered 1(; de$onstrates an understanding of the $usical concepts through i$pro*ising" arranging and co$posing in the style of )heatre Music 1(1 notates o+n co$positions" applying for$s of notation appropriate to the $usic selected for study 1(> uses different for$ of technology in the co$position process St'ents (ill learn to: i$pro*ise and arrange both indi*idually and in groups in the style of )heatre Music i$pro*ise and co$pose $usical ideas both indi*idually and in groups characteristic of )heatre Music St'ents (ill learn a)o't: i$pro*ising and arranging $usic in the style of )heatre Music creating co$positions both indi*idually and in groups characteristic of )heatre Music( Notating co$positions using *arious for$s of traditional and non4traditional notation and technologies( Learning E*"erien#es Per+or$ing Co$"osing Listening M'si#al Con#e"ts ,'ration Pit#! ,-na$i#s an e*"ressi.e te#!ni/'es Tone Colo'r Te*t're Str'#t're Cross C'rri#'l'$ Content ICT A)original an Inigeno's Wor01 E$"lo-$ent an Enter"rise Ci.i#s an Citi2ens!i" ,i++eren#e an ,i.ersit- En.iron$ent 3ener Ke- Co$"eten#ies Colle#ting Anal-sing an organising in+or$ation Co$$'ni#ating ieas an In+or$ation Planning an organising a#ti.ities Wor0ing (it! ot!ers in tea$s Using $at!e$ati#al ieas an te#!ni/'es Sol.ing "ro)le$s Using Te#!nolog- Litera#- N'$era#- Writing notes in preparation for co$posing and,or +riting lyrics for co$position( &o$posing using notation and rhyth$4 understanding ti$e signatures and note *alues( Consierations/Pre"aration Prior Kno(lege/E*"erien#e 4understanding and application of $usical concepts through co$posing( ?understanding of co$position (note *alues" pitch" instru$entation etc(! Reso'r#es/Materials/Te#!nolog- +hiteboard co$puters +ith notation progra$ (F(g( 7inale" Sibelius! Ke- 5o#a) notation (note *alues" pitch! treble and bass clefs( phrasing" articulation dense,sparse te/ture" orchestra" band" soprano" alto" tenor" baritone" bass the$es" *ariation" solo( Sa+et- Ris0 ?use of electric e9uip$ent Ke- 6'estions <o+ is )heatre Music co$posed@ STA3E OF LESSON TEAC7ER ACTIONS STU,ENT ACTIONS 6UESTIONI N3/ UN,ERSTAN ,IN38 TIME RESOURCES 5( %6NA6NG )eacher lin#s to pre*ious lesson on the aspects of )heatre Music( Also lin#s to pre*ious co$position acti*ities( Fngage in re*ision of pre*iously co*ered ideas( 1 $ins Whiteboard 2(6N)CDBE&)6DN )eacher clarifies any confusion +ith assess$ent tas# and outlines guidelines for $ar#ing and due date of assess$ent( )eacher reinforces the i$portance of establishing audience for the co$position tas#( Students engage in e/planation of assess$ent tas# Students as# any 9uestions regarding the assess$ent tas# and clarification on the $usical theatre style 1 $ins Whiteboard" assess$ent tas# handout( ;( BDB: )eacher directs students to begin co$position tas# using co$puters( )eacher assists students indi*idually as needed and $a#es ad2ust$ents +here needed for students +ith di*erse abilities( Students begin co$position tas#( 21 $ins &o$puters +ith notation progra$" #eyboards,guitars if re9uired by students 1( &DN&%ES6DN )eacher open discussion on progress and ans+ers any 9uestions regarding the style or co$position Students engage in discussion on progress and as# any rele*ant 9uestions( 1 $ins process( 'ac# up( >( FHA%EA)6DN CF7%F&)6DN )eacher to e*aluate any ad2ust$ents to the assess$ent that $ay need to be $ade for students +ith a range of abilities( LESSON 9 Class/Stage: :ear 50,Stage 1 Lesson/Perio: ,'eriod Lesson Lengt!: ;0 $ins To"i#/Main Con#e"t/T!e$e: &o$posing and 'erfor$ing for Music )heatre( S%LLA&US CONTENT to be co*ered )heatre $usic and its purpose( &o$posing and perfor$ing in the style of Music )heatre de$onstrating understanding of the style and rele*ant $usical concepts( S%LLA&US OUTCOMES to be co*ered 5.4 de$onstrates an understanding of the $usical concepts through i$pro*ising" arranging and co$posing in the style of )heatre Music 5.1 perfor$s repertoire +ith increasing le*els of co$ple/ity in the style of )heatre Music 5.2 perfor$s repertoire in a range of styles and genres de$onstrating interpretation of $usical notation and the application of different types of technology( St'ents (ill learn to: i$pro*ise and co$pose $usical ideas both indi*idually and in groups characteristic of )heatre Music notate co$positional +or# using a range of notational for$s and technologies perfor$ $usical co$positions and arrange$ents indi*idually characteristic of )heatre Music St'ents (ill learn a)o't: creating co$positions both indi*idually and in groups characteristic of theatre $usic notating co$positions using *arious for$s of traditional and non4traditional notation and technologies understanding ho+ the $usical concepts are used and $anipulated in co$positions in the style of )heatre Music Learning E*"erien#es Per+or$ing Co$"osing Listening M'si#al Con#e"ts ,'ration Pit#! ,-na$i#s an e*"ressi.e te#!ni/'es Tone Colo'r Te*t're Str'#t're Cross C'rri#'l'$ Content ICT A)original an Inigeno's Wor01 E$"lo-$ent an Enter"rise Ci.i#s an Citi2ens!i" ,i++eren#e an ,i.ersit- En.iron$ent 3ener Ke- Co$"eten#ies Colle#ting Anal-sing an organising in+or$ation Co$$'ni#ating ieas an In+or$ation Planning an organising a#ti.ities Wor0ing (it! ot!ers in tea$s Using $at!e$ati#al ieas an te#!ni/'es Sol.ing "ro)le$s Using Te#!nolog- Litera#- N'$era#- Students co$plete their lyrics and +ritten feedbac# on acti*ity Students engage in for$s of notation re9uiring understanding of ti$e" rhyth$ and addition( Consierations/Pre"aration Prior Kno(lege/E*"erien#e ?understanding and application of $usical concepts through co$posing ?understanding of $usical concepts through perfor$ing Reso'r#es/Materials/Te#!nolog- ?co$puters +ith notation progra$s ?#eyboards" guitars and other basic $elodic instru$ents for co$posing and perfor$ing ?+hiteboard Ke- 5o#a) 4pitch" duration" dyna$ics and e/pressi*e techni9ues( ?perfor$ing Sa+et- Ris0 ?use of electronic e9uip$ent and loud sounds Ke- 6'estions <o+ is )heatre Music perfor$ed and,or presented to an audience@ STA3E OF LESSON TEAC7ER ACTIONS STU,ENT ACTIONS 6UESTIONIN 3/ UN,ERSTAN ,IN38 TIME RESOURCES 5( %6NA6NG )eacher succinctly re*ises pre*ious t+o lessons on the )heatre Music style Students engage +ith re*ision Students as# any 9uestions regarding 2 $ins Whiteboard and ans+er any 9uestions fro$ students pre*ious learning 2(6N)CDBE&)6DN )eacher introduces the tas# of perfor$ing the co$positions (inco$plete! either through the notation progra$ or on an instru$ent( Students engage +ith ne+ tas# 2 $ins Whiteboard ( BDB: )eacher directs students to spend so$e ti$e of furthering their co$position +ith the ai$ of ha*ing it close to co$plete( )eacher as# for perfor$ances fro$ students of a s$all section (or all! of their co$position Students continue +ith their co$position Students perfor$ part (or all! of their co$positions in front of the class Students clarify any discrepancies regarding to style and e/ecution of the co$position 0 $ins &o$puters +ith notation progra$" instru$ents (#eyboards" guitars etc!" +hiteboard( 1( &DN&%ES6DN )eacher pro*ides feedbac# to students on their perfor$ance and the progress of their co$position( Birects students to co$plete reflection and e*aluation Students recei*e reflection sheet( > $ins F*aluation and reflection response sheet (appendi/ B! >( FHA%EA)6DN CF7%F&)6DN )eacher e*aluates the success of the tas# and $a#es ad2ust$ents to future tas#s +ith regards to the perfor$ance of students ASSESSMENT FOR LEARNIN3 TASK T!eatre M'si#: Co$"osition an Per+or$an#e Tas0 %ear 1: ,'e ,ate: 1; t! Ma- Conte*t: 6n this unit of +or#" students ha*e underta#en a study of the characteristics of )heatre Music +ith a particular focus on Music )heatre and co$posing a piece of $usic that +ould assist in the $usical theatre narrati*e( Students listened to and analysed a Musical )heatre piece My New Philosophy fro$ You!re A Good Man Charlie Brown! and then discussed the stylistic properties of the piece and the process of co$posing a piece for theatre prior to co$pleting the tas#( O't#o$es: A student: 1(; de$onstrates an understanding of the $usical concepts through i$pro*ising" arranging and co$posing in the style of )heatre Music 1(1 notates o+n co$positions" applying for$ of notation appropriate to )heatre Music 1(I de$onstrates an understanding of $usical concepts through aural identification" discri$ination" $e$orisation and notation in )heatre Music( ,es#ri"tion o+ a#ti.it-: Students co$pose a short (5>420 bar! piece of Musical )heatre" +hich includes at least one *ocal line and co$plete a reflection and e*aluation of their learning( Students should pay attention to the stylistic characteristics of Musical )heatre +ith attention to Byna$ics" Structure and 'itch( )he co$position +ill be co$pleted using co$puter notation( Criteria +or assessing learning Students +ill be assessed on their ability to: co$pose a short piece of $usic for the chosen instru$ents (including *oice! utilise techni9ues such as dyna$ics" correct pitch for the *ocal line and structure appropriate for the style de$onstrated their understanding of the style of )heatre Music" the concepts of $usic and $usical literacy through notation( 6nclude all necessary perfor$ance directions on their score( 'ro*ide a thoughtful response and reflection on their perfor$ance in the tas#( 3'ielines +or $ar0ing <See A""eni* A= REFERENCES %ippa" A (5JJI! My Ne+ 'hilosophy (song! fro$ You're A Good Man Charlie Brown. Jere$y Music 6nc( Sheet $usic accessed at +++($usicnotes(co$ on 52 June 2052( %yrics accessed at http:,,+++(stlyrics(co$,lyrics,youreagood$ancharliebro+n,$yne+philosophy(ht$ on 5 May 205;( NFW SDE)< WA%FS BDACB D7 S)EB6FS( (200!( Musi" Years 7#1$ %ylla&us( Sydney" Australia: Board of Studies( NFW SDE)< WA%FS BDACB D7 S)EB6FS( (200!( Musi" Years 7#1$ %ylla&us Ad'i"e on Pro(ra))in( and Assess)en*. Sydney" Australia: Board of Studies( NFW SDE)< WA%FS BF'AC)MFN) D7 FBE&A)6DN ANB )CA6N6NG( (200!( +uali*y ,ea"hin( in New %ou*h -ales Pu&li" %"hools# .is"ussion Paper. Sydney" Australia: Bepart$ent of Fducation and )raining( APPEN,I> A 3'ielines +or $ar0ing A st'ent: Progressing 1?; Satis+a#tor- @?1: 7ig! 11?1; ? co$poses a short piece of $usic for the chosen instru$ents (including *oice! ? utilises techni9ues including dyna$ics" correct pitch for the *ocal line and structure appropriate for the style ? de$onstrates their understanding of the style of )heatre Music" the concepts of $usic and $usical literacy through notation( ? includes all necessary perfor$ance directions ?co$pletes a reflection and e*aluation of the tas# APPEN,I> & M- Ne( P!iloso"!-? %o'Are A 3oo Man C!arlie &ro(n KSA%%:L Moh" yeah( )hatGs +hat you thin#(M KS&<CDFBFCL What@ KSA%%:L )hatGs $y ne+ philosophy: MDh" yeah@ )hatGs +hat you thin#NM KS&<CDFBFCL Well" +hy are you telling $e@ KSA%%:L What@ KS&<CDFBFCL Why are you telling $e@ KSA%%:L MWhy are you telling $e@M 6 li#e itN )hatGs a good philosophy: MWhy are you telling $e@M Why are you telling $e@M MWhy are you telling $e@M My ne+ philosophy )he teacher ga*e a MBM on last +ee#Gs ho$e+or# She said" MMiss Sally Bro+n" :our grades are going do+n(M 6 could ha*e told her4 KS&<CDFBFCL :our ne+ philosophy@ KSA%%:L My ne+ philosophyN Kas teacherL Miss B@ Kas herselfL 6G$ she %oo# see( A MB@M A MB(M Well" +hy are telling $e@ And thatGs $y ne+ philosophyN KS&<CDFBFCL )hatGs your ne+ philosophy@ KSA%%:L Why are you telling $e@ My ne+ philosophyN KS&<CDFBFCL )hatGs great" Sally" but 6G*e gotta go practi*e &hopinGs Nocturne in B47lat $inor( KSA%%:L NoNN 6 li#e itN MNoNM )hatGs a good philosophy( MNoNM MNoNM MNoNM KS&<CDFBFCL )hatGs you ne+ philosophy" huh@ KSA%%:L :es( 6 $ean44 MNoNM Just li#e a bust bee Fach ne+ philosophy &an fly fro$ tree to tree and #eep $e $o*ing When lifeGs a diOOy $aOe Dn alternating days 6 choose a different phrase4 KS&<CDFBFCL :our ne+ philosophy@ KSA%%:L My ne+ philosophyN KS&<CDFBFCL SallyN So$e philosophies are si$ple: MMan does not eat by bread alone(M So$e philosophies are clear: KSA%%:L M%ea*e your $essage at the sound of the tone(M KBD)<L So$e philosophies pic# and choose Beciding +hat goes in it( KS&<CDFBFCL So$e ta#e a lifeti$e" KSA%%:L Mine ta#e a $inute( KS&<CDFBFCL But" Sally" anything that ta#es only a $inute canGt be *ery lasting( 7or instance" Beetho*en too# o*er t+o years to co$plete his brilliant Ninth S:$phony( KSA%%:L MNoNM KS&<CDFBFCL 6 canGt stand itN KSA%%:L M6 canGt stand itNM 6 li#e itN 6tGs li#e a gurantee( My ne+ philosophy( And things are sure to be a +hole ot brighter MDh" yeah@ )hatGs +hat you thin#NM MWhy are you telling $e@M MNoNM M6 canGt stand itNM No+ life is free and easy" Much $ore philosophy4Oy" With $y brand ne+4 :ou #no+" so$eone had said that +e should li*e e*ery day as if it +ere the last day of our life( K%E&: (passing by and o*erhearing!L AaughN )his is the last dayNN )his is itNN 6 only ha*e t+enty4four hours leftNN <elp $eN <elp $eN )his is the last dayNN AaughN KSA%%:L &learly" so$e philosophies arenGt for all people( And thatGs $y ne+ philosophyN APPEN,I> C With reference to dyna$ics and e/pressi*e techni9ues" describe ho+ the piece tells a story@ Boes the te/ture of the piece (instru$ents used,co$bination of sounds etc! add to the dra$a of the song@ <o+@ APPENDIX D Student reflection and self-evaluation What compositional techniques did you employ in creating your Musical Theatre piece? What aspect of the composition did you find most challenging? How did this activity help you understanding the style of Theatre Music? The areas I need to improve for next time are: The strengths of my composition and performance were: My piece was successful because: Overall I rate my experience of this task as being: (1 is not very successful, to 10, very successful) 1 2 3 4 5 6 7 8 9 10