Teacher and Student Guide

To

Melodious Thunk
for winds and percussion

By

David Biedenbender

Lovell Tufts
Mus 359 Spring 2016

Teacher Guide
Table of contents

Principal Concept
Learning Goals
Resources
Performance Notes
Principal Concept

In this unit there will be two major concepts that should be addressed. The
first concept that this piece can help address is syncopation. Throughout the
entire piece syncopation is used heavily due to the jazz influence of the
piece. This makes this a good piece to explain the idea of syncopation and
develop the students ability to perform syncopated rhythms. The second
concept in this unit that would be good to address would be the connection
to jazz. This piece has a strong influence from jazz and it would be a good
piece to teach basic jazz concepts and techniques that would normally not
be addressed in a typical concert band setting.
Learning Goals
By the conclusion of the unit, students will be able to...
1) Correctly play their part to Melodious Thunk
2) Define syncopation and any other terms listed in the glossary
3) Identify and be able to perform different musical techniques associated
with jazz
4) Know a basic background of the composer and the piece
Resources
Information
Melodious Thunk for Winds and Percussion by David Biedenbender
Originally written and published in 2012
Published by Bent Space Music
Duration: c. 415
Books and Articles
Teaching music through performance in band. Volume 10 / compiled
and edited by Richard Miles ; [contributions by] Larry Blocher, Eugene

Migliaro Corporon, Ray Cramer, Tim Lauzenheiser, Edward S. Lisk,

Richard Miles
"Melodious Thunk | David Biedenbender." Melodious Thunk | David
Biedenbender. N.p., n.d. Web. 18 Apr. 2016
Recordings
Melodious Thunk performed by the North Texas Wind Symphony
Salt Peanuts by Dizzy Gillespie
Monks Dream- Take 8 by Thelonious Monk
Luminescence by David Biedenbender
Stomp by David Biedenbender

Program Notes
David Biedenbender was born in Wisconsin in 1984. Biedenbenders
musical background stem from his background as a jazz and rock bassist.
This background has influenced many of his pieces and who he collaborates
with. He has worked with many artists of both classical and non classical
artists. He has also worked with many different groups over the course of his
career. Some notable groups he's worked with are the Eastman Wind
Ensemble, he U.S. Navy Band and the University of Michigan Symphony
Orchestra. Biedenbender received his undergraduate degree from Central
Michigan University and his masters and doctorate degree from the
University of Michigan in composition. Biedenbender now works at Boise
State as music theory professor.
Biedenbender writes this about Melodious Thunk.
I dont normally like to begin program notes with dictionary definitionsit
feels pretty stuffy to mebut it seemed appropriate for this piece, so here
goes
thunk [thuhngk] noun & verb
1. [n.] an abrupt, flat, hollow sound (example: The book landed on the
floor with a thunk.); synonym: thud
2. [v.] to produce an abrupt, flat, hollow sound
3. [v.] colloquial past tense and past participle of think.
Melodious Thunk was inspired by the famous jazz pianist Thelonious
Monk. Monks wife, Nellie Smith, nicknamed him Melodious Thunk because
of his clunky, awkward, and brilliant(!) piano playing, and his, somewhat
scatterbrained and disoriented nature. I really liked the idea of playing
around with Monks namefirst, because I personally really enjoy goofing
around with spoonerisms (silly, ridiculous, mix-and-match letter games,
which often happen by accident: for example, slip of the tongue becomes tip
of the slung), and, second, because this nickname actually provided great
musical inspiration. Melodiouswell, thats fairly obviousand thunk (which
is a great onomatopoeia!) became the starting points for the piece. Big, fat
thunks are interspersed with pointy, clunky, bluesy blips, which are then
transformed into a long, smooth, laid-back melody accompanied by a funky
bass line. I havent consciously borrowed any specific tunes or licks from
Monk, although I do use a small fragment of Dizzy Gillespies tune Salt
Peanuts, but I hope youll hear some similarities between this piece and
Monks iconic musical style and quirky attitude.
Melodious Thunk was commissioned by a consortium of bands
organized by Ryan Shaw and the Cedar Springs High School Symphonic
Band, including:
4

Birmingham Seaholm High School (MI) Timothy Cibor

Bloomfield Hills Andover High School (MI) Robert Ambrose
Bloomfield Hills International Academy (MI) Robert Ash
Cedar Springs High School (MI) Ryan Shaw
Clarkston High School (MI) Michael Lewis
Dakota High School (MI) Risa Hsu
Grand Ledge High School (MI) Christopher Blackmer
Novi High School (MI) Mark P. Hourigan
Waterford Kettering High School (MI) R. Scott Adkins
Wisconsin Lutheran College (WI) Terry S. Treuden
Performance Notes
Melody
The main melody of the piece is based on a falling third motive that shows
up in either a short, staccato phrase o a smoother legato phrase. This motive
can be thought of as mono thematic because it is almost always the same
motive being played but each time there is a slight variation on the motive.
Another element of the melody is the salt peanuts octave. This is more of a
secondary motive that is also varied slightly throughout the piece. The
entire pieces melody and harmony is based off of the blues scale.
Harmony
The harmonies of this piece is really based off of blues and jazz harmonies.
Biedenbender uses mostly triads and 7th chords. Some of the melodic
elements an also be seen as harmonic elements like the salt peanuts motif.
Rhythm
Rhythm is one of the most important elements of this piece short rhythmic
patterns and ostinatos. The mutation of rhythms trough out the piece help it
feel more like Monks characteristic style. Biedenbender uses many meter
changes, time changes as well as syncopation in order to obscure the pulse
of the piece.
Form
Melodious Thunk is in a loose sonata form (ABA). It begins by introducing all
of the major themes that the rest of the piece will be based on (A). Then he
takes those themes and expands upon them and creates a groovy
development (B) and then he returns back to the main thematic material (A).
He ends the piece with a short coda.
Section
A
(1-41)

Measur
es
1-24

Events in Music
Intro of short, rhythmic Monk like snippets in the
key of Eb; use of rests in between motives and the
meter changes frequently; the major 2nd is a
prominent interval
5

9-13
19-23
25-41
29-41
Developme
nt
(42-88)

42-45
47-54

Recapitulat
ion
Coda

Salt Peanuts octave first appears; major and minor

7th
Salt Peanuts octave appears again; major and minor
7th
Rhythmic themes continue; goes into 4/4; falls into
a steady grove
The primary legato melody of the piece is
introduced in the trumpets and horns over the
thunky low voices
Key changes to Ab; lyrical jazz clarinet solo; Salt
Peanuts returns

47-82

Tempo speeds up; variation of some of the material

from a section; not as much rhythmic activity;
meter shifts between 4/4 and 3/4
Ostinato set up in percussion and bass voice

55-88

Development of the primary melody

63-68
67-82

Restatement of primary melody in low brass;

syncopated 16th notes in upper WWs; counter
melody in horns
Imitative development of primary melody

73-76

Rhythmic motives from A section in WWs

83-88

Stronger rhythmic motives from a section;

ritardando (86-88)
Return to A section; tempo back to 104bpm; key
returns to Eb; meter permanently returns to 4/4
Ostinato starts in percussion; fragments of previous
material used before final rhythmic statement

89-115
116121

Orchestration
This piece is scored for Piccolo, 2 Flutes, Oboe (div.), 3 Bb Clarinets, Bb Bass
Clarinet, Bassoon (div.), 2 Eb Alto Saxophones, Bb Tenor Saxophone, Eb
Baritone Saxophone, 3 Bb Trumpets, 2 F Horns, 3 Trombones, Euphonium
(div.), Tuba (div.), Timpani, 6 Percussion
Expression
Since this piece is modeled after the playing style of Thelonious Monk, the
way you express the piece should reflect his style. Monk is known as one of
the main artists behind the rise of the bebop style of jazz along with Dizzy
Gillespie. Monk was known for his heavy, percussive attacks as well as his
short leaping rhythms and his use of space. With this in mind make sure that

articulations are observed and that there is a clear difference between the
more lyrical melody and the rhythmic background.
Technical Considerations
This piece is really dependent on rhythmic accuracy and a good sense of
time for the group. From the beginning of the piece to letter B, it is important
for the conductor to make sure that they catch all of the meter changes. It is
also important that the percussion section to be solid on all of their rhythms
because they keep the pulse for the majority of the piece. There are no
errors in printing

Student Guide
Table of contents

Principal Concept
Learning Goals
Assignments
Historical Notes
Glossary
Assessment Tools
Principal Concept

In this unit there will be two major concepts that should be addressed. The
first concept that this piece can help address is syncopation. Throughout the
entire piece syncopation is used heavily due to the Jazz influence of the
piece. This makes this a good piece to explain the idea of syncopation and
develop the students ability to perform syncopated rhythms. The second
concept in this unit that would be good to address would be the connection
to jazz. This piece has a strong influence from jazz and it would be a good
piece to teach basic jazz concepts and techniques that would normally not
be addressed in a typical concert band setting.
Learning Goals
By the conclusion of the unit, students will be able to...
5) Correctly play their part to Melodious Thunk
6) Define syncopation and any other terms listed in the glossary
7) Identify and be able to perform different musical techniques associated
with jazz
8) Know a basic background of the composer and the piece

Name_____________________
Melodious Thunk Listening Homework
Directions: For questions 1-3, listen to a recording of Melodious Thunk
performed by the North Texas Wind Symphony and answer the questions.
Make sure to provide the time stamp with your answers. The url to access
this recording is https://open.spotify.com/track/6QnBllb8pY4arqb5JvS21B
1) Listen to the entire piece all of the way through and list 3 different
examples of when you hear the use of Jazz like articulations or timbres

2) In the first minute of the piece can you hear a sense of meter? If not, when
do you first feel the meter of the music? What musical elements makes it
easier to find the meter? (List one example)

3) Listen from 0:49-1:30 and from 2:10-3:00 and identify at least 2 similarities
and one difference between theses sections of music

Melodious Thunk Vocabulary Worksheet

Match the term to the proper definition
____ The composer of Melodious Thunk
____ A rapid ascending or descending of the scale
____ Deliberate upsetting of the meter or pulse of a composition by means of
a temporary shifting of the accent to a weak beat or an off-beat
____ Jazz artist who the inspiration for the piece
____ An abrupt, flat, hollow sound
____ A style of music originating in the 20th century in New Orleans which
combined elements of European-American and African music. It is an
improvisational, expressive style of music, characterized by syncopated
rhythms, 'blue notes' and the use of seventh and ninth chords.
____ A style which developed in the 1940's characterized by very fast or very
slow tempos with improvised lines of eighth notes, irregular accents, and an
extended harmony
____ A short melodic, rhythmic, or harmonic pattern that is repeated
throughout an entire composition or some portion of a composition.
Answer Key
A )Syncopation
B) Bebop
C) Thelonious Monk
Ostinato
E) David Biedenbender F) Glissando/Smear
G) Jazz
H) Thunk

D)

Fill in the blank

A gradual slowing of the tempo is called a ___________________.
A ___________________ is an instruction for one section of instruments to divide
into two or more separate sections
____________________consists of an exposition, followed by a development and
a recapitulation.
A directive to perform the indicated note or chord of a composition in a
sustained manner for longer than its full duration is called a
__________________
A ________________ is a sign in musical notation consisting of a curved line
drawn over or under a series of notes, indicating that those notes should be
played legato
A________________ A diatonic major scale incorporating a lowered or bent 3rd,
a lowered or bent 7th and sometimes a lowered or bent 5th
10

A________________ is a note that is to be played detached, separated, distinct

manner

Practice Assignment
For this assignment you will need to video record your self playing the
following passages from Melodious Thunk with a metronome.
Everyone should record these sections of music:
Letter B- Letter D
Letter G- Letter J
If you have a solo in the piece, you should also record that as well.
You will also need to play an Eb and Ab major and blues scales each with one
of the listed rhythms wth the correct articulations:

11

Jazz Composer Poster

In this assignment, you must choose a Jazz composer and make a poster
about your artist. Your poster should a basic biography of your composer, a
list of some of the works, pictures of your composer, specific characteristics
of your composers music, and include your own opinion about your artist
and his works. Be creative and put your own touch on your poster. Below is
the specific information that you will need to include in each section.
Biography (10 pts)
The composers name (2)
Date of birth and death(if applicable) (2)
Where they are from (2)
Any formal training (2)
At least 1 other thing about their life (2)
List of Works (10 pts)
List 5 of their most famous/recognizable pieces (1 for each piece)
Include date and album for each piece (1 for each piece)
Pictures (5 pts)
Include at least 5 different pictures of your composer (1 pt each)
Characteristics(9 pts)
Include at least 3 different characteristics that are unique to your
composers music or their playing technique (like Monks thunky
sound or Dizzy Gillespies cheeks) (3 pts each)
Personal Opinion (11 pts)
Clearly state whether you like or dislike the composer's music (2 pts)
List 3 things that you like or dislike about the composer's music (3 pts
each)
Creativity & Bibliography (5 pts)
You put your own creative touch on your poster and made your poster
look nice (2 pts)
You include a bibliography of all of your sources on the back of the
poster (3 pts)
If your information is not accurate, you will not receive the points for that
section. Use scholarly sources to make sure you have correct information.

12

Historical Notes
Information
Melodious Thunk for Winds and Percussion by David Biedenbender
Originally written and published in 2012
Published by Bent Space Music
Duration: c. 415
David Biedenbender was born in Wisconsin in 1984. Biedenbenders
musical background stem from his background as a jazz and rock bassist.
This background has influenced many of his pieces and who he collaborates
with. He has worked with many artists of both classical and non classical
artists. He has also worked with many different groups over the course of his
career. Some notable groups he's worked with are the Eastman Wind
Ensemble, he U.S. Navy Band and the University of Michigan Symphony
Orchestra. Biedenbender received his undergraduate degree from Central
Michigan University and his masters and doctorate degree from the
University of Michigan in composition. Biedenbender now works at Boise
State as music theory professor.
Biedenbender writes this about Melodious Thunk.
I dont normally like to begin program notes with dictionary definitionsit
feels pretty stuffy to mebut it seemed appropriate for this piece, so here
goes
thunk [thuhngk] noun & verb
1. [n.] an abrupt, flat, hollow sound (example: The book landed on the
floor with a thunk.); synonym: thud
2. [v.] to produce an abrupt, flat, hollow sound
3. [v.] colloquial past tense and past participle of think.
Melodious Thunk was inspired by the famous jazz pianist Thelonious
Monk. Monks wife, Nellie Smith, nicknamed him Melodious Thunk because
of his clunky, awkward, and brilliant(!) piano playing, and his, somewhat
scatterbrained and disoriented nature. I really liked the idea of playing
around with Monks namefirst, because I personally really enjoy goofing
around with spoonerisms (silly, ridiculous, mix-and-match letter games,
which often happen by accident: for example, slip of the tongue becomes tip
of the slung), and, second, because this nickname actually provided great
musical inspiration. Melodiouswell, thats fairly obviousand thunk (which
is a great onomatopoeia!) became the starting points for the piece. Big, fat
thunks are interspersed with pointy, clunky, bluesy blips, which are then
transformed into a long, smooth, laid-back melody accompanied by a funky
bass line. I havent consciously borrowed any specific tunes or licks from

13

Monk, although I do use a small fragment of Dizzy Gillespies tune Salt

Peanuts, but I hope youll hear some similarities between this piece and
Monks iconic musical style and quirky attitude.
Melodious Thunk was commissioned by a consortium of bands
organized by Ryan Shaw and the Cedar Springs High School Symphonic
Band, including:
Birmingham Seaholm High School (MI) Timothy Cibor
Bloomfield Hills Andover High School (MI) Robert Ambrose
Bloomfield Hills International Academy (MI) Robert Ash
Cedar Springs High School (MI) Ryan Shaw
Clarkston High School (MI) Michael Lewis
Dakota High School (MI) Risa Hsu
Grand Ledge High School (MI) Christopher Blackmer
Novi High School (MI) Mark P. Hourigan
Waterford Kettering High School (MI) R. Scott Adkins
Wisconsin Lutheran College (WI) Terry S. Treuden
Pieces that are similar to Melodious Thunk include:
Glossary

Jazz- A style of music originating in the 20th century in New Orleans

which combined elements of European-American and African music. It
is an improvisational, expressive style of music, characterized by
syncopated rhythms, 'blue notes' and the use of seventh and ninth
chords.
Syncopation- Deliberate upsetting of the meter or pulse of a
composition by means of a temporary shifting of the accent to a weak
beat or an off-beat
Crescendo- A directive to a performer to smoothly increase the volume
of a particular phrase or passage
Decrescendo- A directive to a performer to smoothly decrease the
volume of the specific passage
Glissando/Smear- A rapid ascending or descending of the scale
Thunk- an abrupt, flat, hollow sound
Accelerando- Gradually accelerating or getting faster
Divisi- A directive in ensemble music that instructs one section of
instruments to divide into two or more separate sections, each
performing a separate part. Often these separate parts are written on
the same staff
Ritardando- a gradual slowing of the tempo, or to gradually delay the
tempo
14

A due- two instruments playing from the same part or score are to
play in unison, after divisi or a solo passage for one of the instruments
Sonata form- It is also known as first-movement form. It consists of an
exposition, followed by a development and a recapitulation
Blues scale- A diatonic major scale incorporating a lowered or bent 3rd,
a lowered or bent 7th and sometimes a lowered or bent 5th to
approximate melodic notes that originated in African work songs
Bebop- A jazz style which developed in the 1940's characterized by
very fast or very slow tempos with improvised lines of eighth notes,
irregular accents, and an extended harmony
Staccato- A style of playing notes in a detached, separated, distinct
manner, as opposed to legato
Marccato- Marked, accented, emphatic, stressed.
Tenuto- A directive to perform the indicated note or chord of a
composition in a sustained manner for longer than its full duration
Ostinato- A short melodic, rhythmic, or harmonic pattern that is
repeated throughout an entire composition or some portion of a
composition.
Slur- A sign in musical notation consisting of a curved line drawn over
or under a series of notes, indicating that those notes should be played
legato
Legato- A directive to perform the indicated passage of a composition
in a smooth, graceful, connected style, as opposed to staccato.

15

Listening Assignment Rubric

1a) Did the student list three examples of jazz articulation? (1pt)
Y/
N
1b) Did these examples actually exemplify a jazz articulation? (1pt each) Y /
N
1c) Did the student include the time stamp? (1pt)
Y/
N
2a) Did the student answer the first part of the question? (1pt)
Y/
N
2b)Did the student answer the second part of the question & provide a time
stamp? (1pt) Y / N
2c) Did the student correct provide an element of music that would help
them identify the meter? (2pts)
Y/N
3a) Did the student provide 2 clear similarities between the sections? (2pts
each)
Y/N
3b) Did the student provide a clear differences between the sections? (1pt)
Y/N

Total

/15

16

Worksheet Answer Key.

Match the term to the proper definition

Total ___/15

_E_ The composer of Melodious Thunk

_F_ A rapid ascending or descending of the scale
_A_ Deliberate upsetting of the meter or pulse of a composition by means of
a temporary shifting of the accent to a weak beat or an off-beat
_C_ Jazz artist who the inspiration for the piece
_H_ An abrupt, flat, hollow sound
_G_ A style of music originating in the 20th century in New Orleans which
combined elements of European-American and African music. It is an
improvisational, expressive style of music, characterized by syncopated
rhythms, 'blue notes' and the use of seventh and ninth chords.
_B_ A style which developed in the 1940's characterized by very fast or very
slow tempos with improvised lines of eighth notes, irregular accents, and an
extended harmony
_D_ A short melodic, rhythmic, or harmonic pattern that is repeated
throughout an entire composition or some portion of a composition.
Answer Key
A )Syncopation
B) Bebop
C) Thelonious Monk
Ostinato
E) David Biedenbender F) Glissando/Smear
G) Jazz
H) Thunk

D)

Fill in the blank

A gradual slowing of the tempo is called a __Ritardando__.
A __Divisi___ is an instruction for one section of instruments to divide into
two or more separate sections
__Sonata_Form____consists of an exposition, followed by a development
and a recapitulation.
A directive to perform the indicated note or chord of a composition in a
sustained manner for longer than its full duration is called a
___Tenuto_______
A ______Slur______ is a sign in musical notation consisting of a curved line
drawn over or under a series of notes, indicating that those notes should be
played legato
A___Blues_ Scale______ A diatonic major scale incorporating a lowered or
bent 3rd, a lowered or bent 7th and sometimes a lowered or bent 5th

17

A___Staccato______ is a note that is to be played detached, separated,

distinct manner

18

Practice Assignment Rubric.

Total____

Exce
pt

B-D

Student is
not able to
play the
excerpt
whatsoeve
r

Student
struggles
greatly with
pitches, sound
quality and
rhythmic
interpretation
no attention to
articulations
whatsoever

Students
struggle with
pitches, sound
quality and
rhythmic
interpretation
very little
attention to
articulations

Student has
some
problems with
pitches, sound
quality and
rhythmic
interpretation
some
articulations
observed

G-J

Student is
not able to
play the
excerpt
whatsoeve
r

Student
struggles
greatly with
pitches, sound
quality and
rhythmic
interpretation
no attention to
articulations
whatsoever

Students
struggle with
pitches, sound
quality and
rhythmic
interpretation
very little
attention to
articulations

Student has
some
problems with
pitches, sound
quality and
rhythmic
interpretation
some
articulations
observed

Ab
Majo
r

Student is
not able to
play the
excerpt
whatsoeve
r

Student
struggles
greatly with
pitches, sound
quality and
rhythmic
interpretation
no attention to
articulations
whatsoever

Students
struggle with
pitches, sound
quality and
rhythmic
interpretation
very little
attention to
articulations

Student has
some
problems with
pitches, sound
quality and
rhythmic
interpretation
some
articulations
observed

Eb
Majo
r

Student is
not able to
play the
excerpt
whatsoeve
r

Student
struggles
greatly with
pitches, sound
quality and
rhythmic
interpretation
no attention to
articulations
whatsoever

Students
struggle with
pitches, sound
quality and
rhythmic
interpretation
very little
attention to
articulations

Student has
some
problems with
pitches, sound
quality and
rhythmic
interpretation
some
articulations
observed

Ab
Blue
s

Student is
not able to
play the
excerpt
whatsoeve
r

Student
struggles
greatly with
pitches, sound
quality and
rhythmic
interpretation
no attention to
articulations
whatsoever

Students
struggle with
pitches, sound
quality and
rhythmic
interpretation
very little
attention to
articulations

Student has
some
problems with
pitches, sound
quality and
rhythmic
interpretation
some
articulations
observed

Student has
very few
problems with
pitches, sound
quality and
rhythmic
interpretation
most
articulations
observed
Student has
very few
problems with
pitches, sound
quality and
rhythmic
interpretation
most
articulations
observed
Student has
very few
problems with
pitches, sound
quality and
rhythmic
interpretation
most
articulations
observed
Student has
very few
problems with
pitches, sound
quality and
rhythmic
interpretation
most
articulations
observed
Student has
very few
problems with
pitches, sound
quality and
rhythmic
interpretation
most
articulations
observed

Student has
no problems
with pitches,
sound quality
and rhythmic
interpretation
all
articulations
observed
Student has
no problems
with pitches,
sound quality
and rhythmic
interpretation
all
articulations
observed
Student has
no problems
with pitches,
sound quality
and rhythmic
interpretation
all
articulations
observed
Student has
no problems
with pitches,
sound quality
and rhythmic
interpretation
all
articulations
observed
Student has
no problems
with pitches,
sound quality
and rhythmic
interpretation
all
articulations
observed

19

Eb
Blue
s

Student is
not able to
play the
excerpt
whatsoeve
r

Student
struggles
greatly with
pitches, sound
quality and
rhythmic
interpretation
no attention to
articulations
whatsoever

Students
struggle with
pitches, sound
quality and
rhythmic
interpretation
very little
attention to
articulations

Student has
some
problems with
pitches, sound
quality and
rhythmic
interpretation
some
articulations
observed

Student has
very few
problems with
pitches, sound
quality and
rhythmic
interpretation
most
articulations
observed

Student has
no problems
with pitches,
sound quality
and rhythmic
interpretation
all
articulations
observed

20

Poster Rubric
Biography (10 pts)
The student included the composers name (2 pts)
__/2
Their date of birth and death was present (2 pts)
__/2
The student included where they are from (2 pts)
__/2
The student included if they had any formal training (2 pts)
__/2
The student included at least 1 other thing about their life (2 pts)
__/2
List of Works (10 pts)
The student listed 5 of their most famous/recognizable pieces (1 for
each piece) __/5
The student included date and album for each piece (1 for each piece)
__/5
Pictures (5 pts)
The student included at least 5 different pictures of your composer (1
pt each) __/5
Characteristics(9 pts)
The student included at least 3 different characteristics that are unique
to your composers music or their playing technique (like Monks
thunky sound or Dizzy Gillespies cheeks) (3 pts each)
__/9
Personal Opinion (11 pts)
The student clearly states whether they like or dislike the composer's
music (2 pts) __/2
The student listed 3 things that they like or dislike about the
composer's music (3 pts each)
__/3
Creativity & Bibliography (5 pts)
The student put their own creative touch on their poster and made
your poster look nice (2 pts)
__/2
The student included a bibliography of all of their sources on the back
of the poster (3 pts)
__/3

Total ___/50

21