Music 1 Unit Plan

Topic: Music of the 19th Century

Focus: Music of the Composer

This unit is designed for a Music 1 class commencing the HSC course in music.

The focus for learning will comprise stylistic features and characteristics of
music by a composer, through an integration of teaching and learning, and
introduce students to simple score reading and score conventions.

Assessments will take the form of experimentation in using specific techniques

of the composers in the 19th century. Students will explore these techniques
using classroom instruments; notating their results and composing a piece of
music highlighting these techniques through a viva voce.

Unit Duration

Six weeks of teaching time at 4 x 45 minutes per week.

Resources

Frederic Chopin - Prelude Op. 28, No. 15 Raindrop Score and

Recording
Richard Wagner - Ride of the Valkyries Score and Recording
Hector Berlioz - 1st Movement from the Symphonie Fantastique Score
and Recording
SCHOOL:
SYLLABUS CONTEXT: Music of the 19 Century
SYLLABUS OUTCOMES
H1: Performs stylistically,
music that is characteristic of
topics studied, both as a
soloist and as a member of
an ensemble
H2: Reads, interprets,
discusses and analyses
simple musical scores that
are characteristic of the
topics studied
H3: Improvises and
composes music using the
range of concepts for familiar
sound sources reflecting the
cultural and historical
contexts studied
H5: Critically evaluates and
discusses performances and
compositions
H10: Demonstrates a
willingness to participate in
performance, composition,
musicology and aural
activities
COURSE Music 1 - HSC
th TOPIC: Music of the Composer
Performance FOCUS ASSESSMENT
Through this unit students will:
Perform as a class in an improvisation task Present a
Perform own compositions performance of
Perform arrangements as a class their composition
Perform arrangements using appropriate techniques to create styles from the
of the 19 century
th Nineteenth Century
Composition
Through this unit students will: Compose own
Compose melodies using 19th century techniques Nineteenth Century
Compose melodies from given motifs using 19th century techniques piece
Improvise over a repeated bass note
Musicology
Through this unit students will: Discuss techniques
Develop an understanding of score conventions and features
Research musical techniques of the 19th century Locate examples of
Identify and discuss instrumentation used and compare to other techniques in the
works nineteenth century
Aural
Through this unit students will:
Identify and discuss the concepts of music and their relationship in
the musical excerpts
Recognise characteristic features of the 19th century
CONCEPT FOCUS FOCUS REPERTOIRE RESOURCES
Score and recordings:
A focus on musical styles and features from three - Prelude Op. 28, No. 15
Frederic Chopin - Prelude Op. 28, No.
composers, identifying and commenting on: - Ride of the Valkyries
15 Raindrop
- Symphonie Fantastique
Duration, Pitch, Structure, Dynamics and Richard Wagner - Ride of the YouTube
Expressive Techniques, Tone Colour, Texture Valkyries iPads or Laptops with
composing software
Collecting and analysing information
Hector Berlioz - 1st Movement from Instruments/rooms for
Experimenting practice and performance
the Symphonie Fantastique
Performing compositions and arrangements Speakers to playback
Investigating the purpose of music recordings
Whiteboard/whiteboard
marks for discussions as a
class
 SEQUENCE CHART P C M A
Week 1
Brief historic overview of the Nineteenth Century period highlighting composers, techniques, styles, and its place
in musical history

Guided listening activity, Frederic Chopin Prelude Op. 28, No. 15 Raindrop, introduce students to specific styles
and features of Frederic Chopin
Brief history of Frederic Chopin, signifying his importance in the nineteenth century, identifying key
characteristics and features
Compose, notate and perform a melody from a given motif, using the styles and techniques illustrated by Frederic
Chopin
Week 2

Discuss score conventions in Frederic Chopin - Prelude Op. 28, No. 15 Raindrop and highlight the specific
conventions of the Nineteenth Century
Class improvisation using a repeating note as the bass, as used in Raindrop
Concept based analysis of Frederic Chopin Prelude Op. 28, No. 15 Raindrop
Give students assessment task
Week 3

Guided listening activity with the score, Richard Wagner Ride of the Valkyries, introducing students to Richard
Wagners style and orchestral concepts
Brief history of Richard Wagner, signifying his importance to the nineteenth century, identifying key
characteristics and features
Highlight the use of the sequencing technique in Ride of the Valkyries. Students compose a short piece using this

technique

Week 4
Perform sequencing composition task in front of the class for feedback and constructive criticisms
Make and perform a class arrangement of Ride of the Valkyries
Concept based analysis of Ride of the Valkyries
Week 5
 Guided listening activity with the score, Hector Berlioz 1st Movement from the Symphonie Fantastique,
introducing students to program music concepts
Formulate a mind map of the characteristics of program music style

Brief history of Hector Berlioz, signifying his importance to the nineteenth century, identifying key characteristics
and features
In groups, compose a short 1-2 minute piece that conveys the idea of program music
Week 6
Final preparations to final composition and viva voce of the topic
Students present final compositions and viva voce to the class



Assessment Task:

The purpose of this task is to compose a piece of music using the styles and
techniques of the Nineteenth Century. Present a viva voce on the styles and
techniques that were used in your composition. You will need to:
Compose your own piece
Notate your compositions in traditional or non-traditional notation
Prepare a recording of your composition
Perform this composition for the class
Present a 5-minute viva voce on the styles and techniques you have used
in this composition

Outcomes Assessed: H1, H3, H7, H9

Assessment Criteria:
Composition representation of style, use of appropriate musical
structures, use of the concepts of music
Notation Accurate use of notation, demonstrates knowledge of scoring
conventions, comprehensive performance directions for the score
Performance Interpretation of the style, expression in the performance,
accurate representation of the composition
Viva Voce Demonstrates the understanding of styles and techniques
appropriate to the topic, ability to discuss the concepts of music in their
compositions.
 Music 2 Unit Plan

Topic: Music of the Nineteenth Century

Focus: Program Music

This unit is designed for a Music 2 class commencing the HSC course in music;
this is a follow on from the Preliminary Course.

The focus for learning will be focusing on the importance, stylistic

characteristics, and features of program music in the nineteenth century.
Activities will be based on performance, composition, aural and musicology to
develop an understanding of the program music style.

Assessments will take the form of experimentation and research in using specific
techniques of program music in the 19th century. Students will explore these
techniques using classroom instruments; composing pieces, reading scores, and
performing a piece of music and identifying the techniques used in a portfolio.

Unit Duration

Six weeks of teaching time at 4 x 45 minutes per week.

Resources

Hector Berlioz - Symphonie Fantastique Score and Recording

Ludwig Van Beethoven Symphony No. 6 (Pastoral) Score and
Recording
Richard Strauss Death and Transfiguration Score and Recording
SCHOOL: COURSE Music 2 - HSC
SYLLABUS CONTEXT: Music of the Nineteenth Century TOPIC: Music of the Composer
SYLLABUS OUTCOMES Performance FOCUS ASSESSMENT
H1 performs repertoire that reflects Through this unit students will:
the mandatory and additional topics
and addresses the stylistic and Perform as a class in an improvisation task Present a
technical demands of the music as a Perform own arrangements to the class performance of
soloist and as a member of an their arrangement
ensemble
Perform compositions to the class
H3 composes works focusing on a Evaluates the performance of their own and others in the class of Program Music
range of concepts, for familiar and
unfamiliar sound sources, solo, small
and large ensembles, or using a variety Composition
of musical structures
H5 analyses, discusses, evaluates and Through this unit students will: Compose their own
clearly articulates compositional Compose melodies using specific 19th century techniques small pieces of
processes with stylistic, historical,
cultural, social and musical Compose pieces to specific examples Program Music
considerations Improvising moods and emotions as a class
H6 discusses, constructively criticises
and evaluates performances and Musicology
compositions of others and self with
particular reference to stylistic Through this unit students will: Locate examples of
features of the context Develop an understanding of score conventions Program Music
H7 critically evaluates and discusses in
detail the concepts of music in works
Research composers and their pieces in the Program Music form pieces and their
representative of the mandatory and Identify and discuss instrumentation and compare to pieces of meanings
additional topics works Presents a portfolio
H11 performs as a means of self
expression and communication identifying
demonstrates a willingness to Aural techniques of
participate in performance, Through this unit students will:
composition, musicology and aural
Program Music
activities Identify and discuss the concepts of music and their relationship in
H12 demonstrates a willingness to the musical excerpts
accept and use constructive criticism Notate pitch and rhythm patterns based upon works studied
CONCEPT FOCUS FOCUS REPERTOIRE RESOURCES
This study will focus on the importance, styles, concepts Hector Berlioz - Symphonie Score and recordings:
and characteristics of Program Music, commenting on: - Symphonie Fantastique
Fantastique
- Symphony No. 6
Dynamics, structure, texture, tone colour, pitch, Ludwig Van Beethoven (Pastoral)
- Death and
duration, and dynamics and expressive techniques Symphony No. 6 (Pastoral)
Transfiguration
Experimenting Richard Strauss Death and iPads or Laptops with
Performing compositions and arrangements composing software
Transfiguration
The importance of this era of music Instruments/rooms for
practice and performances
Speakers to playback
recordings
Whiteboard/whiteboard
marks for discussions as a
class
 SEQUENCE CHART P C M A
Week 1

Brief revisit and overview of the Nineteenth Century, highlight specific composers, art, techniques and styles
Introduction to Program Music with a score reading and listening of Hector Berlioz Symphonie Fantastique,
discussing the main aspects of Program music
In groups research and listen to major composers in the Program music era, identifying their pieces and their
stories behind these pieces

Give out assessment task
Week 2
Students compose and notate a small piece over an image to get the idea of program music
In small ensembles students perform these compositions

Week 3
Concepts based aural and listening task on Ludwig Van Beethoven Symphony No. 6
Refer to one section of the piece (Ludwig Van Beethoven Symphony No. 6) and identify the specific use of
instruments to portray that section of the story

Create a mind map of the main instrument groups and identify what main feeling they have behind them
As a class, arrange and perform a section of Ludwig Van Beethoven Symphony No. 6
Week 4
Students manipulate and change a melodic line given to them to fit three emotions, using specific 19th century

techniques
Students perform these manipulations and changes in front of the class, the class will critique and provide
constructive feedback
Improvise as a class by conveying specific emotions given by the teacher
Week 5
Guided listening activity, Richard Strauss Death and Transfiguration, highlighting compositional techniques used
to portray the overall image
 Melodic dictation of a section of Richard Strauss Death and Transfiguration
Students use three of the compositional techniques discussed in Richard Strauss Death and Transfiguarion and
compose their own short piece

Week 6
Final preparations to final performance assessment
Performance of final assessment


Assessment Task:

The purpose of this task is to perform an arrangement of program music from

the nineteenth century choosing from ONE of these five composers:
Hector Berlioz
Franz Lizst
Paul Dukas
Richard Strauss
Pyotr Ilyich Tchaikovsky
Students will perform this in front of the class and receive peer feedback and
evaluation. Students will also provide a portfolio identifying the key features of
the piece that makes it Program Music. Overall, students will need to:
Choose a composer from the list
Arrange a section of the piece of music (2-3 minutes) to their preferred
instrument
Notate this arrangement in traditional notation
Perform this arrangement in front of the class
Provide a portfolio of the arrangement and identify the key features of the
piece that illustrates it as Program music

Outcomes Assessed: H1, H4, H5, H6, H11, H12

Assessment Criteria:
Arrangement representation of style, use of appropriate musical
structures, use of one of the six composers
Notation Accurate use of notation, demonstrates knowledge of scoring
conventions, comprehensive performance directions for the score
Performance Interpretation of the style, expression in the performance,
accurate representation of the composition
Portfolio Demonstrates the understanding of styles and techniques
appropriate to the topic, ability to discuss the concepts of music in their
arrangement.
 A 500-Word Amplification of Learning Theories Associated with
Games

Using video games in your teaching creates connections to learning theories that
could benefit and assist students in their learning. Two specific theories that can
be demonstrated are the constructivism theory and collaborative learning
theory. Through the use of video games allows for students to develop on
information, learn different information, and gain new skills. Whitton and
Moseley (2012, p. 9) support this statement by illustrating that, games are not
just a vehicle for delivering learning but they could be used as an ability to
learn transferable skills such as teamwork and collaboration. Therefore, by
using the learning theories above, teachers can provide students with the
information needed with also developing their teamwork and collaboration
skills.

The importance of constructivism theory for teachers is the ability to use

students past experiences to help them learn different information through
games. Bruner (1982) supports this claim by illustrating that constructivism is
building on past knowledge and experiences through the active engagement in
learning. Ertmer and Newby (2013) further developed that tasks relevant to
students lived experiences, such as games, can further elaborate and interpret
information in greater detail. Furthermore, constructivists are an active
processor of information; they elaborate upon and interpret the given
information in more detail (Duffy & Jonassen, 1991). Therefore, using past
knowledge, games can provide students with the ability to interpret information
on their own and elaborate further on their past experiences.

Collaborative learning theory is heavily illustrated in games in providing

students the ability to develop their skills in teamwork and collaboration.
Whitton and Mosely (2012, p.13) state, The idea of learners working together,
sharing ideas, opinions, and clarifying and reaching shared understandings is
very powerful. Furthermore, the students are able to work on their strengths
whilst also having assistance from others that are more able at that particular
point (Whitton & Moseley, 2012). Effects of collaborations have been illustrated
to have a higher achievement and greater productivity than individual or
competitive activities (Johnson, Maruyama, Johnson, Nelson & Skon, 1981, as
cited by Gillies, 2015). Therefore, games allow students provide information to
each other, with also enhancing their overall learning and achievement.

Overall, it is noted that the effect of using games in the classrooms links to the
two learning theories of constructivism and collaborative learning. The teacher,
through constructivism, can provide the students with games so they can
interpret information themselves and elaborate on the past experiences.
Likewise, with the use of collaborative learning, students can enhance their skills
in teamwork and collaboration with other students to promote their overall
learning and achievement. Therefore, through these learning theories, teachers
can apply games to their classrooms to develop their students previous
knowledge and enhance their skills in collaboration.
References:

Bruner, J. (1982). Toward a theory of instruction (1st ed.). Massachusetts:

Harvard University Press.

Duffy, T., & Jonassen, D. (1991). Constructivism: New implications for

instructional technology?. Educational Technology, 31(5), 3-12.

Ertmer, P., & Newby, T. (2013). Behaviorism, Cognitivism, Constructivism:

Comparing Critical Features From an Instructional Design
Perspective. Performance Improvement Quarterly, 26(2), 43-71.
http://dx.doi.org/10.1002/piq.21143

Gillies, R. (2015). Collaborative Learning (1st ed.). Nova Science Publishers, Inc.

Whitton, N., & Moseley, A. (2012). Using Games to Enhance Learning and
Teaching (1st ed.). Taylor and Francis.