Professional Documents
Culture Documents
Prince Georges County Public Schools Upper Marlboro, Maryland 20772 June 2006
PGIN#: 7690-3468
Shelley Jallow, Chief Academic Officer Patricia Miller, Director of Curriculum and Instruction Gladys Whitehead, Ph.D., Coordinating Supervisor, Academic Programs Anita Lambert, Supervisor of Vocal/General Music, K-12
Acknowledgements: The following individuals were responsible for the development of this document: Wayne Brookover, Carolyn Brown, Dara Case, Lynette Truske, and Kathy Wesley.
Curriculum Framework Elementary Vocal and General Music - Prince Georges County Public Schools
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Table of Contents
Overview of the Elementary Music Curriculum Guide SECTION I Curriculum Framework and Pacing Guide for Elementary Vocal and General Music VSC Overview and Scope and Sequence for Music Long Range Planning and Pacing Guides SECTION II Guidelines and Recommendations for Elementary Vocal and General Music Teachers Assessment Strategies and Grading Students Guidelines for Incorporating Students with Special Needs Guidelines for Itinerant Teachers of Music Guidelines for Incorporating Multicultural Music Guidelines for the Use of Religious Music Recommended Resources and Equipment Guidelines for Integrating Music and Technology Suggested Repertoire Lists Pre-K to 6th Grade Chorus SECTION III - Instructional Activities for Elementary Vocal and General Music Musical Concepts and Skill Development Rhythm Activities Melody/Harmony Activities Form Activities Tone Color Activities Music In Relation to People and Other Arts Music Careers SECTION IV - Sample Lessons for Elementary Vocal and General Music Instruction Guidelines for teaching Pre-Kindergarten Music Pre-Kindergarten Lessons and Activities Guidelines for Recommended Music Activities in Primary Grades Kindergarten Lessons and Activities First Grade Lessons and Activities Second Grade Lessons and Activities Third Grade Lessons and Activities Guidelines for Recommended Music Activities in Intermediate Grades Fourth Grade Lessons and Activities Fifth Grade Lessons and Activities Guidelines for Teaching Sixth Grade Using the Middle School Model Sixth Grade Lessons and Activities Appendix 2 4 5 18 26 27 30 32 33 34 35 36 39 43 46 47 48 63 71 75 81 102 107 108 109 113 115 129 148 168 194 196 218 236 237 269
OVERVIEW
The Vocal and General Music Program of Instruction provides all students with appropriate resources and experiences to develop positive attitudes and sensitivities toward music. Through the implementation of sequential musical skills and concepts students will develop an understanding of the intrinsic value of music and its relationship to diverse cultures, traditions, values and beliefs. The Program is also designed to foster enjoyment and appreciation of music beyond the limits of classroom instruction. Overview of the Music Guide The Elementary Vocal and General Music Guide is designed to assist teachers with music instruction in Pre - Kindergarten through Grade Six. The guide is in alignment with the Maryland Music Voluntary State Curriculum as well as the Scope and Sequence of musical concepts for Prince Georges Public Schools. It is divided into four sections. Section I Curriculum Framework and Pacing Guide for Elementary Vocal and General Music An Overview of the Voluntary School Curriculum has been included in this section. The overview explains the connection between the approved Scope and Sequence and the Draft Voluntary State Curriculum for the state of Maryland. Section I also contains the Vocal and General Music Scope and Sequence for Prince Georges County Public Schools. The format has been changed so that the Scope and Sequence is presented with all the expectancies and indicators for a given grade level on the same page so that teachers may look at all the outcomes for a grade level. The Voluntary State Curriculum has not been included due to the fact that at this time it is still in draft form. Long range planning and pacing guides follow the Scope and Sequence. With the limited amount of available instructional time, it is recommended that music teachers use long range planning and regular monitoring through the use of a pacing guide in order to cover the scope of the music program, contained in the indicators. Each pacing guide represents the concepts that must be covered for each grade level. However, teacher discretion may be used in relation to which concepts are taught per quarter. Section II Guidelines and Recommendations for Elementary Vocal and General Music Teachers Assessment of students in the music program must be done based on specific criteria as indicated in the Scope and Sequence. There is no room for grades based on personality or behavior. Participation following specific criteria is a valid assessment tool. Music is a performance-based discipline and a students participation is often the only way to assess the mastery of skills. Guidelines for assessing students are part of this section of the guide. There are guidelines to assist with a number of other aspects of the job of the vocal and general music teacher including incorporating students with special needs, itinerant teachers needs, incorporating multicultural music, recommended resources and equipment, as well as guidelines for integrating music and technology. A suggested repertoire for each grade level is included. There may be many different opinions of what should be included on this list so this is not included with the intention that it is mandated but more to provide a guide as to appropriate song literature for each grade level. Chorus ideas are also included in this section of the guide. Intermediate students may elect to audition for chorus. Suggestions for scheduling and managing the Chorus in the school are provided. Chorus students have the opportunity on the County level to participate in the Elementary Honors Chorus. Selected students, who successfully complete the required auditions, receive extended opportunities to sing and participate in concerts with other ensembles throughout the county; and to perform at the John F. Kennedy Center for the Performing Arts.
Curriculum Framework Overview Elementary Vocal and General Music - Prince Georges County Public Schools
Section III Instructional Activities for Elementary Vocal and General Music A variety of activities for teaching the indicators in the Scope and Sequence are given here. This section of the guide is divided into three parts based on the outcomes: musical concepts and skill development, music in relation to people and other arts, and music careers. These items are not presented in any intended sequence nor are they intended to be a complete lesson in this section of the guide. However any of the activities may be developed into a complete lesson by the music teacher with attention to the needs of the students in their individual building as well as resources and equipment that is available. Section IV Sample Lesson for Elementary Vocal and General Music Instruction The elementary music teacher is responsible for the instruction of children of a variety of different ages from Pre-Kindergarten to Grade 6 in some buildings. This eight year span contains a wide range of developmental stages for children. With that in mind, this section contains guidelines for working with students of different age levels and information on their development stages as well as what is appropriate for their music instruction. Sample lesson plans have also been included and can be used as a model for lesson plan development for music teachers. These lessons are merely suggestions and not intended to be the complete curriculum for any grade level nor are they intended to be required lessons. Appendix The final section of the document contains the Maryland State Department of Education Music Glossary from the Voluntary State Curriculum. A list of professional organizations for music teachers can also be found in this section.
Curriculum Framework Overview Elementary Vocal and General Music - Prince Georges County Public Schools
SECTION I Curriculum Framework and Pacing Guide for Elementary Vocal and General Music
Curriculum Framework Overview Elementary Vocal and General Music - Prince Georges County Public Schools
VSC Overview
What is the VSC?
It stands for Voluntary State Curriculum. Maryland now has VSC for all subjects that are taught in grades pre-K through grade 8. (Some are still in draft form, but ALL are available online at http://www.mdk12.org/instruction/curriculum/ (The easiest way to get to the document quickly is through Blackboard OR go to your internet home site, click search, then type in the box Maryland Voluntary State Curriculum and click on the first hit. It takes you right to the page where ALL of the VSC documents are available for ALL subjects. I recommend that every teacher read the math and reading documents for the grade levels that they teach, since every principal in every school is mandating that every teacher of every subject must support reading and math skills. The music document is found, of course, under Arts.)
What is in it?
It includes information merged from the Maryland Essential Learner Outcomes, written back in the mid to late 80s, and aligns them with the Maryland Assessment Program. Objectives were not entered into the document unless they were assessable. The writers tried to protect the integrity of those original documents; so much of the original information was re-worked into the new format and with the new titles that were mandated by the state. In our county, the scope and sequence (now called the Curriculum Framework Progress Guide) was created to align our curriculum with the MLOs. It had four outcomes, with expectancies as a subdivision under each of the outcomes, and indicators as a subdivision under each of the expectancies. MUCH OF THE ORIGINAL WRITING WAS KEPT. There were some additions, and titles were changed for purposes of consistency with all of the VSC documents for all subjects taught:
Curriculum Framework Overview Elementary Vocal and General Music - Prince Georges County Public Schools
[Scope and Sequence] [VSC] Used to be called: Now is called: Outcome Content Standard Expectancies Indicators Indicators Objectives In all of the VSC documents, the content standards are broad, measurable statements about what students should know and be able to do. The indicators provide the next level of specificity, so that teachers can narrow their focus. The objectives provide the specific learning that should occur. Every objective is measurable. (No objectives could go into the document unless they were measurable!)
Curriculum Framework Overview Elementary Vocal and General Music - Prince Georges County Public Schools
Prince Georges County Curriculum Framework for Elementary Vocal and General Music
PRE - KINDERGARTEN
OUTCOME I: PERCEIVING, PERFORMING, AND RESPONDING - AESTHETIC EDUCATION: Demonstrate the ability to perceive, perform, and respond to music. Expectancies/indicators A. Describe the characteristics of musical sound. 1. explore a range of classroom instruments such as wood blocks, triangles, rhythm sticks, maracas, guiros, jingle bells, sand blocks, cymbals, and tambourines 2. listen for repeated patterns in music 3. identify musical contrasts such as fast/slow, short/long, high/low and loud/soft B. Develop the skills required for the performance of music. 1. sing songs that use the voice in a variety of ways 2. sing from memory 15 songs appropriate to this age level 3. explore the steady beat through singing, speaking, playing classroom instruments, and movement 4. investigate various vocal timbres through whispering, speaking and singing C. Develop the ability to respond to musical sound through movement. 1. respond to steady beat through locomotor and non-locomotor movement 2. listen for simple directions or verbal cues in singing games D. Develop competence in reading, notating and performing music. 1. demonstrate mechanics of reading from left to right OUTCOME II: HISTORICAL, CULTURAL AND SOCIAL CONTEXTS: Develop an understanding of music as an essential aspect of history and human experience. A. Recognize music as a form of individual and cultural expression. 1. explore music used in daily living 2. sing songs representative of different activities, holidays and seasons in a variety of cultures B. Develop a perspective of musics role in human history. 1. explore a rich repertoire of music representing its roles in the lives of people, such as lullabies 2. perform songs and dances from a variety of historical periods and world cultures, including some connected to general classroom studies C. Develop a comprehension of the relationships of music to the other fine arts. 1. explore creative expression through music, dance, creative dramatics, and the visual arts 2. participate in music activities that emphasize alphabet recognition, spatial relationships, and counting D. Develop knowledge of a variety of musical styles and genres. 1. listen to two versions of the same piece and identify them as same or different, such as a vocal version and a strictly instrumental version. OUTCOME III: CREATIVE EXPRESSION AND PRODUCTION: Develop the ability to creatively organize musical ideas and sounds. A. Develop the ability to improvise music. 1. experiment with sound patterns through exploration of classroom instruments 2. use the voice to improvise animal and environmental sounds B. Develop the ability to compose and arrange music. 1. explore the use of pictorial representations for sound 2. use body percussion to create sound patterns OUTCOME IV: AESTHETIC CRITICISM: Develop the ability to make aesthetic judgments. A. Develop the knowledge, skills, and sensitivity to evaluate musical compositions and performances. 1. listen to a variety of short musical examples (vocal and instrumental) B. Develop the ability to formulate, apply, and communicate criteria for evaluating individual performance and creative efforts. 1. evaluate music performed in class using whole group response strategies OUTCOME V: CAREER DEVELOPMENT: Demonstrate knowledge of music careers and career clusters. A. Recognize the uses of music in everyday life and related careers. 1. discuss ways people make music
Curriculum Framework Overview Elementary Vocal and General Music - Prince Georges County Public Schools
Prince Georges County Curriculum Framework for Elementary Vocal and General Music
KINDERGARTEN
OUTCOME I: PERCEIVING, PERFORMING, AND RESPONDING - AESTHETIC EDUCATION: Demonstrate the ability to perceive, perform, and respond to music. Expectancies/indicators A. Describe the characteristics of musical sound. 1. identify simple formal characteristics in music such as same/different and whole/part 2. identify musical contrasts such as fast/slow, short/long, high/low and loud/soft B. Develop the skills required for the performance of music. 1. clap and sing short rhythmic and melodic phrases 2. sing from memory 15 songs appropriate to this age level 3. demonstrate the steady beat playing classroom instruments 4. investigate various vocal timbres through whispering, speaking and singing C. Develop the ability to respond to musical sound through movement. 1. relate movements such as; walking, skipping, running, turning, bending and stretching to musical sounds 2. perform singing games D. Develop competence in reading, notating and performing music. 1. interpret sounds in music using shapes and pictures OUTCOME II: HISTORICAL, CULTURAL AND SOCIAL CONTEXTS: Develop an understanding of music as an essential aspect of history and human experience. A. Recognize music as a form of individual and cultural expression. 1. sing and interpret several songs representative of different activities, holidays and seasons B. Develop a perspective of musics role in human history. 1. explain briefly the historical context of selected songs C. Develop a comprehension of the relationships of music to the other fine arts. 1. dramatize stories of familiar songs using scenery, props and costumes D. Develop knowledge of a variety of musical styles and genres. 1. describe how singing is different than playing instruments OUTCOME III: CREATIVE EXPRESSION AND PRODUCTION: Develop the ability to creatively organize musical ideas and sounds. A. Develop the ability to improvise music. 1. investigate sound production using voices, classroom instruments, and other objects that make sound B. Develop the ability to compose and arrange music. 1. accompany songs and stories using student selected instruments and sounds OUTCOME IV: AESTHETIC CRITICISM: Develop the ability to make aesthetic judgments. A. Develop the knowledge, skills, and sensitivity to evaluate musical compositions and performances. 1. demonstrate appropriate audience behavior such as listening attentively and giving appropriate applause B. Develop the ability to formulate, apply, and communicate criteria for evaluating individual performance and creative efforts. 1. evaluate music performed in class using whole group response strategies OUTCOME V: CAREER DEVELOPMENT: Demonstrate knowledge of music careers and career clusters. A. Recognize the uses of music in everyday life and related careers. 1. list various places where music can be heard
Curriculum Framework Overview Elementary Vocal and General Music - Prince Georges County Public Schools
Prince Georges County Curriculum Framework for Elementary Vocal and General Music
FIRST GRADE
OUTCOME I: PERCEIVING, PERFORMING, AND RESPONDING - AESTHETIC EDUCATION: Demonstrate the ability to perceive, perform, and respond to music. Expectancies/indicators A. Describe the characteristics of musical sound. 1. find the strong and weak beat pattern in duple meter 2. recognize musical contrasts such as unaccompanied melody/melody with accompaniment 3. identify the different voices of males and females as well as children B. Develop the skills required for the performance of music. 1. sing simple sol-mi patterns using hand signs 2. identify and perform music with a variety of tempi and dynamics 3. sing familiar songs in an ensemble C. Develop the ability to respond to musical sound through movement. 1. create an ostinato by clapping, stamping, and patschen simple rhythm patterns to accompany recorded music and familiar songs D. Develop competence in reading, notating and performing music. 1. read and perform simple rhythmic and melodic notation using quarter and eighth notes and rests 2. read and sing sol-mi patterns as notated on the music staff OUTCOME II: HISTORICAL, CULTURAL AND SOCIAL CONTEXTS: Develop an understanding of music as an essential aspect of history and human experience. A. Recognize music as a form of individual and cultural expression. 1. sing and interpret several songs representative of different countries and cultures B. Develop a perspective of musics role in human history. 1. explain briefly the historical context of selected songs from various cultures C. Develop a comprehension of the relationships of music to the other fine arts. 1. dramatize and pantomime songs using movement D. Develop knowledge of a variety of musical styles and genres. 1. investigate differences between solo and ensemble performances OUTCOME III: CREATIVE EXPRESSION AND PRODUCTION: Develop the ability to creatively organize musical ideas and sounds. A. Develop the ability to improvise music. 1. improvise four beat rhythm ostinato B. Develop the ability to compose and arrange music. 1. write new verses to familiar songs 2. vary familiar songs through changes in tempi and dynamics OUTCOME IV: AESTHETIC CRITICISM: Develop the ability to make aesthetic judgments. A. Develop the knowledge, skills, and sensitivity to evaluate musical compositions and performances. 1. determine criteria to develop an age appropriate scoring tool for evaluating solo, ensemble, and whole class performances B. Develop the ability to formulate, apply, and communicate criteria for evaluating individual performance and creative efforts. 1. implement an age appropriate scoring tool for evaluating solo, ensemble, and whole class performances OUTCOME V: CAREER DEVELOPMENT: Demonstrate knowledge of music careers and career clusters. A. Recognize the uses of music in everyday life and related careers 1. examine various jobs involving music
Curriculum Framework Overview Elementary Vocal and General Music - Prince Georges County Public Schools
Prince Georges County Curriculum Framework for Elementary Vocal and General Music
SECOND GRADE
OUTCOME I: PERCEIVING, PERFORMING, AND RESPONDING - AESTHETIC EDUCATION: Demonstrate the ability to perceive, perform, and respond to music. Expectancies/indicators A. Describe the characteristics of musical sound. 1. find the strong and weak beat patterns in duple and triple meter 2. describe unaccompanied melody (a capella), melody with ostinato, and melody with harmonic accompaniment in music from various cultures using appropriate musical terms 3. identify sound patterns in simple forms such as AB, ABA, and rondo B. Develop the skills required for the performance of music. 1. perform simple ostinato patterns to accompany songs using classroom rhythm and melody instruments 2. sing simple sol-mi-la patterns using hand signs 3. sing and play classroom instruments in an ensemble using music from various cultures C. Develop the ability to respond to musical sound through movement. 1. relate body movements to tempo, melodic direction, rhythmic and melodic patterns, repetition and contrast D. Develop competence in reading, notating and performing music. 1. identify and sing, from written notation, melodic direction and like/unlike phrases of songs from various cultures 2. read and sing sol-mi-la patterns as notated on the music staff OUTCOME II: HISTORICAL, CULTURAL AND SOCIAL CONTEXTS: Develop an understanding of music as an essential aspect of history and human experience. A. Recognize music as a form of individual and cultural expression. 1. examine ways in which music is a part of each students life and the lives of children around the world B. Develop a perspective of musics role in human history. 1. construct perspectives from listening to different styles of music from various cultures C. Develop a comprehension of the relationships of music to the other fine arts. 1. relate musical sounds to visual art identifying repetition and contrast D. Develop knowledge of a variety of musical styles and genres. 1. compare widely contrasting styles, such as marches and lullabies OUTCOME III: CREATIVE EXPRESSION AND PRODUCTION: Develop the ability to creatively organize musical ideas and sounds. A. Develop the ability to improvise music. 1. improvise simple rhythmic and melodic phrases B. Develop the ability to compose and arrange music. 1. arrange given musical ideas (excerpts) to create musical forms such as AB, ABA, and rondo OUTCOME IV: AESTHETIC CRITICISM: Develop the ability to make aesthetic judgments. A. Develop the knowledge, skills, and sensitivity to evaluate musical compositions and performances. 1. identify ways of improving a musical performance B. Develop the ability to formulate, apply, and communicate criteria for evaluating individual performance and creative efforts. 1. evaluate the effectiveness and quality of individual contributions to the class musical performance OUTCOME V: CAREER DEVELOPMENT: Demonstrate knowledge of music careers and career clusters. A. Recognize the uses of music in everyday life and related careers 1. listen to and express opinions about recorded musical performances, both audio and video
Curriculum Framework Overview Elementary Vocal and General Music - Prince Georges County Public Schools
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Prince Georges County Curriculum Framework for Elementary Vocal and General Music
THIRD GRADE
OUTCOME I: PERCEIVING, PERFORMING, AND RESPONDING - AESTHETIC EDUCATION: Demonstrate the ability to perceive, perform, and respond to music. Expectancies/indicators A. Describe the characteristics of musical sound. 1. define tempo, dynamics, and meter using musical terms 2. describe characteristics of music such as crescendo, decrescendo and accent using appropriate musical terms 3. identify sound patterns in phrases (call and response, echo) B. Develop the skills required for the performance of music. 1. perform a rhythmic ostinato while singing familiar songs 2. maintain tempo and pitch while singing familiar rounds 3. sing simple melodic patterns containing do and re using hand signs 4. sing and play classroom instruments in an ensemble matching dynamic levels C. Develop the ability to respond to musical sound through movement. 1. interpret music in free and patterned forms in various meters using body movements D. Develop competence in reading, notating and performing music. 1. read and perform simple rhythmic and melodic notation including half notes 2. read and sing mi-re-do patterns in various keys as notated on music staff OUTCOME II: HISTORICAL, CULTURAL AND SOCIAL CONTEXTS: Develop an understanding of music as an essential aspect of history and human experience. A. Recognize music as a form of individual and cultural expression. 1. sing a variety of western and non-western folk and composed songs including those in other languages 2. compare the music for various groups of people as a part of everyday life B. Develop a perspective of musics role in human history. 1. construct perspectives from listening to western instrumental music from various historical periods C. Develop a comprehension of the relationships of music to the other fine arts. 1. sequence the events in a musical drama D. Develop knowledge of a variety of musical styles and genres. 1. listen to orchestral music which features string and woodwind instruments to introduce classification terms: chordophones and aerophones OUTCOME III: CREATIVE EXPRESSION AND PRODUCTION: Develop the ability to creatively organize musical ideas and sounds. A. Develop the ability to improvise music. 1. improvise simple rhythmic and pentatonic ostinati to accompany familiar songs B. Develop the ability to compose and arrange music. 1. select and play instruments to match the mood of extra musical ideas OUTCOME IV: AESTHETIC CRITICISM: Develop the ability to make aesthetic judgments. A. Develop the knowledge, skills, and sensitivity to evaluate musical compositions and performances. 1. explain preferences for songs to sing, instruments to play, music for listening and related activities B. Develop the ability to formulate, apply, and communicate criteria for evaluating individual performance and creative efforts. 1. construct support for individual interests in different styles and kinds of music OUTCOME V: CAREER DEVELOPMENT: Demonstrate knowledge of music careers and career clusters. A. Recognize the uses of music in everyday life and related careers. 1. experience a live performance outside the school setting and compare to recorded performances, both audio and video
Curriculum Framework Overview Elementary Vocal and General Music - Prince Georges County Public Schools
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Prince Georges County Curriculum Framework for Elementary Vocal and General Music
FOURTH GRADE
A. OUTCOME I: PERCEIVING, PERFORMING, AND RESPONDING - AESTHETIC EDUCATION: Demonstrate the ability to perceive, perform, and respond to music. Expectancies/indicators Describe the characteristics of musical sound. 1. identify the main theme of a recorded selection, and demonstrate an understanding of AB, ABA and rondo forms 2. describe tone color and methods of sound production of orchestral, band and related folk instruments using sound classification terms (i.e. aerophones...) Develop the skills required for the performance of music. 1. perform simple melodic ostinati to accompany songs 2. sing simple melodic patterns containing high do and low sol and la using hand signs 3. sing and play classroom instruments in an ensemble, responding to conducting cues Develop the ability to respond to musical sound through movement. 1. relate music in two beat and four beat meter to patterned body movements 2. interpret a song using standard sign language Develop competence in reading, notating and performing music. 1. read and perform simple rhythmic and melodic notation including the whole note 2. identify and sing octaves as notated on the treble staff 3. perform music with appropriate expression as indicated by the written score OUTCOME II: HISTORICAL, CULTURAL AND SOCIAL CONTEXTS: Develop an understanding of music as an essential aspect of history and human experience. Recognize music as a form of individual and cultural expression. 1. describe how music reflects traditions in various cultures 2. examine the use of musical elements and perform music using the style reflective of that culture Develop a perspective of musics role in human history. 1. sing and summarize the historical context of early American music such as spirituals, patriotic songs, folksongs, and Native American music 2. perform childrens game songs from various historical periods and cultures Develop a comprehension of the relationships of music to the other fine arts. 1. compare timbre in music to color in visual art Develop knowledge of a variety of musical styles and genres. 1. listen to orchestral compositions which emphasize brass and percussion instruments and classify using the terms: aerophones, membranophones, and idiophones OUTCOME III: CREATIVE EXPRESSION AND PRODUCTION: Develop the ability to creatively organize musical ideas and sounds. Develop the ability to improvise music. 1. improvise pentatonic melodies on keyboard instruments Develop the ability to compose and arrange music. 1. compose and perform music using simple rhythmic notation for classroom percussion instruments OUTCOME IV: AESTHETIC CRITICISM: Develop the ability to make aesthetic judgments. Develop the knowledge, skills, and sensitivity to evaluate musical compositions and performances. 1. summarize ways in which people from diverse cultures enjoy performing and creating music Develop the ability to formulate, apply, and communicate criteria for evaluating individual performance and creative efforts. 1. evaluate individual performances for the reflection of cultural authenticity
B.
C. D.
A. B.
C. D.
A. B. A. B.
Curriculum Framework Overview Elementary Vocal and General Music - Prince Georges County Public Schools
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Prince Georges County Curriculum Framework for Elementary Vocal and General Music
OUTCOME V: CAREER DEVELOPMENT: Demonstrate knowledge of music careers and career clusters. A. Recognize the uses of music in everyday life and related careers 1. identify the ways in which elementary music instruction provides preparation for a career in music
Curriculum Framework Overview Elementary Vocal and General Music - Prince Georges County Public Schools
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Prince Georges County Curriculum Framework for Elementary Vocal and General Music
FIFTH GRADE
A. OUTCOME I: PERCEIVING, PERFORMING, AND RESPONDING - AESTHETIC EDUCATION: Demonstrate the ability to perceive, perform, and respond to music. Expectancies/indicators Describe the characteristics of musical sound. 1. apply standard tempo, dynamic, and articulation (staccato and legato) terminology to music heard, played and sung in class 2. describe tone color and methods of sound production of orchestral, band and related folk instruments using sound classification terms (i.e. aerophones...) Develop the skills required for the performance of music. 1. sing, simple melodic patterns containing fa and ti using hand signs 2. sing songs in major and minor tonalities 3. demonstrate and define responsibilities that are a part of singing in an ensemble, such as chorus 4. sing simple partner and two-part songs using a two staff system Develop the ability to respond to musical sound through movement. 1. relate music in three beat meter to patterned body movements 2. perform appropriate dances to accompany traditional folk music Develop competence in reading, notating and performing music. 1. read, write, and perform music in duple and triple meter including dotted half notes 2. identify and write the letter names of all lines and spaces on the treble clef 3. identify sections of music (A, B, C) from the written score 4. name, sing, and play intervals and relate them to song material OUTCOME II: HISTORICAL, CULTURAL AND SOCIAL CONTEXTS: Develop an understanding of music as an essential aspect of history and human experience. Recognize music as a form of individual and cultural expression. 1. compare the uses of music in western and non-western cultures 2. determine how lyrics of songs reflect the culture and history of various people Develop a perspective of musics role in human history. 1. interpret in writing an understanding of the relationship between music and events in United States history Develop a comprehension of the relationships of music to the other fine arts. 1. identify patterns in music and relate them to patterns in visual art Develop knowledge of a variety of musical styles and genres. 1. listen to musical compositions and identify selections which emphasize various instrumental ensembles and/or chorus OUTCOME III: CREATIVE EXPRESSION AND PRODUCTION: Develop the ability to creatively organize musical ideas and sounds. Develop the ability to improvise music. 1. improvise simple accompaniments and counter melodies using the voice and other instruments 2. improvise vocally using various forms such as call and response and question and answer Develop the ability to compose and arrange music. 1. compose and perform music using simple melodic notation for classroom instruments OUTCOME IV: AESTHETIC CRITICISM: Develop the ability to make aesthetic judgments. Develop the knowledge, skills, and sensitivity to evaluate musical compositions and performances. 1. determine the characteristics of a good performance such as singing or playing in tune, proper tempo, and appropriate expression Develop the ability to formulate, apply, and communicate criteria for evaluating individual performance and creative efforts. 1. identify musical abilities which give personal satisfaction
B.
C. D.
A. B. C. D.
A. B. A. B.
Curriculum Framework Overview Elementary Vocal and General Music - Prince Georges County Public Schools
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Prince Georges County Curriculum Framework for Elementary Vocal and General Music
OUTCOME V: CAREER DEVELOPMENT: Demonstrate knowledge of music careers and career clusters. A. Recognize the uses of music in everyday life and related careers 1. compile a music portfolio including items such as recordings of whole class performances (audio and video), examples of student work and compositions, etc. 2. analyze a professional musicians portfolio for similarities to that of the class
Curriculum Framework Overview Elementary Vocal and General Music - Prince Georges County Public Schools
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Prince Georges County Curriculum Framework for Elementary Vocal and General Music
SIXTH GRADE
A. OUTCOME I: PERCEIVING, PERFORMING, AND RESPONDING - AESTHETIC EDUCATION: Demonstrate the ability to perceive, perform, and respond to music. Expectancies/indicators Describe the characteristics of musical sound. 1. identify scale patterns, tone centers and solfege syllables in the major and minor modes 2. analyze musical selections for the use of syncopation and blues notes 3. perform and compare examples of monophonic, polyphonic and homophonic texture 4. describe the tone color and methods of sound production for the piano and electronic instruments using sound classification terms (i.e. chordophones and electronophones) Develop the skills required for the performance of music. 1. sing and play melodies and descants to accompany songs 2. blend vocal timbres in an ensemble such as chorus Develop the ability to respond to musical sound through movement. 1. conduct music in compound meter 2. perform dance steps to accompany a variety of songs and musical selections from different cultures Develop competence in reading, notating and performing music. 1. read and perform simple rhythmic notation including sixteenth notes 2. write simple rhythmic and melodic patterns from dictation 3. transpose a simple melody 4. read and play a harmonic classroom instrument using standard chord symbols OUTCOME II: HISTORICAL, CULTURAL AND SOCIAL CONTEXTS: Develop an understanding of music as an essential aspect of history and human experience. Recognize music as a form of individual and cultural expression. 1. examine music which is unique to students cultural heritage 2. relate the ways in which music of various cultures, such as African, European, and Latin American, influenced the development of musical styles in the United States Develop a perspective of musics role in human history. 1. compare the use of music and the roles of musicians in our culture and those in selected non-western cultures 2. select and play classroom instruments that are appropriate to the non-western music being studied Develop a comprehension of the relationships of music to the other fine arts. 1. relate styles in music to styles in visual art 2. compare folk music to other forms of artistic expression in western and non-western cultures Develop knowledge of a variety of musical styles and genres. 1. identify aurally a repertoire of diverse vocal and instrumental compositions written by exemplary composers OUTCOME III: CREATIVE EXPRESSION AND PRODUCTION: Develop the ability to creatively organize musical ideas and sounds. Develop the ability to improvise music. 1. investigate the use of electronic instruments and equipment in the making of music Develop the ability to compose and arrange music. 1. write compositions in complex forms such as fugue and theme and variations 2. compose and arrange descants for familiar melodies OUTCOME IV: AESTHETIC CRITICISM: Develop the ability to make aesthetic judgments. Develop the knowledge, skills, and sensitivity to evaluate musical compositions and performances. 1. compare dissimilar performances of the same work discussing differences in interpretation and preferences Develop the ability to formulate, apply, and communicate criteria for evaluating individual performance and creative efforts. 1. construct and apply criteria of good musical performances to individual achievements
B. C. D.
A.
B.
C. D.
A. B.
A. B.
Curriculum Framework Overview Elementary Vocal and General Music - Prince Georges County Public Schools
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Prince Georges County Curriculum Framework for Elementary Vocal and General Music
OUTCOME V: CAREER DEVELOPMENT: Demonstrate knowledge of music careers and career clusters. A. Recognize the uses of music in everyday life and related careers 1. examine several music career choices and discuss the skills and experiences needed 2. examine the role of technology in various music careers
Curriculum Framework Overview Elementary Vocal and General Music - Prince Georges County Public Schools
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First Quarter
Explore ways people make music Identify musical contrasts: quiet/loud Explore steady beat Investigate voices: whispering, speaking, singing Use voice to improvise animal and environmental sounds
Scope & Sequence Indicator V. A. 1 I. A. 3 I. B. 3 I. B. 4 III. A. 2 Scope & Sequence Indicator I. A. 2 I. A. 3 I. C. 1 I. C. 2 II. A. 1, B. 1 III. B. 2
Second Quarter
Identify musical contrasts: fast/slow Sing songs that use the voice in different ways Explore steady beat Listen and compare two different versions of same music Use pictures for sound
Scope & Sequence Indicator I. A. 3 I. B. 1 I. B. 3 II. D. 1 III. B. 1 Scope & Sequence Indicator I. A. 3 I. C. 1 I. D. 1 II. A. 1, B. 1 II. D. 1 III. A. 1
Third Quarter
Listen for repeated patterns Identify musical contrasts: high/low Respond to steady beat Listen for directions and cues in games Explore music in daily life Use body percussion for patterns
Fourth Quarter
Identify musical contrasts: short/long Respond to steady beat Demonstrate mechanics of reading left to right Explore music in daily life Listen and compare two different versions of same music Experiment with sound patterns
Professional judgment and an analysis of students' skills and needs should be used to determine in what quarter specific indicators may be taught. However this pacing guide contains all indicators for the grade level and they all should be addressed at some point in the Pre - Kindergarten year. The assessment suggestions are meant to be a guide as to the type of assessment the teacher may use to determine mastery of the concept, skill or appropriate participation. The C stands for an assessment of the conceptual knowledge of this indicator. The S stands for an assessment of the skill development of this indicator. The P stands for a criterion based assessment of the participation level of this indicator.
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First Quarter
List various places where music is heard Identify musical contrasts: fast/slow & quite/loud Investigate voices: whispering, speaking, singing Describe difference between singing and playing
Scope & Sequence Indicator V. A. 1 I. A. 2 I. B. 4 II.D.1, III.A.1 Scope & Sequence Indicator I. A. 2 I. B. 1 I. B. 3 II. C. 1 III. A. 1
Second Quarter
Identify same/different Perform the steady beat Demonstrate appropriate audience behavior Use voices and instruments to accompany stories
Scope & Sequence Indicator I. A. 1 I. B. 3 IV. A. 1 III. B. 1 Scope & Sequence Indicator I. A. 1 I. B. 1 I. B. 3 II. C. 1 IV. A. 1
Third Quarter
Identify musical contrasts: high/low Clap rhythmic phrases Perform the steady beat using instruments Dramatize stories of songs using props, costumes, and scenery Investigate voices and instruments
Fourth Quarter
Identify whole and part Sing melodic phrases Perform the steady beat using instruments Dramatize stories of songs using props, costumes, and scenery Demonstrate appropriate audience behavior
Professional judgment and an analysis of students' skills and needs should be used to determine in what quarter specific indicators may be taught. However this pacing guide contains all indicators for the grade level and they all should be addressed at some point in the Kindergarten year. The assessment suggestions are meant to be a guide as to the type of assessment the teacher may use to determine mastery of the concept, skill or appropriate participation. The C stands for an assessment of the conceptual knowledge of this indicator. The S stands for an assessment of the skill development of this indicator. The P stands for a criterion based assessment of the participation level of this indicator.
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First Quarter
Recognize and evaluate solo and ensemble singing Recognize male & female voices Dramatize music
Scope & Sequence Indicator II.D.1, IV.A.1 I. A. 3 II. C. 1 Scope & Sequence Indicator I. B.1, D.2 I. C. 1, III.A.1 I. D. 1 II. C. 1
Second Quarter
Read and play quarter note and rest Recognize accompaniment/unaccompanied music Create new verses
Third Quarter
Read and sing with hand signs-Sol-Mi Create and perform rhythm patterns Read and play rhythm with quarter note and rest, eighth note Dramatize music
Scope & Sequence Indicator Read and sing with handsigns-Sol-Mi I. B.1, D.2 Create and perform rhythm patterns I. C. 1, III.A.1 Read and play melodic rhythm with quarter note and rest, eighth note I. D. 1 Find strong and weak beat in duple meter I. A. 1 Create new verses III. B. 1
Fourth Quarter
Professional judgment and an analysis of students' skills and needs should be used to determine in what quarter specific indicators may be taught. However this pacing guide contains all indicators for the grade level and they all should be addressed at some point in the first grade year. The assessment suggestions are meant to be a guide as to the type of assessment the teacher may use to determine mastery of the concept, skill or appropriate participation. The C stands for an assessment of the conceptual knowledge of this indicator. The S stands for an assessment of the skill development of this indicator. The P stands for a criterion based assessment of the participation level of this indicator.
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First Quarter
Perform the beat in tempo Recognize strong and weak beat in duple meter Read and perform rhythm patterns with quarter notes and rests Perform music in different styles. Improvise rhythmic phrases
Scope & Sequence Indicator I. C. 1 I. A. 1 I. B. 1,C. 1 II. D. 1 III. A. 1 Scope & Sequence Indicator I.A.3, III.B.1 I.B.1,C.1,D.1 III. A. 1 I. B. 2, D.2
Second Quarter
Read and perform melodic direction Read and perform sol, mi, and la Recognize solo and ensemble, different accompaniments Recognize and perform contrasting phrases Improvise melodic phrases
Scope & Sequence Indicator I. C. 1, D.1 I. B. 2, D.2 I. A. 2 I. C. 1, D. 1 III. A. 1 Scope & Sequence Indicator I. A. 1 I. C. 1, D. 1 III. A. 1 I. B. 2, D. 2
Third Quarter
Recognize and perform simple forms: AB/ABA and rondo Create & perform rhythm patterns in duple meter with ta & rest Improvise rhythmic phrases Read and perform sol, mi, and la
Fourth Quarter
Recognize and perform music in triple meter Recognize and perform contrasting phrases Improvise melodic and rhythmic patterns Read and perform melody patterns using sol, mi, and la
Professional judgment and an analysis of students' skills and needs should be used to determine in what quarter specific indicators may be taught. However this pacing guide contains all indicators for the grade level and they all should be addressed at some point in the second grade year. The assessment suggestions are meant to be a guide as to the type of assessment the teacher may use to determine mastery of the concept, skill or appropriate participation. The C stands for an assessment of the conceptual knowledge of this indicator. The S stands for an assessment of the skill development of this indicator. The P stands for a criterion based assessment of the participation level of this indicator.
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First Quarter
Sing while performing rhythm patterns Read and perform quarter note & rest, eighth note Maintain tempo while singing Perform music using patterned forms in duple meter Improvise rhythm patterns in duple meter Historical/cultural focus: beat games from various cultures
Type of Assessment SP CS CS C P
Second Quarter
Perform dynamics appropriately in an ensemble Read and perform sol, mi, la, re, and do Read, notate, and perform melodic patterns Compare different types of performances Select and play instruments to match mood Historical/cultural focus: holiday songs from various cultures
Type of Assessment CS S S S
Scope & Sequence Third Quarter Indicator Recognize and perform music with contrasting phrases I. A. 3, II. A Perform music using patterned forms in triple meter I. C. 1 Perform music in harmony I. B. 4 III. A. 1 Improvise pentatonic ostinato Historical/cultural focus: songs in different phrase forms from various cultures
Type of Assessment CS CS S C
Fourth Quarter
Read, write and perform pentatonic melodies Read and perform rhythmic & melodic notation Perform folk dances in patterned forms Compare different types of performances Historical/cultural focus: dances from various cultures
Professional judgment and an analysis of students' skills and needs should be used to determine in what quarter specific indicators may be taught. However this pacing guide contains all indicators for the grade level and they all should be addressed at some point in the third grade year. The assessment suggestions are meant to be a guide as to the type of assessment the teacher may use to determine mastery of the concept, skill or appropriate participation. The C stands for an assessment of the conceptual knowledge of this indicator. The S stands for an assessment of the skill development of this indicator. The P stands for a criterion based assessment of the participation level of this indicator.
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First Quarter
Read and perform all basic rhythm notes Read, conduct, and perform rhythms in duple meter Compose and perform rhythms Historical/cultural focus: Musical Elements
Type of Assessment CS SP SP
Second Quarter
Read and perform pentatonic melody patterns Perform melody patterns with octaves Perform melodic improvisation Historical/cultural focus: Cowboys and Native American
Third Quarter
Perform music in AB, ABA, and Rondo form Classify orchestra instruments Perform children's games from history Historical/cultural focus: African Americans during slavery
Fourth Quarter
Read and perform melody patterns with octaves Perform a song using sign language Perform children's games from history Historical/cultural focus: Colonial and Patriotic music
Professional judgment and an analysis of students' skills and needs should be used to determine in what quarter specific indicators may be taught. However this pacing guide contains all indicators for the grade level and they all should be addressed at some point in the fourth grade year. The assessment suggestions are meant to be a guide as to the type of assessment the teacher may use to determine mastery of the concept, skill or appropriate participation. The C stands for an assessment of the conceptual knowledge of this indicator. The S stands for an assessment of the skill development of this indicator. The P stands for a criterion based assessment of the participation level of this indicator.
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Curriculum Framework Overview Elementary Vocal and General Music - Prince Georges County Public Schools
First Quarter
Type of Assessment S S C C
Second Quarter
Perform music in harmony Perform folk dances Recognize musical forms Identify various instrumental/choral ensembles Historical/cultural focus: Native American
Scope & Sequence Third Quarter Indicator C Classify instruments I. A. 2 C Identify various instrumental ensembles II.D.1 S Perform music in harmony I. B. 4 S Improvise vocally in various forms III.A.2 Historical/cultural focus: Revolutionary War songs and Freedom Songs of the Civil Rights Movement Type of Assessment
Type of Assessment C S CS C
Scope & Sequence Fourth Quarter Indicator Recognize major and minor tonalities I.B.2 Perform folk dances I. C. 2 Read and perform music in duple and triple meter I. C. 1, D. 1 Recognize musical forms I. D. 3 Historical/cultural focus: Early American including Shakers, Pioneers and Cowboys
Professional judgment and an analysis of students' skills and needs should be used to determine in what quarter specific indicators may be taught. However this pacing guide contains all indicators for the grade level and they all should be addressed at some point in the fifth grade year. The assessment suggestions are meant to be a guide as to the type of assessment the teacher may use to determine mastery of the concept, skill or appropriate participation. The C stands for an assessment of the conceptual knowledge of this indicator. The S stands for an assessment of the skill development of this indicator. The P stands for a criterion based assessment of the participation level of this indicator.
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First Quarter
Read, write, and perform melody notes in scale patterns Identify patterns in major/minor scales Transpose a simple melody Create and perform music in 12 bar blues form Read and perform music with chord symbols Historical/cultural focus: American history including the blues
Second Quarter
Performing and recognizing harmonic texture Perform descants Classify instruments (piano and electronic) Compare performances of same piece Identify compositions by exemplary composers Historical/cultural focus: European
Scope & Sequence Indicator I.A.3, I.B.1 I.B.1, III.B.2 I.A.4, III.A.1 IV. A. 1 II. D. 1
Type of Assessment CS SP S P C
Third Quarter
Read and perform syncopation and sixteenth notes Perform polyrhythmic music with appropriate instruments Improvise a rhythm pattern in a group performance Perform dances from other cultures Compare music to other art Historical/cultural focus: Asian, African, Latin American
Fourth Quarter
Identify various types of sound equipment Analyze the text of contemporary music Perform music in compound meter Compare performances of same piece Portfolio for music careers Historical/cultural focus: Contemporary American
Professional judgment and an analysis of students' skills and needs should be used to determine in what quarter specific indicators may be taught. However this pacing guide contains all indicators for the grade level and they all should be addressed at some point in the sixth grade year. The assessment suggestions are meant to be a guide as to the type of assessment the teacher may use to determine mastery of the concept, skill or appropriate participation. The C stands for an assessment of the conceptual knowledge of this indicator. The S stands for an assessment of the skill development of this indicator. The P stands for a criterion based assessment of the participation level of this indicator.
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Curriculum Framework Overview Elementary Vocal and General Music - Prince Georges County Public Schools
SECTION II Guidelines and Recommendations for Elementary Vocal and General Music Teachers
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Guidelines and Recommendations for Elementary Vocal and General Music Teachers
Assessment of students in the music program must be done based on specific criteria as indicated in the Scope and Sequence. There is no room for grades based on personality or behavior. Participation following specific criteria is a valid assessment tool. Music is a performance-based discipline and a students participation is often the only way to assess the mastery of skills.
Participation: The extent to which the student readily participates in the following music class activities:
Singing Playing classroom instruments Moving to music Listening to music Reading music Writing music Creating music
Skill Development: The extent to which the student masters musical skills listed in the scope and
sequence.
Knowledge of Musical Concepts: The extent to which the student demonstrates an understanding
of the musical concepts listed in the scope and sequence.
A check should be placed in the box on the report card when improvement is needed in the following areas: demonstrate mastery of skills; demonstrates knowledge of concept; and participation/effort. Progress reports should be completed at mid-quarter for those students at risk of receiving a 2 (grade 1 and 2) or lower than a C (grades 3-6).
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Guidelines and Recommendations for Elementary Vocal and General Music Teachers SAMPLE SCORING TOOLS AND RUBRICS FOR ASSESSING INDIVIDUAL STUDENTS
The numbers below refer to the four point grading scale where A equals 4, B equals 3, C equals 2, D equals 1, and 0 equals E. General Participation 4 Consistent and appropriate participation 3 Generally appropriate participation 2 Participation is inconsistent but appropriate 1 Participation is rare or frequently inappropriate 0 Seldom participates Performance levels These can be adjusted to fit performance activities where specific skills are being assessed. Mastery of Skills Performance Assessment 4 Minimal errors in performance 3 Generally accurate with several errors 2 Generally accurate in places but not able to play completely 1 Recognizable attempt 0 No attempt Criterion-based Assessment Rubric 4 Begins and ends at appropriate time, uses the assigned notes or rhythms Fits with the other music being performed 3 Any one of the criteria is missing 2 Any two of the criteria is missing 1 Attempt is made but doesnt fit criteria 0 No attempt Grades 3-6 Writing Activities about Music 4 Completely written with proper form and accurate historical/cultural information. 3 Generally written with proper form and somewhat accurate historical/cultural information. 2 Attempt is made to answer the prompt. 1 Writing attempt is late. 0 No attempt (Grade drops one letter grade for missing music information.) Grades 3-6 Expressing Personal Preference about Music 4 Fully supported preference clearly stated 3 Somewhat supported preference clearly stated 2 Preference clearly stated but not supported 1 Answer attempted but inappropriate 0 No attempt
Grades 3-6
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Guidelines and Recommendations for Elementary Vocal and General Music Teachers
Grades 3-6 Rubric for Evaluation of Music Performances 4 Specific information written in complete sentences with minimal capitalization and punctuation errors. 3 General information written in complete sentences with some capitalization and punctuation errors. 2 General information in complete sentences with several capitalization and punctuation errors. 1 General information in incomplete sentences with several capitalization and punctuation errors. 0 No attempt
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Guidelines and Recommendations for Elementary Vocal and General Music Teachers
Guidelines for Incorporating the Special Needs Student in the Music Classroom
How to make them feel welcome and be productive In Prince Georges County most special needs students are included in the general music classroom. Music, by its very nature, can accommodate a variety of learning styles, abilities and needs. What is So Special about Music? Music is academic math, history, geography, science, social studies are some of the concepts that are a part of music education. Music is a social and cultural experience, providing opportunities for fun, cooperative learning, and a chance to develop talents and strengths that may not necessarily be cultivated in the average classroom. Why Include Special Needs Children in Music? Non-competitive Success-guaranteed activities Meets physical and emotional needs Makes learning easier When Planning Music Concepts and Learning Skills Think of co-purposes musical and non-musical goals Think conceptually and developmentally Long-range planning very important Special education techniques token economy, behavioral management skills, contracts (class and individual), 504 plans Difference between Music for the Average and Special Child Activities selected for class and adapted to meet special needs Materials, use of instruments, books and supplies may need to be adapted to enable the special child to participate and succeed thus the importance of long range planning. Materials may need to be developed, depending on your situation. Resources Use teacher resource books all of the series have sections for accommodating special learners. You may consider using this method for teaching initially, until you see how the entire class and the special students respond. Access your resources in the school building and system special education teacher, counselor, school psychologist, PPW can be valuable resources. MENC, NAMT, professional organizations specializing in your students particular disability internet, etc. Do not underestimate the power of your relationship with your students all of them to help you figure how a way to make it work! Working With Children Who Are Emotionally Impaired Relationship Acceptance very important. Let them know you care for them as a person, but not necessarily their behavior. Success-guaranteed activities organize the class so that this child in particular meets with immediate success. Then the child is more willing to strive to learn something more difficult.
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Guidelines and Recommendations for Elementary Vocal and General Music Teachers
Emotionally Challenged Students are Challenging Pace lesson alternate passive and active components to help the student maintain self-control. Expect anxiety and plan for it. Many acting-out behaviors are coping mechanisms. Preparing the student with verbal and/or written alerts may help. Have a strong behavioral management system that is consistent and dependable. The Physically Involved Student Slow down!! Adjust tempo of songs, accompaniments, etc. Watch environment. To the extent possible free from obstructions, barriers, etc. Look for the student helper who will be a friend when needed Educate yourself about the students needs Adapt instruments and methods of playing use your natural creativity. Working With Children Who Are Educationally Challenged Make tapes Create visual and verbal cues Take a multi-sensory approach which is an essential component of music education Try to consider not making all students fit the mold Summary Communicate with special education staff at the beginning of the school year. Do not hesitate to share your concerns about particular students. Certain problems may be more obvious in the music classroom. Quality planning is very important! Do not be afraid to try new activities. Make sure you take the time to plan them to accommodate the needs of all learners. Summary and Resources Include non-musical goals in plans and concepts as appropriate Access your resources school-wide, system-wide, and professional organizations
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Guidelines and Recommendations for Elementary Vocal and General Music Teachers
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Guidelines and Recommendations for Elementary Vocal and General Music Teachers
Suggestions from: World Music Press, P. O. Box 2565 Danbury, CT. 06813
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Guidelines and Recommendations for Elementary Vocal and General Music Teachers
Curriculum Framework Overview Elementary Vocal and General Music - Prince Georges County Public Schools
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Guidelines and Recommendations for Elementary Vocal and General Music Teachers
soprano glockenspiels alto glockenspiels soprano xylophones alto xylophones bass xylophone soprano metallophones alto metallophones bass metallophone tympani drums, one high and one low acoustic pianos electric keyboard with MIDI compatibility sets of chromatic melody bells resonator bells, one octave diatonic resonator bells, two octaves chromatic step bells soprano recorders pairs of rhythm sticks/lummi sticks jingle bells hand drums with replaceable heads Additional drums: 2 conga small and large 2 bongo drums 1 authentic Native American drum 1 African talking drum 1 split log drum various appropriate mallets for different instruments
The following instruments are recommended if additional funds are available: rainstick vibraslap clatterpillar chime tree ukelele flexatone (flexible tubing) kalimba slapstick (whip) wood ratchet Native American flute slide whistle gong train whistle
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Guidelines and Recommendations for Elementary Vocal and General Music Teachers
2 Refer to the Standards for Elaborations developed from Marylands Preparing Tomorrows Teachers to Use Technology (PT3): USDOE Catalyst Grant P342A99020: http://www.smcm.edu/msde-pt3/Docs/MDTchrTechStdsMTTS.pdf
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Guidelines and Recommendations for Elementary Vocal and General Music Teachers
o Teachers Using Weblogs: http://www.intel.com/education/projects/news/vol_05/elementary2.htm Evaluate devices and programs for use as presentation tools. o Microsoft Desktop Publishing Software: http://desktoppub.about.com/od/microsoft/ o Microsoft Education: Resources: http://www.microsoft.com/education/default.mspx o Troubleshooting LCD Displays: http://service.dell.com/dell/step/1::33732+26+37929+37999+38005:00.html o Making it Digital (Using Digital Cameras): http://www.pgcps.org/~nwest/comp_assistance/digital_camera/index.htm o Digital Kids Club (Digital Device Tutorials and Instructional Ideas): http://www.adobe.com/education/digkids/ o PGCPS Approved Software Database: http://www.pgcps.org/~support/software.html o Creating Podcasts: http://www.podcaststation.com/webpages/podcastingIsEasy.asp?gclid=CO_F64vl5IUCFU NtFQodpnd3OA Creating Classroom Websites Resources. o TeacherWeb($): http://www.teacherweb.com SchoolNotes: http://www.schoolnotes.com Free Teacher Web Site: http://www.teach-nology.com/web_tools/web_site/ How to Create Your Own Website: http://www.pgcps.org/~marlton/virtual_library/webclass.htm Developing Web Pages: http://members.shaw.ca/priscillatheroux/developing.html Sites by Music Teachers: http://www.musiceducationmadness.com/links3.shtml#teachers
Standard III: Legal: Social and Ethical Issues Demonstrate an understanding of the legal, social, and ethical issues related to technology use. Identify ethical and legal issues using technology and classroom compliance with copyright law, Fair Use Guidelines, and security. o PGCPS - Acceptable Use Policy: http://www.pgcps.org/%7Eprocedur/1000/0700.pdf o Indicators of Social, Ethical, and Legal Issues: http://www.ncrel.org/engauge/framewk/pro/issues/proiss.htm o Fair Use Guidelines: http://www.pgcps.org/~support/copyright.html Incorporate proper copyright use in research and writing. o A Research Guide for Students: http://www.aresearchguide.com/index.html Arrange classroom layout to facilitate monitoring technology within an equitable, safe, and healthy environment for students. o The One-Computer Music Classroom: http://metmagazine.com/mag/onecomputer_music_classroom/index.html o Music Safety: http://finearts.esc20.net/music/music_strategies/mus_strat_safe.html Standard IV: Assessment for Administration and Instruction Use technology for instructional and school-based improvement. Grade book Software and Online Resources. o Grade Book Power: www.gradebookpower.com o Grade Keeper: www.gradekeeper.com o My Grade Book: http://www.mygradebook.com/ o Grade Book Wizard: http://www.gradebookwizard.com/
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Guidelines and Recommendations for Elementary Vocal and General Music Teachers
Student Data Bases. o Getting Started with FileMaker: http://www.wellesley.edu/Computing/Filemaker/filemaker4_tutorial.html o File Maker Tutorials: http://www.computer-training-software.com/filemaker-6.htm Sharing Results. o Form Generators (Parent Conference Records, Behavior Assessment: etc.): http://www.teach-nology.com/web_tools/materials/
Standard V: Integrating Technology into the Curriculum and Instruction Design, implement, and assess learning experiences that incorporate use of technology in a curriculum-related instructional activity to support understanding, inquiry, problem solving, communication, and/or collaboration. Sample Technology Integration Lessons - PGCPS Vocal/General Music Curriculum Guide Integrating Technology into Instruction: http://www.infotoday.com/MMSchools/mar00/robertson.htm Technology Strategies for Music Education: http://www.teachervision.fen.com/educationaltechnology/music/6929.html Samples of Instructional/Utility Software for the Classroom o Music Ace: http://www.harmonicvision.com/products_edu.htm o Piano Suite: http://www.learningvillage.com/html/rpianosuite.html o Finale NotePad: http://www.finalemusic.com/notepad/ Standard VI: Assistive Technology Understand human equity and developmental issues surrounding the use of assistive technology to enhance student learning performance and apply that understanding to practice. Assistive Technology. o Technology Inclusion for All (TIFA): http://www.pgcps.org/~tifa/at.html o COMAR Legislation: http://www.pgcps.org/~tifa/links.html o Article: Enabling Dreams, http://www.adaysworkmusiceducation.com/ Standard VII: Professional Growth Develop professional practices that support continual learning and professional growth in technology. PGCPS Professional Development Plan: http://www.pgcps.org/~person/CertifForms/Professional%20Development%20Plan.pdf PGCPS Guidelines for Acceptable Credit: http://www.pgcps.org/~person/acceptcredit.html Vocal/General Music E-organization - Best Practices, Music Organization Links, and Standards: http://blackboard.pgcps.org/ Maryland Department of Education - Technology Standards: http://www.marylandpublicschools.org/MSDE/programs/technology/techstds/teacher_standards.ht m Maryland Department of Education: http://www.marylandpublicschools.org/msde/divisions/certification/certification_branch/certification National Board for Professional Teaching Standards: http://www.nbpts.org
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Guidelines and Recommendations for Elementary Vocal and General Music Teachers
Kindergarten
Alphabet Song Apples and Bananas Baa Baa Black Sheep Bingo Bounce High Bounce Low Clap Your Hands Eensy Weensy Spider Engine Number Nine Ha, Ha, This Away Head and Shoulders, Baby Head, Shoulders, Knees and Toes Hokey Pokey If Youre Happy and You Know It Jingle Bells London Bridge Muffin Man One Potato One Two Buckle My Shoe Rain Rain Go Away Six Little Ducks Teddy Bear The Farmer in the Dell This Old Man Twinkle Twinkle Little Star
The songs suggested here are not intended to be a definitive list. They are provided to be a guide as to the types of appropriate song material for the given age level.
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Guidelines and Recommendations for Elementary Vocal and General Music Teachers
2nd grade
A Ram Sam Sam America American the Beautiful Button You Must Wander Charlie Over the Ocean Frere Jacques Frog Went a Courting Go In and Out the Window Go Tell Aunt Rhody Jim Along Josie Kookaburra Kum Ba Yah Lil Liza Jane Little Sally Walker Little Wheel Turning In My Heart Long Legged Sailor Mulberry Bush Old Dan Tucker Old Joe Clark Rocky Mountain Theres a Hole in the Bucket Three Blind Mice Waltzing Matilda Whos That Tapping at the Window?
The songs suggested here are not intended to be a definitive list. They are provided to be a guide as to the types of appropriate song material for the given age level.
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Guidelines and Recommendations for Elementary Vocal and General Music Teachers
4th grade
Ahrirang Boatmans Dance Cielito Lindo Colorado Trail Do, Lord Funga Alafia Hey, Ho! Nobody Home I Gave My Love a Cherry I Love the Mountains Joy to the World Michael Finnegan Oh Hanukkah Old Texas Rattlin Bog Sakura Scotlands Burning Shell Be Comin Round the Mountain Sorida Sourwood Mountain Star Spangled Banner Ta-Ra-Ra-Boom-De-Ay The Alpine Song The Goat Zum Gali Gali
The songs suggested here are not intended to be a definitive list. They are provided to be a guide as to the types of appropriate song material for the given age level.
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Guidelines and Recommendations for Elementary Vocal and General Music Teachers
6th grade
Banana Boat Song (Day-O) Camptown Races Do Do Li Dona Nobis Pacem Dry Bones Everybody Loves Saturday Night Feliz Navidad Greensleeves Hava Nagila Hello My Baby If I Had a Hammer Joe Tuner Blues John B. Sails John Kanaka Lean on Me Let There Be Peace on Earth Morning Has Broken Rocking Around the Christmas Tree Rocky Top Take Me Home Country Roads This Is My Country This Train is Bound for Glory Toembai Woke Up This Morning Youve Got a Friend
The songs suggested here are not intended to be a definitive list. They are provided to be a guide as to the types of appropriate song material for the given age level.
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Guidelines and Recommendations for Elementary Vocal and General Music Teachers
PURPOSE Singing in the chorus, unlike the general music class where singing is a tool for developing music reading skills, provides opportunities for developing choral skills and concepts. The teacher through careful selection of repertoire, attention to instructional guidelines and by encouraging expressive singing will help children gain an understanding and appreciation for aesthetic choral singing. Intermediate students may elect to audition for chorus. Chorus students have the opportunity on the County level to participate in the Elementary Honors Chorus, which participates in concerts with other ensembles throughout the county as well as performing at the John F. Kennedy Center for the Performing Arts. INSTRUCTIONAL OBJECTIVES The following instructional objectives are designed to assist students in achieving choral skills and musicianship. Growth toward these ends should be evident as young choristers gain experience. Students participating in chorus will learn to: Sing with a freely produced tone characteristic of their age. Sing with controlled breathing. Sing with correct diction. Sing in tune with other voices and instruments. Sing in balance with other voices and instruments. Respond appropriately to choral direction. Sing in parts independently. Interpret a choral composition verbally and through performance. SCHEDULING Because many schools have their own unique scheduling plan, it would be impossible to suggest a schedule suitable for all. However, the following guidelines will be helpful to teachers and other program facilitators in establishing appropriate time for the choral experience. Chorus should be a part of the regular six hour student day. Chorus should be scheduled with 30 minute A/B time blocks, in the same manner as the intermediate vocal music classes. Chorus should not be scheduled in place of recess, physical education, or instrumental music. Chorus may be limited to intermediate students. SIZE Before recruiting begins, it is important to establish an appropriate size for the chorus. The number of singers will depend upon the available space for rehearsals as well as the number of students the teacher feels is manageable. A school with an enrollment of 300 students should be able to recruit 35 to 40 voices. Although some schools may have interest and physical facilities for 80 or more voices, ideally 50-60 voices usually result in good choral sound, optimum learning, and good teacher/student morale. PROGRAMS The number of programs and performances may vary from school to school. The number is often determined by careful planning that involves the music teacher, program facilitators, school staff, and school community. The following guidelines are suggestions to be considered during the planning process: Programs should be spaced to allow for adequate preparation. A minimum of two programs (i.e. winter or Holiday, and spring) will provide motivation and encourage optimum growth throughout the school year.
Chorus
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Guidelines and Recommendations for Elementary Vocal and General Music Teachers
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Guidelines and Recommendations for Elementary Vocal and General Music Teachers
CHALLENGING MUSIC Begin at least one challenging piece at the beginning of the school year. Teach it to everyone, not just chorus. Use it as a warm up, or part of the musical instruction. The carry over into chorus will be tremendous, and it may encourage your special needs children to participate. EASY MUSIC Look for partner songs, rounds, canons, with fun accompaniments (or create your own). These songs are easy to learn, and add interest to any performance. Allow students to introduce pieces, adding historical information about the song, composer, etc. This adds interest to a program. EXPECTATIONS Expect each year to have a different group with different abilities. Adjust your programs accordingly. HAVE FUN!!!
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SECTION III
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This section of the guide contains a concept sequence which is predominantly music theory, developing students' individual knowledge and skills with regards to specific musical elements. These elements are divided into four categories: Rhythm, Melody/Harmony, Form, and Tone Color. Definitions of the musical concepts have been included for clarity.
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RHYTHM ACTIVITIES
BEAT: a repeating pulse that can be felt in most music A. PERFORMANCE: 1. "Ha, Ha, This-a-Way" a. "A" section - use repeated "lap-lap-clap-clap" pattern. b. "B" section - change words to reflect movements which can be done on the beat; "Now we'll go walking...," or "Now we'll go jumping...". 2. "Epo I Tai Tai," MAY - K, p. 269 a. The following actions are done on the steady beat: "Epo"-two pats on thighs, "tai-tai"-two claps, "e"-four taps on shoulders with arms crossed over chest. 3. "Zudie-O," STM - 3, p. 275 a. Partners hold hands across and do a push/pull action while singing the song. B. GAMES AND MOVEMENT: 1. Heart Beats (Stepping) a. Cut out 16 large hearts for students to step on. b. Laminate or cover with contact paper for durability. c. Place hearts on the floor in four rows of four. d. Choose four students to step the beat while class sings 16 beat phrase or song. 2. Heart Beats (Marking) a. Glue magnetic strips onto 16 popsicle sticks. b. Place four large hearts on the chalkboard. Draw a box under each. c. Class sings a 16 beat song. Student places magnetic sticks in boxes on each beat. 3. "Obwisana," Music And You - 2, p. 257, Spotlight on Music K, T159 a. Stone passing game from Africa. 4. "El Acitron," Share the Music - 3, p. 353, Spotlight on Music 6, p. 93 a. Stick passing game from Latin America. C. LISTENING: 1. Keep the beat a. Play recordings from several different cultures and genres of music. b. Teacher leads students in various movements to keep the beat. c. Choose student to lead as above. d. Choose student to play steady beats on rhythm instrument. e. Using movement or instruments to keep the beat, turn the sound off at intervals to test student skill in maintaining steady beat during silences. f. Class sits and shows steady beat by clapping stamping or patschen. 2. Paper Plate a. A selected recording is played. b. Students hold a paper plate in each hand with bottoms together. c. Students follow a leader in keeping the pulse by hitting or rubbing plates together or against the body.
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RHYTHM ACTIVITIES
TEMPO: the speed of the beat in music A. PERFORMANCE: 1. Unpitched instruments a. Have the students play rhythm instruments on the steady beat to accompany a listening selection. b. Use contrasting instrumental sounds on slow/fast sections. 2. "Engine Engine #9" a. Tell a story about a train leaving the station (increasing speed), traveling to the next station (steady fast speed), arriving at the next station (decreasing speed), and stopping at this station while passengers get off and on. b. Choose students to be the train; move around the room and create the "choo-choo" sound which speeds up, stays the same, slows down, and stops during the story. Have them sing the song to match the tempo of the teacher. c. Some students can make a tunnel for the train while the others sing the song following teacher directions for changing speed-"tempo". B. GAMES AND MOVEMENT: 1. The Metronome a. Explain that the beat can be fast or slow, walking or running, and show the class how to vary the "tempo" on the metronome. b. Check for understanding of the concept by asking students to identify fast or slow, walking or running, "tempos" you have set using the metronome. c. Variation: Use two teams and take turns for points. d. Transfer the tempo to a rhythm instrument, and to body movement.
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RHYTHM ACTIVITIES
RHYTHM NOTES (QUARTER NOTE AND REST, EIGHTH NOTE, HALF NOTE AND REST, WHOLE NOTE AND REST, DOTTED HALF NOTE): notes indicating sound and silence of various durations A. PERFORMANCE: 1. Name the Song a. Teacher writes rhythm of a familiar song on the board. (Song should include the rhythm notes studied.) b. Class sight reads the rhythm and identifies song. c. Practice reading the rhythm of the song and sing with the names of the rhythm notes then the real words. 2. "Bow Wow Wow" (Quarter note and rest) a. Learn the song. b. Have students clap the rhythm that goes with the words bow wow wow. c. Notate the rhythm for these words. (ta ta rest) d. Clap that rhythm lightly when it comes in the song. e. Clap the rhythm as an ostinato while singing the song. f. Transfer to instruments and sing the song. 3. "Lion Dance #1" (This song is included in the Sample Lessons - Grade 6.) a. Have students clap the rhythms for cymbals and large gong. Clap the rhythm for the small gong. Have students decide which rhythm it matches. Do the same with the drum rhythm. b. Assign students to instruments and perform it as an ensemble. The drum sets the tempo. c. On the first line, one group plays claves and castanets. The second group plays maracas on the second line. B. GAMES AND MOVEMENT: 1. Find the Rhythm a. Teacher prepares several flash cards with four beat rhythm groupings with the rhythm notes studied. b. Students sit in a circle around the displayed cards. c. Teacher claps a rhythm and chooses a child to find the card. d. The child finds the card and claps the rhythm back to the teacher. e. Rhythm patterns may be extended to eight beats when appropriate. f. Last pattern should be one that all students can clap to accompany a familiar song. 2. Dictation a. Send groups of four to five students to the board. b. Teacher dictates four beat patterns using "ta" and "rest". c. Students echo the pattern. d. Students immediately write the pattern on the board. 3. Popsicle Sticks a. Give each student several popsicle sticks (8-10). b. Teacher or a partner claps a four beat pattern. c. Student echoes then writes the pattern on desk or floor with the sticks.
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RHYTHM ACTIVITIES
RHYTHM NOTES (cont.) 4. Magic Number a. Write five rhythmic patterns on five separate cards. Make sure cards are large enough to be seen from a distance. OR Write these on the board. Assign each card a number one - five. b. The teacher performs a card. The students will hide the "Magic Number" of that card behind their backs until the teacher asks "Show me your magic number." The number "0" or "Big Bagel" means there is no card with that rhythm. c. Students silently show the number of the rhythm performed. Repeat at least four times. d. Variations: The teacher could say or clap the rhythms. The teacher could say a rhythm that is not shown. Students respond with a "zero" (make a zero with their hands).
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RHYTHM ACTIVITIES
MELODIC RHYTHM: the rhythm of the words A. PERFORMANCE: 1. "Fr'ere Jacques" a. Clap the melodic rhythm, phrase by phrase. b. Assign each phrase to a group of students. Clap in order. c. Give each group a percussion instrument. d. Play the phrases in order as they sing. 2. "Yankee Doodle" a. Sing the song with the recording. b. Use body percussion or an instrument to perform the melodic rhythm during the instrumental interlude. 3. Pease Porridge Hot a. Half the class keeps the beat on body or sticks, the other half steps the melodic rhythm while all sing. b. Repeat, switching the tasks. c. Use other songs containing quarter note and rest, as well as eighth note. 4. "Los Pollitos," Share the Music K, p. 293, Spotlight on Music - K a. Clap the melodic rhythm. b. Divide class into two groups (children and ducks) to act out the song while singing. c. A good partner song with "See My Little Ducklings." 5. "Bate Bate Chocolate," Share the Music 3, p.93, Spotlight on Music - 2 a. Teach counting in Spanish. Add fingers for numbers. b. Sing the song. Have students find the word that goes with c. Write the rhythm of the song. d. Put students in two groups for the two parts of the song. e. On the first line, one group plays claves and castanets. The second group plays maracas on the second line. B. GAMES AND MOVEMENT: 1. Name That Tune (for primary grades) a. Divide class into two teams. b. Teacher claps the melodic rhythm of a familiar song. c. The teams take turns identifying the song. 2. Name That Tune Charades (for intermediate grades) a. Divide class into two teams. b. The names of several familiar songs are placed in a hat. c. The teams take turns drawing a song and clapping it for the other team.
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RHYTHM ACTIVITIES
REPEATED RHYTHM PATTERN (OSTINATO): a short repeated rhythm pattern played throughout a piece or section of a piece A. PERFORMANCE: 1. Songs with Ostinati a. Extract a measure or two from a familiar poem, chant or song and use it as an ostinato. b. Notate the ostinato for the children to see and read. Have one group of students perform the ostinato while the others sing the song. c. Difficult ostinati can be made easier for children to perform if words are attached to patterns. d. Additional songs with suggested ostinati include: Paw Paw Patch: Paw Paw Patch Rocky Mountain: Hang your head and cry. Hill an Gully Horse done stumble down. Kookaburra Kookaburra sits. 2. Body Percussion Ostinato a. Choose an appropriate song and extract a measure or two to be used as an ostinato. b. Notate the ostinati using body percussion notation.
snap clap pat stamp
c. The above pattern is to be used with "Old Brass Wagon. The words for the pattern are "Circle to the left, Old Brass Wagon." d. Divide the class and have half the students perform the ostinati while the others sing the song. 3. Percussion Ostinati a. Have the class create their own body percussion ostinato to a familiar song. b. Notate the ostinato. c. After practicing the ostinato with the song, transfer each of the body sounds to a different rhythm instrument. 4. Creating, Writing and Performing Original Ostinati a. Listen to a selected "pop" recording. b. Have students work with a partner and create a four to eight beat rhythmic ostinati using notes they have studied. c. Students should write their pattern on a sentence strip. d. Have students perform their ostinato to the music using either body percussion or rhythm instruments.
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RHYTHM ACTIVITIES
ACCENT: a sign indicating that a note should be sung or played with more emphasis A. PERFORMANCE: 1. Place the Accent a. Draw large beats on two pieces of tag board (eight on each). Cut several small squares and draw accent marks on each. b. Divide the class into two teams. One person from each team comes to a tag board with several accent squares in hand. c. The teacher claps the beats accenting several. The student who places accent marks over the correct beats first, earns a point for his/her team. d. The last accented pattern the teacher claps should be one to accompany a familiar song. e. Transfer the pattern to percussion instruments. Play while singing the song. 2. Rhythmic Speech a. Have students place vocal accents on different words, i.e.: Whether it's cold, Whether it's hot. There will be weather Whether or not. > > > > > > > > 3. Familiar spiritual a. Listen to the song. Accented off-beats are one of the primary characteristics of African American music. b. Pass tambourines to the students. Have groups practice playing on beats two and four (off beats) while one student plays the steady beat on a drum. Play the tambourines with the song. B. GAMES AND MOVEMENT: 1. Accent Walk a. Teacher plays steady beat on a hand drum while students walk freely around the room. b. On accented beats students change direction. 2. Pass the Egg a. Organize class in one large circle or several small ones. b. Teacher plays steady beat patterns in 2's, 3's, or 4's based on the meter of the song material being used in class. c. Students pass a ball, bean bag or yarn ball on the accented beat. To increase student concentration, use a hard boiled egg. (Do not tell children that the egg has been boiled.) 3. Play the Accents a. Draw a line of steady beats on the board or overhead projector using stick notation. b. Choose a student to place a specified number of accents under the beats of their choice. c. Have the class read and clap the students' composition. d. Variation: Have some students play the accents on drums while others play the steady beat on instruments that produce a contrasting sound. C. LISTENING: 1. Toreadors Song (A worksheet for this is included in the Sample Lesson.) a. Listen to the song making note of the accents created by the cymbal. b. Play the accents on cymbals or paper plate cymbals with the recording.
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RHYTHM ACTIVITIES
METER - DUPLE AND TRIPLE: the organization of beats and accents in recurring sets of two or four (duple) or three (triple) A. PERFORMANCE: 1. Divide and Conquer a. Write an eight beat rhythm pattern of a familiar duple song, or a song that will be taught that day, on the board. b. Indicate the time signature at the beginning. c. Select different children to insert the measure lines so that the pattern is divided into the appropriate meter. d. Have the class perform the pattern by clapping or playing it on an instrument. e. Variation: Do the same with a song in triple meter but use a six beat pattern instead. 2. "Sakura," Music and You - 4 p. 151, Spotlight on Music 6 p.14 a. Have students listen to Sakura and quietly pat the beat. Discuss what meter is used. b. Play the recording again and have students quietly clap the first beat of each measure and pat the other beats. c. Sing the song. d. Variation: The same activity could be done with Happy Birthday or the Star Spangled Banner. It could also be done with songs in duple meter. 3. Category Creations a. Have the class create a rhythmic phrase of four measures in either two's, three's, or four's or all of the above. b. Use the names of cities, states, cars, animals, flowers, etc. as text material. c. Compile a list of words in the chosen category on the board. d. Arrange the words in groups so that they fit the chosen meter. e. Clap the words in each measure and write the notation. f. Have the class perform their creation. 4 Example: 4 String Beans, Lima Beans Cauliflower Peas Celery, Parsnips Turnip Greens g. Variation: After the children feel comfortable with the process, you could do this as a small group activity. Have each group share their creations with the total group. 4. Conducting Patterns a. Make a chart of each pattern show the beats and arm direction. b. Note that the last beat is always in an upward direction and the first beat is always downward.
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RHYTHM ACTIVITIES
METER (cont.) 5. America the Beautiful a. Sing the song to determine the meter. Discuss the upbeat. Have students find the upbeat. b. Have students stand up on the upbeat and sit on the downbeat. B. GAMES AND MOVEMENT: 1. Rhythm Stick Meters a. All students have a pair of sticks. b. While listening to music in twos or threes they tap sticks together on the accent and tap the floor on the weak beats. 2. Changing Meter Piece 4 a. Write an eight measure rhythmic phrase in 4 . b. Use this as the first theme (A). I like pizza pie I like pizza pie I like pizza I like pizza I like pizza pie, yeah! Have students use the text to help them memorize the words. Repeat the theme to make it eight measures. 3 c. Write a second eight - measure rhythmic phrase in 4 (B). Use rhythm notes the students have learned to this point. d. Divide the class into three groups A B A and have each group perform their pattern. e. When the rhythms are secure, assign contrasting unpitched instruments to each group. f. Perform in ABA form. C. LISTENING: 1. Meter Matters a. Listen to music in any meter. Have students do a body percussion pattern to determine the meter. b. When music stops, they form groups in the meter of the song. (i.e. music in threes group of three) 2. Upbeat Ballet in Fours a. Choose a song in duple meter. b. When students are familiar with the song, have them pat the steady beat while they sing. c. At the upbeat they raise their hands to emphasize the upbeat.
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RHYTHM ACTIVITIES
TIE: a musical symbol that connects two notes of the same pitch A. GAMES AND MOVEMENT: 1. Live Pattern a. Use yarn or string about two feet long. b. Choose four students to come up to the front of the room. c. Number each student one through four (representing quarter notes). d. Have the first and second person hold the string between them (the tie) while the students clap it; then moves to second and third. e. Variation: Do the same activity as above using popsicle sticks and string.
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RHYTHM ACTIVITIES
SYNCOPATION: a type of rhythm in which stressed sounds occur between beats or on the off beat A. PERFORMANCE: 1. Synco-beat - 'Liza Jane a. Students march the beat in a circle while teacher is clapping four beat syncopation patterns. b. Students will echo clap four beat syncopation patterns while marching the beat. c. Students simultaneously clap the syncopation while stamping the beat. Switch parts. d. Add the song. 2. Syncopated Rondo a. Write four syncopated patterns on sentence strips. b. Have the children read and clap each one. c. Arrange them in any order the class chooses to constitute the A theme. d. The B and C themes could be: 1. Familiar non-syncopated songs, i.e., Row Your Boat, refrain of Skip to My Lou, Are You Sleeping, etc. 2. Play the rhythmic pattern of different familiar songs on contrasting instruments. 3. Sing or play familiar songs using syncopated patterns. 3. Day-O Share the Music 6, p. 42 a. Learn the song. Identify the syncopated patterns. Say the words that match. b. Sing the whole song and lightly tap the syncopated parts. B. GAMES AND MOVEMENT: 1. Rise and Shine for "Syn-co-pah" a. Echo clap numerous patterns. b. When the class hears a syncopated pattern they "rise" when they echo the pattern. For patterns that are not syncopated the children remain in their seats. c. Variations: When children hear a syncopated pattern they verbalize the pattern as they clap it. Ex. (ti-ta-ti ta ta or syn-co-pa ta ta). Then verbalize it instead of clapping it. C. LISTENING: 1. "The Entertainer" a. Listen to the recording of "The Entertainer" by Scott Joplin. b. Discuss ragtime music. (Ragtime represents the clearest fusion between African American and European music. Ragtime was the precursor of jazz and is known as the "first black instrumental music in America." Ragtime was popularized as piano music.) c. Have students pick out and clap the different syncopated rhythm patterns from the song. d. Transfer the syncopated patterns to small percussion instruments. e. Play the song again and have students clap each one with the song. 2. "Loco-Motion" Share the Music 4, p. HL 8, Spotlight on Music 4, p. 312 a. Chant the syncopation as an ostinato. b. Add body percussion on steady beat while syncopation is played on another instrument, i.e., bongos, conga drum.
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SIXTEENTH NOTES: the subdivision of the beat into four parts when the quarter note gets the beat A. PERFORMANCE: 1. "Peter Pumpkin Eater" Peter Peter pumpkin eater Had a wife and couldn't keep her Put her in a pumpkin shell And there he kept her very well. a. All students memorize the poem. b. Say it in three tempi: fast - sixteenth notes, medium - eighth notes, slow - quarter notes. c. Divide the class into two groups, each one uses one of the above tempi, i. e. group A says it in sixteenth notes, and group B says it in eighth notes. d. Later add a third group - group C says it in quarter notes. 2. "Chicken In the Fencepost Spotlight on Music - 3 a. Assign each note value a different body sound, i.e., sixteenth notes - clap, eighth notes - pat, and quarter notes - stamp. Read this from a chart (see example-next page). Add one at a time as the song is learned. b. Finally perform the song using only body percussion. c. Transfer the body percussion sound to contrasting rhythm instruments: sixteenth notes sticks, eighth notes - hand drums, quarter notes - triangles. 3. "Lion Dance #2" (This music is included in the Sample Lesson.) a. Have students clap the rhythms. Make note of the sixteenth note rhythm. b. Assign students to instruments and perform it as an ensemble. The drum sets the tempo. 4. Creating new lyrics a. Encourage the students to compose new lyrics for a song using different topics such as cities, states, foods, sports, or events. b. Have students notate the new lyrics using the sixteenth note for some part of the lyrics.
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pat fencepost, cant dance Jo- sie. (3X) Hel- lo Su- sie Brown- ie
stamp O.
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RHYTHM ACTIVITIES
DOTTED RHYTHMS: rhythm notes whose duration is extended by half the original note value A. PERFORMANCE: 1. "One," STM - 6, p. 226 a. Clap and speak the words. b. Find the dotted rhythms. Clap just the dotted rhythms. c. Sing the song with the recording. B. GAMES AND MOVEMENT: 1. Moving with Dotted Rhythms a. Present a visual showing the relationship between the even eighth notes and the uneven dotted rhythms. b. Divide the class into two groups half of which will pat the eighth note steady beat while the other half claps the uneven pattern. c. Switch parts so that all can experience the uneven pattern. Note: A metronome can be used to help keep the beat steady if the children have difficulty maintaining an even tempo. d. The patting and clapping could then be transferred to unpitched instruments. e. Reinforce through physical movement the relationships. Have the class jog in place the steady beat pattern while the other half claps the uneven patterns. Later they could be challenged to jog the beat and clap the uneven patterns at the same time.
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RHYTHM ACTIVITIES
COMPOUND METER: a meter in which the beat is subdivided into groups of three A. PERFORMANCE: 1. "Night Herding Song," Music and You - 4, p. 50, Spotlight on Music - 4. a. Students play the steady beat on bongos or tempo blocks. The accented first beat should be played on the large block or drum. The other five beats on smaller blocks or drum. 2. Playing with 6/8 rhythm patterns a. Place sentence strips of rhythm patterns in 6/8 meter on the board. b. Have each group select and clap or perform their pattern on rhythm instruments. c. Combine the compositions of several groups to form a larger composition. d. Add a simple melody to the rhythm composition using previously learned melody notes. e. Add a simple melody to the rhythm composition using notes already learned on the recorder.
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FORM ACTIVITIES
SAME AND DIFFERENT PHRASES: repetition and contrast of segments of the music A. PERFORMANCE: 1. Singing phrases a. Choose a familiar song with three similar phrases and one different phrase. b. Sing the phrases that are the same to the class. Have the children sing the different phrase to the teacher. c. Then divide the class and have half sing the phrases that are the same and the other half sings the phrase that is different. Switch parts. d. Then have the class sing the phrases that are the same aloud and the different phrase silently. Switch the silent part. 2. Contrasting Instruments a. Choose a familiar song with some phrases the same and some different. b. Have students select contrasting percussion instruments to accompany the different phrases. 3. Create a phrase a. Students choose a partner. Give each pair a sentence strip or staff paper. b. Students are to work together to create rhythmic or melodic phrases. c. Students perform phrases for class. d. Class chooses two phrases and arranges them to form a larger composition. B. GAMES AND MOVEMENT: 1. Make your move a. Choose a familiar song. b. Have students create appropriate movements to designate like and unlike phrases. c. Have the students perform their movements for the class.
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FORM ACTIVITIES
TWO PART FORMS (including AB, ABA, and verse/refrain): the order of different sections in music A. PERFORMANCE: 1. Creating ABA a. Select two different simple songs and create an ABA form. Ex. A = Are You Sleeping? B = White Coral Bells A = Are You Sleeping? 2. Instrumental AB/ABA a. Use different tonal colors (instruments) to accompany each musical section of a two part form. B. GAMES AND MOVEMENT: 1. Creating ABA movement a. Divide class into the appropriate number of groups (sections) i.e., AB, 2 groups; ABA, 3 groups, etc. b. Subdivide each group into players and movers. c. Each group would create a movement with instrumental accompaniment. Example: A = shakers, rattles, congo drums, etc. - movements that shake, twist, bounce and at a faster tempo; B = finger cymbals, triangles, metallophones, etc. - movements of longer duration, smooth, graceful, slower tempo C. LISTENING: 1. Colors and Shapes a. Prepare construction paper cards in the following manner:
b. Have individuals select the correct shape or color to show which section of music is being sung or played. c. Display the cards where students can see. 2. Group Response a. Give every child the appropriate number of colored shapes of paper. b. Have them listen to a selection and respond by raising the correct shape or color for the corresponding section of the music as they listen.
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FORM ACTIVITIES
MULTI PART FORMS (including rondo and theme and variations): rondo a form based on repetition and contrast where the first theme returns after each new section, often organized as ABACA; theme and variations a form in which each section is a variation of the initial theme A. PERFORMANCE: 1. Creating a Rondo a. Place several flash cards containing rhythmic patterns on the floor or board. b. Ask students to combine cards to form four measure phrases. c. Assign letter names to each four measure phrase. d. Students perform phrases in Rondo form using rhythm instruments or body percussion. e. Use contrasting instruments for each section. f. Extend activity by developing rhythmic phrases into melodic phrases using mi, sol and la (add re and do, if students are familiar with them). Have children perform their phrases on melodic instruments. 2. Rondo Sandwich a. Divide into cooperative groups. b. Select ingredients for a pretend rondo sandwich. Teacher can decide whether the bread should count or not. c. Groups should draw their creation on the worksheet provided and label each part. d. Groups should then write a speech rondo about their sandwich. Each section of the rondo should be about one of the ingredients of their sandwich. B. GAMES AND MOVEMENT: 1. Moving in Rondo Form (ABACA) a. Choose a listening selection that is in rondo form. b. Divide the class into groups A, B, and C. c. Listen to the music and help each group decide upon an appropriate movement for their section. d. Play the section again and have groups perform their movement at the appropriate time. OR e. Vary activity by creating three rhythmic ostinati to accompany the music. Use body percussion or percussion instruments to perform the ostinati. C. LISTENING: 1. Pop Goes the Weasel Theme and Variations a. Listen to the piece for each time the theme starts and raise hand quickly and put it back down for each new variation. b. List ways that the variations changed from the main theme. c. Create several large size posters of the letter A in different fonts. Have selected students hold up one of the posters when each new variation starts.
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cricket tone block gankogui sand blocks cabasa triangle jaltarang jingles kseng kseng mbira steel drums triangle tambourine without head apentemma conga atumpan timpani balalaika guitarron p'i p'a cello kayagum viola
ELECTRONOPHONES analog synthesizers: Hammond B - 3 Organ, Elepian Electronic Piano, mini moog digital synthesizers: Yamaha DX 7, Kawai K samplers: Roland S 50 hybrids: Casio FZ - 1 computer
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This section examines the music of people from a variety of cultural, historical, and social perspectives. Suggested activities are included for each of these areas. An understanding of the music lyrics to fully appreciate the role of music in peoples lives is an integral part of these activities. Writing activities to communicate students understanding of these perspectives are also included. Music teachers are encouraged to coordinate with classroom teachers when planning a unit from this section for more meaningful instruction. This section also provides students with the opportunity to develop a broader view of the Fine Arts and the connections between the various art forms. There are suggested activities for Drama, Visual Art, Music Styles and Genres, and Writing. Reference pages with the Reading Themes and a glossary of literacy terms are included in this section. Frequent communication with the building Reading Specialist and the classroom teacher will be helpful in the planning and pacing of instruction to optimize the natural link that occurs between reading, writing, the other Fine Arts, and music.
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Music is the universal language which establishes a common bond among all subjects and people. It evokes passionate emotions in the heart and rekindles vibrant memories of the mind. With the enormous impact that music has on every aspect of our lives, it would make sense to fervently develop and advance our music programs. Instead, excuses are made and methods are devised to remove an essential portion of the human soul. Emphasizing and enhancing music education will expand the students knowledge in a variety of subjects, improve their test scores, and release the human spirit.
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INDIVIDUAL EXPRESSION
A. PERFORMANCE: 1. Birthday songs a. Sing several songs referring to birthdays including Happy Birthday (America) and Las Mananitas (Mexico) Spotlight on Music - 4. Discuss the birthday customs from different cultures. Discuss how customs vary from family to family even within a culture. Share different traditions and customs for celebrating birthdays that students in the class follow. b. Have students in cooperative groups make up a birthday song for children in the future. Students may use a familiar tune from a song and make up new words or make up a completely new song. c. Have groups perform the song in class. d. Assess using the following criteria: singing together as a group, having a clear beginning and end for the song, and singing an original song about a birthday. 2. Old McDonald or other similar songs a. As a whole class write new words to this song with a different setting, i.e. school, neighborhood, etc. B. LISTENING: 1. Listen to a musical selection of any type or style a. While listening to the music have students complete the following sentence: This music reminds me of (a person) because ______________________________ . 2. Song Summary a. Provide students with a copy of the words of the musical selection. Have them follow along singing with the recording. b. Ask students to complete the following song summary: I believe the musician is singing about the issue of ____________________ and their message is (in your own words) which is supported by phrases from the lyrics like: 1_________________________________ , 2_________________________________ , and 3__________________________. This message says to me that I should (in your own words, what is the music telling you that you should do).
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CULTURAL EXPRESSION
A. PERFORMANCE: 1. Code songs of the Underground Railroad a. Sing Follow De Drinkin Gourd and discuss the routes of the Underground Railroad using a map. Discuss the constellations referred to in the song. Discuss the hidden meanings in the song and the ways that the lyrics helped the slaves to communicate and subsequently escape. b. Have students create their own verse for a spiritual with a hidden meaning appropriate for the time period and historical context. Perform using a culturally authentic singing style. 2. Work songs a. Sing and play the following work songs of children: Here We Go Round the Mulberry Bush (European); One, Two, Three (Barbados) - Share the Music - 3; Stone Pounding (Jamaica) - Share the Music - 4; Wang U Ger (China) - Share the Music 3 and Spotlight on Music 3; Zum Gali Gali (Israel) - Share the Music 5 and Spotlight on Music - 4; and Draw a Bucket of Water (African American) - Step It Down and Spotlight on Music 3. b. Point out on a map the location of these countries. Discuss the cultural background of the children who sing these songs. Discuss which types of work would be done by girls versus the work done by boys in each culture. Chart the information and look for similarities and differences between the cultures and the kinds of childrens work. c. Sing the songs again and pantomime performing the work while singing the song. Do this with as much cultural authenticity as possible in the music class environment. d. Have students create their own work song for a job they have to perform on a regular basis. Students should then try to sing the song whenever they are doing the work over a given period of time. Students should then evaluate the songs effectiveness in having the work go faster or easier. 3. Mufaros Beautiful Daughters or similar folktale text from various countries. a. Read the book together as a class. Discuss the story using a story map graphic organizer. b. Read the story again looking for repetitive or rhythmically phrases that could be said by the whole group. Use this as a starting point for telling the whole story in the form of a rap. The exact words need not be used but the body of the story should remain the same. c. The story should be divided into scenes. Small groups work on different parts and then the whole group joins in at some point with the repetitive/rhythmic phrase being said by the class. d. Scenes could be dramatized by small groups as other groups are working on the rhythmic speech. Sound effects by culturally authentic instruments could be added to the storys retelling. e. Put the whole story together as a class. Evaluate the practices as a class and incorporate the suggestions for improvement into additional rehearsals as time allows until students are satisfied with their creation.
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HISTORICAL CONTEXT
A. PERFORMANCE: 1. Sea Shanteys Music and You, Book 5 a. Sing a variety of sea shanteys. Discuss the historical context of these work songs of the sea. Perform the work that would be done with each type of shantey as it is being sung. b. In small groups have students complete the Sea Shantey Glyph which is included here. The graphing activity at the bottom may be done as a whole class. c. Have students respond to the following writing prompt: Pretend you are looking for sailors to go to sea during the 1700s. Write an advertisement for a newspaper to persuade more sailors to come work on your ship. Include information about the life on the ship or jobs you have to perform as a member of the crew. Tell what you may have a chance to do in your leisure time. Tell about a favorite sea shantey you enjoy singing and when you generally sing it. Use the writing process for the completion of this writing assignment. 2. Revolutionary War songs a. Sing one of the versions of Yankee Doodle. Have students become familiar with the refrain. b. Discuss theme and variations form. Divide into small groups. Each group may develop their own style for singing the refrain of Yankee Doodle. These will be the variations. The words should remain the same. The singing style should change for each group. Discuss some of the possibilities including dynamic changes, tempo changes, rhythmic alternatives, etc. c. Give each group an opportunity to perform for the class. Evaluate each groups performance using pre-determined criteria based on the completion of the task of creating a variation on the singing style of Yankee Doodle. 3. Freedom Songs from the Civil Rights Movement. a. Sing a variety of the freedom songs. Discuss the historical events referred to in the lyrics. b. Have students in small groups research several of these events. Groups should complete a Who, What, Where, etc. graphic organizer as they do their research. c. Each group should then prepare a presentation of the information using one of the following presentation possibilities. eyewitness news report talk show interview dramatize the event debate the two sides oral history presentation take the position of someone who was there analysis we think they should have what if change one thing about the event and predict what might have happened if application How can you use what happened from the event to change or work on one of todays issues? abstraction If something like this happened today, how would things be different? presentation ideas of your own please get teacher approval before you continue d. The class should follow each groups presentation by singing the song that refers to that particular event.
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HISTORICAL CONTEXT
e. Have students individually respond to the following prompt: Pretend you are a freedom fighter in todays world. Select an issue you feel people need to work on (for example: drugs, weapons, violence, education). Write a speech to a group of todays freedom fighters telling them how you feel about this issue. Include information about what you feel needs to be changed. Describe how you might use something you learned about from the Civil Rights Movement to help make changes. In your speech, name a freedom song that you could use for the issue you have selected and write down new words you might sing in the song to speak about your issue. Use the writing process for the completion of this writing assignment.
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3. What kind of cargo do you haul? Draw the following patterns on the hull of your ship to represent the corresponding cargo. Fabrics & Furnishings agricultural products work ship (fishing/whaling)
4. How many sailors are on your ship? Draw a sail on the mast for each crew member. The red sails are for males and blue sails are for females.
Switch glyphs with another group. Interpret the data and write an informative entry in the captains journal using the data from their glyph. Graph the results using a bar graph.
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DRAMA
A. PERFORMANCE: 1. Choose a selection such as the Nutcracker, Sorcerers Apprentice, Hansel and Gretel, or Cinderella. a. Discuss the story that accompanies the music. Listen to the music and draw scenes from the story using a sequence chain. b. Divide the class into small groups. Assign each group one of the scenes from the story to pantomime while the music is played. c. Allow time for groups to prepare. Encourage students to silently pantomime as the music should be the only thing heard. d. Prior to the performance agree on a signal for letting each know when to start. Discuss appropriate behavior for participation as the audience as well as the performers in this activity. B. GAMES AND MOVEMENT: 1. Under the Big Top Donaldson (Bowmar Listening Library-Animals and the Circus) Alternative: Carnival of the Animals Saint-Saens a. Listen to the entire work b. Divide the class into eleven groups. c. Assign each group a specific act. Each group will dramatize the acts within the piece of work. Allow time for preparation before returning to the music. d. Supply props, costumes, and tumbling mats.
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Reference Page: Glossary of Literacy Terms for the Music Teacher (cont.)
Generalizations Genre HFW Homographs Homophones Idioms Inference Literal meaning Mechanics Mind Picture/Mind Map MSA Multiple meanings Multiple usage Phonemic awareness Phonics Picture clues Predictions Prefix Primer Print features Prior knowledge Rhyming words Rubric Semantics Sequencing SRI Common elements Forms of text materials High Frequency Words also known as Dolch words, commonly used words Words that sound and look the same, but have different meanings Words that sound the same but are spelled differently and have different meanings A phrase or expression that is understood in a given language but differs from the literal meaning of its parts taken together Drawing conclusions from what is in the text and ones own knowledge and thinking Facts stated directly in the text Standard spelling, grammar, punctuation, and capitalization rules Creating a visual image in your mind of a story Maryland State Assessment: administered each year near the end of the 3rd quarter. Determines if a school is meeting AYP (adequate yearly progress). The same word used in different contexts and means different things The same word used in different contexts and means the same thing The speech sounds for each letter or letter group as they create word structures The study of the sounds that make up words. In reading education, children are taught the sounds of letters and how those letters combine to form words. Using the pictures to create meaning for an unknown word Expressing what the reader thinks will happen next in the text based on what they know or have read Added beginnings of words Introductory reading level Also known as text features, these help the reader locate information in the text What students knew about a topic before instruction Words with the same ending sound Scoring tool with specific information for how skills and concepts should be assessed by degree or level of achievement Changes in the meaning of speech forms Putting the events of a passage or story in order Scholastic Reading Inventory: a reading comprehension test for grades 2-12 that assesses students' reading levels and helps teachers adjust instruction according to students' needs, track students' reading growth over time, and match readers to text. This assessment is given quarterly to monitor a students reading progress. This assessment is almost entirely vocabulary related. The multiple meaning word and context clue examples are in the SRI format. Purpose for reading or writing Word endings Assessments which attempt to summarize student learning at some point in time, such as the end of a unit or an end of year assessment. Most standardized tests are summative.
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Reference Page: Glossary of Literacy Terms for the Music Teacher (cont.)
Synonyms Syntax Vocabulary Voice Whole Language Different words with the same meaning Structure of language in phrases and sentences Words The perspective the text is written from, first person, second person, etc. is the belief that language should not be separated into component skills, but rather experienced as a whole language system of communication. Whole language has been characterized as encouraging children to guess at the pronunciation of words rather than focusing on phonics. Strategies for reading unfamiliar words Words used in writing to strengthen and clarify meaning Rhyming words Substitution of a known word with the same meaning Reading Stances
Writing Stances Writing to persuade Writing to share personal ideas Writing to inform
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Grade Theme
K 1
Theme Title
Look At Us
K K K K K K K K 1
3 4 5 6 7 8 9 10 1
We're a Family Friends Together Let's Count Sunshine and Raindrops Wheels Go Around Down on the Farm Spring is Here A World of Animals All Together Now
Chicken Soup with Rice The Wheels on the Bus Cows in the Kitchen
Surprise
Animal Adventures
How Much is That Doggie in the Window? Bingo The More We Get Together Take Me Out to the Ball Game Old MacDonald Had a Farm Mary Had A Little Lamb Polly Put the Kettle On The Giants 5 Little Pumpkins Barnyard Song Mi Chacra/My Farm A Sailor Went to Sea, Sea, Sea Miss Lucy Had A Baby Little Drops of Water Where, Oh Where Has My Little Dog Gone? Five Little Frogs Little Shell The Sidewalks of New York Animal Song Little Pig
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The Ants Go Marching - writing new verses, How To Read Lyrics Animal Songs
3 3 3 3 3 3 4 4
1 2 3 4 5 6 1 2
Off To Adventure Celebrating Traditions Incredible Stories Animal Habitats Voyagers Smart Solutions Journeys American Stories
That's Amazing
Problem Solving song - writing lyrics Haiku lesson link to music lesson "Singing Man" story Cowboy songs-reading and analyzing lyrics "This Land is Your Land" words Duke Ellington book, Marian Anderson Ballroom dancing with Cinderella story "John Henry" story
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Heroes
4 5 5
6 1 2
Nature: Friend and Foe Nature's Fury Give It All You've Got
5 5 5
3 4 5
Voices of the American Revolution Person to Person One Land, Many Trails
Animal Encounters
The Sixth Grade Reading Curriculum is organized differently than the rest of the elementary reading curriculum. The Curriculum Framework for Reading in the sixth grade would be most helpful in determining what themes/stories are being discussed as well as the skills being addressed in Reading instruction. These frameworks would also be helpful in determining the pacing of the Themes for grades K-5 as well as the reading skill instruction at any given point in the year. Conversations with the classroom teacher and building reading specialist would also be helpful in linking music instruction to reading.
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Music Journal
Date Title and Type
Title: Type: + _ Interesting: Title: Type: + _ Interesting: Title: Type: + _ Interesting: Title: Type: + _ Interesting: Title: Type: + _ Interesting: Title: Type: + _ Interesting:
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Rubric
3
Music BCRs
The response demonstrates an understanding of the complexities of the text. Addresses the demands of the question. Effectively uses text-based and/or text-relevant information to clarify or extend understanding. The response demonstrates a general understanding of the text. Partially addresses the demands of the question. Uses text-based and/or text-relevant information to show understanding. The response demonstrates a minimal understanding of the text. Minimally addresses the demands of the question. Uses minimal information to show some understanding of the text in relation to the question. The response is completely incorrect or irrelevant to the question.
2 1
Grade 3
Theres a Hole In My Bucket (p. 180, gr.2, p. 132): Who does a better job of solving problems in the song, Willy or Liza? Support your opinion with specific details from the text (song lyrics). Frog Went aCourting (p. 134, gr. 4, p.46): The frog and the mouse are animals that represent people in the song. Which animal represents a man and which animal represents a woman? Use information from the text (song lyrics) to support your answer. (Use after a selection of 4 -5 songs sung in class.) Which song was your favorite song to sing? Use information from the song to support your preference. (Use after watching a videotape and an audiotape performance in class.) Which performance did you like the best, the one that you could watch and listen to or the one that you could just listen to? Support your selection with specific information from the performance.
Grade 4
When I First Came to This Land (p. 323, Gr. 3, p.28): Is the person singing the song happy with his decision to come to this land? Use specific details from the text (song lyrics) to support your opinion. The Cat Came Back (p. 224): If another tragedy happened to the cat, would he still come back? Support your opinion with information from the song lyrics (text). Sweet Betsy from Pike (p. 350): Do you think Betsy and Ike were ready for their journey? Support your position with information from the song lyrics (text).
(Page numbers refer to the Share the Music textbook series. Page numbers in italics refer to the Spotlight on Music series.)
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Grade 5
Erie Canal (p. 154, gr.5, p. 132): Is the job of working on the Erie Canal easier or harder with a mule? Use information from the song lyrics (text) to support your answer. Yankee Doodle (p. 120, gr. 4, p. 154): Does the song present a realistic picture of the Revolutionary War? Support your position with information from your background knowledge and the song lyrics (text). Simple Gifts (p. 191, gr. 5, p. 136): What does the song suggest about the people that it represents? Use specific details from the song lyrics (text) to support your answer. What was the best part of the performance? Give a specific example and explain why you feel it was the best. Which performance was of the highest quality? Support your selection with specific information from the performance. What part of the performance needs improvement? Give specific ideas for how it might be improved. What are some of the ways that the performance could be improved? Use specific examples from what you observed to support your answer.
Grade 6
Day-O/John B. Sails (p. 32/347): Compare the two songs about boats. Which presents a more appealing picture of life on a boat? Use the song lyrics (text) to support your position. Old Joe Clark (p. 396, gr. 4, p. 74): Is Old Joe Clark an honorable person? Give evidence from the text (song lyrics) to support your position. Drill Ye, Tarriers (p. 363): Is the job of being a tarrier an easy or difficult job? Support your position with information from the text (song lyrics). What was the best part of the performance? Give a specific example and explain why you feel it was the best. Which performance was of the highest quality? Support your selection with specific information from the performance. What part of the performance needs improvement? Give specific ideas for how it might be improved. What are some of the ways that the performance could be improved? Use specific examples from what you observed to support your answer.
(Page numbers refer to the Share the Music textbook series. Page numbers in italics refer to the Spotlight on Music series.)
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Music Careers
This section addresses an additional outcome, Music Careers, from the Prince Georges County Scope and Sequence. This section has activities for the direct instruction to address the objectives and indicators for this outcome. Activities addressing the impact of technology on the music business are also included in this section.
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MUSIC CAREERS
PERFORMANCE
A. PERFORMERS LIFE 1. Tour Itinerary a. Discuss touring as a musician and list all the jobs associated with the tour in addition to the performers. b. Using a sequence chain graphic organizer, create a tour for a group of students choice. This may be done in small groups after being modeled by the teacher. Discuss economical routes of travel and location selection, concert date and time choices, ticket price considerations, etc. Have students draw the route on a map to submit with their itinerary. 2. Interviews a. List questions students might have about the life of a professional musician. Interview a professional musician. b. Write an article for a newspaper or magazine introducing the musician to readers. Include the persons background, reason for being a musician, professional training, performance experience, description of musical style, successes, goals for the future, family information, etc. B. QUALIFICATIONS 1. Training a. List a variety of music related careers. Select one to research. b. Have students research the type of training and/or qualifications needed to be hired for that job. 2. Portfolios a. Discuss what information prospective employers may need to have when considering an applicant for a music related job. Determine what items an applicant might include in a portfolio. b. Invite a professional musician to speak to the class and discuss their portfolio of their work. Examine the items in their portfolio. c. Develop a class portfolio of whole class and individual performances, recommendations, and written work from the years music instruction. C. EMPLOYMENT 1. How to get the job a. Select a music-related career from previous class discussions. As a class, determine what steps a person might need to take to find a position in that particular field. b. Have small groups select another music related career and complete a sequence chain with information about steps to take to get the job in their respective music career.
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MUSIC CAREERS
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MUSIC CAREERS
Hire a Musician
1. Think of a job for which you might hire someone in the music field. Job Description:
2.
Use a Yellow Pages phone book and find someone to fill the job. What headings could you look under? Which one seems to fit best? How many listings are there under that heading? Which ones are closest to your location? What is their location?
Do any have an ad listed in the phone book? What information does the ad give that makes the person or company worth considering?
Who would you call first and what would you ask them?
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MUSIC CAREERS
TECHNOLOGY
A. THE RECORDING INDUSTRY 1. CDS a. Discuss the recording process from the recording studio to the distribution of the final product. List jobs for each step of the process. Tour a recording studio, if possible. b. Examine the cover of a current recording and list information contained on that cover, including recording title, groups name, song titles and duration, credits, record companys name and logo. c. In small groups, have students create a CD cover for an imaginary group. B. BROADCASTING 1. Radio a. Have students listen to an hour of radio broadcasting and write down what was heard including: how many songs, commercials, station identification, time and temperature, news and traffic reports, games and promotions, etc. b. Tour a local radio station if possible. c. Have students create their own one hour radio show including the items listed above. Allow students to make up their own frequency and call letters that are not currently in use. Discuss how call letters and frequency are determined as well as the difference between AM and FM. 2. Video a. Tape a selection of contemporary music videos appropriate for school use and view in class. Discuss the format of each (i.e. performance video, storytelling, collage surrounding a topic, or combination). b. Have students watch their choice of videos at home and determine the format of each. c. Using a sequence chain have students develop their own music video, either drawing pictures or writing the action for several scenes of a video for a musical selection of their choice.
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SECTION IV Sample Lessons for Elementary Vocal and General Music Instruction
These lessons are suggestions and not intended to be the complete curriculum for any grade level nor are they intended to be required lessons. They can be used as a model for lesson plan development for music teachers.
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SAMPLE LESSONS
The focus of the pre-kindergarten curriculum is to support the primary music development stage of a childs life. The two goals of this stage are for each child to develop a positive disposition towards active participation in music activities and the achievement of basic music competencies including the ability to sing in tune and physically keep a steady beat. A typical lesson might include: song and chant material, songs without words, music in varied tonalities and meters, movement activities and instrument play. The emphasis must be on actual musical experiences rather than concepts about music. The teacher should create a playful, developmentally appropriate, non-performance-oriented learning environment that is musically rich but is immediately accessible to the childs participation. Programs such as Music Together and Kindermusik offer repertoire, instruments, and curriculum appropriate for this age group. Suggested lesson plan format would include any or all of the following: a greeting song, a focus song or finger play (small motor movement), a few rhythm patterns for echoing, a lap song (large movement, in place), tonal patterns for echoing, large movement, instrument activities, a free movement / dancing piece with props, a new focus song, finger play, instrument play along, quiet song, and goodbye song. The main point in this lesson plan format is to provide a number of activities and experiences with some teacher direction of activities but very little focus on directed teaching of music concepts. There is also a natural flow or progression to the activities from small motor activities to free movement and then back to small motor and calming activities by the conclusion of the lesson. These activities are interspersed with brief music skill development activities. When planning lessons for this age group, consider the short attention span of a child this age. A 20 minute time span is recommended. Frequent repetition of previously learned material is often enjoyed by this age. Children this age may not have had any previous school experience. For this reason, there may need to be several instructions for routine school tasks. These students will need gentle but firm assistance to make the adjustment to the school setting. Songs or chants that help students to remember these routines will be beneficial in these efforts. These familiar songs for routines will be comforting to this age as they make the adjustment to the school experience. Many of the same suggestions given for primary students may be applied to the pre-Kindergarten students. The teacher should, however, consider their young age, inexperience, and their developmental age. Some children may have special needs: emotional or physical. Some of these needs may not have been identified or diagnosed at this early age. In addition, children mature at different rates so maturity may mask learning disabilities at this early stage of educational development. There may also be language barriers.
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Overview:
Students will act out the words to the music in order to connect drama and music.
Warm-Up:
Share the song Humpty Dumpty. Discuss who the characters would be. Divide students into groups of five. Have students discuss in their group how they would dramatize this song.
Assessment:
Groups should share their performance of Humpty Dumpty while the class sings the song. As a class, evaluate how well the group showed the facial expressions to fit the words of the song. Students should demonstrate the ability to dramatize the song correctly with appropriate facial expressions. Make note of those students who are not singing with the group and those who are not on task.
Closure Activities:
Discuss other songs known to the students that could be dramatized in a similar fashion.
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SAMPLE LESSONS
Found a Peanut
Found a peanut, found a peanut, found a peanut just now, Just now I found a peanut, found a peanut just now I cracked it open, I cracked it open, I cracked it open just now, Just now I cracked it open, I cracked it open just now. It was rotten, it was rotten, it was rotten just now, Just now it was rotten, it was rotten just now. I ate it anyway, I ate it anyway, I ate it anyway just now, Just now I ate it anyway, I ate it anyway just now. I got a tummy ache, I got a tummy ache, I got a tummy ache just now Just now I got a tummy ache, I got a tummy ache just now. I called the Doctor, I called the Doctor, I called the Doctor just now, Just now I called the Doctor, I called the Doctor just now. He gave me medicine, he gave me medicine, he gave me medicine just now, Just now he gave me medicine, he gave me medicine just now. I feel all better, I feel all better, I feel all better just now, Just now I feel all better, I feel all better just now.
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Overview:
Students will add classroom instruments in order to enhance the meaning behind the story.
Warm-Up:
Make up a story about a rainstorm, with the students help, and draw a story map on the blackboard or chart paper while discussing what happened. Ask students to name a classroom percussion instrument that is being shown to the class. If they dont know the name, then tell them the name of the classroom rhythm instrument. Describe how to hold the instrument and how to play it correctly. Have selected students try out the instrument. Do the same thing with other instruments.
Review the story map again with students. Students should be able to play the instruments at the correct time, without minimal teachers prompts. Make note of those students who are performing at the appropriate time and those who are not looking at the board. Also observe whether they are able to follow the story line and add the instruments and singing at the correct time.
Assessment:
Closure Activities:
Discuss how the story map might be adapted to a different story about going down the street and seeing a fire engine. Briefly discuss possibilities for instruments for sound effects.
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Overview:
Students will use large body movement in order to indicate a relationship between movement and the lyrics of a song.
Warm-Up:
Assessment:
Students should demonstrate that they are listening to the music and that they know when to walk and when to gallop around the room. Do the same with Skip to My Lou. Make note of those students who are performing the appropriate movements correctly.
Closure Activities:
Review the A part of Rig a Jig Jig very slowly and see who can walk to the music while exiting the room. Review keeping personal space for the galloping part, and then let the last few students gallop to the door when that part of the music comes.
Extensions:
Use Sammy from Hap Palmers Teaching Basic Skills through Music. Have students act out all of the animal motions using their large body movements, while going in a line around the classroom.
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SAMPLE LESSONS
The pacing of the Primary lesson is critical to keeping the students engaged in the music learning. Primary students need to be actively involved. The statement of the objective needs to be in terms that students this age will understand, for example, Today were going to learn about fast and slow and then use our fast and slow voices to sing some train songs. The warm-up should introduce the objective without much discussion. Using familiar songs or activities for warm-ups will help with transitions. Some teachers have the same opening song for every class period for this age. The teacher directed activities should include brief directions/teacher talk and move swiftly to active involvement for the students. It is best to limit directions to two or three at a time. Asking students to repeat directions before starting an activity is wise especially if the directions are complicated. Activities should change frequently to maintain interest. However songs can be repeated over several lessons because students this age need repetition to become comfortable with song material. New song material is best taught by rote singing. Songs with simple, short melodic phrases and limited notes are most suitable for this age. Songs with repeated phrases or predictable forms are also appropriate. This age can explore different ways to use the voice from singing, speaking, whispering, rhythmic chant, etc. Teach beginning note reading skills at an early age, but keep early experiences brief and simple. Isolate rhythm from melody in the early years. As primary students get older they can read more advanced melody and rhythm. Some students learn melodic notation using a two line staff for sol-mi and later la, re, and do. Sol would be the top line and mi on the bottom. With the two line staff, students can recognize melodic direction with limited note songs. Additional melody notes can be added one or two at a time without becoming too confusion for this age. By third grade, students should be reading notes on the five line staff. Primary students enjoy movement activities but often need guidance in using the space appropriately. This age student is just learning how to follow directions and therefore benefits from having a demonstration of what is expected by the teacher, individual student, or small group. Some classes will need to try movement activities in place before moving freely about the room. The important thing is that this age needs to have frequent opportunities to move during a music lesson, even if it is to add actions to a song while seated. Encourage students to sing while doing the movement, even though some may have difficulty doing both. Dramatization activities can be very successful with this age. Primary students should be given the opportunity to play simple percussion instruments with guidance and instruction on how to play musically. The distinction between musical instruments to play music and playing with toys for fun should be made. Students this age sometimes think of instruments as toys and need instruction on how to take care of them as well as how to play them musically. Improvisation experiences are enjoyable for this age. Listening experiences for primary students should be brief and focused. They will have difficulty distinguishing more complex concepts like identifying brass from woodwind instruments in a listening selection. However, recognizing the difference between fast and slow or quiet and loud will certainly be manageable. Most primary students will need repeated experiences before they reach mastery of most music skills. They will often be able to master a skill before the conceptual understanding is achieved. Labels for musical skills need to be in language that the students can easily understand. The accepted music terminology can be added as students get older, i.e. dynamics will not mean as much as quiet and loud. However, exposing students to the appropriate music terminology is a good idea when linked with language students would be familiar with so that they can become familiar with the appropriate music vocabulary. Assessment of primary students can be through observation of whole group activities for student mastery of skills and concepts. Closure activities need to be brief and prepare students for the transition from the music lesson to the classroom teacher.
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SAMPLE LESSONS
Teacher Directed Activities: How will you aid students in constructing meaning of new concepts? How will you introduce/model new skills or procedures?
3-4 minutes
Guided Practice
Teacher-Monitored Activities: What will students do together to use new concepts or skills? How will you assist students in this process?
3-4 minutes
Assessment
Formative Assessment: How will you monitor student progress throughout the lesson? Summative Assessment: How will you ensure that all students have mastered the identified learning indicators? How will you assess their learning? Daily and end of unit. Closure Activities: How will you assist students in reflecting upon what they learned today and are preparing for tomorrows lesson?
2-3 minutes
2-3 minutes
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Overview:
Students will recognize the parts of the song that are the same in order to sing the song with the appropriate actions. (Kindergarten Reading Theme 1 is called Look At Us. These two songs are included as music selections to accompany the reading theme.)
Warm-Up:
Make up new verses for the song with new actions. Discuss with students where they sing the same thing and where they need to sing something different.
Assessment:
Students should demonstrate the ability to recognize the parts that are the same and different and respond with the appropriate actions while singing the song correctly. Make note of those students who are not singing with the group and those who are not on task.
Closure Activities:
Have students sing the song in their head and show the actions for review of same and different.
115
Curriculum Framework Elementary Vocal and General Music - Prince Georges County Public Schools
Curriculum Framework Elementary Vocal and General Music - Prince Georges County Public Schools
116
Lesson Title:
Overview:
Students will be able to compare singing and speaking while demonstrating the beat and performing two counting selections. (Kindergarten Reading Theme 5 is called Lets Count. This lesson would be a good link to the Reading Theme for the students as well as reinforcement of Math skills.)
Warm-Up:
Introduce the rhyme 1, 2 Buckle My Shoe by speaking it and having students hold up fingers for the number they hear in the rhyme. Write the numbers in groups of two. Have students join in speaking the numbers while teacher does other parts. Draw pictures to go with the words after each group of numbers. Have students perform the whole thing. Have students add beat while saying the rhyme. Discuss speaking voice. Introduce the song This Old Man from Spotlight on Music 1 by singing it and having students hold up fingers for the number they hear in the song. Have students listen for the parts that are the same while teacher sings up to number five. Practice those parts together. Ask students to predict by singing the parts that they think will be the same for six. Teacher should add the part thats new. Continue in this way through ten. Review the part that was different for each number and draw a simple picture to illustrate it. Discuss singing voice.
Have students perform the whole thing. Then students should add the beat while singing the song. Have students review 1, 2 Buckle My Shoe with beat while speaking. Review speaking voice.
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Closure Activities:
Note:
The song 1, 2 Tie My Shoe is included on a CD called Sing to Read by Wilma Salzman. There is a big book published for the song to accompany the recording. The big book comes with a blackline master for multiple copies of a little book that students can color and make for their own version of the big book. Table Top Press, P. O. BOX 640296, EL PASO, TX 79904, puts out these materials. The book, This Old Man, illustrated by Carol Jones could be shared with students for comparison to the version of the song done in class.
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Lesson Title:
Overview:
Students will recognize dynamics in order to sing and play instruments using the appropriate dynamics. (Kindergarten Reading Theme 6 is called Sunshine and Raindrops.)
Warm-Up:
Introduce the song Rain on the Green Grass by singing it. Then speak the words a phrase at a time and have students repeat each phrase. Draw simple pictures for grass, tree, housetop, and an umbrella for the last phrase. Review speaking voice. Use the singing voice and do the same thing. Then have the students whisper the whole song together using the pictures as cues. Finally the whole class sings the whole song. Discuss which voice was the quiet voice and which was a louder voice. Discuss the sequence of events for a rainstorm. Discuss which parts are loud and quiet. Make a graphic drawing of a rainstorm on a large piece of poster paper. Start with a few raindrops, which increase as the storm continues. Add some swirlly symbol for the wind. Add lightning bolts for thunder and lightning. Make up a symbol for hail. As a class, discuss which instruments could play the different parts of the rainstorm. Discuss whether they would play loud or quiet. Assign students to instruments.
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Assessment:
Students should demonstrate the dynamics by singing the song correctly. Make note of those students who are not singing with the group and those who are not on task. Sing Rain on the Green Grass loudly. Have students quietly whisper sing the song as they are leaving.
Closure Activities:
Note:
The book Its Raining, Its Pouring, by Kin Eagle is a picture book connected to the theme and includes the music for the song at the back of the book. The song Rain on the Green Grass is included on a CD called Sing to Read by Wilma Salzman. There is a big book published for the song to accompany the recording. The big book comes with a black-line master for multiple copies of a little book that students can color and make for their own version of the big book. Table Top Press, P. O. BOX 640296, EL PASO, TX 79904, distributes these materials.
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Lesson Title:
Tempo Trains
Overview:
Students will recognize tempo in order to show changes in tempo while singing and moving to a song. (Kindergarten Reading Theme 7 is called Wheels Go Around and could be linked to music with this lesson on tempo. Other transportation songs could be used as well and the Reading Theme includes The Wheels on the Bus.)
Warm-Up:
Discuss how trains move. Introduce the song Engine #9. Make up a story of a trains travels. Have students act out the story of the train while singing the song. Show the tempo of leaving the station (increasing speed), traveling to the next station (steady fast speed) and arriving at this station while passengers get off and on (slowing speed).
Assessment:
Make note of those students who are showing the correct tempo in each section of the story and those who are not on task.
Closure Activities:
Review the concept of fast and slow tempo discussed in the lesson and review how the students moved during the songs.
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Curriculum Framework Elementary Vocal and General Music - Prince Georges County Public Schools
Overview:
Students will interpret pictures and letters in order to sing the song and add animal sounds at the appropriate time. (Kindergarten Reading Theme 8 is called Down on the Farm. Cows in the Kitchen, a songbook, is included with this Reading theme.)
Warm-Up:
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Closure Activities:
Have students sing the song in their head and hold up the number of fingers for each animal sound.
Note:
The Singlish series of charts and CDs has a version of Old MacDonald. The charts show the words by themselves or the words with pictures. The book, Old MacDonald, illustrated by Carol Jones could be shared with students for comparison to the version of the song done in class.
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Overview:
Students will identify and move to match tempo changes in the music. (Kindergarten Reading Theme 10 is called A World of Animals. This song and other animal songs could be used in conjunction with this theme to teach tempo and movement.)
Assessment:
Each student moves to match the tempo in each section of the music. Make note of students who are not on task or who need more time for mastery of this skill.
Closure Activities:
Review the two speeds or tempo changes that the elephants showed with the music.
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Overview:
Students will dramatize a story song in order to create a multimedia production depicting I Know an Old Lady Who Swallowed a Fly.
Warm-up:
Curriculum Framework Elementary Vocal and General Music - Prince Georges County Public Schools
SAMPLE LESSONS
Graphic Organizer Websites and Resources RWT Webbings Tool: http://interactives.mped.org/view_interactive.aspx?id=127&title Education World (Downloadable Word Template): http://www.educationworld.com/tools_templates/sm_nov2002.doc Use one of the childrens books listed at the end of the lesson to show how the illustrator tells the story. Discuss how the illustrator shows the personalities of the characters in the story. Explain to students that they will be making a living book. They will work with a partner to dramatize one of the characters in the song. Explain that dramatize means to use movements, facial expressions, and sounds to express who another person, object, or animal is.
Assessment:
Students will select from the following final products to dramatize the song: Music Video of the Song Videotape a performance of the song in an ensemble with dancers representing the characters. Sing-a-Long Book Students record a CD of the song to include in a picture book they have created using photos of the creatures with the text. PowerPoint slides can be formatted with photos and text, printed, and assembled in book form for this product. Visual Aid for Ensemble Performance of the Song Students perform the song while PowerPoint slides are projected of the characters on the screen for each verse. Classroom Performance Students perform the song portraying their assigned characters. Use the following rubric to assess students dramatization of the story.
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SAMPLE LESSONS
3 Student uses a wide range of appropriate movements to express the identity of their creature. The performance is credible. 2 Student uses a wide range of movements to express the identity of their creature. The performance is credible. However, student does not move within the number of beats available within their creatures introduction. 1 Student does not demonstrate appropriate choices in portraying his/her creature and lacks physical presence or appropriate body language. 0 Student does not perform.
Closure Activities:
Discuss with students other songs that they could dramatize in a similar way.
127
SAMPLE LESSONS
Videos: I Know an Old Lady Who Swallowed a Fly (1964) Directed by Derek Lamb (6 min) Mammals on The Move Video Segment , Mammals #1, United Streaming: http://www.unitedstreaming.com/ (2:28) Additional Internet Resources: The Free Dictionary, http://www.thefreedictionary.com PowerPoint in the Classroom, http://www.actden.com/pp/ Windows Movie Maker: Adding Credits to a Film, http://presentationsoft.about.com/od/moviemaker/ss/titles.htm
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Overview:
Students will read melodic notation and recognize solo and ensemble in order to read melodic notation on a two line staff and sing at the correct point in the song. (The First Grade Reading Book, Theme 1 is All Together Now and Theme 4 is Family and Friends. This lesson would be a good link to either Reading Theme for the students. The songs, BINGO, Where Oh Where Has My Little Dog Gone? and How Much is That Doggie? are included with this theme in the Reading series. This lesson may take 2 3 class periods.)
Warm-Up:
Review the hand signs for Sol and Mi. Echo sing simple four beat Sol-Mi patterns with hand signs. Have students read each phrase from Doggie using the hand signs and their names. (See attached song sheet.) Add words. Assign the dog part to one student and the bear part to another student. Have each person sing their part. If puppets are available, use a dog and bear puppet for the soloists. Allow each student in the class to sing one of the solo parts.
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Ruff Assessment:
Ruff
Make note of those students who are not singing at the appropriate time. Those students should receive a 2 for their assessment grade. Those students who are singing and consistently using the correct hand signs should receive a 1 for their assessment grade. Read the notes for two to three melodic patterns from the board with the hand signs.
Closure Activities:
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SAMPLE LESSONS
Dog - gie
Dog Sings:
Some - one
stole it from my
home.
Dog Sings:
Who
stole my
bo
ne?
Bear Sings:
stole your
bo
ne.
Curriculum Framework Elementary Vocal and General Music - Prince Georges County Public Schools
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Overview:
Students will perform different Mother Goose rhymes in order to demonstrate solos, male and female ensembles after a discussion of the words and characters in the rhymes. (This lesson may take more than one class period.)
Warm-Up:
Assessment:
Make note of those students who are not contributing to the group work. Those students should receive a 2 for their assessment grade. Those students who are participating with their group should receive a 1 for their assessment grade.
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Extensions:
Give each student a copy of each of the rhymes printed one to a page with space left on the paper for a picture. Have students illustrate each rhyme and make their own nursery rhyme book.
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Lesson Title:
Overview:
Students will identify the Sol-Mi pattern in order to respond with movement to the pattern in The Cuckoo in the Deep Woods by Saint-Saens. (First Grade Reading Theme 4 is Family and Friends. During this theme, students have an opportunity to compare and contrast. This lesson could be a good reinforcement of those skills.)
Warm-Up:
Introduce the nursery rhyme Hickory Dickory Dock. Discuss a grandfather clock. Compare it to the other clocks discussed earlier in the lesson. Repeat the rhyme so that the students can say it without assistance. Have students raise their hands when they hear a rhyming word. List these on the board: dock-clock, one-down (?). After each dock or clock, have the selected group do their cuckoo action and sing on Sol-Mi while the rest of the class does the rhyme. Working together as a class, create a new verse for 2 oclock. Example: Hickory Dickory Dock, the cat jumped up on the clock. The clock struck two, the cat went meow. Hickory Dickory Dock.
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Assessment:
Make note of students who are not on task or who need more time for mastery of the skill of recognizing Sol-Mi. Those students should receive a 2 for their assessment grade. Those students who recognize Sol-Mi consistently should receive a 1 for their assessment grade. Make note of students who are not on task while the group is creating a new verse. Those students should receive a 2 for their assessment grade. Those students who are consistently contributing should receive a 1 for their assessment grade for making up new verses.
Closure Activities:
Review the hand signs that match the cuckoo sound from the music heard in the lesson.
Cuckoo
Curriculum Framework Elementary Vocal and General Music - Prince Georges County Public Schools
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Overview:
Students will use melodic notation manipulatives in order to read melodic notation on a two line staff and then dramatize/pantomime the song while singing. (First Grade Reading Theme 6 is Animal Adventures. Students will work on real and fantasy in this theme. This lesson would be a good link for the students. )
Warm-Up:
Introduce the teddy bear manipulatives. The teddy bears should be in two colors, one for Sol, and the other for Mi with the note names on the manipulatives. (Instructions for constructing these are included.) Draw the two line staff on the board as it is shown on the song sheet. Discuss with students how to put the bears on the two lines to show the melody for the song. (See example in attached song sheet.) Sing with hand signs from the bears on the board. Sing the next phrase of the song while following the bears on the board. Point out to the students that the phrase uses the same melody. Put a repeat sign at the end of the line. Do the same for the last two phrases of the song. All phrases are the same. Have the students sing the whole song with hand signs while pointing to the bears on the board.
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Closure Activities:
Review the hand signs. Sing the song without the hand signs. Make note of the directions the song has in it. Have students dramatize the song by following those directions while singing. Other ideas for manipulatives with limited tone songs trains for Engine #9, birds for Bluebird, pennies for Who Has the Penny?, hearts for Georgy Porgy, etc. Play the Chinese childrens song Kuma San from Share the Music, grade 3 and Kindergarten for and Spotlight on Music 3 a multicultural connection.
Extensions:
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SAMPLE LESSONS
Teddy Bear
sol, sol,
mi
Teddy Bear, Teddy Bear, turn around. Teddy Bear, Teddy Bear, touch the ground. Teddy Bear, Teddy Bear, tie your shoe. Teddy Bear, Teddy Bear that will do.
MANIPULATIVE CONSTRUCTION:
Make five brown bears and four white bears using the pattern below. Label the brown bears with Sol. Label the white bears with Mi. Laminate the bears. Put magnets or tacky on the back to stick to the board.
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Melody in 2, 4, 6, 8
Overview:
Students will identify Sol-Mi in order to perform, read and compose using Sol-Mi in a song. (First Grade Reading Theme 7 is We Can Work It Out. This lesson could be used to reinforce the comprehension skills of problem solving from the Reading Theme for the students. )
Warm-Up:
Discuss the words of the song and when the song might have been sung (a long time ago). Discuss possible reasons why someone might be late and what the other person could do in those situations. Explain to students that just as they made up solutions to the problem in the song, they will now make up their own melody for part of the song. Distribute the enclosed song sheet. Have students review the song using the song sheet. Practice writing possible melodic patterns for the third line of the song on the board. Have students make up their own melodic pattern on the third line of their worksheet. Have students share their new third line with the class.
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Closure Activities:
Review the concept of Sol-Mi by having students stand when the teacher sings the pattern.
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SAMPLE LESSONS
Two,
four,
six,
eight,
Meet me
at the
gar - den
gate.
If
Im
late,
dont
wait.
Two,
four,
six,
eight.
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Overview:
Students will create new verses for Eensy Weensy Spider in order to add actions to dramatize the new verses. (The First Grade Reading Theme 7 includes the song The Ants Go Marching, which could be used for this same lesson. Reading Theme 8 is Our Earth. This lesson could also be used in conjunction with this theme. This lesson may take two-three class periods.)
Warm-Up:
Sing Eensy Weensy Spider from Spotlight on Music - K with actions.
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Closure Activities:
Have the students sing the whole song with the new actions.
Extension:
La Pequenita Arana Eency Weency Spider sung in Spanish can be found in Spotlight on Music, grade Kindergarten.
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Overview:
Following instruction on reading rhythms using quarter notes and quarter rests, students will be able to read rhythm notes in order to compose four rhythm patterns.
Activity:
Assessment:
Assess the students as they clap their patterns. Make note of those students who did not write a four beat pattern or could not clap what they had written. Those students should receive a 2 for their assessment grade. Those students who did write a four beat pattern and could clap what they had written should receive a 1 for their assessment grade.
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Overview:
Students will learn to sing Shoo Fly Dont Bother Me and create a class book by writing and illustrating their own answers to a phrase from the song in order to identify ABA form. They will be able to read and sing their book in ABA form.
Warm-Up:
Sing and move to any AB or ABA song already taught and review the form. Listen to Shoo Fly Dont Bother Me from Spotlight on Music 2. Many children will already know it. Ask them to listen again and identify how many different sections they hear. If they are not ready to do this, identify the A section for them and ask them to signal each time they hear the B section. Echo sing the song and have them perform a different movement with each section. Create movements or ask the students to create them. The movements may match the steady beat or be more like a circle dance. Ask which section is sung last? Identify the form as ABA.
Write the phrase I feel like a _________. on the board or on a chart. Ask the students to think of a noun to fill in the blank. Guide them by giving several examples such as butterfly, lion, tower, balloon, or race car. Write down several of their answers. Then ask them think of an adjective (a describing word) for their noun or a verb (an action word). Chart several examples such as a pretty butterfly or floating balloon. Pass out the writing page included with this lesson and have the students write their answers in the blank with a pencil. Have them ask how to spell any words they are unsure of because they are writing a book and all of the words in a book must be spelled correctly. If there is time, they may begin to draw a picture of their answer in the box provided with their pencil.
Assessment:
Make note of the students who are not on task or who need more time for mastery of the skill of recognizing the different sections of music in the song. Those students should receive a 2 for their assessment. Those students who recognize the different sections of music in the song consistently should receive a 1 for their assessment grade.
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Curriculum Framework Elementary Vocal and General Music - Prince Georges County Public Schools
Day 2:
Warm-up:
Sing and move to Shoo Fly Dont Bother Me. Identify the form again as ABA.
Guided Practice:
Share a page that has already been created as a model or show several good examples from the class or another class.
Assessment:
Make note of students who are not on task and do not complete their song sheet page. Those students should receive a 2 for their assessment grade. Those students who stay on task and complete their song sheet page should receive a 1 for their assessment grade.
Select several of the student pages to sing in the song. Review the song as a class.. Put all completed pages into a plastic sheet cover and place in a binder with a cover page stating the song title, class name, month and year. Present their book to them at the next class and sing through it. They will be reading and singing their own class book. It may be a good idea to use the black fine-point permanent marker to trace over all pencil markings in their pictures if time permits. This makes the pictures look better. Include the original lyrics to the song as the first page of the book. Label the A and B sections for reinforcement.
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SAMPLE LESSONS
Writing Page
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Overview:
Students will recognize theme and variations in order to create an original drawing of a fish and six variations. (This lesson ties in with Second Grade Reading Theme 1 called Silly Stories.)
Play the Trout Quintet from Spotlight on Music 6 and have students draw. Signal to the students when each new variation begins so that they can start the next box. If they finish their fish drawing, they could add details in each box to create a fish tank picture. Assess the students work using the following scoring tool: 1 Students drew pictures, which demonstrate an understanding of contrast in theme and variations while listening to the music without talking. 2 Students were not listening to the music or attempting any pictures.
Assessment:
Closure Activities:
Have students examine their papers to find if their pictures are all the same (showing repetition) or different (showing contrast).
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Trout Quintet
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Overview:
Students will create Crazy Critters in order to compose song stories about them demonstrating knowledge of beginning consonant blends. (The Second Grade Reading Theme 1 called Silly Stories would be a nice link for this lesson.)
Warm-Up:
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150
Closure Activities:
Perform the opening tongue twister(s) again.
Review how to speak their tongue twisters rhythmically in tempo. Make sure to establish a strong, steady beat that they are required to follow. Then, show them how to play a rhythm pattern while they chant their tongue twister in rhythm. Have students make up their own rhythm pattern to go with their tongue twister. Review information the students may have made up about their critters home, food, environment and/or form of movement, etc. from the previous lesson. Explain that students will now be making up a story about their critter. At points in the story that they decide on, they should say their tongue twister and add their rhythm pattern.
Assessment:
Have students again display their Crazy Critter drawings and have them perform their song stories for the class. Those who present their song story following the directions will receive a 1 for their assessment grade. Those who have not created a song story or make no attempt to perform their song story will receive a 2 for their assessment grade.
Closure Activities:
Review several of the tongue twisters created by class members.
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SAMPLE LESSONS
Curriculum Framework Elementary Vocal and General Music - Prince Georges County Public Schools
152
Overview:
Students will use melodic manipulatives in order to read melodic notation on a two line staff. (The Second Grade Reading Theme 2 is called Nature Walk. This lesson would be a good link to the Reading Theme for the students.)
Warm-Up:
Introduce the star manipulatives. The stars should be in three colors, one for Sol, one for La, and the other for Mi with the note names on the manipulatives. (Instructions for constructing these are included.) Draw the two line staff on the board as it is shown on the song sheet. Going note by note and using the lyrics of the song as well as the hand signs, discuss with students how to put the stars on the two lines to show the melody for the first phrase of the song. (See example in attached song sheet.) Sing the first phrase with hand signs and song lyrics from the stars on the board. Then sing using note names. Sing the next phrase of the song, note by note and have students come up to put the notes on the board. At the end of the second phrase, sing what is already notated, using hand signs and lyrics then hand signs and note names.
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SAMPLE LESSONS
Do the same for the last two phrases of the song. Practice singing the whole song with note names and hand signs. Have students stand to sing the song. Using the following positions have them move to show the melodic direction while doing the hand signs and singing: stand (sol), tiptoes (la), and squat (mi).
Assessment:
Have the students sing the whole song with hand signs and note names while the teacher points to the stars on the board. Make note of those students who are not looking at the board or are not doing the hand signs. Those students should receive a 2 for their assessment grade. Those students who are visually following the notes on the board and consistently using the correct hand signs should receive a 1 for their assessment grade.
Closure Activities:
Review the hand signs used for the song. Put a four beat pattern on the board with stars from the song. Give students thinking time and then have them read and sing the pattern using hand signs and note names. Do a couple more if time permits. Other ideas for manipulatives with limited note songs trains for Engine #9, birds for Bluebird, pennies for Who Has the Penny?, hearts for Georgy Porgy, etc.
Extensions:
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SAMPLE LESSONS
Sol
mi
sol
mi
Sol
mi, la
sol, sol
mi
Sol, sol mi
sol, sol mi
la
sol, sol
mi
Star light, star bright, First star I see tonight. Wish I may, wish I might, Have the wish I wish tonight.
MANIPULATIVE CONSTRUCTION:
Make thirteen blue stars, two yellow stars, and eight white stars using the pattern below. Label the blue stars with Sol. Label the yellow stars with La. Label the white stars with Mi. Laminate the stars. Put magnets or tacky on the back to stick to the board.
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Overview:
Students will create a rhythm pattern in order to accompany a song with new verses created by the class. (Second Grade Reading Theme 4 is called Amazing Animals. This lesson would be a good link to the Reading Theme for the students.)
Warm-Up:
Have students name other coins. Make up new verses for other coins. Put the verses in order from the lowest coin to the highest coin. Sing the whole song.
Assessment:
Make note of those students who do not add anything or who do not sing the complete song. Those students should receive a 2 for their assessment grade. Those students who are singing and did help with new verses should receive a 1 for their assessment grade.
156
Curriculum Framework Elementary Vocal and General Music - Prince Georges County Public Schools
Sol
la
la
sol sol
mi mi
sol
la
sol
mi
Sol sol la
la
sol sol mi
mi
Sol sol
la
la
sol
mi
I had a little dog, his name was Nickel Every time I turned around, he turned into a pickle.
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Overview:
Students will improvise a melodic response in order to add an ending to a song. (Second Grade Reading Theme 5 is called Family Time. This lesson could be a good link to the Reading Theme for the students.)
Warm-Up:
Sing the song as a group. Pass a plastic fork or spoon to the first person who will add the solo phrase. They sing at the appropriate time in the song. The group repeats their phrase after them. Continue until everyone has had a turn passing the fork to the next person each time.
Assessment:
As the students sing the song with solo parts, teacher should monitor who is singing at the appropriate time. Make note of students who do not add anything or who do not sing the complete phrase. Those students should receive a 2 for their assessment grade. Those students who are singing their new phrase at the appropriate time should receive a 1 for their assessment grade.
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Mabel
Sol
mi
sol
mi
Sol
la
sol
mi
Sol, sol, mi, mi, sol mi Mabel, Mabel, set the table. Just as fast as you are able. Dont forget the _____?_____ (solo) Dont forget the _____?_____ (group)
sol
mi
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Lesson Title:
Overview:
Students will identify rhythm patterns in order to play them for the A section of The Toreadors noting which ones are the same/different and finding the strong/weak beat pattern. (Second Grade Reading Theme 6 is called Talent Show. This lesson could be linked to that reading theme.)
Warm-Up:
Have students read and perform the patterns with their paper plates. Observe the students and make note of those who are not on task or have difficulty performing the patterns. Those students should receive a 2 for their assessment grade. Those students who are able to play the patterns with the music should receive a 1 for their assessment grade.
Closure Activities:
Review the concept of same and different phrases by clapping the same pattern and having the students identify the different pattern by standing up when it is heard.
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SAMPLE LESSONS
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161
Overview:
Students will compare two parts of The Nutcracker in order to describe what makes one AB form and the other ABA form.
Warm-Up:
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Closure Activities:
Review these concepts by clapping an AB or an ABA set of patterns and have the students identify them correctly.
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Overview:
Students will arrange given musical ideas in order to create musical forms such as AB, ABA, and Rondo forms. Their compositions will be saved. Students will use digital resources including websites and/or computer software to do their creations.
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SAMPLE LESSONS
(No-Tech Option: Place several melody cards and their matches facing the blackboard. Ask a student to turn a card. Play or sing the melodic phrase on the selected card and the child will guess which hidden card has a matching melody. When the children find a match, show both cards and play or sing them as an AA phrase.)
Use questioning to help students identify each section. Examples: Are all of the phrases alike? Did you move the same way for the entire composition? How did your movement change? Did any sections repeat?
Closure Activities:
Show the motions for each section of the ABA piece again and have students identify which section is being shown by calling out A or B depending on the movement they see.
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SAMPLE LESSONS
Students should identify types of melodic movement using website for melodic contour and decide the type of contour their musical theme will have. Melodic Contour, http://www.creatingmusic.com/contours/index.html
Closure Activities:
Have selected students share what they have developed for their ABA form. Let students know that they will continue to work on their ABA composition in the next lesson.
Have students share what they need to do to create an ABA form. Have students work with a partner to create their composition in ABA form. Each student will create a melodic phrase (A) consisting of eight beats of music. Students should be encouraged to use the playback feature to make changes to their compositions. They should also try to use familiar rhythms such as: quarter notes and rests, eighth notes, half notes and rests, etc. in their compositions. After saving their performance of their eight beat phrases for their partner, they will
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SAMPLE LESSONS
create a contrasting eight beat phrase for theme B. Students can restate the A section or use the cut and paste feature of the software to add the final section to their ABA composition.
Assessment:
Use the following rubric to assess student compositions: 1 The composition has three eight beat phrases/themes that follow ABA form and the B section is in contrast musically to the A section through melodic contour, rhythm, or other distinctive musical elements. 2 The composition does not explore the use of eight beat phrases/themes to reflect the form ABA.
Closure Activities:
Students will be asked to reflect on the process by responding to the following prompt in their student journals: Is revising or making changes to the music composition during the writing process a good idea? How did revising affect the final composition?
Additional Tutorials: Band in a Box: Use this to add accompaniment/harmony to student compositions. http://www.pgmusic.com/bbdemovideos.htm
Kinesthetic Approach: Hoedown Visual Listening Map Video (Chart) http://faculty.weber.edu/tpriest/VisualListeningMaps/Hoedown2.mov Hoedown Kinesthetic Listening Map Video (Movement): http://faculty.weber.edu/tpriest/Kinesthetic%20Listening%20Maps/Hoedown.mov Interactive Music Composition Sites: San Francisco Symphonys Composerizer, http://www.sfskids.org/templates/musicLabF.asp?pageid=15 (This sight has short phrases which can be organized and replayed to create a theme.) Morton Subotnicks Creating Music Website, http://creatingmusic.com/mmm/index.html Article: Its Elementary: Integrating Music Technology, http://metmagazine.com/mag/elementary/index.html Optional Software and Usage: Basic: Use Music Ace Doodle Pad to organize pictorial representations. Proficient: Use Finale Notepad to create like and unlike phrases. Advanced: Sibelius can be used to create short compositions in ABA form. Exemplary: Use Garage Band to combine recorded voices/instruments with digital medium.
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Overview:
Students will explore music vocabulary words in order to identify the correct music definition from the context of the sentence for those with multiple meanings.
Warm-Up:
Discuss which ones on the list have multiple meanings. Examples: pitch, note, piano, rests, instrument. Discuss how the sentence context helps to determine the meaning. Divide students into pairs. Assign each pair of students one of the music words with multiple meanings. Each pair should think of two sentences using each of the words but in a different context.
Student pairs should share their sentences with the class. The class should give the meaning for each word. Have students complete the worksheet given here (or something similar) and assess using the following rubric: 4 Students select the correct definition for each word with 90% accuracy. 3 Students select the correct definition with 80% accuracy. 2 Students select the correct definition with 70% accuracy. 1 Students select the correct definition with 60% accuracy. 0 Students select the correct definition with less than 60% accuracy.
Assessment:
Closure Activities:
Ask students to think of other music words that have multiple meanings.
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SAMPLE LESSONS
MULTIPLE MEANING WORDS In the following example, each word has more than one meaning. Select the word, which has the same meaning as the underlined word. _____ A. B. C. D. _____ A. B. C. D. _____ A. B. C. D. _____ A. B. C. D. _____ A. B. C. D. notation sounds music strings sound throw melody angle 2. beat rhythm speed dynamics 3. instrument softly keyboard fast 4. pieces of paper music pitches letters reading parts 5. In order to read guitar tablature you must understand what chords are. When Mrs. Johnson sings the notes she sings very beautifully. When the orchestra played piano, the audience struggled to hear. The tempo of the march made it very exciting. 1. The pitch of the violin was very high.
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SAMPLE LESSONS
USING CONTEXT CLUES Use clues from the following passages to find the meaning of the underlined words. Select the phrase, which has the same meaning as the underlined word. 1. While walking to the park with my grandmother we heard music playing. As we walked closer, the music began to crescendo. When we arrived at the park we realized that a concert was taking place. In this passage the word crescendo means to _____ A. _____ B. _____ C. _____ D. 2. get louder walk slowly run quickly stop playing
Yesterday my mother and I went to my sisters concert at school. The last song was supposed to be sung in harmony but I could only hear the melody. In this passage the word harmony means _____ A. _____ B. _____ C. _____ D. two or more parts with the band one part as a solo
3.
One of our favorite dances is the Cha Cha Slide. It has a very strong bass part and the beat is easy to hear. In this passage the word bass means _____ A. _____ B. _____ C. _____ D. fish high loud low
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Overview:
Students will play a variety of beat games from different cultures in order to compare two of the games as well as telling which they prefer. (This unit may take several lessons. Pieces of the unit could be done if materials are not available for all the songs. Also the Third Grade Reading Theme 1 called Off to Adventure has a section on listening to and writing about world music. This would be a great link between music and reading. )
Warm-Up:
Add the song when the passing action is smooth. For a more challenging game, give each student a block so everyone passes at the same time.
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Have students compare and contrast the two games played so far, using a Venn diagram. Review the passing action for the two games and what happens to the passing action when the tempo gets faster. Next class, there will be another game from America with a slightly different passing action.
Curriculum Framework Elementary Vocal and General Music - Prince Georges County Public Schools
Closure Activities:
Review the passing action for Bob-a-Needle and what happens to the tempo for this game. Next class, there will be another game from Latin America with something different being passed.
Review the action from Engine #9 and Obwisana. Review what happened with the tempo in Obwisana. (It. got faster.) The same thing happens with Acitron, but this time passing another item from the natural environment - a stick. After practice passing one stick, have students listen again to the recording for the words triqui, triqui, tron. On these words, the person holding the stick taps it twice in front of them before passing it on.
Closure Activities:
Review which games had songs sung in a different language and where they were from. Review which game had a stone being passed. Next class, there will be another game in a different language where a stone is passed but from America instead of Africa.
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SAMPLE LESSONS
Play this game as a hiding game with a person in the center trying to guess who has the stone. Have students compare and contrast all the games played so far, using a Venn diagram with additional circles. Review the passing action for Bob-a-Needle and where the hands were for the passing action. Next class, there will be another game from Japan with something different being passed behind the back.
Closure Activities:
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Assessment:
Observe students as they are playing any or all of the games and assess using the following rubric. (This could be done as a final test at the conclusion or as an on-going assessment through the unit.): 4 Students are consistently following the directions for playing the game and are able to maintain the pattern in tempo with the music. 3 Students are generally following the directions for playing the game and are somewhat able to maintain the pattern in tempo with the music. 2 Students are attempting to follow the directions for playing the game and are somewhat able to maintain the pattern in tempo with the music. 1 Students are attempting to follow the directions for playing the game but are not able to maintain the pattern in tempo with the music. 0 Students are not following the directions and not able to maintain the tempo.
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SAMPLE LESSONS
Scoring tool for the final comparison of two games: 4 Students were able to correctly identify two things the same and two things different about the games they selected and something about tempo was included in the comparison. 3 Students were able to correctly identify two things the same or two things different about the games they selected and something about tempo was included in the comparison. 2 Students were able to correctly identify only one thing the same or one thing different about the games they selected and nothing about tempo was included in the comparison. 1 Students attempted to respond but answer was inappropriate or incomplete. 0 Students did not respond. Rubric for their response to the writing prompt about which game was their favorite: 4 Students clearly stated and fully supported their preference using specific details about the game. 3 Students clearly stated and somewhat supported their preference using general details about the game. 2 Students clearly stated their preference but did not support with details about the game. 1 Students attempted to respond but answer was unclear or incomplete. 0 Students did not respond.
Closure Activities:
Ask students to define tempo and give examples of how the tempo could be shown from the music done in this unit.
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Birthday Songs
Overview:
Students will sing birthday songs from two cultures in order to create a new birthday song by writing new words to a familiar tune. (Third Grade Reading Theme 2 is called Celebrating Traditions. This would be a nice link for students. In addition this theme has a section on salsa music, which would provide another link for this lesson.)
Warm-Up:
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Closure Activities:
Review birthday customs and compare to Mexico. Encourage students to find out how people in other countries celebrate as well as how other members of their extended family celebrate birthdays
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178
Overview:
Students will use dynamics and movements in order to dramatize the story of this song and then create a sequence chain in cartoon form. (Third grade Reading Theme 3 called Incredible Stories could be linked to this lesson.)
Warm-Up:
Perform the song with movements and dynamics. Have students take home the cartoon and perform it for a family member.
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Closure Activities:
Review how the dynamics and the movements added expression to the story and review the sequence of events from the cartoon.
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Cartoon Tunes
Overview:
Students will create song lyrics in order to have an opening song for a cartoon using a familiar melody.
Warm-Up:
Discuss the story and how the tune of Hot Cross Buns might be rewritten to fit the story. Have students work together to write new words for an opening song for the cartoon. Practice singing the new words. Have students make up melody patterns that could be played on tone bar instruments with the new song. Add song effects to other parts of the story. Perform the story with the song and sound effects. Evaluate the performance. Discuss what needs to be improved.
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Closure Activities:
Think about other television shows or commercials that have music.
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Overview:
Students will recognize a half note in order to sing and play a melodic ostinato pattern that contains a half note. (This lesson may need to be done in two three class periods.)
Warm-Up:
Listen to Pachelbel Canon from Silver Burdett Music, grade 5. Have the students follow the half note melodic ostinato, first as the teacher plays it on the piano and then as it is heard in the musical listening. Relate this ostinato to the one that the students have just performed with the song Laugh, Ha, Ha. Divide the class in half and review the song with the melodic ostinato. Give everyone a chance to sing the melodic ostinato part.
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Closure Activities:
Review the concept of ostinato by clapping patterns that are and are not an ostinato and have the students stand when they hear an ostinato.
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Musical Drama
Overview:
Students will draw scenes from a musical drama while listening in order to recognize the sequence. (Third Grade Reading Theme 5 called Voyagers has comprehension instruction for predicting outcomes. Any of the stories could be used for reinforcement of these skills.)
Activity:
Assessment:
Assess the students work using the following scoring tool: 4 Students drew pictures, which demonstrated an understanding of the sequence of the story while listening to the music without talking. 3 Students drew pictures, which demonstrated an understanding of the sequence of the story while listening to the music with some talking. 2 Students listened to the music but their pictures did not demonstrate an understanding of the sequence of the story. 1 Students listened to the music but did not attempt any pictures. 0 Students were not listening to the music or attempting any pictures.
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Overview:
Following instruction on reading melodies using do, re, and mi, students will learn to write melodies in order to compose a melody for the words of a song using these melody notes.
Activity:
Assessment:
Assess the students work using the following scoring tool: 4 Students created a melody using the correct melody notes and performed it correctly for the class. 3 Students created a melody with no more than two errors in melodic notation and performed it with no more than two errors for the class. 2 Students created a melody with numerous melodic notation errors and could not perform it for the class. 1 Students attempted to create a melody but could not perform it for the class. 0 Students did not respond.
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SAMPLE LESSONS
Bonefish, Bluebird
Compose a melody for the first three lines using mi, re, and do by writing the melody notes on the blank lines above the words using the rhythm notes given. Be prepared to sing what you have written.
Mi
Re
Do
Bone
fish,
Blue
- bird,
Sheep
and
flea,
Chick a -
dee,
doo dle
bug,
ro - bins in a
tree.
Fly
in the
cream
jar.
Frog
in the
pool.
Clap for
all the
child
ren
here
at
school.
Curriculum Framework Elementary Vocal and General Music - Prince Georges County Public Schools
187
Personal Preferences
Overview:
Students will write about their favorite song using musical terms in order to give support for their preference.
Activity:
Assessment:
Assess the students work using the following scoring tool: 4 Students clearly stated and fully supported their preference using at least three of the musical terms correctly and indicating the type of voices or instruments. 3 Students clearly stated and supported their preference using at least one of the musical terms correctly and indicating the type of voices or instruments. 2 Students clearly stated and somewhat supported their preference using at least one of the musical terms correctly or indicating the type of voices or instruments. 1 Students clearly stated but did not support their preference or used the musical terms incorrectly. 0 Students did not respond.
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Assessment:
Assess the students work using the following scoring tool: 4 Students clearly stated and fully supported their preference. 3 Students clearly stated and somewhat supported their preference. 2 Students clearly stated but did not support their preference. 1 Students attempted to answer but did not respond appropriately. 0 Students did not respond.
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SAMPLE LESSONS Grade 3 - Lesson 10 Lesson Title: Peter and the Wolf Listening Map
Overview:
Student will listen to and classify string and woodwind instrument in order to understand the choices Prokofiev made in selecting instruments when he composed Peter and The Wolf. (This lesson can be implemented in a whole class setting, in a classroom center, or as a home to school project.)
Warm-up:
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Explain that composers can use music to tell a story or communicate their ideas. Introduce Sergei Prokofiev. Listen to an online radio broadcast highlighting the life and music of the composer. (Download Flash: 6:01min.) Classics for Kids, http://www.classicsforkids.com/shows/showdesc.asp?id=4
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SAMPLE LESSONS
Students will create a sequential listening map of Peter and the Wolf which identifies the characters and predominant instruments as they appear in the story. The students can use Microsoft Word, Paint, PowerPoint or scan a painting or drawing of their map to create a digital file. Allow the students to independently review the websites used in class to support their work. Listening Map Example: Sound and Stories (PDF doc. p.17 - 20) http://www.cincinnatisymphony.org/PDF/SoundsandStories05.pdf The students will respond to the following writing prompts in their journals: What are your feelings about Prokofievs instrument choices in Peter and the Wolf? Prokofiev was born in 1891. How would a modern composer like Quincy Jones set the story to music? What instruments would he use? If you were a musician in the National Symphony Orchestra, which instrument would you play and why?
Assessment:
Assess students listening map using the following rubric: 4 The listening map shows the relationship between characters and instruments in the correct order. 3 The listening map shows the sequence of events but does not accurately depict the relationship of characters to their instruments. 2 There is not an apparent relationship between the characters portrayed in the music and the instruments and one or more items is out of sequence. 1 The listening map shows a loose connection to the musical themes presented in the selection. 0 No response to assigned task Assess student responses to journal prompts using the following rubric. 4 Reflections in the journal response are expressed using complete sentences, contain clear and detailed explanations to questions using three or more sentences, and demonstrate a high level of reflection on the part of the writer. 3 Reflections in the journal response are expressed using complete sentences and exhibit a degree of reflection on the part of the writer. However, the explanations or opinions expressed are not clear. 2 Reflections in the journal are loosely expressed and are not detailed or clear in expressing the opinions of the writer. 1 Reflections are incomplete or have insufficient detail for the reader to understand the opinion of the writer. 0 No response to assigned task
Closure Activities:
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193
SAMPLE LESSONS
The lesson plan for Intermediate students can involve the integration of musical concepts or skills. Careful assessment of students skills and knowledge prior to the introduction of new music learning is critical. If students are weak in prerequisite skills, it is important that those skills be part of the instruction for new learning. The statement of the objective should introduce students to music terminology but link the musical terms to language that students will understand. The warm-up should introduce the objective without much discussion. Singing familiar songs, listening to a new song with a specific purpose, echo experiences, or music reading activities for warm-ups will help with transitions. The teacher directed activities could include more teacher talk than in the primary lesson but still needs to be interactive so that students are engaged. It is again best to limit directions to two or three at a time. Asking students to repeat directions before starting an activity is wise especially if the directions are complicated. There can be more development of a musical concept in an intermediate lesson but this should still be done through a variety of activities. However, one activity can lead into the next, for example, clapping rhythm patterns, then finding them in a new song, and then playing them on instruments during the performance of the song. Intermediate students can sing longer songs with more complicated melodies. They should have the opportunity to follow the musical score with guidance to increase their musical literacy. The rhythm and melody can be taught in isolation but should eventually be integrated as part of the musical experience. Composition and improvisation within structured guidelines is appropriate at this age. Games to assist with music notation skills can be beneficial but the skills need to be extended to include an authentic performance experience. The performance experience should focus on mastery of individual skills as well as a quality ensemble sound. Students can evaluate both their individual performance as well as that of the ensemble given specific criteria and then make necessary improvements to the performance. Students on this level need to be able to interpret the lyrics of the music and analyze what they lyrics say about the people who sing the song both culturally and historically. Having students complete writing activities to demonstrate an understanding of the lyrics is appropriate and can be handled in a variety of ways as suggested by many of the sample lessons included here. Again, the integration of the instruction of the musical elements contained in a song and an analysis of the lyrics of the music would be appropriate for this age. Encouraging students to then perform the music reflecting the culture of the people who performed the music in the past or in another culture helps to develop musical sensitivity. Students this age are ready to experience longer, more focused listening experiences. This age student will need assistance to develop the appropriate music vocabulary to discuss the listening experience and this may need to be modeled by the teacher. The same can be applied to evaluating musical performances. Students should be encouraged to be specific in using the music vocabulary when doing this type of activity. Instrument skills can be more complex with a higher level of mastery. Students should be able to sing and play at the same time. Again, students need instruction in how to play instruments correctly and with care. Where it is available, technology can be integrated into music lessons at this level. Students in the Intermediate grades can handle cooperative group activities as well as whole group experiences. Cooperative group activities need to be monitored closely for on task behavior. A variety of assessment strategies for this age is important. Integration of whole group assessment, individual assessment, and written assessment activities is important. Criteria for determining the grade should be shared with students so that they know how they will be assessed. Communication about these criteria should be stated frequently so that students have a goal to work towards through the musical experience. Closure should summarize the focus of that days lesson as well as prepare for the following lesson.
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SAMPLE LESSONS
Teacher Directed Activities: How will you aid students in constructing meaning of new concepts? How will you introduce/model new skills or procedures?
5 minutes
Guided Practice
Teacher-Monitored Activities: What will students do together to use new concepts or skills? How will you assist students in this process?
10 minutes
Extension, Refinement, and Practice Activities: What opportunities will students have to use the new skills and concepts in a meaningful way? How will students expand and solidify their understanding of the concept and apply it to a real-world situation? How will students demonstrate their mastery of the essential learning outcomes?
5 minutes
Assessment
Formative Assessment: How will you monitor student progress throughout the lesson? Summative Assessment: How will you ensure that all students have mastered the identified learning indicators? How will you assess their learning? Daily and end of unit.
5 minutes
Closure Activities: How will you assist students in reflecting upon what they learned today and are preparing for tomorrows lesson? What homework will be assigned to help students practice, prepare, or elaborate on a concept or skill taught?
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Colonial games
Overview:
Students will sing Colonial work and game songs for children in order to discuss the historical context. (The Fourth Grade Reading Theme 2 called American Stories would be a nice link to this unit. The Reading Theme includes a section on reading and analyzing song lyrics with cowboy songs. That type of comprehension development could be reinforced in these lessons. This unit may take several lessons.)
Pass out the song sheet included with this lesson. Have students read the notes on the sheet with hand signs. Add the words. Have students read the notes for the melodic ostinati. Discuss octaves. Find the pattern that has the octave.
196
Assessment:
Assess students as they are playing the melodic ostinato using the following rubric: 4 Students consistently maintain the melodic ostinato while singing the song. 3 Students generally maintain the melodic ostinato while singing the song. 2 Students can generally maintain the melodic ostinato but not while singing the song. 1 Students are attempting to play the melodic ostinato or attempting to sing. 0 Students are not attempting the melodic ostinato or singing the song. Assess students as they are composing a new melodic ostinato using the following rubric: 4 Students consistently maintain their own melodic ostinato using the assigned notes while singing the song. 3 Students generally maintain their own melodic ostinato using the assigned notes while singing the song. 2 Students generally maintain their own melodic ostinato but did not use the assigned notes while singing the song. 1 Students are attempting to play their own melodic ostinato but are not attempting to sing. 0 Students are not attempting the melodic ostinato or singing.
Closure Activities:
During the next class, the song will be reviewed and information about the people who sing and the jobs they do will be shared. Ask students to think about what the job was for the song from this lesson.
197
Closure Activities:
Discuss what other chores Colonial kids might have to do and compare to todays kids.
Closure Activities:
Play the song The Green Grass Grew All Around from Spotlight on Music - 1. Share with students that singing together with their family was another form of recreation for kids during Colonial times.
198
SAMPLE LESSONS
Assessment:
Scoring tool for the Colonial writing prompt: 4 Prompt is completely written with the proper form and accurate historical/cultural information. 3 Prompt is generally well written with the proper form and somewhat accurate historical/cultural information. 2 Attempt is made to answer the prompt but information was generally inaccurate or incomplete. 1 Limited attempt is made to answer the prompt. 0 Students did not respond. Grade drops one letter grade for missing music information.
Closure Activities:
After students turn in their work, let them play one more time the games that go with Draw a Bucket of Water or London Bridge.
199
SAMPLE LESSONS
Pity My Case
Do
Do
Pi - ty
my
case.
In
some
la -
dys
gar
den.
Clothes
to
wash
when
get
home.
In
some
la -
dys
gar
den.
200
Overview:
Students will sing African American spirituals in order to discuss the historical context and their use as code songs. (Fourth Grade Reading Theme 2 called American Stories or Theme 4 called Problem Solvers would be a nice link to this unit.)
201
Closure Activities:
Think of other spirituals that students may know and discuss the codes in those songs.
Extension:
The resource Music of the Underground Railroad by Kim and Reggie Harris provides excellent information on this topic as well as a recording of many of the spirituals used on the Underground Railroad.
202
Students will learn to sing The National Anthem in order to present it in historical context with a short dramatic presentation of the history of the song. (The Fourth Grade Reading Theme 2 called American Stories or Theme 5 called Heroes would be nice links for this series of lessons.)
Warm-Up:
Read the historical background on The Star-Spangled Banner provided in the Music and You, Grade 4. Teach the students to sing The Star-Spangled Banner. Use choral techniques to address its unique vocal challenges, such as its wide range. Work extensively on getting proper use of head voice to achieve success with this song.
Have students study the lyrics. After some study time, have students complete a fill-in-the-blank test on the words to The National Anthem. A possible incentive for getting all the words right would be to have a competition between classes to see which class gets the highest percentage of correct answers. A challenge could also be issued to the staff to see if they can better the students score. Have students sing the song to determine whether they are able to properly employ the use of their head voice and whether they know the words completely and correctly. Let students know that they will learn the history of The National Anthem next time.
Closure Activities:
203
SAMPLE LESSONS
Closure Activities:
Review the basic history of the song.
Day 3:
Warm-up:
Sing The National Anthem. Review head voice. Review assigned roles. Review the history or read through the play if available.
Closure Activities:
Review The Star Spangled Banner. Remind students to memorize their lines and practice their parts at home as well as bringing costumes and props.
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SAMPLE LESSONS
Review parts. Set the blocking for the play and sing The National Anthem at the end. Practice the play and song several times, as needed.
Assessment:
Assess students using the following rubric: 4 Students demonstrated a complete understanding of the history of the patriotic song during their performance of the play and singing the song. 3 Students demonstrated a limited understanding of the history of the patriotic song during their performance of the play and singing the song. 2 Students did not demonstrate an understanding of the history of the patriotic song but did participate in the performance of the play and sang the song. 1 Students made a minimal effort to be part of the play or sing the song. 0 Students did not attempt to be part of the play or sing the song.
Closure Activities:
Review the events in the history of the National Anthem.
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Overview:
Following instruction on reading rhythm patterns using quarter notes, quarter rests and eighth notes, students will write rhythms in order to create a percussion rap using these rhythm notes. Students will select which instruments will perform the different patterns in their rap as well as the order of the patterns. (Fourth Grade Reading Theme 4 called Problem Solvers includes a poetry unit where students are asked to write a rap. This could be done in conjunction with that unit.)
Warm-Up:
Have the class create a rhythmic phrase of four measures in 4s. Use the names of cities, states, cars, animals, flowers, etc. as text material. Compile a list of words in the chosen category on the board. Arrange the words in groups so that they fit the chosen category.
Clap the words in each measure and write the notation. Have the class perform their creation.
Divide students into cooperative groups. Using the worksheet included with this lesson, have the students complete the patterns by writing in the rhythm note that goes with the word. Students should then arrange the four phrases into a rap. When they have determined the order the phrases will go in, they should select a different percussion instrument to perform each rhythm.
206
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SAMPLE LESSONS
Rhythm Review
Say and clap the words in the patterns below. Fill in the blank spaces with the rhythm of the words. Then decide which order the patterns should go in. Select different percussion instruments to play each pattern. Practice together as a group. Be prepared to perform for the class.
Reading, writing,
Chicken, eggs,
Kickball,
softball, soccer,
tag
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Overview:
Students will write about the color that comes to mind when different pieces of music are played in order to compare timbre to color. (Fourth Grade Reading Theme 5 called Heroes has a section on listening to music with a purpose. This could be done in conjunction with the Reading instruction.)
Activity:
Assessment:
Assess the students work using the following scoring tool: 4 Students supported all of their color ideas with specific information connecting the color to the music. 3 Students supported some of their color ideas with specific information connecting the color to the music. 2 Students stated their color ideas but gave only general information connecting the color to the music. 1 Students stated but did not support their color ideas. 0 Students did not attempt the activity.
Extension:
This music reminds me of (a fictional character from a list provided by the teacher) because ___________________________________________________________ . (Possible characters: Cinderella, the Wicked Witch of the West, Scooby Doo, King Kong, etc.)
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Instrument Classification
Overview:
Students will investigate how instruments produce sound in order to classify instruments according to sound production families and compare these groups to the sections of the orchestra/band. Classification will be extended to include other sounds and student created instruments. (The Fourth Grade Reading Theme 4 called Problem Solvers has a story called Sing to the Stars which includes a game with instruments. The Fifth Grade Reading Theme 2 called Give It All Youve Got has a section on Yo Yo Ma and refers to the book Mozart Season. These might be nice links to this unit. This unit may take several lessons.)
Share information with students about sound production families. Show how the sections of the orchestra are included in these families, i.e. Chordophones (string starters) string section, Aerophones (air starters) woodwind and brass sections, Membranophones (skin starters) percussion section, and Idiophones (self starters) percussion section. Share with students a story, which includes orchestra instruments. Possibilities include Orchestranimals by Irene Eugen and Vlasta van Kampen and the classic Peter and the Wolf. As the story is read discuss the instruments named in the story. Classify the instrument into the correct sound production family as well as identifying the section of the orchestra.
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Closure Activities:
Review the sound production families and compare to sections of the orchestra.
Closure Activities:
Now that students have had experience classifying instruments, they should think about what type of instrument they would like to create and how it would be classified.
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Assessment:
Assess students instrument creation using the following rubric: 4 Students correctly classified the instrument according to information given, completely described the instrument including the material it is made of as well as size and shape and created an instrument that matches the desired tone quality in all ways. 3 Students correctly classified the instrument according to information given, described some of the instruments characteristics and created an instrument that matches the desired tone quality in most ways. 2 Students correctly classified the instrument according to information given, described a few of the instruments characteristics but did not create an instrument that would match the desired tone quality. 1 Students attempted to create an instrument but did not classify it correctly. 0 Students did not attempt to create an instrument or their creation was incomplete.
Closure Activities:
Inform students that they will use their instrument creation to write an advertisement during the next class.
Share with students how they might use persuasive language to sell their instrument. Compare the appearance of color photos of instruments to black and white. Encourage them to add color to the picture. Share ads where people are used in the picture compared to those, which do not. Discuss the persuasive value of having people in the picture.
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Assessment:
Assess students instrument advertisement using the following rubric: 4 The description is complete and well organized, with persuasive language choices, which are appropriate for the intended audience. 3 The description is generally complete and organized, with persuasive language choices, which are appropriate for the intended audience. 2 The description is incomplete and poorly organized, but the language choices are persuasive and appropriate for the intended audience. 1 Students attempted to write an advertisement for their instrument but the information was poorly organized and incomplete. 0 Students did not attempt to write an advertisement.
Closure Activities:
Encourage students to think about how they might classify instruments that they hear in the future.
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SAMPLE LESSONS
Create an Instrument
You now need to create your own original instrument. (You cannot create a flute or piano. These are not your own original ideas.) First you should decide on a particular musical sound you would like your instrument to make. Consider tone qualities you would like your instrument to have, including the ability to play high or low sounds, loud or quiet sounds, long or short sounds. Then create the instrument that would produce that sound. Use information from what was discussed in class to classify your instrument. Draw a sketch of your instrument showing somebody playing it. Give your instrument a name. Musical sound you would like your instrument to produce________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________. What size is it? _______________________________________________________________________ What is it made of? _____________________________________________________________________ How do you play it? _____________________________________________________________________ What part of the instrument makes the sound? ________________________________________________ What Sound Production Family would it be in? ________________________________________________
214
SAMPLE LESSONS
215
Overview:
Students will experience Native American dances in order to evaluate their personal performances for cultural authenticity. (The Fourth Grade Reading Theme 2 called American Stories would be a nice link to this unit. The Fifth Grade Reading Theme 5 called One Land, Many Trails has stories about Native Americans. This could be done in conjunction with these stories. This unit may take several lessons.)
Warm-Up:
216
SAMPLE LESSONS
Share with students that Native Americans often dance to pay respect or show honor for some living being. Often dances are done before a hunt to pay respect for what they are about to hunt. Using the resource Moving Within the Circle by Bryan Burton (includes recording and book with excellent instructions), share the legend of the bear. Following the directions given in the book, demonstrate and then have students dance the Bear Dance with the recording. Encourage them to use some of the characteristics they identified earlier following the video. (serious, feet moving, drum beat, add the singing if possible)
Other recommended dances from the same resource include: Canoe Song, Basket Dance, and Indian Two-Step. Discuss the purpose behind the different dances as well as giving students an opportunity to experience the dance. Continue to encourage them to use the characteristics they identified earlier from the video to perform the dance with cultural authenticity (serious, feet moving, drum beat, add the singing if possible). Discuss why that is important. Assess the students dance performances during the entire unit using the following scoring tool: 4 Students are consistently performing Native American dance in a way that shows a respect for the culture. 3 Students are generally performing Native American dance in a way that shows a respect for the culture. 2 Students are occasionally performing Native American dance in a way that shows a respect for the culture. 1 Students attempted the Native American dances but did not show respect for the culture. 0 Students did not attempt the Native American dances and did not show respect for the culture.
Assessment:
217
Overview:
Students will draw quilt patterns while listening to Eine Kleine Nachtmusik by Mozart in order to identify patterns in music. (Fifth Grade Reading Theme 2 called Give It All Youve Got makes reference to the book Mozart Season. This lesson could be done in conjunction with that book.)
Warm-Up:
Assessment:
Observe students as they are working and assess using the following rubric: 4 Students are following the directions for creating a quilt pattern while listening to the music without talking. 3 Students are following the directions for creating a quilt pattern while listening to the music with some talking. 2 Students are listening to the music but did not complete a quilt pattern. 1 Students listened to the music but did not attempt a quilt pattern. 0 Students were not listening to the music or attempting a quilt pattern.
Closure Activities:
Review the name of the music and the English translation for the name. Ask students how the music relates to the artwork they have created.
218
Freedom Songs
Overview:
Students will sing freedom songs in order to learn the history shared in the lyrics of the Freedom Songs of the Civil Rights Movement. (Fifth Grade Reading Theme 2 called Give It All Youve Got or Theme 4 Person to Person would be nice links to this unit. This unit may take several lessons.)
Using the text book The African American Experience as a resource, create a timeline of the following events from the Civil Rights Movement, i.e. Bus Boycott, Little Rock, Sit-Ins, Freedom Rides, Birmingham, Freedom Summer, and Bloody Sunday. Have students listen to Freedom Songs from the Civil Rights Movement and listen for information about the events in the lyrics. An excellent resource for this is Im Gonna Let It Shine, a CD and book with selections of Freedom Songs, which demonstrate how the lyrics reflect the history.
219
SAMPLE LESSONS
Each group should prepare a presentation to the class using one of the following formats: Eyewitness news report Talk show interview Dramatize the event Debate the two sides Oral history presentation take the position of someone who was there Analysis we think they should have What if change one thing and predict what might have happened if Application Haw can someone use what happened from the event to change or work on one of todays issues? Abstraction If an event like this happened today, how would things be different? Presentation ideas of their own with teacher approval before they continue. After each group presents information, about their event, play and have students sing one of the freedom songs that fit with the event so students hear the connection between the music and the history. (Possibilities: If You Miss Me From the Back of the Bus Bus Boycott, Im Gonna Sit at the Welcome Table Sit-ins, Hold On Birmingham, Calypso Freedom Freedom Rides, etc.) Have students individually respond to the following prompt: Pretend you are a freedom fighter in todays world. Select an issue that you feel needs peoples attention (for example: drugs, weapons, violence, education). Write a speech to a group of todays freedom fighters telling them how you feel about this issue. Include information about what you feel needs to be changed. Describe how you might use something you learned from the Civil Rights Movement to help make changes. In your speech, name a freedom song that you could use for the issue you have selected and write down new words you might sing in the song to speak about your issue.
Assessment:
Scoring tool for the writing prompt: 4 Prompt is completely written with the proper form, clearly stated position, and made a connection to the Civil Rights Movement. 3 Prompt is generally well written with the proper form, somewhat clear position, and made a connection to the Civil Rights Movement. 2 Attempt is made to answer the prompt but position was unclear or there was no connection to the Civil Rights Movement. 1 Limited attempt is made to answer the prompt. 0 Students did not respond. Grade drops one letter grade for missing music information. Encourage students to find songs today where people share their feelings about what needs to be changed in their music.
Closure Activities:
220
SAMPLE LESSONS
221
Yankee Doodle
Overview:
Students will learn Yankee Doodle in order to know the history behind the song and make up their own version. (Fifth Grade Reading Theme 3 called Voices of the American Revolution uses this song to teach how to read and understand song lyrics. This lesson could be done in conjunction with the Reading instruction.)
Warm-Up:
Divide students into cooperative groups. Have each group select a side; patriot or loyalist. Have them create a new verse for Yankee Doodle. Groups should sing the new verse for the class and the class should try to determine which side they are on; patriot or loyalist, from the new lyrics.
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Closure Activities:
Encourage students to find other songs that share political feelings about historical events.
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Lesson Title:
African-American Spirituals
Overview:
Students will utilize a literary text and a dramatic presentation in order to bring to life the historical context of the African-American spirituals in this series of lessons. (The Fifth Grade Reading Theme 4 called Person to Person would be a nice link for these lessons.)
Warm-Up:
224
Closure Activities:
Sing the opening song again. Identify it as one of the Fisk Jubilee Singers pieces.
Have the students select a spiritual from the list to go with the main events listed on the board from the text A Band of Angels. Students should give a reason for their choices. Assess students using the following rubric: 4 Students demonstrated a complete understanding of the history shared in the book with the support for the selection of the spiritual to match the event. 3 Students demonstrated a limited understanding of the history shared in the book with the support for the selection of the spiritual to match the event.
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Assessment:
SAMPLE LESSONS
2 Students did not demonstrate an understanding of the history shared in the book but did make a selection of the spiritual to match the event. 1 Students made a selection but did not give a reason for their choice. 0 Students did not attempt to make a selection.
Closure Activities:
Have each student share a piece of information about African Americans that they did not know before.
Extensions:
Prepare a dramatic presentation of the main events in the text A Band of Angels and insert the spirituals learned where appropriate.
226
Sea Chanteys
Overview:
Students will sing a variety of sea chanteys in order to pantomime the work done by sailors as they were singing the chanteys. Students will respond to a writing prompt at the end of the unit in order to share their knowledge of the work of sailors based on what they know from the sea chanteys sung during the unit. (Curriculum guide page 351) (The Fifth Grade Reading Theme 4 called Person to Person or Theme 5 called One Land, Many Trails would be nice links to this unit. This unit may take several lessons.)
Introduce the sailors of the 1700s-1800s. Discuss the work they might have to do on the ship, including winding up ropes, setting the sails, and turning the anchor. Discuss where they would sleep on the ship (below deck). Discuss what would help the sailors work together at the same pace. (music) Discuss the role of the chantey man. (to set the pace of the singing to help the sailors get the work done and not get too tired) Share terminology for the chanteys and the connection to the work being done. Short haul chanteys for pulling ropes and other short jobs Halyard (haillard) chanteys for setting the sails and longer jobs Capstan chanteys for turning the capstan, which raises and lowers the anchor Forecastle chanteys for off duty hours in the sleeping quarters or forecastle Review Cape Cod Chantey. This is an example of a short haul chantey. Show the action of pulling the ropes. (Both hands together like they are holding a rope in front of the body waist high. Tug with one hand and then the other on the accented beat of each measure.)
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Closure Activities:
Review with students that the sailors sing to set the pace of the work. Next time, halyard chanteys will be sung.
Have the class sing the response as they are showing the work. Ask for new volunteers to be the chantey man and sing the call while the class sings the response and everyone does the work. Review with students that the sailors sing to set the pace of the work. Next time, capstan chanteys will be sung.
Closure Activities:
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To demonstrate the action of turning the capstan, have ten students line up next to each other, shoulder to shoulder, and have them turn as a line around one other student who stands still as the capstan. Have the class sing the response as the demonstration group is showing the work of turning the capstan. Ask for new volunteers to be the chantey man and sing the call while the class sings the response and the demonstration group moves. Review with students that the sailors sing to set the pace of the work. Next time, chanteys that were sung in off duty hours will be the focus of the lesson.
Closure Activities:
Review the work the sailors might have to do on the ship. Talk about what sailors might be able to do during off duty hours. Share with students that telling stories was one form of recreation. Stories that are put to music or ballads were also sung during off duty hours. These were sung in the sleeping quarters, below deck in what is called the forecastle. So the songs were forecastle chanteys. Have students listen to Shenandoah again and learn the song. Discuss what they were singing about and what it says about what the sailors thought about during their off duty times.
Review all the types of chanteys that have been sung during the unit and the work for each. Have students respond to the following prompt:
229
SAMPLE LESSONS
Pretend you are looking for a sailor to go to sea during the 1700s. Write an advertisement for a newspaper to persuade more sailors to come work on your ship. Include information about the life on the ship or jobs you have to perform as a member of the crew. Tell what you may have a chance to do in your leisure time. Tell about a favorite sea chantey you enjoy singing and what you are generally doing when you sing it.
Assessment:
Assess the students performance of the chanteys and the work during the entire unit using the following scoring tool: 4 Students are consistently performing the chanteys in a way that shows an understanding of the sailors and their work. 3 Students are generally performing the chanteys in a way that shows an understanding of the sailors and their work. 2 Students are occasionally performing the chanteys in a way that shows an understanding of the sailors and their work. 1 Students attempted to perform some of the chanteys but did not show an understanding of the sailors and their work. 0 Students did not attempt to perform the chanteys. Scoring tool for the writing prompt: 4 Prompt is completely written with the proper form and accurate historical/cultural information. 3 Prompt is generally well written with the proper form and somewhat accurate historical/cultural information. 2 Attempt is made to answer the prompt but information was generally inaccurate or incomplete. 1 Limited attempt is made to answer the prompt. 0 Students did not respond. Grade drops one letter grade for missing music information.
Closure Activities:
Have students think of how music could help make their own work get done easier.
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Overview:
Following instruction on reading music in duple and triple meters, the students will read music in both meters in order to perform patterns in both meters on classroom percussion instruments.
Activity:
Assessment:
Assess the students work using the following scoring tool: 4 Students perform both patterns with no errors. 3 Students perform both patterns with fewer than four errors. 2 Students perform both patterns with fewer than six errors. 1 Students perform both patterns with fewer than ten errors. 0 Students did not respond to the prompt.
231
SAMPLE LESSONS
2 4 2 4 3 4 3 4
232
Overview:
Students will design Kente cloth patterns while listening to West African percussion ensemble music in order to identify patterns.
Warm-Up:
Assessment:
Assess the students work using the following scoring tool: 4 Students are following the directions for creating a Kente cloth pattern while listening to the music without talking. 3 Students are following the directions for creating a Kente cloth pattern while listening to the music with some talking. 2 Students are listening to the music and attempted a Kente cloth pattern but did not create a pattern. 1 Students listened to the music but did not attempt a Kente cloth pattern. 0 Students were not listening to the music or attempting a Kente clothe pattern.
233
Lesson Title:
Managers Critique
Overview:
Following a performance by the school chorus or band or a performance by an outside group, students will observe a performance in order to write a critique of the performers. (Fifth Grade Reading Theme 2 called Give It All Youve Got would be a nice link for this lesson.)
Warm-Up:
234
Closure Activities:
Review the characteristics of a good performance.
Alternative Activity:
Have students write a recommendation for the performer.
235
SAMPLE LESSONS
Guidelines for Teaching Sixth Grade Using the Middle School Model
The sixth grade student is in the middle socially and developmentally between the need for specific directions and guidance of elementary and the beginnings of independence and responsibility of early adolescence. With this movement toward independence: the peer group takes on greater importance in personal decision making there is a greater capacity to work students can participate in organized group activities with rules and expectations (i.e., chorus and band groups, sports) there is a greater capacity to express opinions, either verbally or written students are beginning to discover strengths and talents, and more willing to work toward greater skill development, which is essential to begin career focus and development Because of these factors, students in 6th grade are to be instructed using the Middle School model. Class periods will be 45 minutes in length, on an A/B day schedule. The music concepts will be taught in units, with approximately 20 lessons in each unit. The course description in the Middle School Courses Catalog, states that students in 6th Grade General Music will: demonstrate the ability to perceive, perform and respond to music. The students will develop their vocal and general music skills by singing, playing classroom instruments, identifying and understanding the elements of music, writing and performing music, identifying and classifying styles and music genres. Students will begin to explore music technology and careers in music. To accomplish this, students will Require more time for guided practice and independent work after direct instruction. Work on individual and group projects i.e., exploring careers in music, composition, music technology. Incorporate writing activities to develop note-taking skills, expressing opinions, writing to persuade and writing to inform. Improve skills on recorder and classroom instruments (guitar and keyboard if available) through individual and ensemble performance. The Middle School courses catalog states that students participating in 6th Grade chorus will: continue the development of their vocal/choral skills begun in elementary school. Literature and techniques are selected according to the developmental needs of the students. Repertoire is representative of various styles and cultures. Chorus students should be able to sing songs with multiple verses, various languages, and two-parts. Students should be able to sing and play accompaniment parts on various classroom instruments. Opportunities to participate in outside performances, audition for Honors Chorus, as well as school performances should be provided. A 6th grade student should audition for the elementary Honors Chorus, unless it is determined by their teacher that the voice has sufficient maturity to participate at the Middle School level.
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Multicultural Rhythms
Overview:
Students will experience rhythm ensemble music from three cultural regions of the world in order to classify and compare the instruments used from the three regions. (This unit is divided into five lessons.)
Have students read the following rhythms using the names given above.
Divide the class and have half the class read and clap the top rhythm while the other half does the same with the bottom rhythm. Call out switch and the students should switch to the other rhythm.
237
Assessment:
Observe students as they perform the Lion Dance to assess their skills using the following scoring tool: 4 Students can maintain their assigned rhythm with minimal errors in performance. 3 Students were generally accurate with some errors but maintained the assigned rhythm. 2 Students were generally accurate but not able to maintain their assigned rhythm. 1 Students made a recognizable attempt at playing their assigned rhythm but were not able to maintain it and made several errors. 0 Students made no attempt to play assigned rhythm.
Closure Activities:
Review the new note names for familiar notes. Students will be learning a new rhythm note in the next lesson.
238
Divide the class and have half the class read and clap the top rhythm while the other half does the same with the bottom rhythm. Call out switch and the students should switch to the other rhythm. Review the two rhythms from the previous class. Use all four and divide the class into four groups.
Assessment:
Observe students as they perform the Lion Dance #2 and Dragon Dance to assess their skills using the following scoring tool: 4 Students can maintain their assigned rhythm with minimal errors. 3 Students were generally accurate with some errors but maintained the assigned rhythm. 2 Students were generally accurate but unable to maintain their assigned rhythm. 1 Students made a recognizable attempt at playing their assigned rhythm but were not able to maintain it and made several errors. 0 Students made no attempt to play assigned rhythm.
Closure Activities:
Review the new names for reading all the notes used in this lesson. Review their real names as well. Students will be learning rhythms from other cultures in the next lessons.
239
SAMPLE LESSONS
Introductory Activities:
Share the following information with students: Japan is an island country. Big cities and quiet countryside are what will be found there, and there is also a heavy emphasis on tradition while pursuing new technology. Japanese music is also full of contrasts. Music traditions here are very old, and many of the old practices are still followed. One of the traditional folksongs is Sakura. This song is known and sung by both young and old people. Have students listen to a recording of Sakura from Spotlight on Music, Book 6. Share with students the following information about the koto: The koto is a stringed instrument that originated in China. However, it was brought to Japan, where it obtained many more strings. The koto now has 13 strings. It is a popular household instrument, like the piano in the United States. Have students listen to Sakura played on the koto. Sing along with the recording. Share information about the taiko. The taiko is a drum. The word taiko means fat drum in Japanese. These drums were used for many purposes, such as in ceremonies and in wartime to frighten the enemy and to command the troops.
Independent Activity:
Have students record which piece of Japanese music most appealed to them in their listening journals. Students should give one reason for their preference and must choose one of the pieces heard in class today. Observe students as they create the ostinato to assess their skills using the following scoring tool: 4 Students can maintain their ostinato and it fits the music. 3 Students can start the ostinato but not maintain it. 2 Students can start the ostinato but it does not fit the music. 1 Students made a minimal effort to perform the ostinato. 0 Students made no attempt to create or perform an ostinato.
Curriculum Framework Elementary Vocal and General Music
Assessment:
240
Divide students into six groups and assign each group one of the rhythms. Layer the entrance of each rhythm. Have the rhythms stop in reverse order when given the signal to stop. Have students transfer their rhythms to designated instruments. Show students the Anansi rhythm patterns. Follow the same procedure to perform this rhythm. Explain that the name Anansi is also used in African folktales or trickster tales. Have students perform the patterns they taught in the beginning of class. Each group should play both patterns together, one after the other. The class will determine if the pattern sounded the same or different. They will also try to determine who the master was and who the apprentice was. Review with students the African tradition of improvisation in music. Explain to students that the West African music will be played again and they should improvise their own rhythm pattern to go with the music. Play the music and allow students to improvise while it is playing.
Assessment:
Observe students as they improvise to assess their skills using the following scoring tool:
241
SAMPLE LESSONS
4 Students can maintain their improvised rhythm and it fits with the West African music. 3 Students can improvise but not maintain their rhythm. 2 Students can improvise a rhythm but it does not fit with the West African music. 1 Students made a minimal attempt to improvise and it did not fit with the music. 0 Students made no attempt to perform an improvised rhythm.
Closure Activities:
Review the difference between learning rhythms in the African culture compared to the Asian culture. Review the definition of oral tradition. Compare the advantages and disadvantages to this tradition with learning by standard notation. Discuss and compare the instruments used in the two rhythm ensembles. Students will be learning rhythms from another culture in the next lesson.
Share with students that this style is called salsa. Discuss other uses of the word salsa, i.e. Mexican food. Share where the music comes from. Discuss the instruments heard in the music. Discuss the importance of the percussion section. Discuss whether it seems to be a separate entity or serve to provide an underlying beat. Explain that the new rhythm ensemble that the students will be performing will use instruments from Latin America. Show students the instruments typically used in Latin American music. If instruments are not available, locate pictures to show students. Demonstrate the correct way to hold and perform on the instruments. A great resource for supplemental instruments is: http://www.jazzatlincolncenter.org/jazzED/j4yp_curr/modules/latinAfroCubanJazz/module.html This site brings you to the opening of the Latin Afro-Cuban Jazz lesson, which has an instrument sound library.
Have students read the rhythms that are on the sheet included with this lesson one at a time. Divide the students into six groups. Assign each group a rhythm. Have them clap their assigned rhythm when the refrain of La Bamba is playing. Have students transfer their assigned rhythm to the designated instrument. Again, perform their rhythm with the refrain of La Bamba.
Assessment:
Observe students as they perform the Latin rhythms to assess their skills using the following scoring tool:
242
SAMPLE LESSONS
4 Students can maintain their assigned rhythm with minimal errors in performance with La Bamba. 3 Students were generally accurate with some errors but maintained the assigned rhythm with La Bamba. 2 Students were generally accurate but not able to maintain their assigned rhythm with La Bamba. 1 Students made a recognizable attempt at playing their assigned rhythm but were not able to maintain it and made several errors. 0 Students made no attempt to play assigned rhythm.
Closure Activities:
Discuss and compare the instruments used in the rhythm ensembles from the four cultures. Point out which instrument all the ensembles have in common (drums of some type) and the instruments that are unique to each culture. Discuss what the instruments in the ensembles from different cultures are made of (Asian metal, African natural materials, Latin American variety). Discuss which instruments are also used in American music. Have students draw comparisons between the ensembles discussed in this unit using the visual organizer included with this lesson.
243
244
SAMPLE LESSONS
Firecrackers
Firecrackers are either by themselves or strung in a long string. They are cased in red paper, as red symbolizes good things. The loud popping noise created by the explosion is thought to scare away evil spirits.
Clothing
Red clothing is worn throughout the Chinese New Year, as red will scare away evil spirits and bad fortune.
Decorations
Red banners with "Luck" () written on them are hung around the house and on the fronts of doors. There are also several flowers and plants which are popular for the New Year, such as peach blossoms, kumquat plants, narcissus, chrysanthemums, and bamboo.
Buying a pair of shoes is considered bad luck. The word "shoes" is a homonym to the word for "rough" in Cantonese. Buying a pair of pants is also considered bad luck. The word "pants" is a homonym to the word for "bitter" in Cantonese. (Although some perceive it to be positive as the word 'pants' in Cantonese could be a homonym to the word for "wealth".) A hair-cut is considered bad luck. The word "hair" is a homonym to the word for "prosperity". Thus "cutting hair" could be perceived as "cutting your prosperity" in Cantonese. Candy is eaten to ensure the eater a "sweet" year.
Talking about death is inappropriate for the first few days of Chinese New Year, as it is considered inauspicious as well.
245
SAMPLE LESSONS
Lion Dance # 1
line 1 = finger cymbals, line 2 = triangle, line 3 = gong and suspended cymbal, line 4 = drum
Lion Dance # 2
line 1 = finger cymbals, line 2 = triangle, line 3 = gong and suspended cymbal, line 4 = drum
Dragon Dance
line 1 = finger cymbals, line 2 = triangle, line 3 = gong and suspended cymbal, line 4 = drum
246
SAMPLE LESSONS
247
SAMPLE LESSONS
248
SAMPLE LESSONS
maracas
bongos
cabasa
guiro
claves
249
SAMPLE LESSONS
West Africa
Latin America
Japan
China
250
Parody Songs
Overview:
Students will compare two performances of the same song with different words in order to create new lyrics for a song of their choice.
Warm-Up:
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Assessment:
Have the students sing the whole song with each group singing their new verse. If each group starts their new verse with the words Take me out of the grade school, the whole class could join in on that part of the song as each group sings the verse. Observe students as they create and perform their new verse to assess their skills using the following scoring tool: 4 Students contributed consistently to the group composition and performed it. 3 Students contributed occasionally to the group composition and performed it. 2 Students contributed to the group composition but did not perform it or performed it but did not help with the composition. 1 Students made a minimal attempt to be part of the group work in either composition or performance. 0 Students made no attempt to contribute to group work.
Closure Activities:
Have students think of other familiar songs that could have new words added.
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Rhythmic Dictation
Overview:
Following instruction on reading rhythmic notation including sixteenth notes, the students will recognize rhythmic notes in order to write four-beat patterns that the teacher plays on a hand drum.
Assessment:
Assess the students work using the following scoring tool: 4 Students write down all patterns with fewer than two mistakes. 3 Students write down all patterns with fewer than four mistakes. 2 Students write down all patterns with fewer than six mistakes. 1 Students write down all patterns with fewer than eight mistakes. 0 Students did not respond.
Closure Activities:
Have individual students clap patterns that the teacher must notate.
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Overview:
Students will listen to two versions of the song Guantanamera in order to discover similarities and differences in the performances of each.
Warm-Up:
Listen to the recording of the song Guantanamera from Music and You, Grade 6 and Spotlight on Music - 5. Discuss the different musical elements of this recording such as: instruments, performers, where they are performing, tempo, dynamics, melody, and form. Use a Venn diagram to list the students answer. Listen to another recording of the song made at the Smithsonian Folklife Festival (Smithsonian Folkways World Music Collection). Compare these two recordings, listing the answers on the Venn diagram.
Working alone or with a partner, choose a familiar song (i.e. Twinkle Twinkle Little Star. Emphasize that if working with a partner, the song selected must be known to both people in the group.) List ways that the piece of music could be changed. Experiment with suggestions until comfortable with one. Then, combine with another group and perform the different versions. Complete a supporting statement which shows which version is preferred using the following prompt: I liked _________________ version best because ______________________________. Students may not comment on the student performance, just on the song itself.
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Closure Activities:
Review the activities completed in these lessons and review the different musical elements that can be changed in different versions of the same music.
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Overview:
Students will examine the influence of daily experiences of musicians and artists in the Romantic Period in order to describe the connection to musical works and artistic creations of the Romantic Period.
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Assessment:
Assess student understanding of the music and art connection using the following scoring tool: 4 Students completed all of the scenarios with complete sentences. 3 - Students completed most of the scenarios but one or two are missing. 2 Students completed half of the scenarios or their answers are incomplete. 1 Students show an attempt to complete the work but most of their answers are missing or incomplete. 0 Students did not make an effort to try the assignment. Have students list things in everyday life that could inspire a piece of music or art. Have each student in the class contribute one idea.
Closure Activities:
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SAMPLE LESSONS
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SAMPLE LESSONS
Listening Template # 1
Use this chart to record your impressions of the four listening selections. You are specifically focusing on moodhow does the piece make you feel? How do you think the composer was feeling when writing this piece? Selection 1Selection 2-
This piece made me feel _____________. I think the composer was feeling __________________________________.
This piece made me feel _____________. I think the composer was feeling __________________________________.
Selection 3-
Selection 4-
This piece made me feel _____________. I think the composer was feeling __________________________________.
This piece made me feel _____________. I think the composer was feeling __________________________________.
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SAMPLE LESSONS
Scenarios Template # 2
In this template, you will write what you think would be a theme song for the scenario your teacher reads. Consider tempo, dynamics, and instruments. You may use an existing piece of music; however, you need to make sure that you are using school appropriate music. Scenario 1 Scenario 2
Scenario 3
Scenario 4
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Overview:
Students will study multiple meanings of words in order to define the musical use of the term. (This lesson and musical vocabulary list can be used throughout the year to introduce new musical terms and their multiple meanings in preparation for the MSA assessments.)
Distribute the following text on a worksheet or a similar text which uses the musical term or terms: The teacher said, I am not going to repeat myself. Put the rubber band down! It is only natural to want modern computer equipment. Pitch your tent in the flat area with grass. I was sent to see the Principal, because I hit Carol with a meter stick. Go over the first sentence with the students and underline the words that are musical terms. Have students define the meaning of the words using the context clues from the text. Then, have students look up the musical definition of the term using a musical dictionary or music textbook. Write the definition next to the word on the word wall and on the students paper.
Have students finish the worksheet by underlining the musical terms, looking up the musical definition, and writing it down next to each musical term. Discuss the answers as a class and have students correct any errors.
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SAMPLE LESSONS
stadium right on cue. Im going to go talk to her, he said. Oh, give it a rest Ben, said his sister, the program is starting. Have students independently underline the musical terms and give their musical definitions on a separate sheet of paper. Then have them finish the story using more musical terminology.
Assessment:
Assess the students work using the following scoring tool: 4 Students completed the story with additional musical terms and included appropriate definitions for the musical terms. 3 Students completed the story with additional musical terms and included somewhat appropriate definitions for the musical terms. 2 Students attempted to complete the story with a few additional musical terms and included some of the definitions for the musical terms. 1 Students attempted to complete the story but did not include the definitions. 0 No attempt made to complete the story or write the definitions. Have students share their stories with the class. Have the class identify and define the musical terms.
Closure Activities:
Album Arrangement Bar line Chord Cut time Medieval Modern Perfect Program Repeat Rhapsody Root
Al fine Balance Ben as in ben marcato Con Ma - as in lento ma non troppo Melody Motive Petite Principal Resonance Roll Round
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Leitmotif
Overview:
Students will examine the concept of leitmotif in order to compose a personal theme song.
Warm-up:
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Have students follow the same thought process to create their own lietmotif. They should record their brainstorming in case they get stuck in the process. Their decisions should be a map to completing this activity. Provide students with several choices for instruments to use for their theme, such as recorders, pianos, guitars, or MIDI if access is available. While students are working, if possible, record the class theme created during the Guided Practice on any technology available. Students should be able to perform their themes. Some students should be able to correctly notate their melody on staff paper. Assess student compositions using the following scoring tool: 4 Students wrote a melody that fit with ideas that they wrote for their personal theme. 3 Students wrote a melody for their theme, but it is awkward. 2 Students wrote a partial melody, less than the specified eight beats. 1 Students attempted to write the melody but were not able to complete the assignment. 0 Students made no attempt at composition.
Assessment:
Closure:
Have students sing, whistle, or hum themes from television or movies for other students to guess. Discuss what that theme says about the movie or TV show.
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The Blues
Overview:
Students will analyze the blues and their relationship to the African-American Spiritual in order to compose their own blues piece. (This unit may take several lessons.)
Have students play the Joe Turner Blues chord progression on classroom instruments.
Assessment:
Assess students as they perform the chords while singing: 4 Students were able to maintain the chord progression with minimal errors. 3 Students were generally accurate in maintaining the assigned chord progression. 2 Students were generally accurate but were not able to maintain the chord progression. 1 Students made a recognizable attempt at playing the chord progression but were not able to maintain it and made several errors. 0 Students made no attempt to play the chord progression.
Closure Activities:
Review the 12-bar blues form and directions for the assignment.
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SAMPLE LESSONS
Review the 12-bar blues lyrics form from the Joe Turner Blues. Remind students that their compositions have to follow that form.
Closure Activities:
Remind students that all blues pieces will be performed for the class during the next lesson and students should bring a copy of their lyrics. Songs should be given a title.
Day 4:
Warm-up:
Performance Day!
Review the Joe Turner Blues. Review the 12-bar chord progression using movement while singing.
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Assess the BCR responses using the following rubric: 4 Students evaluated the performance completely given details from the performance and ideas from their own experiences. 3 Students evaluated the performance given limited details from the performance or limited ideas from their own experiences. 2 Students evaluated the performance with few details from the performance or ideas from their own experiences. 1 Students attempted to evaluate the performance but the evaluation was incomplete. 0 Students made no attempt to evaluate the performance or writing did not answer the BCR.
Closure Activities:
Discuss with students other topics for blues creations.
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Appendix
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Maryland State Department of Education MUSIC GLOSSARY from the Voluntary State Curricula
ABA Often referenced as song form, musical structure with a beginning section, followed by a contrasting section, followed by a repetition of the beginning. Accuracy The ability to be precise and avoid errors. Acoustic Sound Sources All instruments that do not require electronics to produce sound, including brass, woodwind, string, or percussion instruments and instruments from various cultures. Aesthetic Criteria Standards used for assessing the effectiveness of music. (These may include the quality of the aural perception, emotional makeup of the listener, and the context in which a particular work is being experienced.) Articulation Clarity and distinct rendition in musical performance. Bass Clef F clef that indicates the placement of F below Middle C on the staff. (It is used for low-pitched instruments and voices and for left-hand keyboard parts.) Blend The process of producing tones that pass imperceptibly into each other. Call-and-Response A song style that follows a simple question-and-answer pattern in which a soloist leads and a group responds. Chance Music Music in which composers deliberately leave parts of the composition and performance undetermined. (Aspects such as melody, rhythm, dynamics, timbre, and form are left wholly or partly to the discretion and creativity of the performer. It is also known as aleatory music.) Classroom Instruments Any of a number of musical instruments typically found in a general music classroom, inclusive of, but not limited to: keyboard, guitar, Orff instruments (melody and rhythm), and small auxiliary instruments. Compose Process of creating a musical work Culture(s) The shared ideas, beliefs, customs, and experiences of a given people at a given time. Descant A freely written or improvised soprano part added to a melody. Describe Demonstrate understanding of music through reading and writing music notation, other visual representation, verbal description, and movement. Dynamics The volume of sound, the loudness or softness of a musical passage. Electronic Sound Sources Personal computers, basic midi devices such as keyboards, sequencers, synthesizers, drum machines, and other developing technology.
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Elements of Music Components of musical activity, including pitch, duration, form, dynamics, texture, and tone color. Families of Instruments In Western music, like instruments are often categorized in four groups, or families: string, woodwind, brass, and percussion. Folk Music The indigenous music of the world evoking the life and culture from which it comes. (Music often handed down by the aural/oral tradition.) Form The way a musical composition is organized, often referring to repetition and contrast within the work. Free Form Musical structure that relies less on repetition and contrast and more on motivic development. Fugue A polyphonic composition consisting of a series of successive melody imitations. Genre Category of music marked by a distinctive style, form, or content. Homophonic A style of musical texture in which a single melody is supported by chords. Hornbostel-Sachs Classification System A system, devised in 1914, for classification of musical instruments based on the sound produced by the vibrating material. (The five major categories are: Idiophones Self sounding instruments; Membranophones Instruments producing sound by means of a stretched skin or membrane; Aerophones Wind instruments with the sound caused by vibrating air; Chordophones String instruments; Electrophones Instruments using electronic circuits.) Improvisation Spontaneous musical invention commonly associated with jazz. Interval The distance in pitch between two tones. Intonation The act of singing or playing in tune. Listen To make a conscious effort to hear, being intent upon the various aspects of musical composition and performance. Locomotor Movement Movement through space involving a change in location; a moving base involving a progressive relocation of the body in space. (Examples of basic steps are walk, run, leap, hop, and jump. Skip, slide, and gallop are examples of irregular rhythmic combinations.) Major Key (Major Mode) Tonality of a composition based on a scale formula of two whole steps, one half step, three whole steps, and one half step. Melodic Pattern A representative example of a short melody or combined melodies. Melody A succession of notes, varying in pitch, which have an organized and recognizable shape. Meter A rhythmic measure of a certain number of beats.
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Minor Key (Minor Mode) Tonality of a composition based on a scale formula of one whole step, one half step, two whole steps, one half step, two whole steps. Motive (Motivic) A short, distinctive musical pattern or figure, often used by composers as a building block. Movement Patterns Any type of bodily response to music. It may include fingers only, hands or arms only, feet only, or the entire body. Music Structure Synonymous with form; the way a musical composition is organized, often referring to repetition and contrast within the work. Non-Locomotor Movement Movement that occurs above a stationary base; movement of the body around its own axis. (Also called axial movement, it includes bending, stretching, pushing, pulling, bouncing, swinging, shaking, and twisting.) Ostinato A brief, unvarying melody repeated continually throughout a composition. Pentatonic Any five-tone scale. Pitch The highness or lowness of sound determined by its frequency of vibration. Polyphonic A texture which is characterized by the simultaneous combination of different melodies and rhythms. Rondo A form of composition, usually instrumental, in which one section intermittently recurs. (A frequent pattern is ABACADA.) Round A composition in which the same melody is started at different times and sounded together; also called canon. Rhythmic Pattern A representative example of a short rhythm or set of rhythms. Rhythm Combinations of long and short sounds that convey a sense of movement pertaining to everything having to do with the time aspect of music. Scale of 1 6, Graded Music Publishers and music education organizations grade music according to level of difficulty. (In Maryland, the official lists are available from the Maryland Music Educators Association.) Serialism Use of a set sequence of pitches as the basis for a musical composition, such as the ordering of the twelve chromatic tones, which are then transposed, inverted, or presented in retrograde Solfeggio A method of sight reading using the syllables, DO, RE, MI, FA, SOL, LA,TI, DO Staff A set of five lines and four spaces on which music is notated. Style Musical characteristics shared by a school or group of composers; process by which a composer or performer uses musical material in a unique manner.
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Stylistic Eras Approximate time periods in music history during which composers used similar compositional techniques, e.g., Renaissance, Baroque, Classic, Romantic, and Impressionist. Tempo (Tempi) The speed at which a piece of music is performed. Theme and Variations A musical form in which a theme is stated, then varied in a succession of statements; variations may be sectional or continuous. Timbre The distinctive tone quality of a sound. (See tone color.) Tone color Specific quality of a sound. (See timbre.) Transposition Changing a whole piece or a section of a piece from one pitch level (key or tone row) to another. Treble Clef The sign, which indicates that the line on the staff on which it is placed, is the G a fifth above middle C (It is used for high-pitched instruments and voices and for right-hand keyboard parts). Two Staff System Two connected sets of five lines and four spaces used to notate two part vocal or instrumental music. Verse and Refrain Song form in which each stanza, or line of metrical writing, is followed by a chorus that is repeated after each verse. Western Traditional Instrument Classification System In this system, musical instruments are classified by family: string, woodwind, brass, and percussion. World Culture(s) The shared ideas, beliefs, customs, and experiences of a given people at a given time.
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MENC: Music Educators National Conference www.menc.org/ is the national association for music education. Its mission is to advance music education by encouraging the study and making of music by all. Membership in MENC includes two of its publications. The Music Educators Journal offers timely articles on teaching approaches and philosophies, current trends and issues in music education and the latest in products and services. Teaching Music focuses on practical articles in specific areas. It includes guides on technology, advocacy resources and how-to articles in all specialty areas. MMEA: The Maryland Music Educators Association www.mmea-maryland.org/ is the professional association for the school music teachers of Maryland. MMEA is a not-for-profit association incorporated in the State of Maryland whose mission is to provide professional development for music teachers, opportunities for excellence for music students and teachers, and to serve as an advocate for music education in schools. MMEA and MENC have joint memberships. Members of MMEA receive its official publication, the Maryland Music Educator, which reaches all areas of music education: choral, band, orchestra, general music, research, elementary, middle school, junior high, senior high, college, university, private school, private teachers, and music supervisors. NATS: National Association of Teachers of Singing www.nats.org/index.php is the largest association of teachers of singing in the world, with members in more than 25 countries. Members of NATS find themselves in a community of friends and colleagues who are all seeking the same goal: excellence in teaching and singing, both for themselves and their students. The official publication of NATS is the Journal of Singing, which provides current information regarding the teaching of singing as well as results of recent research in the field. A reference journal, it serves as an historical record and is a venue for teachers of singing and other scholars to share the results of their work in areas such as history, diction, voice science, medicine, and especially voice pedagogy. ACDA: American Choral Directors Association www.acdaonline.org/ is a nonprofit music education organization whose central purpose is to promote excellence in choral music through performance, composition, publication, research, and teaching. In addition, ACDA strives through arts advocacy to elevate choral music's position in American society. Its official publication is the Choral Journal. The editorial purpose of the Choral Journal is to provide ACDA members with practical and scholarly information about choral music and its performance. Articles and columns cover a variety of topics. AOSA: AMERICAN ORFF-SCHULWERK ASSOCIATION www.aosa.org The American Orff-Schulwerk Association is a professional organization of music and movement educators dedicated to the creative teaching approach developed by Carl Orff and Gunild Keetman. They are joined by their belief that learning about music - learning to sing and play, to hear and understand, to move and create - should be an active and joyful experience. The Orff Echo is the official publication of the American Orff-Schulwerk Association. Published quarterly, it provides vital research information and the dissemination of teaching ideas pertaining to Orff Schulwerk. P. O. Box 391089 Cleveland, OH 44139 (216) 543-5366. The two local chapters are the Middle Atlantic Chapter and the Greater Baltimore Chapter. OAKE: ORGANIZATION OF AMERICAN KODALY EDUCATORS www.oake.org/ The Organization of American Kodaly Educators was founded in 1973. Its purpose is to promote Kodaly's concept of "Music for Everyone" through the improvement of music education in schools and to enrich the quality of life of the people of the U.S.A. through music education. The Kodly Envoy is the quarterly publication of the Organization of American Kodaly Educators. The local chapter is the MUSIK: MARYLAND UNITED SPECIALISTS IN KODALY.
Curriculum Framework Elementary Vocal and General Music
Professional Organizations
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2. The in-service was (adequate, inadequate) for using this document. 3. Teachers could use further in-service on the following topics/chapters/units: __________________________________________________________________ __________________________________________________________________ 4. The errors/omissions noted in the document are on page(s)___________________ __________________________________________________________________ 5. The best written and most helpful sections or pages of this document __________________________________________________________________ ____ 6. Information needs to be revised on the __________________________________________________________________ ___________________ ______ following: are:
7. The attached material (outline, lesson plan, etc.) should be added to the document. __________________________________________________________________
Curriculum Framework Elementary Vocal and General Music
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8. Did the format of the guide make it easy to use? Yes _____ No _____ 9. What changes would you like to see included? ____________________________ __________________________________________________________________ 10. Do the lessons contain realistic teaching time frames? Yes _____ No ______ 11. Are there a sufficient number of teaching lessons/activities? Yes ____ No ____ 12. Are there a sufficient number of available resources listed? Yes ____ No ____
13. Was the content appropriate for the level of teaching? Yes ____ No _____ 14. Does the content adequately provide for Title IX (sex equality) guidelines? Yes ____ No ____ 15. Does the content adequately provide for inclusion of information about multi-cultural and multiracial relationships? Yes ____ No ____ 16. The following suggestions would improve this document: __________________ _________________________________________________________________ _________________________________________________________________ _________________________________________________________________ _________________________________________________________________
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