Katie Liddle
Curriculum and Sample Lesson Plans
Katie Liddle Honors Department Thesis 2002-2003
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Curriculum
Philosophy of Music Education
Definition of Terms
Levels - Beginning I: grades Pre-K-1
Beginning II: grades 2-4
Intermediate I: grades 5-6
Intermediate II: grades 7-9
Advanced: grades 10-12
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Philosophy of Music Education
Music is a vital part of every person’s overall education. It is an excellent tool for the development of creativity, imagination, expression, sensitivity, and self-understanding. Using multiple learning styles, including aural, visual, and kinesthetic learning, music creates the opportunity for students to experience visible success and achievement.
Music exists in a wide variety of styles and forms, from simple American children’s songs or folk songs from other countries to jazz, rock, or classical symphonies. The ability to create and appreciate all music types enriches students by giving them musical tools and ideas they can use to interpret and interact with life. Indeed, every child has a right to a musical education.
Music also reinforces key concepts that are applied in other disciplines throughout everyday life, including cognitive skills, discipline, focus, cooperation, and teamwork. Even more, music reflects history and culture in a unique perspective.
The Jefferson Academy of Music has based this curriculum on the National Standards for Arts Education developed by the Consortium of National Arts Education Associations in 1994. The lesson plans included are samples, and may be revised as the instructor sees fit, especially after they are tried in an actual classroom setting.
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Definition of Terms
The following are musical terms that will be used throughout the curriculum:
Concept Areas or Elements of Music: These concept areas will be reinforced through singing, playing instruments, dancing/movement, listening experiences, improvisation, notation and composition, including exposure to Western and non-Western music.
Rhythm / Duration – The pattern of musical movement through time, or the arrangement of notes around a beat pattern.
Pitch / Melody – The “tune.” Pitches are the music notes, and melody refers to the way that pitches are arranged in an orderly or recognizable fashion.
Texture / Harmony – Harmony refers to more than one pitch occurring simultaneously. Texture refers to different groupings of harmony, from a simple two-line duet, to a piano accompanying a solo line, to a symphony.
Tone Color / Timbre – Timbre refers to the quality of the sound – different instruments, voices and objects have different sounds.
Form / Structure – The organization/structure of the music. For example, there may be parts that are repeated, a chorus and verses, or a theme that is stated and then developed in different ways, etc.
Dynamics / Expressive Elements – Expressive elements include dynamics (variation of loud and soft), articulation (variation of smooth or accented notes), balance (relation of parts to one another), and tempo (variation of speed of the piece).
Other Terms
Genre – type or category of music, such as jazz, classical, folk music, rock music, musical theater, opera, and choral music, or musical forms such as a lullaby, sonata, or symphony.
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Beginning I *Pre-K – Grade 1
In the following areas, students will be able to:
Rhythm / Duration
• Move to a steady beat • Distinguish between “long” and “short” durations of notes • Clap and echo rhythm patterns by rote • Improvise rhythm patterns • Sing familiar songs with rhythmic accuracy • Use iconographic notation for long and short sounds o Stems and dashes
Pitch / Melody
• Learn and sing rote songs. • Be able to distinguish between sounds or patterns that are “high” or “low” • Play or sing parts of melodies that show melodic direction: moving up, moving down, or repeated pitches • Be able to sing solfege patterns using sol, mi and la.
Texture / Harmony
• Identify whether a melody is harmonized or unharmonized • Identify the difference between the melody and harmony (accompaniment)
Tone Color / Timbre
• Distinguish between music examples of a solo voice/instrument or a group of voices/instruments • Distinguish among the voices of children, men, and women • Distinguish among speaking, singing, whispering, and shouting/calling voices • Be exposed to the nonpitched rhythm instruments in the Percussion family, categorized by the sound they make: o Click - woodblock, claves o Ring - triangle, finger cymbals o Shake/Rattle - maracas, tambourine o Thump/Drum - drums o Scrape - guiro, sand blocks • Distinguish between pitched and nonpitched percussion instruments • Perform/improvise on various rhythm instruments
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Form / Structure
• Identify phrases that are alike and different
Dynamics / Expression
• Sing or move to demonstrate the concepts of loud, soft, fast, and slow
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Beginning II * Grades 2 - 4
In addition to skills acquired in level Beginning I, in the following areas, students will be able to…
Rhythm / Duration
• Describe and reproduce a rhythmic pattern after listening to a piece of music • Identify the following musical symbols o Whole note and whole rest o Half note and half rest o Quarter note and quarter rest o Eighth note and eighth rest • Identify how many beats occur in a measure of the following meters: 2/4, 3/4, 4/4, 6/8 • Perform conducting patterns in 2/4, 3/4, 4/4, 6/8 • Identify bar lines and incomplete measures
Pitch / Melody
• Match pitches that are played or sung • Sing pitch patterns using solfege syllables and hand signals (by rote, and notation) o Review sol, mi, and la o Add do, re, fa, and ti • Identify the note names of both the treble and bass clefs of the grand staff • Distinguish between major and minor scales
Texture / Harmony
• Sing drones, ostinati, echo songs and “partner songs” (two songs with the same chordal structure sung simultaneously) • Distinguish between major and minor tonalities, when examples of both are given • Identify the presence of chord changes
Tone Color / Timbre
• Describe the difference between men’s and women’s voices in terms of lowness or highness of pitch (register) • Identify the most common instruments in each of the four families by name, picture, and sound, including exposure to non-Western instruments
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Form / Structure
• Demonstrate simple musical forms through dance and games • Identify different sections of a piece through resting, singing, playing, and moving • Identify the refrain (chorus) section of a song • Identify and perform an ostinato • Identify and demonstrate the AB and ABA forms
Dynamics / Expression
• Dramatize songs and stories • Correctly use the following terms: o Piano o Forte o Crescendo o Decrescendo o Accent • Play rhythm instruments in the dynamic level suited to a given song • Demonstrate various articulations, including legato, staccato, and accents
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Intermediate I * Grades 5-6
In addition to skills acquired in level Beginning II, in the following areas, students will be able to…
Rhythm / Duration
• Identify and perform sixteenth notes and sixteenth rests • Perform rhythmic patterns in more difficult meters – 12/8, 9/8, 5/8, 3/8, 2/2 • Perform rhythmic patterns including dotted eight-sixteenth note patterns • Analyze rhythms of scores by identifying the following: o Dotted and un-dotted note values o Bar lines o Incomplete measures o Syncopation
Pitch / Melody
• Identify whether melodic lines move by step, skip, or repetition • Identify the interval of an octave when given two intervals – an octave, and a smaller interval • Identify the whole-step/half-step pattern of a major scale. • Identify and label the lines and spaces of the grand staff
Texture / Harmony
• Sing rounds, descants, canons, and two-part harmony • Identify when chord changes occur in harmonized music • Use Roman numerals to analyze/label basic chords and progressions – I, IV and V
Tone Color / Timbre
• Identify the voice classifications of soprano, alto, tenor, bass • Identify the difference between acoustic and electric instruments • Aurally recognize the various instruments of a band, orchestra, or non-Western ensembles when heard in an actual piece of music • Relate instruments to the voice ranges of soprano, alto, tenor, bass • Identify the common instruments used in jazz or rock music
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Form / Structure
• Demonstrate how musicians notate phrases • Create an additional verse to a song • Identify and demonstrate Rondo, ABACA, and Theme & Variation forms • Identify and explain the following symbols and terms o Repeat signs o First and second endings o Dal Segno o Da Capo o Fine • Participate in guided listening experiences with the following large forms: o Symphony o Concerto o Sonata o Tone Poem
Dynamics / Expression
• Identify basic expression and tempo terms/symbols • Perform with appropriate tempo, dynamics and articulation • Demonstrate how a fermata is performed
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Intermediate II * Grades 7-9
In addition to skills acquired in level Intermediate I, in the following areas, students will be able to…
Rhythm / Duration
• Create, notate and perform various rhythm patterns, including dotted rhythms, syncopation, tied notes and ostinato • Aurally identify the likely meter of a given piece of music • Be exposed to the different rhythms of music from non-Western cultures
Pitch / Melody
• Identify and notate repeated pitch patterns (ostinato) • Play a major and minor scale, and aurally recognize a blues scale, pentatonic, whole tone, and chromatic scale when played. • Know how to derive a Dorian and Mixolydian scale from a major or minor scale • Name the notes of the grand staff, and identify where they are on a piano.
Texture / Harmony
• Identify aurally whether a piece of music is predominately major or minor • Identify if a piece uses modal harmony • Use chords to accompany simple melodies on a keyboard instrument
Tone Color / Timbre
• Identify the difference between acoustic and electric/electronic instruments • Aurally recognize the various instruments of a band or orchestra when heard in an actual piece of music • Demonstrate knowledge of tone colors through improvisation and composition
Form / Structure
• Identify, perform, and create phrases • Visually and Aurally identify the following compositional sections: o Introduction o Chorus or refrain o Verse o Interlude o Coda
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Dynamics / Expression
• Define basic tempo terms and demonstrate how they are applied in actual compositions • Demonstrate knowledge of dynamics/expressive elements through improvisation and compositions • Identify the mood of various pieces
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Advanced * Grades 10-12
In addition to skills acquired in level Intermediate II, in the following areas, students will be able to…
Rhythm / Duration
• Perform quarter note, eighth note, and sixteenth note triplet patterns • Recognize and perform hemiola patterns • Perform polyrhythmic figures: o “2 against 3” o “3 against 4” o “5 against 4” • Create and notate various rhythm patterns learned in previous levels
Pitch / Melody
• Identify differences in pitch patterns that are nearly the same • Define and apply the term enharmonic • Identify and explain the function of chromatic alterations • Aurally identify obvious deviations in intonation, including wrong pitches in familiar melodies • Create and notate various pitch sequences, given the starting pitch (melodic dictation)
Texture / Harmony
• Explain and identify examples of the following texture terms: o Monophonic o Homophonic o Heterophonic o Polyphonic • Maintain an independent part while performing a round or canon • Explain the differences in the three minor scale forms: natural minor, melodic minor, and harmonic minor, and perform these scales • Understand the modes, and use them for improvisation and notation
Tone Color / Timbre
• Compare and contrast tone colors of various types of ensembles • Distinguish among similar instruments: brass family, violin/viola, etc. • Demonstrate knowledge of tone colors through improvisation and composition
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Form / Structure
• Identify the theme or principal melody of a given composition • Identify the parts of the following large forms: o Symphony o Concerto o Sonata o Tone Poem • Identify and explain points of sequencing and imitation
Dynamics / Expression
• Define and Identify Italian terms and symbols commonly found in scores, such as: o Piano, mezzo-piano o Forte, mezzo-forte o Subito o Sforzando o Marcato o Staccato o Mordents, turns and trills o Crescendo, decrescendo o Accelerando, ritardando • Perform accents without distorting tone • Monitor one’s individual playing/singing in order to blend with an ensemble • Demonstrate knowledge of dynamics/expressive elements through improvisation and compositions
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Sample Lesson Plans
Beginning I: grades Pre-K-1
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Rhythm, Melody Moving, Clapping, Singing Beginning I
National Standards: 1, 6
Concept: Music has a steady beat.
Objective: Students will be able to keep a steady beat.
Materials: Various Nursery Rhymes, and the song “Come On Everybody” (Wojcik- May, pg.8 – to the tune of “Hello, Everybody”)
Sequence: 1. Introduce the lesson by talking about Nursery Rhymes. Ask students to name some of their favorite Nursery Rhymes and recite them for the class. (“Rain, Rain, Go Away”, “Jack and Jill”, “Little Bo Peep”, “Humpty Dumpty”, etc.) 2. After reciting for the class, have the students recite the rhyme together, while clapping a steady beat. 3. Talk about the steady beat of the rhyme. Discuss how this also applies to songs. 4. Using “Twinkle, Twinkle, Little Star”, recite the rhyme while clapping, then teach the melody to the class using a call-response style. 5. Have half of the class sing Twinkle while the other half claps along. Reverse. 6. Using the song, “Come On Everybody”, teach the words to the class. Sing the melody while the class claps (etc.) the beat. 7. Ask the students for suggestions of other actions they can do – patting thighs, stomping feet, tapping the desk, walking, jumping, etc. - all to the steady beat. Sing the song with suggested words in place of “clap” 8. Have half of the class “perform” for the other half, and then switch.
Evaluation: Check for understanding by observing each student’s ability to maintain a steady beat.
Extension: ~ Have students “perform” their favorite Nursery Rhyme for the class
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Pitch/Melody, Timbre/Tone Color Singing, Speaking, Listening Beginning I
National Standards: 1, 6
Concept: The human voice is capable of different timbres, and pitches can be high or low.
Objective: Students will be able to distinguish among singing, speaking, whispering, and calling voices. Students will also distinguish between pitches/patterns that are “high” or “low”.
Materials: A hat or box, four different types of stickers
Sequence: 1. Put an equal number of the four different types of stickers, one piece for each student, into the hat (or box) and set aside 2. Using “Twinkle, Twinkle Little Star” (learned in a previous lesson), sing for the class in two different pitch ranges – one obviously high, and one obviously low. 3. Talk about the differences between high and low, and ask the children where they might hear these differences (men’s voice vs. women’s voice, or other instruments, such as violin vs. cello, or flute vs. trombone) 4. Demonstrate the different timbres of the voice (singing, speaking, whispering, and calling), and ask children what is different. 5. Ask students when each timbre is likely to be used. 6. Play “the game”: a. Have each student draw one sticker from the hat and separate them into four groups based on type of sticker drawn. b. Talk to each group separately and tell them that they must perform one of the different timbres. c. Each group should “perform”, and the other groups should identify which timbre was performed. d. After everyone is done, the sticker may be put on anything.
Evaluation: Observe the students identifying the different timbres, and observe the students’ participation in the discussion.
Extension: ~ Have the students observe the sounds they here around them over the week to discuss at class next week. ~ If students have a primary instrument, discuss the range of instrument and how it relates to “high or low”
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Texture/Harmony Singing, Listening, Discussing Beginning I
National Standards: 1, 6, 7
Concept: Melodies can exist alone (unharmonized), or accompanied (harmonized).
Objective: Students will be able to identify whether a melody is accompanied or unaccompanied (harmonized or unharmonized). Students will be able to distinguish between the melody and the accompaniment.
Materials: A book of simple melodies and accompaniments, and a piano. A tape of various musical compositions – a variety of unaccompanied melodies, duets, trios and orchestral/band arrangements (pieces of many cultural backgrounds).
Sequence: 1. Explain the concept of melody and harmony, and give examples from the book of simple melodies and accompaniments, playing each melody unaccompanied and accompanied, asking the students which one was which. 2. Play the melodies and accompaniments separately, asking students which part is the melody and which is the accompaniment. 3. Have the class sing “Twinkle, Twinkle Little Star” together, then sing it once more, while accompanying it on the piano. 4. Play several of the compositions on the tape for the class. a. Before each piece, tell the class the name, composer and country it represents. b. After each piece, ask the students to describe what the piece sounded like to him/her. Have the students identify whether it was unharmonized melody or harmonized melody.
Evaluation: Check for understanding by observing whether the students can answer the questions correctly.
Extension: ~ Have students help you demonstrate unharmonized melodies through improvisation, or harmonized melodies, using Orff instruments
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Form/Structure Listening, singing, movement Beginning I
National Standards: 1, 2, 3, 6
Concept: Music is made up of parts, called phrases. Phrases can be the same or different.
Objective: Students will be able to identify whether two phrases are the same or different.
Materials: A book of simple melodies and accompaniments, and a piano. Construction paper cutouts of diamond and stars, different colors.
Sequence: 5. Ask each student to find two construction paper cutouts that are the same. Have each student tell the class about his/her cutouts – describe color, shape, etc. 6. Have students trade with each other to have two cutouts that are different. Have each student describe how his/her cutouts are different. 7. Explain how music can also be the same or different. 8. Starting with “Twinkle, Twinkle Little Star”, demonstrate (by singing) that the beginning phrase and ending phrase are the same, and then contrast those to the middle phrase, which is different. 9. On your main instrument (or a piano), demonstrate two 4-beat phrases and have students identify if they are the same or different. 10. Using the piano, have groups of two students at a time – the first student improvises a four-beat phrase that the second student watches and either copies or improvises his/her own four-beat phrase, and have others identify as same or different.
Evaluation: Check for understanding by observing whether the students can answer the questions correctly.
Extension: ~ Ask students if they know any other songs that can demonstrate alike or different phrases. ~ Have students improvise phrases on their main instruments. ~ Have students make up choreography to demonstrate the phrases of a particular song (“Twinkle, Twinkle” perhaps). (Doing the same motions during phrases that are the same)
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Dynamics/Expression, Tone Color/Timbre Singing, Listening, Discussing Beginning I
National Standards: 1, 3, 6
Concept: Music has expressive elements: dynamics, tempi
Objective: Students will be able to identify and demonstrate “loud” vs. “soft” or “quiet” and “fast” vs. “slow”.
Materials: a piano
Sequence: 1. Standing in a circle, ask the students to name things that are loud (big trucks, people yelling, etc.) 2. Name things that are soft (kittens purring, whispering, etc.) 3. Go around the circle and have each student demonstrate either loud or soft. 4. Have the class recite a rhyme together, getting louder when you raise your arms, and softer when you lower your arms. Have a “volunteer” lead the class in reciting the rhyme again. 5. Still in the circle, play a song on the piano (or your main instrument) – play it first slowly, and have the students walk around in the circle to the beat. 6. Play the same song, this time faster, and again have the students move to the beat. Ask them if they noticed a difference. 7. Play the song several more times at varying tempos, and each time, have the students identify it as “fast” or “slow”.
Evaluation: Check for understanding by observing whether the students properly demonstrate the difference dynamics, and can move to the different tempos.
Extension: ~ Other than walking, have the students suggest different motions they can do in the circle for the different tempos (running, jumping, galloping, etc.) ~ Have students suggest different motions they can do to demonstrate loud or soft – tiptoeing, stomping, etc.
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Pitch/Melody Singing, Listening, Discussing Beginning I
National Standards: 1, 3
Concept: Solfege – sol, mi
Objective: Students will be able to match the pitches sol and mi – G and E above middle C.
Materials:
Sequence: 1. Have the class do rote repetition of what the teacher demonstrates a. Teacher sings a greeting to the class using the pitches “sol-mi” (G-E) b. Class echoes c. Teacher carries on a conversation – “How are you to-day” (G-G-G-E- E) Class echoes d. “Just fine, thank you” (G-E-G-E) e. Continue singing conversation with things like “The sun is out to- day”, “Jen’s shirt is blue””, etc. 2. Ask students if they noticed anything the same or different about the words sung a. Answers: words different, notes the same b. Explain how these notes have “names” just like people do – “sol” and “mi” c. Have the class sing “sol-mi” together several times 3. Teach rote songs that use sol-mi, such as “Starlight” or “One, Two, Tie My Shoe” 4. Go around the room and have each student sing the name of their favorite color using sol and mi
Evaluation: Observe student ability to match pitch
Extension: ~ Students can sing the name of anything – favorite food, names, etc. ~ Pair up students to carry on their own conversations with each other using sol and mi ~ Challenge students to greet their parents and friends singing “Hel-lo” (G-E)
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Rhythm/Duration Singing, Listening, Discussing Beginning I
National Standards: 1, 5
Concept: Music can be written down – “notated”
Objective: Students will be able to recognize the difference between “long” and “short” note durations, and they will recognize the iconographic notation – stars and dashes.
Materials: piano, chalkboard
Sequence: 1. Review “Twinkle, Twinkle” with the class. 2. Have them clap along with the steady beat. 3. Using stars (topical icons), notate one phrase at a time on the board, making small stars for the quarter notes and big stars for the half notes. 4. Then, notate again using dashes – short dashes for quarter notes, and longer dashes for half notes a. First have students practice making the dashes on the board b. When all students can make the symbols, explain which one is long and which is short c. Have the class identify which notes of the song are long and short, while the teacher notates on the board d. Have students practice copying the pattern of dashes e. Stems can then be added to the dashes to make them look more like notes, and the longer dashes of the half notes can be made into rectangle boxes in addition to the stems, to look more like half notes. f. Erase the teacher notation, and have individual students notate one or two notes at a time. 4. Sing the song together at the end.
Evaluation: Observe the students to see if they can understand the difference between the long and short note values, and which symbol corresponds to each.
Extension: ~ Do the same sequence with another simple song ~ Have students make up motions to do with each different note value.
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Pitch/Melody Singing, Listening, Discussing Beginning I
National Standards: 1, 2, 6
Concept: Melodies have direction.
Objective: Students will be able to recognize and perform examples of melodic direction: • ascending • descending • repetition
Materials: a piano, or Orff instruments
Sequence: 1. Using three note sequences, start by playing a repeated pattern, and ask the students whether the notes stayed the same or changed 2. Then play an ascending three-note pattern, and ask the students whether the notes stayed the same or changed. 3. Play a descending three-note pattern, and ask the students whether the notes stayed the same or changed. 4. Play a repeated pattern and an ascending pattern and ask students whether the same or different. Identify each. 5. Repeat with a repeated pattern and a descending pattern 6. Repeat with an ascending pattern and a descending pattern. 7. Have the students perform an action when they hear each different pattern – body movement to match the melodic direction: raising arms for ascending, crouching down for descending, and stepping sideways for repetition. Play the patterns randomly and have the students identify them by performing the corresponding action. 8. Reinforce the ascending vs. descending pattern by having one student at a time come to the piano and play a pattern that the teacher shows them, while the class continues to do the actions.
Evaluation: Observe the students identifying whether the notes stay the same or change, and observe for the correct actions.
Extension: ~ Students can improvise other poses/motions ~ Students can improvise their own three-note patterns on the piano ~ Do the same types of activities using Orff instruments
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Tone Color/Timbre Listening, Improvising, playing instruments Beginning I
National Standards: 2, 3, 9
Concept: There are many different types of non-pitched percussion instruments
Objective: Students will be exposed to the five families of non-pitched percussion instruments, and will be able to improvise on the instruments.
Materials: Various non-pitched percussion instruments from the five different classifications by sound: Click - woodblock, claves Ring - triangle, finger cymbals Shake/Rattle - maracas, tambourine Thump/Drum - drums Scrape - guiro, sand blocks A recording of different musical styles
Sequence: 1. Play each instrument (one classification at a time) for the students, and ask them to describe the type of sound it makes. 2. Say the name of each instrument as you demonstrate them. 3. Ask for “volunteers” to play each instrument – 3 or 4 students at a time, and have them improvise a part on their instrument, along with a song from the recording (preferably a song that does not already have these instruments on it). 4. Keep asking for volunteers (say the names of the instruments often, and have the student say the name of the instrument he/she is playing before and after he/she plays) until all students have a chance to play – the class can applaud after each “performance”. 5. Listen to recordings of songs that utilize these non-pitched percussion instruments.
Evaluation: Observe performances
Extension: ~ Have students name other things that might have the same sounds as the non- pitched percussion instruments – pots and pans, desks, pencils, etc.
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Sample Lesson Plans
Beginning II: grades 2-4
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Rhythm/Duration Notating, Listening Beginning II
National Standards: 3, 4, 5
Concept: Music has a standard notation system.
Objective: * This lesson may be divided up over two or more classes Students will be able to notate: • Whole notes and whole rests • Half notes and half rests • Quarter notes and quarter rests • Eighth notes and eighth rests Students will also understand the relationship between the above note and rest values.
Materials: Chalkboard and chalk or Dry-Erase Board and markers. Poster-boards with notes and rests on them Students will need paper and pencil.
Sequence: 1. Hand out poster-boards with different notes and rest values to each student. 2. With half of the class clapping a steady beat, have the other half clap out each of the rhythms, to get a feel for the relationship. Reverse sides. 3. Put a note/rest value equivalent chart on the board at the front of the class. 4. For each note/rest value, group the students according to their poster-board values. For example: Have the student with the whole note stand on one side at the front of the class, and then arrange other students at the other side with different combinations of equivalent beats – one half note and two quarters notes; one quarter note and three quarter rests, etc. 5. “Quiz” the students by picking a note/rest value and then have them come up with equivalents. 6. Separate the students into groups, and have each group try to come up with as many value equivalents as possible, and have a “reward” for the group that comes up with the most. 7. Play a piece of music, and have the class clap the different subdivisions present in the piece.
Evaluation: Check for understanding by observing whether the students can answer the questions correctly. Also, have students perform examples.
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Extension: ~ Have the students compose several different rhythmic patterns to perform for the class on their primary instrument ~ Have a handout of rhythmic patterns. Have the students come up with different ways of writing the same patterns using different note and rest values. ~ Talk about other notations or names for the same notation – The European system of “Quavers” and semi-quavers”, etc.
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Rhythm/Duration Singing, Listening, Discussing Beginning II
National Standards: 1, 6
Concept: The regular beat of music is organized by meters
Objective: Students will be able to recognize the following meters • 2/4 • 3/4 • 4/4 (*4/4 may be saved for the extension) and demonstrate the conducting patterns for each.
Materials: chalkboard, baton
Sequence: 1. Starting with 2/4, have the class sing “London Bridge” together, clapping the beat. 2. Demonstrate the 2/4 conducting pattern, either by showing the students a mirror image (conducting with your left hand), or by facing the front, so the students can properly imitate. 3. Students imitate. 4. Class sings London Bridge together again, while teacher conducts along 5. Teacher sings alone while students conduct along 6. Ask for volunteers to conduct at the front of the class, using the special teacher’s baton, while everyone sings. 7. Repeat the process with “My Country, ‘Tis of Thee”, in 3/4 8. Repeat with “Old MacDonald” in 4/4
Evaluation: Observe the “volunteers” to see if they conduct properly.
Extension: ~ Ask each student to go home and think of songs they know in 2/4, 3/4 or 4/4. ~ Have students bring in music they are playing, have them perform for the class while the class conducts along.
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Pitch/Melody Singing, Listening, Discussing Beginning II
National Standards: 1, 3, 4, 5, 6
Concept: Review solfege – sol, mi, and la; add do
Objective: Students will be able to match pitches played on the piano, and sing simple patterns using sol, mi, la and do
Materials: a piano
Sequence: 1. By rote repetition, review patterns using sol mi and la, including hand signals 2. Go around the room, having one student at a time echo a sol-mi-la pattern. 3. Add do. Have the class echo several patterns involving do. 4. Make signs with the following patterns written on them: a. Sol-Mi b. La-Sol-Mi c. La-Sol d. La-Sol-Mi-Do e. Mi-Sol f. Do-Mi-Sol g. Do-Mi-Sol-La 5. Have volunteer students stand at the front of the class holding the signs. 6. Sing patterns and have all students echo the pattern and then decide which student is holding the correct corresponding sign.
Evaluation: Observe the students selecting the signs, and singing the patterns
Extension: ~ Ask the students to come up with other combinations of sol-mi-la-do ~ Have the students compose a short piece of music to sing or play for the class, using sol-mi-la-do. Notation may also be used.
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Dynamics/Expression Observing, Listening, Discussing Beginning II
National Standards: 3, 6, 8
Concept: Music and Drama
Objective: Students will be exposed to Opera music, an Opera spoof, and students will dramatize their own version of a piece of Opera music.
Materials: A video of The Barber of Seville, a video of the Bugs Bunny Episode that uses the Barber of Seville music
Sequence: 1. Open with a discussion of Opera – ask the students what they know, if any of them have ever been to see one, etc. Tell them a little about Rossini and The Barber of Seville. 2. Watch a portion of the Barber of Seville video, discuss what they saw/heard, including dynamics and other expressive elements. 3. Watch the Bugs Bunny Episode, discuss and compare to the real Opera version 4. Divide class into two groups, and play for them an audio excerpt from the Barber of Seville, and each group comes up with a skit or other way to dramatize the music they hear. 5. The two groups perform for each other, and critique the performances
Evaluation: Observe the students’ participation and understanding
Extension: ~ Students may improvise on their primary instruments while others dramatize ~ Dramatize music from other operas or musicals
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Texture/Harmony Singing, clapping Beginning II
National Standards: 1
Concept: Music can have more than one part played/sung at a time
Objective: Students will be able to perform echo songs, drones, and partner songs
Materials: piano
Sequence: 1. With a simple, one-chord song like “Row Your Boat”, the teacher drones tonic while the class sings the melody 2. Divide the class into two groups and have one group sing melody while the other drones. Switch. 3. Continue by singing a familiar song together as a class. Clap along with the steady beat. 4. Teach the echo song “The Other Day/The Bear Song” – Teacher sings first, class echoes together, still clapping the beat 5. Do the song a second time, then the third time, each group holds out the last note of each phrase while the other group sings the next phrase. 6. Teach, by rote, two “partner songs” (two songs with the same chordal structure, sung simultaneously - Oh When the Saints & Skip to my Lou, etc.), with the entire class singing each song together first, then the two groups singing the songs independently. 7. Perform for parents at the end of class
Evaluation: Observe students’ ability to hold their own part
Extension: ~ Teach other partner songs
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Sample Lesson Plans
Intermediate I: grades 5-6
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Pitch/Melody Singing, Listening, Discussing Intermediate I
National Standards: 1, 2, 5, 6
Concept: Melodic Motion: Step, skip, or repetition
Objective: Students will be able to aurally identify and perform: • Short melodic segments that move by step, skip or repetition Students will also be able to look at musical scores and identify sections of the three different melodic motions.
Materials: a piano, each student should bring in a piece of music he/she is currently working on.
Sequence: 1. Using the piano, play four-note patterns, starting with a four-note scale pattern, and a four-note arpeggio pattern (C-D-E-F & C-E-G-C) 2. Ask students if they notice a difference, and to describe the difference 3. Have the class sing each of the patterns. 4. Play one of the same patterns again, and compare it to a four-note repeated pattern. Again describe the difference and sing them. 5. When the students are able to correctly describe the differences in the patterns, write each one on the board, and play them each again, having the students sing each and identify which one is which. 6. Then play the four-note step-wise scale pattern, and compare it to another four-note step-wise pattern. Have students identify which pattern each one was, using note names, and describe the difference. 7. Repeat with the skip-wise and repeated patterns. 8. Then have each student look for step-wise, skip-wise and repeated passages in their own piece of music, and present them to the class.
Evaluation: Check for understanding by observing whether the students can identify the different patterns
Extension: ~ Have students play or sing the passages in their music to demonstrate for the class ~ Have students improvise four-note patterns on their own instruments, demonstrating the three different melodic motions
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Rhythm/Duration Clapping, Listening, Discussing Intermediate I
National Standards: 3, 5
Concept: Sixteenth notes and rests
Objective: Students will be able to identify and perform: • Sixteenth notes and sixteenth rests Students will also understand the relationship between the above note and rest values and previously learned notes and rest values.
Materials: paper, pencil
Sequence: 1. Have the class establish a steady beat by clapping or patting thighs. 2. Have half of the class continue the steady beat while the other half repeats a rote four-beat rhythm pattern demonstrated by the teacher. Start with larger note values and work toward smaller values. 3. While the teacher keeps the steady beat, have each student improvise a four- beat rhythm pattern for the class to repeat. 4. Going back to the half/half classroom repetitions, introduce sixteenth notes and rests. 5. Ask for volunteers to improvise four-beat patterns utilizing sixteenth notes and rests. 6. Play “rhythm telephone”* a. The students sit in a row on the floor. b. The teacher writes a four-beat rhythm pattern incorporating sixteenth notes on a piece of paper and places it face down in front of the last student in the row. c. The students once again keep the steady beat d. The teacher then taps the pattern on the back of the first student in line, and each student passes the rhythm down the line as in the game “telephone” e. When the rhythm reaches the end of the line, the final student claps the rhythm and then compares it to the rhythm on the paper to identify whether it stayed the same or changed down the line. f. The last student then moves to the beginning of the line for the next rhythm so that a different student is on the end each time.
Evaluation: Check for understanding by observing whether the students can perform the rhythms, and correctly identify whether the telephone rhythm changed or stayed the same.
* Adapted from Lavender, Cheryl: “It’s Your Turn!”
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Extension: ~ Have students make up rhythms for the telephone game ~ Try rhythm patterns longer than four beats
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Texture/Harmony Singing, Listening, Discussing, Moving Intermediate I
National Standards: 1, 2, 5, 6
Concept: Basic Harmony
Objective: Students will be able to perform the song “Row, Row, Row Your Boat” and identify a I-V-I chord progression.
Materials: piano, or Orff instruments
Sequence: 1. Teach the students the song “Row, Row, Row Your Boat” 2. While the entire class sings the song together, the teacher sings the second round part. Do more than once. 3. Divide the class into two parts and have them sing the round. 4. Switch parts. 5. Have the students create simple choreography to accompany the song. 6. Perform the song together with the choreography. 7. Dividing into two halves again, the class performs the round with the choreography also. 8. With the entire class singing together (no round), accompany the song on piano using a I-V-I progression. 9. Sing and play a second time through, and ask the students to raise their hand when they hear the harmony change. 10. Write a scale on the chalkboard, and draw the triads above the first and fifth scale degrees to illustrate the concept. 11. Play just the progression. 12. Have the students suggest two different motions they can do during the two different chords, and then have the class do these motions when they hear the harmony change. 13. Sing Row, Row, Row Your Boat one more time, accompanied.
Evaluation: Check for understanding by observing whether the students can perform the round, and correctly identify the chord changes.
Extension: ~ Teach students to play a I-V-I progression on piano, Orff instruments or their instrument. ~ Have students sing the I-V-I progression in three parts. ~ Sing other rounds.
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Tone Color/Timbre Listening, Discussing, Evaluating Intermediate I
National Standards: 6, 7, 9
Concept: The human voice has different ranges – the four most common being soprano, alto, tenor, and bass.
Objective: Students will be exposed to different genres of vocal music, and will be able to identify the different voice ranges.
Materials: Performers: college students willing to perform for the class (3-4)
Sequence: 1. Talk about concert etiquette 2. If the college students/performers are willing, have them talk about their piece and composer before performing, and answer questions afterwards. (If not, find out what pieces they plan to perform in advance, and be prepared to introduce them) 3. After each performer, the class should discuss what they thought of the piece – how it made them feel, any images it brought to mind, and what range each singer’s voice is an example of. Have each performer explain his/her vocal range and timbre.
Evaluation: Observe the students’ attention and participation. Ask questions to check understanding of the ranges.
Extension: ~ Play recordings of other pieces that demonstrate vocal ranges ~ Ask students to find other pieces that demonstrate a particular range. ~ Address changing voices (maturing)
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Form/Structure Listening, Analyzing, Discussing Intermediate I
National Standards: 4, 5, 6
Concept: Music is generally organized into specific forms
Objective: Students will be able to identify the Rondo form
Materials: Copies and recordings of Mozart’s Turkish Rondo arranged for orchestra, several different colors of highlighters
Sequence: 1. Explain that music theorists write out the form of a piece using letters a. Rondo form is ABACADA, etc. 2. Play the recording of Mozart’s Turkish Rondo, while handing out copies and highlighters to each student (or they may work together in small groups.) 3. The first time, students should just listen. 4. Discuss how the piece sounds, how it makes the students feel, images it brings to mind, etc. 5. Use the term “Janissary music” to describe the elements that make this piece “Turkish” 6. The second time, have them follow along in their musical score by moving their finger on the page. 7. Tell the students where the A section begins and ends, and have them highlight it in their score. 8. As they listen to the piece a third time, have them look for other places in the piece where the A section is present. Highlight those sections. 9. Now the class should compare the musical material between the A sections, and come to the conclusion that each other section is different. Use a different color highlighter for new material. 10. The teacher guides the class through analyzing the rest of the Rondo form. 11. As a class, create a body percussion rondo with the A section performed by the entire class, and the BCD, etc, sections performed by small groups. (Example: the A section could be comprised of a simple pattern three times, followed by two half notes at the end)
Evaluation: Observe as students listen, highlight, and participate in class discussion
Extension: ~ For homework, each student should compose a 28-measure piece in Rondo form with four-measure phrases. (melody only, to be performed for the class the next week)
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Dynamics/Expression Reading music, Listening, Singing Intermediate I
National Standards: 1, 4, 5
Concept: Dynamic ranges
Objective: Students will be able to identify and perform the following dynamic symbols: • pp • p • mp • mf • f • ff
Materials: A recording of Ravel’s Bolero, an overhead projector or chalkboard
Sequence: 1. Explain dynamic range, and tell a little bit about Ravel and impressionistic music 2. Play Bolero, while the students just listen 3. Play the piece again, and have students draw a dynamic contour line on a piece of paper. 4. Draw your own dynamic contour line on the chalkboard or overhead 5. Have the students help label the dynamic progression. 6. Listen to Bolero one more time, while tracing the dynamic contour 7. Write the melody line and words to “This Land is Your Land” on the chalkboard or overhead. 8. Have three or four volunteers from the class compose dynamics for the piece, and have the class perform each version, using the students’ dynamics
Evaluation: Observe students’ contour lines and singing for understanding
Extension: ~ Have every student compose dynamics for “This Land is Your Land” ~ Have students bring in pieces on which they are working, to demonstrate dynamics for the class
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Sample Lesson Plans
Intermediate II: grades 7-9
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Rhythm/Duration Composing, Notating, Singing Intermediate II
National Standards: 1, 4, 5
Concept: Composing, notating, and performing various rhythmic patterns.
Objective: Students will be able to compose, notate, and perform the following rhythms: • Quarter notes, Eighth notes, Sixteenth notes • Dotted eighth-sixteenth notes • Eighth-note triplets • Tied notes over a bar line • Syncopation
Materials: Chalkboard, staff paper/pencil
Sequence: 1. Write each of the following elements on the chalkboard: • Half note • Quarter note • Eighth note • Sixteenth note • Dotted eighth-sixteenth note • Eighth-note triplet • Tied notes over a bar line • Syncopation 2. Also write each of the above elements on several slips of paper and place into a box or hat. 3. Have each student draw four slips of paper from the box/hat (making sure that they get different elements) 4. The students then compose a four-measure rhythmic pattern using each of the elements they selected. 5. Walk around the room, looking over each composition. When the students have finished this first rhythm pattern, then have them compose another four- measure rhythm pattern using the other four elements on the chalkboard that were not in their first composition. 6. Once all compositions are completed, each student will pick one of his/her rhythmic patterns to write on the board for the class to perform. 7. Have the students clap a steady quarter note beat while singing the rhythm out loud
Evaluation: Observe the students’ compositions and ability to perform rhythms
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Extension: ~ Have students perform rhythms on their primary instrument ~ Have students compose a melody to go with their rhythms
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Texture/Harmony, Pitch/Melody Singing, Listening, Discussing, Composing Intermediate II
National Standards: 1, 4, 5, 6, 7
Concept: Major/Minor tonalities
Objective: Students will be able to differentiate examples of tonalities that are major or minor, and compose a short piece demonstrating each.
Materials: Piano, recordings of Bach: Little Fugue in G Minor, Bach: Unaccompanied Sonata in E Major, chalkboard, staff paper
Sequence: 1. Play a major triad on the piano 2. Have half of the class sing the root and the other half sing the fifth. 3. The teacher then sings the major third, then the minor third. Have students stand when they hear the major third, and sit when they hear the minor third – Switch several times. 4. On the piano, play a I-IV-V-I progression in both major and minor (i-iv-V-i). 5. Ask students to describe how the progressions sound. 6. Play the recording of Bach’s Little Fugue, and have students describe what they hear. 7. Play the major and minor chord progressions on the piano and have students discuss which best matches the overall mood of the piece. 8. Repeat steps 6-7 with Bach’s Sonata in E Major. 9. Write a simple four-measure melody on the chalkboard. Also write A major and A harmonic minor scales on the board, and write in the triads above scale degrees 1, 4, and 5 10. Review the notes of the grand staff. 11. On the board, have the students help you decide which chords should go with the melodic line, doing the same melody in both major and minor. 12. Play the examples on the piano as written by the class.
Evaluation: Observe the students as they listen and discuss
Extension: ~ Give the students another melody for which to compose harmony on their own. ~ Have students compose their own melody and harmonize it. ~ Have students perform a Major and minor scale on their primary instruments.
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Tone Color/Timbre Singing, Listening, Discussing Intermediate II
National Standards: 6
Concept: Different instruments are used for different timbres
Objective: Students will be able to differentiate among the different instruments heard in given musical examples.
Materials: Various recordings: Bach: Little Fugue in G Minor Prokofiev: Peter and the Wolf Bruckner: Symphony No. 4, III Dave Matthews Band: “The Best of What’s Around” (album: Under the Table and Dreaming) The Beatles: “Fool on the Hill” (album: Sgt. Pepper’s Lonely Hearts Club) Jars of Clay: “Boy on a String” (album: Jars of Clay) Rhonda Vincent: “Cry of the Whippoorwill” (album: The Storm Still Rages) Nickel Creek: “House of Tom Bombadil” (album: Nickel Creek)
Sequence: 1. Play the different pieces for the class, for exposure to different instrument timbres, and different musical styles. Have students make a list of all the different instruments they hear in each example, and discuss as a class a. Bach: Little Fugue in G Minor i. Identify the string instruments as they enter with the fugue theme b. Prokofiev: Peter and the Wolf i. Identify the various woodwind instruments of the different characters c. Bruckner: Symphony No. 4, III i. French Horn solo at the beginning of mvmt. III d. Dave Matthews Band: “The Best of What’s Around” i. Electric guitar/bass, and saxophone solo in the middle e. The Beatles: “Fool on the Hill” i. Flute, sitar f. Jars of Clay: “Boy on a String” i. Electric Violin, arco and pizzicato g. Rhonda Vincent: “Cry of the Whippoorwill” i. Banjo introduction, acoustic guitar h. Nickel Creek: “House of Tom Bombadil” i. Mandolin, violin, acoustic guitar
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Evaluation: Check lists and observe class discussion
Extension: ~ Have students listen to their favorite music and identify the instrumentation, and share with the class ~ Include other recordings of other instruments
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Dynamics/Expression Listening, Researching, Discussing Intermediate II
National Standards: 6, 7, 9
Concept: Culture influences music
Objective: The students will describe and compare various cultural beliefs, values, and traditions by studying the lyrics of popular music from a variety of genres. Materials:
Sequence:*
1. Class may be divided in groups of two or three, or work individually. Each group will be assigned a genre (Rap, Country, Alternative, Tejano, Heavy Metal, Reggae, or other genres as suggested by students).
2. After surfing the Internet for song lyrics and information, and obtaining teacher’s approval for song choices, the students will prepare a presentation on their assigned group. This presentation should include information about the group's ethnic background, average age, style of dress, education and religion.
3. Once the students have this description down they should then begin analyzing the song lyrics for such abstract qualities as values. For example, what attitudes do fans of alternative or rap music tend to hold toward the government? To technology? To parents? To society?
4. Each group completes their project by creating a visual aid illustrating their group as well as a five-minute oral presentation of their findings. The visual aid could be something as simple as a poster, or as elaborate as samples from music videos.
5. The class then as a whole has a discussion with the teacher as facilitator comparing these groups with regard to their values and lifestyles.
Evaluation: The presentations and visual aids should be evaluated according to effort, content, and originality/creativity
Extension: ~ Students compose an extra verse for one of the musical selections they reviewed
* Adapted from http://www.cartersville.k12.ga.us/pdg/lessons/music/music.html
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Dynamics/Expression Performing, Listening, Discussing Intermediate II
National Standards: 1, 2, 5, 6
Concept: Basic Tempo Markings
Objective: Students will be able to define basic tempo markings, and apply them in performance
Materials: Music Dictionary, Students’ primary instruments
Sequence: 1. Each student should bring his/her primary instrument and a piece of music on which he/she is currently working. 2. One at a time, students will announce their piece, and define the tempo marking(s). If a student does not know the marking, they may look it up in the music dictionary. 3. Teacher makes a list of all the students’ tempo markings on the chalkboard. 4. After defining the tempo marking, each student performs a portion of his/her piece to demonstrate the tempo marking. 5. Teacher selects another tempo marking, whispers it only to the performer, and the student performs the piece again, applying the new tempo, while the other students guess the new tempo (The students may do a “self-quiz” and write down their tempo guesses on a piece of paper) (Another option: Students can write their tempo guesses on an index card to hold up for the teacher to see)
Evaluation: Observe the ability of the performing student to apply tempo terms, the class discussions of the new tempi performed, and look over the “self- quizzes”/index card answers
Extension: ~ Students may improvise their own new tempi ~ Students may change tempos in the middle of the piece. ~ While the teacher performs, the students may suggest new tempos, one at a time, that the teacher must demonstrate
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Pitch/Melody Analyzing, Listening, Discussing Intermediate II
National Standards: 2, 5, 6
Concept: The Whole Tone Scale*
Objective: Students will be able to build a whole tone scale starting on any given pitch, and will be exposed to music composed using the whole tone scale
Materials: Recordings of Debussy "Prelude to 'Afternoon of a Faun'" and "The Cage" by Ives. Also photocopied handouts of "The Cage" by Charles Ives.
Sequence: 1. Define what a whole tone scale is, a scale that is comprised completely of whole steps. Create a whole tone scale on the board starting on middle C with the students’ input. 2. Find out by working collaboratively on the board how many unique whole tone scales there are (2). Make a list of the differences between the whole tone scale and the more typical major and minor scales. 3. The whole tone scale has no half steps, so how do you know what is the tonic of a piece that is written in the whole tone scale? 4. Have each student play either the C or C# whole tone scale on the piano 5. Play for them a couple of short excerpts of pieces that utilize the whole tone scale: the whole tone section in Claude Debussy's "Prelude to 'The Afternoon of a Faun'” and "The Cage" by Charles Ives. 6. Make handouts of "The Cage", and have students highlight whole tone passages. 7. As a quick quiz, students should name which form of the whole tone scale is used in “The Cage” and then write both forms of the whole tone scale on a piece of staff paper.
Evaluation: Check for understanding by grading the quizzes and observing the students’ ability to identify whole tone passages in “The Cage”
Extension: ~ Students compose a piece using a whole tone scale ~ Students improvise in small groups using the whole tone scale
* Adapted from http://www.lessonplanspage.com/
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Sample Lesson Plans
Advanced: grades 10-12
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Rhythm/Duration Singing, Listening, Discussing Advanced
National Standards: 2, 3, 5
Concept: Music can employ more than one subdivision of a beat at a time.
Objective: Students will be able to perform the following polyrhythms: “2 against 3” “3 against 4”
Materials: Chalkboard, rhythm percussion instruments
Sequence: 1. Diagram the subdivision relationship of the polyrhythms on the chalkboard
2. While the students beat the duple subdivision, the teacher beats the triple subdivision. 3. Reverse. 4. Tell the students about sentences that are used to describe the combined rhythmic result: “No difficult”, or “Pass the bread and butter” 5. Divide the class in half, and half will do duple, half triple. 6. Have students stomp feet duple while beating triple. 7. Finally, do the polyrhythm using both hands. 8. Repeat process with “3 against 4” 9. Pass out the percussion instruments, and allow students to improvise with instrument combinations, using polyrhythms just learned.
Evaluation: Observe the students’ ability to perform polyrhythms
Extension: ~ Have students compose a short composition in two-part, three-part, or four-part harmony, employing polyrhythms.
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Form/Structure Singing, Analyzing, Discussing Advanced
National Standards: 1, 2, 5, 6
Concept: Imitation and Sequencing are two important compositional techniques
Objective: Students will be able to analyze a score and label points of sequencing and imitation, including retrograde, inversion, retrograde inversion, augmentation, diminution, and transposition of the thematic material.
Materials: Score copies of a Bach two-part invention, overhead score copies, overhead projector, highlighters, a recording
Sequence: 1. Hand out copies of the score, and play a recording of the selected piece. 2. Help the class locate the theme and counter-theme. 3. Have the students work in groups to identify as many areas of imitation as possible – highlight thematic material with one color, and counter-thematic material with a different color. 4. Define the terms retrograde, inversion, retrograde inversion, augmentation, diminution, and transposition. 5. Identify and highlight points of retrograde, inversion, retrograde inversion, augmentation, diminution, and transposition of the thematic material. 6. Give each group a transparency score, and each group will make a presentation to the class.
Evaluation: Observe presentations.
Extension: ~ Have students write an eight-measure, two-part piece, employing some form of melodic imitation.
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Tone Color/Timbre, Dynamics/Expression Improvisation, Composing, Performing, Discussing Advanced
National Standards: 2, 3, 4, 7, 8, 9
Concept: Music plays an important role in theater
Objective: Students will demonstrate knowledge of tone colors, timbres, and dynamics through improvisation
Materials: A video of a “silent movie”, several short video clips, if possible: an audio recording of silent movie music
Sequence: 1. Watch the silent movie. Discuss how the music was used to convey the emotions of the actors 2. Divide the class into small groups and assign each group to one of the video clips. 3. Have the groups watch their video clip several times (with the sound turned off) and sketch out how they can accompany the clip (by improvising on their primary instruments, or by singing) 4. Each group will perform for the rest of the class, and the class will critique, on paper, how effectively the performing group was able to convey the emotions portrayed in the video clip. 5. After all of the groups have performed, facilitate a class discussion comparing the different methods used by the different groups. 6. If an audio recording of an authentic silent movie music is available, class groups may perform a skit demonstrating the emotions heard in the music.
Evaluation: Observe the groups as they perform, and collect and review the critiques written by each student.
Extension: ~ Have groups act out skits while others accompany on instruments. ~ Listen to movie scores and have students describe what might be going on in the film during that selection.
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Pitch/Melody, Dynamics/Expression Singing, Listening, Discussing Advanced
National Standards: 1, 3, 4, 5, 9
Concept: Music sometimes relates to history, and can be used to tell a story
Objective: Students will listen for emotional significance in music, and understand how music can relate to history
Materials: A recording of Billy Joel’s “We Didn’t Start the Fire”, and Sibelius’s Finlandia or Beethoven’s “Eroica” symphony
Sequence: 1. Play the song, first time just to listen, second time to focus on the lyrics. 2. Have students name things they can remember from the song – list on the board 3. Listen one more time and add to the list 4. Talk about the social context/emotional significance of the lyrics 5. Identify the form and parts of the form of the song – chorus, verses, bridge, etc. 6. Hand out lyrics sheets, and divide the class up into groups. 7. Assign each group a certain number of lines to research and get a basic understanding of each event and when it happened 8. Each group shares with the class. 9. As a class, dictate the melody of the verse. 10. Each group then writes a new verse, paying attention to rhyme, meter, and style. 11. Each group performs their verse for the class, and explains the emotional/historical significance of the events they chose to include in their verse. 12. Play Finlandia for the class, and describe how it also depicts historical events – Nationalism, etc., or play Beethoven’s “Eroica”, and discuss the story behind it
(In 1798, General Bernadotte, the French ambassador to Austria, suggested to Beethoven that he might write a symphony in honor of Napoleon. Although today we think of Napoleon as a conqueror, he had begun his career as an advocate of French freedom and had already built a reputation as a great leader, so it is unsurprising that Beethoven agreed. The idea of the symphony languished until the summer of 1803, but work then proceeded rapidly.
In the spring of 1804, Beethoven's friend Ferdinand Ries saw a copy of the score with the title page labeled ``Bonaparte'' at the top [and, interestingly, ``Luigi'' van Beethoven at the bottom]. But on May 18th, 1804, Napoleon
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crowned himself Emperor, and upon hearing the news Beethoven tore the title page in half, screaming that Napoleon would ``become a greater tyrant than anyone!''-prophetic words indeed. When the symphony was finally published, it was listed as a ``Heroic symphony, composed to celebrate the memory of a great man.'')*
13. Ask students to name other pieces/songs that depict historical events
Evaluation: Observe presentations and class participation
Extension: ~ Assign students a historical event about which to compose ~ Assign students to bring in a recording of their favorite piece that portrays history
* Taken from http://fmg-www.cs.ucla.edu/geoff/prognotes/beethoven/symphony3.html
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Pitch/Melody Singing, Listening, Analyzing Advanced
National Standards: 1, 2, 5, 6
Concept: Aural Skills
Objective: Students will be able to identify deviations in pitch patterns that are nearly the same.
Materials: a piano, handouts of the melodic excerpts you will play
Sequence: 1. Each student receives a handout of the melodies to be played (the handout should start with several short, four-note patterns, then six notes, then longer, including popular, easily recognizable melodies) 2. Warm up vocally by singing a few scales/vocalizes 3. Play a pattern on the piano. Students echo the pattern by singing it. 4. Play the pattern again, changing one note in an obvious manner 5. Students circle the note which changed, and notate the new pitch 6. Discuss, as a class 7. Repeat the process for the entire handout (#3-6). 8. You may have students compose a short melody, perform it on their primary instruments, and then alter it for the class to identify the changes.
Evaluation: Check for understanding by grading the handouts
Extension: ~ Change more than one pitch per example
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Sources Consulted
Books
Lavender, Cheryl. It’s Your Turn! Jenson Publications, Inc. 1998, New Berlin, WI.
Lavender, Cheryl. The Ultimate Music Assessment and Evaluation Kit. Hal Leonard. 2000, Milwaukee, WI.
National Standards for Arts Education: What Every Young American Should Know and Be Able to Do in the Arts. MENC Publishing. 1994, Reston, VA.
Performance Standards for Music: Strategies and Benchmarks for Assessing Progress Toward the National Standards, Grades PreK-12. MENC Publishing. 1996, Reston, VA.
Wojcik-May, Kathleen. Children Sing, Children Play. Hal Leonard. 1994, Milwaukee, WI.
Curricula
Centerville City Schools: K-12 Music Graded Course of Study, adopted July, 1987. Centerville, Ohio.
Middletown City School District: Music Curriculum, 1-12 Course of Study, adopted April 1995. Middletown, Ohio.
Ross Local School District: K-12 Music Course of Study, adopted May 2000. Butler County, Ohio.
Consultants
Dr. Kay Edwards, Assistant Professor, Miami University
Mr. Robert E. Lee, Senior Instructor, Miami University
Dr. Brenda Mitchell, Associate Professor, Miami University
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