201 East MF-$0.76E0c-$4.43 PLUS POSTAGE *Music Ed

DOCUMENT RESUME

ED 102 136 SP008 918 .

TITLE Music in Elementary Education. Bulletin No.743. 'INSTITUTION Texas Education Agency, Austin. Div.of Curriculum -Development. ,PUB DATE 74 NCTE 78p. AVAILABLE FROM Fine Arts Section, Division of Curriculum Development, Texas Education Agency,-201 East Eleventh Street, Austin, Texas 78701 ($1.50;Appendix purchased separately $1.00)

EDRS PPICS MF-$0.76e0C-$4.43 PLUS POSTAGE DESCRIPTORS *Elementary Grades; Equipment; *Musid Activities; *Music Education; Program Content; Student Evaluation; Testing

ABSTRACT This guide presents a general iusic program fbr elementary grades. The program -divides the grades intofour levels: early childhood through grade 1, grades2-3, grades 4-5, and grade 6.. At each level the program isoutlined in terms of rhythm, melody, harmony, form, tempo, dynamics,*and tone color.In addition, there is a section on instrumental programswhich is strongly recommended as an enrichment of the generalmusic program, a section on evaluation which explains and gives examples of bothteacher-prepared and standardized music testte and a section oneqdipping the music 'room which lists instruments, records, textbooks,and other equipment necessary for this type of program. ,There areshort pdtagraphs dealing with music in kindergarten, multicultural education, and special education. The documentincludes a glossary of musical terms and an appendix with a list of resourcematerials and a directory. (PA)

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-b-entary U S DEPARTMENT OF MEALTI Ele EOUC AVON IL WIMP An NATIONAL INSTITUTE Of EDUCATION THIS DOCUMENT HAS BEEN DUCEO EXACTLY AS RECEIVED THE PERSON OR ORGANIZATION CI *TING IT POINTS Of viEW OR OPI StAtED DO NOT Necessaam SENT OF F 1CIAL NATIONAL INSTITL Education E Du( A ; ION POW( ION OR POLICY

After the original free.distribution of this bulletin (743),additional copies may be purchased for $1.50; howevot demand for educational material, the supply at times maybe exhausted. Since Texas Education Agency publications are notcopyrighted,. any or all sections of this bulletin may. be dup Official distribution of Agency bulletins to the of/ices of schooldistrict and county superintendents is made al offices and is not to be considered as personal prope:tx,ofthe') individuals who receive them.

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Fine ft Division of Curriculum DE Texas EdUcal 201 East Austin, Te ;Sic

mentar U S DEPARTMENT OF HEALTH. EDUCATION & WELF %RE NATIONAL INSTITUTE OF EDUCATION ?His DOCUMENT HAS SEEN RE 40 DuCED ExACTLv AS RECEIVED ERMA THE PERSON OR ORGANIZATION ORIGIN AT 'hit IT POINTS Of VIEW OR OPINION, stAtEO DO NOT NECESSARILY RE PRE SENT Off iCiAL NATIONAL INSTITUTE Of Jcation EDUCATION POSIT.ON OR POLICY

tee distribution of this bulletin (743), additional copies maybe purchased for $1.50; however, with the increasing onal material, the supply at times may be exhausted. ation Agency publications are not copyrighted, any or all sections of this bulletin may be duplicated. In of Agency bulletins to the offices of school district and countysuperinte-ndents is made as property of those. to be considered as personal property of the individuals who receive them.

. Fine Arts Section Division of Curriculuni Development Texas Education Agency 201 East 11th Street Austin, Texas 78701 9 A

COMPLIANCE WITH TITLE VI, CIVIL RIGriTS ACT OF 1964 AND THE MODIFIED COURT ORDER, =IL ACTION 5281, FEDERAL DISTRICT COURT,EASTERN DISTRICT OF TEXAS, TYLER DIVISION

Reviews of local education agencies pertaining to compliance ,vith Title VI Civil Rights Act of 1964 and with specific requirements of the Modified Court Order, Civil Action No. 5281, Federal District Court, Eastern District of Texas, Tyler Division are conducted periodically by staff representatives of the Texas Education Agency. These reviews cover at least the following policies and practices:

(1) acceptance policies on student transfers from other school districts;

(2) operation rof school bus routes or runs on a non-segregated basis;

(3) non-discrimination in extracurricular activities and the use of school facilities; _ , - - - (4) non-discriminatory practices in the hiring, assigning, promoting, paying, demoting, reassigning or dismissing of faculty and staff members who work with children;

(5) enrollment and assignment of students without discrimination on the ground of race, color or national origin;

. (6) non-discriminatory practices relating to the use of a student's first language; and

(7) evidence of published procedures for hearing complaints and grievances.

In addition to conducting reviews, the Texas Educatibn Agency staff representatives check complaints of discrimination made by a citizen or citizens residing in a school district where it is alleged discriminatory practices have or are occuring.

Where a violation of Title VI of the Civil Rights Act is found, the findings are reported to the Office for Civil Rights, Department of Health, Education and Welfare.

If there be a direct violation of the Court Order in Civil Action No. 5281 that cannot be cleared through negotiation, the sanctions required by th- Court Order are applied. a.

Foreword

This guide, was prepared to provide administratorsa nd music teachers r with guidelinesfor evaluating and updating music education instruction frora 'kindergarten through the sixth grade. The nucleus of the guide was developed by musiceducators from Texas public schools and universities who participated in the FineArta Advisory Project sponsored by the Texas Education Agency...Further contributions were made by selected musiceducation supervisors, teachers, and university professors from all regions of Texas. This curriculum guide presentsi.n effective generalmusic lirogram for the elementary grades designed to reflect recenttrends.in music education and to strengthen music instruction in Texaspublic schools.

M. L. Brockette Commissioner of Education

111 Texas Education Agency I Au .ti Texan

Vt.. 101r we** tvePVAIIMIWIA 1,+ u . w su- .,..- sTATE...BeARB..0F...etteffiw...... (S.tate Board ion VocationmeEducation )

Vernon Baird. Fort Worth E. M. Huggins, Jr. Fulshear James M. Binion, Abilene Dr. William N. Kemp, Houston Joe Kelly Butler, Houston Paul Mathews, Greenville Carlisle Cravens,"Arlington Dr. Stanley B. McCaleb, Richardson Jesse Herrera, San Antonio Ducine J. McCull6ugh, Corpus Christi. W. H. Fetter, La Marque Frank M. Pool, San Angelo Omar Garza, M.D., Edinburg Glen L. Smith, Waco Joseph C. Gathe, M.D., Houston Mrs. Ronald Smith, Fort Worth E. R. 'Gregg, Jr., Jacksonville Mrs. Jane H. Wells, Austin Mrs. Johnnie Marie Grimes, DallWt James H. Whiteside, Lubbock George C. Guthrie, San Antonio Herbert 0. Willborn, Amarillo Ben R. Howell, El Paso

M.L. Brockette,Commissionei of Education (Executive Officer of the State Board of Education)

L. Harlan Ford, 5eputy Commissioner forEducational Programs and Personnel Developnent 4 Alton'O. Bowen, Deputy Commissioner for EducatiohAdministkative Services

Dorbthy Davidson, Director, Division of Curriculum Development

FINE ARTS STAFF

Don Irwin, Program Director Phil.Manning, Consultant

Marie Hill, Consultant Ida Nell Williams, Consultant 4

iv Contents C

41.

The Role of Music in Education 1 --aGeneral ...... *.40.74.0.....- music in Elementary Grades 3 . Music in Kindergarten ..4 Music inMulticultural Education 6 Ethnic Music 6 musfc in Bilingual Education 7

Music in Special Education 7

Level One: Early Childhood Through Grade 1 9

Level Two: Grades 2-3 17

Level Three: Grades 4-5 27

Level Four: Grade 6 37

Instrumental Program: Grades 1-6 45

Evaluation 49

Equipping the Music Room 55

Glossary 65 t. Acknowledgments 71 0

:ontents

lion p 1

3 pm11:enspaimani...'Y,Grades ...*.1vt aa...37.064.400.00 4

:ation' 6

6 ual Education 7

Through Grade 1* 9

.; 1-6 45

71 GENERA1. MUSIC IN ELEMENTARY GRADES of Music education is a.continuous processfrom. music, moving, playing classr kindergarten throughout the secondary school. and creating, Through these 'There m *st bea plannedselluence of instruction to interpret and use thesymlbos if the students are to achieve their maximum These experiences 'should be in growth in musical skills and understandingof to ensiire a balancdd music pro music.Learning music means vundiq-standing the tary, gl,ades. structU're o musie, un erstan s asic e e ments of rhythm, 'melody, harmony,and form, Adequaie facilities and equiprti and its expressive elements of tempo, dynamics, for an effertive learning envirt and tone color. A music program unified to'Barbara L. Andress, an, eft levels by this basic - elements approach in-creases environment is "space, light; the validity of music as an integral part of the to- freedom to explore temperedty tal schoolcurriculum. mutually understood and agree, at, exploration will not lead to cha According to the above statements, the primary 'purposes of musical instruction are musical. Music in kindergarten and thq However, as stated by Robert E. Nye and Vernice grades should be taught either T. Nye, "... music is acknowledged tobe of valued specialists or4cooperatively by assistance in the realization of non- musical and classroom teachers.If a teacher is responalble-foiknovV- proa-c-Ffiused, si`r7iFci ing specifically what he is doing withmusic; is each classroorii a minimum of he teaching it? or is he using it for someother two times each week.In the purpose? Music teachers in the past have done grades, it is desirable to have w,..11 in lielpi4 children enjoy and perform music. tirely by music specialists.If Today's teachers must add to these accomplish- -are =involved in teachingmusic ments by helping children understandmusic."' tary grades, their responsibil. supplement the instruction pro' In the elementary music programchildren should specialists.The music specia learn about all of the elements simultaneously. teachers should have adequate They participate in music through varied class- ground in elementary music m room experiences: singing, listeningactively to competen in teaching music.

1 Robert E. Nye and Vernice T. Nye, MUSIC IN 2 Barbara L. Andress, ed:, Tv THE ELEMENTARY SCHOOL, 3rd ed.(Engle- HOOD (WaShirigton, D. C.: wood Cliffs,. New Jersey: Prentice-Hall, Inc., Conference, 1973), p. 23. ,1970),, pp. 3-4. ,

V 3 7 O GENERAL MUSIC IN ELEMENTARY GRADES .a continuousprocess from music, moving, playing classroom instruments, shout the secondary school. and creating.Through these activities, they learn ,anned sequence of instruction to interpret and use the symbols of music notation. to achieve their maximum These experiences should be in equal poportion skills and understanding of to ensure a balanced music program for eleme4- music means understanding the tary grades. , understandingIfs-b-asic ere melody, harmony, and form, Adequate facilities and equipment must he provided elements of teinpo, Onamics, for an effective learning environment. According Music program unified at all to Barbara L. Andress, an effective learning ... c-elements approach, increases environment is "space, light, things to explore, is as an integral part of the to- free'dom to etxplope- tempered by .grounci rules Atm. mutually understood and agreed upon so that the exploration. wit!, not, lead to chaos...2 ,ove statements, the primary al instruction are musical. Music in kindergarten and thelower elementary d by Robert E. Nye and Vrnic grades should he taught eftber entirely by music - is acknowledged to beof valued specialists or cooperatively by. music specialists 'ealization of non-musical ob7 and classroom teachers.If a cooperatil/e ap- care-speifisibtector knoUT--- PiOda is tiKeci, the music specialist-shoulti Visit; at hp is doing with music; is each classroom a minimum of one and preferably . is he using it for some other two times each week.In the ui.per elementary eachers in the past have done -grades, it is desirable to have music taught en- idren enjoy and perform music. tirely by music specialists.If'classroorn teachers must add to these accomplish- are involved in teaching music inthe.upper elemen- lildren understandmusic,"I Lary grades, their responsibility should be'to supplemen.t the instruction provided by music music program children shoui# specialists.Thy music specialists and classroom_ :be elements simultaneously. teachers should have adequate educational back- music through varied class- ground in elermentary music methods to display singing, listening actively to competence in teaching music.

Vernice T. Nye, MUSIC IN 2Barbara L. Andress,. ed., MUSIC IN EARLY CHILD- Y SCHOOL, 3rd ed.(angle- HOOD (Washington, D. C.:Music Educators National ersey: Prentice-Hall, Inc., Conference, 1973), p. 23.

3 7c1, c. als I

According to Principle VI,Standard 5, in PRIN- The exceptions to Atandard 6 appll CIPLES AND STANDARDSFORACCREDITING ,. (choir) and instrumental classes, ELEMENTARY AND SECONDARYSCHOOLS, Texas ,classes.All music class periods Education Agenq Bulletin 60 Revised,music must length and freftiency to ensure mu be included in the elementary`offeringif .a balanced 'For the purpose of . The ingenious elementary musio-_ curriculum is maintained. S. assisting administrators andteachers as they seek ., ways to tncorporateroPrie-eptir abott to fulfill this requirement, aneffective general the importance of. safety, and love giades is presented State-adopted textbooks there are music program for elementary about; mail carriers,v,firefighters, in this Curni,Aulum guide.The grade -level approach has become less tenable becauseof the stress on police officers, grocers, shoemak the importance ofteaching4ach Child at his or her fishermen, aviators, astronauts,. level of understanding andthe trend to organize ele- are alpcisongs about working on fa mentary schools intonongraded grchips;.Ther'efore, ships, and in ltimber camps.In a this guide is organized intolevels of learning.Pro- ers shouldhelp chadren become a for those who main- available for careers in music..tri visions are also made, however, careers as well' as performance-t tain Izrade-,level organizatiorf.The program, recommended for Level IV(Grade 6).should he requiritthfor ties to teach tialvty are found irkac . ixthgrade students in bothelementary and middle lights, obedience, to parents, burn 41 2teairrne..-- Pat rintic-it-IWA*1443-r-tio s'chool..citganizations. p. . found in air/music textloks rangil ...... Since general music isconcerned with the detteIctiment. anthem to-sVAp about our flag ant of skill?, theimplementation of thlisprogram requires' as "Yankeeoodle6 and "WhenJo' that classes be no largerthan 35 students asrecommend- Hom`e." Patriplic gongs should 1:14 ed in Principle VII,Standard 6, Bulletin 560.Revised. 'child's repertoire.... --..._ 4' . . 1 f; .

MUSIC IN KINDERGARTEN

Tha 'kindergarten music prog-ram should prosides Since the attitudzwandfeelings to a variety of experiencesfor young children'through at thi's time are often.thZ ones ththe active involvement in singing,listening, playipg through life; the teacW*should a' :nstruments, movement, and in creative or'.'pre- enthusiastic reactions, making ck tend"-activities.Music should be informal,. growing as delightful and enjo'able as pos out of the children's everydayclassroom work.or play.A le'ss structured music time allows more Children's imaginatfonsrarkkeens spontaneity in young children and affords theteacher they have a natural lovelot sill-, opportunities' for individual attention., movement. They love the preton

4.. VI, Standard 5, in PRIN- The exceptions to Standard 6 apply only tochoral groups music RDS FQR ACCREDITING (choir) and instrumental classes, not to gene.tal .ECONDARY SCHOOLS, Texas ,classes.All music class periods should be ofsufficifnt letin 560 Revised, music must length and frequency to ensure inusicat growth. nentary offering ifa balanced:: .For the-purpose of The ingenious elementary music teacher will find many Ira and teachers as theyseek ways to- incorporate conce.pts...about digniti.of work rent, an effective general the importance of safety, and love of country.In the ,ementary grades is presented State- adopted textbooks there are many work songs about mail carrier's, firefighters, dentists, carpenters, .de.The grade-level approach le because of the stress on police officers, grocers, shoemakers, bus drivers,, ching each child fiit his orher fishermen, aviators, astronauts, and soldiers; there are also songs about working onfarms, railroads, and. the' trend to organize ele- nOngraded groups.Therefore. ships, and in lumber camps.In addition, music. teach- tto into levels of learning.Pro- ers should help children become awareof the choices however, for those who main- available for careers in music, includingmusic-related, , careers as well asperformance careers.Opportuni- nizhtion.The program recorn- about traffic .72rade. 6) should be requiredfor ties to teach safety are found in songs ,n bothelementary and middle lights, obedience to parents, burns, and.leaving medi- r Ile P_ALriatic_AnclArnexkcan heritage songs are fuuhd in all music textbothks ranging from our national is concerned with thedevelopment anthem to songs about our flag and regional songssuch .entation of this program requires as "Yankee Doodle" and "WhenJohnny Cornea Marching !ger-than 3i students asrecommend- Home. " .Patriotic songs shot* become a partof every standard 6, Bulletin. '7)60Revised. child's repe-toire.

MUSIC INKINDERGARTEN

isprograMgram should proi.ide Since the attitudes and feelings towardmusic developed prothrough at this time are often the onesthe children will carry. :es for young children singmg,. listening, ,playing through life,, -the teacher should strive tomaintain ent, and in creative or "pre- enthusiastic reactions, making eteryexperience in music ic should be informal, growing as delightful and enjoyable aspossible. everyday cIassroorfl work or red music time allows more Children's imaginations are keen inearly childhood and childrer and affords .the teacher they have a natural love forself-expression-through itival attention. movement. They love the.pretense of beinganimats,

4 vehicles, machines, or forces of nature.This natural Use visual cues with &- ability is often lost if not cultivated in early childhood. phrases when using the Concepts in music are formed as a resultof experiences Include a variety of ter in-music which have real meaning forchildren and which activities.in beg innin remain as apart of their intellectualunderstanding of the movements set the ten basic elements of music.In early childhood such con - beat to their movemen cepts are not forced. or taughtformally.They become a natural part of the music period.Although important, Use melody bells as a the teaching of concepts should not replacethe emphasis periences since they g in kindergarten on the enthusiasticparticipation of the sentation to pitches th children. abstract. Concepts which may be developed are recognitionof . Supply different types differences in pitch (high-low); tones moving oneafter instruments. the other to make melodies; the meaning of tonecolor in music; tauditory and visual recognitionof melodic Give children recognit direction and like-unlike phrases; loudnessand softness;s and other expressive elements such as fastand slow. Provide a balance of a Such lea rnings can make music eves moreexciting and have real meaning for children. Include a variety of co singing, listening, anc Following are some suggestions forkindergarten teachers: Provide for many type and individual, creativ Use music of relatively short length andof matic play, and "pret( high interest value representing all styles, Reriods, and ethnic groups. Offer recognition, enc approval, patience, an Seek continually active participation onthe part of the children throughperforming Provide opOrtunities and moving to music. turns in musical activ,

Include many opportunitiesfor children to . Use music throughout sing ia unison either. withother voices or appropriate. with an instrument so thatthey learn the sound and feeling of their ownvoice as ti ey match pitches. .

5 t

or forces of nature.This natural Use visual cues withpitciies and melodic if not cultivated in early childhood. phrases when using the terms high andlow. ,re formed as a result ofexperiences Include a variety of tempos in rhythmic real meaning for children and which. -activities.In beginning stages, let children's their intellectual understandingof the movements set,.the tempo, matching rhythmic usic.In early childhood such con- beat to their movement. or taught formally.They becon.m.a itisic period.Although important, Use melody bells as a part of melodic ex- epts should not replace theemphasis periences since they give a concrete repre- enthusiastic participation of the sentation to pitches that are otherwise abstract. melody be developed are recognition of . Supply different typea of rhythifi and (high-low); tones moving one after instruments. elodies; the meaning of tone color best efforts. nd visual recognition of melodic Give children recognition for their nlike phrases; loudness and softness;- periods. z- elements such asfast and slow. Provide a balance of active and restful aalie music even more exciting and Include a variety of content and activitiesin 'or children. singing, listening, and movement. suggestions for kindergarten . Provide for many types of activities: group and individual, creative work and'play, dra- --: of relatively shortlength and of matic play, and"pretend" situations: !est value representing allstyles, . Offer recognition, encouragement,help. and ethnic groups. approval, patience, and understanding. inually active participation on the children to take children through performing . Provide opportunities. for the ;-, to music. turns in musical activities. day whenever any opportunitiesfor children to . Use music throughout the school ison either with othervoices or appropriate. strument sothatthey learn the feeling of their own volce asthey .ches.

5 a. MUSIC IN MULTICULTURAL EDUCATION General Music in elementary gradeswith its emphasis / of one c.,ulttireleads td sympat on folk music, whichis said to express thesoul of a of others and brings closer fe, race, is uniquely appropriate topromoting under- cation. standing of various cultures. A study of the music

Ethnic Music All State-adopted music series includeexamples represent various of ethnic must of many cultures. A-functional., visit the clash to s' knowledge of other musical languages can open of the music and-4:A' the way to a new set of standards which can lead own heritage' to cultural pride. -However, childrenwill not develop pride in their origins unless they feel . by pointing out the the teacher values their music, whichin some various ethnic grou instances is markedly different from Western art musical experience and folk music. How does one show that he or she values ethnic music? There are numerous ways, Africans broug own rich musk some of which are tions. They be by insisting that ethnic music must hymns and ball; be performed asauthentically' and from the two cc correctly as music of the Western the most trulV world world - -the spin by helping children to understand A sympathetic recognition of the social, cultural, and physical reveals their values and can s conditions of the country of origin ship in a meaningful manner.

. by asking students to explore their family origins and inviting adultswho A

10 6 MUSIC IN MULTICULTURAL EDUCATION tmentary grades with its emphasis of one culture leads tosymtiatlikic understanding is said to express the soul of a of others and brings closer feelingsof communi- ropriate to promoting under- cation. 7.ultures. A study of the music

sic series include examples represent various cultural groups to any cultures. A functional visit the class to share their memories nusical languages can open of the music and other arts froth their of standards which can lead own heritage ;owever, children will not ,r origins unless theyfeel by pointing out the contributions of sir music, which in some various ethnic groups to this country's y different from Western art musical experiences. For example: does one show that he or she There are numerous ways, Africans brought to this country their own rich musicaland religious tradi- tions.They borrowed from the English ng that ethnsic music must hymns and ballads.Combining ideas med as authenticatly and from the two cultures, they produced as music of the Western the most truly original music ofthe new world--the spiritual. A sympathetic recognition of themusic of various cultures children to understand feeling of kin- r. .,cultural, and physical. reveals their values and can strengthen a of the country of origin shipin a meaningful manner. students to explore their :gins and inviting adults who

/Dad JO 6 Musk in Bilingual Education Children in a program of bilingual educationshould music books be supplemented wit. have many opportunities to participatein music and well-known songs in the no'n-Eng co grow in musical skills,andiunderstanding.They used in the bilingual program.. participate in music through Varied activities- - pany such a song collectionwoul,' singing, listening, moving, playing instruments, classroom teachers. They shou' experimenting with sounds, and creating.Through good recordings with which to te these experiences, they may begin to be awareof folk dances associated with the "c the basic elements of music -- rhythm,melody, of instruction. ha"rmony, and design. One of the primary objectives of Teachers should have access to the State-adopted program is to develop in childre music textbooks' and accompanying recordings..If their cultural heritage, and an a' bilingual teachers are responsible for the music cultures.Teaching Spanish -spec program, suggestions in theteacher's editions of ditional songs and folk dances of the basic music series will provide guidelinesfor ing them with the compositions o, an acceptable program.Music classrooms 'should Hispanic composers are ways th be equipped with record players, tape recorders, to attaining this objective. a variety of recordings, resonatorand melody Recordings of instrumental mus`_ bells, autoharps, and rhythm instruments. rhythmic activities may be the s: Children in the bilingual program should learn songs the regular music program. Ho in English as well as the songs inother languages positions of Mexican origin for s, which may be found in the music textbooks.It is not will be another way to contribute always necessary to teach the same song inboth in their cultural background. W English and the other language. Since thenumber in enthusiastic and imaginative w of songs in other languages in each textbook maybe strong force in the growth of bic limited, it is recommended that theState-adopted

MUSIC IN SPECIAL EDUCATION Traditionally, music for special education chil- ctIvered that music provides this dren has centered on recreation andsocialization. traditional music activities do in Furthermore, in searching for areas where these cation children.But we will shi children can legitimately succeed, educators of assume these are the only reaso special education children have frequently dig- sical experiences for them. O

Lux i5f bilingual education should music books be supplemented with a,collectionof ities to participate in music and well-known songs in the non-English language being- kith; and understanding.They used in the bilingual program. Recordings to accom- through varied activities pany such a song collectionwould be of great value to [loving, playing instruments. classroom teachers. They should also have access to sounds, anti creating.. Through good recordings with which to teach thetraditional ley may begin to be aware of folk dances associated with the cultures of the language )f music -- rhythm, melody, of instruction. n. One of the primary objectives of the bilingualeducation 'e access to the State-adopted program is to develop in children a sense of pride in accompanying recording.If their cultural. heritage, and an appreciationof other re responsible for the music cultures.Teaching Spanish - speaking children the tra- ns in the teacher's editionsof ditional songs and folk dances of Mexico and acquaint- ies will provide guidelines for ing thtm with the compositions of Mexicanand other am. Music classrooms should Hispanic composers are ways that music cancontribute :ord players, tape recorders, to attaining this objective. rigs, resonator and melody rhythm instruments. Recordings of instrumental music for listening and rhythmic activities may be the same as those used in .gual program should learn songs the regular music program. However, the useof com- the songs in other languages positions of Mexican origin for dome of theseactivities in the music textbooks.It is not will be another way to contribute tothe children's' pride in their.cultural background. When presented tochildren teach the same song in both be a r language.Since the number in enthusiastic and imaginative ways, music can guages in each textbook may be strdng force in the growth of bicultural pride. 'mended that the State-adopted

MUSIC IN SPECIAL EDUCATION for special education chil- coyered that music provides this opportunity.These recreation and socialization. traditional music activities do interest special edu- ,rching for areas where these cation children.But we will shortchange them if we lately succeed, educators of assume these are the only reasons for providing mu- ildren have frequently dis- sical experiences for them.

7 Ha- It has been determined that most special education TempoListen for rhy accent and a clearly de- children are capable of singing, participating in , rhythmic activities, playing simple instruments, not just listening activelf to music, and experimenting with sounds. However, special education children need Range -- Select music in to begin with listening. They hear the soundsof used with other ch'ldre the music and, with familiarity, learn to. know them and possess them as their own. They can respond DurationSelect music to the sounds of music in a variety of ways: by mov- so children can traso ing to the design of the music, by playing instruments in its totality buS long. to accompany the music, by associating visual pat- time to react and ra-kpi terns with the design of the music, and by singing. Music classrooms should be Music chosen for singing or-listening should be the players, tape recorders, a va same kinds of music one would use with any child. and tapes, resonator and met Special education children may not be able to dis- percussion instruments, and cuss the intricacies of Baroque music, but the Music study centers should in sounds of the instruments, the crisp theme and for both tape recorders and re vigorous pulses will reach many of them. So will periods should be short and fr contemporary harrrionies, electronic music, and ment should be used many Om music from other cultures, as well as the large body of purposes because, for spec, of familiar serious music or the "now" music of music serves many different n their peers. Most teachers agree that the simplicity and repetition found in folk music makes it Since these children require e: easy to sing.At the same time, folk music belongs instruction, it is recommend* to the adult world and children can identify with by qualified music teachers. that world by learning folk songs. paramount importance that mu know music education for chill Guidelines for selecting songs or recorded mate- rooms but not for special ethic rials are: cooperatively with classroom trained for teaching special ec

..Simplicity- -Look for clarity in the are seldom prepared to work presentation of a basic musical idea: identifiable melody; unmistakable form (design); or clear, uncluttered rhythm pattern.

12, re ned that most special education .1Tempo..-Listen for rhythmic vitality: strong of singing, participating in accent .and a clearly defined moving pulse, playing simple instruments, not just speed. music, and experimenting with special education children need Raiige--Select music in the same range as ng. They hear ,the soundsof used with other children. familiarity, learn to know them their own.They canrespond Duration--Select music that is short enough sic in a variety of ways: by rnov- sochildren can grasp the whole composition the music, by playinginstruments' in its totality but long enough to give them tusic, by associating visual pat- time to react and respond. of the music, and by singing. Music classrooms should be equippedwith record Aging or listening should be the players, tape recorders, a variety ofrecordings one would use with any child. and tapes, resonator and melody bells,autoharps, lildren may not be able to dis- Percussion instruments, andpodsibly pianos. c Baroque music, butthe Music study'centers should include listening posts Arnents, the crisp theme and for both tape recorders and record players. 'Music I reach many of, them. So will periods should. be short and frequent.The equip- .onies; electronic music, and ment should be used many times a dayfor a variety ..ltures, as well as the. large body of purposes because, for special education children, ,,music or the "now" music of Music serves many different needs. teachers agree that the Earn- found in folk music makes it Since these children requireeexceptionallyskillful same time; folk music belongs inestruction, it is recommended that music be taught end children can identify with by qualified music teachers. However,it is of ing folk songs. paramount importance that music teachers,who know music education for children in regularclass- sting songs or recorded mate- rooms but not for specialeducation children, plan cooperatively with classroom teachers who are trained for teaching special education childrenbut ity--Look for clarity in the are seldom prepared to workwith music. pion of a basic musical idea: .ble melody; unmistakable esign); or clear, uncluttered pattern.

12,a 8 LEVEL ONE Early Childhood Through Grade .1 sr As a result of earlychildhood and first-year music. Examples of experiences through w experiences, the child should demonstrate thebe- reflect these behaviors are found haviors as stated in the instructional objectives. rent secLitms.

Rhythm Instructional Objectives Dramatizes songi and instrumenta . Keeps time to m4sic with bodily movement Plays rhythm instruments to accompany songs and Creates rhythmic accompaniments instrumental selections and instruments Sings with rhythmic accuracy Becomes aware of the "pictures" c Participates enthusiastically in singing *arnes

Student Involvement - Responding to music with free intrepretive body Playing a steady beat on a rhythm movement listening to music Performing fundamental movements to music(walking, Clapping a steady beat while singin running, skipping; leaping, galloping) Singing songs with special attention Clapping and playing on instruments eachstudent's Participating in singing games name - Examples: J John Smith Examples: "The Gallant Shi, "Did You Ever E "Sally Go Round '01J "Five Little Chi, I Ma-JJJIJJ ry Thomp- son Ma-ri-lyn 13 13 LEVEL ONE Early Childhood Through GradeI

7. N childhood and firstyearmusic Exampies of experiences throughwhich the child may hild should demonstrate the be.; reflect these behaviors are found inthe..student involve- ttthe instructional objectives. ment sections. /

Instructional Objectives

is with bodily movement Dramatizes songs andinstrumental selections accompaniments with body sounds rurnents to accompany songs and Creates rhythmic .tions and instruments accuracy Becomes aware of the"pictures" of rhythm siastically in singing games

Student Involvement lc with free intrepretive body Playing a steady beat onalfrhythrn instrument while listening to music

iental movements to music(walking, Clapping a steady beatwhile singing

.leaping, galloping) Singing songs with special attention tocorrect rhythm ng on instrumentseach student's Participating in singing games Examples: "The Gallant Ship" John Smith . "Did You Ever See a.Lassie?" 411 "Sally Go Round the Sunshine" Ma- ryThomp-son "Five Little Chickadees"

Ma-ril.lyn Day-id-son /34t- 13 Clapping the rhythm of the melodywhile ,sing ing or Demonstrating the difference in gro the fivt listening twos and threes by accenting in each group Using symbols to represent music that movesin sets of two and three Identifying Witten's of twos and titre /.% played on the drum Examples: twos dth Playing the melodic rhythm on rhyth 0 threeskillhi

Melody Instructional Objectives

Sings in tune, using good diction andnatural tone Demonstrates awareness ofmelodic quality Creates simple melodies Listens to instrumentalmelOdies Becomes aware of the picture of me visuals, and staff notation Shows melodic line of song by hand levels orbody movements

Student Involvement

Matching tones while singingindividually or in Moving the arms or entire body to groups and low sounds Matching a series of tones whilesinging individ- Choosing appropriate movementsa ually or in groups even melodic rhythm Making. up words for afamiliar tune . Singing songs with special attention togood diction, pure vowel r..:o.nds, andfinal consonants Playing original accompaniments are Listening.to many styles of compositions,the teacher fects on classroom instruments to helping children to be awareof melodies that are high singing, movement, and poetry or low, that movein small or big skips or steps 12 / tr of the melody white singing or Demonstrating the differen :e in grouping by twos and threes by accenting die first symbol *it in each group resent music that moves in sets Identifying patterns of twos and threes when played on the drum twos Playing the melodic rhythm on rhythm instruments threes'ink hi

c C. Instructional Objectives good diction arid natural tone Demonstrates awareness of melodic movement Creates simple melodies Ittal.melodies Becomes aware of the picture of melody in line notation, emit; bye hand levels or body visuals, and staff notation

Student Involvement singing individually or in Moving the arms or entire body to show high and low sounds

tones while singing individ- Choosing appropriate movements for even and uneven melodic rhythm ,ecial attention to good dic- Making up words for a familiar tune .nds, and final consonants Playing original accompaniments and sound ef- ,les of compositions, the teacher fects on classroom instruments to accompany aware of melodies that are high singing, movement, and poetry small or big skips or steps

12 Playing on melody bellssimilemelody patterns from Drawing the contour or a' meta* songs thechildren sing to guide them in understand- direction o ing melodic direction Distinguishing notated steps as Using line notation to show walking.running, and skipping melodies Relating the sound of a pitch to Examples: walking I If a pitch goes higher, thi JJ.1 the staff. running1"; drim; If a pitch goes lower, the skipping 411 didi\ the staff. Placing colored discs on flannelboard stairsteps to show If the pitch remains the a melodies that move up and downby steps and skips remain at the same level Creating a response by singing tion sung by the teacher

SKIPS

Harmony Instructional Objectives Hears and describes the harmonicbackground of music Becomes accustomed to singin

Student Involvement

Playing single and combined tones onresonator Playing single note (chord root, bells for comparison accompany the singing ofone -c Example: "Are You Slee Listening to the sound of combined tones on ac- "Row, Row, R companying instruments (piaao,autoharp, guitar, resonator bells) Singing complete songs unaccor a variety of accompaniments

15 ells simple melody patterns from, Drawing.the contour o elody to show melodic ing.to guide theM in understand - direction in Distinguishing notated steps and skips o show walking, running, es Relating the sound of a pitch to its notated placement: J. walking 'J /J If a pitch goes higher, the notes go higher on the staff. running0 If a pitch goes lowly the notes go lower on skipping 41 J 4P 41 the staff. Is on flaniiel board stairsteps toshow If the pitch remains' the same, the dotes up and d'own by stepsand skips .remain at the same level on the staff. tj Creating a response by singingan answer to a question sung by the teacher p

SKIPS 4=-

Instructional Objectives the harmoniC.background of music Beconies accustomed to singing withaccompanimenti

Student Involvement Gimbined tones on resonator Playing single note (chord root) on resonator bells to accompany the singing of one-chord songs

nd of combined tones on ac- Example: :- "Are You Sleeping" rents (piano, autoharp, guitar, "'Row, Row, Row Your "Boat" Singing complete songs unaccompanied and with a variety of accofnpanimInts

J54. Form. R Instructional Objectives

Shows awareness of phrases in singing Detrionstrates understanding of phra movement Recognizes like and unlike phrases", Plays same instrument for like phra ferent instrument for unlike phrases

O Student Involvement

Singing on one breath tonal patterns orphrases Creating changes in bodily movemen from songs the children sing spond to'changes in phases while list music 0 Listening to tonal patterns, rhythm patterns,and phrases played on instruments or in songsto de- Playing contrasting instruments to c termine if they are alike or different to like and unlike phrases

Listening to short music selections toidentify 4 sections as being alike or different(verse- chorus, AB form)

EXPRESSIVENESS

Tempo (Fast -Slow) Instructional Objectives

Recognizes contrast in tempo Responds with appropriate movemen is fast:slow

4.1

Student Involvement - Singing a familiar song at differentspeeds (fast- Discovering how tempo affects the ct medium-slow) I6 14 Instructional Objectives phrases in singing Demcpstrates understanding of phrase through movement unlike phrases Plays .same instrument for like phrases, different instrument for unlike phrases

Student Involvement ith tonal patterns or phrases- Creating changes in bodily movement to corre- dren sing spond to changes in phases while listening to music atterns, rhythm patterns, and v struments or in songs to de- Playing contrasting instruments to correspond alike or different to like and unlike phrases music selections to identify Ike or different (verse-

EXPRESSIVENESS

Instructional Objectives

in tempo Responds with appropriate movement toMusic which is fast-slow

Student Involvement

ong at differentspeeds (fast- Discovering how tempo affects the mood of music

14 . a- O Moving to fast music (fast walk, running,skipping, Discovering the appropriate m galloping. i as it changes tempo fast and Playing Follow the Leader usin Listening to selections that contain both even beats played on thedrum slow passages triangles and rhythm sticks by

Dynamics (Loud-Soft) Instructional Objectives Recognizes contrast in dynamics Produces loud-soft sounds with struments Responds to loud-soft music with appropriate movement 6 Student Involvement

Singing a familiar song both loudlyand softly Experimenting with instrument produce loud or soft sounds Listening to selections that contain loudand soft passages Making dynamic contrasts asd ing extremes, while singingfa Demonstrating contrasts of loud andsoft through bodily movement (Movements denoting strength Cboosing appropriate instrurne suggest loudness.) loud and soft passages in mug'

Tone Color (Quality of Sound) Instructional Objectives

Discovers difference in speakingand singing Identifies frequently heard ban instruments by sight and sound Discovers differences in voices andsounds of classroom instruments 15 /7 17'. lc (fast walk, running, skipping. Discovering the appropriate movement for music as it changes tempo

one that contain both fast and Playing Follow the Leader using fast and slow even beats played on thedrum by leader and on 4 triangles and rhythm sticks by followers

Instructional Objectives in dynamics Produces loud-soft sounds with voices andinstruments oft music with appropriate

Student Involvement

ong both loudly andsoftly Experimenting with insgtrurnents to discover which produce loud or soft sounds one that contain loud andsoft Making dynamic contrasts as directed,avoid- ing extremes, while singing familiar songs :casts of loud and soft through movements denoting stvength Choosing appropriate instruments to accompany loud and soft passages in music for listening

ound) Instructional Objectives

to in sreaking andsinging Identifies frequently heard band and orchestral instruments by sight and sound :es in voices andsounds of ent 15 / 7a. 17 Student Involvement

Comparing speaking and singingvoices by speaking 'Listening to individual performance recorded, ,toT the selected instrumen then singing several songs ti Listening to and distinguishingmen's voices, Seeing actual and visual examples (' ,women's voices and children'svoices, both live of the specified instruments and recorded Pretending to hold and play each ins Exploring the distinctive sounds ofclassroom instruments (rhythm, melody, andchording instru- Playing games of instrument identif ments) sound Playing games involving recognitionof classroom Discussing how sound is produced o instrument sounds events, Recognizing by sightand\scund selected instru- Exploring newly discovered sounds ments such as the violin,cello, flute, trumpet, tone quality .6 bass drum, and harp

16 l8 Student Involvement and singing voices byspeaking Listening to individual performances,both- live and eral songs recorded, of the selected instruments :inguishing men's voices, Seeing actual and visual examples-(instrument (harts) children's voices, both live of the specified instruments Pretending to hold-and play each instrument ;five sounds of classroom in- melody, and chording instru- Playing games of instrumentidentifiation by sight and sound ving recognition of classroom Discussing how sound 'is produced oneach of the instruments describing their and sound selected instru- . Exploring newly discovered sounds and ',olin, cello, flute, trumpet, tone quality O

16 18 LEVEL TWO Grades 2-3

As a result of secondand third year music ex- Examples of experiences throug. periences, the child shoulddemonstrate the beha- reflect these behaviors are fowl, viors as stated in the instructionalobjectives. volvernent sections.

Rhythm Instructional Objectives

Keeps time to music withincreased precision Plays instruments with greater accompanying songs and instrurn Coordinates movement with underlyingbeat, accent, and rhythm of the meFody Maintains steady beat, ac c melody with instruments Moves to music which has even-unevenrhythm and which moves in sets of twos and threes Participates in rhythmic games Sings songs of increasingrhythmic difficulty Sees rhythm in notation

Student Involvement

Recognizing and responding tofamiliar rnythm pat- Comparing rhythms to.cnvircnrri terns Example:trotting hors' 'Producing rhythm patterns on arhythm instrument for another child to repeat Using short and long dashes toI Comparing even and unevenrhythms Example: Examples?even rhythm -- soldiersmarching jin-glebells uneven rhythm--childrenskip- ping

19 . r.

LEVEL TWO .0P Grades 2-3

Examples of experiericesthrough which the child may tid and third year music ex- 'found in the student,in- d should demonstrate the beha- reflect these behaviors are le instructionalobjectives. volvement sections.

Instructional Objectives precision Plays instruments withgreater accuracy when -_:: with in9reased accompanying songs and instrumentalselections ,ent with underlying beat, accent, rhythm of the nelody Maintains steady beat, accent, or melody with instruments and *,ch has even-uneven rhythm and folk dances of twos and threes Participates in rhythmiC games easing rhythmic difficulty Sees rhythm in notation

Student Involvement ,sponding to familiar rhythm pat- Comparing rhythms toenvironmental sounds.. Example:trotting horse-, atterns on a rhythminstrument clipclop clipclop ) repeat Using short and longdashes to indicate melodicrhythm uneven rhythms Example: evenrhythmsoldiers marching jin-glebells, jin-glebells unevenrhythm--children skipping

19 Creating bodily movement to indicate meter Chanting the meter while listenfin forms of music Example: l--touch knees, Marching, skipping, jumping,.bc 2--hips, 3--shoulders, and swinging arms to the beat of the 4--hands up Clapping melodic rhythms, bend strong beat Defining the meter (accented and unaccentedbeats) by clapping and using rhythm instruments Creating a rhythmic accomwmirri rhythm of the music Demonstrating the difference in grouping by twos or threes by accentingthe first tone of each gtoup Playing rhythm patterns from no songs or listening selections Listening to music examples and decidingwhether they move in twos or in threes Strumming the steady beat of a si while the teacher or a classmate Clapping notated rhythm patterns Using an autoharp chart to pract, Discovering and isolating byfraMing with index beats and then accented beats fingers familiar rhythm patternsfound in songs Playing notated rhythm patterns in roundstyle with another child, using simple notation

Melody Instructional Objectives Sings many melodies while observingmelodic nota - Creates melodies based on scar tion patterns Listens to instrumental melody and showsmelodic Recognizes faMiliar or repeated line with appropriate movement songs Plays scale-line and chord-line patterns from songs on melody bells

20 420 .ment to indicate meter Chanting the meter while listening to marches and other forms of mu:sic I--touch knees, Marching, skipping, jumping,bouncing a ball, and 2- -hips, 3--shoulders, and swinging arms to the beat of the music 4--hands up Clapping melodic rhythms, bendingthe knees on each strong be?.t ccented and unaccented beats) rhythm instruments Creating a rhythmic accompanimentin:contrast to the rhythm of the music ,fference in grouping by twos 4 the first tone of each group Playing rhythm patterns from notation to accompany songs or listening selections icamples and deciding whether in threes Strumming the steady beat of a song onthe autoharp while the ttachir or a classmate changesthe'chord thm patterns Using an autoharp chart to practicestrumming steady ,ating by framing with index beats and then accented beats 1:hm patterns found in songs un'patterns is round style with simple notation

Instructional Objectives while observing melodic nota- Creates melodies based on scale-lineand chord-linek., patterns ntal melody and shows melodic Recognizes familiar or repeated patterns in new movement songs chord-line patterns from songs

20 Student Involvement

Discovering environmental sounds which arehigh Discovering and framing with indei and low and chord-line melody patterns fou Compatinghigh and low tones on resonator bells, Playing scale-line melodies by rot piano, or other available instruments resonator bells, and piano Using hand levels or body movements t" Playing scale-line and chord-line when the contour of the melody becomes higVer notation on the melody bellsi reso or lower or stays the same Outlining melodic contours with MI Listening to and discussing songs that primarily movement vise stepwise movementand those that use skips Creating melody patterns by rear:. Examples:Stepwise--"Away in a Manger" four- or five-tone scale-line.patte Skips - -"Star -Spangled Banner" Creating a melody to fit an origina. Drawingor the contour of melodies heard Identifying like and unlike melody Matching melodies heard with contourof melodic Discovering that patterns which 101 line drawn on board

Harmony Instmctional Objectives

Sings two-part rounds Distinguishes between a single ton Adds simple descant or chant to a song Plays chord accompaniment on aut bells

ai aigt. Student Involvement. I mental sounds which are-high Discovering and framing with index fingersscal-line and chord-line.melody patterns found in songs I 4. low tones onni esonator bells; Playing scale-line melodies by rote on the melody bells, lable instruents resonator bells, and piano I. body movements to show Playing scale-line and chord-line melody patterns from the melody becomes higher notation on thevrnelody bells, resonator bells,. and piand ,e same Outlining melodic contour with high and low bodily cussing songs that primarily, movement bent and those that use skips Creating melody patterns byrearrariging the tones of a Stepwise -- "Away in a.Manger" four- or five-tone scale,line pattern a. `Skips "Star -Spangled Banner" Creating a melody t9 fit an original poem or classic verse of melodies heard Identifying like and unlikemelody,patterns ward with contour of melodic Discovering that patterns which look alike sound alike

Instructional Objectives ids Distinguishes between a single tone and several tones or chant to a song /.114 Plays chord accompaniment on autoharp or resonator bells

4 21 o

cr StudentInvolvement Singing rotaids from the music text and from the Discussing the..formation of chords, ,children's repertory line-line, space-space-space) w,_--MEsir 411=11 1 NEW . :Singing.afamiliar.melocicrTithan accompaniment Example: 111/111.1ff AIM that does not i,Iclude the melody ' z P Writing chord symbols for chords h Singing a fain:liar tune while the teacher sings a harp (I, V7 ) harmony part Reading and performing simple acc Singing descants': ostinati,.-andVhants with group autohakp and resonator bells divisions within the class Listening for and identifying chord c Singing simple song: harmonized in parallel thirds (1-V (V7)-I) Singing a sustained pitch against a moving melody Recognizing and responding through (tonic note in chords I and IV; dnminant note in changes played by teacher on autoha chords I and V) V--move in any direction; IV - -mo' 7

Foim Instructional Objectives ows increasedability Jo sing a phrase as a corn- Demonstrates understanding of form lets thought symbols, movement, and instrurrien t. ec-ognizes repetition and contrast of phrasein Discovers phrases in song notation ongs and instrumental compositions Createsintrod4ctionand coda with

1 4 Pl

; .22 0 Student Involvement the music text and from the Discussing the forrnatioriof chords ,$n the staff (line- line -line , space:-space-spa .e) %IN' OMNI 411111 IF MO f IOW ,elody with an accompaniment Example: LkSviolIMIr INNS the melody Writing chord symbols for chords heard onthe auto- me while the teachersings?a harp (I, V7 )t Reading and performing simpleaccompaniments on stinati, and chants with group autoharp and resonator bells class S Listening for and identifying chordchanges in songs harinonired'in parallel thirds (I-V (V7)-1) . pitch against a moving melody Recognizing and responding throughmovement to chord I and IV; dominant note in changes played by teacher cn autoharp(I--stand still; IV--mov.e in a circle. ) V7--move in any direction;

Instructional Objectives lay to sing a phrase as a corn- Demonstrates understanding -of formthough use of visual , symbols, movement, andinstruments on and contrastof phrase in Discovers phrases in song notation ttal compositions Creates introduction :Ind codawith instruments and voices Student Involvement

1 Listening for tonal patterns,rhythm patterns, and Using visuals (geometric figures) phrases in songs and decidingif they are alike or division while listening to Music different Creating changes ofbodily movem Discovering that musical phraseswhich look alike phrases and main sections while Ii. sound alike Playing like phrased on melody in' Discussing ways the voice candeline.ate phrases, singing then singing with attention focused onsinging phrase on one breath Using contrastingorhythm instrum' different phrases while singing or Listening to simple musical selections toidentify major divisions(verse-chorus, AB, ABA) Listening to selected music .exarrip .indicate the different musical forrr

EXPRESSIVENESS

Tempo (FastSlow) Instructional Objectives

Recognizes changing tempo Adapts tempo in singing to mood o Responds with body as music movesfaster or slower

Student Involvement

Singing a familiar song atdifferent tempi Playing melodies at different tern; or other melody instruments Listening to selections that containboth fast and slow tempi Comparing sudden tempo chang changes

23 Student Involvement patterns, rkythm patterns, and Using visuals (geometric figures) toshow the major deciding if they are alike or division while listening to music Creating changes of bodily movement tocorrespond to isical phrases which look alike phrases and main sections whilelistening to music Playing like phrases on melodyinstruments while voice can delineate phrases, singing -:tention focused on singing . - Using cotttrasting:rhythminstruments to emphasize th different phrases while singing or rstening tomusic musical selections to identify :rse-chorus, AB, ABA) Listening to selected music examplesthat clearly indicate the different musical forms (AB,ABA, AAB)

EXPRESSIVENESS

Instructional Objectives

z; tempo Adapts tempo in singing to mood of song as music moves faster or

Student Involvement song at different tempi Playing melodies at different tempi on resonatorbells or other melodyinstruments ions that contain both fast and ra Comparing sudden tempo changeswith gradual tempo .changes

23 a3 62.34, Discussing the relationship of song text tothe Developing a working music vocabu, tempo of songs of terms and symbols used to indic qualities Using bodily movement tocorrespond to tempo of Identifying music symbols and term the music/ cards, and in music texts Examples:Swaying, mia.king, running, leaping, sliding, bending, stretching, Describing music studied in terms rocking, pulling, pushing ties (song text for mood, tempo,d

Dynamics (LoudSoft) Instructional Objectives

Recognizes changing dynamiclevel Shows judgment in choice of instru loud and soft music Adapts dynamics in singing to mood of song

Student Involvement

Listening to selections that containboth loud and Responding appropriately with dyn soft passages reflect the mood or intent of the xr Listening to selections that includeboth sudden Demonstrating an awareness that dynamic changes and gradual dynamicchanges dividual volume becomes imports` Singing a familiar song both loudly andsoftly Hearing that sounds are relatively

24 . onship of song text to the Developing a working musicvocabulary by repeated use of terms and symbols used to indicateexpressive qualities .nt to correspond to tempo of Identifying music symbols and terms oncharts, flash cards, and in music texts waying, walking, running, .ng, bending, stretching, Describing music studied in terms ofexpressixT quali- flg, pushing ties (song text fotr mood, tempo,dynamics, tone color)

Instructional Objectives dynamic level Shows judgment in choice of instruments to accompany loud and soft music singing to mood of song

Studerit Involvement that contain both loud and Responding appropriately with dynamicchanges which reflect the mood or intent of the music

that include both sudden Demonstrating an awareness that when singingtogether in- gradual dynamic changes dividual volume becomes important to the groupsound both loudly and softly Hearing that sounds are relatively loud orsoft

24 a

Tone Color (Quality of Sound) Instructional Objectives

Explores ways of producing avariety of sounds Identifies additional band and c on classroom instruments by sight and sound

Student Involvement

Producing a variety of sounds onthe same classroom Using body sounds. to produce instrument Listening to classroom instrun Selecting the appropriate instrumental tonecolor some sight barrierand identify when accompanying- songs characteristic sound Recognizing that combinations ofinstruments produce Viewing films, filmstrips, and different qualities of sound band and orchestra instrument Demonstrating techniques for obtaining aresonant Recognizing by sight and s nun( tone on bells and rhythm instruments viously plus other selected ins trombone., French horn, kettle. Discussing and differentiatingbetween a "ringing" bell tone and a "thud" bell tone Discovering the difference in a and tone qualities of specific it Demonstrating correct ways tohold percussion instruments Discussing how sound is produ strument studied Showing different ways tostrike the headof a drum Discovering the different areasof the drum head that can be struck toobtain different tone colors andsound effects mind) Instructional Objectives oducing a variety of sounds Identifies additional band and orchestrainstruments Intents by sight and sound

Student Involvement of sounds on the same classroom Using body sounds toproduce-a variety of tone colors Listening to classroom instrumentsthat are behind Iriate instrumental tone color some sight barrier and identifyingthem by their songs characteristic sound mbinatidhs of instruments produce Viewing films, filmstrips, and chartsillustrating sound band and orchestra instruments Lniques for obtaining a resonant Recognizing by sight and soundinstruments studied pre- iythm instruments viously plus other selected instruments(string bass, trombone, French horn, kettle drums) erentiating between a "ringing" '" bell tone Discovering the difference in appearance,construction, and tone qualities of specificinstruments studied rect ways to hold percussionin- Discussing how sound is produced oneach specific instrument studied rays_to strike the head of adrum 'ferent areas of the drum head that 'Lain different tone colors andsound

25 LEVEL THREE Grades 4-5

As a result ..f middle childhood experiences,the Examples of experiences throA child should demonstrate behaviors as stated may reflect these behaviors are in the instructibna.l. objectives. involvement sections.

Rhythm Instructional Objectives Exhibits awareness of beat, accent, and rhythm pat- Creates instrumental accompan tern through creative movement and folk dancing beat, accent,. rhythm of the me, training rhythm patterns Responds to music based on greater variety of meters and rhythm patterns Creates accompaniments with b ments Performs songs based on expanding rhythm patterns Claps, plays, and sings rhythm notation

Student Involvement Creating free bodily movement to show sensitivity Composing original rhythm acc to beat, accent, and rhythm patternswhile listen- and listening selections ing to music Singing with accuracy simple Er Showing awareness of beat and accent when performing patterned movements in folk dances (squares, Deciding what meter signature lines, circles) listening to music Playing rhythm patterns from notation Dividing music into measures a meter Reading rhythm accompaniments from notation Playing on percussion instrume of rounds illustrating polyphonic

29 cUe MEL THREE Grades 4-5

which the child .4) childhood experiences,the Examples of experiences through ;trate the behaviors asitated nay reflect thesebehaviors are found in the'student objectives. involvement sections.

Instructional Objectives of beat, accent, and rhythm pat - Creates instrumental accompanimentsinvolving e` movement and folk dancing beat, accent, rhythm of themelody, and con- treating rhythm patterns lased on greater variety of Me- sounds and move- rns Creates accompaniments with body ments ed on expanding rhythm pat- Claps, plays, and sings rhythm patternsfrom notation

Student Involvement accompaniments for songs movement to show sensitivity Composing original rhythm rhythm patterns while listen- and listening selections Singing with accuracy simplesyncopated rhythms perform- -of beat and accent when is needed while cnents in folk dances(squares, Deciding what meter signature listening to music according to a given ;erns from notation Dividing music into measures meter :orripani.ments from notation Playing on percussion instrumentsrhythm patterns of rounds illustrating polyphonicand homophonic lines

29 O Creating rhythm patterns tobe use Playing contrastingrhythm patterns withindi- vided class groups. Developing a procedure orroutine texts Isolating a rhythm patternheard in recorded mu- songs from music sic, duplicating the patternon rhythminstruments determining mi and repeating the pattern as anostinato Example: clapping rhytha Using body sounds to createrhythmic accompaniments to songs andrecorded music chanting words Examples:Swish (palms) determining to Slap (forearms) key signature Clap (palms)' Click (tongue) identifying beg Snap (fingers) Pop (open mouth andthump cheek) singing the me numbers or le Using body movement todelineate the rest from the note singing again Example:note--clap palms singing the soi rest--hands extended outward

Melody Instructional Objectives major, m of tonalities Discovers differences in Sings songs in variety scales through useof melodic instn resonator bells, or piano lic.cognizes by ear thetonal characteristicsof pentatonic melodies major, minor, and Composes originalmelodies selections composed in Listens to instrumental Sings simple melodies at.sight . 3these tonalities

30 02-74. rhythm patterns within di- Creating rhythm patterns to be used inspecified meters Developing a procedure or routine for sightreading pattern heard in recorded niu- songs from music texts pattern on rhythm instruments Item as an ostinato Example:deterMining meter and tempo create rhythmic accornpani- clapping rhythm recorded music chanting words of song in rhythm Swish (palms) Slap (forearms) determining tonality by interpreting Clap (palms) key signature Click (tongue) Snap ',fingers) identifying beginning pitch Pop (open mouth and thump cheek) singing the melody using syllables, nt tp delineate the rest from numbers or letters singing again using neutral syllable, ,ote- -clap palms esthands extended outward singing the song using the text

Instructional Objectives

Ky of tonalities Discovers differences in major, minor,and pentatonic scales through useof melodic instruments--melody bells, tonal characteristics of resonator bells, or piano pentatonic melodies Composes original melodies ntal selections composed in Sings simple melodies at sight

30 027 Student Involvement Singing and comparing songs in major,minor, and Singing a melody line against a pentatonic modes (including musicof varied cul- played on an instrument tural and ethnic origins) Discovering the pattern of whOt Sir -ing arpeggios in both majorand tninor in the major scale 40, Example: Accompanying by ear on theraun_ change from .major to minor or Examples:"Skye Boa "Erie Can I Cian sing -a ma jor chbrd mi nor Singing or playing melody patte, Singing songs in the minor mode that wereoriginally music text to reinforce melody' written in the major mode Working within a given framewl Example:"Old McDonald Had a Farm" melodic composition Playing pentatonic scales on black keysof keyboard Example:,, Using sol, instrvments c ornbinatio ginal tune Listening to and comparing music inMajor, minor, and Pentatonic modes Playing melodies fromnclation piano, melodica, or soprano re Playing major and minor scales on melody or resonator bells Identifying abrupt mode change lections Playing familiar pentatonic songs onthe black keys Example:In the Hall "Peer Gyn Example:"Michael, Row the Boat" Following the notation of the rni Creating introductions, interludes,and codas for listening to a recording or teat songs to be played or sung of the song Improvising short melodies (question-answer) on Continuing to acquire a reperto resonator or melody bells patriotic, foik, and art songs t places 31

09-g .40 Student Involvement ng songs in major, minor, and Singing a Melody line against a counter. melody played on an' instrument ,eluding music of varied cul-. 'ins) Discovering the pattern of whole and half steps both major and minor in the major scale Accompanying by ear on the autoharp songs which chInge from major to minor or minor to major

sExamples:"Skye Boat Song"

a ma jor chord . "Er*, Canal.. m.i. - nor -Singing or playing melcAyWatiferns friim songs in Minor mode that v ere originally music text to reinforce melody reading skills mode Working within a given framework to create a )id McDonald Had a Farm" melodic composition -,:ales on black keys of keyboard Example:Using sol, mi, la, in. various combinations to create an original tune 'paring music in major, minor, .Playing melodies from Notation on melody hells, piano, melodica, or soprano reorder inor scales on melody or res: Identifying abrupt mode changes in listening selections itatonic songs on the black Exarpple:In the Hall-of the Mountain King, Gynt Suite," Grieg Michael, Row the Boat" F-t owing the notation of the melody linewhile ns, interludes, andcodas for listening to a recording or teacher performance sung of the song elodies (question-answer) on Continuing to acquire a repertoire ofheritage, bells patriotic, folk, and art songs from many times and places

a A.

. .

Harmony Instructional Objectives Sings rouRds4,, deicants,) and simple two-part songs Listens for chord changes in acl, Improvises harmoni*ing parts using chord rootsbe- Identifies major and minor cho : low melody or thirds above melody or Plays chordal accompaniments . stru.ments

Student Involvement Taking turns singing high and low parts of Accompanying on the autoharp a, two-part songs chord, two chords, then three c Singing either part of songs with descants Discovering by ear the chord pr for accompanying certain songs Listening for balance of parts when singing part- songs Playing chords on resonatok- vidual player on each tone of th, Adding a part to unison songs by singing the root of the chord as indicated byautoharp chords in mu- Accompanying songs in minor tri sic texts harp tening to songs beginning and ending on tonic Adding a part to unison songs by and identifying change to dominant above or below the melody Creating harmony on keyboard instruments to fa- Listening to and comparing the miliar pentatonic Rongs minor triads Using an autoharp chart to practice chord changes Identifying the mode of composi

3. $9-94 "4. ,

Instructional Objectives lits, and simple two-part songs Listens for chord chanties in accompaniments lazing parts using chord roots be- Identifies major and minor chords by ear above melody Plays choidal accompaniments on classrpomin- struments

Student Involvement ti high and tow parts of Accompanying on the autoharp songs using one chord, two chords, then three chords

songs with descants Discovering by ear the chord progression needed for accompanying certain 'soigs :e of parts when singing part- Playing chords on resonator bells using individual player on each 'tone of the chord . -7m songs by singing the root sated by autoharp chords in mu- Accompanying songs in minor mode on the autoharp eginning and ending on tonic Adding a part to unison songs by singing thirds to dominant above or below the melody , keybOard instruments to fa- Listening to and comparing the sound of majorand minor triads r ,hart to; practice chord changes Identifying the mode.of compositions heard

3. 01-9 0194, Form Instructional Objectives

Sings with understanding of musicalphrase Creates 'introductions and codas

Identifies repetition and contrast in theforms1. Becomes acquainted with large. AB, ABA, and ABACA through movementandt4of in- ballet,, opera,suite struments

Student Involvement

Using the voice to delineate phrases bysinging Recognizing by notation repetit- each phrase on one breath in songs found in music texts Identifying like sections in compositions with Creatingintioductions and coda the same geometric figure and unlike sections instruments, or voices with other geometric figures Reading stories relating to suit Example: A064LOS and ballets studied Substitute letter names for geometric figures Listening to sections of familia: Examplt. ABA, ABACA Examples: "The Nutcra Tschaikow Creating body movements to correspond tolike and unlike sections of lis.tening selections "Peer Gynt 00 Contrasting the opera with the ballet Listening to selected operas Discovering how composers use changesof theme, Examples:"Amahl and rhythm, tempo, or tone color to createcontrast- Menotti ing sections in con,positiors "Help, Help Menotti

(30 Instructional Objectives ding of musical phrase Creates introductions and codas and contrast in the forms Becomes acquainted with larger musical forms- - CA through movement and use of in- ballet, opera,suite . .

Student Involvement -!ineate p)hrasee by singing Recognizing by notation repctition and contrast breath in songs found in music texts lons in compositions with Creating introductions and codas with body sounds, figure and unlike sections instruments, or voices figures Reading stories relating to suites, operas, 60A, 6,0,6126, and ballets studied letter names for geometric figures Listening to sections of familiar suites

.A-BA, ABACA Examples: "The Nutcracker Suite," Tschaikowsky ments to correspond to like and stening selections "Peer Gynt Suite," Grieg -a with the ballet Listening to selected operas reposers use changes of theme, Examples: "Amahl and the Night Visitors," tone color to create contrast- Menotti esitions "Help, Help, The Globolinks!" Menotti

33 Sow 30 EXPRESSIVENESS

Tempo (Fast-Slow) Instructional Objectives

Responds to common tempo markings Plays accompaniments at a prop vey mood of the music Demonstrates the ability to sing tones legato (smooth And connected) or staccato (detached and separated)

Student Involvement Discussing the mood of a song and determining Demonstrating by performance the appropriate tempo of the tempo markings of presto moderato, and terms showing c' Singing expressively music that moves legato (ritard, a tempo, and aceellera and music that moves staccato Changing the mood of a song by Demonstrating ability to communicate expressive tempo when playing or singing intent of the music through conducting

Dynamics (Loud-Soft) Instructional Objectives

Responds to common dynamic markings Demonstrates awareness that s may affect the volume of the gel Hears that sounds are relatively loud or soft

3/ .34 3/ EXPRESSIVENESS

ti Instructional Objectives tempo markings Plays accompaniments at a proper tempo to con- vey mood of the music bility to sing tones legato :ted) or staccato (detached

Student Involvement I of a song and determining Demonstrating by performance the understanding 2o of the tempo markings of presto, allegro, largo, moderato, and terms showing changes in tempo y music that moves legato (ritard, a tempo, and accellerando) staccato Changing the mood of a song by altering the .ity to communicate expressive tempo when playing or singing through conducting

Instructional Objectives

-)n dynamic markings Demonstrates awareness that song lyrics may affect the volumeof the selection re relatively loud orsoft

34 2/ 3/4. Student Involvement Demonstrating an awareness of dynamic symbolswhen Listening to musical selections singing and playing both sudden dynamic changes.an changes Example: ( crescendo) Example"Surprise (decrescendo or diminuendo) Experimenting with different dy duce appropriate mood .< >,...(louder then softer) Demonstrating through singing standing of relative Loud -soft

Tone Color (Quality of Sound) Instructional Objectives

Explores ways of producing different tonecolors Groups instruments into string, with voices and instruments and percussion families Identifies less familiar band and orchestralinstru- ments by sight And sound

Student Involvement P.aying autoharp with mallets, felt picks,plas- Singing with mouth open long in" tic picks to produce different tonecolor Experimenting with combinatio Using two autoharps to produceunconventional struments for classroom playin chords Recognizing by sight and sound Playing glissando on bells using ends of mallets ied previously plus other select instead of mallet heads (viola, clarinet, bass clarinet,

35 3Z Student Involvement areness of dynamic symbols 'when Listening to musical selections that include both sudden dynamic changes. and gradualdynamic changes ( crescendo) Example:"Surprise Symphony," Haydn (decrescendo or diminuendo) Experimenting with different dynamics to produce appropriate mood >.(louder then softer) Demonstrating through singing andpraying understanding of relative loud-soft

end) Instructional Objectives

'clue ing different tone colors Groups instruments into string, woodwind, brass, iurnents and percussion families r band and orchestralinstru- ound

Student Involvement 1 mallets, felt picks, plas- Singing with mouth open long instead of wide different tone color Experimenting with combinations of melody in- to produce unconventional struments for classroom playing Recognizing by sight and sound instrumentsstud- ied previously plus other selectedinstruments bells using ends of mallets (viola, clarinet, bass clarinet, oboe, tuba,celesta) ,4471

35 32 3-? BEST COPY AVAILABLE 4

Viewing films, filmstrips, and charts illustrating Discussing how sound is produc band and orchestra instruments cific instrument studied Hearing compositionis featuring newly identified Exploring body and room sound instruments in solo and ensemble performance variety of tone colors Discovering the difference in appearance, con- Distinguishing the different fain struction, and tone qualities of specific instruments orchestra in a total rrchestra p Producing sounds 'on each of the instruments if available

3, d ta...1t.7atig '=". ",` .7 I:V, "

36 / 33 65 BEST COPY AVAILABLE rips, and charts illustrating Discussing how sound is produced oneach spe- ,strurnents cific instrument studied featuring newly identified Exploring body and room sounds toproduce a ,nd ensemble performance variety of tone colors rence in appearance, con- Distinguishing the different families ofthe ualities of specific instruments A orchestra in a total orchestraperfoimance tp Producing sounds on each of thenewly identified instruments if available

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36 33 LEVEL FOUR Grade 6

As a result of sixth-year music experiences. of experiences through which di the student should demonstrate thebehaviors as flect these behaviors are fciun stated in the instructional objectives.Examples involvement sections.

Rhythm p Instructional Objectives Creates accompaniments with i Continues to move in ways which show awareness body sounds using more advanc I of rhythmic structure of music Responds independently to more complex patterns Improvises rhythmic composit' and meters ments, environmental, and boc Listens for and analyzes rhythmiccharacteristics Reads notated rhythm at sight in contemporary music 0 Sings songs in 4ariety of rhythms withoutassis- tance

Student Involvement 0 Reviewittg rhythm patterns studied inearlier Conducting classinging or pla years beat music Clapping rhythm patterns int meter Moving freely to listening sele vt. an awareness of beat,accent, Clapping 68 meter of song in one group while another group claps the rhythm of the melody Discovering the use of syncopa

39 . a a LEVEL FOUR Grade'6

-year musicxoeriences. tr. of experiences through which the child may re- demonstrate the behaviors as flect thepe behaviors are found inthe student .ctiOnal objectives.Examples involvement sections. 0

Instrucqonal Objectives and in ways which show awareness Creates accompaniments with instruments ure of music, body sounds using more advanced patterns ently to more complex patterns Improvises rhythmic compositions withinstru- ments, environmental, andbody sounds

.lyzes rhythmic characteristics Reads notated rhythm at sight usic __y. of rhythms withoutassis-

Student Involvement patterns studied in earlier Conducting class singing or playingof 2-, 3-, 4- beat music atterns in6 meter Moving freely to listeningselections and exhibiting 8 an awareness ofbeat, accent, and changing meter song in one group while the rhythm of the melody Discovering the use of syncopation in songsstudied

111 t taken from ing clapping, thigh slapping, Playing a syncopated rhythm pattern, other body a song, as an ostinatowhile others sing the song Inger snapping, or ,whistling, or silence to cr.( Playing from song notation aselected syncopated co ositions. pattern Taping environmental sounds an Increasing skill in interpretingrhythmic symbols tape loops, changes ofspeed, r encountered in music text a similar techniques to create or position Singing accurately rhythms which occurin com- Increasing skill in readirw: multi bination with, or in contrast to, other rhythms rests of one beat, morethan on Performing patterned movementsin folk dances and than one beat are used showing sensitivity to beat, accent,and meter Isolating a rhythm pittorn in contemporaryrecorded music, duplicating the pattern onrhythm instruments and repeating the pattern as anostinato

Melody Instructional Objectives

Sings many melodiesindependently showing under- Uses body movements and vim standing of melodic movementand tonality of sorig melodic line melisdies Hears vocal and instrumentalmelodies in contemporary Composes original tonalities Sings or player more complex tr

Student Involvement '

Developing a tonal memory byrepeating longer me- Reading melodies from textwit lodic phrases w'th accuracy of a third, fourth; fifth,and oc in the major, minor,and Building major, minor, and pej Singing accurately melodies resonator bens observingchani pentatonic modes scale 4e 3J4. rhythm pattern, taken from Using clapping', thighslapping, tongue clicking, finger snapping, or other bodysounds such as moan- to while others, sing the song ing, whistling, or silence tocreate original rhythmic otation aselected syncopated compositions Taping environmentalsounds and experimenting with tape loops, chariges ofspeed, reverberations, and interpreting rhythmic symbols Create original electronic corn - is text similar techniques to position rhythms which occur in corn- Increasing skill in reading musicin which notes and contrast to, other rhythms rests of one beat, morethan one beat, :Ind fewer -' movements in. folkdances and than one beat are used to beat, accent, and meter pattern in contemporaryrecorded the pattern on rhythminstruments attern as an ostinato

Instructional Objectives visual devices to show s independentlyshowing under- Uses body movements and : movementand tonality of song melodic line strurnental melodies incontemporary Composes original melodies Sings or plays more complexmelodies at sight

Student Involvement repeating longer me- Reading melodiesfrom text which includeskips memory by fifth, and octave accuracy of a third, fourth, minor, and Building major, minor,and pentatonic scples on melodies in the major, resonator bells observingchanges made to form each scale ,3 Ca. 4. , Improvisigg short tunes on melody resonator bells Writing a melodic sequence of Following the melody in multiple scoemusic white Example: performance of the listening to a recording or teacher Given phrase: 3- song Playing on resonator bellsthe scale used in a song before studying the song representing varied Write sequence Building a repertoire of songs starting on 5:5- cultural groups Sharing songs from student'spersonal repertory which may represent his culturaland ethnic background Using the above pattern a d from dictation cortiposition by adding o mo.. Writing simple melody patterns notation, then performi g wor Recognizing that a melodic sequenceis a phrase repeated higher or lower Demonstrating an understandingof melodic sequence by framing it with theindex fingers when encountered:, in songs / Example: "Kookaburra"

Harmony Instructional Objectives

Sings rounds, canons, and two-and three-part songs \ Plays chordalaccompaniment 'f.a.cility well as tra- Listens to music using contemporary as blprovises harmonizing parts ditional harmonies

Student Involvement harmony part while singing Listening for balance oL parts Maintaining with accuracy while singing part songs 41 36e

2 uses on melody or resonatorbells Writing a melodic sequence of a given phrase

7in multiple score music while Example: ding or teacher performance of the Give phrase: 3- 3 2- 2-2- 2 r bells the scale used in a song 1--- 1- song e of songs representing varied Write sequence starting on 5:5- . 5 4- 4-4- 4 student's personal repertory . 3.' his cultural and ethnic background Using the above pattern and its sequence, write a 7dy patterns from dictation composition by adding one more pattern innumbered notation, then performing work on resonatorbells .elodic sequence is a phrase ,ower -":.rstanding of melodic sequence index fingers when encountered

"?.:"Kookaburra"

Instructional Objectives s, and two- and three-part songs Plays chordal4accompaniments with increasing facility t. ink contemporary as well as tra- Improvises harmonizing parts for unison songs

Stuflet V 411 curacy harmony partwhile singing Listening for balance of parts and blend of voices while singing part songs 41

36 364, Developing the ability to harmonizeunison songs using Building from notation -major an thirds and sixths resonator bells, using individua of 'he chord Discussing various ways in which part songs maybe scored, and discovering that aspecific part follows Recognizing the third as the ton, the same placement patternthroughout the, score ference between a major and tn. et Playing on melody instrumentsrounds, descants, and Using the autoharp to accompan! ostinati harmonies than those using I, I Increasing ability to follow music linefor a single voice or instrument among one ortwo others Demonstrating understanding of by using letter names to spell rri Creating original descants and ostinati to accompany chords songs

Form Instructional Objectives

Sings musical phrase expressively Continues to create introduction codas Continues to demonstrate awarenessof form through movement, visual devices,and the use of instruments Becomes acquainted with additi symp' ony, concerto, rondo, th,

Student Involvement

Using the voice to delineatephrases--building Improv .sing with contrasting m to the point of climax, relaxingto a state of re- strate ABA and ABACA form in pose, and singingthe phrase on one breath Creating and playing notated rhy Reviewing major musical forms studiedearlier show awareness of repetition an (suite, opera) and identifying newforms--symphony, concerto, rondo, theme andvariations Creating rhythmic chants using 4 biles, breakfast cereals, or co: form (ABA CA) 37 42' to harmonize unison songs using Building from notation major and minor chords on resonator bells, using individual players oneach tone of the chord ways in which part songs may be ring that a specific part follows Recognizing the third as the tone that makes .thedif- pattern throughout the sccire ference between a major and minor triad astruMents rounds, descants, and Using the autoharp to accompany more complex harmonies than those using I, IV, and V7 chords

follow music line for a single voice one or two others Demonstrating understanding of chord construction by using letter names to spell major and minor Scants and ostinati to accompany chords

Instruktionai Objectives 3 expressively Continues to create introductions, interludes, and codas trate awareness of form through =vices, and the use of instruments Becomes acquainted with additional musicalfortes-- - symphony, concerto, rondo, themeand variations

Student Involvement lineat'e phrasesbuilding Improvising with contrasting movements to demon- x, relaxing to a state of re- strate ABA and ABACA form in response to music ". phrase on onebreath Creating and playing notated rhythmic patterns to sical forms studied earlier show awareness of repetition and contrast '-1.---tifying new forms - -sym- ndo, theme and variations Creating rhythmic chants using names of automo- biles. breakfast cereals, or colors to show rondo form (ABACA) 42 37, DemonZtrating increasing ability to hearrepetition Growing in ability toidentify .and contrast by using visuals(geometric figures) tions, and movements as found to show form whilelistening to music variations, symphony, concertc

\ EXPRESSIVENESS Tempo (FasSiow) Instructional Objectives Observes tempo markings in singingand playing Demonstrates choice of approix performing

Student Involvement

Recognizing and observing tempo changessuch Demonstrating ability to comma ritard, a tempo, rallentando intent of the music through con as accelerando, terns of 3, 4, 6 beats Increasing ability to observe such tempoterms legato, allegro, largo. Showing awareness of the relat as andante, to tempo of the music

Dynamics (Loud-Soft) Instructional Objectives

Observes dynamic markings insinging and playing remonstrates choice of approp in performing

Student Involvement

Demonstrating an understanding of dynamicsymbols Showing an ability to hear that loud or soft Example: p (soft) f(loud) mp (half soft) mf (half loud) pp (very soft) ff(very loud) 43

33 easing ability to hear repetition Growing in ability to identify motives,phrases, sec- z., visuals (geometricfigures) tions, and movements as found inrondo, theme and listening to music variations, symphony, concerto

EXPRESSIVENESS

Instructional Objectives rkings in singing and playing Demonstrates choice of appropriate tempo in performing

Student Involvement serving tempo changes such Demonstrating ability to communicateexpressive ..rd, a tempo, rallentando intent of the music through conductingmusic in pat, terns of 3, 4, 6 beats ) observe such tempo terms allegro, largo Showing awareness of the relationshipof song text to tempo of the music

Instructional Objectives markings in singing and playing Demonstrates choice of appropriatedynamic level in performing

Student Involvement understanding of dynamic symbols Showing an ability to hear thatsounds are relatively loud or soft p(soft) f(loud) .p(half soft) mf(half loud) pp(very soft) ff(very loud) 43 38a, List .ning to musical selectionsthat include sudden Recognizing that dynamic chang dynamic changes and gradualdynamic changes used to express excitement or r Singing and playing expressively byusing a broad range of dynamiccontrols

Tone Color (Quality of Sound) Instructional Objectives

Discovers the variety of soundswhich can be pro- Becomes aware of new sound so duced by orchestral instrumentswhen they are century music played in different ways or incombinations

Student Involvement

Recognizing by sight and sound instruments Comparing the unique tone quali studied previously in addition to otherselected with a concert band instruments (English horn, bassoon,double bassoon, orchestra bells,xylophone, and'such Identifying the different sounds keyboard instruments as organ andharpsichord) sembles (string quartet, ,woodm ensemble) Identifying ethnic instrumentswith their place of sitar, koto) Recognizing that instruments m, origin (dulcimer, bagpipes, different ways to produce differ Recognizing music generated byelectronic means (synthesizer, tone generator, taperecorder, al- Growing in ability to produce a , tered environmental sounds) supported tone while singing Listening to music employingunconventional use Showing an awareness that roue of voices or standard instruments(prepared piano) clear consonants. assist inprods tone color

44 9 394 4.

1 selections that include sudden Recognizing that dynamic changes maysometimes be gradual dynamic changes used to express excitement or relaxation expressively by using a broad' mot role

ound Instructional Objectives of sounds which call be pro- Becomes aware of new sound sourcesin twentieth instruments when they are century music ways or in combinations

Student Involvement and hound instruments Comparing the unique tone quality of anorchestra in addition to other selected with a concert band horn, bassoon, double bells, xylophone, and such Identifying the different sounds ofinstrumental en- a.s as organ and harpsichord) sembles (string quartet, woodwindquintet, brass ensemble) '-truments with their placeof bagpipes, sitar, koto) Recognizing that instruments maybe played in different ways to produce different tonecolors generated by electronic means Growing in ability to produce a free, open,well- generator, tape recorder,al- * 1 sounds) supported tone whiletinging. employing unconventional use Showing an awareness-that roundvowel sounds and rd instruments (prepared piano) clear consonants assist inproducing good vocal tone color

44 39 39a- INSTRUMENTAL PROGRAM Grades 1-6

The instruments to be taught The study of instrumental.. music is strongly re'com- mended as an enrichment of the general music program. include It should not be considered a replacement ofthe general music progrim since it is limited in scope toonly., those Strings: violin, vi students interested in learning to,play musical instruments requiring intensive study.This study may begin Woodwinds: flute as early as thF fir: t gradefor string instruments and upper grades for other instruments,provided the in- Brasses: trumpet, dividual child possesses the necessary motor skills and French physical size to cope with the instrument selected. o Percussion Students also eieed guidance in selecting instruments for study.In addition to those mentioned above, other Class piano concerns when helping them make the decision are It is suggested that, in order

. interest of each student in a particular instruction, classes be group instrument possible. hand size in reaching necessary keys Facilities for instrumental c' in the elementary school buil mouth/teeth structure (thick lips, th'n tion should be given to prope' lips, protruding teeth) ' ment, ventilation, lighting, over-all size. To ensure me. slight handicaps which may indicate suc- sical development, the instru cess on an alternative instrument meet Ikt regularly scheduled instruction can be facilitated piano, a tape recorder, and Care shoulci be taken to avoic tal classes as performing uni level is to emphasize instruc

47 INSTRUMENTAL PROGRAM Grades 1-6

110 Lental music is strongly recom- The instruments to be taught in these classes may =tent of the general music program. include idered a replacement of the general e it is limited in scope to only those Strings: violin, viola, cello, and bass n learning to play musicalinstru- nsive study.This study may begin.t Woodwinds: flute and clarinet grade for string instruments and lr.instruments, provided the in- Brasses: trumpet, cornet, trombone, -ses the necessary motor skills and French horn, and mellophone with the instrument selected. ' Percussion uidance in selecting instruments In to those mentioned above, other Class piano - .ng them make the decision are it is suggested that, in order to provide the best of each student in a particular instruction, classes be grouped homogeneouslywifere lent possible. ze in reaching necessary keys Facilities for instrumental claspes should be provided in the elementary school building.Special considera- teeth structure (thick lips, thin tion should be given to proper acoustical environ- rotrudinteeth) ment, ventilktion, lighting, location, storage; and over-all size.To ensure meaningful individual mu- Lndicapshich may indicate suc- sical development, the instrumental' classes should an alternative instrument meet at regu!arly scheduled periods.Instrumental instruction can be facilitated by the provision of a J piano, a tape recorder, and a record player.

Care shouldbe taken to avoid exploiting the instrumental classes as performing units.The objective at this level is to emphasize instruction.

#.0 EVALUATION 1.

important in edu- information concerning etude Evaluation is becoming increasingly The mu cation.It is useful in assessingteacher accountability havioral objecti es. and programs of instruction.Evaluatiqn also provides any or all of the ypesof evali o suggested in this section.

TEACHER-PREPARED TESTS

of children's progress in musicalunder- rhythm pattern, and phrase at standingValuation should be based on theirability to sense beginning to demonstrate beha the musical elements within amusical whole. When cate musical growth.1 Tests a child can listen to acomplete musical composition that offer the teacher an oppo and recognize elements such asmelodic contour, and evaluate thesemiisical be

Sample Test Your teacher will play a song onthe record player. 2. The melody of this song i Listen to it carefully.You will hear it three times. After you have listened, answerthe'following ques- (a) major scale tions.Notice that there are three possible answers to each question.Circle the answer which youthink (b) minor scale is correct. Do not try to answerquestions until you have listened carefully. el (c) pentatonic scale I.The meter signature for this song is

(a)4 *Eunice Boardman and Beth I 3 MUSIC, Book 5, Teacher's E (b)4 Rinehart, Winston, Inc., 197 (c) with permission of the publifii

ea 51

4'4 a'

EVALUATION /4 iming increasingly important in edu- information concerning student attainment of be _I in assessing teacher accountability havioral objectives.The music teadlier might use instruction.Evaluation also provides any or all of the typesof evaluative instruments suggested in this section.

TEACHER-PREPARED TESTS dren's progress in musical under-. rhythm pattern, and phrase structure,he or she is based on their ability to sense beginning to demonstrate behavibrs which indir with.a a musical whole. When cate musical growth.Tests should be developed to a complete musical composition that offer the teacher an opportunity toobserve tments such as melodic contour, and evaluate these musical behaviors.

I play a song on the record player. 2.The melody of this song is based on Ily.You will hear it three times. aened, answer the following ques- (a) major scale tthere are three possible answers Circle the answer which you think (b) minor scale try to answer questions until you -fully. (c) pentatonic scale ':,.-nature for this song is

*Eunice Boardman and Beth Landis,EXPLORING MUSIC, Book 5, Teacher's Edition (NewYork: Holt, Rinehart, Winston, Inc. ,1971), p. 170.Reprinted with permission of the publisher.

51 3. The design (form) of this song is 6.The melody of this" song pattern (a) AABA (a) (b) ABCD

(-c) ABAB (b) 4.The accompaniment for this song is'played by a WI r (a)string quartet (c) 'mow imig /sir. (b),.Woodwind quartet (c) brass ensemble 7.The rhythm of this song 131 1.. 5. The harmonizing voice in this song is (a)

(a)singing) in thirds with the main melody (b) (b) singing a descant above the main melody (c) singing an ostinato which is repeated (c) over and over' below the melody

Perfwmance Test Teack,er-prepared performance tests offer another Examples of this type ofaevaltlx means of evaluation.They are most effective when administered indildually. Some teachers invite a playing given rhythm parent or teacher aide to supervise students asthey practice in the classroom while the teacher takes playing tonic chords b chose ready for evaluation to another room. tapes m.)sof this song is 6.The melody of this song begins with this melody pattern MI; ewes, IV MS 7711111 1111111 NI ! MEW WAMMIN =Mr /1111=MNI

i MUMS Wr MN-ww61111 /owd.rMINN MIMI MI (b), 11 nent for this sung is played uartet (c) quartet aernble 7.The rhythmof thissong begins with this pattern voice in this song `is (a) 4175 .n thirds with the main melody (b) descant above the main melody J to ostinato which is repeated (c) over below the melody JJ

rformancet tests offer another Examples of this type of evaluation might include .They are most effective when . playing given rhythm patterns on a drum ',ually.S9me teachers.inviitea si. .de to supervise students as they room while the teacher talcs . playing tonic chords beginning on selected uation to another room. tones

4-Z a. 6tg.. 52 playing a simple melodyfrom notation on res... playing primary chords in onator or melody bells,recorder) melodica, or-ukuleles or piano(Children's books adoptid for Grade 1 are sometimes used in uppergrades for playing autoharp accompa this test.) three-chord songs

STANDARDIZED MUSIC TESTS

Standardized music tests have practical valueonly in achieving the desired behav when the teache,r is able to evaluatetheir validity useful in providing teachers di! and reliability and to use the resultsintelligently. Liation and improvement. There are 'two types of music tests.The achieve- The results of the aptitude ties ment test measures how 'welleach student has mas- terminkng factor in admitting tered basic objectives of the music program.The from any elementary schi in aptitude test attempts to predict thestudent's suc- Ushers of standardized t sts, cess in music on the basisof his innate 'ability. listed in the Directory,age comptnying thisguide./ The results of the achievement testsshould be used to determine if the students aremaking progress

r Achievement Tests Colwell, Richard. MUSIC ACHIEVEMENTTESTS. (composers, *cture), auditor Grades 3-6.Follett Educational Corporation, chordrecogibion, and cadenc 1967-1970. Gordon, Edwin. IOWATEST- Test 1 (Grades 3-6) measurespitch discrimi- Grades 4-6.Test levels nation, interval discrimination,and meter Bureau of Educational Re. discrimination.Test 2 (Grades 4-6) measures major-minor mode discrimination,feeling for Measures tonal concep tonal center, and auditory-visual discrimina- reading recognition, ni tion (pitch-rhythm). Test 3 (Grades4-6) and rhythmic concepts measures tonal memory,melody recognition, ing recognition, notati pitch recognition, and instrumentrecognition. Test 4 (Grades 5-6) measuresmusical style

. 4/ 3 .t melody from notation on reh- playing primary chords in given -keys on guitars bells, recorder, melodica, . or ukuleles :n's books adopted ior Grade used in upper grades for playing autoharp accompaniments for two- and three-chord songs

STANDARDIZED MUSIC TESTS eats have practical value only in achieving the desired behaviors. Alsothey are .ble to evaluate their validity useful in providing teachers data for program eval- use the results intelligently. uation and improvement. Of music tests. The achieve- The results of the aptitude tests should not be ade- 2ow well each student has mas- termining factor in admitting or excluding students of the music prograin.The. from any elementarrechool musical activity.. Pub- to predict the student's suc- lishers of standardized tests, withaddressee-, are .basis of his innate ability. listed in the Directory, page 19 of the Appendix accompanying this guide. ,hievement tests should be used ;udents are making progress ..

'USIC ACHIEVEMENT TESTS. (composers, texture), auditory-visual discrimination, Ilea Educational Corporation, chord recognition, and cadence recognition. Gordon, Edwin. IOWA TESTS OF MUSICLITERACY. .s 3-6) measurespitch discrimi- Gradd; 4-6.Test levels 1-3 for Grades 4-6. al discrimination, and meter Bureau of Educational Research, 1970. n.Test 2 (Grades 4-6)-measures mode discrithination,,feeling for Measures tonal concepts (aural perception, and auditory-visual discarnina- reading recognition, notational understanding), ytbrn).Test 3 (Grades 4-6) and rhythmic concepts (aural perception,read- memory, melody recognition, ing recognition, notational understanding). :ion, and instrument recognition. 5-6) measures musical style

1-/3 BEST Wei AVAILABLE

MELODY. Grades 3-6.Divis. Knuth., NV: Iltam E. ACHIEVEMENTTESTS IN RHYTHM AND Divisioh 2., Grades 5.6.Creat MUSIC: RECOGNITION OF Associates, Inc. , 1968

Aptitude Tests 8111.0... Bentley. Arnold. MEASURES OF MUSICALABILI- Gordon, Edwin. MUSICAL APT TIES. Grades 2-6. George G. Harrap it Co. , Grades 4-6. Houghton Miffli Ltd. United States distributor: October House, Mc., 1,06. This test measures tonal harmony), and rhythm it This test measures basic ability in pitch discrimination, tonal memory, rhythmic memory, and chord analysis.

4 BEST Curd AVAILABLE

MELODY. Grades3-8.Division 1, Grades 3-4; ACHIEVEMENT TESTS IN Division 2, Grades '5-6.Creative Arts Research 'ITION OF RHYTHM AND Associates, Inc. , 1968\.

Gordon, Edwin. MUSICALAPTITUDE PROFILE. ,EASURES OF MUSICAL ABILI- Houghton Mifflin Co., 1965. ,6.George G. Harrap R.: Co. , Grades 4-6. distributor: October House. This test measures tonal imagery(melody. harmony), and rhythrit imagery. sures basic ability- inpitch dis- onal memory, rhythmic memory, ysis.

54 FACILITIES FOR THE MUSICROOM

. Rhythmic activity A well-balanced elementarymusic program is based on the philosophythat children should learn tomake of instruments as well as . Seating for entire sch music with various kinds children for rehearsa their voices, that theyshould learn music through rhythmic activities, thatthey should have opportunity . Piano and record play to hear and learnabout quantities of musicbeyond their ability to perform.This type of program requires a place variety of instruments(piano, autoharp, resonator drums, and other rhythminstru- . Extra table for reson bells, melody bells, and other instruments ments).It requires a large libraryof record albums. It means that there mustbe as many as six to12 sets (depending on the 2.. There should be bookshelv of music books kept in the room six to 12 sets of musictex. number cat grade levels taughtin the room).It means (free from furniture) bookshelves each three fe_ that there must be floor space high, and nine inchesdeep to be used inrhythm activity. this dual-purpose room. of program, the school urgently To carry out this type There should be at least th needs to plan the music roomfor more floor space, for 3. designed especially in the room for record pla bookshelves, and for cabinet space and other equipment. to accommodatethe music rquipment andinstructional materialsinfuse in that room.Acoustical treatmet diminish sound problems. 4. The room shouldbe acous of the room is needed to it as nearly soundproof as sible to carry on a music Ideally. the music roomshould be separate from rooms suggestions ing other classes.There used as homerooms.However, the following within the room to conside and the accompanying floorplan include sufficient floor space, cabinets,and otherfacilities to ensure the combined music and homeroom b. It is recommended thatthi room's usefulness as a larger classroom to facili if necessary. going of groups.

1. The music room shouldcontain one third more space thanthe average classroom. should be at least 26 feet K40 feet. This size room is needed toprovide space for the following:

57 FACILITIES FOR THE MUSICROOM

tmentary music program is based o . Rhythmic activity 't children should learn.to make kinds of instruments as well as Seating for entire school chorus(50-60 ley should learn musicthrough children for rehearsals) that they should have opportunity remain in )out quantities of musicbeyond their . Piano and record player to This type of program requires a place nts (piano,..autoliarp, resonator Extra table for resonator bells,autoharps, ,drums,anii other rhythm instruT . a large libraryof record albums. and other instruments when in use must be as many as sixto 12 sets 2. There should be bookshelves toaccommodate _ in the room (depending on the of It means six to 12 setsof music textbooks. Two sets eels taught in the room). bookshelves each three feetlong, about four feet floor space (free from furniture) recommended for activity. high, and nine inches deep are this dual-purpose room. S 'pe of program,the school urgently for 3. There should be at least threeelectrical outlets :,sic room for more floor space, 'record player, overhead projector, -)r cabinet spacedesigned especially in the room for and other equipment. -t music equipmentand instructional . that room.Acoustical treatment acousticalaly treated to make =-1 to diminish sound problems. 4. The room should be it as nearly soundproof aspossible.It is impos- from rooms sible to carry on a music programwithout disturb- .3om should be separate is also a sound problem fjowever, the followingsuggestions ing other classes. There ing floor plan include sufficientfldor within the room to consider. other facilities to ensure the and homeroom 5. It is recommended that therebe two doors in this as a conabined music larger classroom to facilitatethe coming and going of groups. -sic room shot ld contain onethird space than the averageclassroom. ld be at least 26 feet x 40feet. ize room is needed toprovide space following:

ti Floor Plan for Music Robni Aso/ Tack Board Above Windows Above Tack Board Alarm Bookshelvel Hooting Unit Bookshelves Ic C. .0 . a V

Electric

Eisdrio

0 A C Electrical Outlet "V.e -soTack Board--Chalkboard---Tack Boardop- I I I F"' Floor Plan foroMusic Room 419 40/ Boird Above Windows Above Tack Board Above ookshelvos Heating Unit Bookshelves

Electrical Outlet

26'

Electrical Outlet a 0

Eage Electrical Outlet 23 n .ile.--Tack Board Chalkbolard.--TackBoard 7

58 416 EQUIPMENT AND MATERIALS

4 Equipment and materials itemized below areminimum the appropriate grade level. essentials for the general music program inthe ele- is taught by a specialist in a mentary grades (K-6).Record albums that accompany one room need be furnished State-adopted textbooks are essential to a balanced rials for the appropriategrade music program. Albums include all songsfound in the textbooks, plus rhythm and listening recordings.Each It is recommended that music- school district should provide theserecordings, which be of the highest quality.Supe may be obtained from thetextbook publishers. heavy-duty dependability, and r of paramount importance. An optimum program would include additionalclass- room instruments such asrecorders, melodicas, uku- Producers of equipment and leles, guitars, and Orff instruments. es, are listed in the Directory dix accompanying this guide. In schools where music is taught byself-contained classroom teachers, each room st.ould be-furnished with the equipment and materials recommendedfor

Primary Grades (K-3)

General Music Equipment

Pianos -- Standard equipment in music roomand auditorium; 6-inch triangle--2per room not necessary in self-containedclassroom 6-inch tambourine--1 per room Record player (portable, manuallyoperated)-41 per rocm Jinglebens (wrist orhandle) Chromatic song bells (20 notesranging from C to G)--1 'Toneblocks withhandle-2 per per room blocks--1 pair per roo..1 Resrn....cor bells (1 1,2 chromaticoctaves)--1 set per sane room clogs--2 per room 12-bar autoharp or 12-barchromaharp--1 per room Drum--1 per room

F.:Inger cymbals--1set per room Rhythm Instruments

Rhythm sticks--6 pair) per room 59 q7 EQUIPMENT AND MATERIALS

..rials iternizedbelow are minimum the appropriate grade level.In schools where music eneral music program in the ele- is taught by a specialist in a music room, onlythat -6).Record albums that accompany one room need be furnishedwith equipment and mate- )ooks are essential to a balanced rials for the appropriate grade levels to share. iburns include all songs found in the Zhm and listening recordings.Each It is recommended that musical instruments should ld provide these recordings, which be of the highest quality.Superior tone quality, )m the textbook publishers. heavy-duty dependability, and accurate tuning are of paramount importance. un would include additionalclass- such as recorders, melodicas, uku- Producers of equipment and materials, with address- Orff instruments. es, are listed in theDirectory, page 19 of the Appen- dix accompanying this guide-. ,usic is taught by self-contained ,each room should be furnished and materials recommended for

vent Tuipment inmusic room and auditorium; 6-inch triangle--2 per room classroom , -1f-contained 6-inch tambourine--1 per room table, manually operated)--I per room Jingle bells (wrist or handle)--2 per room is (20 notes ranging from CtoG)--1 ),Tone blocks with handle--2 per room-

1/2 chromatic octaves)--1 set per Sandppiks--1 pair per room

Jelgleclogs--2 per room

12-bar chromaharp--1 per room .a Drum--1 per room

Finger cymbals--1 set per room

7,ir per room 59 4474, Kinderqarten Records for Teacher'sBook I.2522tSEnTASEITORtg4 Tem ENJOYING MUSIC, American (sot of EXPLORING MUSIC, Holt (set of 10records) EXPLORING MUSIC, Holt "(set of 8 THE MAGIC OF MUSIC, Ginn (setof 8 records)

MAKING MUSIC YOUR'OWN, Silver (set of6 records) GROWING WITH MUSIC, Prentice (el- THE MAGIC OF MUSIC, Ginn Jset c MUSIC FOR EARLY CHILDHOOD, American(set of 8 records) MAKING MUSIC YOUR OW%, Silver C Grade.,4 Records to Accompany Textbooks

BEGINNING MUSIC, American (set of7 records) Grade 3 Records to Accompany Top EXPRESSING MUSIC, American (set EXPLORING MUSIC, Holt (set of 10records)

EXPLORING MUSIC, Holt tset of81 GROWING WITH MUSIC, Prentice (Setof 8 records) GROWING WITH MUSIC, Prentice THE MAGIC OP MUSIC, Ginn(se,: of 8 records) (set c MAKING MUSIC YOUR OWN, Silver(set of 6 record's) THE MAGIC OF MUSIC, Ginn MAKING MUSIC YOUR OWN, Silver

Upper Elementary Grades (4-6) "Meet the Instrumi General Music Equipment Bowmar: per room Pianos--Standard equipment in music room andaudi- "Portraits of Composers," Set I torium; not necessary inself-contained classroom

7 Record player (portable,.manuallyoperated)--1 per Melody and Chording Instruments room 15-bar autoharp or 15-par chrome Teaching Aids Resonator bells (2 chromatic on Chalkboard staff liners--1 per room. Chromatic melody bells (25 note Futures of instruments of theorchestra middle C)--1 set per room

RCA (Order from J.W. Pepper &Son Inc', 231 North Third Street,Philadelphia, PA 19106) 60 448 41 for Teacher's Book Grade 2 Records to Accompany Textbooks records) ,t (set of 10 records] ENJOYING MUSIC, American (set of 8

GinnOset of 8 records) EXPLORING MUSIC, Holt (set of 8 records) records) A,-Silver (set of 6 records) GROWING WITH MUSIC, Prentice (set of 9

1860D, American (set of 8i records) THE MAGIC OF MUSIC, Ginn (setof 8 records)

MAKING MUSIC YOUR OWN, Silver'(setof.6 records) ccompany Textbooks

:ican (set of 7 records) Grade 3 Records to Accompany Textbooks 7 records) .t (set of 10 records) EXPRESSING MUSIC, American (set of

Prentice (set of 8 records) EXPLORING MUSIC, Holt (seof 8 records) records) Ginn (set of 8 records) GROWING WITH MUSIC, Prentice (set of 9

Silver (set of 6 records) THE MAGIC OF MUSIC, Ginn (set of8records)

MAKING MUSIC YOUR OWN, Silver (set of -6records)

(4-6) posters--1 set ent Bowmar:, "Meet the Instruments" per room -,ipment in music room and audi- set per room :y in self-containedclassroom "Portraits of Composers," Set I, Bowmar--1

.)1.e, manually operated)--1 per Melody and Chording Instruments

15-bar autoharp or 15-bar chromaharp--1per room

Resonator bells(2-chromatic octaves)--1 set per room lars--1 per room Chromatic melody bells (25 notesbeginning with G below ants of the orchestra middle C)--1 set per room ,

J.W. Pepper & Son, Inc., Street, Philadekphia, PA 19106) 63 61-3 4 4

t . Rhythm Instruments Prentice (set of 12 -inch tuneable hand drum--1 per room- GROWING WITH MUSIC,

1.9 1/2-inch tub drum--1 per room INVESTIGATING MUSIC, American (set c Silver'(set c 6-inch bongo drum--1 in Grade 6 MAKING MUSIC YOUR OWN,

*Jr 8 -inch tambourine - -1 per room A Grade 5 Records to Accompany Text:bold 8.%In'ch triangles.: -2 per room DISCOVERING MUSIC,,.Follett (set of 8 Finger cymbals-71 set per room EXPLORING MUSIC, Holt (set of 11 rec Tone block (grooved withhandle)--1 per room GROWING WITH MUSIC, Prentice (set of Double tone wood block--1 per room EXPERIENCING MUSIC, American (set of Maracas--2 pair per room MAKING MUSIC YOUR OWN, Silver (set c Claves--1 pair per room

Handle castenets--1 per room Grade 6 Records to Accorpnany-arexi.boc of Mounted dingle bells--1 per room DISCOVERING MUSIC, Follett (set Holt (set of.11.reC Sand block--1 pair per room 4oanzaulnIcsic

Tapered rhythm sticks--4 pairs per room GROWING WITHMUSICv., Prentice (set of MASTERING MUSIC, American (set of 9

Grade 4i_.._teSC3rCisV_..2kC:01T1Accompany Textbooks MAKING MUSIC YOUR OWN, Silve DISCOVERING MUSIC, Follett (set of8 records)

(7 EXPLCRING MUSIC, Holt (set of11 records)

61 -I drum- -1'per room GROWING WITH MUSIC, Prentice (set of 10 records)

'6-1 per room INVESTIGATING MUSIC, American (set of 8 records) , a records) in Grade 6 MAKING MUSIC YOUR OWN, Silver (set of 8 sa rt per room Grade 5 Records to Accompany Textbooks per room DISCOVERING MUSIC, Follett (set of 8records) per room EXPLORING MUSIC, Holt (set of 11 records) with handle)- -1 per room GROWING WITH MUSIC, Prentice (set of 11 records) ,ck--1 per room EXPERIENCING MUSIC, American (set of11 records) room MAKING MUSIC YOUR OWN, Silver (set of 8records) room

per room Grade 6, Records to Accompany Textbooks

records) S!--1 per room DISCOVERING MUSIC, Follett (set of 8

Ter room EXPLORING MUSIC, Holt (set'of 11 records)

18-4 pairs per room GROWING WITH MUSIC, Prentice (set of11 records) MASTERING MUSIC, American (set of 9records) . Agicompany Textbooks MAKING MUSIC YOUR OWN, Silver (setof 10 records) Follett (set of 8 records)

1.t .(set of 11 records)

1. Basic Recoki Library* Elementary Grades (K-6) t

Recordings for RhythInic Activities Bowmar: BIOGRAPHIES OF GREAT CON

.; .

. Bowmar: RHYTHMS, SINGING GAMES, PLAY PARTY GAMES AND FOLK DANCES. Recordings About Operas Disney Land Records: WALT D/SIM RCA: THE WORLD OF ITOLK DANCES (Graded Series) .COMPOSERS

R ordings for Instrument gecognition RCA: AMAHL AND THE NIGHT VISITQI

. AM:SEL AND GRETEL Bowmar: MEET THE INSTRUMENTS Capitol:

RCA: INSTRUMENTS OF THE ORCHESTRA r Recordingskof Standard Works Capitol: INSTRUMENTS OF THE ORCHESTRA Bomar: ORCHESTRAL LIBRARY, Ser. YOUNG PEOPLES RECORDS SERIES (Order fromSutson Series II (7 albums), Series 1.17. Distributors, 100 Sixth Avenue, New York, NY RFA: ADVENTURES IN MUSIC (12-a1 10013.)

-Recordings of Patriotic Music Recordings About Composers PATRIOTIC SONGS Disney Land Records: WALT DISNEY PRESENTS GREAT Bowmar: COMPOSERS RCA: AMERICA THE BEAUTIFUL Vox: MUSIC MASTER SERIES (Order from Educational Record Sales.)

*Two or more album seriesare category. One series would be basic collection.

670 S'Oc I 1k

4 0 '.4

3. Elementary Grades (K-6)

BIOGRAPHIES OF GREAT COMPOSERS is Activities .Mwmar:

:GING GAMES, PLAY PARTY GAMES Recordings About Operas

WALT DISNEY PRESENTS OPERATIC )1A DANCES -,raced Series) Disney Land gk x:ords: COMPOSERS

RCA: AMAHL AND THE NIGHT VISITORS ument Recognition 4 HANSEL AND GRETEL ITRUMENTS Capitol:

a THE ORCHESTRA Recordings of tandard.WOrks OF THE ORCHESTRA Bowmar: ORCHESTRAL LIBRARY, Series I(11 alliuMS4, albums) *RIES (Order from Sutson Seriea II (7 albums), Series III (18 ':th Avenue, New York, NY RCA: ADVENTURES IN MUSIC (12-albumseries)

Recordings of Patriotic Music )users

WALT DISNEY PRESENTS GREAT Bowmar: PATRIOTIC SONGS

RCA: AMERICA THE BEAU FUL FRIES (Order from Educational

*Two or more album series-arelisted under each category. One seriess.vouldbe sufficient for a basic collection. So I' STATE-ADOPTED MUSIC TEXTBOOKS Kindergarten-Grade Six

The Magic of MusicSeries--Ginn Discoaerinst Music TogetherSeries - -Follett Kinder! Book 4 The MAGIC OF MUSIC, DISCOVERING MUSIC TOGETHER, THE MAGIC OF MUSIC, Book1 DISCOVERING -MUSIC TOGETHER, Book 5 Book 2 Book 6 THE MAGIC OF MUSIC', DISCOVERING MUSIC TOGETHER, THE MAGIC OF MUSIC, Book3

Exploring Music Series--Holt Makin Mus is Your OwnSeries-- Si

EXPLORING MUSIC, Kindergarten* MAKING MUSIC YOUR OWN,Kind EXPIRING MUSIC, Book 1 MAKING MUSIC YOUR OWN, Book EXPLORING MUSIC, Book 2 MAKING MUSIC YOUR OWN,Book EXPLORING MUSIC, Book 3 MAKING. MUSIC-YOUR OWN,Book EXPLORING MUSIC, Book 4 MAKING MUSIC YOUR OWN,Book EXPLORING MUSIC, Book 5 MAKING MUSICYOUR OWN, Book EXPLORING MUSIC, Book 6 MAKING MUSIC YOUR OWN,Book

Series--Prentice M.-owing With Music New Dimensions inMusic Series-- Book 1 GROWING WITH MUSIC, MUSTCTOR-EARLY C-HELDHOOD-1,-- GROWING WITH MUSIC,Book 2 BEGINNING MUSIC, Book L GROWING WITH MUSIC, Book3 ENJOYING MUSIC, Book 2 GROWING WITH MUSIC, Book4 EXPRESSING MUSIC, Book3 GROWING WITH MUSIC,Book 5 INVESTIGATING MUSIC, Book4 GROWING WITH MUSIC,Book 6 EXPERIENCING MUSIC, Book 5 MASTERING MUSIC, Book 6 ,1

is *In kindergarten only theteacher's resource book adopted; whereas inGrades 1-6 boththepupils' books andtheteachers' guide are adopted. STATE-ADOPTED MUSICTEXTBOOKS Kindergarten-Grade Six

The Magic of Music Series --Ginn Oether;peries--Follett Kindergarten TOGETHER, Book 4 The MAGIC OF MUSIC, TIE MAGIC OF MUSIC, Book1 'C TOGETHER, Book 5' THE MAGIC OF MUSIC,Book 2 'C TOGETHER, Book 6 THE MAGIC OF MUSIC, Book3

QS - -Holt Making Music Your OwnSeries--Silver

Kindergarten* MAKING MUSIC YOUR OWN,Kindergarten Book 1 MAKING MUSIC YOUR OWN, Book1 Book 2 MAKING MUSIC YOUR OWN, Book2 Book 3 MAKING MUSIC YOUR OWN,Book 3 Book 4 MAKING MUSIC YOUR OWN, Book4 Book T MAKING MUSIC YOUR OWN,Book 5 53010)c MAKING-MUSIC YOUR OWN, Book 6

eries -- Prentice New Dimensions in MusicSeries - -American

:1C, Book 1 MUSIC FOR EARLY CHILDHOOD,Kindergarten 11-Ci-Book 2 BEGINNING MUSIC, Book1 SIC, Book 3 ENJOYING MUSIC, Book..2 1C, Book 4 EXPRESSING MUSIC, Book3 3IC, Book 5 INVESTIGATING MUSIC, Book4 'IC, Book 6 EXPERIENCING gUSIC, Book5"1 MASTERING MUSIC, Book 6

ytheteacher's resource book is Grades 1-6 both thepupils' books are adopted.

1/45774.- ,

III 1 Glossary

two or mare not A capella choral singing withoutinstrumental Chord accarpaniment taneoully gradually faster (=et.) Classroan musical instrum Accelerando instnments ing little stud a beat thatis stronger; usually the Accent Coda a concluding nu first beat in the measure distinct from "tail" Allegro brisk; lively Concerto oarpot.sition_ Andante moderately slow but flowing with orchestral Arpeggio the notes of a chordplayed or sung one after theother starting with the Crescendo' gradually grow: lowest note; brokenchord Decrescendo gradually bar Art song a =posed songin which the music closely fits the words andthe in- Descant melody to be p: stnarental accompaniment is an es- the main melody sential part 'of the =position Diminuendo .graduali.y boom in tine; usually a returnto the A tempo Dynamics indicates loudr original tempo music Ballet a theatrical artform; usually- ex- pressing a story,, theme, oratmos- Flat lowers the pits phere in dance .) step Folk song 111.1.5iC which dem Beat the steady pulse of a musical can- le; it my' position and tract of the country Chant an unaocanpaniedsacredmelody in free rhythm; also astele counter- melody

67 a Glossary

two or more notessoured simul- singing withoutinstrumental Chord i.3, taneously ;mpaniment musical instruments usually reguir- lly faster (=ca.) Classroom instruments 1 inglittle study to play . . that is stronger;usually the musical section that is Coda a concluding beat in the measure distinct from the mainsection; the "tail" c lively Concerto a .6d6pobitibnTor- solo instrument trately slow but flowing with orchestralaccompaniment played or sung notes of a chord gradually growing louder(ake6c.. after the other startingwith the Crescendo note; broken chord (du/L.0224.1 Decrescendo gradually becomingsofter the maisic =posed song ih which melody to be played or sungabove /. words and theihr- Descant 71y fitsthe the main melody mental accompanimentis an ,es- Aial part of thecomposition Diminuendo gradually becoming softer ,fore; usually a returnto the and softness in Dynamics indicates loudness -;inal tempo _ music usually ex- ;theatrical art form; lowers the pitchof a note one-half, ssing,a story, theme, oratmos-! Flat step 7e in dance music which developsamong the comr Folk song steady pulse of a musical people; it expressescustoms, feel- ition ings, and traditionsof the people of the country unaccompanied sacredmelody in rhythm; also a simplecounter-

act17

67 Largo a very slow, sta Form the pattern or structure from be- -ginning to end of amusical comr position:showing the sections as Legato 491connected, smoot they.follow one anotherand give slow, faster that the =position varietyand unity Lento tonsists of eigh rapid execution ofconsecutive Major scale Glissando with half steps: notes produced by asliding move- 4th and the 7th ment steps; all the c whole steps----- Hammy succession of ch6rds-weldthe lationship between them Measure the music betwe r tonal center or key note Home-tone Melodic con- the shape of the tour Homophonic one principlemelody an organized suc music spontaneously'created di- Melody Improvise tones. rectly from theimagination a system of gror iMportent section inserted Meter Interlude a less unaccented beat between twu parts of acomposition or a seriesof mcmgnents Moderato moderate; averas; the distance in pitchbetween two Interval Movement asection of ..a tones such as ncmtment phony, or come& played before the Introduction a few treasures composition begins tohelp give a symbolused tt, the pitch and to setthe mood Natural of a sharp or a notes based on Key a system of seven an interval mea their relationship to akey-note Octave or "hone-tone" Opera drama with orch at the be- entirely sung, Key signdture flats or sharps placed and costumes ginning of each lineof music to indicate the key inwhich it is written

Y. 6 a very slow,statelytotempo the pattern or structurefront be- Largo musical comr ginning to end of a connected, smooth tempo position showing the sectionsas- Legato they follipw one anotherand give slow, faster than ,largo the coMpositiouvarietyand unity Lento. f consists ofeight consecutive tones 'rapid execution of consecutive Major scale with half steps betweenthe 3rd and notes produced by asliding move- 4th and the 7th and.8thscale ment steps; all theother intervalsdare -whole steps immuession of chords -andthe relationship between them bar lines Measure the music between two tonal center or key note Melodic con- the shape ofthe melody one'principle melody tour suocession of single created di- Melody an organized music spontaneously tons rectly from theimagination L grouping accentedand ''\ section inserted Meter a system of a less important unabcented beats intomeasured between two parts of acomposition or a seriesof movements Moderato moderate; average tempo the distance in pitchbetween two Movanent a sectionof a larger composition, tones such as movementsof a suite, synr' phony, or concerto afewmeasur4 played before the help give composition begins to used to cancel theefixt the mood Natural a symbol the pitch and to set of a sharp or aflat notes based on a system of seven an intervalmeasuring eight degrees their relationship to akey-note Octave or "hameltone" accompaniment, Opera drama with orchestral entirely sung, withacting, soenery, at the be- flats or sharps placed and costumes ginning of each lineof music to indicate the key inwhich is 4s written

4[A tr . ! allthe tones, Ordtorio a large,choral work cloying solo- Rang ists,' chorus, and,orchestra, usually est, that an in based on ascriptitiral slabject capable of prod% compositions tti Ostinato a shortmelody in a lower partthatRepertoire is constantly repeatedthroughout and can be perfc -a composition Repertory! a collectionof music usually' serving as anintro- Overture Rhythm the way music i duction to ballet, opera, orora- of form . a framework torso; also an independent and patterns of Pentatonic a five-tonescab, (1 2 3 5 6) widely scale -1 used in American Indian,rwro, . . Scottishr_and Oriental music Ritardando, becoming gradua Ritard Percussion instruments which are struck,shaken other sound effects,Rondo a musicalform. Instruments or which produce thqie alternate/ such as castanets theges a short musicalthought, conparable Phrase Root the lowest note to a part of a sentence constructed the highness or lownessof a tone Pitch Round a short melody groups entering Polyphonic the combination of two or rrore melodies Score the musical not. Primary the major chords I, IV, and V Sequence the repetition chords on different lel instrumentalraisicthat suggests a Program rntisic event Sharp raises the pits story, scene, rrood, or step recurring beat Pulse a steady Signature thesharps or f becaning gradually slowerPut.te. ) of each staff Rallentando aoaniposition-

69 all thetoiies,.. Bran lowest to high- a large choralwork employing solo- Mange . .est,that.an instrument or voicedi ists, chorus, and'orchestra, usually capable of producing aced on a scripturalsubject compoiitions that have beenlean: a short melodyin a lower partthat Repertoire and can be performed is constantly repeatedthroughout, a =position,- Repertofy a collectiohof compositions ' ° music usualIVServing as anintro, the .way music isoryanizeeiwit.M. suction to ballet, opera, orora- `Rhythm a frameworkof.beats (pulse), spc I, torio; also an independentform and patterns of time;measured n a.five-tone scale (1 2 3 56)widely' tion used-in American Indiani.Negro, be-doming gradually/slower (kit., Scottish, and Orientalmusic Ritardando, Ritard instruments which are struck,shaken a musicalformin which aprincipal or which produceothersound effects, Rondo theme alternates withcontrasting such as castanets P themes' a-short musical thought,comparable the lowest .e on uipich achora is to a part of a sentence Root constructed. the highness orlowness of a tone more Round. ashort melody sung by two or groups enteringat stated intervals the combination of two.ormore melodies of a composition Score the musical notation the major chordsl, IV, and V melodic pattern Sequence the repetition of a on differentlevels of pitch suggests a instrumental music that -raises the pitch of a note one-half story, scene, mood, orevent Sharp step

a steadyrecurring beat flat at the beginning gnature the sharps or of each staffindicating tne key of becoming graduallyslower,. (oat. ) a composition .4

69 tc"1/44. 4

inrlicatea by dots 'Merl* a complete music Staccato detached; short; an extended must oyer or undernotes develepea horizontal lines Staff the five parallel a musical' fort_' on. whichmusidtal notes are written'" Theme and 4 variations opening section - in elaborated ve Siete a series ofshortrelated compositions under one title(originally t --. character or qua: dance forms) -,.... Timbre . sound that disti- rrowineAts voice or instrun Symphony . acompositiorLoLseveral._usually in four , for full orchestra, key fettling;'ril rrovements a key which an accent isplaced .Syncopation a rhythm in on a norrtfllyweffir beat.' Tone a musical sound utdchmusic is per-Triad .a -chord of three Tempo rate of speed at third, and fifth formed Unison singing or playi performers-, all. I

4. a Oomplete musicalidea fromwhich :ached; short;'indicated by dots Theme an extended musical_composition is er or under notes developed horizontal lines e five parallel based on a simple which" musical notes are written. Thane and a musical form _variations opening section which i.s..repeated in elaborated versions eerteWof shorn relatedc8Mposi- ms under one title(originally Timbre character or valityjof amusical nce forms) sound that distinguishes acertain -. -tram another ) 1 :AL" voice or instrument full orchestra, us ly in four key feeling; relation of cotesto viments ,Tonality a key . . . e rhythm in which an accent isplaced amusical sound of definite pitch a normally weakbeat Tone

I chord ,Of three tones: root, 4 Lte of speed.at whichmusic is per- Triad third, and.fifth coed Unison singing or playing by two or more performers, all on the same pitch

am/

4 , . Acknowledgments

4 - this,curriculum guide. . Acknowle Mail), musicectucatqrs have beeninvotved in the Texas Srcontrjbutiorks. is given tothe per& . detelophient of the music upr ic u ltirn for schopls which has resulted inthe production of-

Richard Sutch hir Jack . Fine Arts A.iviSoft.Prbject Coordinator of Choral Music El Pa, Joe Frad k, Music Department Austin Independent SchoolDistrict Di Southern Methodist UnWersity ...arr--- r- }Cattle Lamar Richard Kidwell Reviewers Director, of Music Mary ,.., Amarillondependent School District ,MuuseyAyers' 1 Klein Independent School District Yalet Di . Obrothy McIntosh Music .Consultane4 Ardys Barnard Brorwood Independent School District Garland. IndependentSchool District Ralph u I Alditt Sa.ra Dunn Sistrunk Martha Jim Bender, . . McAllen Independent School District Music Consultant . Dorot Fort Worth Independent. SchoolDistrict 5. Eddie Lake Stanton Dail- Wichita FallsIndependent School Di Other cosiiributors District 10 4rMaco. Betty Kanable LowellClark Cepartment of Music South Fairy IndependenE Sftkool Di University of Texas at Austin `District Kenna Lois Rhea Land. Bryan Cooney 4, Di Department ofMusic Brazosport Independent School Universi ty District Southern Methodist A144 CarrO. Ruth Red Bin R. CorMack Director of Music. Midland Indeperdent-Scnool. Houston IndepTident SchoolDistrict District 0 Acknowledgments

this. curriculum guide..Acknowledgment of special .ors have been involved in the given to the persons listedbelow. musiccurriculum for Texas contributions is resultedit. the production of

Project Richard .Sttchr Jack Elliott Coordinator of Choral Music El Paso Independent School District Oattment Austin Independent School District 0.004.10...... 00. Univergity Katherine Elsey Reviewers Lamar State University. c

IntSchool District Munsey Ayers Mary Louise Ford Klein Independent School District Yeleta Independent School District Ardys Barnard ent Schoolpistrict Garland Independent School District Ralph Goodman Aldine Independent School .

:Martha Jim Bender . District, McAllen Independent School District lent School District Dorothy Greene Eddie Lake Bunton Dallas Independent School Wichita Falls Independent School District District William Hooper Lowell lark Mesquite Independent School South Park Independent Cchool District

-.at Auetin . District Kenneth Howard Bryan Cooney Waco Independent School Brazosport Independent School District University District Audrey Hudgins BillR..tilormack Carrollton-Farmers Branch 'Independent School District .0 Midland Independent School ,'Schodl District District

iS Tom Seale J. R. McEntyre Hudnall . Goose Creek Ind. Margaret Ector CountyIndependent School North TexasState-University District District Virginia Hunt Wayne Stevens Ruth Merrill Spring Branch IndependentSchool Lubbock Indepem Cleburne IndependentSchool District District District' Louise Latimer Mary Ann Vaughn Sandra Morgan South Park IndependentSchool Texas Tech Univ Pasadena IndependentSchool District District Herman Vetter San Antonio.I1A Katherine Lerlpard Eddie Lou Neel North East IndependentSchool District San Angelo IndependentSchool District District Charlene Watson. Jerrold Longwell Arlington Indep Ruth Parson Hurst-Eueless-Bedford Independent. District . Abilene independentSchool School District District ti Arnold Whedbee Dean Lowman Beaumont Indepe Mary Sue Ray East Texas StateUniversity District Fort Worth IndependentSchool District Betty M. Martin Mary Williamson Corpus ChristiIndepehdent School Richardson Ind Martha Reynolds District ,, Southwest Texas StateUniversity R. R. Willman Mary Ruth McCulley Calhoun County Woodrow chober West Texas. StateUniversity District- Irving Independent School District

TEA-336

74 Tom Seale J. R. McEntyrp: Goose CreekIndependent School Ector CountyIndependent School iversity District District Wayne Stevens Ruth Merrill %dent School Lubbock IndependentSchool CleburneIndependent School. District District Mary Ann Vaughn Sandra Morgan tSchool Texas Tech Univert "ty 0 .Pasadena IndependentSchool District Herman Vetter San Antonio IndependentSchool Eddie Lou Neel at .School District San Angelo IndependentSchool District Charlene Watson Arlington IndependentSchool Independent Ruth Parson Abilene Independent School District District Arnold Whedbee BeaumontIndepenelent School Mary Sue Ray versity Distiict Fort Worth IndependentSchool District Mary Williamson endent School Richardson IndependentSchool District Martha Reynolds Southwest Texas StateUniversity R. R. Willman' Calhoun CountyIndependent School Woodrow Schober versity District Irving IndependentSchool District

74 Appendix to it'AJSIC It'd Elemenirary rducation

additional copies may be purchasedfor $1.00; howeve After the original freedistribution of this bulletin (743), be exhausted. demand for educationalmaterial, the supply at times may all sections of this bulletin maybe dui Since Texas Education Agencypublications are not copyrighted, any or school district and countysuperintendents is madora Official distribution of Agencybulletins to the offices of of the individuals who receivethem. offices and is not to beconsidered as personal property

dir nine Division of Curriculumt Texas Educt 201 Ea$ Austin, (31g )endix to iSk metary cation the increasing additional copies maybe purchased for$1.00; however, with free distribution ofthis bulletin (743), be exhausted. Moped material, thesupply at times may of this bulletin maybe duplicated. publications are notcopyrighted, any or all sections cation Agency property ofthose district and countysuperintendents is made as" of Agency bulletins tothe offices of school of the individualswho receive them. to beconsidered as personal property

Fine ArtsSection Division ofCurriculumDevelopment Texas EducationAgency 201 East 11thStreet Austin, Texas78701 c.5701-- Sig Preface

This publication of resourcematerials for general musicin the elementary school, along with adirectory of book publishers,educational record com- producers was panies, classroom instrumentcompanies, and film-filmstrip designed to accompany MUSIC INELEMENTARY EDUCATION, TexasEducation Agency' Bulletin 743, a generalmusic curriculum guide forelementary schools in Texas.. Special contributions of tht followingmusic educators aregratefully acknowledged:

Lois Rhea Land Ruth Red Betty Kanable Director of Music. Department of Music Department of Music University of Texas Southern Methodist Houston. Independent University School District V at Austin Contents

RESOURCE MATERIALS 3 Films 8 Filmstrips Resource Booksfor Teachers 10 Children's Booksfor Library 12

DIRECTORY Publishers ofState-Adopted Textbooks 19 Publishers ofStandardized Music Tests19 Classroom InstrumentCompanies 19 . Educational RecordCompanies 4. 19 2Q Film Producers Filmstrip Producers 20 Resource BookPublishers 20 Children's BookPublishers 21

ii FILMS Grand Canyon. 29 minutes Walt Disney 16mm Films. DISCOVERING ELEMENTARYMUSIC SERIES. 16mm. A musical andpictoria. Color., sound. Bailey-Film Associates. of Ferde,Grofe's"Grand C with no narration. A tea Discovering the Masi.cof Africa. 1967. companieS the film. 20 minutes. Gr. 4-6. Predominantly the musicof Ghana. Introduction to Music Rea Variety ofrattles° bells, and drums Color, sound, 16mm. SutS are introducedand playesd singlyand al Films. Gr. 1 -6. in ensemble. Narrated and performed peals with theactual by nativemusicians In nativecostumes. ing to read musicin ,AL wa Talking drums of theAshanti tribe are stimulate a child'sintpz' demonstrated as a meansof communica- tion. Short dance sequenceincluded. Mexican-American Culture- 1970. 18 minutes. Color 1970. munications Group West. Discovering ElectronicMusic. . 23 minutes. Gr. 6. Demonstrates visually Presents standardorchestral in- the origins andhistory c . struments andshows how the soundis American culture. ,produced agd pitchchanged by rate of oscillation, anddifference in wave MUSIC EXPERIENCESSERIES. form for variousinstruments is demon- sound. Aim0Instructi strated. The film thenproceeds to a vices, Inc. synthesizer and itsdifferent oscil- 1: lators. It demonstratesenvelope and Bach Is Beautiful. ffttering of sound. Gr. 4-6. 'Animation used for Discovering Jazz. 1969. 21 1/2 min- portion of the film. .formers featured in a utes. Gr. 5-6. Traces thehistory of jazzfrom its an interestingcompari roots innineteenth centuryblack tion in F" played ont America to the present. Includes and on the Moog synthe African instruments,Dixieland funeral style imitation isdie processions, fieldhollers copied by lustrated on a musical instruments; the blu s,vocal call and response imitated y instruments,swing, be-bop, cool jazz,gospel, and later forms Of jazz. 3 7 46/ FILMS -grand Canyon. 29 minutes. ,Color, sound.' Walt Disnei, 16mmFilms. Gr. 4-6. EMENTARY MUSIC SERIES. 16mm. A musical andpictorial interpretation d. Bailey-Film Associates. of Ferde Grofe's"Grand Canyon Suite" ''with no narrations. A teachingguide ac- the Music of Africa. 1967. companies the film. Gr. 4-6. aptly the music ofGhana. Introduction to MusicReading. 11 minutes. rattles, bells, and drums Color, sound, 16mm. Sutherland Education- ced and played singlyand al Films. Gr. 1-6. actual process oflearn- . Narrated and performed Deals with the mSicians.in native costumes. ing to read music in away designedto ms qf the Ashantitribe are stimulate achild'sinterest. as a means ofcommunica- t.dance sequence included, Mexican-American Culture--ItsHeritage. 1970. 18 minutes. Color, sound. Com- Electronic Music. 1970. munications Group West. Gr. 5-6. Deponstrates visuallyand musically standard.orchestral in- the origins andhistory of the Mexican- nd shows how thesound is American culture. pitch changed by rateof SERIES. 16mm. Color, , and difference in wave MUSIC EXPERIENCES rious instruments isdemon- sound. Aims InstructionalMedia Ser-, ae film thenproceeds to a vices, Inc. sand its differentascii- demonstrates envelopeand. Bach Is Beautiful. 1971. 15 minutes. f sound. Gr. 4-6. Animation used forbiographical Jazz. 1969. 21 1/2 min- portion of the film.. Student per- trio sonata and 5-6. formers featured in a history of jazz fromits an interestingcomparison of "Inven- neteenth centuryblack tion in F" played onthe harpsichord the present. Includes and on the Moogsynthesizer. Bach- truments,bixieland funeral style imitation isdiscussed and il- by , field hollers copied lustrated on a musical score. call and , the blues,,vocal itated by instruments,swing, 1 jazz, gospel,and later/ zz. 3 6/ Littke Train of theCaipira. 1970. New Sounds inMusic. 196 Churchill ''15 minutes. Gr. 4-6. Color, sound. Gives abrief biographyof Villa- Presents new sounds an, his inspiration treating old sounds.-.The Lobos and discusses wort in composing "TheLittle Train of the strates that today's Demonstrates South Ameri- rich in varietiesof noun Caipira." c can instrumentsused in the composi- of forms. '-Included are tion; intermediate agechildren are tape, synthesizer,prepar shown playing themesfrom it. An , tronic sounds, andnewly animated section portraysthe journey struments. of the little train. PatrioticMusid: Its Inf, Music, the Expressive Language. 11 min - States Hisfo. 21 minut' utes.* Color, sound. 16mm. Sutherland sound. Dana Productions. the a Educational Films. Gr. 1-6. The film relates Designed to stimulateinterest in seven mostpopular patric. learning to readmusic by showing.how how they affectedthe his musical notation serves as agraphic.. United States. These are rhythm', And ha;mony. Doodle," "HailColumbia," code for melody, "Americ This animatedfilm demonstrates how Spangled Banner," music is capable ofexpressing many. Hymn of theRepublic," "D Beautiful." moods. "America, the Music to LearnAbout People. 1970. 11 Percussion Sounds. 1968. Churchill minutes. Color,' sound. 16mm. Aims Ili- -Color, sound. structional MediaServices, Inc. Gr.* In addition topercuss generally heard inWester 4-6. of children fromvarious film broadens theconcept The birthdays Javanes ethnic backgroundsprovide the theme. sion by including Included in the film(set in a music arp Indiantablas. glass ha classroom) are aCherokee Indian dance invented percussioninstr performed by two youngIndian boys, are shownexploring sound performance on akoto and samisen by a menting withways.to prof_ visiting Japanese artist,and a brief introduction to Chinese andMexican q music.

7 .4 Z New Sounds inMusic. 1968. 22 minutes. n of the Caipira. 1970. Gr. 4-6. Gr. 4-6. Color, sound:.Churchill Films. brief biography of Villa- Presents new soundsand new ways of treating old sounds. The film.demon- Iscusses his inspiration is 4 "The LittleTrain of the, strates thattoday's world of music Demonstrates South Ameri- rich in varietiedof soundand-invention of forms. Included arechance'iusic, entssused in the compost- piano, elec- 'mediate age children .are taper-synthesizer, prepared in- ng, themes fromit. An tronic sounds, andnewly invented 7tion portrays thejourney . struments. le train. United Patriotic Music: Its Influence on 11 min - States History. 21 minutes. Color, ressive Language. Gr. 4-6. sound. 16mm. Sutherland sound. DanaProductiofis. the story behindthe . lms. Gr. 1-6. The film relates seven mostpopular patrioticanthems and stimulate interest in the ni music by showinghow how they affectedthe history of graphic United States. These are: "Yankee on serves as a Columbia," "The Star y, rhythm,and harmony. Doodle," "Hail how Spangled Banner,""America," "TheBattle film demonstrates and le of expressing many Hymn of theRepublic," "Dixie," "America, theBeautiful."

1970. 11 Percussion Sounds. k968. 16*minutes. About Peo4le. Gr. 4-6. sound. 16mm. Aims In- Color, sound. Churchill Films. lia Services, Inc. Gr. In addition topercUssion instruments generally heardin Western music,the conception of percus- ys of childrenfrom various film broadens the ..nds provide thetheme. sion by includingJavanese instruments, tabla, glass harp,and newly film (set in.a music . an Indian instruments. Children a CherokeeIndian dance invented percussion boys, are shownexploring soundsand experi- oo young Indian produce new sounds. a koto andsamisen by a menting with ways to use artist, and abrief Chinese and Mexican

6Z 4 What Is Music?20 minute Toots Whistle,Plunk and Boom. 10 min- 16mm. Walt Disney 16mm. Audiovisual Servic utes. Color, sound. film,. accompanied by a 16mm Films. Gr. 1-6. of mg, and developmentof uses a broad range Shows the origin explore the basicelement musical instruments,grouping them into woodwind, brass, andpercussion string, What Is Rhythm? 1966.. 1: families. sound. 36Mrn. Bailey-Fil 1965: 28 min- Gr. 2-4. West to theMountains. Defines rhythm interm 16mM. Canadian utes. Color, sound. accents; and'sets ofbeat Travel FilmLibrary. Gr. 4-6. Suggests that the filmed portrayal ofVhe meter. A beautifully rhythm is repeatedsound. development of Alberta,providing a of the West around us--ourheartbeat, counterpart of the opening of a' horse, and waterdri in the UnitedStates. Features Burl and sings songs of the rhythm in pattern ofcolo, Ives who narrates lines, curves, andshapes Good socialstddies correlation. times. animated. Whatis Music? 1972. 16 minutes. Gr. 4-6. sound. Churchill Films.' EXPLORING THE USE OFEDUCE A film whichchallenges children to AND VIDEO-TAPES INMPS! think about the scopeof music. it demonstrates theidea that music grows Title III ESEAprof out ofliving andthe'kind of culture- Independent Included are a blues the Dallas that'producesit. and the DallasSymphon song, Australianaboriginal music, Re- Films were made forth naissance brass and organmusic, Indian Agency from thevideo sitar, an ancientChinese folk song,f were given toeach"edu contemporaryelectronic music, and a center in the State.. percussion ensembleplaying contempo- ,described below, are a rary music. Texas schools fromthe of the educationservi

C 63 'What Is Music? 20 minutes. Color, sound. Plunk and Boom. 10 min- Gr. 1-6. 16mm. kalt Disney 16mm. Audiovisual Services, NEA. ,ound. Film, accompanied by ateacher's guide, 3r. 1-6. of musical styles to of uses a broad range rigin and development elements of music. Ants, grouping theminto explore the basic d, brass, and percus'ion What Is Rhythm? 1966. 11 minutes. Color, sound. 16mm. 'Bailey -Film Associates. 1965. 28 mitia- Gr. 2-4. untains. Defines rhythm in termsofbeats, tempo, 16mm. Cahadian sound. accents, and setsof beats whichproduce ,scary. Gr. 4-6. Suggests that thebasis of all ly filmed portrayalofthe meter. rhythm is repeatedsound. Rhythm.is411 Alberta, providing a this galloping West around\us--our heartbeat, the opening of the dripping. There is States. Features Burl of a hose, and water rhythm pattern of colors,repeated ;es and sings songsof the Partially ,cial studies cc rrelation.% lines, curves, and,shapes. animated 1972. 16 minutes. Gr. 4-6. Churchill Films. EXPLORING THE USE OFEDUCATIONALTELEVISION challenges' children to AND VIDEO-TAPES INMUSIC scdpe of music. It e idea thatmusic grows Title III ESEAprojict produced by !wnd.the kind of culture the Dallas IndependentSchool Distiict it. Included are a blues Orchestra. music, Re- and the Dallas Symphony -n aboriginal Films weremade for the Texas Education, s and organmusic, Indian Agency frbm thevideo tapes and copies tint Chinese folk song, were given toeach education service lectronic music,and a center in the State. These 16mm films, emble playing contempo- described below, areavailable.only to Texas schools fromthe media division of the educationservice centers.

5 13 flute, viola, oboe, Orchestral, Films trombone, violin, 1, The"t in the orchestral bass violin. All the music used and aesthetic impac films lends itselfuniquely to the instruments are fea study and understandingof how com- forms discussed are tools of music- - . posers use the tions and rorido. melody, rhythm, harmony,design, and tone color--in theircompositions.

. Instrumental Single-Co The Wonderland ofMusic. 30 minutes. Color, sound. Gr. K-3. of Eleven single-conc.-J.'. This film shows composers' -use priate for beginnin, instruments singly and incombina- It re- ists, produced by is tion on identicalthemes. Independent School lates simple song-formin orchestral students, and artle form found in music to the same hers of the Dallas songs frommusic textbooks. Musical "The Nut- chestra, are avails examples are drawn from ucation service.cen cracker Suite" byTschaikowsky. pose of these16mm, to support the teac the musicianship of The Wind Instrumentsin Our Symzhony they acquire neces° Orchesera. 30 minutes. ...Color, skill's; they are no sound.* Ar. 4-6. sequential lessons, Using musical examplesfrom consideration of so "Scheheraiade" byRimsky-Korsakoff, techniqu the tone aspects of this film demonstrates guides are aveilabl color of thewind instruments. concept film. Pictures used aresignificant to the story's theme. VIOLIN Instruments in a Our Friends - -The 10 min 30:30 minutes. Film No. 2. Symphony Orchestra. Round motion is the Color, sound. Gr. 4-6. to change strings. Using "VariacionesConcertantes" as the musical by Alberto Ginastera Film No. 3. 11:05 vehicle, thefollowing instruments Expression in stria through both. s ght tz, are highlighted and sound: cello, harp, clar net, 6 . . g flute, viola,ire, bassoon, trumpet, Alms trombone, viol French horn, and The tone color, range, ehe,orchestral bass violin. music used in and aestheticimpabt of the various ids itself uniquely tb the instruments arefeatured. Musical Understand44 of how com- forms discussed aretheme and varia- ae thp t6o1g ofmusic- - tions and rondo. rhythm; harmony, desAgn, and r--in their compb44tions. P InstrumentalSingle-Concept Films erland of 'Music. 36-'imin- Ot. K -3.. 41or, sound. Eleven single-conceptfilms appio- ilm hows composers' use' of priate for beginninginstrumental- its singly and in combine- selected Dallas It re- jets, produced by denticar themes. independent SchoolDistrictrstaff, ple song-form inorchestial .students, andartist-teacher mem- the same form foundin. Symphony Oi- Musica,l bers of the Dallas m music textbooks. chestra, areavailable from theed- are drawn from "The Nut-. ucation service centers. The pur- uite" by Tschaikowski,.., pose of these16mm, color filmsis to support theteacher in nurturing of studentb.as Instruments in Our Symphony the musicianship they acquirenecessary.technical' , 30 minutes. Color, skills; they are notintended to be !7r. 4-6. sequential lessons butrather a musical examplesfront ti consideration of someimportant zde bi' lkimsky-Korsakoff, %lb Teacher demonstrates the tone aspects of technique. guides are availablefor each single- the wind instruments. oncept film. used are significantto the theme . . VIOLIN in a is- -The Instruments Film No. 2,. 10 minutes. Concept: Orchestra. 30:30 minutes. Round motion is themost natural way mnd. Gr. 4-6. to change strings. "Variaciones Concertantes" the musical :4 pinastera as Film No 3. 11:05 minutes. Concept: the followinginstruments ' Expression in stringplaying is lighted through bothsight 't cello, harp, clarinet,

I. 6 O

. 10:10 largely accomplished by theuse of Film No. 22. dynamics of the &ept: The percussi the bow to change equally sensitive i tone. composition. 10:07 minutes. Con- Film,No. 4. TRUMPET cept: Bow strokes createthe rhythmic pulse. Film No.'30. 10 mi A minimum pressure 10:35 minutes. Con- Film No. S. is necessary toobh cept: Bow artiaalation isthe flexibility, and miu application for.musicalpurposes bowing. of various types of CELLO

BASS VIOLIN Film No. 37. 10 mi.' Con- Strengthening the.f Film No. 8. 13:20 minutes. hand'is an importan Understanding the bass cept: study. violin as a soloinstrument. O Film No. 39. 10 mi FLUTE Study etudes canbe. under 14:15 minutes. Con- prove musical Film No. 14. ficiency. cept: The direction ofthe air stream across themouthpiece gov- erns thequality, intensity,and accuracy of theflute tone. PERCUSSION Film No. 21. 9:55 minutes. Co3- cept: Percussion instruments a produce an infinitevariety of musical sounds andexpressions. 6A

51 Film No. 22. -10:10minutes. Con- 4complished by the useof must be of the cept: The percussionist .o change dynamics equally sensitive in everystyle of compOsition. 4. 10:07 minutes. Con- w stroke createthe TRUMPET pulse. Film No. 30. 10 minutes. Concept: A minimum pressuresystem of playing 10:35 minutes. Con- 5; is necessary toobtain control, w Articulationis the fleiibility, and maximumendurance. On for musicalpurpo.ses s'types of bowl._ g. CELLO IN Film No.'37. 10 minutes. Concept: Strengthening theringers of the left 8.(' 13:20 minutes..6on- part'of cello 'erstanding the bass hand is an important A a,solo instrument. study. Film No. 39. 10 minutes. Concept: Study etudes canbe,applied to im- prove musicalunderstanding and pro- 14. 14:15 minutes. Con- -.direction of the air ficiency. roes the mouthpiecegov- quality, intensity,and of the flute tone.

21. 9:55 minutes.Con- rcussion instruments n infinitevariety of and expressions.

7 65a

tir FILMt FILMSTRIPS JAM HANDY CORRELATED CQRDINGS. The Jam Ham BOWMAR CORRELATEDFILMSTRIPS AND RECCRD- Bowmar PublishingCorporation. MUSIC STORIES..6 color: INGS. recordings. Storie composers towrite Folk Songs ofthe Arab World.. Part I, loved music. Gr. K- 51 framee; Part II,41 frames. Color. Gr. 5-6. two Peter and theWolf. Included in the package are Pictured with delig filmstrips, teacher'sguide, and ).ong- playing record. The filmstrip, con- folk music and Hansel and Gretel. taining a variety' of version as in Humpe native instruments,provides under of the Arab stand.:11g of the culture 31 countries and of the partmusic plays The Nutcracker. in the lives of thepeople. fully visualizedChl. 2 color film- Peer Gynt. 31 fram Meet the Instruments. give strips; strings andwoodwinds, 50 escapades which frames; brass andpercussion, 41 Grieg's music. Gr. 2-6. frames. The Firebird. 31 1' Package includesrecord, set of study prints for useby individual legend of a fabulou colored pictures Russian folklorewh. students (miniature sented in Stravinsk of the instrumentswith background information) and twofilmstrips. The contains: The Sorcerer's Appr synchronized recording frames. The story, Slide I--a shortdiscussion of the performance of a Dukas' music, is pre instruments and a freshness in these familiar melody;Slide II--presents strips. each instrumentwithout discussion, using selectionsfrom the classics. 4 JAM HANDY CORRELATED.FILMSTRIPS AND RE- FILIVISTRIPS CORDINGS., The JamHandy Oriinization. RECORD- ED FILMSTRIPS AND 6 colorfilmstrips, r PublishingCorporation. MUSIC STORIES. recordings. Stories whichinspired write some of ourbest Part I, composers to 0 the Arab World. Gr. K-6. art II,41-frames. Color. loved music. Peter and theWolf. 29 frames. in the package are two delightful humor. teacher's guide,a'ndlong- Pictured with rd. The filmstrip, con- 31 frames. Same riety of folk musicand Hansel and Gretel. version as inHumperdinck's opera. uments, providesunder- the culture of theArab The Nutcracker. 31 frames. Color- of the part musicplays Christmas story. of thepeople. fully visualized Peer Gynt. 31 frames. Includes truments. 2 color film- , escapades which givebackground to ngs andwoodwinds, 50 and percussion, 41 Grieg's music. 2-6. 31 frames. The ncludes record, setof The Firebird. legend of afabulouu creaturein for use by individual which is repre- pictures Russian folklore ni.ature colored Stravinsky's music. uments withbackground sented in and.two filmstrips. The The Sorcerer'sApprentice. 29 recording contains: described in of the frames. The story, !..ort discussion Dukes' music, ispresented with and a performanceof a colored film- ody; Slidc II--presents freshness in these ent withoutdiscussion, strips. ions from theclassics.

66 66a. The Orchestra. 29 INSTRUMENTS OF THESYMPHONY ORCHESTRA. Art work shows history, devolopmen 6 colorfilmstrips. of the modern symph the developmentof various instril- ments: Color photographs'show how each musicians demonstrating GREAT COMPOSERS AND.: -, instrument is heldand played, and' color filmstrips wi thdir placementin the orchestra. recordings. The 1! Gr. 4-6; six composers are ; colored art work; String Instruments. 29 frames. violin, viola, record contains th4 Development of the of the composer's cello, bass viol,and the harp. of his best-known verse side of each Woodwind Instruments. 34 frames. excerpts from the The story ofthe flute, oboe, famous works. Gr. clarinet, andvarious other double- and single-reedwoodwinds. Johann Sebastian B, The I 10; Brass Instruments. 29 frames. George Frederic' }an trumpet, theFrench horn, thetrom- tuba from their ear- A bone, and the Franz JosephHaydn liest knownorigins to their present form. Wolf anAmadeus Mc

Melodious PercussionInstruments. Ludwig van Beethovi 26 frames. The evolutionof the xylophone, marimba,chimes, Franz Peter Schube4 glockenspiel, andcelesta. AlsO the piano andits forerunners.

9 29 frames. The ORCHESTRA. The Orchestra. OF THE SYMPHONY history, development, and growth filmstrips. Art work shows orchestra. lopment of various instru- of the modern symphony Color photographs show 13 demonstrating how each GREAT COMPOSERS ANDTHEIR MUSIC. 6 nt is held andplayed, and synchronized orchestra. color filmstrips with Acemgnt in the recordings. The life stories of six composers-areportrayed in One side of each 29 frames. colored art work. instruments. record contains the narratedstory ent of the violin,viola, with examples the harp. of the composer's life 'ass viol, and of his best-known music.The re- record contains 34 frames. verse side of each Instruments. thecomposer's most oboe, excerpts from 'y of the flute, faious works. Gr. 4-6. ., and various otherdouble- le-reed woodwinds. Johann Sebastian Bach. 36 frames. 29 frames. The struments. George Frederic Handel. 40 frames. the French horn, thetrom- their ear- A the tuba from Franz JoseO Haydn. 36 frames. IOWA origins totheir pre- In. Wolfgang Amadeus Mozart. 36 frames. Instruments. s Percussion Ludwig van Beethoven. 35 frames. s. The evolution ofthe -1marimba, chimes, Franz Peter Schubert. 36 frames. piel, and celesta. Also and its forerunners. Gary, CEariiiiCt., ed. Tt RESOURCE ROOKS-TORTEACHERS in the ElementaryEcho tual Approach. Washi Andress, BarbaraL., ed.Music in Early Natio Music Music Educators Childhood. Washington, D. C.: 1967. 'Educators NationalConference, 1973. Phyllis. R$ Music. and Young Gelineau, R. Arionoff, FrancesWebber. Music. New York:-;Fici Children. New York: Holt, Rinehart Company, 1970. and Winston,Inc.,d 1969. Haynes,Margaret Smith, S., andHoffman, Mary E. Richard A. Owls, Pus. Beer, Alice Mor- Teaching Music- -What,How, Why. and Kings. Dubu Com- ristown, N. J.:.Silver Burdett HuntPublishing pany, 1973. Land, LoisRhea, and Vau, Bergethon, Bjonar,,land Boardman, Eunice. Music inToday's Clas Musical Growthin the Elementary School. 2nd ed. New York: Holt, Harcourt BraceJovastw Rinehart andWinston, Inc., 1970. Landis, Beth,and Carder Contemporary MusicProject. Experiments Eclectic Curriculumi in MusicalCreativity. Washington, Education: Contribut National Con- D. C.: Music Educators Kodaly, andOrff. Wa ference, 1966. Music EducatorsNatio 1972. Doll, Edna, andNelson, Mary J. Rhythms Music Today. Morristown, N. J.: Silver Malm, 4illiamP. Burdett Company,1965. Pacific, the NearEas Englewood Cliffs,N. Elementary ScienceStudy. The Musical Hall, Inc.,1966. Instrument RecipeBook. New York: McGraw-aill"Book Company,1971. Marsh, Mary Val. Explor Music. New York: Ma FaMihaber, Martha,and Hawkinson,John. 1970. Rhythms, Music, andInstruments to Make. Chicago: Albert Whitman and Company, 1970. 6g 10 Music Gary, Charles''L., ed. The Study of _SKS FORTEACHERS in the ElementarySchool: A Concep- tual Apkroach. Wiehington, D. C.: L., ed.Mapic in Early National ConferenCe, , Music Educators shington, D. C.: Music 1967. onal Conference, 1973. Phyllis. Experiences in Music and Young Gelineau, R. Webber. Music. New YorK:--14-C-Graw-laIt-Book York: Holt, Rinehart Coptpany, 1970. Inc., 1969. Haynes, MargaretSmith., andCoolidge, and Hoffman, MaryE. OwlgassCataLSit12121.221, Mor- Richard A. c--What, How,Why. and Kin3s. Dubuque, Iowa: Kendit11/ .: Silver Burdett Com- . Company, 1972. 4 Hunt Publisning Mary Ann. Land, Lois Rhea,and Vaughn, r, and Boardman,Eunice. Music in Today'sClassroom: Creating, it in the Elementary Performing. New York: Listening, 1973. ed. New York: Holt, Harcourt,BraceJovanovich, Inc., Winston, Inc., 197.0. and*Carder, Polly. The Landis, Beth, Music is Project. Experiments Eclectic Curriculumin American Dalcroze, eativity. Washington, Education: Contributions of Educators National.Con- Kodaly; and Orff. Washington, D. C.: Music EducatorsNational Conference, 1972. Nelson, Mary J. Rhythms of the stown, N. J.: Sij.ver Malm, WilliamP. Music Cultures ny, 1965. Pacific, the NearEastand Asia. Englewood Cliffs,N. J.: Prentice- e Study. The Musical Hall, Inc.,1966. 7:ipe Book. New York: , ook Company,1971. Marsh, Mary Val. Explore andDiscover Company, Music. New York: Macmillan ck,, andHawkinson, John. 1970. and Instruments to Albert Whitman and

6g 10 Rhythm in Music Richards, Mary Helen. Monsour,'Sally, et al. San Francisco: Fearc and Dance forChildren. Belmont, Calif.: Wadsworth Publishing Com Schafer, Murray R. The pany, Inc.,1966. Classroom. Toronto: Music with Children. Nash, Grace. 1967. Ear Cleaning. Chicago: Hitching Educational, Canada, 1967.-. Folk and Traditiorial Nettl, Bruno. . The .NewSoi414a Music of theWestern'Continents. HMI Canada, 1969. Englewood Cliffs, N.J.: Prentice- Hall, Inc., 1965. Southern, Eileen..The.Mi A History Orff Instrument Americans: Nichols, Elizabeth. W. Norton and Company Source Book. MOrristown, N. J.: 1970. Silver.Burdett Company, Sunderman, Lloyd Frederi Music in the sions in Music Educat Nye, Robertand Vernice. N: J.: Scarecrow Pre Elementary School. 3rd ed. angle- Prentice-rHall, wood Cliffs; N.J.: Williams, Peter. Making Inc., 1970. ments. London: Mill 1972. Paynter,. John, and Asic:4,Peter. Sound and Silence. Cambridge, ngland: CambridgeUniversity Press,1970. James A. Reeder, Barbara,and Standifer, . Source Bookof Afro- AmericanMate-, rials for MusiqEducators. Washing- ton, D. C.: Music EucatorsNational Conference, ContemporaryMusic.Pro- ject, 1972.

11. 69 Richards, Mary Helen. Threshold to Music. Rhythm in Music et al. San Francisco: Fearon Publishers, 1964. '1r Children. Belmont, sworth Publishing Com- Schafer, Murray R. The Composer in the 1966. , Classroom. Toionto: BM! Canada, 1965. uSic with Children. Ear Cleaning. Toronto: BMI .tching Educationa11.1967. Canada, 1967. Folk and Traditional Toronto: . The New S_oundscape. Western Continents. BMI Canada, 1969. .iffs, N. J.: Prentice- Black 1965. Southern, Eileen. The Music of Americans: A History. New York: W. eth.Orff Instrument Company,. Inc.,1971. Morristown, N. J.: W. Norton and 1970.- tt Company, Sunderman,Lloyd Frederick. New Dimen- Mutchen, Music- in the sionsin Music Education. Vernice-. N. 3.: Scarecrow Press,Inc., 1972. ichool. 3rd ed. Engle- N. J.: Prentice-Hall, Peter. Making MusicalInstru- Williams, Ltd., ments. London: Mills and Boon 1972. and Aston,Peter. Sound Cambridge, England: iversity Press,1970.

and Statidifer,James A. of Afro-AmericanMate-' sic Educators. Washing- Music EducatorsNational Contemporary MusicPro

11 Bishop, Claire Huchet. C FORLIBRARY CHILDREN'S BOOKS Bach: Music Giant. i: -Ill.: Garrard, 1972. Adams, Ruth. Fidelia. New York: Lothrop, 1970. Gr. 1-4. Lee and Shepherd, Britten, Benjamin, andHo' Wonderful World of Nue, Harpers Dictionary of Ammer,Christine. York: Doubleday, 1968 Music. illus. New York Harper and Row, 1972. Gr. 4-E.. Browne, C. A. Storyof C New York: Crow 'illus. lads. Antey, John W. Sing and Learn. 4-6. New York: John Day Company, 1965. Gr. K-1 and specialeducation. Bullet Clyde Robert. Sto. illus. New Y and Fowler, Frederick. Operas. Appleby, William, 1959. Gr. 4-6. The Sleeking Beautyand the Firebird. New York: Walck, 1965. Gr, illus. . Stories of Gil 4-6. Operas. illus. New Y 1968. Gr. 4-6. Ballantine, Bill. Flute: Introduction New York: to the Instrument. illus. The Nu 1971. Gr. 4-6. Chappell, Warren. Franklin Watts, Inc., New York: Knopf, 1958

. The Piano: An Introduction New York: . Sleeping Beaut to the Instrument. illus. York: Knopf, 1961. Franklin Watts, Inc.,1971. Gr. 4-6. Jug Ba New Collier, James L. Berger, Melvin. Flute Book. illus. New Yo, Shephard Co., Music. illus. York: Lothrop, Lee and Dunlap, 1973. Gr. 5-6 1973. Gr. 3-6.

. Which Musical Biemiller, Ruth. Dance: The Story of illus. New Y New York: IALIE? Katherine Dunham. photos. 1969. Gr. 4-6. Doubleday, 1969. Gr. 5-8. Commins, Dorothy Berliner Bizet, Georges. Carmen. illus. New i 1969. Symphony Orchestra. York: Franklin Watts, Inc., ster, Md.: Random Hou Gr. 5-9. 70 12 70c *

Bishop, Claire Huchet. Johann Sebastian S BOOKS FOR LIBRARY Bach: Music Giant. illus. Champaigh. Garrard, 1972. Gr. 4-6.' delta. New York: Lothrop, Iii.: ;MT-1970., Gr. 1-4. Britten, Benjamin,and Holst,Imogene. Wonderful World ofMusic. illus. New e. Harpers Dictionary of York: 'Doubleday,1968. Gr. 4-6. New York: Harper and Gr. 4-6. BroWne, C. A. Story of OurNational Bal- New York: Crowell, 1960. Gr. illus. lads. Sing and Learn. 4-6. An Day Company,1965." special education. Bulla, Clyde Robert. Stories of Favorite, Operas. illus. New York: Crowell,, , and Fowler, Frederick. Gr. 4-6. Beauty and theFirebird. 1959. fork: Walck, 1965. Gr. and Sullivan . Stories of Gilbert Operas. illus. New York: Crowell, 1968. Gr. 4-6. 1. Flute: Introduction ument. illus. New York: The Nutcracker. illus. Gr. 4-6. Chappell, Warren. 4s, Inc., 1971. New York: Knopf, 1958. Gr. K-4. 4 riano: AnIntroduction Sleeping Beauty. illus. New New York: . utent. illus. York: Knopf, 1961. Gr. 2-5. ts, Inc., 1971. Gr. 4-6. Collier, James L. Jug Bands andHandmade Fltite Book. frlus. New New York; Grosset and Shephard Co., music. illus. )p, Lee and Dunlap, 1973. Gr. 5-6., Instrument Shall . Which Musical The Story of . Dance: illus. New York: Norton, New York: I Play? nham. photos. 1969. Gr. 4-6. 969. Gr. 5-8. Commins, Dorothy.Berliner. All About the Carmen. illus. New illus. Westmin- 1969. y21!SmIllyREclestrA. lin Watts, Inc., ster, Md.: Random House, 1961.Gr. 4 -6..

12 Plo 70a, s

Glass, Paul. songs and 1. Dean, Leigh. Gian Carlo Menotti's Help, North American Indian% Help, the Globolinks! illus. New York: Grossett and Dunlap,.1 McGraw-Hill, 1470. Gr. 3-6. Goffstein, M. B. ALitti Maria Tallchiefs Amer- DeLeeuw, Adele. illus. New York: Hat ican Ballerina. illus. Champaign, 1972. Gr. 4,6. Ill.: Garrard, 1971. Gr. 4-6. ti Folk Songs ofthina, Green, Carla. Let's Leas. Dietz, Betty Warner. Irvington New York: John Day Co.,, Orchestra. Japan, Korea. Harvey House,11'67. 1904. Gr. -3-6. Greg, E. H. Peer Gynt. Musical Instruments ofAfriqa. . Silver Burdet . N. J.: illus. New York: John Day Co., 1969. Gr. 4-6. Marris, Leon. The Russia photos. New York: A- Pau1.4,fSorcerer'slApprentice. Dukes, ti CGr. 3-6. -illus. Morristown, N. J.: Silver Gr. 1-5. Burdett, 1971. Hausman, RuthL. Hawaii R?tland, Vt A Gift of Magic. illus. History. Duncan, Lois. Tuttle Co., 1968..Cr Boston: Little, Brown and Co.,1971. Gr. 4-6. Kowkihson, John an&Falk Musicians Around the Music and Instruments Erdoes, Richard. Chicago: Whitman, 19' World. illusiNew York: McGraw- /Hill, 1971. Gr. 3-6. 0 Hill, ElizabethStarr. illus. New I We'Danced) in Bloomsbury Be] ifs. EStoril, Jean. Rinehart andWinston, Square. illus. Chicago: Follett, 1970. Gr. 4-6. Hill, Thomas A. The Gui Giselle br the Wilis. tion to the Instrumen autier, Theophile. Watts illus. New York: 'Franklin Adapt. by Violette Verdy. Gr. 5-up. York: McGraw-Hill i1970. Gr. 5-8. ikhe Brig I( Houston, John. Reading, Mass.: Addi ,Gr. 1-4.

13 7, Glass;. Paul.- Songs and Storiesof the an Carlo Menotti's New York: illus. New York: North American Indiana,. obolinks! Crossett and Dunlap,1968. 'Gr. 4-6. 1970. Gr. 1-6. Amer- Goffsteine.M. B. A Little Schubert; Maria Tallchief: Harper and, Row, na. illus. Champaign, illus.. iew York: 19612. flr. 1971: Gr.- 4-6. . Let's Learn Aboutthe rnAr. Polk Songs of China,. Green, Carla. Orchestra. Irvingt6n-on-Hudson, N,. Y.: New York: John Day Co., 1967!" Gr. 3-6. , Harvey House,

Grieg, E. H. Peer Gynt. Morristown, cal Instruments of Africa. Gr? 2-4. John Day Co., 1969. N. J..: Silver Burdett,-1971. York- .. Harris, Leon. The RussianBallet School. Atheneum, 1970. orcerer's Apprentice. photos. New York: istown, N. J.: Silver Gr. 3.6.6. Gr. 1-5. 1. Haugkan, Ruth L. Hawaii: Musici"in Its Charles'E. illus. History. Rutland, Vt.: Gift of Magic. Gr.. 4-6. Zae, Brown. and Co., 1971. Tuttle Co., 1968. Hawkinson, John andFalhaber. Rte hms, to Make. illus.. /Around the Music and Instruments . Musicians Whitman, 1970. Gr. 2-6. New York: McGraw- Chicago: Gr. 3-6. Hill, ElizabethStarr. A Book to Begin on New York: Holt, We Danced in Bloomsbury Bells. illus. Rinehart and Wftston,1970. Gr. 2 -5. _s. Chicago: Follett, -6. Hill, Thomas A. The GuitarsAn Introduc- tion to the Instrument. photos. New ile. Giselle or the wilis. Watts; Inc., 1973. Verdy. Ulla% New york: Franklin w-Hill, 1970. Gr. 5-8. Cr. 5 -up .i. Houston, John. The BrightYellow Rope. Reading, Mass.: Addison-Wesley, 1973. Gr. 34-4.

.13 A Room Full ofAnimals. Read- King, Martha C. ThirdChM . New York: Wa° ing, Mass.: Addison-Wesley,'1973. illus. Gr. K-3. .t Gr.. 4-6. Kraske, Robert. America Hurd, Michael. Vaughn Williams. photos. Series. New York: Stories of Patriotic : The Great Composer Garr Crowell, 1970. Gr. 5-6. Champaign, Gr. 1.4.6. Hutchinson, CarleenMaley. Who Will Coward, Kupferberg, Herbert. A Ra Drown the Sound? New York: imr McCann and Geoghegan,1972. Gr. 2-3. The Instruments of Their Music. illus. Charles Scribner's Son Jacobs,.David. Beethoven. illus. New York: Harper. and Row, 1970. Gr. 5-up. Kyle, Elizabeth. Swig of Lift Every Voice and The Story of Edvard an Johnson, James W. Holt, Rineh, Sing. illus. New York: Hawthorne, New York: 1970. Gr. 4-6. 1970: Gr. 4-6. Landeck, Beatrice. Echoe Johnson, Sharon. Let's Learn AboutMusic. Minneapolis: Denison, 1973. Folk Songs of America. illus. McKay, 1969. Gr. 5-6. Gr. 2-4. Wake uR and Si' Kabalevsky, D. B. Joey the Clown: The . Morrow, 1969. Gr. K-2 Comedians. illus. Morristown, N. J.: Silver Burdett,1971. Gr. 1-5. Layton, Robert. Sibelius New York: Vi. Kaufmann, Helen L.,and Simon, Henry. photos. Five Famous Operasand Their Back- Gr. 4-6. grounds. New York: Doubleday, 1973. Lyons, John Henry. St_ ori Gr. 4-6. Patriotic Songs. illu Vanguard, 1958: Gr. 4. Kettlekamp, Larry. Drums, Rattles, and Bells. illus. New York: Morrow, Manasek, Ludek. The Fire 1960. Gr. 3-6. Franklin Watts, 1971.

. Horns. illus. New York: Morrow, 1964. Gr. 4-6, 7z 14 7Z a S.

Third Chair Drummer. im Full of Animals. Read- King, Martha C. Addison-Wesley, 1973.. illus. New, York: Washburn, 1970. Gr. 4-6. America the Beautiful: Vaughn Williams. photos. Kraske, Robert. New York: Stories of PatrioticSongs. -illus. Amster Series. Garrard, 1972. Gr. 5-6. Champaign, I11.: Gr. 3-6.* .een Maley. Who Will A Rainbow of Sound: New York: Coward, Kupferberg, Herbert. Wnd? of the Orchestraand qghigan, 1972. Gr. 2-3. The Instruments Their Music. illus.' New York: Gr. 4-6. Beethoven. . illus. New Charles Scribner'sSons, 1973. and Rbw, 1970. Gr. 5-up. Kyle, Elizabeth. Song of theWaterfall: and Nina Grieg. Lift Every Voiceand The Story of Edvard . Holt, Rinehart andWinston, New York: Hawthorne, New York: Gr. 4-6. -6. 1970.' Echoes of Africain Let's Learn AboutMusic. Landeck, Beatrice. America. New York: apolis: Denison, 1973. Folk Songs of McKay, 1969. Gr. 5-6. New York: Joey the Clown: The Wake Up and Sing. Gr. K -2. .11us. Morristown, N. J.: Morrow, 1969. 1171: Gr. 1-5. Layton, Robert. Sibelius'and His World. Viking, 1970. L., and Simon,Henry. photos. New York: *eras andTheir Back- Gr. 4-6. York: Doubleday, 1973. Lyons, John Henry. Stories of OurAmerican Patriotic Songs. illus. New York: Vanguard, 1958. Gr. 4-6. :y. Drums, Rattles, and

. New York: Morrow, Manasek, Ludek. The Firebird. New York: -6. Franklin Watts, 1971. Gr. 1-4.

. illus. New York: Gr. 4-6. 4 7Z 14 Sesame Strf Singing David. New York: Raposo, Joe. MiyQshi, Sekiya. New York: SimOn and Franklin Watts, 1971. Gr. K-3. .Gr. K-2. Rider. Duke Montgomery, Elizabeth Richardson, Allen L. Too King of Jazz. Champaign, Ellington: Strings, and Beaters: Garrard, 1972. Gr. 4-6. Ill.: Book for all YoungRe American PopularMusic: Grosset and Dunlap, Moiris, Berenice. Gr.. 3-6. The BeginningYears. illus. New York: Franklin Watts,1972. Gr. 4-6. Robinson, Berenice. Arne, Music Tells theTale. Music: The Growing 7, Palmer, Geoffrey. Franklin 7 Warne, 1967. Gr. 5-6. New York: New York: Gr. 5-6. ew Record- Panter, Carol. Bean and His El Toro New York: -FourWinds Rockwell, Anne. er. illus. Songs in Spanish. Ne Press, 1972. Gr. 1-3. 1971. Gr. 1-6. This is an . L--stra. Posell, Elsa Z. Wil: New York: Houghton ifflin, Rossini, Gioachino. iliws. Morristown, N. J.: S. Gr. 4-6. 1973. 1971. Gr. 4-6. ,Taikin5 Drums ofAfrica. Price.. Christine. Rublows.ky, John. Music New York: Charles Scribner's illus. York: Macmillan, 196° Sons, 1973. Gr. 4-6. Saint-Saens, Camille. C Prieto, Mariana. Play It in Spanish: Mor: Folk Songs forChild-' Animals. illus. Spanish Games and Silver Burdett,1971. ren. New York: John Day Company, inc., 1973. Gr 2-5. Sanders, Ruby Wilson. J ilr Peter and theWolf. Louis Armstrong. Prokofievo, Sergei. Children's, Press, 197 Morristown, N. J.: Silver Burdett} 1972. Gr. 1-5. Shaw,Ray. The Nutcrack Go Tell Aunt Rhody. Cliffs, N. J.: Prent Quackenbush, Robert. Gr. 2-4. Philadelphia: J. B. LippincottCompany, 1972. Gr. K-4.

15 73 Raposo, Joe. Sesame, Street SongBook. a. Singing David.' NewYork: Simon and Schuster,1971. Gr. K-3. New Yotk: tts, 1971. Gr. K-2. Duke .izabeth Rider. Richardson, AllenL. Tooters,Tweeters, King of Jizz. Champaign, Beaters: An Instrument 4-6. Strings, and :ard,,1972. *Gr. Book for allYoung Readers. New York: Grosset andDunlap, Inc.,1964, American PopularMusic: ce. Gr. 3 -.6. .ng Years. illus. New York: Gr. 4-6. tts, 1972. Robinson, Berenice. American Popular Music: The GrowingYears, 1800-1900. .ey.44Music Tells the Tale. Franklin Watts,Incv,1972. Gr. 5-6. New York: Warne, 1967. Gr. 5-6. New Record- . Beany and His El Toro Pintoand Other Four Winds Rockwell, Anne. Macmillan, . New York: Songs inSpanish. New York: Gr. 1-3. '. 1971. Gr. 1-6. Orchestra. illus. -. This is an Fossini, Gioachino. William Tell. York: Houghton-Mifflin, Morristown, N. J.: Silver Burdett, 4-6. 1971. Gr. 4-6. of Africa. New ine. Talking Drums Rublowsky, John. Music in Americl. CharlesScribner's Gr. 5-6. York: York: Macmillan, 1967. Gr. 4-6%4 Camille. Carnival of the Spanish: Saint-Saens, Morristown, N..J.: na. Play It in. Animals. illus. mes and FolkSongs for Child- 1971. Gr. 1-4. Inc., Silver Burdett, York: John'Day Company, 2-5. Sanders, RubyWilson. Jazz Ambassador: illus. Chicago: Peter and theWolf. Louis Armstrong. rgei. Children's Press,1973. Gr. 4-6. , N. J.:'Silver Burdett, Englewood 1-5. Shaw, Ray.. The Nutcracker. Cliffs, N. J.: Prentice-Hall, 1070. Go Tell AuntRhody. Robert. Gr. 2-4. ia: J. B.Lippincott Company, K-4.

15 754. 73 E Warren, Fred. Music of At Spier, Peter. Star Spangled Banner. Englewood Cliffs, N. 17- New York: Doubleday, 1973. illus. Hall, 1970. Gr. 5-61 Gr. 1-6. Story Weber, Carl Mariavon. I Stambler, Irwin. Golden Guitars: Morris* illus. New York: Dance. illus. of Country Music. Silver Burdett,1971. Four Winds Press,1971. Gr. 5-6. Things That The Thins inDolores' Weil, Lisl. Tallon, Robert. Look at PercussionIns; ilLus. Indianapolis: Bobbs- Piano. New York: McGraw Hill Merrill, 1970. Gr. 4-6. Swan Lake. illus. Westcott, Wendell. Bells Tschaikovsky., Peter. Puts Morristown, N. J.: Silver. Burdett, illus. New York: Gr. 5-6. 1971. Gr. 1-5. A Pictorial White, Florence. Childre Terry, Walter. Ballet: Ndw York: Mar New York: Van -Nostrand Japan. History. Gr. K-6. Reinhold, 1970. Gr. 4-6. 1960. Fireside Bo, Marian Anderson. illus. Winn, Marie. Tobias, Tobi. Rom. New York: Sim,; Crowell, 1972. Gr. 4-6. New York: 1966. Gr. K-6. New Verdi, Giuseppe. Aida. illus. Fireside Bo Franklin Watts, 1970. Gr. 4-6. Yolen, Jane. York: Beasts. New York: Si 1972. Gr. K-6. Wagner, Richard. Flying Dutchman. illus. New York: Franklin Watts, 1969. Gr. 4-6.

16 7Y0 Music of Africa. illui. Star Spangled Banner. Warren, Fred. Englewood Cliffs, N. J.::Prentice- York: Doubleday, 1973. Hall, 1970. Gr. 5-6. Weber, Carl Maria von..Invitation to the n. Golden Guitars: Story Morristown, N. J.: New York: Dance. illus. Music. ...illus. 1971. Gr. 1-6. Press, 1971. Gr. 5-6. Silver Burdett, A First Weil, Lis': Things That GoBang: . The Thing in Dolores' illus. Hobbs- Look at PercussionInstruments. us. Indianapolis: MCGraw Hill, 1969.Gr. 2-4. 70. Gr. 4-6. New York: Music. Swan Lake. illus. Westcott, Wendell. Bells and Their Peter. Putman, 1970. N. J.. Silver Burdett, illus. New York: 1-5. Cr. 5-6. White, Florence. Children's Songs from Ballet: A Pictorial Marks Music Corp., :w York: Van Nostrand Jagan. New York: Gr. K-6. 970. Gr. 4-6. 1960. Fireside Book ofChildren's Marian Anderson. illus. Winn, Marie. New York: Simon and Schuster, Crowell, 1972. Gr. 4-6.- Songs. 1966. Gr. K-6. Aida. illus. New Fireside Book ofBirds and klin Watts, 1970. Gr. 4-6. Yolen, Jane. Beasts. New York: Simon and Schuster, Gr. K-6. d. Flying Dutchman. 1972. York: Franklin Watts, 4-6.

16 ?Yee- CLASSROOM INSTRUML PUBLISHERS OFSTATE-ADOPTED TEXTBOOKS 8301 Ambassador M. Hohner Inc.,Andrews American Book Company, Long Island, NY 1180: Row, Dallas 75247 Corp., 4640 Harry Rhythm Band Inc.,P. 0. Follett Educational Worth 76101 Hines Blvd.,Dallas 75235 Peripole ZAI Monroe Drive, The World of Ginn and Company,'9888 Road, P. 0.Box-146, 75229 Dallas NJ 08015 Holt, Rinehartand Winston, Inc.,8301 75247 Ambassador Row,Dallas EDUCATIONAL RECORD Prentice-Hall, Inc., 4640Harry Hines' Corp., 75235 Bowmar Publishing BlVd.,.Dallas 622 RodierDrive, Gl;. Silver BurdetcCompany, 8'201Ambassador Distribu 75247 Capitol Records Row, Dallas North VineStreet, Ho Center, STANDARDIZED MUSIC TESTS Children's Music PUBLISHERS OF Pico Blvd., LosAngel Bureau ofEducational Research,Univer- Records, 119 Iowa City, IA 52240 Disney Land sity of Iowa, York, NY 10003 Associates, Inc., Creative Arts Research Educational Record Sales 117, Monmouth, OR 97361 P. O. Box Street, New York,,NY FollettEducational Corp.., 1010 West Chicago, IL 60607 Folkways/Scholastic Recct Washington Blvd., Avenue, New York, NY Company, 6626Oakbrook Houghton Mifflin RCA Records, 1133Avenue Blvd., Dallas75235 New York, NY 10036 October House,Inc., 160 Avenueof the Americas, New York,NY 10013

161 COMPANIES STATE-ADOPTED TEXTBOOKS( CLASSROOM INSTRUMENT Company, 8301 Ambassador M. Hohner Inc., Andrews Roaxl, Hicksville, 75247 Long Island, NY 11802 :ional Corp., 4640 Harry ,Rhythm Band Inc., P.O. Box 126,, Fort ,-Dallas 75235 Worth 76101 Peripole Inc., LewisTown ,ny, 9888 Monroe Drive, The World of Road, P. 0. Box146, Browns Mills, ,29 NJ 08015 and Winston, Inc., 8301 Rog, Dallas. 7-5247 EDUCATIONAL RECORDCOMPANIES Inc., 4640 Harry Hines Corp., P. O.Box 3623, As 75235 Bowmar Publishing 622 Rodier Drive,Glendale, CA 91201 Company, 8301 Ambassador . Capitol RecordsDistributing Corp.,1750 75247 North Vine Street,Hollywood, CA 90028 Inc., 5373 West STANDARDIZED MUSIC TESTS Children's Music Center, Pico Blvd., LosAngeles, CA 90019 .atiptfal Research, Univer- 119 Fifth Avenue,New Iowa City, IA 52240 Disney Land Records, York, NY 10003 esearch Associates, Inc., 157 Chambers .17, Monmouth, OR 97361 Educational Record Sales, Street, New York, NY 10007 .ional Corp., 1010 West 701 Seventh Blvd,, Chicago, IL60607 Folkways/Scholastic Records, Avenue, New York, NY 10036 .in Company, 6626 O\kbrook RCA Records, 1133 Avenueof the Americas, .as 75235 New York, NY 10036 Inc., 160 Avenueof the ww York, NY 10013

19 7 RESOURCE BOOK Pt FILM PRODUCERS Canada, 41 Valleybroo Instructional MediaServices, Inc.. BMI Atms Canada P. O. Box1010, Hollywood,CA .90028 NEA, 1201Sixteenth Cambridge University Pres Audiovisual Services, Street, New York, NY Street, N.W.,Washington, DC 20036 6 Davi 2211 Michigan Ave- Fearon Publishers, Bailey-Film Associates, CA 94002 nue, SantaMonica, CA 90404 Fifth Harcourt Brace Jovanovic!' Canadian TravelFilm Library, 680 10019 Avenue, New York, NY Avenue, Suite819, New York,NY Winato 662 NorthRopertson Blvd., Holt, Rinehart and Churchill Films, Madison Avenue, New Ic Los Angeles,CA 90069 6430 Sunset Kendall/Hunt Publishing C CommunicationsGroup West, Blvd., Hollywood,CA 90028 IA 52001 Kitching Educational. Or Dana Productions,6249 Babcock Avenue, CA 91606 Industries, 1728 North North Hollywood, Chicago, IL 60647 8425 West SutherlandEducational Films, Los Angeles, CA 90048 Macmillan, The, Company, Third Street, New York, NY 10022 16mm Films, 800Sonora Avenue, Walt Disney McGraw-Hill Book Company, Glendale, CA 91201 theAmericas, New York

MENC PublicationSales,.1 FILMSTRIP PRODUCERS Street, Washingt Publishing Corp., P.O. Box 3623, Bowmar 91201 Ltd., 17 F 622 RodierDrive, Glendale,CA Mills and Sod% W18-1DR, London,Engla 2821 East The JamHandy Organization, Grand Blvd.,Detroit, MI 48211. Norton, W. W.,and Compan Fifth Avenue, NewYork Texas distributor: 5935 Hunters Van GuardVisuals Company, View, Dallas75232

20 . RESOURCE BOOKPUBLISHERS 'ILM PRODUCERS 41 ValleybrookDrive, Toronto, Services, Inc., BMI Canada, Mal Media Canada 310, Hollywood,CA 90028 57th Cambridge UniversityPress, 32 East rvices, NEA,1201 Sixteenth York, NY 10022 20036 Street, New .1Washington, DC P%blishers, 6Davis Drive,Belmont, Michigan Ave- Fearon ,ociates, 2211 CA 94002 Conics, CA 90404 Jovanovich, Inc.,757 Third Fifth Harcourt Brace Library, 680 York, NY 10017 1 Film 10019 Avenue, New to 819,New York,NY and Winston,Inc., 383 Blvd., Holt, Rinehart 10017 a, 662North Robertson Madison Avenue,New York,NY , CA 90069 Publishing. Company,Dubuque, 6430 Sunset Kendall/Hunt Group West, IA 52001 .ywood, CA 90028 Order from: Ludwig Kitching'Educational. ns, 6249Babcock Avenu-!, IOustries, 1728North DamenAvenue, wood, CA 91606 Chicago, IL 60647 rational Films,8425 West Company, 866Third Avenue, Angeles, CA 90048 Macmillan, The, t, Los New York, NY 10022 Avew, Avenue of atm Films,800 Sonora McGraw-Hill BookCompany, 1221 10020 ;A 91201 the Americas,New York, NY Sales, 1201Sixteenth MENC Publication 20036 MSTRIPPRODUCERS Street, N.W.,Washington, DC P. 0. Box3623, ing Corp., Ltd., 17 FoleyStreet, Glendale, CA 91201 Mills and Boon Drive, W18-1DR, London,England 2821 East Organization, W., andCompany, Inc., 55 Detroit, MI 48211. Norton, W. 10003 Fifth Avenue,New York, NY xibutor: 5935 Hunters VisualsCompany, AS 75232 '20 76a. 1 Denison, T. S., andCo., Prentice-Hall, Inc.,Educitional Book . 82nd Street, Minneapo. Division, Englewood Cliffs,NJ 07632 Doubleday and Co., Inc., Street, `Scarecrow Press Inc., 52 Liberty New York, NY 100:7 Box 656, Metuchen, NJ 08840 Farrar, Strausand Girow Silver Burdett Company,250 James Street, Square W., New York, Morristown, NJ 07960 Corp Inc., Follett Educational Wadsworth Publishing Company, ington Blvd.,Chicago Belmont, CA 94002 Four Winds Press,50 Wes Company,.560 West Whitman, Albert, and York,'NY 10036 Lake Street,Chicago, IL 60606 GarrardPublishing Co., Stfeet, Champaign,IL CHILDREN'S BOOKPUBLISHERS Dunlap, Inc. Co., Inc., Grosset an Addison-Wesley Publishing nue, NewYork, NY 1C Reading, MA 01867 Harper and RowPublisher Atheneum Publishers,122 East 42nd Street, New York,NY Street, New,ork,NY 10017 Harvey House, Inc.Publi Hobbs - Merrill Co.,4300 West 62nd Street, Buckhout Street, Irvi Indianapolis, IN 46268 NY 10533 Children's Press, 1224 West VanBuren Hawthorne Books, Inc., 7 Street, Chicago, IL 60607 New York, NY 10011 Geoghegan, 'Inc., 200 Coward, McCann and Holt, Rinehart andWinst Madison Avenue, NewYork, NY 10016 Madison Avenue, New Y

Crowell, Thomas Y., Co.,666 Fifth Avenue, Houghton-Mifflin Co., 53 New York, NY 10019 New York, NY 10036 Day, John, Company,Inc., 257 Park Avenue Knopf, Alfred A., 201 Ea S., New York, NY 10010 New York, NY 10022

21 77( Denison,# T. S., and Co. Inc., 5100 West Inc., Educational Book 8204 Street,Minneapolis, MN 55431 nglewood Cliffs,NJ 07632 gob Doubleday and Co., Inc.,277 Park Avenue, Street,. s Inc., 52 Liberty New York, NY 10017 tuchen, NJ 08840 Farrar, Strausand Giroux, Inc.,19 lUnion Company, 250 James Street, Square W., New York,NI 10003 NJ 07960 Follett EducationalCorp., 1010 WestWash- ishing Company, Inc., ington Blvd., Chicago,IL 60607 94002 50 West 44th Street, New West Four Winds Press, t, and Company, .560 York, NY 10036 Chicago, IL 60606 Garrard Publishing Co.,1607 North Market Street, Champaign,IL 61820 iN'S BOOK PUBLISHERS Dunlap,°Inci., 51 Madison,Ave,-. Publishing Co., Inc., Grosset and nut, New York,NY '10010 01867 Harper and RowPublishers, 10 East 53rd -hers,' 122 East 42nd Street, New York, NY 10022 York, NY 10017 Harvey House, Inc.Publishers, 5 South Co., 4300 West 62ndStreet, Buckhout Street,Irvingtoh-on-Hudson, s, IN 46268 NY 10533 3s, 1224 West VanBuren Hawthorne. Books, Inc., 70Fifth Avenue, ;ago, IL 60607 New York, NY 10011

and Geoghegan, Inc., 200 Holt, Rinehart andWinston, Inc., 383 nue, New York,NY 10016 Madison Avenue, New York, NY 10017

$ Y., Co., 666Fifth Avenue, Houghton-Mifflin Co., 53 West43rd Street, Y 10019 New York, NY 10036 3any, Inc., 257Park Avenue Knopf, A.fred A., 201%East-50th Street, k, NY 10010 New York, NY 10022

21 77 77a. Scribner's, Charles, Son Lippincott, J. B., Co., EastWashington nue,litlw York, NY 1C Square, Philadelphia,PA 19105 Beacon Street, Silver Burdett.Co.,250 Little, Brown and Co., 34 Morristown, NJ 07 960 Boston, M.P. 0210§. Inc. 105 Madison_ Simon and Schuster, LothropftLee and Shephard Co., nue, New York,.NY I: Avenue, New York, NY 10016 Third Avenue, New .Tuttle,.Charles E., Co., Macmillan, The, Co., 866 Street,'Rutland,VT 0 York, NY 10022 42 52nd Street, Vanguard Press, Inc., MarksvMusic Corp., 136 West New York, NY 10017 New York, NY 10019 , 4 1221 Avenue of the Van NostrandReinhold Co McGraw-Hill Book Co., Street, New York, NY Americas, New York, NY 10020 625 Inc., 750,Third Avenue, Viking Press, Inc., McKay, David, Co., New York, NY 10022 New York, NY 10017 1 Morrow,-William, and Co., 105MadiSon Ave- Walck, Henry 2., Inc., New York, NY 10003 nue, NewYork, NY 10016 and Co Co., Inc., 55 Fifth Warne, Frederick, Norton, W. W., and Avenue, New York,NY Avenue, New York, NY 10003 75 Educational Book Washburn, Ives, 2nc., Prentice-Hall, Inc., New -York, NY 10017 Division, EnglewoodCliffs, NJ 07632

Putman's, G. P., Sons,200 Madison Avenue, Watts, Franklin, Inc., 8 10022 New York, NY 10016 New York, NY Random House., Inc., 457 HahnRoad, West- Whitman, Albert, and Co. minster, MD 21157 . Street, Chicago, IL Scribner's& Charles, Sons,597 Fifth Ave- . , Co., East Washington York; NY 10017 1, delphia, PA 19105 sue, New . 250 James Street, 1 Co., 34 Beacon Street, Silver Burdett .C6., Morristown, NJ 07960 4106. -...:_.- arfte-fchuster, Inc., 630 FifthAve- Shepherd Co.,105 Madison Simon York,-NY 10020 ork, NY 10016 nue, New Co., 28 SouthMain 7o., 866 Third Avenue,New Tuttle, Charles E., Street, Rutland,.VT 05701 22 Vanguard Press,./"'' Inc.,424 Madison Avenue, e , 136 West 52nd Street, 1001/ 10019 NewAork, NY Reinhold Co., 450Veit 33rd Co., 1221 Avenue of the Van Nostrand Street,, New York, NY 10001 York, NY 10020 Madison Avenite, Inc., 750 Third Avenue, Viking Press, Inc., 625 New York, NY 10022 10017 C) 19 Union Square W., and Co., 105 Madison Ave- Walck, Henry Z., Inc., 10003 ., NY 10016 New York, NY and Co., Inc., 101Fifth Fifth Warne, Frederick, and Co., Inc., 55 Avenue, New York,NY 1,'03 ork, NY 10003 750 Third Avenue, Book Washburn, Ives, 'Inc., nc., Educational 10017 lewood Cliffs, NJ 07632 New York, NY

Sons, 200 MadisonAvenue, Watts, Franklin, Inc., 845 Third Avenue, 10016 New York, NY 10022

7i., 457Hahn Road, West- Whitman, Albert, and Co., 560 West Lake 21157 Street, Chicago, IL 60606

22 71's