Music Theory 2-4

Home , Common practice period

FREEHOLD REGIONAL HIGH SCHOOL DISTRICT

OFFICE OF CURRICULUM AND INSTRUCTION

MUSIC DEPARTMENT

MUSIC THEORY 2-4

HONORS MUSIC THEORY 2-4

Grade Level: 10-12

Credits: 5

BOARD OF EDUCATION ADOPTION DATE:

AUGUST 27, 2012

SUPPORTING RESOURCES AVAILABLE IN DISTRICT RESOURCE SHARING APPENDIX A: ACCOMMODATIONS AND MODIFICATIONS APPENDIX B: ASSESSMENT EVIDENCE APPENDIX C: INTERDISCIPLINARY CONNECTIONS

Board of Education

Mr. Heshy Moses, President Mrs. Jennifer Sutera, Vice President

Mr. Carl Accettola Mr. William Bruno Mrs. Elizabeth Canario Mrs. Kathie Lavin Mr. Ronald G. Lawson Mr. Michael Messinger Ms. Maryanne Tomazic

Mr. Charles Sampson, Superintendent Ms. Donna M. Evangelista, Assistant Superintendent for Curriculum and Instruction

Curriculum Writing Committee Mr. Anthony Limaldi Mr. Edward Gattsek

Supervisors

Ms. Deana Farinick Ms. Judith Lagana Ms. Judith Newins Mr. Stanley Koba Ms. Michelle Lilley Ms. Stephanie Kayafas

Music Theory II-IV and Honors Level(s) - Introduction

Music Theory II-IV

Course Description & Philosophy

This is a one year, five credit course which satisfies the 5 credit graduation requirement for fine and performing arts. Music Theory explores various styles of musical composition. It is a rigorous course with a structured and regimented method. The main composition style that will be explored is that which was used by composers during the Common Practice Period (1500-1913) In addition, some contemporary techniques will be explored. Composition and analysis will constitute the bulk of the course work and nightly homework will be assigned. A musical background and/or working knowledge of musical rhythm and at least one musical clef: treble or bass, will be helpful, but not necessary. The level of musicianship ranges from students who understand the fundamentals of music to students who can create original works for large ensembles.

We believe our curriculum should provide quality experiences that are musically meaningful to the education of all our students. It should help them discover, understand, and enjoy music as an art form, an intellectual endeavor, a medium of self-expression, and a means of social growth.

Music is considered basic to the total educational program. To each new generation this portion of our heritage is a source of inspiration, enjoyment, and knowledge which helps to shape a way of life. Our music curriculum enriches and maintains this life and draws on our nation and the world for its ever- expanding course content taking the student beyond the realm of the ordinary, everyday experience.

Music is an art that expresses emotion, indicates mood, and helps students to respond to their environment. It develops the student’s character through its emphasis on responsibility, self-discipline, leadership, concentration, and respect for and awareness of the contributions of others. Music contains technical, psychological, artistic, and academic concepts. It is an integral part of life and therefore should be studied to further enrich the lives of our students.

“Musical training is a more potent instrument than any other, because rhythm, harmony, and melody find their way into the inward places of our soul, on which they mightily fasten, imparting grace, and making the soul of him who is educated graceful.” — Plato

Course Map and Proficiencies/Pacing

Course Map

Relevant Enduring Assessments Essential Questions Standards Understandings Diagnostic Formative Summative 1.1.12.B.1 It is the combination of To what extent do harmony and rhythm affect Anticipatory set Research and define Unit test 1.1.12.B.2 harmony and rhythm that Western music? terms Individual performance 1.2.12.A.1 forms the foundation of Oral questions/discuss 1.3.12.B.1 music of the Western How is Western music different from music ion Quizzes 1.3.12.B.2 Hemisphere. around the world? 1.3.12.B.3 Critique & analysis 1.3.12.B.4 How much does rhythm affect music?

How much does harmony affect music? 1.1.12.B.1 (Four/SATB) Part-writing is What is four-part/SATB writing? Anticipatory set Homework assignments Unit Test 1.1.12.B.2 the foundation of the language of music. How does four-part writing affect the study Student survey Participation Analysis 1.2.12.A.1 music theory? 1.3.12.B.1 Discussion Assignments 1.3.12.B.2 Where is four-part writing used? Analysis 1.1.12.B.1 Major and minor scales What are major and minor scales? Discussion Aural identification Performance and combinations of their How many major and minor scales are there? intervals are the Where are major and minor scales utilized? Anticipatory set Exercises Unit Test vocabulary of harmonic To what extent are major and minor scales language. utilized in music? Analysis Analysis What are the different combinations of intervals that make chords and other desired sounds? 1.1.12.B.1 Having a basic What patterns in the keyboard can be Discussion Performance exercises Performance 1.2.12.A.1 understanding of the identified? keyboard (clavier) is Anticipatory set Analysis essential to learning Music Does performing on the keyboard help with questions Theory. learning music theory? Exit performance Entry performance/assessm ent 1.1.12.B.1 Listening is an essential skill. How does performing in an ensemble better us as Discussion Aural identification Individual/group project 1.1.12.B.2 musical listeners? 1.2.12.A.1 Oral questions Professional speech from Analysis 1.2.12.A.2 How does listening to ensemble works develop audiologist 1.3.12.B.1 musical leadership skills in order to conduct/lead? 1.3.12.B.3 Analysis 1.4.12.A.1 How does listening to compositions give a better understanding of music theory? Criticism

Research What common musical devices are common in society? (Examples: intervals, car horns, jingles, trademarks, commercials)

Why is hearing a sense that should be protected?

How often do musicians lose their hearing?

Why should hearing be protected?

What steps can be taken to protect hearing?

1.1.12.B.1 Music Theory is expressed by Why is penmanship important when writing music? Discussion Aural exercises Aural Test 1.1.12.B.2 both aural and tactile means. 1.3.12.B.1 Explain some of the methods used to transcribe Anticipatory set Written exercises Written Test 1.3.12.B.3 music. Questions Aural performance Performance Aural exercises How is ear training a big part of music theory? Critique Written exercises How does singing improve ear training?

Why is ear training essential in music theory?

Why do listening and performing become essential components to developing musicianship? 1.1.12.B.1 Music Theory provides insight Where do popular musicians & composers get their Discussion Research Individual & group projects 1.1.12.B.2 into the background of musical experience? 1.2.12.A.1 musicians & composers. Oral questions Written assignments 1.2.12.A.2 How much of musician’s and composers’ 1.3.12.B.1 experience is taught and how much is learned? Analysis 1.4.12.A.4

1.1.12.B.2 Notation software and How does having an understanding of Discussion Presentation projects Comparison presentations 1.2.12.A.2 other technologies have a notation software impact knowledge of music 1.3.12.B.3 role to play in modern theory? Student survey Present various Individual projects 1.3.12.B.4 music notation. examples 1.4.12.B.3 How does notation software effect writing and creating in music theory? Multimedia presentation

What brands of software compete to be the brand of choice?

1.1.12.B.2 A musician knowing What background does a conductor need to Discussion Exercises Performance 1.2.12.A.1 his/her role is essential to have in order to be successful? 1.2.12.A.2 having a successful Background Individual project 1.3.12.B.1 ensemble. What techniques are needed in order to be a presentation Analysis 1.3.12.B.3 successful conductor? 1.3.12.B.4 Oral Interpretation project How does music theory correlate with questions/discussion conducting?

How does a member of a musical group communicate without a conductor?

Define the roles performed by various instruments.

Proficiencies and Pacing

Recommended Unit Title Unit Understanding(s) and Goal(s) Duration Unit 1 - The Fundamentals Notation is essential when using music theory. 10-11 Weeks of Music: ongoing Notation/Elements of Scales, intervals, and transposition along with tonality are the foundation of music. Pitch, Scales, Tonality, Key, Modes, Intervals & At the conclusion of Music Theory II, participants will be able to: Transposition 1. Demonstrate knowledge of the letter names in alto and tenor clefs. 2. Demonstrate knowledge of all note values and how their use in measures of 3/8, 12/8, 5/8, 5/4, 7/8. 3. Demonstrate knowledge of all harmonic and melodic minor scales. 4. Demonstrate advanced knowledge of the circle of fifths (Example: chord substitutions). 5. Demonstrate knowledge of all intervals within two octaves, both written and aural.

At the conclusion of Music Theory III and IV, participants will be able to:

1. Demonstrate knowledge of ranges, clefs and transpositions of all band and orchestral instruments. 2. Demonstrate knowledge of all modes relative to "C".

Unit 2 - Structural Harmony is the musical result of tones sounding together. Whereas melody implies the linear or horizontal aspect of music, harmony 13-14 Weeks Elements of Music: Triads, refers to the vertical dimension of music. ongoing Cadences, Nonharmonic Tones, Voice Leading in Chord structures and all their varieties and inversions provide a pillar in the construction of Western Music. Two & Four Voices, and Harmonic Progression and Phrases are created in music through an interaction of melody, harmony, and rhythm. Voice leading is the term used to describe the Harmonic Rhythm, linear aspect of musical writing. In four-voice textures, the interaction of harmony and melody and their equal importance become Dominant 7th Chord, clear. Chords are selected to succeed each other in a piece of music using harmonic progressions. Leading-Tone Seventh Chords, Secondary Students will be able construct chords and cadences using proper voice leading. Dominants and Leading- Tone Chords The dominant seventh chord is a diatonic seventh chord built on the fifth scale degree of the major, harmonic minor and melodic minor scales. The major triad and minor seventh create a distinctive sound that is universally linked to the dominant function.

Students will be able to construct the seventh chords and corresponding cadences using proper voice leading.

The leading tone seventh chord is similar to the dominant seventh chord due to its similar chord tones.

At the conclusion of Music Theory II, participants will be able to:

1. Demonstrate knowledge of major, minor, augmented and diminished triads in 1st and 2nd inversions both written and aural. 2. Demonstrate knowledge of major, minor, augmented and diminished seventh chord, both written and aural. 3. Harmonize intermediate rhythmic melodies with I, II, III, IV, v, VI, and VII° chords, utilize figure bass notation for analysis. 4. Use of diatonic non-harmonic tones both aural and written. 5. Compose 4-part passages in SATB.

At the conclusion of Music Theory III, participants will be able to:

1. Harmonize advance melodies with seventh chords, sub tonic, minor dominant and utilize figured bass for analysis. 2. Use of chromatic non-harmonic tones both aural and written. 3. Demonstrate knowledge of the common essentials of part writing. 4. Demonstrate knowledge of major, minor, augmented and diminished seventh chord, 1st, 2nd and 3rd inversions, both written and aural. 5. Compose duets and trios.

At the conclusion of Music Theory IV, participants will be able to:

1. Harmonize advanced melodies with secondary dominant and leading tone seventh chords, utilize figured bass for analysis. 2. Demonstrate knowledge of borrowed and altered chords. (Examples: Neapolitan 6th, Augmented 6th chords)

Unit 3 - Melodic and Organizing melody and melodic thought are the ways in which musical units are combined into larger. 3-5 Weeks Rhythmic Organization At the conclusion of Music Theory II, participants will be able to:

1. Write intermediate melodies using proper rhythms and melodic movement, in both major and minor keys up to 4 #s and 4 bs. 2. Take intermediate dictation in rhythm and melody. 3. Sing intermediate melodic and rhythmic patterns used in class and on approved music theory training websites. 4. Use of solfege syllables to be used in both sight singing and dictation. 5. Demonstrate knowledge of all note values and their use in proper measure of advanced time signatures.

At the conclusion of Music Theory III, participants will be able to:

1. Work in advanced syncopated rhythmic notation. 2. Write advanced melodies using proper rhythms and melodic movement in both major and minor keys up to 7 #s and 7bs. 3. Take advanced melodic and rhythmic dictation. 4. Sing intermediate melodic and rhythmic patterns used in class and on approved music theory training websites. 5. Demonstrate knowledge of simple melodic form.

At the conclusion of Music Theory IV, participants will be able to:

1. Take advanced melodic and rhythmic dictation on 3 or fewer hearings. 2. Sing advanced melodic and rhythmic patterns used in class and on approved music theory training websites.

Unit 4 - Texture, Texture refers to the way melodic rhythmic and harmonic materials are woven together in a composition. 3-5 Weeks Textural Reduction and Form: Polyphony and Secondary dominants are chord that are altered to sound like dominants. other textures, Two- Part (Binary) Form, Form in music is the result of the interaction of all the structural elements. Two-Part Binary Form deals with Three-Part (Ternary, complete compositions. ABA), Sonata Form(s) Ternary form is a sectional form consisting of three principal parts (A B A) in which each section is a complete musical statement.

At the conclusion of Music Theory II, participants will be able to:

1. Students will be able to analyze compositions using the various forms.

At the conclusion of Music Theory III, participants will be able to:

1. Demonstrate knowledge of secondary dominants chords and their inversions in a textual setting. 2. Students will recognize, construct, and utilize secondary dominants in their proper formats. 3. Demonstrate knowledge of Two-Part Binary Form in a composition.

At the conclusion of Music Theory IV, participants will be able to:

1. Demonstrate knowledge of Ternary (A B A) form by using it in a composition. 2. Students will be able to analyze large works and identity specific forms. 3. Demonstrate knowledge of advanced musical structure and design (Examples: binary, ternary, rondo and sonata-allegro forms). 4. Students will be able to differentiate, analyze, and create compositions with different textures.

Unit 5 - Composers, Twentieth century music is a departure of common musical practices. Many different styles culminate to 10-12 Weeks Composing and develop the definitions of twentieth century music. ongoing Performance Composition is the ultimate demonstration of concept mastery.

Working alone and in groups to create musical art using modern/contemporary instruments both acoustic and electronic serve to elevate the human condition.

At the conclusion of Music Theory II, participants will be able to:

1. Demonstrate knowledge of subdivision of duple, triple and quadruple meters through performance and composition.

At the conclusion of Music Theory III, participants will be able to:

1. Compose 4-part passages for brass, woodwind, strings and mallet ensemble - make necessary arrangements to have it performed in class. 2. Compose and perform a four-part work that demonstrates elementary modulation (V/V, pivot chords) and make necessary arrangements to have it performed in class.

1. Compose harmonic and melodic passages in all modes in all key signatures. 2. Demonstrate basic knowledge of whole tone, quartile, quintal and twelve tone harmonies. 3. Compose and arrange music for voices, wind band, orchestra, jazz band, rock band, and other small ensembles. 4. Compose and arrange music with advanced modulations to unrelated keys. 5. Demonstrate knowledge of major, minor, augmented and diminished 9th, 11th, and 13th chords, root position, both written and aural.

Music Theory II-IV and Honors Level(s) - Unit 01 - The Fundamentals of Music

Unit Plan

Enduring Understandings:

It is the combination of harmony and rhythm that forms the foundation of music of the Western Hemisphere. Major and minor scales and combinations of their intervals are the vocabulary of harmonic language. Having a basic understanding of the keyboard (clavier) is essential to learning music theory. Listening is as essential a skill. Music theory is expressed by both aural and tactile means. Notation software and other technologies have a role to play in modern music notation.

Essential Questions:

To what extent do harmony and rhythm affect Western music? How is Western music different from music around the world? How much does harmony affect music?

What patterns in the keyboard can be identified? Does performing on the keyboard help with learning music theory?

How does listening to compositions give a better understanding of music theory? What common musical devices are common in society? (Examples: intervals, car horns, jingles, trademarks, commercials)

Why is penmanship important when writing music? What are some of the methods used to transcribe music? How is ear training a big part of music theory? How does singing improve ear training? Why is ear training essential in music theory? Why do listening and performing become essential components to developing musicianship?

How does having an understanding of notation software impact knowledge of music theory? How does notation software effect writing and creating in music theory? What brands of software compete to be the brand of choice?

Unit Goals:

At the conclusion of Music Theory II, participants will be able to:

1. Demonstrate knowledge of the letter names in alto and tenor clefs. 2. Demonstrate knowledge of all note values and how their use in measures of 3/8, 12/8, 5/8, 5/4, 7/8. 3. Demonstrate knowledge of all harmonic and melodic minor scales. 4. Demonstrate advanced knowledge of the circle of fifths, i.e., chord substitutions. 5. Demonstrate knowledge of all intervals within two octaves, both written and aural.

At the conclusion of Music Theory III and IV, participants will be able to:

1. Demonstrate knowledge of ranges, clefs and transpositions of all band and orchestral instruments. 2. Demonstrate knowledge of all modes relative to "C".

(Honors Prerequisite-Participation in a school performing ensemble) At the conclusion of Music Theory Honors, participants will be able to:

1. Demonstrate knowledge of all clefs. 2. Demonstrate examples of arrangements and compositions appropriate to the student's pre-assessed skill set. 3. Customize arrangements for specified school ensembles.

Recommended Duration: 10-12 weeks

Content/Themes/Ski Guiding/Topical Questions Resources and Materials Suggested Strategies Suggested Assessments lls How do scale degrees vary? Calculate intervals Current textbook and Provide specific written examples of Class preparation and scales based on workbook notation of pitch, scales, tonality, key How are intervals used? print and aural signatures, modes, intervals and Safe handling of class perception. Kostka, Stefan & Dorothy transposition. materials. What is the level of keyboard Payne. Tonal Harmony with competency throughout the Write in and perform an Introduction to 20th Listening Activities of specific Performances class? a variety of scales Century Music, 6th ed. tonalities and modalities. Try Norton and modes. Boston: McGraw-Hill, 2009. Scores. Aural Dictation Project/Exam Can the students perform a scale? Transpose for basic Marker board with staff Play various intervals and scales. Responses to discussion band instruments, in lines and markers questions Why is ear training important? Bb, Eb, and F. Have students perform on an Interactive whiteboard instrument (even if for the first time) Written tests & quizzes What is the level of ear Complete musical to their ability. Use mallet training throughout the class? work in treble, bass, Appropriate websites instruments and give the student one Penmanship alto and tenor clefs. stick and assign responsibility for a What resources are available Keyboard or percussion single, simple line, while other, more to help students develop their Ascertain which keyboard instrument with experienced students can contribute ear training? intervals are more proper mallets at their appropriate levels. recognizable than What are the different others. Other appropriate Use a website such as teoria.com or tonalities and modalities? How instruments musictheory.net which offers free do you calculate each of them examples with which to practice. based on “C” and on other Secure storage for said pitches? instruments Complete text book and workbook exercises. Staff paper notebook, pencils and eraser Analyses of scores

Examine how aspects of meter, rhythm, tonality, intervals, chords, and harmonic progressions are organized and manipulated to establish unity and variety in genres of musical compositions.

AR.9-12.1.1.12.B.1 AR.9-12.1.1.12.B.2 Synthesize knowledge of the elements of music in the deconstruction and performance of complex musical scores from diverse cultural contexts. AR.9-12.1.3.12.2 The ability to read and interpret music impacts musical fluency. AR.9-12.1.3.12.4 Basic vocal and instrumental arranging skills require theoretical understanding of music composition. AR.9-12.1.3.12.B.4 Arrange simple pieces for voice or instrument using a variety of traditional and nontraditional sound sources or electronic media, and/or analyze prepared scores using music composition software.

Differentiation

We must “tap into” the multi-stimulus, kinesthetic nature of music theory. Most differentiation needs can be met by varying assignments and instruction to improve skills in four core music theory areas: musical composition, analytical skills, performance skills and aural skills. Each student will have strengths and weaknesses based in each of these core skills. Activities should represent differentiation for the needs of the students based on pre-assessment.

Provide traditional “blackboard” instruction while augmenting this instruction with audio and visual stimulus of topics.

Other differentiation strategies which can be used include:

 small group instruction  supplemental materials of interest to students  examples based on student interests  student questions as a guide to lecture notes and material selection  tiered activities—activities at different levels of difficulty, but focused on same learning goals  varied pacing of student work  variety of criteria to measure success  allow multiple options to express learning  balance competitive, collegial and independent work arrangements  rubrics—given to students prior to assignments  set benchmarks—break larger tasks into smaller tasks  multisensory materials  opportunities to practice with support  flexible opportunities for demonstrating skill  choices of content and tools  pre-tests to assess where individual students need to begin study of a given topic  breakdown of assignments into smaller, more manageable parts that include structured directions for each part  groups for like and unlike readiness, interest, and learning profile groups  intersperse lecture with small group discussions  make connections with key ideas/skills and students’ cultures and interests  provide practical, analytical, and creative options for student work  help students perform any classroom functions that are not imperative for the teacher to perform

Technology

Using a projector and screen in conjunction with a video camera or document projector will allow the entire class to comfortably view the hands of a keyboardist or guitarists so that visual patterns can be associated with various harmonies and rhythms.

Use notation software or websites print music. Use for homework submission, composition, etc.

Use electronic instruments--keyboard, guitars, amplifiers (often student provided), sound machines, tuners, mixers, even microphones and recording equipment--constitutes real-world use of music and music technology.

Use software like Audacity, Sibelius, Garage Band, Finale, etc. as tools to edit and manipulate music and sound files.

College and Workplace Readiness

Lessons plans could be made in incorporate any number of subsets or skills into the classroom. Students can be exposed to subfields and related professions that include acoustician, architect, filmmaker, videogame creator, alarm maker.

Music theory or harmonic/rhythmic language can be used in and to describe other arts.

In a multi-year music theory program, students who are enrolling for second and third years could serve as student leader/mentors for their younger, less experienced counterparts in Music Theory I.

Project-based learning, with many of our activities based in students working in tight-knit groups towards a common goal of a musical composition and performance, is critical in the college environment and in the business world.

Students will gain an improved detail in listening skills as they practice error detection.

Students will learn about and practice strategies for protecting hearing so there is little long term hearing loss.

Students will practice and refine ear-training for music professionals.

Students will practice skills from character education: persistence, initiative, optimism, resiliency, flexibility, independence.

By collaborating with different populations and presenting for information and persuasion, students will refine their communication skills.

Music Theory II-IV and Honors Level(s) - Unit 02 - Structural Elements of Music

Unit Plan

Enduring Understandings: It is the combination of harmony and rhythm that forms the foundation of music of the Western Hemisphere. (Four/SATB) Part-writing is the foundation of the language of music. Major and minor scales and combinations of their intervals are the vocabulary of harmonic language. Listening is an essential skill. Music theory is expressed by both aural and tactile means.

Essential Questions: To what extent do harmony and rhythm affect Western music? How is Western music different from music around the world? How much does rhythm affect music? How much does harmony affect music? What is four-part/SATB writing? How does four-part writing affect studying music theory? Where is four-part writing used?

What are the major and minor scales? How many major and minor scales are there? Where are major and minor scales utilized? To what extent are major and minor scales utilized in music? What are the different combinations of intervals that make chords and other desired sounds? How does performing in an ensemble better us as musical listeners? How does listening to compositions give a better understanding of music theory?

At the conclusion of Music Theory II, participants will be able to:

1. Demonstrate knowledge of major, minor, augmented and diminished triads in 1st and 2nd inversions both written and aural. 2. Demonstrate knowledge of major, minor, augmented and diminished seventh chords, both written and aural 3. Harmonize intermediate rhythmic melodies with I, II, III, IV, V, VI, and VII chords, utilize figure bass notation for analysis. 4. Use of diatonic, non-harmonic tones, both aural and written. 5. Compose Four-part passages in SATB.

At the conclusion of Music Theory III, participants will be able to:

At the conclusion of Music Theory IV, participants will be able to:

(Honors Prerequisite - Participation in a school performing ensemble) At the conclusion of Honors Music Theory, participants will be able to:

1. Aurally identify triads, seventh chords and other advanced harmonies with inversions. 2. Conduct/lead a musical ensemble. 3. Compose/arrange advanced, genre-specific, compositions for school ensembles.

Recommended Duration: 13-15 Weeks (ongoing)

Guiding/Topical Content/Themes/Skills Resources and Suggested Strategies Suggested Questions Materials Assessments How has harmony and rhythm Notation of chords Current textbook and Provide specific written and aural examples of Performance changed throughout the workbook triads, cadences, non-harmonic tones, voice centuries? Chromatic chords in major leading in 2 and 4 voices, and harmonic Lab progression and harmonic rhythm, dominant and minor keys Kostka, Stefan & Dorothy th How does harmony effect Payne. Tonal Harmony with 7 chords, leading-tone seventh chords, secondary dominants leading-tone chords Written tests & quizzes musical composition? Important chromatic an Introduction to 20th Century Music, 6th ed. and augmented sixth chords. seventh chord in major and Worksheets What do proper and improper minor modes Boston: McGraw-Hill, 2009. voice leadings sound like? Performance projects Marker board with staff lines Project assessments Calculate through aural and markers Why do certain cadences slow perception and written use, Lecture down, speed up or stress the dominant and Chapter test certain parts of the beat? secondary dominant Interactive whiteboard Use a website such as teoria.com or seventh chords. musictheory.net which offers free examples Workbook exercises How do secondary dominant Appropriate websites with which to practice. chords relate to dominant Define various meters and Projects chords? their uses. Keyboard loud enough for Use masking tape to make large 5-lined staff entire class to hear on the floor. Have students stand in/on appropriate lines and spaces for voice leading Manuscript book What are the uses of the Harmonic progressions assessments dominant, secondary dominant Staff paper notebook, pencils and chord resolutions. and augmented sixth chords? Proper voice leading and eraser Complete text book and workbook exercises. Responses to discussion questions and topics How are chords used in their respective keys? Analyses of scores Penmanship

What leads a composer to Notate chords, voice single triads, use proper choose certain meters? parallel motion of voices.

How does listening to ensemble works, develop musical leadership skills in order to conduct/lead?

What is the role of the musical leader/conductor in an ensemble?

Differentiation

Melodic and rhythmic dictation represents one of the best ways to differentiate the music theory curriculum. At its very minimum, dictation is process in which a melody, harmony, or rhythm is repeated until copied by ear by the listener/student. Varying the number of repetitions, or providing any number of hints throughout the process the teacher is able to differentiate, pre-assess, assess and post-assess, all during the same lesson, multiple times. Require that more advanced students complete the dictation in 3 to 5 listenings, average students between 6 –9 listenings and struggling students 10+. Provide more specific instruction for critical listening and melodic hints for later repetitions.

Enhanced skills can be developed at the appropriate differentiated level on websites such as teoria.com and music theory.net.

After pre-assessment, vary the 1) difficulty, 2) time allowed, 3) skills being tested, and 4) number of permitted repetitions, etc to allow for proper individual differentiation.

Other strategies which can be used to differentiate include:

 vary levels of reading materials  use texts with key portions highlighted  provide organizers to guide note taking  provide a list of key terms, vocabulary, events, etc.  provide supplemental materials of interest to students  use examples based on student interests  allow for wait time for student reflection  vary instructional strategies—lecture, group work, independent study  use tiered activities—activities at different levels of difficulty, but focused on same learning goals  vary pacing of student work  use of variety of criteria to measure success  show examples  use multisensory materials  provide multiple exams  highlight critical features in lessons, texts, etc.  provide multiple media and formats  utilize pre-tests to assess where individual students need to begin study of a given topic  make assessment an ongoing, interactive process  compact or exempt students from work on which they show mastery  bookmark websites on key topics  intersperse lecture with small group discussions  make connections with key ideas/skills and students’ cultures and interests  provide tiered practice and assessments

Technology

Use notation software or websites print music. Use for homework submission, composition, etc.

Use software like Audacity, Sibelius, Garage Band, Finale, etc. as tools to edit and manipulate music and sound files.

College and Workplace Readiness

It is without question that this course will serve the needs of future music professionals –performers, composers, educators and therapists. The study of intervals, tonality, modes, etc. would serve well in many kinds of musical field, of course, but might also serve many other types of artistic endeavors. Lessons plans could be made in incorporate any number of subsets or skills into the classroom. Students can be exposed to subfields and related professions that include acoustician, architect, filmmaker, videogame creator, alarm maker.

Music theory or harmonic/rhythmic language can be used in and to describe other arts.

In a multi-year music theory program, students who are enrolling for second and third years could serve as student leader/mentors for their younger, less experienced counterparts in Music Theory I.

Students will gain an improved detail in listening skills as they practice error detection.

Students will learn about and practice strategies for protecting hearing so there is little long term hearing loss.

Students will practice and refine ear-training for music professionals.

Music Theory II-IV and Honors Level(s) - Unit 03 - Melodic and Rhythmic Organization

Unit Plan

Enduring Understandings: It is the combination of harmony and rhythm that form the foundation of music of the Western Hemisphere. (Four/SATB) Part-writing is the foundation of the language of music. Major and minor scales and combinations of their intervals are the vocabulary of harmonic language. Listening is an essential skill. Music theory is expressed by both aural and tactile means. Notation software and other technologies have a role to play in modern music notation. A musician knowing his/her role is essential to having a successful ensemble.

What is four-part/SATB writing? How does four-part writing affect studying music theory? Where is four-part writing used?

Why is hearing a sense that should be protected? How often do musicians lose their hearing? Why should hearing be protected? What steps can be taken to protect hearing?

What background does a conductor need to have in order to be successful? What techniques are needed in order to be a successful conductor? How does music theory correlate with conducting? How does a member of a musical group communicate without a conductor? Define the roles performed by various instruments. Unit Goals:

At the conclusion of Music Theory II, participants will be able to:

1. Write intermediate melodies using proper rhythms and melodic movement, in both major and minor keys up to 4 sharps and 4 flats. 2. Take intermediate dictation in rhythm and melody. 3. Sing intermediate melodic and rhythmic patterns used in class and on approved music theory training websites. 4. Use of solfege syllables to be used in both sight singing and dictation. 5. Demonstrate knowledge of all note values and their use in proper measure of advanced time signatures.

At the conclusion of Music Theory III, participants will be able to:

1. Work in advanced syncopated rhythmic notation. 2. Write advanced melodies using proper rhythms and melodic movement in both major and minor keys up to 7 sharps and 7 flats. 3. Take advanced melodic and rhythmic dictation. 4. Sing intermediate melodic and rhythmic patterns used in class and on approved music theory training websites. 5. Demonstrate knowledge of simple melodic form.

At the conclusion of Music Theory IV, participants will be able to:

1. Take advanced melodic and rhythmic dictation on 3 or fewer hearings. 2. Sing advanced melodic and rhythmic patterns used in class and on approved music theory training websites.

(Honors Prerequisite - Participation in a school performing ensemble) At the conclusion of Honors Music Theory, participants will be able to:

1. Create simple, intermediate and advanced melodic and rhythmic dictations to be used by the class/ensemble. 2. Share advanced knowledge of music theory websites and other web resources.

Recommended Duration: 3-6 Weeks

Guiding/Topical Questions Content/Themes/Skills Resources and Materials Suggested Strategies Suggested Assessments Why is ear training Calculate intervals and scales Current textbook and workbook Use the interactive Composition assessment important? based on print and aural whiteboard to demonstrate a rubric perception Kostka, Stefan & Dorothy musical line, 2 lines or even an What is the level of ear Payne. Tonal Harmony with an entire score. The effect of Musical performances training throughout the Take melodic and rhythmic Introduction to 20th Century seeing the music and hearing class? dictation Music, 6th ed. Boston: McGraw- the music as it is going by Written tests & quizzes Hill, 2009. simultaneously is desirable. How does rhythm affect Notation of melodies in Aural Dictation music? tenor and alto clef Marker board with staff lines Dictate many melodies. Keep Project/Exam and markers simple at first use Do and Re How is music that is purely Ascertain which intervals are and offer rhythmic options of Responses to discussion rhythmic written? more recognizable than Interactive whiteboard 1-beat quarters and 2-beat questions others half notes. Many students What musical devices help Appropriate websites complete assignments using Workbook exercises us organize rhythm and Perform on keyboard the those four variables. Each melody? simple and recognizable Keyboard load enough for entire lesson, change or add another Penmanship intervals class to hear note of the scale or rhythmic What resources are complication. available to help students Notate music that only has Staff paper notebook, pencils develop their ear training? rhythm and eraser Students compose their own monophonic melodies – How often do students Define various meters and combine with Unit IV. rely on their hearing v their uses sight when learning music? Lecture and class discussion Define subdivisions and how What sorts of intervals and they change in various Lecture basic melodies pervade meters our everyday life? Performance projects Play by imitation Complete text book and Take melodic and rhythmic workbook exercises. dictation Understanding nuanced stylistic differences among various genres of music is a component of musical fluency. Meter, rhythm, tonality, and harmonics are determining AR.9-12.1.1.12.1 factors in the categorization of musical genres. AR.9-12.1.1.12.2 Musical proficiency is characterized by the ability to sight-read advanced notation. Musical fluency is also characterized by the ability to classify and replicate the stylistic differences in music of varying traditions. AR.9-12.1.3.12.B.2 Analyze how the elements of music are manipulated in original or prepared musical scores. AR.9-12.1.3.12.B.4 Arrange simple pieces for voice or instrument using a variety of traditional and nontraditional sound sources or electronic media, and/or analyze prepared scores using music composition software.

Differentiation

Allow students to sing, hum or use an instrument (perhaps even use a kazoo) to demonstrate melodies.

Enhanced skills can be developed at the appropriate differentiated level on websites such as teoria.com and music theory.net.

Students, alone or in groups, will find examples in published media that demonstrate advanced syncopations and complex key signatures.

Additional differentiation strategies include:

 use texts with key portions highlighted  use small group instruction  provide list of key terms, vocabulary, events, etc.  provide supplemental materials of interest to students  use examples based on student interests  allow for wait time for student reflection  vary instructional strategies—lecture, group work, independent study  use tiered activities—activities at different levels of difficulty, but focused on same learning goals  use of variety of criteria to measure success  encourage students to design or participate in lesson tasks  allow multiple options to express learning  balance competitive, collegial and independent work arrangements  provide multiple exams  highlight critical features in lessons, texts, etc.  provide multiple media and formats  utilize pre-tests to assess where individual students need to begin study of a given topic  make assessment an ongoing, interactive process  negotiate delay of due dates and times for tasks  compact or exempt students from work on which they show mastery  collect textbooks of different readability levels and keep in classroom for easy access  use pre-assigned groups so students know by cue where to move in the room and who to sit with  plan groups for like and unlike readiness, interest, and learning profile groups  intersperse lecture with small group discussions  make connections with key ideas/skills and students’ cultures and interests  use ‘expert groups’ to help teach key ideas  have students perform any classroom functions that are not imperative for the teacher to perform

Technology

Use notation software or websites print music. Use for homework submission, composition, etc.

Use software like Audacity, Sibelius, Garage Band, Finale, etc. as tools to edit and manipulate music and sound files.

College and Workplace Readiness

Music theory or harmonic/rhythmic language can be used in and to describe other arts.

In a multi-year music theory program, students who are enrolling for second and third years could serve as student leader/mentors for their younger, less experienced counterparts in Music Theory I.

Students will gain an improved detail in listening skills as they practice error detection.

Students will learn about and practice strategies for protecting hearing so there is little long term hearing loss.

Students will practice and refine ear-training for music professionals.

Other college and workplace readiness skills include:

 reasoning skills—evaluate evidence and text  problem solving skills and creativity  note taking skills  character education: persistence, initiative, optimism, resiliency, flexibility, independence  digital Literacy skills  communication skills—collaborate with different populations, present for information, persuasion, etc  social interaction

Music Theory II-IV and Honors Level(s) - Unit 04 - Texture, Textural Reduction and Form

Unit Plan

What is four-part/SATB writing? How does four-part writing affect studying music theory? Where is four-part writing used?

Where do popular musicians and composers get their musical experience? How much of musician’s and composers’ experience is taught and how much is learned?

Unit Goals:

At the conclusion of Music Theory II, participants will be able to:

1. Students will be able to analyze compositions using the various forms.

At the conclusion of Music Theory III, participants will be able to:

1. Demonstrate knowledge of secondary dominant chords and their inversions in a textural setting. 2. Students will recognize, construct, and utilize secondary dominants in their proper formats. 3. Demonstrate knowledge of Two-Part Binary Form in a composition.

At the conclusion of Music Theory IV, participants will be able to:

1. Demonstrate knowledge of Ternary (A B A) form by using it in a composition. 2. Students will be able to analyze large works and identify specific forms. 3. Demonstrate knowledge of advanced musical structure and design such as binary, ternary, rondo and sonate-allegro forms. 4. Students will be able to differentiate, analyze, and create compositions with different textures.

(Honors Prerequisite - Participation in a school performing ensemble) At the conclusion of Honors Music Theory, participants will be able to:

1. Analyze complex/major works for form and advanced harmonies such as secondary dominants. 2. Compose/arrange works which demonstrate advanced musical structure and design. (Examples: binary, ternary, rondo and sonata-allegro forms)

Recommended Duration: 4 - 8 weeks ongoing

Guiding/Topical Questions Content/Themes/Skills Resources and Materials Suggested Strategies Suggested Assessments Why is ear training important? Play various selections of Kostka, Stefan & Dorothy Describe the different Listening quizzes music from various genres Payne. Tonal Harmony with an techniques used in the What is musical texture? Introduction to 20th Century listening selections Research projects Define monophonic, Music, 6th ed. Boston: McGraw- What do different textures sound polyphonic, duo phonic, Hill, 2009. Compare and contrast Characteristic quizzes like? homophonic and antiphonal various textures. Audio system with volume loud How is music “put together?” Define forms such as Two- enough for the entire class to Discuss musical themes. Use Part (Binary) Form, Three- hear examples of modern music How are poetry and music congruent Part (Ternary, ABA), Rondo, and classical or perhaps in terms of form? Sonata Form(s) Recordings or streaming video famous film scores. of appropriate examples. Recommend various live Provide musical examples of performances for students to Musical score for same forms such as the attend, amateur as well as Symphony, the Concerto, professional Interactive whiteboard or the Concerto Grosso, Rondo,

projector with screen Fugue, Toccata, Da Capo Research various genres and Aria, etc. identify contrasting Textbook characteristics Allow students to demonstrate their own Identify different selections. characteristics within each selection played Characteristic rubric

Analyses of scores

AR.9-12.1.1.12.B.2 Synthesize knowledge of the elements of music in the deconstruction and performance of complex musical scores from diverse cultural contexts. AR.9-12.1.3.12.1 Technical accuracy, musicality, and stylistic considerations vary according to genre, culture, and historical era. AR.9-12.1.3.12.2 The ability to read and interpret music impacts musical fluency.

Differentiation

Teachers can pre-assess students’ knowledge in various genres of music.

Students, alone or in groups, will find examples in published media that demonstrate various musical forms and complex harmonic shifts.

Other differentiation strategies include:

 use of texts with key portions highlighted  use of small group instruction  provide a list of key terms, vocabulary, events, etc.  provide supplemental materials of interest to students  allow for wait time for student reflection  make task directions more detailed and specific for some learners and more open for others  use of variety of criteria to measure success  allow multiple options to express learning  balance competitive, collegial and independent work arrangements  use rubrics—give to students prior to assignment  provide multiple media and formats  provide opportunities to practice with support  utilize pre-tests to assess where individual students need to begin study of a given topic  break assignments into smaller, more manageable parts that include structured directions for each part  use pre-assigned groups so students know by cue where to move in the room and who to sit with  provide practical, analytical, and creative options for student work  use ‘expert groups’ to help teach key ideas

Technology

Use notation software or websites print music. Use for homework submission, composition, etc.

Use electronic instruments--keyboard, guitars, amplifiers (often student provided), sound machines, tuners, mixers, even microphones and recording equipment-- constitutes real-world use of music and music technology.

Use software like Audacity, Sibelius, Garage Band, Finale, etc. as tools to edit and manipulate music and sound files.

College and Workplace Readiness

It is without question that this course will continue to establish a solid foundation for future Music Professionals –performers, composers, educators, therapists. The study of intervals, tonality, modes, etc. would serve well in many kinds of musical fields, of course, but might also serve many other types of artistic endeavors. Lessons plans could be made in incorporate any number of subsets or skills into the classroom.

Music theory or Harmonic/Rhythmic language can be used in and to describe and appreciate other arts.

In a multi-year music theory program, students who are enrolling for second and third years could serve as student leader/mentors for their younger, less experienced counterparts in Music Theory I.

Students will gain an improved detail in listening skills as they practice error detection.

Students will learn about and practice strategies for protecting hearing so there is little long term hearing loss.

Students will practice and refine ear-training for music professionals.

Through class activities students will be exposed to multicultural experiences and will learn to see others’ perspectives.

Digital Literacy skills can be enhanced through the use of specialized programs and software.

Student communication skills will be refined through the collaboration with different populations and the oral presentations for information and persuasion.

Music Theory II-IV and Honors Level(s) - Unit 05 - Composers, Composing and Performance

Unit Plan

Enduring Understandings:

It is the combination of harmony and rhythm that forms the foundation of music of the Western Hemisphere. (Four/SATB) Part-writing is the foundation of the language of music. Major and minor scales and combinations of their intervals are the vocabulary of harmonic language. Having a basic understanding of the keyboard (clavier) is essential to learning music theory. Listening is an essential skill. Music theory is expressed by both aural and tactile means. Music theory provides insight in to the background of musicians & composers. Notation software and other technologies have a role to play in modern music notation. A musician knowing his/her role is essential to having a successful ensemble.

Essential Questions:

To what extent do harmony and rhythm affect Western music? How is Western music different from music around the world? How much does rhythm affect music? How much does harmony affect music?

What is four-part/SATB writing? How does four-part writing affect studying music theory? Where is four-part writing used?

What patterns in the keyboard can be identified? Does performing on the keyboard help with learning music theory?

How does performing in an ensemble better us as musical listeners? How does listening to compositions give a better understanding of music theory? What common musical devices are common in society? (Examples: intervals, car horns, jingles, trademarks and commercials) Why is hearing a sense that should be protected? How often do musicians lose their hearing? Why should hearing be protected? What steps can be taken to protect hearing? Why is penmanship important when writing music? What are some of the methods used to transcribe music? How is ear training a big part of music theory? How does singing improve ear training? Why is ear training essential in music theory? Why do listening and performing become essential components to developing musicianship?

Where do popular musicians and composers get their musical experience? How much of musician’s and composers’ experience is taught and how much is learned? How does having an understanding of notation software impact knowledge of music theory? How does notation software effect writing and creating in music theory? What brands of software compete to be the brand of choice?

Unit Goals:

At the conclusion of Music Theory II, participants will be able to:

1. Demonstrate knowledge of subdivision of duple, triple and quadruple meters through performance and composition.

At the conclusion of Music Theory III, participants will be able to:

1. Compose 4-part passages for brass, woodwind, strings and mallet ensemble - make necessary arrangements to have it performed in class. 2. Compose and perform a 4-part work that demonstrates elementary modulation (V/V, pivot chords) - make necessary arrangements to have it performed in class.

At the conclusion of Music Theory IV, participants will be able to:

1. Compose harmonic and melodic passages in all modes in all key signatures. 2. Demonstrate basic knowledge of whole tone, quartal, quintal and twelve tone harmonies. 3. Compose and arrange music for voices, wind band, orchestra, jazz band, rock band, and other small ensembles. 4. Compose and arrange music with advanced modulations to unrelated keys. 5. Demonstrate knowledge of major, minor, augmented and diminished 9th, 11th, and 13th chords, root position, both written and aural.

(Honors Prerequisite -Participation in a school performing ensemble) At the conclusion of Honors Music Theory, participants will be able to:

1. Compose/arrange advanced, genre-specific, compositions for school ensembles. 2. Demonstrate knowledge of composers' styles and historical contexts. 3. Conduct/lead a musical ensemble. Recommended Duration: 2-4 weeks Content/Themes/Skills Resources and Materials Suggested Strategies Suggested Assessments Guiding/Topical Questions What is tonal? Research basic understanding of Computer Lecture The activities of this unit represent a very how to use notation software effective way to assess many of the skills taught What is the common practice period? Internet access and Complete text book and in Units I-IV. Construct scales appropriate websites workbook exercises. How has the definition of tonality been challenged? Projects assessments Research & analyze famous works Appropriate music notation Play selections using material How many current forms of music can be identified as having software using listening rubric. Performance assessments been influenced by the “classics”? Construct original composition(s) Textbook & Workbook Analysis of scores Lab(s) To what extent do composers such as Bach, Mozart, Notation of chords Beethoven, and Brahms effect current forms of music? Kostka, Stefan & Dorothy Demonstrate rhythm, harmony, Research projects Payne. Tonal Harmony with Define various meters and their uses and contour. an Introduction to 20th What is atonal music? Manuscript book assessment Century Music, 6th ed. Have students perform on an Harmonic progression Boston: McGraw-Hill, 2009 What modern composers continue to compose in the style of instrument (even if for the first Responses to discussion questions and topics time) to their ability. Use mallet the common practice period? Proper voice leading CD’s, iPod & docking station instruments and give the student one stick and assign How is mathematics involved in some forms of contemporary Observe various conductors and Manuscript book responsibility for a single, simple music? their styles through media and live line, while other, more Video/DVD’s experienced students can What sorts of choices are there for notation software Learn different conducting patterns contribute at their appropriate programs? in various meters levels. Scores

What are the characteristics of each program? Read scores mimicking a live Determine the instrumental Worksheets ensemble experience of each student. What students have experience using software? Form groups based on Conduct a live ensemble instrumental logistics. Assign When a piece of music is performed, how much of it is various projects that demonstrate the desired notation and how much is interpretation? Discuss communication between the objective. musical leader/conductor and the How do rhythm and harmony affect music and composing? ensemble, also musical communication which goes on Arrange previously composed music for an ensemble of varied What leads a composer to choose certain meters? within the ensemble instruments.

How are chords used in their respective keys? Demonstrate various patterns

What is the role of the musical leader/conductor in an ensemble?

How does listening to ensemble works develop musical leadership skills in order to conduct/lead?

AR.9-12.1.1.12.1 Understanding nuanced stylistic differences among various genres of music is a component of musical fluency. Meter, rhythm, tonality, and harmonics are determining factors in the categorization of musical genres. AR.9-12.1.1.12.B.1 Examine how aspects of meter, rhythm, tonality, intervals, chords, and harmonic progressions are organized and manipulated to establish unity and variety in genres of musical compositions. AR.9-12.1.1.12.2 Musical proficiency is characterized by the ability to sight-read advanced notation. Musical fluency is also characterized by the ability to classify and replicate the stylistic differences in music of varying traditions. AR.9-12.1.1.12.B.2 Synthesize knowledge of the elements of music in the deconstruction and performance of complex musical scores from diverse cultural contexts. AR.9-12.1.3.12.1 Technical accuracy, musicality, and stylistic considerations vary according to genre, culture, and historical era. AR.9-12.1.3.12.B.4 Arrange simple pieces for voice or instrument using a variety of traditional and nontraditional sound sources or electronic media, and/or analyze prepared scores using music composition software.

Differentiation

Composition and performance represent the very best of differentiation in music theory. In these processes, students can contribute in so many diverse ways. Excellent classroom management and varying expectations are a must. In pre-assessment, establish which students possess instrumental skills. (Any student without will be able to contribute to performance by striking single notes on a mallet instrument.) Within a school year of instruction there is opportunity for both teacher-generated groups and ultimately, student-generated groups. It is important to establish clear guidelines and expectations for group work and group activities. Logistics also plays a role in group creation. Depending on the goals of the assignment, the groups may have to be as small as a duet or as large as the entire class. Groups of instruments in some close variation of SATB voicing will also be helpful for many assignments. Within the group context the student may serve as a group leader, principal or minor composer, principal or minor performer, score/part maker, teacher liaison, all the while, the students must work together to perform their group composition assignment within a certain deadline. It is in this context also that students demonstrate their readiness. Teachers must observe here if the students are demonstrating knowledge, comprehension, application, analysis, synthesis, and/or evaluation.

For groups or individuals who complete projects early, have Anchoring Activities like sheet music to analyze or a listening station where different examples of harmonic and rhythmic concepts could be demonstrated.

Additional strategies include:

 use of small group instruction  model skills and behaviors  use of variety of criteria to measure success  use of rubrics—give to students prior to assignment  show examples  set benchmarks—break larger tasks into smaller tasks  provide multiple media and formats  provide opportunities to practice with support  utilize pre-tests to assess where individual students need to begin study of a given topic  break assignments into smaller, more manageable parts that include structured directions for each part  establish stations for inquiry-based independent learning activities  post several room arrangement charts to have students rearrange the room quickly  use pre-assigned groups so students know by cue where to move in the room and who to sit with  plan groups for like and unlike readiness, interest, and learning profile groups  make connections with key ideas/skills and students’ cultures and interests  provide practical, analytical, and creative options for student work  use ‘expert groups’ to help teach key ideas  have students perform any classroom functions that are not imperative for the teacher to perform

Technology

Use notation software or websites print music. Use for homework submission, composition, etc.

Use software like Audacity, Sibelius, Garage Band, Finale, etc. as tools to edit and manipulate music and sound files.

College and Workplace Readiness

Music theory or Harmonic/Rhythmic language can be used in and to describe other arts.

In a multi-year music theory program, students who are enrolling for second and third years could serve as student leader/mentors for their younger, less experienced counterparts in Music Theory I.

Students will gain an improved detail in listening skills as they practice error detection.

Students will learn about and practice strategies for protecting hearing so there is little long term hearing loss.

Students will practice and refine ear-training for music professionals.

Students will use reasoning skills to evaluate evidence and text; problem solving skills and creativity when revising music; note taking skills during class lectures; reading skills such as pattern recognition and reading for comprehension and analysis; time management skills will be refined as students work independently and within groups to accomplish a common goal; creative writing and technical writing skills will be practiced as students research, compose, reflect and revise their writing, and good decision making skills will be required as students participate in group ensembles and performances.

Through class activities students will be exposed to multicultural experiences and will learn to see others’ perspectives.

Digital Literacy skills can be enhanced through the use of specialized programs and software.

Student communication skills will be refined through the collaboration with different populations and the oral presentations for information and persuasion.

Character education emphasizing persistence, initiative, optimism, resiliency, flexibility, independence will be reinforced.

Career planning is a continuous component throughout the course.