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6-8 GRADE LESSON 2 Music Then and Now SY DO MPH RA O O N L Y O C 2 S 50 YEA R 2019/20 EDUCATION PROGRAMS OF THE COLORADO SYMPHONY Bringing the youth concert experience and the story of Beethoven’s life through real-world topics 1 68 GRADE LESSON 2 Music Then and Now LESSON 2: Music Then and Now SUMMARY LEARNING OBJECTIVE In this lesson, students will investigate ■ Students will compare and contrast the current musical landscape to that of the Classical how and why the musical landscape and Romantic periods through a critical analysis. has simultaneously changed for both ■ Students will demonstrate the ability to listen with attention and purpose to at least the better and the worse. Students will two interpretations of the same excerpt from the rst movement of Beethoven’s Fifth examine how equity in terms of access Symphony before engaging in a whole-class dialogue to articulate the similarities and to music has evolved, in addition to di erences between the excerpts. tackling challenging ethical questions ■ addressing the di erence between cultural Students will analyze and unpack a Mark Twain quote. appropriation and cultural exchange, and ■ Independent Work Option #1: Students will develop 1-2 discussion questions in response what de nes originality and plagiarism. to an 18-minute video about the digital disruption of the music industry. ■ Independent Work Option #2: Students will read a New York Times article explaining the Williams v. Gaye court case and engage in a discourse about cultural appropriation and cultural exchange in relation to this case. LESSON CONNECTIONS Colorado Academic Standards . 2 Learning Objective . 3 Essential Questions. 3 Enduring Understandings. 3 Vocabulary. 3 Materials & Resources. 4 Guiding & Extension Questions . 5 INSTRUCTIONAL FRAMEWORK (Putting lessons into practice) Connection . 6 Teach . 6-8 Demonstration. 9 Active Engagement . 9 Independent or Small Group Work . 10 Share . 10 Link . 10 English Language Learner Tips . 11 Additional Resources . 11 Home Practice . 11 Optional Extensions . 12-14 COLORADOSYMPHONY.ORG 1 68 GRADE LESSON 2 Music Then and Now COLORADO ACADEMIC STANDARDS GRADE 6 Colorado Academic Standards in Music: Grade Level Expectation Standard 4. Aesthetic Valuation of Music Grade Level Expectation: 2. Articulate and justify personal preferences as a music consumer. 2020 Colorado Academic Standards / Grade Level Expectation: Reading, Writing, and Communicating Oral Expression and Listening 1. Employ appropriate presentation and collaboration strategies to meet the needs of a given task and purpose. 2. Develop, organize, and present ideas and opinions e ectively. GRADE 7 Colorado Academic Standards in Music: Grade Level Expectation Standard 4. Aesthetic Valuation of Music Grade Level Expectation: 2. Identify and describe the ways in which music is consumed by society. 2020 Colorado Academic Standards / Grade Level Expectation: Reading, Writing, and Communicating Reading for All Purposes 1. Summarize and evaluate to show understanding of informational texts. GRADE 8 Colorado Academic Standards in Music: Grade Level Expectation Standard 4. Aesthetic Valuation of Music Grade Level Expectation: 2. Identify and describe ways in which music is selected for use in society. 2020 Colorado Academic Standards / Grade Level Expectation: Reading, Writing, and Communicating Oral Expression and Listening 1. Engage in e ective collaborative discussions and analyze information presented. COLORADOSYMPHONY.ORG 2 68 GRADE LESSON 2 Music Then and Now LESSON CONNECTIONS LEARNING OBJECTIVE ■ Students will compare and contrast the current musical landscape to that of the Classical and Romantic periods through a critical analysis of the following questions: - Who gets to listen? - What do we listen to? - Where do we listen? - When do we listen? - Why do we listen? - How do we listen? ■ Students will demonstrate the ability to listen with attention and purpose to at least two interpretations of the same excerpt from the rst movement of Beethoven’s Fifth Symphony before engaging in a whole-class dialogue to articulate the similarities and di erences between the excerpts. ■ Students will analyze and unpack a Mark Twain quote. ■ Independent Work Option #1: Students will develop 1-2 discussion questions in response to an 18-minute video about the digital disruption of the music industry. ■ Independent Work Option #2: Students will read a New York Times article explaining the Williams v. Gaye court case and engage in a discourse about cultural appropriation and cultural exchange in relation to this case. ESSENTIAL QUESTIONS ■ How does music change as society changes? ■ Does originality exist? If so, how is it possible to determine if something is truly original? ■ What is the di erence between cultural exchange and cultural appropriation? ■ How has the digital age blurred the lines of originality, inspiration, and plagiarism? ENDURING UNDERSTANDINGS ■ Music and society in uence each other. ■ The existence of originality is dependent upon how it is de ned. ■ Cultural exchange and cultural appropriation are distinct phenomena. ■ The lines of originality, plagiarism, and inspiration have become blurred in the digital age. VOCABULARY • Adaptability • A uent • Appropriation • Aristocracy • Articulation • Authenticity • Benefactor • Commission • Copyright • Copyright infringement • Crescendo • Decrescendo • Digital piracy • Digital revolution • Disruption • Dynamics • Empowerment • Entrepreneurship • Ethics • Excerpt • Exploitation • Innovation • Intent • Nexus • Patronage system • Plagiarism • Resourcefulness • Sampling (a.k.a. “Lifting” or “Quoting”) • Tempo • Timbre • Transparency • Zeitgeist COLORADOSYMPHONY.ORG 3 68 GRADE LESSON 2 Music Then and Now LESSON CONNECTIONS MATERIALS & RESOURCES ■ Devices with Internet access ■ The Salaries of Famous Composers adzuna.co.uk/blog/2016/05/27/do-you-make-more-money-than-mozart/ ■ Highlights of the Beethoven anniversary year 2020 announced dw.com/en/highlights-of-the-beethoven-anniversary-year-2020-announced/a-42898389 ■ Beethoven Pastoral Project: A Global Statement for the Preservation of Nature beethoven-pastoral-project.com ■ John Eliot Gardiner’s Revolutionary and Romantic Orchestra youtube.com/watch?v=lNtb-ly1I_k ■ A Fifth of Beethoven by Walter Murphy (from Saturday Night Fever) youtube.com/watch?v=2CSg3isHj_A ■ Intel commercial from 2016 remixes Beethoven’s Fifth Symphony youtube.com/watch?v=JU9LoDd_5bo ■ Swarm of 100 Drones Dance to Beethoven’s ‘Symphony No. 5’ In The Night Sky hu post.com/entry/drones-beethoven-intel-world-record_n_5693ae9de4b0a2b6fb70b843 ■ New York Times article ‘Blurred Lines’ Verdict Upheld by Appeals Court nytimes.com/2018/03/21/business/media/blurred-lines-marvin-gaye-copyright.html ■ The Disrupters: How digital is changing the music industry (18 minute video) ey.com/en_gl/digital/the-disrupters--how-digital-is-changing-the-music-industry COLORADOSYMPHONY.ORG 4 68 GRADE LESSON 2 Music Then and Now LESSON CONNECTIONS GUIDING & EXTENSION QUESTIONS ■ How has the composer-performer-audience relationship evolved from Beethoven to present day? What factors have contributed to this change? How has it remained the same? (Consider cellist Yo-Yo Ma’s quote, “I think the purpose of a piece of music is signi cant when it actually lives in somebody else. A composer puts down a code and a performer can activate the code in somebody else. Once it lives in somebody else, it can live in others as well.”) ■ How have changes in the composer-performer-audience relationship resulted in unlikely collaborations and hybrid, fusion, or cross- genres? (e.g. Broadway play Hamilton) ■ Is musical borrowing a form of plagiarism or inspiration? ■ How can one be certain if something is an example of plagiarism or coincidence? ■ How does a composer’s intention contribute to whether or not he or she is deemed a plagiarizer? ■ Do you agree or disagree with Pablo Picasso’s philosophy that “Good artists copy, great artists steal”? (Discuss the idea of “transformative imitation,” or assimilating a good idea and transforming it into something novel.) ■ How has the business side of the musical ecosystem changed since Beethoven’s time? (Consider traditional record labels representing artists, commissions, entrepreneurship, digital income, and exponential increase in musical business transactions as a result of streaming and downloading services.) ■ How has the digital age disrupted the traditional music industry model? ■ How has the digital age both economically helped and hurt new musicians? Seasoned musicians? ■ Have musicians earned greater creative control and independence since Beethoven’s time? If so, how? If not, why? ■ Since Beethoven’s time, has music become more inclusive and accessible? Explain. ■ Is it possible to listen to Beethoven’s Fifth Symphony with “19th century ears”? ■ Does Beethoven’s Music sound di erent 250 years later? Explain. ■ Has some of Beethoven’s music become a cliché as a result of rampant appropriation? ■ Why does Beethoven’s 5th Symphony continue to have such broad appeal and application? ■ How has Beethoven’s 5th Symphony been subject to adaptations over time? ■ How has the way we listen to music fundamentally changed since Beethoven? ■ How did the rising middle-class during the Romantic era contribute to the changing role of music in society? ■ Does musical borrowing (“sampling”) help music evolve, or is it merely a form of cultural appropriation, or outright plagiarism? ■ Johannes Brahms was a German-born composer whose compositions
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