DOCUMENT RESUME AA 000 729 ED 054 394 Konow z,Bertram AUTHOR (Contemporary TITLE Music in ModernAmeriJaa Societ A Guide for a:lig!: School Election Course. Music): of INSTITUTION NOW York, StateEducation DPpt., Albany. Hureau Secondary CurriculumDevelopment. 71 pUB DATE New York State ERIC Service, NOTE 93p.; Available from Rodin 468 E91, StateEducation Department, Albany, N.Y. 12224 (no costto euucators) MF-$0.65 HC-$3.29 EDRS PIcS Lesso'n DESCPIPT *Course 4clan17ati u; 'dLcji School Curriculum; Plans; *Music Education;Student Needs; student Teacher Pelat nship; *Teaching Guides;*Teaching Techniques ABSTPACT Designed to bridge the gapbetween traditional ajld the needs of the"rock era" teacher-supplied content and process goals student, thiscourse-focuses ondeveloping minimum goals. The musical attitudes, musicalunderstanding, and musical are related to human values, skills of the student. Theemphasis is on the student's interpersonal feelings, and hismUsic. The course isorganizedusing the procedure of a"plastic teaching strategy," anorganizational for the teachincLsituationto maintain a formula which allows emphasis. The capability of continuous,changein shape, direction, or three phases of tnisconceptual organization are:Phase 1, feelings, and music; Phase2, exploration of student values, involvement. The experimental activities; andPhase 3, developmental te select one of .thefollowing teaching teacher's initial task iS Muical Focus Area; strategies: Sttategy A--theteacher estab.lishes a without prior or Strategy B--theteacher initiates activity t,ormulation or selection of aMusical Focus Area.. Theteach r may move from one strategyto the other as classneeds are reflected. Eleven approach tacticsare suggested as devicesfor mobilizing samples are given asillustrations of how the' student activity, and Lesson teacher" may use these tactics.Appendixes present a Sample Plan form, a ConceptualLesson Fora, a,56-itembibliography, recommended aids, andseledtions of recordings. (DE) AiMr .17 Ur-la immEmw m== 11Ir Gelmir AE=ab A Asimw- Ain=1.ur-vaAn=ii Ast== ws_a. ma_zo IML-M - - - - - - - - - - _" 4wc=in alurr 4N]i la- anc=vm.ilw---iii U=Ilw -ill _a0001' ,.001Moftft,-.laNi==wp-40==tmrin-mpio- .... iirr-lagoiw --surtmo-- --mtmle-- MUSIC IN MODERNAMERICAN.SOCIETY (Contemporary Music) A Guide for a High SchoolElectilie Course State EducationDepartment. The University of theState of New York/The Bureau of SecondaryCurriculumDevelopment/Albany/1971 THE UNIVERSITY OF THE STATE OF NEW YORK Regents of the University_ (with years when termsexpire) 1984 Joseph W. McGovern, A.B., LL.B., L.H.D., LL.D., D.C.L., Chancellor New York 1985 Everett J. Penny, B.C.S., D.C.S. Vice Chancellor White Plains 1978 Alexander J. Allan, Jr., LL.D., Litt.D. Troy 1973 Charles W. Millard, ., A.B.,LL.D., L.H.D.. Buffalo 1972 Carl H. Pforzheimer, Jr., A.B., M.B.A., D.C.S., H.H.D. Purchase 1975 Edward M. M. Warburg, B.S., L.H.D. New York 1977 Joseph T. King, IL.B. Queens 1974 Joseph C. Indelicate, M.D. Brooklyn 1976 Mrs. Helen B. Power, A4B., Litt.D., L.H.D., LL.D. ----- Rochester 1979 Francis W. McGinley, B.S., LL.B., LL.D. Glens Falls 1980 'Max J.Rubin,LL.B.,L.H.D. New York 1986 Kenneth B. Glark, A.B., M.S., Ph.D., Litt.D. Hastings on Hudson 1982 Stephen K. Bailey, A.B., B.A., N.A., Ph.D., LL.D. Syracuse 1983 Harold E. Newcomb, B.A. Owego 1981 Theodore M. Black, A.B. Sands Point President of the University and Commissioner of Education Ewald B. Nyquist Executive De u y Commissioner of Education Gor.on M. Am aci Deputy*ComMissioner for Elementary, Secondary, and Continuing Education Thomas D. gifi1dar-77--- Associate Commissioner for Ins ructional Servic PICTIVIt7Iangworty Assistt Commissioner.for Instructional ServicesiGeneral Educa ion Berna . Haa e Direc Divisionf School Su rvision H. George Murphy chief, Bureau ofecondary Curriculum Develo.ment Gor_on Van Hooft Director, Division of the Humanities'and theArts Vivienne N. Anderson Chief, Bureau of Music Education AT-Wadore Tellstrom FOREWORD Society is the third in aseries of curricu- Mussc in Modern AmerIcan York State to meet the- lum guidelines designed tohelp the schools in New and 12 who might otherwise needs of thse studentsin grades 9, 10, 11,. for active participationin music beyond the have little or no opportunity Teachino the Guitar Other publications inthe series include eightfr grade. H&Fi, gtereo, and ElectronicM.,sic and A Teacher's Guideto Folksinging; this series. is being prepared as afourth publication in is varied, in orderto, The guidelines are asflexible as their format local rather thanstatewide stimulate the developmentof courses which meet of the units of studymight be conditions and demands. For example, each offered: Daily, for 8 or 10weeks Two or three times aweek, for a semester As a full-year course,in expanded form As ohe segment of ayearlong course in combination As an elective ofminimum length presented series with any or all of theother units in the In a variety -f other ways students who successfullyOar- -The amount of credit tobe granted to the regulations in theState ticipate in the prcramwill be governed by 9 to 22. Education Department'sSyllabus in Music, Grades this new series reflect achange in the philosophy The guidelines in is, New York State. The teacher of these courses of music education in companion through the uocessof expected to be thestudent's guide and who lacks strictly the instructer. The music teacher learning, rather than for he will be experience in a given Areamay thereforehave an advantage, able to facilitatethe process by: Learning with hisEtudents,'and the benefit Bringing to the 'sharedlearning experience knowledge of music theoryand practice of his comprehensive know student who has forgottenor/who does not yet As a result, the either consciously or revive his interestin learning and how to learn may principles and techniquesthat )anconsciously apply toother fields those seKies music. Underlying the entire have brought-success tohis efforts in through guided self- ftindamental,principle ofindividualized learning . is the instruction aad doing. iii Understanding of music and of its potential contribution to the individual and to society is the goal of these courses. however, students will not be expectAd to become proficient performers nor will they be expec:ed to acquire' a great depth of familiarity with music theory. The Manuscript for this publication was written by Bertram Konowitz, jazz musician; composer; formerly a m'ember of the music staff of theGarden City Public Schools; and currently associate professor of music at Manhattanville College. A. Theodore Tellstrom, Chief of the Bureau. of Music Educatio,n/iinitiated and supervised the project and Eugene Cunningham, associate in mUsic education, was responsible for coordinating the project for the Bureau. 7.ichard C. Decker, associate in secondary curriculum prepared the manuscript for publication. Musical illustrations were prepared by Richard Laffin, a i5tudent at Bethlehem Central High School. Gordon F. Van Hooft Chief, Bureau of Secondary Curriculum Develornent H. George Murphy Director, Division School Supervision iv C ()NTENT Page Foreword 1 I. Introduction 1 Philosophical Basis of theCourse 'Outcomes of the Course Definitions Organization of the Course Organizational Areas 3 Explanation of Conceptual 7 The Plastic TeachingStrategy 8 for Initiating theCourse of Study 11. Teaching Strategies 8 Musical Focus Area 9 Teaching Procedures 10 Teaching Tactics 11 Tactics - Phase I III. Use of Approach 11 Eleven Approach Tactics 11 Suggeseed Phase I ApproachTactics Beginning with a rock,folk, Elahoration of Tactic 1: 11 jazz, or pop record 12 Sample Procedures 16 Beginning by displayingAprolncative object Tactic 2. 16 Tactic 3. Beginning with sound: constituents of music 17 Tactic 4. Beginning with,rock 19 Rock Harmonic Concepts 27 Tactic 5. Beginning with a text media experience 27 Tactic 6. Beginning with a mixed 28 Tacty 7. Beginning with animprovisation 29 performance..... Tactic 8. Beginning with, a live 29 Beginning with a comparativelistening approach-- , Tactic 9. 31 Tactic 10. Beginningwith role playing musical concept 32 Tactic 11.Beginning with explering a 34 2 Tactics IV, Suggested Phase . 34 Used Within Phase .. .. Elaberation of Tactics 34 1. Extemporaneous Experiences Elaboration on'the ApplicationofYan Extemporaneous Ext'ension of Tactic 1 38 v Experience (Phase 2) as an 02 Skill OrientedActivities 42 A. ,Listening ElaboratiOn of theAPplication of a L stening Activity (Phase-'2) asan<Extension of Tactic,1 . ... .... 42 .. .... (Phase 46 drama" B. Acting - the "music 47 Steps for ImplementingMusic Drama Experience.... C. Singing - 48 D. Composing 48 Glossary of Chord Symbols 50 E. -Recording 50 F. .Writing 51 G. Performing, C ONTENTS(Cont'd. Page 3. Experiment 1 Activities 52 A. Verbal Experimentation 52 B. Aural Experimentation 52 C. Visual Experimentation D. Intellectual Experimentation 53 E. Physical Experimentation 53 V. Several Possible Approach SequencesBased on Specific Phase 1' and Phase 2 tactics. 54 VI. Phase 3: Developmental Involvement 57 Organizational Strategy 58 Contemporary Music Core 58 1. Music of the Theater 61 2. Music and Movement 61 63 3. Musical Innovation. .............. ...... .......... 4. Media Music 67 5. Music of Tradition 68 Sample of Actual Total Sequence As Usea im OneClass 68 VII. Appendi xes 73 Sarrle Lesson Plan Form Conceptual Lesson Form 74 77 Bibliography Recommended Aids 32 The Best of Rock: A Personal Discography 83 The Best of Jazz: