FREEHOLD REGIONAL HIGH SCHOOL DISTRICT OFFICE OF CURRICULUM AND INSTRUCTION INTERNATIONAL BACCALAUREATE PROGRAM IB MUSIC SL: YEAR 1 Grade Level: 11 Credits: 2.5 BOARD OF EDUCATION ADOPTION DATE: AUGUST 27, 2018 SUPPORTING RESOURCES AVAILABLE IN DISTRICT RESOURCE SHARING APPENDIX A: ACCOMMODATIONS AND MODIFICATIONS APPENDIX B: ASSESSMENT EVIDENCE APPENDIX C: INTERDISCIPLINARY CONNECTIONS FREEHOLD REGIONAL HIGH SCHOOL DISTRICT Board of Education Mr. Michael Messinger, President Mr. Peter Bruno, Vice President Mr. Carl Accettola Mrs. Diana Cappiello Mr. Samuel Carollo Mrs. Amy Fankhauser Mrs. Kathie Lavin Mr. Heshy Moses Mrs. Jennifer Sutera Central Administration Mr. Charles Sampson, Superintendent Dr. Nicole Hazel, Chief Academic Officer Ms. Shanna Howell, Director of Curriculum and Instruction Mr. Oscar Diaz, Administrative Supervisor of Curriculum & Instruction Ms. Stephanie Mechmann, Administrative Supervisor of Curriculum & Instruction Ms. Renee Schneider, District Supervisor of Instruction Curriculum Writing Committee Mr. Edward Gattsek Supervisor Mr. Michael Dillon IB MUSIC SL, YEAR 1 COURSE PHILOSOPHY Music functions as a means of personal and communal identity and expression, and embodies the social and cultural values of individuals and communities. This scenario invites exciting exploration and sensitive study. Music, and all of its associations, may vary considerably from one musical culture to another: yet music may share similarities. Such richness offers a variety of ways to encounter and engage with a constantly changing world. A vibrant musical education fosters curiosity and openness to both familiar and unfamiliar musical worlds. Through such a study of music we learn to hear relationships of pitch in sound, pattern in rhythm and unfolding sonic structures. Through participating in the study of music we are able to explore the similarities, differences and links in music from within our own culture and that of others across time. Informed and active musical engagement allows us to explore and discover relationships between lived human experience and specific sound combinations and technologies, thus informing us more fully of the world around us, and the nature of humanity. The Diploma Programme music course provides an appropriate foundation for further study in music at university level or in music career pathways. It also provides an enriching and valuable course of study for students who may pursue other careers. COURSE DESCRIPTION The IB Diploma Programme standard level music course seeks to develop students’ knowledge and potential as musicians, both personally and collaboratively. IB Diploma Programme music students are required to study musical perception and actively listen to a wide range of music from different parts of the world, musical cultures and time periods. They also develop aural perception and understanding of music by learning about musical elements, including form and structure, notations, musical terminology and context. Through the course of study, students become aware of how musicians work and communicate. This course also provides all students with the opportunity to engage in the world of music as lifelong participants. In addition, the course enables students to enjoy lifelong engagement with the arts, become informed, reflective and critical practitioners in the arts understand the dynamic and changing nature of the arts explore and value the diversity of the arts across time, place and cultures express ideas with confidence and competence develop perceptual and analytical skills develop their knowledge and potential as musicians, both personally and collaboratively. 1 COURSE SUMMARY COURSE GOALS CG1: Students will demonstrate informed, reflective, and critical viewpoints through performances, original creations, and critiques. CG2: Students will express value for the diversity of arts across time, place, and cultures. CG3: Students will develop perceptual and analytical skills, and express ideas with confidence and competence. COURSE ENDURING UNDERSTANDINGS COURSE ESSENTIAL QUESTIONS CEU1: Cultural and historical events impact the creation and understanding CEQ1a: Why should I care about music? of musical works. CEQ1b: Does music lead culture or does culture lead music? CEU2: Musicians and composers intentionally manipulate musical elements CEQ2a: How does a combination of musical elements serve to create music? during the creation and performance of musical works. CEQ2b: Do composers write for a specific purpose? CEQ2c: How do underlying structures unconsciously guide the creation of musical works? CEU3: Musical critiques mirror one’s own perceptions and biases, resulting in CEQ3a: What’s the difference between a thoughtful and a thoughtless artistic various valid interpretations. judgment? CEQ3b: How many valid analyzes or criticisms can one musical work generate? CEU4: To effectively communicate and/or understand ideas, concepts, and CEQ4a: What is music sense? messages through a musical work, one must demonstrate a mastery of CEQ4b: How do people feel about music they do not understand? analysis, critique, technique, and global understanding. 2 UNIT GOALS AND PACING UNIT TITLE UNIT GOALS DURATION 1: Music History Students will study and make connections between the music of composers of the common practice period. 30 sessions LG1: Students will develop perceptual and analytical skills as it relates to harmony and voice leading in the 2: Music Theory common practice period in order to extrapolate and infer origin, time period, composer, historical context. 30 sessions LG2: Students will create original works, using these perceptual and analytical skills. 3 IB MUSIC SL 1 DURATION: UNIT 1: MUSIC HISTORY 30 sessions UNIT OVERVIEW UNIT LEARNING GOALS Students will analyze and make connections between composers’ musical and compositional styles of the common practice period. ENDURING UNDERSTANDINGS ESSENTIAL QUESTIONS CEU1: Cultural and historical events impact the creation and CEQ1a: Why should I care about music? understanding of musical works. CEQ1b: Does music lead culture or does culture lead music? CEU2: Musicians and composers intentionally manipulate musical CEQ2a: How does a combination of musical elements serve to create music? elements during the creation and performance of musical works. CEQ2b: Do composers write for a specific purpose? CEQ2c: How do underlying structures unconsciously guide the creation of musical works? CEU3: Musical critiques mirror one’s own perceptions and biases, CEQ3a: What’s the difference between a thoughtful and a thoughtless artistic resulting in various valid interpretations. judgment? CEQ3b: How many valid analyzes or criticisms can one musical work generate? 4 UNIT LEARNING SCALE 4 In addition to score 3 performances, the student can demonstrate highly developed connections and analyses of common practice period (IB mark 5) techniques in a historical perspective. 3 The student can produce work that shows: (IB mark 3-4) ● effective connections between typical common practice period techniques of composition; ● effective analysis of various musical compositions from a historical perspective. 2 The student sometimes needs assistance from a teacher, makes minor mistakes, and/or can do the majority of level 3 performances. (IB mark 2) 1 The student needs assistance to avoid major errors in attempting to reach score 3 performances. (IB mark 1) 0 Even with assistance, the student does not exhibit understanding of the performances listed in score 3. 5 COMMON ASSESSMENT ALIGNMENT DESCRIPTION 1.3.12.B.1 Students will select a work from two different composers who are typical of their musical historical period (including, but not limited to 1.4.12.A.1 Medieval, Baroque, Classical, Romantic, Contemporary, etc.) and provide a detailed analysis of the composers’ use of musical elements (form, 1.4.12.B.2 rhythm, harmony, etc.) contained therein. The analysis will describe and illustrate common compositional techniques, cultural and historical 11-12.WHST.2 influences and other key connections. DOK 4 In preparation for Musical Links Investigation (IB Requirement), students will demonstrate knowledge of musical time periods and styles by listening to a musical work not previously covered in coursework and provide a detailed analysis of what is heard. Sample analysis questions include: 1.1.12.B.1 ● What instruments are used? 1.3.12.B.1 ● What is the style? 1.4.12.A.1 ● In what year/music period does this piece originate? Does the time influence the work? DOK 3 ● In what form is it composed? ● What composer or in whose style is it composed? ● What else do you hear? ● What other pieces sound similar? 6 TARGETED UNIT STANDARDS DECLARATIVE KNOWLEDGE PROCEDURAL KNOWLEDGE NEW STANDARDS TO INTRODUCE historical periods of music Listen and analyze various musical scores for 1.1.12.B.1 Examine how aspects of meter, rhythm, tonality, musical elements musical elements in historical context (DOK 3) intervals, chords, and harmonic progressions are organized and significant historical periods in world manipulated to establish unity and variety in genres of musical history/US history Identify forms in music including sonata form, compositions. ABA, rondo, ternary, theme and variation and concerto (DOK 1) Analyze themes and motives of the classical string quartet as well as identify ostinato patterns (DOK 3) specific ground-breaking Describe examples of music changing/ 1.2.12.A.1 Determine how dance, music, theatre, and visual art performances revolutionizing culture