elementary vocal and general music curriculum framework overview

Elementary Vocal and General Music

Curriculum Framework Overview

Prince George’s County Public Schools

Upper Marlboro, Maryland 20772

June 2006

PGIN#: 7690-3468

Curriculum Framework – Elementary Vocal and General Music - Prince George’s County Public Schools

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BOARD OF EDUCATION

OF PRINCE GEORGE’S COUNTY, MARYLAND

Beatrice P. Tignor, Ed.D., Chair Howard W Stone, Jr., Vice Chair John R. Bailer, Member Abby L. W. Crowley, Ed.D., Member Charlene M. Dukes, Ed.D., Member Robert O. Duncan, Member Jose R. Morales, Member Judy G. Mickens- Murray, Member Dean Sirjue, Member Leslie Hall, Student Board Member Dr. John E. Deasy, Ph. D, Chief Executive Officer

Shelley Jallow, Chief Academic Officer Patricia Miller, Director of Curriculum and Instruction Gladys Whitehead, Ph.D., Coordinating Supervisor, Academic Programs Anita Lambert, Supervisor of Vocal/General Music, K-12

Acknowledgements: The following individuals were responsible for the development of this document: Wayne Brookover, Carolyn Brown, Dara Case, Lynette Truske, and Kathy Wesley.

Table of Contents

Overview of the Elementary Music Curriculum Guide 2 SECTION I – Curriculum Framework and Pacing Guide for Elementary Vocal and General Music 4 VSC Overview and Scope and Sequence for Music 5 Long Range Planning and Pacing Guides 18 SECTION II – Guidelines and Recommendations for Elementary Vocal and General Music Teachers 26

Assessment Strategies and Grading Students 27 Guidelines for Incorporating Students with Special Needs 30 Guidelines for Itinerant Teachers of Music 32 Guidelines for Incorporating Multicultural Music 33 Guidelines for the Use of Religious Music 34 Recommended Resources and Equipment 35 Guidelines for Integrating Music and Technology 36 Suggested Repertoire Lists – Pre-K to 6th Grade 39 Chorus 43

SECTION III - Instructional Activities for Elementary Vocal and General Music 46

Musical Concepts and Skill Development 47 Rhythm Activities 48 Melody/Harmony Activities 63 Form Activities 71 Tone Color Activities 75 Music In Relation to People and Other Arts 81 Music Careers 102

SECTION IV - Sample Lessons for Elementary Vocal and General Music Instruction 107 Guidelines for teaching Pre-Kindergarten Music 108 Pre-Kindergarten Lessons and Activities 109 Guidelines for Recommended Music Activities in Primary Grades 113 Kindergarten Lessons and Activities 115 First Grade Lessons and Activities 129 Second Grade Lessons and Activities 148 Third Grade Lessons and Activities 168 Guidelines for Recommended Music Activities in Intermediate Grades 194 Fourth Grade Lessons and Activities 196 Fifth Grade Lessons and Activities 218 Guidelines for Teaching Sixth Grade Using the Middle School Model 236 Sixth Grade Lessons and Activities 237 Appendix 269

2 Curriculum Framework Overview – Elementary Vocal and General Music - Prince George’s County Public Schools

OVERVIEW

The Vocal and General Music Program of Instruction provides all students with appropriate resources and experiences to develop positive attitudes and sensitivities toward music. Through the implementation of sequential musical skills and concepts students will develop an understanding of the intrinsic value of music and its relationship to diverse cultures, traditions, values and beliefs. The Program is also designed to foster enjoyment and appreciation of music beyond the limits of classroom instruction. Overview of the Music Guide

The Elementary Vocal and General Music Guide is designed to assist teachers with music instruction in Pre - Kindergarten through Grade Six. The guide is in alignment with the Maryland Music Voluntary State Curriculum as well as the Scope and Sequence of musical concepts for Prince George’s Public Schools. It is divided into four sections.

Section I – Curriculum Framework and Pacing Guide for Elementary Vocal and General Music

An “Overview of the Voluntary School Curriculum” has been included in this section. The overview explains the connection between the approved Scope and Sequence and the Draft Voluntary State Curriculum for the state of Maryland. Section I also contains the Vocal and General Music Scope and Sequence for Prince George’s County Public Schools. The format has been changed so that the Scope and Sequence is presented with all the expectancies and indicators for a given grade level on the same page so that teachers may look at all the outcomes for a grade level. The Voluntary State Curriculum has not been included due to the fact that at this time it is still in draft form.

Long range planning and pacing guides follow the Scope and Sequence. With the limited amount of available instructional time, it is recommended that music teachers use long range planning and regular monitoring through the use of a pacing guide in order to cover the scope of the music program, contained in the indicators. Each pacing guide represents the concepts that must be covered for each grade level. However, teacher discretion may be used in relation to which concepts are taught per quarter.

Section II – Guidelines and Recommendations for Elementary Vocal and General Music Teachers

Assessment of students in the music program must be done based on specific criteria as indicated in the Scope and Sequence. There is no room for grades based on personality or behavior. Participation following specific criteria is a valid assessment tool. Music is a performance-based discipline and a student’s participation is often the only way to assess the mastery of skills. Guidelines for assessing students are part of this section of the guide.

There are guidelines to assist with a number of other aspects of the job of the vocal and general music teacher including incorporating students with special needs, itinerant teachers’ needs, incorporating multicultural music, recommended resources and equipment, as well as guidelines for integrating music and technology. A suggested repertoire for each grade level is included. There may be many different opinions of what should be included on this list so this is not included with the intention that it is mandated but more to provide a guide as to appropriate song literature for each grade level.

Chorus ideas are also included in this section of the guide. Intermediate students may elect to audition for chorus. Suggestions for scheduling and managing the Chorus in the school are provided. Chorus students have the opportunity on the County level to participate in the Elementary Honors Chorus. Selected students, who successfully complete the required auditions, receive extended opportunities to sing and participate in concerts with other ensembles throughout the county; and to perform at the John F. Kennedy Center for the Performing Arts.


Section III – Instructional Activities for Elementary Vocal and General Music A variety of activities for teaching the indicators in the Scope and Sequence are given here. This

section of the guide is divided into three parts based on the outcomes: musical concepts and skill development, music in relation to people and other arts, and music careers. These items are not presented in any intended sequence nor are they intended to be a complete lesson in this section of the guide. However any of the activities may be developed into a complete lesson by the music teacher with attention to the needs of the students in their individual building as well as resources and equipment that is available.

Section IV – Sample Lesson for Elementary Vocal and General Music Instruction The elementary music teacher is responsible for the instruction of children of a variety of different ages from Pre-Kindergarten to Grade 6 in some buildings. This eight year span contains a wide range of developmental stages for children. With that in mind, this section contains guidelines for working with students of different age levels and information on their development stages as well as what is appropriate for their music instruction. Sample lesson plans have also been included and can be used as a model for lesson plan development for music teachers. These lessons are merely suggestions and not intended to be the complete curriculum for any grade level nor are they intended to be required lessons. Appendix The final section of the document contains the Maryland State Department of Education Music Glossary from the Voluntary State Curriculum. A list of professional organizations for music teachers can also be found in this section.


SECTION I

Curriculum Framework

and Pacing Guide

for

Elementary Vocal

and General Music


VSC Overview What is the VSC? It stands for Voluntary State Curriculum. Maryland now has VSC for all subjects that are taught in

grades pre-K through grade 8. (Some are still in draft form, but ALL are available online at http://www.mdk12.org/instruction/curriculum/

(The easiest way to get to the document quickly is through Blackboard OR go to your internet home site, click search, then type in the box “Maryland Voluntary State Curriculum” and click on the first hit. It takes you right to the page where ALL of the VSC documents are available for ALL subjects. I recommend that every teacher read the math and reading documents for the grade levels that they teach, since every principal in every school is mandating that every teacher of every subject must support reading and math skills. The music document is found, of course, under “Arts.”)

Why was it written?

(1) to provide consistency across each county in the state of Maryland (2) to provide a structure of support for new teachers (3) to provide an exemplary curriculum for all students in Maryland

What is the format? It is written in chart form, so that teacher can read it two ways:

(1) horizontally for teachers who want to see the development of concepts across the grade levels (2) vertically for teachers who want to view all concepts taught within one grade level This format was mandated by the MD State Dept. of Education.

Who wrote it? Representatives from 24 of the districts across the state of Maryland served on writing teams.

There were four teams of writers. Eighth grade was written first, followed by sixth and seventh, then grades three, four, and five, and finally pre-K, K, grade one and two. It was done backwards (beginning with the highest grade) so that a hierarchy of skills could be evidenced in the document. It was edited many times, both internally and externally.

What is in it? It includes information merged from the “Maryland Essential Learner Outcomes,” written back in

the mid to late 80’s, and aligns them with the “Maryland Assessment Program.” Objectives were not entered into the document unless they were “assessable.” The writers tried to protect the integrity of those original documents; so much of the original information was “re-worked” into the new format and with the new titles that were mandated by the state.

In our county, the scope and sequence (now called the Curriculum Framework Progress Guide)

was created to align our curriculum with the MLO’s. It had four outcomes, with expectancies as a subdivision under each of the outcomes, and indicators as a subdivision under each of the expectancies. MUCH OF THE ORIGINAL WRITING WAS KEPT. There were some additions, and titles were changed for purposes of consistency with all of the VSC documents for all subjects taught:


[Scope and Sequence] [VSC] Used to be called: Now is called: Outcome Content Standard Expectancies Indicators Indicators Objectives In all of the VSC documents, the content standards are broad, measurable statements about what

students should know and be able to do. The indicators provide the next level of specificity, so that teachers can narrow their focus. The objectives provide the specific learning that should occur. Every objective is measurable. (No objectives could go into the document unless they were measurable!)

What are the implications for music teachers? Coming soon to a neighborhood near you: assessment in the arts! (Right now, with this year’s

ninth grade class being the first group that must pass the HSA in order to graduate, the focus is on writing VSC for grades 9-12. Middle and elementary teachers have been living with MSPAP (now MSA) for years. NCLB has now forced accountability on state assessments all the way to the high school level.)

Prince George’s County Curriculum Framework for Elementary Vocal and General Music


PRE - KINDERGARTEN OUTCOME I: PERCEIVING, PERFORMING, AND RESPONDING - AESTHETIC EDUCATION:

Demonstrate the ability to perceive, perform, and respond to music. Expectancies/indicators

A. Describe the characteristics of musical sound. 1. explore a range of classroom instruments such as wood blocks, triangles, rhythm sticks, maracas, guiros,

jingle bells, sand blocks, cymbals, and tambourines 2. listen for repeated patterns in music 3. identify musical contrasts such as fast/slow, short/long, high/low and loud/soft

B. Develop the skills required for the performance of music. 1. sing songs that use the voice in a variety of ways 2. sing from memory 15 songs appropriate to this age level 3. explore the steady beat through singing, speaking, playing classroom instruments, and movement 4. investigate various vocal timbres through whispering, speaking and singing

C. Develop the ability to respond to musical sound through movement. 1. respond to steady beat through locomotor and non-locomotor movement 2. listen for simple directions or verbal cues in singing games

D. Develop competence in reading, notating and performing music. 1. demonstrate mechanics of reading from left to right

OUTCOME II: HISTORICAL, CULTURAL AND SOCIAL CONTEXTS: Develop an understanding of music as an essential aspect of history and human experience.

A. Recognize music as a form of individual and cultural expression. 1. explore music used in daily living 2. sing songs representative of different activities, holidays and seasons in a variety of cultures

B. Develop a perspective of music’s role in human history. 1. explore a rich repertoire of music representing its roles in the lives of people, such as lullabies 2. perform songs and dances from a variety of historical periods and world cultures, including some

connected to general classroom studies C. Develop a comprehension of the relationships of music to the other fine arts.

1. explore creative expression through music, dance, creative dramatics, and the visual arts 2. participate in music activities that emphasize alphabet recognition, spatial relationships, and counting

D. Develop knowledge of a variety of musical styles and genres. 1. listen to two versions of the same piece and identify them as same or different, such as a vocal version and

a strictly instrumental version. OUTCOME III: CREATIVE EXPRESSION AND PRODUCTION:

Develop the ability to creatively organize musical ideas and sounds. A. Develop the ability to improvise music.

1. experiment with sound patterns through exploration of classroom instruments 2. use the voice to improvise animal and environmental sounds

B. Develop the ability to compose and arrange music. 1. explore the use of pictorial representations for sound 2. use body percussion to create sound patterns

OUTCOME IV: AESTHETIC CRITICISM: Develop the ability to make aesthetic judgments. A. Develop the knowledge, skills, and sensitivity to evaluate musical compositions and performances.

1. listen to a variety of short musical examples (vocal and instrumental) B. Develop the ability to formulate, apply, and communicate criteria for evaluating individual performance and

creative efforts. 1. evaluate music performed in class using whole group response strategies

OUTCOME V: CAREER DEVELOPMENT: Demonstrate knowledge of music careers and career clusters. A. Recognize the uses of music in everyday life and related careers.

1. discuss ways people make music



KINDERGARTEN OUTCOME I: PERCEIVING, PERFORMING, AND RESPONDING - AESTHETIC EDUCATION:


A. Describe the characteristics of musical sound. 1. identify simple formal characteristics in music such as same/different and whole/part 2. identify musical contrasts such as fast/slow, short/long, high/low and loud/soft

B. Develop the skills required for the performance of music. 1. clap and sing short rhythmic and melodic phrases 2. sing from memory 15 songs appropriate to this age level 3. demonstrate the steady beat playing classroom instruments 4. investigate various vocal timbres through whispering, speaking and singing

C. Develop the ability to respond to musical sound through movement. 1. relate movements such as; walking, skipping, running, turning, bending and stretching to musical sounds 2. perform singing games

D. Develop competence in reading, notating and performing music. 1. interpret sounds in music using shapes and pictures


A. Recognize music as a form of individual and cultural expression. 1. sing and interpret several songs representative of different activities, holidays and seasons

B. Develop a perspective of music’s role in human history. 1. explain briefly the historical context of selected songs

C. Develop a comprehension of the relationships of music to the other fine arts. 1. dramatize stories of familiar songs using scenery, props and costumes

D. Develop knowledge of a variety of musical styles and genres. 1. describe how singing is different than playing instruments

OUTCOME III: CREATIVE EXPRESSION AND PRODUCTION: Develop the ability to creatively organize musical ideas and sounds.

A. Develop the ability to improvise music. 1. investigate sound production using voices, classroom instruments, and other objects that make sound

B. Develop the ability to compose and arrange music. 1. accompany songs and stories using student selected instruments and sounds


1. demonstrate appropriate audience behavior such as listening attentively and giving appropriate applause B. Develop the ability to formulate, apply, and communicate criteria for evaluating individual performance and

creative efforts. 1. evaluate music performed in class using whole group response strategies


1. list various places where music can be heard



FIRST GRADE OUTCOME I: PERCEIVING, PERFORMING, AND RESPONDING - AESTHETIC EDUCATION:


A. Describe the characteristics of musical sound. 1. find the strong and weak beat pattern in duple meter 2. recognize musical contrasts such as unaccompanied melody/melody with accompaniment 3. identify the different voices of males and females as well as children

B. Develop the skills required for the performance of music. 1. sing simple “sol-mi” patterns using hand signs 2. identify and perform music with a variety of tempi and dynamics 3. sing familiar songs in an ensemble

C. Develop the ability to respond to musical sound through movement. 1. create an ostinato by clapping, stamping, and patschen simple rhythm patterns to accompany recorded

music and familiar songs D. Develop competence in reading, notating and performing music.

1. read and perform simple rhythmic and melodic notation using quarter and eighth notes and rests 2. read and sing “sol-mi” patterns as notated on the music staff


A. Recognize music as a form of individual and cultural expression. 1. sing and interpret several songs representative of different countries and cultures

B. Develop a perspective of music’s role in human history. 1. explain briefly the historical context of selected songs from various cultures

C. Develop a comprehension of the relationships of music to the other fine arts. 1. dramatize and pantomime songs using movement

D. Develop knowledge of a variety of musical styles and genres. 1. investigate differences between solo and ensemble performances


A. Develop the ability to improvise music. 1. improvise four beat rhythm ostinato

B. Develop the ability to compose and arrange music. 1. write new verses to familiar songs 2. vary familiar songs through changes in tempi and dynamics


1. determine criteria to develop an age appropriate scoring tool for evaluating solo, ensemble, and whole class performances

B. Develop the ability to formulate, apply, and communicate criteria for evaluating individual performance and creative efforts. 1. implement an age appropriate scoring tool for evaluating solo, ensemble, and whole class performances

OUTCOME V: CAREER DEVELOPMENT: Demonstrate knowledge of music careers and career clusters. A. Recognize the uses of music in everyday life and related careers

1. examine various jobs involving music



SECOND GRADE OUTCOME I: PERCEIVING, PERFORMING, AND RESPONDING - AESTHETIC EDUCATION:


A. Describe the characteristics of musical sound. 1. find the strong and weak beat patterns in duple and triple meter 2. describe unaccompanied melody (a capella), melody with ostinato, and melody with harmonic

accompaniment in music from various cultures using appropriate musical terms 3. identify sound patterns in simple forms such as AB, ABA, and rondo

B. Develop the skills required for the performance of music. 1. perform simple ostinato patterns to accompany songs using classroom rhythm and melody instruments 2. sing simple “sol-mi-la” patterns using hand signs 3. sing and play classroom instruments in an ensemble using music from various cultures

C. Develop the ability to respond to musical sound through movement. 1. relate body movements to tempo, melodic direction, rhythmic and melodic patterns, repetition and contrast

D. Develop competence in reading, notating and performing music. 1. identify and sing, from written notation, melodic direction and like/unlike phrases of songs from various

cultures 2. read and sing “sol-mi-la” patterns as notated on the music staff


A. Recognize music as a form of individual and cultural expression. 1. examine ways in which music is a part of each student’s life and the lives of children around the world

B. Develop a perspective of music’s role in human history. 1. construct perspectives from listening to different styles of music from various cultures

C. Develop a comprehension of the relationships of music to the other fine arts. 1. relate musical sounds to visual art identifying repetition and contrast

D. Develop knowledge of a variety of musical styles and genres. 1. compare widely contrasting styles, such as marches and lullabies


A. Develop the ability to improvise music. 1. improvise simple rhythmic and melodic phrases

B. Develop the ability to compose and arrange music. 1. arrange given musical ideas (excerpts) to create musical forms such as AB, ABA, and rondo


1. identify ways of improving a musical performance B. Develop the ability to formulate, apply, and communicate criteria for evaluating individual performance and

creative efforts. 1. evaluate the effectiveness and quality of individual contributions to the class musical performance


1. listen to and express opinions about recorded musical performances, both audio and video



THIRD GRADE OUTCOME I: PERCEIVING, PERFORMING, AND RESPONDING - AESTHETIC EDUCATION:


A. Describe the characteristics of musical sound. 1. define tempo, dynamics, and meter using musical terms 2. describe characteristics of music such as crescendo, decrescendo and accent using appropriate musical

terms 3. identify sound patterns in phrases (call and response, echo)

B. Develop the skills required for the performance of music. 1. perform a rhythmic ostinato while singing familiar songs 2. maintain tempo and pitch while singing familiar rounds 3. sing simple melodic patterns containing “do” and “re” using hand signs 4. sing and play classroom instruments in an ensemble matching dynamic levels

C. Develop the ability to respond to musical sound through movement. 1. interpret music in free and patterned forms in various meters using body movements

D. Develop competence in reading, notating and performing music. 1. read and perform simple rhythmic and melodic notation including half notes 2. read and sing “mi-re-do” patterns in various keys as notated on music staff


A. Recognize music as a form of individual and cultural expression. 1. sing a variety of western and non-western folk and composed songs including those in other languages 2. compare the music for various groups of people as a part of everyday life

B. Develop a perspective of music’s role in human history. 1. construct perspectives from listening to western instrumental music from various historical periods

C. Develop a comprehension of the relationships of music to the other fine arts. 1. sequence the events in a musical drama

D. Develop knowledge of a variety of musical styles and genres. 1. listen to orchestral music which features string and woodwind instruments to introduce classification terms:

chordophones and aerophones OUTCOME III: CREATIVE EXPRESSION AND PRODUCTION:


1. improvise simple rhythmic and pentatonic ostinati to accompany familiar songs B. Develop the ability to compose and arrange music.

1. select and play instruments to match the mood of extra musical ideas OUTCOME IV: AESTHETIC CRITICISM: Develop the ability to make aesthetic judgments.

A. Develop the knowledge, skills, and sensitivity to evaluate musical compositions and performances. 1. explain preferences for songs to sing, instruments to play, music for listening and related activities

B. Develop the ability to formulate, apply, and communicate criteria for evaluating individual performance and creative efforts. 1. construct support for individual interests in different styles and kinds of music


1. experience a live performance outside the school setting and compare to recorded performances, both audio and video



FOURTH GRADE

OUTCOME I: PERCEIVING, PERFORMING, AND RESPONDING - AESTHETIC EDUCATION: Demonstrate the ability to perceive, perform, and respond to music.

Expectancies/indicators A. Describe the characteristics of musical sound.

1. identify the main theme of a recorded selection, and demonstrate an understanding of AB, ABA and rondo forms

2. describe tone color and methods of sound production of orchestral, band and related folk instruments using sound classification terms (i.e. aerophones...)

B. Develop the skills required for the performance of music. 1. perform simple melodic ostinati to accompany songs 2. sing simple melodic patterns containing high “do” and low “sol” and “la” using hand signs 3. sing and play classroom instruments in an ensemble, responding to conducting cues

C. Develop the ability to respond to musical sound through movement. 1. relate music in two beat and four beat meter to patterned body movements 2. interpret a song using standard sign language

D. Develop competence in reading, notating and performing music. 1. read and perform simple rhythmic and melodic notation including the whole note 2. identify and sing octaves as notated on the treble staff 3. perform music with appropriate expression as indicated by the written score


A. Recognize music as a form of individual and cultural expression. 1. describe how music reflects traditions in various cultures 2. examine the use of musical elements and perform music using the style reflective of that culture

B. Develop a perspective of music’s role in human history. 1. sing and summarize the historical context of early American music such as spirituals, patriotic songs,

folksongs, and Native American music 2. perform children’s game songs from various historical periods and cultures

C. Develop a comprehension of the relationships of music to the other fine arts. 1. compare timbre in music to color in visual art

D. Develop knowledge of a variety of musical styles and genres. 1. listen to orchestral compositions which emphasize brass and percussion instruments and classify using the

terms: aerophones, membranophones, and idiophones OUTCOME III: CREATIVE EXPRESSION AND PRODUCTION:


1. improvise pentatonic melodies on keyboard instruments B. Develop the ability to compose and arrange music.

1. compose and perform music using simple rhythmic notation for classroom percussion instruments OUTCOME IV: AESTHETIC CRITICISM: Develop the ability to make aesthetic judgments.

A. Develop the knowledge, skills, and sensitivity to evaluate musical compositions and performances. 1. summarize ways in which people from diverse cultures enjoy performing and creating music

B. Develop the ability to formulate, apply, and communicate criteria for evaluating individual performance and creative efforts. 1. evaluate individual performances for the reflection of cultural authenticity



OUTCOME V: CAREER DEVELOPMENT: Demonstrate knowledge of music careers and career clusters.

A. Recognize the uses of music in everyday life and related careers 1. identify the ways in which elementary music instruction provides preparation for a career in music



FIFTH GRADE OUTCOME I: PERCEIVING, PERFORMING, AND RESPONDING - AESTHETIC EDUCATION:


A. Describe the characteristics of musical sound. 1. apply standard tempo, dynamic, and articulation (staccato and legato) terminology to music heard, played

and sung in class 2. describe tone color and methods of sound production of orchestral, band and related folk instruments using

sound classification terms (i.e. aerophones...) B. Develop the skills required for the performance of music.

1. sing, simple melodic patterns containing “fa” and “ti” using hand signs 2. sing songs in major and minor tonalities 3. demonstrate and define responsibilities that are a part of singing in an ensemble, such as chorus 4. sing simple partner and two-part songs using a two staff system

C. Develop the ability to respond to musical sound through movement. 1. relate music in three beat meter to patterned body movements 2. perform appropriate dances to accompany traditional folk music

D. Develop competence in reading, notating and performing music. 1. read, write, and perform music in duple and triple meter including dotted half notes 2. identify and write the letter names of all lines and spaces on the treble clef 3. identify sections of music (A, B, C) from the written score 4. name, sing, and play intervals and relate them to song material


A. Recognize music as a form of individual and cultural expression. 1. compare the uses of music in western and non-western cultures 2. determine how lyrics of songs reflect the culture and history of various people

B. Develop a perspective of music’s role in human history. 1. interpret in writing an understanding of the relationship between music and events in United States history

C. Develop a comprehension of the relationships of music to the other fine arts. 1. identify patterns in music and relate them to patterns in visual art

D. Develop knowledge of a variety of musical styles and genres. 1. listen to musical compositions and identify selections which emphasize various instrumental ensembles

and/or chorus OUTCOME III: CREATIVE EXPRESSION AND PRODUCTION:


1. improvise simple accompaniments and counter melodies using the voice and other instruments 2. improvise vocally using various forms such as call and response and question and answer

B. Develop the ability to compose and arrange music. 1. compose and perform music using simple melodic notation for classroom instruments


1. determine the characteristics of a good performance such as singing or playing in tune, proper tempo, and appropriate expression

B. Develop the ability to formulate, apply, and communicate criteria for evaluating individual performance and creative efforts. 1. identify musical abilities which give personal satisfaction




1. compile a music portfolio including items such as recordings of whole class performances (audio and video), examples of student work and compositions, etc.

2. analyze a professional musician’s portfolio for similarities to that of the class’



SIXTH GRADE

OUTCOME I: PERCEIVING, PERFORMING, AND RESPONDING - AESTHETIC EDUCATION: Demonstrate the ability to perceive, perform, and respond to music.

Expectancies/indicators A. Describe the characteristics of musical sound.

1. identify scale patterns, tone centers and solfege syllables in the major and minor modes 2. analyze musical selections for the use of syncopation and blues notes 3. perform and compare examples of monophonic, polyphonic and homophonic texture 4. describe the tone color and methods of sound production for the piano and electronic instruments using

sound classification terms (i.e. chordophones and electronophones) B. Develop the skills required for the performance of music.

1. sing and play melodies and descants to accompany songs 2. blend vocal timbres in an ensemble such as chorus

C. Develop the ability to respond to musical sound through movement. 1. conduct music in compound meter 2. perform dance steps to accompany a variety of songs and musical selections from different cultures

D. Develop competence in reading, notating and performing music. 1. read and perform simple rhythmic notation including sixteenth notes 2. write simple rhythmic and melodic patterns from dictation 3. transpose a simple melody 4. read and play a harmonic classroom instrument using standard chord symbols


A. Recognize music as a form of individual and cultural expression. 1. examine music which is unique to students’ cultural heritage 2. relate the ways in which music of various cultures, such as African, European, and Latin American,

influenced the development of musical styles in the United States B. Develop a perspective of music’s role in human history.

1. compare the use of music and the roles of musicians in our culture and those in selected non-western cultures

2. select and play classroom instruments that are appropriate to the non-western music being studied C. Develop a comprehension of the relationships of music to the other fine arts.

1. relate styles in music to styles in visual art 2. compare folk music to other forms of artistic expression in western and non-western cultures

D. Develop knowledge of a variety of musical styles and genres. 1. identify aurally a repertoire of diverse vocal and instrumental compositions written by exemplary composers


A. Develop the ability to improvise music. 1. investigate the use of electronic instruments and equipment in the making of music

B. Develop the ability to compose and arrange music. 1. write compositions in complex forms such as fugue and theme and variations 2. compose and arrange descants for familiar melodies


1. compare dissimilar performances of the same work discussing differences in interpretation and preferences B. Develop the ability to formulate, apply, and communicate criteria for evaluating individual performance and

creative efforts. 1. construct and apply criteria of good musical performances to individual achievements



OUTCOME V: CAREER DEVELOPMENT: Demonstrate knowledge of music careers and career clusters.

A. Recognize the uses of music in everyday life and related careers 1. examine several music career choices and discuss the skills and experiences needed 2. examine the role of technology in various music careers

Long Range Planning and Pacing Guides


Type of Assessment First Quarter

Scope & Sequence Indicator

Type of Assessment Second Quarter


C Explore ways people make music V. A. 1 C Identify musical contrasts: fast/slow I. A. 3C Identify musical contrasts: quiet/loud I. A. 3 S Sing songs that use the voice in different ways I. B. 1S P Explore steady beat I. B. 3 S P Explore steady beat I. B. 3C S Investigate voices: whispering, speaking, singing I. B. 4 S P Listen and compare two different versions of same music II. D. 1C S Use voice to improvise animal and environmental sounds III. A. 2 S P Use pictures for sound III. B. 1

Type of Assessment Third Quarter


Type of Assessment Fourth Quarter


C Listen for repeated patterns I. A. 2 C Identify musical contrasts: short/long I. A. 3C Identify musical contrasts: high/low I. A. 3 S P Respond to steady beat I. C. 1S P Respond to steady beat I. C. 1 C Demonstrate mechanics of reading left to right I. D. 1S P Listen for directions and cues in games I. C. 2 C P Explore music in daily life II. A. 1, B. 1C P Explore music in daily life II. A. 1, B. 1 S P Listen and compare two different versions of same music II. D. 1C S Use body percussion for patterns III. B. 2 C S Experiment with sound patterns III. A. 1

S P Explore classroom instruments I. A. 1 C Sing songs that reinforce classroom concepts II. C. 2P Sing songs from memory I. B. 2 P Listen to variety of musical examples IV. A. 1P Sing different types of songs II. A. 2, B. 2 C P Evaluate performances IV. B. 1P Explore creative expression II. C. 1

Ongoing objectives which should be addressed frequently through the year.

Professional judgment and an analysis of students' skills and needs should be used to determine in what quarter specific indicators may be taught. However this pacing guide contains all indicators for the grade level and they all should be addressed at some point in the Pre - Kindergarten year. The assessment suggestions are meant to be a guide as to the type of

assessment the teacher may use to determine mastery of the concept, skill or appropriate participation. The C stands for an assessment of the conceptual knowledge of this indicator. The S stands for an assessment of the skill development of this indicator. The P stands for a criterion based assessment of the participation level of this indicator.

Pre - Kindergarten Pacing GuideGuiding question: What is music?Goal: First experiences with music







C List various places where music is heard V. A. 1 C Identify same/different I. A. 1C Identify musical contrasts: fast/slow & quite/loud I. A. 2 S Perform the steady beat I. B. 3C S Investigate voices: whispering, speaking, singing I. B. 4 S P Demonstrate appropriate audience behavior IV. A. 1C S Describe difference between singing and playing II.D.1, III.A.1 S P Use voices and instruments to accompany stories III. B. 1





C Identify musical contrasts: high/low I. A. 2 C Identify whole and part I. A. 1S Clap rhythmic phrases I. B. 1 S Sing melodic phrases I. B. 1S P Perform the steady beat using instruments I. B. 3 S P Perform the steady beat using instruments I. B. 3S P Dramatize stories of songs using props, costumes, and scenery II. C. 1 S P Dramatize stories of songs using props, costumes, and scenery II. C. 1C S Investigate voices and instruments III. A. 1 S P Demonstrate appropriate audience behavior IV. A. 1

P Sing songs from memory I. B. 2 P Sing different types of songs II. A. 1P Relate movement to musical sounds I. C. 1 C Explain historical context of songs II. B. 1S P Play singing games I. C. 2 C P Evaluate performances IV. B. 1C Interpret sounds in music using shapes and pictures I. D. 1


Professional judgment and an analysis of students' skills and needs should be used to determine in what quarter specific indicators may be taught. However this pacing guide contains all indicators for the grade level and they all should be addressed at some point in the Kindergarten year. The assessment suggestions are meant to be a guide as to the type of


Kindergarten Pacing GuideGuiding question: What is music?

Goal: Exposure to beginning musical experiences.







C P Recognize and evaluate solo and ensemble singing II.D.1, IV.A.1 C S Read and play quarter note and rest I. D. 1C P Recognize male & female voices I. A. 3 C Recognize accompaniment/unaccompanied music I. A. 2P Dramatize music II. C. 1 P Create new verses III. B. 1





C S Read and sing with hand signs-Sol-Mi I. B.1, D.2 S Read and sing with handsigns-Sol-Mi I. B.1, D.2C S Create and perform rhythm patterns I. C. 1, III.A.1 C S Create and perform rhythm patterns I. C. 1, III.A.1C S Read and play rhythm with quarter note and rest, eighth note I. D. 1 C Read and play melodic rhythm with quarter note and rest, eighth note I. D. 1P Dramatize music II. C. 1 C Find strong and weak beat in duple meter I. A. 1

P Create new verses III. B. 1

C S Demonstrate dynamics and tempo I.B.2, III.B.2 P Perform music from different cultures II. A. 1P Perform appropriately in an ensemble I. B. 3 C P Explain historical context of music II. A. 2P Evaluate performances IV.A.1, B.1 P Examine jobs in music V.A.1


Professional judgment and an analysis of students' skills and needs should be used to determine in what quarter specific indicators may be taught. However this pacing guide contains all indicators for the grade level and they all should be addressed at some point in the first grade year. The assessment suggestions are meant to be a guide as to the type of assessment the teacher may use to determine mastery of the concept, skill or appropriate participation. The C stands for an assessment of the conceptual knowledge of this indicator. The S stands

for an assessment of the skill development of this indicator. The P stands for a criterion based assessment of the participation level of this indicator.

First Grade Pacing GuideGuiding question: What do I need to be able to do and know to be a musician?

Goal: Develop musical skills and understandings.







S P Perform the beat in tempo I. C. 1 C S Read and perform melodic direction I. C. 1, D.1C Recognize strong and weak beat in duple meter I. A. 1 C S Read and perform sol, mi, and la I. B. 2, D.2C S Read and perform rhythm patterns with quarter notes and rests I. B. 1,C. 1 C Recognize solo and ensemble, different accompaniments I. A. 2P Perform music in different styles. II. D. 1 C S Recognize and perform contrasting phrases I. C. 1, D. 1S P Improvise rhythmic phrases III. A. 1 S P Improvise melodic phrases III. A. 1





C S Recognize and perform simple forms: AB/ABA and rondo I.A.3, III.B.1 C S Recognize and perform music in triple meter I. A. 1C S Create & perform rhythm patterns in duple meter with ta & rest I.B.1,C.1,D.1 C S Recognize and perform contrasting phrases I. C. 1, D. 1S P Improvise rhythmic phrases III. A. 1 S P Improvise melodic and rhythmic patterns III. A. 1C S Read and perform sol, mi, and la I. B. 2, D.2 C S Read and perform melody patterns using sol, mi, and la I. B. 2, D. 2

P Perform appropriately in an ensemble I. B. 3 P Compare music of children from different cultures II. A. 1P Evaluate performances IV. A. 1, B. 1 C P Construct perspectives from different styles of music II. B. 1P Express opinions about performances V. A. 1 P Demonstrate the music and art connection - repetition and contrast II. C. 1


Professional judgment and an analysis of students' skills and needs should be used to determine in what quarter specific indicators may be taught. However this pacing guide contains all indicators for the grade level and they all should be addressed at some point in the second grade year. The assessment suggestions are meant to be a guide as to the type of


Second Grade Pacing GuideGuiding question: What do I need to be able to do and know to be a part of an ensemble?

Goal: Develop and refine musical skills and understandings.







S Sing while performing rhythm patterns I. B. 1 S P Perform dynamics appropriately in an ensemble I. A. 1, 2, B. 4C S Read and perform quarter note & rest, eighth note I. D. 1 C S Read and perform sol, mi, la, re, and do I. B. 3, D. 2P Maintain tempo while singing I. A. 1, B. 2 C S Read, notate, and perform melodic patterns I. D. 1C S Perform music using patterned forms in duple meter I. C. 1 C Compare different types of performances V. A. 1P Improvise rhythm patterns in duple meter I. B. 4 P Select and play instruments to match mood III. B. 2





C S Recognize and perform music with contrasting phrases I. A. 3, II. A C S Read, write and perform pentatonic melodies I. B. 3, D. 1, 2S Perform music using patterned forms in triple meter I. C. 1 C S Read and perform rhythmic & melodic notation I. D. 1S Perform music in harmony I. B. 4 S Perform folk dances in patterned forms I. C. 1S Improvise pentatonic ostinato III. A. 1 C Compare different types of performances V. A. 1

C Define musical terms I. A. 1 C Listen to and classify string and wind ensembles II. D. 2P Perform appropriately in an ensemble I. B. 4 P Demonstrate the music, art, & literature connection - sequence events II. C. 1C P Compare music from different cultures II.A.1, 2, B.1 P Express and support personal preferences IV.A.1, B.1

Third Grade Pacing GuideGuiding question: How do we talk about the music we are doing in an ensemble?

Goal: Communicate using music language developed and defined through experiences with children’s games.


Professional judgment and an analysis of students' skills and needs should be used to determine in what quarter specific indicators may be taught. However this pacing guide contains all indicators for the grade level and they all should be addressed at some point in the third grade year. The assessment suggestions are meant to be a guide as to the type of assessment the teacher may use to determine mastery of the concept, skill or appropriate participation. The C stands for an assessment of the conceptual knowledge of this indicator. The S stands


Historical/cultural focus: songs in different phrase forms from various cultures

Historical/cultural focus: beat games from various cultures Historical/cultural focus: holiday songs from various cultures

Historical/cultural focus: dances from various cultures







C S Read and perform all basic rhythm notes I. D. 1 C S Read and perform pentatonic melody patterns I. B. 1, D. 1C S Read, conduct, and perform rhythms in duple meter I. C. 1 S P Perform melody patterns with octaves I. B. 2S P Compose and perform rhythms III. B. 1 S P Perform melodic improvisation III. A. 1





C S P Perform music in AB, ABA, and Rondo form I. A. 1 C S P Read and perform melody patterns with octaves I. B. 2, D. 2C S Classify orchestra instruments I.A.2, II.D.1 S P Perform a song using sign language I. C. 2S P Perform children's games from history II. B. 2 S P Perform children's games from history II. B. 2

P Perform appropriately in an ensemble following conductor I. B. 3 C P Describe how music reflects traditions in different cultures II. A. 1P Perform music with appropriate expression from written score I. D. 3 C P Examine and perform the musical elements in music of other cultures II. A. 2C P Evaluate performances for cultural authenticity IV. A. 1, B. 1 C Summarize the historical context of early American music II. B. 1P Identify how music in schools prepares for careers V. A. 1 P Demonstrate the music and art connection II. C. 1


Professional judgment and an analysis of students' skills and needs should be used to determine in what quarter specific indicators may be taught. However this pacing guide contains all indicators for the grade level and they all should be addressed at some point in the fourth grade year. The assessment suggestions are meant to be a guide as to the type of assessment the teacher may use to determine mastery of the concept, skill or appropriate participation. The C stands for an assessment of the conceptual knowledge of this indicator. The S stands


Historical/cultural focus: African Americans during slavery

Historical/cultural focus: Musical Elements Historical/cultural focus: Cowboys and Native American

Historical/cultural focus: Colonial and Patriotic music

Fourth Grade Pacing GuideGuiding question: How do we know about the music of kids in the past and what can we learn about them especially in Maryland?

Goal: Develop music reading, writing, playing, and composing using music of children from the past especially in Maryland.







C S Read, write, and sing all melody notes on treble staff I. B. 1, D. 2 S Perform music in harmony I. B. 4C S Recognize and sing melodic intervals: step, skip, repeat, & leap I. D. 4 S Perform folk dances I. C. 2S Create an accompaniment using instruments III. A. 1, B. 1 C Recognize musical forms I. D. 3C S Read and perform music in duple and triple meter I. C. 1, D. 1 C Identify various instrumental/choral ensembles II.D.1





C Classify instruments I. A. 2 C Recognize major and minor tonalities I.B.2C Identify various instrumental ensembles II.D.1 S Perform folk dances I. C. 2S Perform music in harmony I. B. 4 C S Read and perform music in duple and triple meter I. C. 1, D. 1S Improvise vocally in various forms III.A.2 C Recognize musical forms I. D. 3

C S Perform music using appropriate tempo, dynamics, and articulation I. A. 1 P Compare music from different cultures II. A. 1P Perform appropriately in an ensemble I. B. 3 C P Determine how lyrics reflect the culture and history II. A. 2P Evaluate performances IV C Interpret in writing the relationship between music and history II. B. 1P Contribute positively to the creation of a portfolio of class V P Demonstrate the music and art connection II. C. 1


Professional judgment and an analysis of students' skills and needs should be used to determine in what quarter specific indicators may be taught. However this pacing guide contains all indicators for the grade level and they all should be addressed at some point in the fifth grade year. The assessment suggestions are meant to be a guide as to the type of assessment the teacher may use to determine mastery of the concept, skill or appropriate participation. The C stands for an assessment of the conceptual knowledge of this indicator. The S stands


Historical/cultural focus: Revolutionary War songs and Freedom Songs of the Civil Rights Movement

Historical/cultural focus: American folk songs from different regions including sea shanteys Historical/cultural focus: Native American

Historical/cultural focus: Early American including Shakers, Pioneers and Cowboys

Fifth Grade Pacing GuideGuiding question: What does the music say about the people and how do the people use music as their voice?

Goal: Examine communities from the past to find out what the music says about the people and how the people used music as their voice.







C S Read, write, and perform melody notes in scale patterns I. A. 1, D. 2 C S P Performing and recognizing harmonic texture I.A.3, I.B.1C Identify patterns in major/minor scales I. A. 1 S P Perform descants I.B.1, III.B.2C Transpose a simple melody I. D. 3 C Classify instruments (piano and electronic) I.A.4, III.A.1S P Create and perform music in 12 bar blues form I. A. 2, III. B. 1 C Compare performances of same piece IV. A. 1C S Read and perform music with chord symbols I. D. 4 C Identify compositions by exemplary composers II. D. 1





C S Read and perform syncopation and sixteenth notes I. B. 2, D. 2 C Identify various types of sound equipment III.A.1, V.A.2S P Perform polyrhythmic music with appropriate instruments II. A. 2, B. 2 C Analyze the text of contemporary music II. A. 1S Improvise a rhythm pattern in a group performance III. B. 1 S Perform music in compound meter I. C. 1P Perform dances from other cultures I. C. 2 C Compare performances of same piece IV. A. 1C Compare music to other art II. C. 2 C S P Portfolio for music careers V. A. 1

P Perform appropriately in an ensemble I. B. 2 P Compare role of musicians from different cultures II. B. 1P Evaluate performances IV. B. 1 C Examine contemporary music II. A. 1P Demonstrate the music and art connection II. C. 1 C P Examine skills and experience for music careers V. A. 1

Sixth Grade Pacing GuideGuiding question: What “gifts” could different people bring to a contemporary musical ensemble?

Goal: Examine the various talents among and within different contemporary ensembles from various cultures.


Professional judgment and an analysis of students' skills and needs should be used to determine in what quarter specific indicators may be taught. However this pacing guide contains all indicators for the grade level and they all should be addressed at some point in the sixth grade year. The assessment suggestions are meant to be a guide as to the type of assessment the teacher may use to determine mastery of the concept, skill or appropriate participation. The C stands for an assessment of the conceptual knowledge of this indicator. The S stands


Historical/cultural focus: Asian, African, Latin American

Historical/cultural focus: American history including the blues Historical/cultural focus: European

Historical/cultural focus: Contemporary American


SECTION II

Guidelines and

Recommendations

for

Elementary Vocal and

General Music Teachers

Guidelines and Recommendations for Elementary Vocal and General Music Teachers


Assessment Strategies and Grading Students Assessment of students in the music program must be done based on specific criteria as indicated in the Scope and Sequence. There is no room for grades based on personality or behavior. Participation following specific criteria is a valid assessment tool. Music is a performance-based discipline and a student’s participation is often the only way to assess the mastery of skills. Participation: The extent to which the student readily participates in the following music class activities: • Singing • Playing classroom instruments • Moving to music • Listening to music • Reading music • Writing music • Creating music Skill Development: The extent to which the student masters musical skills listed in the scope and sequence. Knowledge of Musical Concepts: The extent to which the student demonstrates an understanding of the musical concepts listed in the scope and sequence. GRADES FOR STUDENTS IN GRADES 3 - 6: It is recommended that letter grades be recorded six to eight times per grading period for each student. These letter grades are to be interpreted as follows:

A - Excellent B - Above Average C - Average D - Below Average E - Unsatisfactory

GRADES FOR STUDENTS IN GRADES 1 AND 2:

1 - satisfactory progress 2 - needs more time

GRADES FOR STUDENTS IN KINDERGARTEN: 1 - mastery of skills 2 - skills are improving 3 - needs more time

A check should be placed in the box on the report card when improvement is needed in the following areas: • demonstrate mastery of skills; • demonstrates knowledge of concept; and • participation/effort.

Progress reports should be completed at mid-quarter for those students at risk of receiving a 2 (grade 1 and 2) or lower than a C (grades 3-6).



SAMPLE SCORING TOOLS AND RUBRICS FOR ASSESSING INDIVIDUAL STUDENTS

Grades 3-6 The numbers below refer to the four point grading scale where A equals 4, B equals 3, C equals 2, D equals 1, and 0 equals E. General Participation

4 - Consistent and appropriate participation 3 - Generally appropriate participation 2 - Participation is inconsistent but appropriate 1 - Participation is rare or frequently inappropriate 0 - Seldom participates

Performance levels These can be adjusted to fit performance activities where specific skills are being assessed. Mastery of Skills Performance Assessment

4 - Minimal errors in performance 3 - Generally accurate with several errors 2 - Generally accurate in places but not able to play completely 1 - Recognizable attempt 0 - No attempt

Criterion-based Assessment Rubric

4 - Begins and ends at appropriate time, uses the assigned notes or rhythms Fits with the other music being performed 3 - Any one of the criteria is missing 2 - Any two of the criteria is missing 1 - Attempt is made but doesn’t fit criteria 0 - No attempt

Grades 3-6 Writing Activities about Music

4 - Completely written with proper form and accurate historical/cultural information. 3 - Generally written with proper form and somewhat accurate historical/cultural information. 2 - Attempt is made to answer the prompt. 1 - Writing attempt is late. 0 - No attempt

(Grade drops one letter grade for missing music information.) Grades 3-6 Expressing Personal Preference about Music

4 - Fully supported preference clearly stated 3 - Somewhat supported preference clearly stated 2 - Preference clearly stated but not supported 1 - Answer attempted but inappropriate 0 - No attempt



Grades 3-6 Rubric for Evaluation of Music Performances 4 - Specific information written in complete sentences with minimal capitalization and

punctuation errors. 3 - General information written in complete sentences with some capitalization and

punctuation errors. 2 - General information in complete sentences with several capitalization and punctuation

errors. 1 - General information in incomplete sentences with several capitalization and punctuation

errors. 0 - No attempt

Primary – grades 1 and 2 Primary students are graded using 1 and 2. A grade of 1 is the higher grade. Again, specific criteria could be used for this assessment. Performance levels Melodic/Rhythmic Performance

1 - Performs consistently with few errors 2 - Performance demonstrates little understanding/skill development or no attempt was made



Guidelines for Incorporating the Special Needs Student in the Music Classroom

How to make them feel welcome and be productive

• In Prince George’s County most special needs students are included in the general music classroom.

• Music, by its very nature, can accommodate a variety of learning styles, abilities and needs. What is So Special about Music?

• Music is academic – math, history, geography, science, social studies – are some of the concepts that are a part of music education.

• Music is a social and cultural experience, providing opportunities for fun, cooperative learning, and a chance to develop talents and strengths that may not necessarily be cultivated in the average classroom.

Why Include Special Needs Children in Music? • Non-competitive • Success-guaranteed activities • Meets physical and emotional needs • Makes learning easier

When Planning Music Concepts and Learning Skills • Think of co-purposes – musical and non-musical goals • Think conceptually and developmentally • Long-range planning very important • Special education techniques – token economy, behavioral management skills, contracts (class

and individual), 504 plans Difference between Music for the Average and Special Child

• Activities selected for class and adapted to meet special needs • Materials, use of instruments, books and supplies may need to be adapted to enable the special

child to participate and succeed – thus the importance of long range planning. • Materials may need to be developed, depending on your situation.

Resources • Use teacher resource books – all of the series have sections for accommodating special learners.

You may consider using this method for teaching initially, until you see how the entire class and the special students respond.

• Access your resources in the school building and system – special education teacher, counselor, school psychologist, PPW can be valuable resources.

• MENC, NAMT, professional organizations specializing in your student’s particular disability – internet, etc.

• Do not underestimate the power of your relationship with your students – all of them to help you figure how a way to make it work!

Working With Children Who Are Emotionally Impaired • Relationship – Acceptance very important. Let them know you care for them as a person, but not

necessarily their behavior. • Success-guaranteed activities – organize the class so that this child in particular meets with

immediate success. Then the child is more willing to strive to learn something more difficult.



Emotionally Challenged Students are Challenging • Pace lesson – alternate passive and active components to help the student maintain self-control. • Expect anxiety and plan for it. Many acting-out behaviors are coping mechanisms. Preparing the

student with verbal and/or written alerts may help. • Have a strong behavioral management system that is consistent and dependable.

The Physically Involved Student • Slow down!! Adjust tempo of songs, accompaniments, etc. • Watch environment. To the extent possible free from obstructions, barriers, etc. • Look for the student helper who will be a friend when needed • Educate yourself about the student’s needs • Adapt instruments and methods of playing – use your natural creativity.

Working With Children Who Are Educationally Challenged • Make tapes • Create visual and verbal cues • Take a multi-sensory approach – which is an essential component of music education • Try to consider not making all students “fit the mold”

Summary • Communicate with special education staff at the beginning of the school year. • Do not hesitate to share your concerns about particular students. Certain problems may be more

obvious in the music classroom. • Quality planning is very important! • Do not be afraid to try new activities. Make sure you take the time to plan them to accommodate

the needs of all learners. Summary and Resources

• Include non-musical goals in plans and concepts as appropriate • Access your resources – school-wide, system-wide, and professional organizations



Guidelines for Itinerant Teachers of Music

ADMINISTRATIVE • Stay organized. However you keep your plan book, keep it current. • Use two plan books – one for A days and one for B days – especially if your grade levels are

significantly different. • Organize supplies needed for warm-up, worksheets, songs, and activities. • Make sure you let your base school know your needs. Put it in writing, and keep a file copy. • Make sure you have a place at each school. You must have space to plan, organize, etc. • Make sure you have a clear understanding of your schedule. Communicate your expectations of

teachers, students, parents, and administration. • Make sure they know what to expect of you.

PERSONAL and PROFESSIONAL

• Get to know the secretaries and custodians very well. • Let each teacher (and administrator) know what you need to be successful. • Find out early if there are any accompanying and/or performance requirements. • Contact the full time music teacher. Get to know them, what they are doing in their classroom,

procedures for using equipment, books, CD’s, copying machine, etc. • Share good ideas as appropriate and as much as time will allow.

ITINERANT MUST HAVE:

• Class lists • Plan book – with space to write comments as needed • Stickers • Flash cards • Working CD/tape player – always secured at the school if possible • Accompaniment instrument of comfort • Large cart – exclusively for music • Sticky notes • Pad to write “to do” list • Easy and portable behavioral management plan



Guidelines for Incorporating Multicultural Music

Look for the following in any resource to be sure that it is as authentic, accessible and practical as possible, and most importantly respects the integrity of the culture.

• Prepared with the involvement of a culture bearer (someone raised in the culture) In many cultures, music and other arts are an integral part of every aspect of the culture, and need to be placed in context by an insider who has the depth of knowledge necessary to increase your understanding. (Their presentation may be assisted by a student of the culture.)

• Biographical information about the contributor(s) including their personal comments about the

selections

• Each piece/work should be set in cultural context, including the source, when it is performed, by whom, circumstances, etc.

• Historical/geographical background, maps, specific locale (not identified only by continent)

• Original language with pronunciation, literal translation, interpretation of deeper meanings

• Photographs, illustrations (preferably by someone from the culture)

• Musical transcriptions, if possible

• Recording of material in the collection using native singers or their long-time students, and

employing authentic instrument and arrangements

• Games include directions

• No sacred (ritual, holy – this does not refer to hymns or spirituals) materials in a collection intended for casual school/community use (inappropriate in many cultures to use these drastically out of context unless the tradition is your own and you can make any necessary alterations. For example, among the Navajo, the songs of the Blessingway, Beautyway and Nightway chants are the ritual, and are not sung out of context without changes even by the Navajo.)

Suggestions from: World Music Press, P. O. Box 2565 Danbury, CT. 06813



GUIDELINES FOR THE USE OF RELIGIOUS MUSIC IN PUBLIC SCHOOLS

“It is the position of the Music Educators National Conference that the study of religious music is a vital and appropriate part of the total music experience in both performance and listening. To omit sacred music from the repertoire or study of music would present an incorrect and incomplete concept of the comprehensive nature of the art”. MENC Ad Hoc Committee on Religious Music in the Schools Music with a sacred text or of a religious origin (particularly choral music) is a very large portion of the music literature. Music teachers are dedicated to expanding the knowledge and experience of their students. They must teach a curriculum that includes music of all styles, forms, periods and cultures. Since religious music has an important place in the history of music as well as music in its cultural contexts, it is an important part of a well-rounded arts education program. MENC and the National Association of Secondary School Principals (NASSP) have offered these suggested guidelines for incorporating religious music in the public schools:

• It is generally permissible to use art, drama, music or literature with religious themes if it serves a sound educational goal in the curriculum.

• To include religious themes on the basis of their academic or aesthetic value, not as a vehicle for promoting religious belief.

• To sing or play sacred music as part of the academic study of music. • To include a variety of selections (except those given by special ensembles) that includes religious

music during school concerts. • To consider the cultural population of the students and the community in the selection of music. • To accommodate the requests of parents and students to be excused from classroom discussions

or activities for religious reasons.



Recommended Resources and Equipment In order to implement the elementary vocal and general music curriculum as outlined in this document it is recommended that each school acquire the musical instruments and equipment items listed below. A minimum number of each is suggested. Schools with more than one full-time vocal music teacher will certainly require additional musical instruments and equipment. QUANTITY INSTRUMENT/EQUIPMENT QUANTITY INSTRUMENT/EQUIPMENT 2 soprano glockenspiels 1 autoharp 2 alto glockenspiels 1 guitar 2 soprano xylophones 1 set of temple blocks 2 alto xylophones 1 portable stereo 1 bass xylophone 1 shelf stereo system 2 soprano metallophones 1 overhead projector 2 alto metallophones 1-5 music stands 1 bass metallophone 1 staff liner 2 tympani drums, one high and one low 1 set of 3 step risers – 4 sections 2 acoustic pianos 5 triangles 1 electric keyboard with MIDI compatibility 8 tambourines 10 sets of chromatic melody bells 8 pairs of maracas 1 resonator bells, one octave diatonic 2 pairs of claves 1 resonator bells, two octaves chromatic 2 castenets 1 step bells 8 pairs of finger cymbals class set soprano recorders 2 guiro class set pairs of rhythm sticks/lummi sticks 8 pairs of sand blocks class set jingle bells 1 large sleigh bells 8 hand drums with replaceable heads 5 two tone wood blocks Additional drums: 1 cowbell 2 conga – small and large 2 shakere (gourd rattle with beads) 2 bongo drums 1 cabasa 1 authentic Native American drum 1 gankogui 1 African talking drum class set bean bags 1 split log drum class set scarves various appropriate mallets for different instruments The following instruments are recommended if additional funds are available: rainstick vibraslap clatterpillar chime tree ukelele flexatone (flexible tubing) kalimba slapstick (whip) wood ratchet Native American flute slide whistle gong train whistle



GUIDELINES FOR INTEGRATING MUSIC AND TECHNOLOGY

These guidelines have been created to support teachers as they integrate technology into their teaching. It corresponds closely to the Prince George’s County Department of Instructional Technology’s Vision statement whose objective is: “. . . To ensure that all instructional technology programs are available to support an environment in which student achievement is enhanced through a set of information age tools and skills. . . “ 1 Support materials have been organized using the Maryland State Department of Education’s Maryland Teacher Technology Standards.2 Standard I: Information Access, Evaluation, Processing, and Application

Access, evaluate, process, and apply information efficiently and effectively. • Use the Internet to manage instruction and/or solve problems through research.

o PGCPS Web Page and Internet Searching Electronic Learning Page: http://www.pgcps.org/~support/searching.html

o On-Line Research Techniques. United Learning, 1998. Unitedstreaming: http://www.unitedstreaming.com/

o Using United Streaming - Prince George’s County Public Schools. http://www.pgcps.org/~support/blackboard.html

• Use editing features to manipulate a variety of materials such as text, graphics, and sound. o Text and Graphics - Windows Tutorials, Atomic Learning;

http://www.atomiclearning.com/windows o In and Out of the Classroom: http://www.microsoft.com/education/default.asp?id=ioctut o Finale NotePad - Online Support Videos - MIDI Setup, Finale Music:

http://www.finalemusic.com/kb/videos.aspx Standard II: Communication

Use technology effectively and appropriately to interact electronically. Use technology to communicate information in a variety of formats. • Use email effectively for communication with faculty, parents, and peers.

o Administrative Procedure-Information Technology Services Employee E-Mail Procedure: http://www.pgcps.org/~mits/email/Admin%20Proc%20E-Mail%20Procedures.pdf

o Managing your Mail in Outlook: http://www.pgcps.org/~mits/email/Managing%20email.pdf o “The Ten Commandments – Netiquette”: http://www.skally.net/listowner/10.html

• Communicate effectively within an electronic learning community. o Blackboard Online Support Videos, Discussion Board, Blackboard:

http://www.blackboard.com/corp/objects/images/quicktutorials/discussionboard.swf o Blackboard Online Support Videos, Collaboration, Blackboard:

http://www.blackboard.com/corp/objects/images/quicktutorials/collaboration.swf o Learn About Blackboard: http://www.pgcps.org/~support/blackboard.html o List servers for Music Education (Email Groups) - Directory of Email Lists for Musicians:

http://www.geocities.com/Vienna/1655/listhtml.html o Discovery Educator Network: http://www.discoveryeducatornetwork.com/

1 Vision Statement: Department of Instructional Technology: http://www.pgcps.org/~support/mission.html 2 Refer to the Standards for Elaborations developed from Maryland’s Preparing Tomorrow’s Teachers to Use Technology (PT3): USDOE Catalyst Grant P342A99020: http://www.smcm.edu/msde-pt3/Docs/MDTchrTechStdsMTTS.pdf



o Teachers Using Weblogs: http://www.intel.com/education/projects/news/vol_05/elementary2.htm

• Evaluate devices and programs for use as presentation tools. o Microsoft Desktop Publishing Software: http://desktoppub.about.com/od/microsoft/ o Microsoft Education: Resources: http://www.microsoft.com/education/default.mspx o Troubleshooting LCD Displays:

http://service.dell.com/dell/step/1::33732+26+37929+37999+38005:00.html o Making it Digital (Using Digital Cameras):

http://www.pgcps.org/~nwest/comp_assistance/digital_camera/index.htm o Digital Kids Club (Digital Device Tutorials and Instructional Ideas):

http://www.adobe.com/education/digkids/ o PGCPS Approved Software Database: http://www.pgcps.org/~support/software.html o Creating Podcasts:

http://www.podcaststation.com/webpages/podcastingIsEasy.asp?gclid=CO_F64vl5IUCFUNtFQodpnd3OA

• Creating Classroom Websites Resources. o TeacherWeb($): http://www.teacherweb.com

SchoolNotes: http://www.schoolnotes.com Free Teacher Web Site: http://www.teach-nology.com/web_tools/web_site/ How to Create Your Own Website:

http://www.pgcps.org/~marlton/virtual_library/webclass.htm Developing Web Pages: http://members.shaw.ca/priscillatheroux/developing.html Sites by Music Teachers: http://www.musiceducationmadness.com/links3.shtml#teachers

Standard III: Legal: Social and Ethical Issues

Demonstrate an understanding of the legal, social, and ethical issues related to technology use. • Identify ethical and legal issues using technology and classroom compliance with copyright law,

Fair Use Guidelines, and security. o PGCPS - Acceptable Use Policy: http://www.pgcps.org/%7Eprocedur/1000/0700.pdf o Indicators of Social, Ethical, and Legal Issues:

http://www.ncrel.org/engauge/framewk/pro/issues/proiss.htm o Fair Use Guidelines: http://www.pgcps.org/~support/copyright.html

• Incorporate proper copyright use in research and writing. o A Research Guide for Students: http://www.aresearchguide.com/index.html

• Arrange classroom layout to facilitate monitoring technology within an equitable, safe, and healthy environment for students. o The One-Computer Music Classroom:

http://metmagazine.com/mag/onecomputer_music_classroom/index.html o Music Safety: http://finearts.esc20.net/music/music_strategies/mus_strat_safe.html

Standard IV: Assessment for Administration and Instruction Use technology for instructional and school-based improvement.

• Grade book Software and Online Resources. o Grade Book Power: www.gradebookpower.com o Grade Keeper: www.gradekeeper.com o My Grade Book: http://www.mygradebook.com/ o Grade Book Wizard: http://www.gradebookwizard.com/



• Student Data Bases. o Getting Started with FileMaker:

http://www.wellesley.edu/Computing/Filemaker/filemaker4_tutorial.html o File Maker Tutorials: http://www.computer-training-software.com/filemaker-6.htm

• Sharing Results. o Form Generators (Parent Conference Records, Behavior Assessment: etc.):

http://www.teach-nology.com/web_tools/materials/ Standard V: Integrating Technology into the Curriculum and Instruction

Design, implement, and assess learning experiences that incorporate use of technology in a curriculum-related instructional activity to support understanding, inquiry, problem solving, communication, and/or collaboration. • Sample Technology Integration Lessons - PGCPS Vocal/General Music Curriculum Guide • Integrating Technology into Instruction: http://www.infotoday.com/MMSchools/mar00/robertson.htm • Technology Strategies for Music Education: http://www.teachervision.fen.com/educational-

technology/music/6929.html • Samples of Instructional/Utility Software for the Classroom

o Music Ace: http://www.harmonicvision.com/products_edu.htm o Piano Suite: http://www.learningvillage.com/html/rpianosuite.html o Finale NotePad: http://www.finalemusic.com/notepad/

Standard VI: Assistive Technology Understand human equity and developmental issues surrounding the use of assistive technology to enhance student learning performance and apply that understanding to practice. • Assistive Technology.

o Technology Inclusion for All (TIFA): http://www.pgcps.org/~tifa/at.html o COMAR Legislation: http://www.pgcps.org/~tifa/links.html o Article: “Enabling Dreams,” http://www.adaysworkmusiceducation.com/

Standard VII: Professional Growth

Develop professional practices that support continual learning and professional growth in technology. • PGCPS Professional Development Plan:

http://www.pgcps.org/~person/CertifForms/Professional%20Development%20Plan.pdf • PGCPS Guidelines for Acceptable Credit: http://www.pgcps.org/~person/acceptcredit.html • Vocal/General Music E-organization - Best Practices, Music Organization Links, and Standards:

http://blackboard.pgcps.org/ • Maryland Department of Education - Technology Standards:

http://www.marylandpublicschools.org/MSDE/programs/technology/techstds/teacher_standards.htm

• Maryland Department of Education: http://www.marylandpublicschools.org/msde/divisions/certification/certification_branch/certification

• National Board for Professional Teaching Standards: http://www.nbpts.org



Suggested Repertoire Lists

Pre - Kindergarten Kindergarten Bluebird, Bluebird Alphabet Song

Daddy’s Taking Us to the Zoo Tomorrow Apples and Bananas Eensy Weensy Spider Baa Baa Black Sheep Engine Number Nine Bingo

Five Little Monkeys Jumping on the Bed Bounce High Bounce Low Head and Shoulders, Baby Clap Your Hands

Head, Shoulders, Knees and Toes Eensy Weensy Spider Hickory Dickory Dock Engine Number Nine

Humpty Dumpty Ha, Ha, This Away If You’re Happy and You Know It Head and Shoulders, Baby

I’ve Been Working on the Railroad Head, Shoulders, Knees and Toes Jingle Bells Hokey Pokey

Little White Duck If You’re Happy and You Know It Little Red Caboose Jingle Bells

One Potato London Bridge One Two Buckle My Shoe Muffin Man

One, Two, Three, Four, Five One Potato Pop Goes the Weasel One Two Buckle My Shoe

Sailor Went to Sea Rain Rain Go Away Teddy Bear Six Little Ducks

Ten Little Angels Teddy Bear The Farmer in the Dell The Farmer in the Dell

Wee Willie Winkie This Old Man Wheels on the Bus Twinkle Twinkle Little Star

The songs suggested here are not intended to be a definitive list. They are provided to be a guide

as to the types of appropriate song material for the given age level.




1st grade 2nd grade A Tisket A Tasket A Ram Sam Sam

Bluebird America Bow Wow Wow American the Beautiful Get On Board Button You Must Wander

Hop Old Squirrel Charlie Over the Ocean Hot Cross Buns Frere Jacques

I Know an Old Lady Frog Went a Courting John Jacob Jingleheimer Schmidt Go In and Out the Window

Kye Kye Kule Go Tell Aunt Rhody Little Red Caboose Jim Along Josie

Lucy Locket Kookaburra Mr. Rabbit Kum Ba Yah

Oh, Won’t You Sit Down? Li’l ‘Liza Jane Old King Glory Little Sally Walker Old MacDonald Little Wheel Turning In My Heart

Ring Around the Rosey Long Legged Sailor Sally Go Round the Sun Mulberry Bush

Santa Claus is Coming To Town Old Dan Tucker Shoo Fly Old Joe Clark

Skip to My Lou Rocky Mountain This Little Light of Mine There’s a Hole in the Bucket

When The Saints go Marching In Three Blind Mice Who Built the Ark? Waltzing Matilda

Yankee Doodle Who’s That Tapping at the Window?

The songs suggested here are not intended to be a definitive list. They are provided to be a guide as to the types of appropriate song material for the given age level.




3rd grade 4th grade All Night, All Day Ahrirang

Alouette Boatman’s Dance Chatter With the Angels Cielito Lindo

Crawdad Hole Colorado Trail Dance Josie Do, Lord

Don Gato Funga Alafia Draw me a Bucket of Water Hey, Ho! Nobody Home

Ezekiel Saw the Wheel I Gave My Love a Cherry Ghost of John I Love the Mountains Good News Joy to the World Hambone Michael Finnegan

Here Comes Sally Oh Hanukkah Hill an’ Gully Old Texas

Jingle at the Window Rattlin’ Bog Little David play on Your Harp Sakura

Loop de Loo Scotland’s Burning Mama Paquita She’ll Be Comin’ Round the Mountain

Oh, Dear, What Can the Matter Be? Sorida Oh, Susanna Sourwood Mountain

Old Blue Star Spangled Banner Polly Wolly Doodle Ta-Ra-Ra-Boom-De-Ay

Sarasponda The Alpine Song The Cat Came Back The Goat

Trampin’ Zum Gali Gali





5th grade 6th grade Amazing Grace Banana Boat Song (Day-O)

Battle Hymn of the Republic Camptown Races Cape Cod Chantey Do Do Li

Cotton Joe Dona Nobis Pacem Deck the Halls Dry Bones

Dream of Martin Luther King Everybody Loves Saturday Night Drill Ye Tarriers Feliz Navidad

Erie Canal Greensleeves Fifty Nifty United States Hava Nagila

Follow the Drinking Gourd Hello My Baby Go Down Moses If I Had a Hammer Going to Boston Joe Tuner Blues Haul Away Joe John B. Sails

Johnny Come Down to Hilo John Kanaka Joy to the World Lean on Me Lone Star Trail Let There Be Peace on Earth

Night Herding Song Morning Has Broken Pay Me My Money Down Rocking Around the Christmas Tree

Shenandoah Rocky Top Simple Gifts Take Me Home Country Roads

Skin and Bones This Is My Country State Rondo This Train is Bound for Glory

Sweet Betsy from Pike Toembai The Old Chisholm Trail Woke Up This Morning

We Shall Overcome You’ve Got a Friend




Chorus PURPOSE

Singing in the chorus, unlike the general music class where singing is a tool for developing music reading skills, provides opportunities for developing choral skills and concepts. The teacher through careful selection of repertoire, attention to instructional guidelines and by encouraging expressive singing will help children gain an understanding and appreciation for aesthetic choral singing. Intermediate students may elect to audition for chorus. Chorus students have the opportunity on the County level to participate in the Elementary Honors Chorus, which participates in concerts with other ensembles throughout the county as well as performing at the John F. Kennedy Center for the Performing Arts. INSTRUCTIONAL OBJECTIVES The following instructional objectives are designed to assist students in achieving choral skills and musicianship. Growth toward these ends should be evident as young choristers gain experience. Students participating in chorus will learn to:

• Sing with a freely produced tone characteristic of their age. • Sing with controlled breathing. • Sing with correct diction. • Sing in tune with other voices and instruments. • Sing in balance with other voices and instruments. • Respond appropriately to choral direction. • Sing in parts independently. • Interpret a choral composition verbally and through performance.

SCHEDULING Because many schools have their own unique scheduling plan, it would be impossible to suggest a schedule suitable for all. However, the following guidelines will be helpful to teachers and other program facilitators in establishing appropriate time for the choral experience.

• Chorus should be a part of the regular six hour student day. • Chorus should be scheduled with 30 minute A/B time blocks, in the same manner as the

intermediate vocal music classes. • Chorus should not be scheduled in place of recess, physical education, or instrumental music. • Chorus may be limited to intermediate students.

SIZE Before recruiting begins, it is important to establish an appropriate size for the chorus. The number of singers will depend upon the available space for rehearsals as well as the number of students the teacher feels is manageable. A school with an enrollment of 300 students should be able to recruit 35 to 40 voices. Although some schools may have interest and physical facilities for 80 or more voices, ideally 50-60 voices usually result in good choral sound, optimum learning, and good teacher/student morale. PROGRAMS The number of programs and performances may vary from school to school. The number is often determined by careful planning that involves the music teacher, program facilitators, school staff, and school community. The following guidelines are suggestions to be considered during the planning process:

• Programs should be spaced to allow for adequate preparation. • A minimum of two programs (i.e. winter or Holiday, and spring) will provide motivation and

encourage optimum growth throughout the school year.



Songs for Programs

WHAT TO LOOK FOR:

BEGIN FROM THE BEGINNING • Begin the first day of school. Start singing songs that would be appropriate for programs. • Call and response songs (where students sing back to you) will give you the best idea for

voices, groupings, etc. SONG LITERATURE

• Use the song literature as much as possible. • Begin in the early grades actually looking at music. • This is just like any other skill. Unless you use it regularly, it is never learned.

HOW TO PICK LEVELS

• Look in all of the song literature. There are pieces in the books for younger grades that are wonderful program pieces.

• Do not be afraid to add instruments, write harmony parts, or create partner songs. • Adding instruments can make a 2nd grade song into a choral performance piece.

ADAPTATION

• Do not be afraid to adapt songs to the needs of your group. • If you do not have the voices, rehearsal time, etc. to sing a particular song in three parts,

then see if two parts will work. INSTANT GRATIFICATION

• The more songs that children sing, the more they will sing. • Songs that are silly, fun, allow them to “show off”, give them “small solos”, etc. the more

student participation you will get, and probably will add to your chorus. BALANCED PROGRAM

• If you present too much of any one style of music, students will be afraid and/or unwilling to sing anything else.

• Songs that require work (foreign language, two or more separate parts, ballads with lots of words) are the pieces that students will remember and will enjoy performing.

QUALITY vs. QUANTITY

• It is always better to present fewer songs that are performed well, than a long program that is poorly performed.

• Activate your resources! If you have a small recorder group that plays well, a younger class that has several songs, or students that play piano, use them to fill out a program if necessary.



CHALLENGING MUSIC • Begin at least one challenging piece at the beginning of the school year. • Teach it to everyone, not just chorus. Use it as a warm up, or part of the musical

instruction. • The carry over into chorus will be tremendous, and it may encourage your special needs

children to participate. EASY MUSIC

• Look for partner songs, rounds, canons, with fun accompaniments (or create your own). • These songs are easy to learn, and add interest to any performance. • Allow students to introduce pieces, adding historical information about the song,

composer, etc. This adds interest to a program. EXPECTATIONS

• Expect each year to have a different group with different abilities. • Adjust your programs accordingly. • HAVE FUN!!!

46 Curriculum Framework – Elementary Vocal and General Music - Prince George’s County Public Schools

SECTION III

Instructional Activities

for

Elementary

Vocal and General Music


Musical Concepts and

Skill Development

This section of the guide contains a concept sequence which is predominantly music theory, developing students' individual knowledge and skills with regards to specific musical elements. These elements are divided into four categories: Rhythm, Melody/Harmony, Form, and Tone Color. Definitions of the musical concepts have been included for clarity.

MUSICAL CONCEPTS AND SKILL DEVELOPMENT


RHYTHM ACTIVITIES

BEAT: a repeating pulse that can be felt in most music A. PERFORMANCE: 1. "Ha, Ha, This-a-Way" a. "A" section - use repeated "lap-lap-clap-clap" pattern. b. "B" section - change words to reflect movements which can be done on the beat; "Now we'll go

walking...," or "Now we'll go jumping...". 2. "Epo I Tai Tai," MAY - K, p. 269 a. The following actions are done on the steady beat: "Epo"-two pats on thighs, "tai-tai"-two claps,

"e"-four taps on shoulders with arms crossed over chest. 3. "Zudie-O," STM - 3, p. 275 a. Partners hold hands across and do a push/pull action while singing the song. B. GAMES AND MOVEMENT: 1. Heart Beats (Stepping) a. Cut out 16 large hearts for students to step on. b. Laminate or cover with contact paper for durability. c. Place hearts on the floor in four rows of four. d. Choose four students to step the beat while class sings 16 beat phrase or song. 2. Heart Beats (Marking) a. Glue magnetic strips onto 16 popsicle sticks. b. Place four large hearts on the chalkboard. Draw a box under each. c. Class sings a 16 beat song. Student places magnetic sticks in boxes on each beat. 3. "Obwisana," Music And You - 2, p. 257, Spotlight on Music – K, T159 a. Stone passing game from Africa. 4. "El Acitron," Share the Music - 3, p. 353, Spotlight on Music – 6, p. 93 a. Stick passing game from Latin America. C. LISTENING: 1. Keep the beat a. Play recordings from several different cultures and genres of music. b. Teacher leads students in various movements to keep the beat. c. Choose student to lead as above. d. Choose student to play steady beats on rhythm instrument. e. Using movement or instruments to keep the beat, turn the sound off at intervals to test student

skill in maintaining steady beat during silences. f. Class sits and shows steady beat by clapping stamping or patschen. 2. Paper Plate a. A selected recording is played. b. Students hold a paper plate in each hand with bottoms together. c. Students follow a leader in keeping the pulse by hitting or rubbing plates together or against

the body.



RHYTHM ACTIVITIES

TEMPO: the speed of the beat in music A. PERFORMANCE: 1. Unpitched instruments a. Have the students play rhythm instruments on the steady beat to accompany a listening

selection. b. Use contrasting instrumental sounds on slow/fast sections. 2. "Engine Engine #9" a. Tell a story about a train leaving the station (increasing speed), traveling to the next station

(steady fast speed), arriving at the next station (decreasing speed), and stopping at this station while passengers get off and on.

b. Choose students to be the train; move around the room and create the "choo-choo" sound which speeds up, stays the same, slows down, and stops during the story. Have them sing the song to match the tempo of the teacher.

c. Some students can make a tunnel for the train while the others sing the song following teacher directions for changing speed-"tempo".

B. GAMES AND MOVEMENT: 1. The Metronome a. Explain that the beat can be fast or slow, walking or running, and show the class how to vary

the "tempo" on the metronome. b. Check for understanding of the concept by asking students to identify fast or slow, walking or

running, "tempos" you have set using the metronome. c. Variation: Use two teams and take turns for points. d. Transfer the tempo to a rhythm instrument, and to body movement.



RHYTHM ACTIVITIES

RHYTHM NOTES (QUARTER NOTE AND REST, EIGHTH NOTE, HALF NOTE AND REST, WHOLE NOTE AND REST, DOTTED HALF NOTE): notes indicating sound and silence of various durations A. PERFORMANCE: 1. Name the Song a. Teacher writes rhythm of a familiar song on the board. (Song should include the rhythm notes

studied.) b. Class sight reads the rhythm and identifies song. c. Practice reading the rhythm of the song and sing with the names of the rhythm notes then the

real words. 2. "Bow Wow Wow" (Quarter note and rest) a. Learn the song. b. Have students clap the rhythm that goes with the words “bow wow wow.” c. Notate the rhythm for these words. (ta ta rest) d. Clap that rhythm lightly when it comes in the song. e. Clap the rhythm as an ostinato while singing the song. f. Transfer to instruments and sing the song. 3. "Lion Dance #1" (This song is included in the Sample Lessons - Grade 6.) a. Have students clap the rhythms for cymbals and large gong. Clap the rhythm for the small

gong. Have students decide which rhythm it matches. Do the same with the drum rhythm. b. Assign students to instruments and perform it as an ensemble. The drum sets the tempo. c. On the first line, one group plays claves and castanets. The second group plays maracas on

the second line. B. GAMES AND MOVEMENT: 1. Find the Rhythm a. Teacher prepares several flash cards with four beat rhythm groupings with the rhythm notes

studied. b. Students sit in a circle around the displayed cards. c. Teacher claps a rhythm and chooses a child to find the card. d. The child finds the card and claps the rhythm back to the teacher. e. Rhythm patterns may be extended to eight beats when appropriate. f. Last pattern should be one that all students can clap to accompany a familiar song. 2. Dictation a. Send groups of four to five students to the board. b. Teacher dictates four beat patterns using "ta" and "rest". c. Students echo the pattern. d. Students immediately write the pattern on the board. 3. Popsicle Sticks a. Give each student several popsicle sticks (8-10). b. Teacher or a partner claps a four beat pattern. c. Student echoes then writes the pattern on desk or floor with the sticks.



RHYTHM ACTIVITIES

RHYTHM NOTES (cont.) 4. Magic Number a. Write five rhythmic patterns on five separate cards. Make sure cards are large enough to be

seen from a distance. OR Write these on the board. Assign each card a number one - five. b. The teacher performs a card. The students will hide the "Magic Number" of that card behind

their backs until the teacher asks "Show me your magic number." The number "0" or "Big Bagel" means there is no card with that rhythm.

c. Students silently show the number of the rhythm performed. Repeat at least four times. d. Variations: The teacher could say or clap the rhythms. The teacher could say a rhythm that is

not shown. Students respond with a "zero" (make a zero with their hands).



RHYTHM ACTIVITIES

MELODIC RHYTHM: the rhythm of the words A. PERFORMANCE: 1. "Fr'ere Jacques" a. Clap the melodic rhythm, phrase by phrase. b. Assign each phrase to a group of students. Clap in order. c. Give each group a percussion instrument. d. Play the phrases in order as they sing. 2. "Yankee Doodle" a. Sing the song with the recording. b. Use body percussion or an instrument to perform the melodic rhythm during the instrumental

interlude. 3. “Pease Porridge Hot” a. Half the class keeps the beat on body or sticks, the other half steps the melodic rhythm while

all sing. b. Repeat, switching the tasks. c. Use other songs containing quarter note and rest, as well as eighth note. 4. "Los Pollitos," Share the Music – K, p. 293, Spotlight on Music - K a. Clap the melodic rhythm. b. Divide class into two groups (children and ducks) to act out the song while singing. c. A good partner song with "See My Little Ducklings." 5. "Bate Bate Chocolate," Share the Music – 3, p.93, Spotlight on Music - 2 a. Teach counting in Spanish. Add fingers for numbers. b. Sing the song. Have students find the word that goes with c. Write the rhythm of the song. d. Put students in two groups for the two parts of the song. e. On the first line, one group plays claves and castanets. The second group plays maracas on

the second line. B. GAMES AND MOVEMENT: 1. Name That Tune (for primary grades) a. Divide class into two teams. b. Teacher claps the melodic rhythm of a familiar song. c. The teams take turns identifying the song. 2. Name That Tune Charades (for intermediate grades) a. Divide class into two teams. b. The names of several familiar songs are placed in a hat. c. The teams take turns drawing a song and clapping it for the other team.



RHYTHM ACTIVITIES

REPEATED RHYTHM PATTERN (OSTINATO): a short repeated rhythm pattern played throughout a piece or section of a piece A. PERFORMANCE: 1. Songs with Ostinati a. Extract a measure or two from a familiar poem, chant or song and use it as an ostinato. b. Notate the ostinato for the children to see and read. Have one group of students perform the

ostinato while the others sing the song. c. Difficult ostinati can be made easier for children to perform if words are attached to patterns. d. Additional songs with suggested ostinati include: “Paw Paw Patch”: Paw Paw Patch “Rocky Mountain”: Hang your head and cry. “Hill an’ Gully” Horse done stumble down. “Kookaburra” Kookaburra sits. 2. Body Percussion Ostinato a. Choose an appropriate song and extract a measure or two to be used as an ostinato. b. Notate the ostinati using body percussion notation.

c. The above pattern is to be used with "Old Brass Wagon.” The words for the pattern are "Circle

to the left, Old Brass Wagon." d. Divide the class and have half the students perform the ostinati while the others sing the song. 3. Percussion Ostinati a. Have the class create their own body percussion ostinato to a familiar song. b. Notate the ostinato. c. After practicing the ostinato with the song, transfer each of the body sounds to a different

rhythm instrument. 4. Creating, Writing and Performing Original Ostinati a. Listen to a selected "pop" recording. b. Have students work with a partner and create a four to eight beat rhythmic ostinati using notes

they have studied. c. Students should write their pattern on a sentence strip. d. Have students perform their ostinato to the music using either body percussion or rhythm

instruments.

snap clap pat stamp



RHYTHM ACTIVITIES

ACCENT: a sign indicating that a note should be sung or played with more emphasis A. PERFORMANCE: 1. Place the Accent a. Draw large beats on two pieces of tag board (eight on each). Cut several small squares and

draw accent marks on each. b. Divide the class into two teams. One person from each team comes to a tag board with

several accent squares in hand. c. The teacher claps the beats accenting several. The student who places accent marks over the

correct beats first, earns a point for his/her team. d. The last accented pattern the teacher claps should be one to accompany a familiar song. e. Transfer the pattern to percussion instruments. Play while singing the song. 2. Rhythmic Speech a. Have students place vocal accents on different words, i.e.:

Whether it's cold, Whether it's hot. There will be weather Whether or not. > > > > > > > > 3. Familiar spiritual a. Listen to the song. Accented off-beats are one of the primary characteristics of African

American music. b. Pass tambourines to the students. Have groups practice playing on beats two and four (off

beats) while one student plays the steady beat on a drum. Play the tambourines with the song. B. GAMES AND MOVEMENT: 1. Accent Walk a. Teacher plays steady beat on a hand drum while students walk freely around the room. b. On accented beats students change direction. 2. Pass the Egg a. Organize class in one large circle or several small ones. b. Teacher plays steady beat patterns in 2's, 3's, or 4's based on the meter of the song material

being used in class. c. Students pass a ball, bean bag or yarn ball on the accented beat. To increase student

concentration, use a hard boiled egg. (Do not tell children that the egg has been boiled.) 3. Play the Accents a. Draw a line of steady beats on the board or overhead projector using stick notation. b. Choose a student to place a specified number of accents under the beats of their choice. c. Have the class read and clap the students' composition. d. Variation: Have some students play the accents on drums while others play the steady beat on

instruments that produce a contrasting sound. C. LISTENING: 1. Toreadors Song (A worksheet for this is included in the Sample Lesson.) a. Listen to the song making note of the accents created by the cymbal. b. Play the accents on cymbals or paper plate “cymbals” with the recording.



RHYTHM ACTIVITIES

METER - DUPLE AND TRIPLE: the organization of beats and accents in recurring sets of two or four (duple) or three (triple) A. PERFORMANCE: 1. Divide and Conquer a. Write an eight beat rhythm pattern of a familiar duple song, or a song that will be taught that

day, on the board. b. Indicate the time signature at the beginning. c. Select different children to insert the measure lines so that the pattern is divided into the

appropriate meter. d. Have the class perform the pattern by clapping or playing it on an instrument. e. Variation: Do the same with a song in triple meter but use a six beat pattern instead. 2. "Sakura," Music and You - 4 p. 151, Spotlight on Music – 6 p.14 a. Have students listen to Sakura and quietly pat the beat. Discuss what meter is used. b. Play the recording again and have students quietly clap the first beat of each measure and pat

the other beats. c. Sing the song. d. Variation: The same activity could be done with Happy Birthday or the Star Spangled Banner.

It could also be done with songs in duple meter. 3. Category Creations a. Have the class create a rhythmic phrase of four measures in either two's, three's, or four's or

all of the above. b. Use the names of cities, states, cars, animals, flowers, etc. as text material. c. Compile a list of words in the chosen category on the board. d. Arrange the words in groups so that they fit the chosen meter. e. Clap the words in each measure and write the notation. f. Have the class perform their creation. Example:

String Beans, Lima Beans Cauliflower Peas Celery, Parsnips Turnip Greens

g. Variation: After the children feel comfortable with the process, you could do this as a small

group activity. Have each group share their creations with the total group. 4. Conducting Patterns a. Make a chart of each pattern – show the beats and arm direction. b. Note that the last beat is always in an upward direction and the first beat is always downward.

4 4



RHYTHM ACTIVITIES

METER (cont.) 5. “America the Beautiful” a. Sing the song to determine the meter. Discuss the upbeat. Have students find the upbeat. b. Have students stand up on the upbeat and sit on the downbeat. B. GAMES AND MOVEMENT:

1. Rhythm Stick Meters a. All students have a pair of sticks.

b. While listening to music in two’s or three’s they tap sticks together on the accent and tap the floor on the weak beats.

2. Changing Meter Piece a. Write an eight measure rhythmic phrase in . b. Use this as the first theme (A). I like pizza pie I like pizza pie I like pizza I like pizza I like pizza pie, yeah! Have students use the text to help them memorize the words. Repeat the theme to make it

eight measures. c. Write a second eight - measure rhythmic phrase in (B). Use rhythm notes the students have

learned to this point. d. Divide the class into three groups – A B A – and have each group perform their pattern. e. When the rhythms are secure, assign contrasting unpitched instruments to each group. f. Perform in ABA form. C. LISTENING: 1. Meter Matters a. Listen to music in any meter. Have students do a body percussion pattern to determine the

meter. b. When music stops, they form groups in the meter of the song. (i.e. music in three’s – group of

three) 2. Upbeat Ballet in Four’s a. Choose a song in duple meter. b. When students are familiar with the song, have them pat the steady beat while they sing. c. At the upbeat they raise their hands to emphasize the upbeat.

4 4

3 4



RHYTHM ACTIVITIES

TIE: a musical symbol that connects two notes of the same pitch A. GAMES AND MOVEMENT: 1. Live Pattern a. Use yarn or string about two feet long. b. Choose four students to come up to the front of the room. c. Number each student one through four (representing quarter notes). d. Have the first and second person hold the string between them (the tie) while the students clap

it; then moves to second and third. e. Variation: Do the same activity as above using popsicle sticks and string.



RHYTHM ACTIVITIES

SYNCOPATION: a type of rhythm in which stressed sounds occur between beats or on the “off beat” A. PERFORMANCE: 1. Synco-beat - “'Liza Jane” a. Students march the beat in a circle while teacher is clapping four beat syncopation patterns. b. Students will echo clap four beat syncopation patterns while marching the beat. c. Students simultaneously clap the syncopation while stamping the beat. Switch parts. d. Add the song. 2. Syncopated Rondo a. Write four syncopated patterns on sentence strips. b. Have the children read and clap each one. c. Arrange them in any order the class chooses to constitute the A theme. d. The B and C themes could be: 1. Familiar non-syncopated songs, i.e., Row Your Boat, refrain of Skip to My Lou, Are You

Sleeping, etc. 2. Play the rhythmic pattern of different familiar songs on contrasting instruments. 3. Sing or play familiar songs using syncopated patterns. 3. “Day-O” Share the Music – 6, p. 42 a. Learn the song. Identify the syncopated patterns. Say the words that match. b. Sing the whole song and lightly tap the syncopated parts. B. GAMES AND MOVEMENT: 1. Rise and Shine for "Syn-co-pah" a. Echo clap numerous patterns. b. When the class hears a syncopated pattern they "rise" when they echo the pattern. For

patterns that are not syncopated the children remain in their seats. c. Variations: When children hear a syncopated pattern they verbalize the pattern as they clap it. Ex. (ti-ta-ti ta ta or syn-co-pa ta ta). Then verbalize it instead of clapping it. C. LISTENING: 1. "The Entertainer" a. Listen to the recording of "The Entertainer" by Scott Joplin. b. Discuss ragtime music. (Ragtime represents the clearest fusion between African American

and European music. Ragtime was the precursor of jazz and is known as the "first black instrumental music in America." Ragtime was popularized as piano music.)

c. Have students pick out and clap the different syncopated rhythm patterns from the song. d. Transfer the syncopated patterns to small percussion instruments. e. Play the song again and have students clap each one with the song. 2. "Loco-Motion" Share the Music – 4, p. HL 8, Spotlight on Music – 4, p. 312 a. Chant the syncopation as an ostinato. b. Add body percussion on steady beat while syncopation is played on another instrument, i.e.,

bongos, conga drum.



RHYTHM ACTIVITIES SIXTEENTH NOTES: the subdivision of the beat into four parts when the quarter note gets the beat A. PERFORMANCE: 1. "Peter Pumpkin Eater"

Peter Peter pumpkin eater Had a wife and couldn't keep her Put her in a pumpkin shell And there he kept her very well.

a. All students memorize the poem. b. Say it in three tempi: fast - sixteenth notes, medium - eighth notes, slow - quarter notes. c. Divide the class into two groups, each one uses one of the above tempi, i. e. group A says it in

sixteenth notes, and group B says it in eighth notes. d. Later add a third group - group C says it in quarter notes. 2. "Chicken In the Fencepost” Spotlight on Music - 3 a. Assign each note value a different body sound, i.e., sixteenth notes - clap, eighth notes - pat,

and quarter notes - stamp. Read this from a chart (see example-next page). Add one at a time as the song is learned.

b. Finally perform the song using only body percussion. c. Transfer the body percussion sound to contrasting rhythm instruments: sixteenth notes -

sticks, eighth notes - hand drums, quarter notes - triangles. 3. "Lion Dance #2" (This music is included in the Sample Lesson.) a. Have students clap the rhythms. Make note of the sixteenth note rhythm. b. Assign students to instruments and perform it as an ensemble. The drum sets the tempo. 4. Creating new lyrics a. Encourage the students to compose new lyrics for a song using different topics such as cities,

states, foods, sports, or events. b. Have students notate the new lyrics using the sixteenth note for some part of the lyrics.



Chicken In the Fence Post clap Chicken in the pat fencepost, can’t dance Jo- sie. (3X) Hel- lo Su- sie Brown- ie

stamp

O.



RHYTHM ACTIVITIES

DOTTED RHYTHMS: rhythm notes whose duration is extended by half the original note value

A. PERFORMANCE: 1. "One," STM - 6, p. 226 a. Clap and speak the words. b. Find the dotted rhythms. Clap just the dotted rhythms. c. Sing the song with the recording. B. GAMES AND MOVEMENT: 1. Moving with Dotted Rhythms a. Present a visual showing the relationship between the even eighth notes and the uneven

dotted rhythms. b. Divide the class into two groups half of which will pat the eighth note steady beat while the

other half claps the uneven pattern. c. Switch parts so that all can experience the uneven pattern. Note: A metronome can be used to

help keep the beat steady if the children have difficulty maintaining an even tempo. d. The patting and clapping could then be transferred to unpitched instruments. e. Reinforce through physical movement the relationships. Have the class jog in place the steady

beat pattern while the other half claps the uneven patterns. Later they could be challenged to jog the beat and clap the uneven patterns at the same time.



RHYTHM ACTIVITIES

COMPOUND METER: a meter in which the beat is subdivided into groups of three

A. PERFORMANCE: 1. "Night Herding Song," Music and You - 4, p. 50, Spotlight on Music - 4. a. Students play the steady beat on bongos or tempo blocks. The accented first beat should be

played on the large block or drum. The other five beats on smaller blocks or drum. 2. Playing with 6/8 rhythm patterns a. Place sentence strips of rhythm patterns in 6/8 meter on the board. b. Have each group select and clap or perform their pattern on rhythm instruments. c. Combine the compositions of several groups to form a larger composition. d. Add a simple melody to the rhythm composition using previously learned melody notes. e. Add a simple melody to the rhythm composition using notes already learned on the recorder.



MELODY/ HARMONY ACTIVITIES MELODY NOTES (sol, mi, la, re, do, low sol, low la, high do, fa, and ti): pitches of notes with respect to highness and lowness A. PERFORMANCE: 1. Can You Play This Tune? a. Teacher sings a four beat melodic pattern on neutral syllable. (lu) b. Students echo teacher by playing the pattern on a barred instrument. B. GAMES AND MOVEMENT: 1. Sing the Pattern a. Divide class into two teams. b. Place several melody patterns using sol, mi, la, re, do, low sol, low la, and high do in a hat or

other container. c. Each student chooses a card and sings the pattern. d. If student sings the pattern on his/her card correctly that team receives a point. e. Team receiving the most points wins. f. Vary game by having students play pattern on melody instruments instead of singing. 2. Going Fishing a. Preparation - Make a fishing pole using a yard stick, string, and a magnet in place of hook. Cut

out several construction paper fish. On one side write four beat melodic patterns using letter names or syllables but no notation. Laminate the fish and glue magnetic strips on backs.

b. Place fish on the floor with magnetic strip side up. c. Choose a student to fish with pole and magnet. d. When the student has caught a fish, he/she goes to the board and writes the pattern on a staff

while the next student goes fishing.



MELODY/ HARMONY ACTIVITIES REPEATED MELODIC PATTERN (OSTINATO): a short repeated melody pattern played throughout a piece or section of a piece A. PERFORMANCE: 1. "Are You Sleeping?" a. Children must be able to sing any song independently before adding a vocal ostinato. b. Start with simple and/or familiar songs and extract a short phrase to be used as an ostinato. c. Choose a second melodic phrase to be sung as an ostinato. d. Divide the class into four groups and give each group one part to sing. Take turns until both

groups have sung all parts. e. Variation: Use "Are You Sleeping" and change the text to suit many special occasions, i.e., 1) "I hear sleigh bells, (repeat)

Loud and clear. (repeat) Maybe it is Santa, (repeat) Rudolph, Too." (repeat)

2) "On Thanksgiving, (repeat)

Don't eat bread, (repeat) Stuff it in the turkey, (repeat) Yum, Yum, Yum." (repeat)

3) "Halloween's comin', (repeat) Do beware, (repeat) Trick or treaters at the door, Ghosts and goblins by the score, Everywhere!" (repeat)

f. You may use a Hispanic language version of this melody "Buenos Dias." 2. "Tumbai," Share the Music – 6, Spotlight on Music - 5 a. Use the first line as an ostinato. b. Add the BX and AX on the pattern for support. 3. "Shalom Chaverim" Spotlight on Music - 3 a. An easy ostinato would be the last two words. b. Use Orff instruments and experiment using open fifth E-B.



MELODY/ HARMONY ACTIVITIES PHRASING (RHYTHMIC/MELODIC): segments of music that are complete thoughts or ideas A. PERFORMANCE: 1. Question - Answer a. Teacher writes several four-beat rhythmic patterns on flash cards and selects two to form a

"question." b. Students choose two patterns to create an "answer" to the teacher's "question." c. Half the class performs "question", half performs "answer"; switch. d. Variation: Teacher sings a melodic phrase using melody notes they have learned so far.

Student sings an answer using sol, mi, and la. 2. Mix and Match a. Teacher chooses two known songs and writes the rhythmic phrases on sentence strips. b. The cards are randomly placed on the floor or a large table and teacher announces the two

songs. c. The students must arrange the phrases in order. d. Students choose contrasting percussive sounds to play consecutive phrases. e. Variation: Transfer to melodic notation.

3. Echo Clapping a. The teacher claps an eight beat pattern (question). b. The teacher chooses student to improvise a balanced eight beat response (answer). 4. Melodic Question – Answer a. Teacher writes phrase for sight singing on chalkboard or chart (question). b. Students read phrase and create an answer using previously learned rhythms and syllables. c. These questions and answers can then be played on bells or other melodic instruments. 5. Chain Singing a. Identify the phrases for a familiar song. b. Have groups of students sing a phrase from the song. c. Continue singing in like manner until the song is completed. 6. Turning the phrases a. Teach a short rhythmic chant with four phrases, i.e. Acka Backa. b. Identify the phrases and show by drawing phrase lines in the air. c. Have students walk the beat in place and draw the phrases. d. Have students walk the beat in place, draw the phrases and turn at the end of each phrase.

They should end up facing the same direction that they started in when they finish.



MELODY/ HARMONY ACTIVITIES PENTATONIC (sol, mi, la, re, do): music based on a scale of five pitches A. PERFORMANCE: 1. Pentatonic Warm-up a. Children sing and sign intervals from the C pentatonic (C, D, E, G, A) ex. sol-mi, sol-la-sol-mi,

sol-mi-do, mi-re-do. b. Sing using letter names for C pentatonic. Leave out F and B (“flies” and “bumblebees”). c. Children play the intervals on melody instruments. 2. Mystery Tune a. Teacher notates a pentatonic tune. b. Children sing the song in syllables until comfortable with the song. Then add the words. 3. Notation a. Teacher dictates a given pattern in C pentatonic. b. Students notate pattern. 4. Composition a. Students notate a C pentatonic scale. b. Compose a four beat pattern and notate. c. Play with the Mystery Tune. d. Then students compose a four measure song using the notes in their scale. 5. Improvisation a. Teach a rhythm chant. b. Add a response for call and response form. c. Have students improvise using C pentatonic notes to play response.



MELODY/ HARMONY ACTIVITIES MELODIC INTERVALS: the distance from one pitch to another A. GAMES AND MOVEMENT: 1. Whole and half steps a. Create a keyboard pattern using black and white construction paper on the floor. b. Put two colored dots on notes. c. Have students identify the number of whole steps between the dots. d. Do the same with half steps. e. Variation: Count the whole steps to teach intervals. f. Variation: Use this to teach intervals of a fifth, third, second, etc.



MELODY/ HARMONY ACTIVITIES SCALE PATTERNS: an arrangement of pitches from lower to higher according to a specific pattern of intervals or steps A. PERFORMANCE: 1. Major and Minor Recognition

a. Ask students to listen while you play a C scale ascending and descending from C to C1 then from A to A1 on any pitched instrument.

b. Tell students the tonal center of each scale and that the first is called major and the second is called minor. Ask students to compare the sound of the two scales.

c. Play several similar examples and have students identify major and minor for practice. 2. Playing Instruments a. Give students a set of bells. b. Play bells from C to C1 (this is a major scale). c. Now play from A to A1 (this is a minor scale). d. Have students play both scales, listening for the differences in sound. e. Hide a set of bells, have one student play a scale and have the class identify major or minor. B. LISTENING: 1. Familiar songs, i.e. “This Land is Your Land” a. Review a familiar song in a major key. b. Give each student a flashcard with major on one side and minor on the other. c. Play several major and minor scales to warm-up their ears. Have them identify the scales

using the flashcard. End with the key of the song you are using. d. Play the chosen song on the piano changing the sound from major to minor chords. Have

students show that they hear the changes by flipping their flashcards at the appropriate times. e. As new songs are introduced, identify whether they have a major or minor sound. Present

several examples of each. 2. “Farandole” from L’Arlesienne by Bizet a. Have students listen while someone plays C to C1 on a melody instrument and identify as a

major sound. Then play A to A1 and identify as a minor sound. b. Play the selection again and have students listen for major and minor. The above piece is

minor until the last time through the melody. It changes to major. Have the students signal the change with the flashcards or hand signals.



MELODY/ HARMONY ACTIVITIES CHORDS: three or more pitches sounded together A. PERFORMANCE: 1. “Simple Gifts” Spotlight on Music – 5, p. 136 a. Using a chart with the words of the song, teach the song. b. When students can sing the song comfortably, have them sing the song facing the words,

while the teacher plays a tone bar instrument from behind them. Teacher should play the chord roots for a C chord and G chord with the song, changing where the chords change in the song.

c. Ask students to identify when the chord changes occur by raising their hand. Have students put colored dots on the chart with the words to identify where the chord changes are and which chord is played, i.e. red dot for C, green dot for G.

d. Have students sing the song again substituting the letters for the chord changes instead of the words. Transfer this to tone bar instruments. Have them sing the letters while learning the chord changes.

e. Add the words while playing the chord changes. f. When students are comfortable playing the chord changes, discuss how the chord is built from

the root, third and fifth. Play the chords that have been built with the song. 2. Song with I, IV, V7

a. Write a scale on a staff on the board. b. Highlight the first, fourth, and fifth scale degrees. c. Build triads on the highlighted notes. d. Look at the music for a familiar song with I, IV, and V7 chords. Identify the chord symbols. e. Build the triads for those notes. Sing the song and listen as the chords are played. Raise

hands to identify these chord changes. d. Repeat this process for several different key signatures. 3. Building Chords a. Distribute cards with the letter names for a C scale to eight students in the class. b. Have students put themselves in scale order (ascending). c. Have the students “build” a chord on a C by having the first, third and fifth person step out of

the line. d. Have students “build” chords on the fourth and fifth scale degree the same way. e. Go through the printed music for a familiar song. Identifying the chord symbols and “build” the

chords. f. Have students with the appropriate letters for the chords in the song step out when their chord

occurs in the song.



MELODY/ HARMONY ACTIVITIES UNISON/HARMONY: unison – all performing the same part at the same time, harmony – two or more pitches sounding at the same time A. PERFORMANCE: 1. Partner Songs a. "All Night, All Day," with "Swing Low, Sweet Chariot," b. “Fre’re Jacques” with “Three Blind Mice” and “Row, Row, Row Your Boat” (sing twice). 2. Rounds/Canons a. After learning to play a simple round or canon on the recorder, children can work in groups or

with partners to play two or more parts with one of the following pieces: “Hot Cross Buns,” “Scotland's Burning,” “Hey, Ho! Nobody's Home.”

B. LISTENING: 1. “Hallelujah Chorus” from the Messiah by Handel, Spotlight on Music - 5 a. Discuss unison and harmony. b. Have the class listen to the piece. Have students indicate whether they hear unison or

harmony by holding up one finger for unison and four fingers for harmony. Demonstrate with the first playing of the music.

c. Have students listen again and indicate unison and harmony independently. 2. Jazz Activity a. Have students listen to an example of jazz music. (Representative musicians include: Bebop -

Charlie Parker, Thelonius Monk, Dizzy Gillespie, Billy Ekstine; Cool jazz - Miles Davis, Oscar Peterson; Soul jazz - Ramsey Lewis, Billie Taylor; Modern jazz - Wynton Marsalis, John Coltrane, Modern Jazz Quartet.) Show with thumbs up and down when a soloist is featured and when the whole ensemble plays harmony.

b. Divide into groups for the number of solo sections in the piece. Have student groups create and perform a body percussion pattern in unison for their solo section.

c. The whole class keeps the beat during the ensemble section which is in harmony.



FORM ACTIVITIES SAME AND DIFFERENT PHRASES: repetition and contrast of segments of the music A. PERFORMANCE: 1. Singing phrases a. Choose a familiar song with three similar phrases and one different phrase. b. Sing the phrases that are the same to the class. Have the children sing the different phrase to

the teacher. c. Then divide the class and have half sing the phrases that are the same and the other half sings

the phrase that is different. Switch parts. d. Then have the class sing the phrases that are the same aloud and the different phrase silently.

Switch the silent part. 2. Contrasting Instruments a. Choose a familiar song with some phrases the same and some different. b. Have students select contrasting percussion instruments to accompany the different phrases. 3. Create a phrase a. Students choose a partner. Give each pair a sentence strip or staff paper. b. Students are to work together to create rhythmic or melodic phrases. c. Students perform phrases for class. d. Class chooses two phrases and arranges them to form a larger composition. B. GAMES AND MOVEMENT: 1. Make your move a. Choose a familiar song. b. Have students create appropriate movements to designate “like” and “unlike” phrases. c. Have the students perform their movements for the class.



FORM ACTIVITIES TWO PART FORMS (including AB, ABA, and verse/refrain): the order of different sections in music A. PERFORMANCE:

1. Creating ABA a. Select two different simple songs and create an ABA form. Ex. A = Are You Sleeping?

B = White Coral Bells A = Are You Sleeping?

2. Instrumental AB/ABA a. Use different tonal colors (instruments) to accompany each musical section of a two part form. B. GAMES AND MOVEMENT: 1. Creating ABA movement a. Divide class into the appropriate number of groups (sections) i.e., AB, 2 groups; ABA, 3

groups, etc. b. Subdivide each group into players and movers.

c. Each group would create a movement with instrumental accompaniment. Example: A = shakers, rattles, congo drums, etc. - movements that shake, twist, bounce and at a faster tempo; B = finger cymbals, triangles, metallophones, etc. - movements of longer duration, smooth, graceful, slower tempo

C. LISTENING: 1. Colors and Shapes a. Prepare construction paper cards in the following manner:

b. Have individuals select the correct shape or color to show which section of music is being sung

or played. c. Display the cards where students can see. 2. Group Response a. Give every child the appropriate number of colored shapes of paper. b. Have them listen to a selection and respond by raising the correct shape or color for the

corresponding section of the music as they listen.

A B



FORM ACTIVITIES MULTI PART FORMS (including rondo and theme and variations): rondo – a form based on repetition and contrast where the first theme returns after each new section, often organized as ABACA; theme and variations – a form in which each section is a variation of the initial theme A. PERFORMANCE: 1. Creating a Rondo a. Place several flash cards containing rhythmic patterns on the floor or board. b. Ask students to combine cards to form four measure phrases. c. Assign letter names to each four measure phrase. d. Students perform phrases in Rondo form using rhythm instruments or body percussion. e. Use contrasting instruments for each section. f. Extend activity by developing rhythmic phrases into melodic phrases using mi, sol and la (add

re and do, if students are familiar with them). Have children perform their phrases on melodic instruments.

2. Rondo Sandwich a. Divide into cooperative groups. b. Select ingredients for a pretend rondo sandwich. Teacher can decide whether the bread

should count or not. c. Groups should draw their creation on the worksheet provided and label each part. d. Groups should then write a speech rondo about their sandwich. Each section of the rondo

should be about one of the ingredients of their sandwich. B. GAMES AND MOVEMENT: 1. Moving in Rondo Form (ABACA) a. Choose a listening selection that is in rondo form. b. Divide the class into groups A, B, and C. c. Listen to the music and help each group decide upon an appropriate movement for their

section. d. Play the section again and have groups perform their movement at the appropriate time. OR e. Vary activity by creating three rhythmic ostinati to accompany the music. Use body percussion

or percussion instruments to perform the ostinati. C. LISTENING: 1. “Pop Goes the Weasel” – Theme and Variations a. Listen to the piece for each time the theme starts and raise hand quickly and put it back down

for each new variation. b. List ways that the variations changed from the main theme. c. Create several large size posters of the letter A in different fonts. Have selected students hold

up one of the posters when each new variation starts.



Make a Rondo Sandwich

Using your knowledge of rondo form, create a sandwich with the ingredients provided. Label all the ingredients and the rondo sections. Draw a picture of your sandwich. Use the space below. Think about:

1. the sequence or pattern for this form 2. repeated and contrasting sections



TONE COLOR ACTIVITIES DYNAMICS: changes in intensity and loudness of sound A. GAMES AND MOVEMENT: 1. Find the Eraser - "Lucy Locket" Spotlight on Music – 1, p.T253 a. One student hides an eraser. b. Another student moves around the room to locate it. c. The class sings song louder when student is close to the eraser and softer when farther away. d. Caution children not to shout but to sing with a strong full sound. B. LISTENING: 1. Loud and Soft Collage a. Ask students to bring in pictures from magazines that depict loud and soft sounds. b. Using two pieces of tag board have children create two collages by pasting appropriate

pictures on loud and soft boards. c. Play listening selections and have children indicate the appropriate collage to accompany the

sounds they are hearing. 2. Paper Bag Puppets a. Create paper bag puppets representing an animal that makes a loud sound. b. Play a listening selection and have the students open and close the puppet's mouth as

appropriate to express the dynamic level of the music. 3. Alligator Jaws a. Teacher chooses a short listening example that has a wide variety of dynamic levels, for

example, "Dance of the Comedians." b. Children put their hands together like alligator jaws. c. Children open and close the jaws to show changes in dynamics. 4. Other activities to reinforce dynamics a. Echo clapping with class may include varying dynamic levels. b. One, two or three finger taps, whole hand claps, and large or small groups of instruments can

be used to show changing dynamics. c. Have the class begin clapping a steady beat using just one finger. Gradually add fingers then

reverse. Try this with a listening selection such as Ibert's "Parade".



TONE COLOR ACTIVITIES CLASSIFYING INSTRUMENTS A. GAMES AND MOVEMENT: 1. Instrument Collage a. Create a collage of various instruments from every sound source category; air starters, string

starters, self starters, and skin starters. b. Duplicate these pages for students. c. Students will cut and paste the instrument pictures onto the template, classifying them into the

appropriate section of the template. 2. Peter and the Wolf a. Introduce the instruments from the story. Discuss how the sound is produced and the

classification for each instrument. b. Teacher points to the musical instrument pictures and introduces the characters they represent

in Peter and the Wolf. (bird, flute; duck, oboe; cat, clarinet; grandfather, bassoon; wolf, French horn; Peter, violins; and hunters, timpani)

c. Students listen to Peter and the Wolf raising their hands when they hear "air starters" and listening to the unique tone quality/timbre of each instrument.

d. Teacher removes all cards from the board and mixes them. Students identify "air starters" by raising their hand when cards with the flute, oboe, clarinet, bassoon, and French horn are shown.

e. Students identify the character that goes with each instrument. f. Listen to the story again. Students raise their hands when they hear the "air starters."

Students identify the "skin starter" (timpani) and "string starter" (violin) in Peter and the Wolf and the characters represented by them with two other signals.

g. Alternative activity: Students listen to Peter and the Wolf and hold up flash cards labeled "string starter," "air starter," and "skin starter" as each of the instruments is played. This could be done in cooperative groups.

3. Small Group Classification Activity – Intermediate students a. Prepare six to eight boxes of four or five instruments with at least one from each of the

classification families in each box. b. Divide students into groups of no more than five (preferably four). Each group should be given

one of the boxes of instruments. Warn students about the proper care of the instruments and not blowing into any of the instruments. Students should have an opportunity to examine the instruments to determine how sound is produced with each instrument.

c. Each member of the group should select one of the instruments to share with their group. They should be able to tell how sound is produced and classify the instrument into the appropriate sound production family.

4. Ensemble Creation a. Discuss the vocabulary associated with various musical ensembles, i.e., string quartet, brass

trio, woodwind quintet, etc. b. Have small groups of students create with their own ensembles, finding the most

complimentary combinations of tone colors. c. Groups should then share their ensemble combinations with the class and justify their selection

with information about the instruments.



TONE COLOR ACTIVITIES 5. The Orchestra a. Group the "orchestral instruments" by this new system. Refer to the traditional labels: brass,

string, woodwind, and percussion as sections of the orchestra. Use the Sound Production Family labels in conjunction with the orchestra section labels.

b. Read Orchestranimals or another book about orchestra instruments and classify the instruments by orchestra section and sound production family while reading the book.

B. CREATING: 1. Inventing an instrument a. Have students determine what type of musical sound they would like to have an instrument

make. Have students consider tone qualities and what materials would produce the desired quality. Have students consider size and playing techniques.

b. Have students draw a sketch and describe their instrument. c. Share a variety of music equipment catalogs with the class. Examine the sample catalog

entries for musical instruments. Make note of the language used for the description including size, materials, how it is played, and the sound produced.

d. Using the information from their instrument creation, have students respond to the following writing prompt:

Pretend that a music equipment company has agreed to advertise your instrument in their catalog. Write a persuasive entry using factual information about your instrument as you would like it to appear in the catalog. Include a color drawing of your instrument showing somebody playing the instrument. Be sure your writing includes:

• a catchy name for your instrument • a complete description of the materials it is made from and the size using

language that will make it sound interesting to the potential buyer • an explanation of what part of the instrument makes the sound and how to play

your instrument in a way that will attract your buyer • the type of musical sound it can produce



Instrument Collage Template

CHORDOPHONES (STRING STARTERS) AEROPHONES (AIR STARTERS) IDIOPHONES (SELF STARTERS) MEMBRANOPHONES (SKIN STARTERS)



TONE COLOR ACTIVITIES

REFERENCE PAGE: SOUND PRODUCTION FAMILIES INTRODUCTION:

With few exceptions, all cultures have some kind of music. This music may be produced through the natural medium of a human voice or through the more artificial medium of a human-made instrument. The human voice remains the most common medium of musical sound not only because it is the most natural, the most accessible, and the most effective carrier of melody and words, but also because it is flexible and expressive. Human-made instruments include an ever expanding number of musical instruments throughout the world. A classification system to include this multitude of instruments was developed in the early 1900’s and is still in use today. HORNBOSTEL-SACHS CLASSIFICATION SYSTEM:

The classification system adopts a more logical, consistent system of instrument classification than the traditional scheme which includes stringed, woodwind, brass, and percussion instruments. This classification system was developed by Eric von Hornbostel and Curt Sachs in 1914. The traditional scheme frequently used by music educators has significant drawbacks. First, it is based on three different principles: the sonorous material acted upon (strings), the action itself (percussion), and the activating force (winds) which is further subdivided by the material of the instrument (woodwind and brass). According to Sachs, the principle of division in a classification system should remain consistent throughout all categories. In addition, it does not include many of the instruments outside our modern orchestra.

Hornbostel and Sachs devised a more consistent classification system which uses a single criterion to determine the instrument’s classification. The criterion they used is the way in which the sound is produced in the instrument. The four main categories are as follows: 1. Chordophones: Instruments in which sound is produced by the vibration of strings. Note: includes

traditional String instruments. 2. Aerophones: Instruments in which sound is produced by the vibration of air. Note: includes

traditional Woodwinds and Brass. 3. Membranophones: Instruments in which sound is produced by the vibration of stretched

membrane/skin. Note: includes some of traditional Percussion. 4. Idiophones: Instruments in which the substance of the instrument itself produces the vibration.

Note: includes some of traditional Percussion. 5. Electronophones: Instruments in which sound is produced by purely electronic means.

The fifth category entitled "electronophones" was added later with the advance of technology. This group includes two categories of music instruments - amplified and electric instruments. An amplified instrument is a sound producing instrument whose volume is increased by changing the sound into an electric signal using a separate device such as a pick-up or microphone then playing it back through a loudspeaker. An electric instrument is an instrument in which a device to increase/amplify the volume of a sound or change its timbre forms an essential part of the instrument. The electric guitar, for example, cannot be heard until its sound is channeled through an amplification system even though it must be produced first from the vibration of strings as in the acoustic guitar. The list which follows helps to understand the classification system and where instruments from around the world might be placed along with traditional orchestral instruments.



TONE COLOR ACTIVITIES AEROPHONES/AIR STARTERS accordion horn recorder harmonica saxophone bassoon sheng clarinet kayne siku oboe sousaphone cornet ocarina dizi panpipes trombone double recorder piccolo trumpet English horn pipe organ tuba flute quena whistle French horn IDIOPHONES/SELFSTARTERS agogo bell finger cymbals rainmaker cricket wood block rattles angklung tone block flexitone resonator bells axatse gankogui rhythm sticks balafon glockenspiel sand blocks bells gong sansa cabasa guiro castanets guiro triangle celeste hosho chimes/chime tree jaltarang Chinese bell tree jingle bells clappers jingles claves kalimba cloud chamber bowls kseng kseng contrabass bars maracas cowbell mbira shaker shekere slapstick steel drums xylophone tempo blocks vibraslap triangle cymbals metallophone wind chimes tambourine without head MEMBRANOPHONES/SKIN STARTERS adodo bongos petia apentemma changgo snare drum ashiko drum conga sogo donno taiko-dojo atumpan hand drum tambourine with head bass drum timpani CHORDOPHONES/STRING STARTERS autoharp fiddle lute balalaika guitar mandolin banjo guitarron piano bass haegum p'i p'a bouzouki harp shamisen cello harpsichord ukulele ch'in kayagum vihuela double bass kora viola dulcimer koto violin ELECTRONOPHONES analog synthesizers: Hammond B - 3 Organ, Elepian Electronic Piano, mini moog digital synthesizers: Yamaha DX 7, Kawai K samplers: Roland S – 50 hybrids: Casio FZ - 1 computer


Music in Relation to People

And Other Arts

This section examines the music of people from a variety of cultural, historical, and social perspectives. Suggested activities are included for each of these areas. An understanding of the music lyrics to fully appreciate the role of music in people’s lives is an integral part of these activities. Writing activities to communicate students’ understanding of these perspectives are also included. Music teachers are encouraged to coordinate with classroom teachers when planning a unit from this section for more meaningful instruction. This section also provides students with the opportunity to develop a broader view of the Fine Arts and the connections between the various art forms. There are suggested activities for Drama, Visual Art, Music Styles and Genres, and Writing. Reference pages with the Reading Themes and a glossary of literacy terms are included in this section. Frequent communication with the building Reading Specialist and the classroom teacher will be helpful in the planning and pacing of instruction to optimize the natural link that occurs between reading, writing, the other Fine Arts, and music.

MUSIC IN RELATION TO PEOPLE AND OTHER ARTS


Music in Relation to Other Arts Has your audience ever contemplated the direct relationship that music education has with the school’s total curriculum? Many critics fail to realize and consider the influence which music has on the entire educational program. Utilize the following when making your case to the masses.

• Science – Music is a specialized science which deals with the qualities of sound, acoustics, and timbre. Extensive training is given to the aural discrimination between like pitches and those that are different.

• Mathematics – Although it is a simplified form of arithmetic, counting in groups of two, three, four,

and higher are used consistently in all music repertoire. When teaching the values of rhythmic notation, we develop and reinforce the concepts of addition, subtraction, multiplication, and division.

• Geography – Music is common, but unique to every culture on Earth. Each music selection that

our students present utilizes rhythmic patterns and a specified tonality. Both have their origins from other regions and countries on the globe. When performing these, we raise the awareness of the world around us.

• History – Through an appreciation of music, students study the great composers of the past. When

musicians understand the intentions of the composer’s masterpiece, they gain insight to all historical eras. Music acts as a blueprint, testimonial, and archive to the people and the events of the Antiquity, Middle Ages, Renaissance, Baroque, Classical, Romantic, and Contemporary Eras. As musicians, we are able to experience a piece of history through a performance of a musical selection.

• Language Arts – When analyzing a music composition, the performer will note the relationship of

the concerto/symphonic form with that of the basic essay format emphasized in writing classes. Although a simple framework, the standard exposition-developmental-recapitulation construction of music has a direct correlation with the author’s thesis statement-development-conclusion. The phrasing of the musical line in a performance has a direct relationship with the vocal inflections emphasizing portions of the basic sentence.

• Foreign Language – The music which our ensembles perform has its inception from western

European civilization. With an awareness of the terminology printed throughout the sheet music, performers gain significant knowledge in the Italian language. Depending on the selection’s difficulty and composer, German, French and Spanish terms may be introduced. As a result of the terminology, musicians understand similarities between the English and the Romantic/Germanic languages. The root words, prefixes, and suffixes located in the foreign language find their way directly into the English derivative. This goes a long way in building a strong vocabulary base, and will inevitably improve the students’ all important standardized test scores.



• Physical Education – When starting and developing the wind and vocal musician, a significant

amount of time is spent on developing proper breath support and appropriate respiratory habits. Rehearsals, if properly orchestrated, are as intensive and exhaustive as jogging and swimming laps. In addition, motor skills are advanced substantially when playing percussion, woodwind, brass and string instruments. As with all sports organizations, the concepts of teamwork and cooperation are exploited in the band, orchestra and chorus setting.

Music is the universal language which establishes a common bond among all subjects and people. It evokes passionate emotions in the heart and rekindles vibrant memories of the mind. With the enormous impact that music has on every aspect of our lives, it would make sense to fervently develop and advance our music programs. Instead, excuses are made and methods are devised to remove an essential portion of the human soul. Emphasizing and enhancing music education will expand the student’s knowledge in a variety of subjects, improve their test scores, and release the human spirit.



INDIVIDUAL EXPRESSION A. PERFORMANCE: 1. Birthday songs a. Sing several songs referring to birthdays including Happy Birthday (America) and Las

Mananitas (Mexico) Spotlight on Music - 4. Discuss the birthday customs from different cultures. Discuss how customs vary from family to family even within a culture. Share different traditions and customs for celebrating birthdays that students in the class follow.

b. Have students in cooperative groups make up a birthday song for children in the future. Students may use a familiar tune from a song and make up new words or make up a completely new song.

c. Have groups perform the song in class. d. Assess using the following criteria: singing together as a group, having a clear beginning and

end for the song, and singing an original song about a birthday. 2. “Old McDonald” or other similar songs

a. As a whole class write new words to this song with a different setting, i.e. school, neighborhood, etc.

B. LISTENING: 1. Listen to a musical selection of any type or style a. While listening to the music have students complete the following sentence: This music

reminds me of (a person) because ______________________________ . 2. Song Summary a. Provide students with a copy of the words of the musical selection. Have them follow along

singing with the recording. b. Ask students to complete the following song summary: I believe the musician is singing about

the issue of ____________________ and their message is (in your own words) which is supported by phrases from the lyrics like: 1_________________________________ , 2_________________________________ , and 3__________________________. This message says to me that I should (in your own words, what is the music telling you that you should do).



CULTURAL EXPRESSION A. PERFORMANCE: 1. Code songs of the Underground Railroad a. Sing “Follow De Drinkin’ Gourd” and discuss the routes of the Underground Railroad using a

map. Discuss the constellations referred to in the song. Discuss the hidden meanings in the song and the ways that the lyrics helped the slaves to communicate and subsequently escape.

b. Have students create their own verse for a spiritual with a hidden meaning appropriate for the time period and historical context. Perform using a culturally authentic singing style.

2. Work songs a. Sing and play the following work songs of children: “Here We Go Round the Mulberry Bush”

(European); “One, Two, Three” (Barbados) - Share the Music - 3; “Stone Pounding” (Jamaica) - Share the Music - 4; “Wang U Ger” (China) - Share the Music – 3 and Spotlight on Music 3; “Zum Gali Gali (Israel) - Share the Music – 5 and Spotlight on Music - 4; and “Draw a Bucket of Water” (African American) - Step It Down and Spotlight on Music – 3.

b. Point out on a map the location of these countries. Discuss the cultural background of the children who sing these songs. Discuss which types of work would be done by girls versus the work done by boys in each culture. Chart the information and look for similarities and differences between the cultures and the kinds of children’s work.

c. Sing the songs again and pantomime performing the work while singing the song. Do this with as much cultural authenticity as possible in the music class environment.

d. Have students create their own work song for a job they have to perform on a regular basis. Students should then try to sing the song whenever they are doing the work over a given period of time. Students should then evaluate the song’s effectiveness in having the work go faster or easier.

3. Mufaro’s Beautiful Daughters or similar folktale text from various countries. a. Read the book together as a class. Discuss the story using a story map graphic organizer. b. Read the story again looking for repetitive or rhythmically phrases that could be said by the

whole group. Use this as a starting point for telling the whole story in the form of a rap. The exact words need not be used but the body of the story should remain the same.

c. The story should be divided into scenes. Small groups work on different parts and then the whole group joins in at some point with the repetitive/rhythmic phrase being said by the class.

d. Scenes could be dramatized by small groups as other groups are working on the rhythmic speech. Sound effects by culturally authentic instruments could be added to the story’s retelling.

e. Put the whole story together as a class. Evaluate the practices as a class and incorporate the suggestions for improvement into additional rehearsals as time allows until students are satisfied with their creation.



CULTURAL EXPRESSION (cont.) B. GAMES AND MOVEMENT: 1. Beat games a. Sing and play the following beat games: “Engine #9” (Traditional American block passing

game); “Obwisana” (African stone passing game) Share the Music - 3, Spotlight on Music - K; “Bob-a-Needle” (African American needle case passing game) Shake It to the One That You Love the Best; “El Acitron” (Latin American stick passing game) Spotlight on Music - 6; and “Biddy, Hold On” (Jamaican ring passing game) Share the Music - 3.

b. Have students compare the games as they are introduced using a Venn Diagram with consideration for such items as the passing object, language, where the passing occurs, tempo, how the game is played, and the position of the players.

c. As a culminating activity students may be asked to select their two favorite games and compare them. Have students state the criteria for their selection.

2. Traditional dances a. Have students perform a selection of traditional dances such as the following: “Seven Jumps”

(Denmark); “Hora” (Israel); “La Raspa” (Mexico); “Electric Slide” (America); “Irish Jig” (Ireland); Native American dances; and African dance experience

b. Compare the different dance styles and formations. Have students research any of the dances to share information with the class about the dance as a cultural expression.

3. Latin American Instrument Classification a. Have students listen to a recording of a mariachi band. b. Show pictures of the instruments used in the recording. As a class discuss the classification of

instruments using the pictures. Discuss cultural information regarding Hispanic music as well. c. Listen to other Latin American music for the use of instruments. Classify those instruments.



HISTORICAL CONTEXT A. PERFORMANCE: 1. Sea Shanteys – Music and You, Book 5 a. Sing a variety of sea shanteys. Discuss the historical context of these work songs of the sea.

Perform the work that would be done with each type of shantey as it is being sung. b. In small groups have students complete the “Sea Shantey Glyph” which is included here. The

graphing activity at the bottom may be done as a whole class. c. Have students respond to the following writing prompt: Pretend you are looking for sailors to go to sea during the 1700’s. Write an advertisement

for a newspaper to persuade more sailors to come work on your ship. Include information about the life on the ship or jobs you have to perform as a member of the crew. Tell what you may have a chance to do in your leisure time. Tell about a favorite sea shantey you enjoy singing and when you generally sing it. Use the writing process for the completion of this writing assignment.

2. Revolutionary War songs a. Sing one of the versions of Yankee Doodle. Have students become familiar with the refrain. b. Discuss theme and variations form. Divide into small groups. Each group may develop their

own style for singing the refrain of Yankee Doodle. These will be the variations. The words should remain the same. The singing style should change for each group. Discuss some of the possibilities including dynamic changes, tempo changes, rhythmic alternatives, etc.

c. Give each group an opportunity to perform for the class. Evaluate each group’s performance using pre-determined criteria based on the completion of the task of creating a variation on the singing style of Yankee Doodle.

3. Freedom Songs from the Civil Rights Movement. a. Sing a variety of the freedom songs. Discuss the historical events referred to in the lyrics. b. Have students in small groups research several of these events. Groups should complete a

Who, What, Where, etc. graphic organizer as they do their research. c. Each group should then prepare a presentation of the information using one of the following

presentation possibilities. • eyewitness news report • talk show interview • dramatize the event • debate the two sides • oral history presentation – take the position of someone who was there

• analysis – “we think they should have …” • what if – change one thing about the event and predict what might have happened if… • application – How can you use what happened from the event to change or work on

one of today’s issues? • abstraction – If something like this happened today, how would things be different? • presentation ideas of your own – please get teacher approval before you continue d. The class should follow each group’s presentation by singing the song that refers to that

particular event.



HISTORICAL CONTEXT e. Have students individually respond to the following prompt:

Pretend you are a freedom fighter in today’s world. Select an issue you feel people need to work on (for example: drugs, weapons, violence, education). Write a speech to a group of today’s freedom fighters telling them how you feel about this issue. Include information about what you feel needs to be changed. Describe how you might use something you learned about from the Civil Rights Movement to help make changes. In your speech, name a freedom song that you could use for the issue you have selected and write down new words you might sing in the song to speak about your issue. Use the writing process for the completion of this writing assignment.



SEA SHANTEY GLYPH

You’ve recently been hired to work on board a ship. Create a glyph detailing your job, destination, cargo, and number and gender of sailors on the ship. Questions:

1. To which hemisphere would you travel? Select a tan ship from the table if you would be traveling to the southern hemisphere and a gray ship if you would be traveling to the northern hemisphere.

2. For which job were you hired? Draw the appropriate stick figure aboard the ship where you would

work.

Cook Shanteyman Capstan Halyard

3. What kind of cargo do you haul? Draw the following patterns on the hull of your ship to represent the corresponding cargo.

Fabrics & agricultural work ship Furnishings products (fishing/whaling)

4. How many sailors are on your ship? Draw a sail on the mast for each crew member. The red sails

are for males and blue sails are for females. Switch glyphs with another group. Interpret the data and write an informative entry in the captain’s journal using the data from their glyph. Graph the results using a bar graph.



DRAMA A. PERFORMANCE: 1. Choose a selection such as the Nutcracker, Sorcerer’s Apprentice, Hansel and Gretel, or Cinderella. a. Discuss the story that accompanies the music. Listen to the music and draw scenes from the

story using a sequence chain. b. Divide the class into small groups. Assign each group one of the scenes from the story to

pantomime while the music is played. c. Allow time for groups to prepare. Encourage students to silently pantomime as the music

should be the only thing heard. d. Prior to the performance agree on a signal for letting each know when to start. Discuss

appropriate behavior for participation as the audience as well as the performers in this activity. B. GAMES AND MOVEMENT: 1. “Under the Big Top” – Donaldson (Bowmar Listening Library-Animals and the Circus) Alternative: “Carnival of the Animals” – Saint-Saens a. Listen to the entire work b. Divide the class into eleven groups. c. Assign each group a specific act. Each group will dramatize the acts within the piece of work.

Allow time for preparation before returning to the music. d. Supply props, costumes, and tumbling mats.

MUSIC STYLES AND GENRES

A. PERFORMANCE: 1. The Blues a. Have students listen to a selection of blues pieces. b. Explore the twelve bar blues pattern. Count the beats played in each phrase. c. Play a twelve bar blues chord progression on the xylophones. d. Sing the “Joe Turner Blues” while the chord progression is played on the xylophones. e. Students may work in cooperative groups to write their own twelve bar blues verses. A common

setting or topic (i.e. “Back to School Blues”) may be chosen but this is not required. f. Practice together as a class. Make an audio recording of the final performance. Evaluate the

performance using pre-established criteria. B. LISTENING: 1. Genre Classification a. Through the year while listening to and/or performing a variety of musical selections of any type

or style, classify the musical works by genre on a chart.



MUSIC AND ART A. LISTENING: 1. Listen to a musical selection of any type or style a. While listening to the music have students complete the following sentence: This music reminds me of the color because _________________________________ . 2. “Eine Kleine Nachtmusik” by Mozart Spotlight on Music - 3 a. While listening, have students draw quilt patterns. b. Alternate activity during the holiday season: have students draw a night scene with a pattern in

the holiday lights. 3. African choral music selection a. Students may draw Kente cloth patterns while listening to the music. 4. “Trout Quintet” by Schubert Spotlight on Music - 6 a. Discuss theme and variations form prior to listening to the piece. b. Demonstrate the theme and variations idea using a drawing of a fish. For each variation,

change or add one thing to the drawing of a fish. c. Have students listen to the “Trout Quintet” and draw their own versions of fish variations. 5. “The Planets” by Holst a. Distribute dark sheets of construction paper. Have students use yellow or white crayons or

chalk for this activity. b. Discuss how stars sometimes create shapes and symbols called constellations. c. While listening to the music use stars to create their own shapes on the paper provided.

MUSIC AND WRITING

A. LISTENING: 1. Music Journals (could be done over several class periods) a. Choose several listening selections. Provide students with a copy of the music journal form. b. Have students respond to the listening selection providing the requested feedback on the form. c. Ask students to make some generalizations about their musical tastes and observations

following several listening experiences. Encourage them to comment on the type of music as well as the instrumentation preferences.

2. Music Brief Constructed Responses a. Choose a familiar song. (Several possibilities are provided with this activity.) Make sure

students are comfortable singing it. b. Discuss the song lyrics. Discuss the historical, cultural, and social context of the music as well. c. Have students respond to a music BCR (samples are provided) to determine student

comprehension of the song text. d. Responses could be assessed using the rubric provided.



Reference Page: Suggestions for Linking Reading, Writing, and Music

There are a number of reading and writing instructional strategies and activities that can be incorporated into music instruction. Among these strategies are word walls with music vocabulary, fluency development through rhythmic speech and singing, comprehension of music text, Brief Constructed Responses to address comprehension skills, music journals, in addition to writing about personal musical preferences, evaluation of performances, and creating new lyrics to songs. Additional ideas for incorporating some of these strategies in music are given below. Music Word Wall Word walls in the music room should contain music vocabulary words. Students of all grade levels use the word wall in the music classroom and the vocabulary crosses those grade levels, so the words could stay up all the time. However word walls need to be active so when addressing various music skills and concepts in instruction, access the word wall and draw students’ attention to the music vocabulary that is associated with the specific skill or concept. Music Text Writing Experiences Writing is a process and music text writing (creating new lyrics) is no exception. There are different levels of involvement on the part of the teacher in order to bring students to the point of independence with the area of music. These levels include Shared Writing where the teacher and students create the song lyrics together and the teacher is doing the actual writing. Interactive Writing follows this where the teacher and students create the song lyrics together with the teacher writing the text, which the students then copy, or with the teacher writing part and the students writing part. The next level of writing is Guided Writing where the teacher assists the students but the students do the actual writing. Independent Writing is the level where students can independently construct and write their own lyrics. This could be applied to other areas of music responses as well.



Reference Page: Glossary of Literacy Terms for the Music Teacher

Analogies Comparison of certain similarities between things which are otherwise unlike Antonyms Opposites Assessment Tests Baseline Data Information gathered before instruction begins BCR Brief constructed response: a brief response to a posed question generally not

more than one or two paragraphs in length. The MSA contains numerous BCR's in both the reading and mathematics portions.

Benchmark Minimum acceptable criteria that measures student progress at any given point Blends Forming a word by combining parts of the words Character Traits Elements of personality Chunking Breaking an unfamiliar word into familiar groups of letters to be able to read it,

can also be used in a reading passage for better comprehension Clusters Two consonants that go together to make one sound Compound words Two independent words that can go together to create a new word Comprehension Primary goal of reading, Understanding of the text Conclusions The solution to a problem in a story Content area words Vocabulary about a specific subject Content specific Vocabulary or language about a specific subject Context clues Using the words in the sentence or paragraph to create meaning for an unknown

word Conventions Standard spelling, grammar, punctuation, and capitalization rules Decoding Figuring out letter sound relationships in words Digraphs Group of two successive letters whose phonetic value is a single sound. Diphthongs Gliding monosyllabic speech sound Directionality The direction that the text flows, left to right Dolch words High Frequency Words DRA Developmental Reading Assessment, also known as Running Records, a

reading assessment tool which allows teachers to target instruction to specific student needs, monitor changes over time, match students with appropriate reading material and, document reading proficiency and students' use of strategies.

ECR Extended constructed response Emergent Readers Students who are just beginning to learn basic reading skills Figurative language Language that has meaning beyond the literal meaning, “figures of speech” Fluency Smooth oral reading skills Formative Assessment Assessments in which teachers feed information back to students in ways that

enable the student to learn better, or when students can engage in a similar, self - reflective process.

FUSE Acronym used in the writing process to help develop BCR's. Find and underline key words in a question. Use the key words in a topic sentence that answers the question. Support your answer with at least two specific examples from the text. Explain what each example means and how each one answers the question.



Reference Page: Glossary of Literacy Terms for the Music Teacher (cont.)

Generalizations Common elements Genre Forms of text materials HFW High Frequency Words also known as Dolch words, commonly used words Homographs Words that sound and look the same, but have different meanings Homophones Words that sound the same but are spelled differently and have different

meanings Idioms A phrase or expression that is understood in a given language but differs from

the literal meaning of its parts taken together Inference Drawing conclusions from what is in the text and one’s own knowledge and

thinking Literal meaning Facts stated directly in the text Mechanics Standard spelling, grammar, punctuation, and capitalization rules Mind Picture/Mind Map Creating a visual image in your mind of a story MSA Maryland State Assessment: administered each year near the end of the 3rd

quarter. Determines if a school is meeting AYP (adequate yearly progress). Multiple meanings The same word used in different contexts and means different things Multiple usage The same word used in different contexts and means the same thing Phonemic awareness The speech sounds for each letter or letter group as they create word structures Phonics The study of the sounds that make up words. In reading education, children are

taught the sounds of letters and how those letters combine to form words. Picture clues Using the pictures to create meaning for an unknown word Predictions Expressing what the reader thinks will happen next in the text based on what

they know or have read Prefix Added beginnings of words Primer Introductory reading level Print features Also known as text features, these help the reader locate information in the text Prior knowledge What students knew about a topic before instruction Rhyming words Words with the same ending sound Rubric Scoring tool with specific information for how skills and concepts should be

assessed by degree or level of achievement Semantics Changes in the meaning of speech forms Sequencing Putting the events of a passage or story in order SRI Scholastic Reading Inventory: a reading comprehension test for grades 2-12

that assesses students' reading levels and helps teachers adjust instruction according to students' needs, track students' reading growth over time, and match readers to text. This assessment is given quarterly to monitor a students reading progress. This assessment is almost entirely vocabulary related. The multiple meaning word and context clue examples are in the SRI format.

Stance Purpose for reading or writing Suffix Word endings Summative Assessment

Assessments which attempt to summarize student learning at some point in time, such as the end of a unit or an end of year assessment. Most standardized tests are summative.



Reference Page: Glossary of Literacy Terms for the Music Teacher (cont.)

Synonyms Different words with the same meaning Syntax Structure of language in phrases and sentences Vocabulary Words Voice The perspective the text is written from, first person, second person, etc. Whole Language is the belief that language should not be separated into component skills, but

rather experienced as a whole language system of communication. Whole language has been characterized as encouraging children to guess at the pronunciation of words rather than focusing on phonics.

Word attack Strategies for reading unfamiliar words Word choice Words used in writing to strengthen and clarify meaning Word families Rhyming words Word substitution Substitution of a known word with the same meaning

Reading Stances

Reading for Literary Experience Reading to Perform a Task Reading to be Informed

Writing Stances Writing to persuade Writing to share personal ideas Writing to inform



Reference Page: Reading Themes The Elementary Reading Themes are listed below along with the music links given in the Reading

Textbook. References to books are in italics. Grade Theme Theme Title Music Links in the Reading Text

K 1 Look At Us The Alphabet Song Head, Shoulders, Knees, Toes If You're Happy and You Know It Itsy, Bitsy Spider

K 2 Colors All Around Yankee Doodle (Sammy Seal's song) This Old Man (Mimi Mouse's song) Hush Little Baby (Reggie Rooster's song) Mary Wore a Red Dress (all)

K 3 We're a Family Tortillas and Lullabies K 4 Friends Together K 5 Let's Count K 6 Sunshine and Raindrops Chicken Soup with Rice K 7 Wheels Go Around The Wheels on the Bus K 8 Down on the Farm Cows in the Kitchen K 9 Spring is Here K 10 A World of Animals 1 1 All Together Now How Much is That Doggie in the Window? Bingo The More We Get Together Take Me Out to the Ball Game Old MacDonald Had a Farm 1 2 Surprise Mary Had A Little Lamb Polly Put the Kettle On The Giants 1 3 Let's Look Around 5 Little Pumpkins Barnyard Song Mi Chacra/My Farm A Sailor Went to Sea, Sea, Sea 1 4 Family and Friends Miss Lucy Had A Baby Little Drops of Water Where, Oh Where Has My Little Dog Gone? 1 5 Home Sweet Home Five Little Frogs Little Shell The Sidewalks of New York 1 6 Animal Adventures Animal Song Little Pig



Reference Page: Reading Themes (cont.) 1 7 We Can Work It Out The Lazy Man and the Busy Man The Ants Go Marching 1 8 Our Earth The Caterpillar This Land is your Land 1 9 Special Friends Five Little Ducks 1 10 We Can Do It! The Bear Went Over the Mountain 2 1 Silly Stories 2 2 Nature Walk 2 3 Around Town

2 4 Amazing Animals The Ants Go Marching - writing new verses, How To Read Lyrics

Animal Songs 2 5 Family Time

2 6 Talent Show Go To a Concert unit Moses Goes to a Concert story

Jade's Drumming story Will Holly Sing? Story Making instruments Ben's Trumpet Bremen Town Musicians Zin Zin Zin a Violin The Perfect Instrument Mr. Mell Goes to Camp story 3 1 Off To Adventure Listen to and write about world music

3 2 Celebrating Traditions Grandma's Records, salsa music information

3 3 Incredible Stories Writing lyrics for a theme song for cartoon opening - "Dogzilla" story

Ballad of Dinosaur Bob song (Auld Lang Syne tune) 3 4 Animal Habitats 3 5 Voyagers 3 6 Smart Solutions Problem Solving song - writing lyrics

4 1 Journeys Haiku lesson link to music lesson "Singing Man" story

4 2 American Stories Cowboy songs-reading and analyzing lyrics "This Land is Your Land" words Duke Ellington book, Marian Anderson 4 3 That's Amazing Ballroom dancing with Cinderella story "John Henry" story



Reference Page: Reading Themes (cont.) 4 4 Problem Solvers Blues research project Musicians' Work unit with Bach and Louis Armstrong

"Sing to the Stars" story with musical game in the lesson

Elements of Poetry unit with writing a rap included 4 5 Heroes Benefits of music unit

Success in the Music Business - Gloria Estevan and Duke Ellington

Listening to music with a purpose, discussing a song by Estevan

4 6 Nature: Friend and Foe Recording sounds - equipment and technology 5 1 Nature's Fury Tall Tales 5 2 Give It All You've Got La Bamba story History of Recorded Sound Unit Mozart Season Meet Yo Yo Ma

5 3 Voices of the American Revolution Yankee Doodle-reading and analyzing text

5 4 Person to Person 5 5 One Land, Many Trails Cowboy stories Native American stories

Pioneer stories

American Immigrants - Chinese Americans, Mexican Americans

5 6 Animal Encounters

The Sixth Grade Reading Curriculum is organized differently than the rest of the elementary reading curriculum. The Curriculum Framework for Reading in the sixth grade would be most helpful in determining what themes/stories are being discussed as well as the skills being addressed in Reading instruction. These frameworks would also be helpful in determining the pacing of the Themes for grades K-5 as well as the reading skill instruction at any given point in the year. Conversations with the classroom teacher and building reading specialist would also be helpful in linking music instruction to reading.


Music Journal

Date Title and Type What I Thought About It Title:

Type:

+ _ Interesting:

Title: Type:

+ _ Interesting:

Title: Type:

+ _ Interesting:

Title: Type:

+ _ Interesting:

Title: Type:

+ _ Interesting:

Title: Type:

+ _ Interesting:


Music BCR’s Rubric 3 The response demonstrates an understanding of the complexities of the text. Addresses the

demands of the question. Effectively uses text-based and/or text-relevant information to clarify or extend understanding.

2 The response demonstrates a general understanding of the text. Partially addresses the demands

of the question. Uses text-based and/or text-relevant information to show understanding. 1 The response demonstrates a minimal understanding of the text. Minimally addresses the

demands of the question. Uses minimal information to show some understanding of the text in relation to the question.

0 The response is completely incorrect or irrelevant to the question.

Grade 3 There’s a Hole In My Bucket (p. 180, gr.2, p. 132): Who does a better job of solving problems in the song, Willy or Liza? Support your opinion with specific details from the text (song lyrics). Frog Went a’Courting (p. 134, gr. 4, p.46): The frog and the mouse are animals that represent people in the song. Which animal represents a man and which animal represents a woman? Use information from the text (song lyrics) to support your answer. (Use after a selection of 4 -5 songs sung in class.) Which song was your favorite song to sing? Use information from the song to support your preference. (Use after watching a videotape and an audiotape performance in class.) Which performance did you like the best, the one that you could watch and listen to or the one that you could just listen to? Support your selection with specific information from the performance. Grade 4 When I First Came to This Land (p. 323, Gr. 3, p.28): Is the person singing the song happy with his decision to come to this land? Use specific details from the text (song lyrics) to support your opinion. The Cat Came Back (p. 224): If another tragedy happened to the cat, would he still come back? Support your opinion with information from the song lyrics (text). Sweet Betsy from Pike (p. 350): Do you think Betsy and Ike were ready for their journey? Support your position with information from the song lyrics (text). (Page numbers refer to the Share the Music textbook series. Page numbers in italics refer to the Spotlight on Music series.)


Grade 5 Erie Canal (p. 154, gr.5, p. 132): Is the job of working on the Erie Canal easier or harder with a mule? Use information from the song lyrics (text) to support your answer. Yankee Doodle (p. 120, gr. 4, p. 154): Does the song present a realistic picture of the Revolutionary War? Support your position with information from your background knowledge and the song lyrics (text). Simple Gifts (p. 191, gr. 5, p. 136): What does the song suggest about the people that it represents? Use specific details from the song lyrics (text) to support your answer. What was the best part of the performance? Give a specific example and explain why you feel it was the best. Which performance was of the highest quality? Support your selection with specific information from the performance. What part of the performance needs improvement? Give specific ideas for how it might be improved. What are some of the ways that the performance could be improved? Use specific examples from what you observed to support your answer. Grade 6 Day-O/John B. Sails (p. 32/347): Compare the two songs about boats. Which presents a more appealing picture of life on a boat? Use the song lyrics (text) to support your position. Old Joe Clark (p. 396, gr. 4, p. 74): Is Old Joe Clark an honorable person? Give evidence from the text (song lyrics) to support your position. Drill Ye, Tarriers (p. 363): Is the job of being a tarrier an easy or difficult job? Support your position with information from the text (song lyrics). What was the best part of the performance? Give a specific example and explain why you feel it was the best. Which performance was of the highest quality? Support your selection with specific information from the performance. What part of the performance needs improvement? Give specific ideas for how it might be improved. What are some of the ways that the performance could be improved? Use specific examples from what you observed to support your answer.

(Page numbers refer to the Share the Music textbook series. Page numbers in italics refer to the Spotlight on Music series.)


Music Careers

This section addresses an additional outcome, Music Careers, from the Prince George’s County Scope and Sequence. This section has activities for the direct instruction to address the objectives and indicators for this outcome. Activities addressing the impact of technology on the music business are also included in this section.

MUSIC CAREERS


PERFORMANCE A. PERFORMER’S LIFE 1. Tour Itinerary a. Discuss touring as a musician and list all the jobs associated with the tour in addition to the

performers. b. Using a sequence chain graphic organizer, create a tour for a group of students’ choice. This

may be done in small groups after being modeled by the teacher. Discuss economical routes of travel and location selection, concert date and time choices, ticket price considerations, etc. Have students draw the route on a map to submit with their itinerary.

2. Interviews a. List questions students might have about the life of a professional musician. Interview a

professional musician. b. Write an article for a newspaper or magazine introducing the musician to readers. Include the

person’s background, reason for being a musician, professional training, performance experience, description of musical style, successes, goals for the future, family information, etc.

B. QUALIFICATIONS 1. Training a. List a variety of music related careers. Select one to research. b. Have students research the type of training and/or qualifications needed to be hired for that job. 2. Portfolios a. Discuss what information prospective employers may need to have when considering an

applicant for a music related job. Determine what items an applicant might include in a portfolio. b. Invite a professional musician to speak to the class and discuss their portfolio of their work.

Examine the items in their portfolio. c. Develop a class portfolio of whole class and individual performances, recommendations, and

written work from the year’s music instruction. C. EMPLOYMENT 1. How to get the job a. Select a music-related career from previous class discussions. As a class, determine what

steps a person might need to take to find a position in that particular field. b. Have small groups select another music related career and complete a sequence chain with

information about steps to take to get the job in their respective music career.

MUSIC CAREERS


MUSIC RELATED JOBS A. MANAGER’S JOB 1. Responsibilities a. Discuss the responsibilities of the performer’s manager. b. Allow students to perform a musical selection of their choice for the class. (This would be a

good performance opportunity for those piano students and instrumental music students.) c. Have the rest of the class make notes about the performance, including what was performed,

stage presence, compliments and suggestions for improvement for the performer. d. Have students respond to the following prompt:

Pretend you are the manager of one of today’s performers. Write a critique of their performance commenting on the following: their talent, choice of music, performance, bravery, organization and if applicable, cooperation with other members of the performing group. Include at least three of these areas in your critique. Write at least two compliments (positive statements) as well as two suggestions for improvement. Keep in mind as you make your word choices that this person is your employer and you want to offer them assistance in improving their performance and at the same time keep your job.

Use the writing process for the completion of this writing assignment. e. Alternative assignment: Have students write a recommendation for the performer. B. MUSIC PUBLIC RELATIONS/PROMOTERS 1. Posters a. Design a poster advertising an upcoming concert for a school performing group or an imaginary

performing group/concert. 2. Newspaper review a. Prior to a school music assembly or music concert experience students might have on their

own, discuss information that a newspaper reporter might need to gather to report on a musical event and write a review of that event. Encourage students to take paper and pencil to the event to be able to make notes for later review.

b. Following the concert respond to the following prompt: Imagine you are a newspaper reporter. Write an article for your newspaper about the performance you have attended. Include information about the performers, what they performed, where and when they performed. Be sure to write at least one compliment (positive statement) about the performance as well as one suggestion for improvement.

Use the writing process for the completion of this writing assignment. C. MUSIC EMPLOYMENT 1. “Hire a Musician” a. List, with students, a number of places where a person encounters music in their daily life.

Determine the job title for a person involved in each type of these music related careers. b. Using the “Hire a Musician” worksheet, conduct a search of the Yellow Pages to find the names

of someone to fit the job description on the worksheet. This may be done in small groups after being modeled by the teacher.

2. Media resources a. Reference the media on-line catalog for filmstrips pertaining to various music careers.

MUSIC CAREERS


Hire a Musician

1. Think of a job for which you might hire someone in the music field. Job Description: Possible job titles:

2. Use a Yellow Pages phone book and find someone to fill the job. What headings could you look under? Which one seems to fit best?

How many listings are there under that heading? Which ones are closest to your location? What is their location?

Do any have an ad listed in the phone book? What information does the ad give that makes the person or company worth considering? Who would you call first and what would you ask them?

Who would you hire at this point and why?

MUSIC CAREERS


MUSIC AS A MARKETING TECHNIQUE

A. SHOPPING 1. Invite a member of a local shopping mall management staff to visit and discuss the use of music in

shopping centers and its impact on shoppers, psychologically. 2. Program music for use in the school cafeteria to evaluate the impact of music in this setting. B. ADVERTISING - COMMERCIALS 1. Have students list different marketable items and determine whether they are goods or services,

wants or needs. 2. In small groups have students create a commercial jingle and the commercial to accompany the

jingle for one of the products on the list. Discuss ways to incorporate music as a marketing technique – theme music, background music, music for the jingle. Discuss the importance of using persuasive language. Videotape commercials as they are presented to the class.

TECHNOLOGY A. THE RECORDING INDUSTRY 1. CD’S a. Discuss the recording process from the recording studio to the distribution of the final product.

List jobs for each step of the process. Tour a recording studio, if possible. b. Examine the cover of a current recording and list information contained on that cover, including

recording title, group’s name, song titles and duration, credits, record company’s name and logo.

c. In small groups, have students create a CD cover for an imaginary group. B. BROADCASTING 1. Radio a. Have students listen to an hour of radio broadcasting and write down what was heard including:

how many songs, commercials, station identification, time and temperature, news and traffic reports, games and promotions, etc.

b. Tour a local radio station if possible. c. Have students create their own one hour radio show including the items listed above. Allow

students to make up their own frequency and call letters that are not currently in use. Discuss how call letters and frequency are determined as well as the difference between AM and FM.

2. Video a. Tape a selection of contemporary music videos appropriate for school use and view in class.

Discuss the format of each (i.e. performance video, storytelling, collage surrounding a topic, or combination).

b. Have students watch their choice of videos at home and determine the format of each. c. Using a sequence chain have students develop their own music video, either drawing pictures

or writing the action for several scenes of a video for a musical selection of their choice.


SECTION IV

Sample Lessons

for

Elementary

Vocal and General

Music Instruction

These lessons are suggestions and not intended to be the complete curriculum for any grade level nor are they intended to be required lessons. They can be used as a model for lesson plan development for music teachers.

SAMPLE LESSONS


Guidelines for Teaching Pre-Kindergarten Music The focus of the pre-kindergarten curriculum is to support the primary music development stage of a child’s life. The two goals of this stage are for each child to develop a positive disposition towards active participation in music activities and the achievement of basic music competencies including the ability to sing in tune and physically keep a steady beat. A typical lesson might include: song and chant material, songs without words, music in varied tonalities and meters, movement activities and instrument play. The emphasis must be on actual musical experiences rather than concepts about music. The teacher should create a playful, developmentally appropriate, non-performance-oriented learning environment that is musically rich but is immediately accessible to the child’s participation. Programs such as “Music Together” and “Kindermusik” offer repertoire, instruments, and curriculum appropriate for this age group. Suggested lesson plan format would include any or all of the following: a greeting song, a focus song or finger play (small motor movement), a few rhythm patterns for echoing, a lap song (large movement, in place), tonal patterns for echoing, large movement, instrument activities, a free movement / dancing piece with props, a new focus song, finger play, instrument play along, quiet song, and goodbye song. The main point in this lesson plan format is to provide a number of activities and experiences with some teacher direction of activities but very little focus on directed teaching of music concepts. There is also a natural flow or progression to the activities from small motor activities to free movement and then back to small motor and calming activities by the conclusion of the lesson. These activities are interspersed with brief music skill development activities. When planning lessons for this age group, consider the short attention span of a child this age. A 20 minute time span is recommended. Frequent repetition of previously learned material is often enjoyed by this age. Children this age may not have had any previous school experience. For this reason, there may need to be several instructions for routine school tasks. These students will need gentle but firm assistance to make the adjustment to the school setting. Songs or chants that help students to remember these routines will be beneficial in these efforts. These familiar songs for routines will be comforting to this age as they make the adjustment to the school experience. Many of the same suggestions given for primary students may be applied to the pre-Kindergarten students. The teacher should, however, consider their young age, inexperience, and their developmental age. Some children may have special needs: emotional or physical. Some of these needs may not have been identified or diagnosed at this early age. In addition, children mature at different rates so maturity may mask learning disabilities at this early stage of educational development. There may also be language barriers.

SAMPLE LESSONS


Grade Pre-K – Lesson 1 Lesson Title: Drama and Music Overview:

Students will act out the words to the music in order to connect drama and music. Indicator(s) from Scope and Sequence:

• Dramatize stories of familiar songs. (II.C.1) Warm-Up:

Talk about how I walked through the woods and found some nuts that had fallen from a tree onto the ground. I picked them up and cracked them open. They were dirty and “rotten.” Ask what the word “rotten” means. If they don’t come up with a synonym, you could describe the word as meaning “spoiled.”

Introductory and Developmental Activities:

Introduce the song “Found a Peanut,” (words are included here for teacher use) while also doing the hand motions and facial expressions which describe the meaning of the song, and help the students remember the words to the song. Sing it again, and they can follow all of the hand motions and facial expressions with you. Next, let them try to sing and follow along with all of the hand motions and facial expressions. Discuss how they would feel if they saw that the nut was rotten. What else could they do if they got a tummy ache?

Guided Practice Activities: Adapt the same activity to the song, “Jack and Jill Went up the Hill.” Have students act out the

Jack and Jill parts. Discuss the facial expressions that the characters should have. Give additional students an opportunity to dramatize the same song while the class sings along.

Independent Activities/Meaningful-Use Task: Share the song “Humpty Dumpty.” Discuss who the characters would be. Divide students into groups of five. Have students discuss in their group how they would dramatize this song.

Assessment:

Groups should share their performance of “Humpty Dumpty” while the class sings the song. As a class, evaluate how well the group showed the facial expressions to fit the words of the song. Students should demonstrate the ability to dramatize the song correctly with appropriate facial expressions. Make note of those students who are not singing with the group and those who are not on task.

Closure Activities: Discuss other songs known to the students that could be dramatized in a similar fashion.

SAMPLE LESSONS


Found a Peanut

Found a peanut, found a peanut, found a peanut just now, Just now I found a peanut, found a peanut just now I cracked it open, I cracked it open, I cracked it open just now, Just now I cracked it open, I cracked it open just now. It was rotten, it was rotten, it was rotten just now, Just now it was rotten, it was rotten just now. I ate it anyway, I ate it anyway, I ate it anyway just now, Just now I ate it anyway, I ate it anyway just now. I got a tummy ache, I got a tummy ache, I got a tummy ache just now Just now I got a tummy ache, I got a tummy ache just now. I called the Doctor, I called the Doctor, I called the Doctor just now, Just now I called the Doctor, I called the Doctor just now. He gave me medicine, he gave me medicine, he gave me medicine just now, Just now he gave me medicine, he gave me medicine just now. I feel all better, I feel all better, I feel all better just now, Just now I feel all better, I feel all better just now.

SAMPLE LESSONS


Grade Pre-K - Lesson 2 Lesson Title: Instruments with a Rainstorm Overview:

Students will add classroom instruments in order to enhance the meaning behind the story. Indicator(s) from Scope and Sequence:

• Investigate sound production using classroom instruments. (III.A.1) • Accompany songs and stories using student selected instruments and sounds. (III.B.1)

Warm-Up: Sing “Rain, Rain Go Away” or another familiar rain song. Discuss sounds that a person might hear

when it rains. Introductory and Developmental Activities: Make up a story about a rainstorm, with the student’s help, and draw a story map on the

blackboard or chart paper while discussing what happened. Ask students to name a classroom percussion instrument that is being shown to the class. If they don’t know the name, then tell them the name of the classroom rhythm instrument. Describe how to hold the instrument and how to play it correctly. Have selected students try out the instrument. Do the same thing with other instruments.

Guided Practice Activities: Students should decide which instruments to add to the story to enhance the meaning. Draw a

picture of the instrument on the story map right where it will be played in the story. Review the story, pointing to the pictures and having students play the corresponding instrument. In the middle of the storm have everyone sing “Rain Rain Go Away.”

Independent Activities/Meaningful-Use Task: Review the story map again with students. Students should be able to play the instruments at the

correct time, without minimal teacher’s prompts. Assessment:

Make note of those students who are performing at the appropriate time and those who are not looking at the board. Also observe whether they are able to follow the story line and add the instruments and singing at the correct time.

Closure Activities: Discuss how the story map might be adapted to a different story about going down the street and

seeing a fire engine. Briefly discuss possibilities for instruments for sound effects.

SAMPLE LESSONS


Grade Pre-K – Lesson 3 Lesson Title: Large Body Movement with Songs Overview: Students will use large body movement in order to indicate a relationship between movement and

the lyrics of a song. Indicator(s) from Scope and Sequence:

• Relate movements such as walking, skipping, running, turning, bending to music. (I.C.1) Warm-Up: Tell this story “A little girl was walking down the street, but when she saw her friend, she was so

excited that she started galloping along with her down the street.” Discuss “What is a gallop?” Ask different children to demonstrate a gallop. Tell them that a horse likes to gallop.

Introductory and Developmental Activities: Introduce the song “Rig a Jig Jig” from Spotlight on Music - 1 by singing it and using your fingers

on your lap to act out the words. Have the students use their fingers on their laps to act out the words. (Part A is walking and Part B is galloping) while teacher sings song a second time. Then have students sing along as they use their fingers to act out the words to the song.

Guided Practice Activities: A few students at a time demonstrate walking and galloping as everyone else is singing and using

their fingers on their laps. Then, all students get in a line, and sing and walk for part A and gallop around the room for part B.

Introduce the song “Skip to My Lou” from Spotlight on Music - 1 and discuss what movement would

go with the song. Again have a few students demonstrate skipping to accompany the song. Give all students an opportunity to try the skipping while the class sings the song.

Assessment: Students should demonstrate that they are listening to the music and that they know when to walk

and when to gallop around the room. Do the same with “Skip to My Lou.” Make note of those students who are performing the appropriate movements correctly.

Closure Activities: Review the A part of “Rig a Jig Jig” very slowly and see who can walk to the music while exiting the

room. Review keeping personal space for the galloping part, and then let the last few students gallop to the door when that part of the music comes.

Extensions: Use “Sammy” from Hap Palmer’s Teaching Basic Skills through Music. Have students act out all of

the animal motions using their large body movements, while going in a line around the classroom.

SAMPLE LESSONS


Guidelines for Recommended Music Activities in Primary Grades The pacing of the Primary lesson is critical to keeping the students engaged in the music learning. Primary students need to be actively involved. The statement of the objective needs to be in terms that students this age will understand, for example, “Today we’re going to learn about fast and slow and then use our fast and slow voices to sing some train songs.” The warm-up should introduce the objective without much discussion. Using familiar songs or activities for warm-ups will help with transitions. Some teachers have the same opening song for every class period for this age. The teacher directed activities should include brief directions/teacher talk and move swiftly to active involvement for the students. It is best to limit directions to two or three at a time. Asking students to repeat directions before starting an activity is wise especially if the directions are complicated. Activities should change frequently to maintain interest. However songs can be repeated over several lessons because students this age need repetition to become comfortable with song material. New song material is best taught by rote singing. Songs with simple, short melodic phrases and limited notes are most suitable for this age. Songs with repeated phrases or predictable forms are also appropriate. This age can explore different ways to use the voice from singing, speaking, whispering, rhythmic chant, etc. Teach beginning note reading skills at an early age, but keep early experiences brief and simple. Isolate rhythm from melody in the early years. As primary students get older they can read more advanced melody and rhythm. Some students learn melodic notation using a two line staff for sol-mi and later la, re, and do. Sol would be the top line and mi on the bottom. With the two line staff, students can recognize melodic direction with limited note songs. Additional melody notes can be added one or two at a time without becoming too confusion for this age. By third grade, students should be reading notes on the five line staff. Primary students enjoy movement activities but often need guidance in using the space appropriately. This age student is just learning how to follow directions and therefore benefits from having a demonstration of what is expected by the teacher, individual student, or small group. Some classes will need to try movement activities in place before moving freely about the room. The important thing is that this age needs to have frequent opportunities to move during a music lesson, even if it is to add actions to a song while seated. Encourage students to sing while doing the movement, even though some may have difficulty doing both. Dramatization activities can be very successful with this age. Primary students should be given the opportunity to play simple percussion instruments with guidance and instruction on how to play musically. The distinction between musical instruments to play music and playing with toys for fun should be made. Students this age sometimes think of instruments as toys and need instruction on how to take care of them as well as how to play them musically. Improvisation experiences are enjoyable for this age. Listening experiences for primary students should be brief and focused. They will have difficulty distinguishing more complex concepts like identifying brass from woodwind instruments in a listening selection. However, recognizing the difference between fast and slow or quiet and loud will certainly be manageable. Most primary students will need repeated experiences before they reach mastery of most music skills. They will often be able to master a skill before the conceptual understanding is achieved. Labels for musical skills need to be in language that the students can easily understand. The accepted music terminology can be added as students get older, i.e. “dynamics” will not mean as much as “quiet” and “loud.” However, exposing students to the appropriate music terminology is a good idea when linked with language students would be familiar with so that they can become familiar with the appropriate music vocabulary.

Assessment of primary students can be through observation of whole group activities for student mastery of skills and concepts. Closure activities need to be brief and prepare students for the transition from the music lesson to the classroom teacher.

SAMPLE LESSONS


LESSON PLANNER – PRIMARY DIRECTED TEACHING ACTIVITY PLANNER – 20 MINUTE LESSON

Focusing Student Attention

Statement of Objective: What should students know and do as a result of the lesson?

Warm-Up: How will you engage students in learning? How will you connect the lesson to their prior knowledge?

Times approximate:

2-3 minutes

Introductory and/or Developmental Activities

Teacher Directed Activities: How will you aid students in constructing meaning of new concepts? How will you introduce/model new skills or procedures?

3-4 minutes

Guided Practice Teacher-Monitored Activities: What will students do together to use new concepts or skills? How will you assist students in this process? 5 minutes

2-3 different activities

Independent Activities and/or Meaningful-Use Tasks

Extension, Refinement, and Practice Activities: What opportunities will students have to use the new skills and concepts in a meaningful way? How will students expand and solidify their understanding of the concept and apply it to a real-world situation? How will students demonstrate their mastery of the essential learning outcomes?

3-4 minutes

Assessment Formative Assessment: How will you monitor student progress throughout the lesson?

Summative Assessment: How will you ensure that all students have mastered the identified learning indicators? How will you assess their learning? Daily and end of unit.

Closure Activities: How will you assist students in reflecting upon what they learned today and are preparing for tomorrow’s lesson?

2-3 minutes

2-3 minutes

SAMPLE LESSONS


Grade Kindergarten – Lesson 1

Lesson Title: Same/Different – Body Parts Overview:

Students will recognize the parts of the song that are the same in order to sing the song with the appropriate actions. (Kindergarten Reading Theme 1 is called “Look At Us.” These two songs are included as music selections to accompany the reading theme.)

Indicator(s) from Scope and Sequence:

• Identify simple formal characteristics in music such as same/different and whole/part. (I.A.1) • Relate movements such as bending and stretching to musical sounds. (I.C.1) • Perform singing games. (I.C.2) • Sing and interpret several songs representative of different activities. (II.A.1)

Warm-Up:

Play Simon Says and have students point to various body parts like head, shoulders, knees, toes, etc. Repeat the pattern of ‘head, shoulders, knees, and toes,’ several times.


Introduce the song “Head, Shoulders, Knees, and Toes” from Spotlight on Music - K by singing it and having students raise their hand every time they hear the body parts from the title. Then have them join in singing that part. Discuss same and different. Go over the different part (eyes, ears, mouth, and nose). Have students stand and sing the whole thing and perform the actions that go with the song. Discuss whole and part.

Guided Practice Activities:

Have students listen to “If You’re Happy and You Know It” from Spotlight on Music - K and raise their hand when they hear a part that is the same as a part that they have already heard. Sing that part together. Go over the part that is different. Sing the whole thing with actions.

Independent Activities/Meaningful-Use Task: Make up new verses for the song with new actions. Discuss with students where they sing the same thing and where they need to sing something different.

Assessment:

Students should demonstrate the ability to recognize the parts that are the same and different and respond with the appropriate actions while singing the song correctly. Make note of those students who are not singing with the group and those who are not on task.

Closure Activities: Have students sing the song in their head and show the actions for review of same and different.

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SAMPLE LESSONS


Note: The song “If You’re Happy and You Know It” is included on a CD called Sing to Read by Wilma Salzman. There is a big book published for the song to accompany the recording. The big book comes with a black-line master for multiple copies of a little book that students can color and make for their own version of the big book. Table Top Press, P. O. BOX 640296, EL PASO, TX 79904, distributes these materials.

SAMPLE LESSONS


Grade Kindergarten – Lesson 2 Lesson Title: Counting Song and Rhyme Overview:

Students will be able to compare singing and speaking while demonstrating the beat and performing two counting selections. (Kindergarten Reading Theme 5 is called “Let’s Count.” This lesson would be a good link to the Reading Theme for the students as well as reinforcement of Math skills.)


• Identify simple formal characteristics in music such as same/different and whole/part. (I.A.1) • Demonstrate the steady beat playing classroom instruments. (I.B.3) • Investigate various vocal timbres through speaking and singing. (I.D.4) • Perform singing games. (I.C.2) • Interpret sounds in music using shapes and pictures. (I.D.1) • Sing and interpret several songs representative of different activities. (II.A.1)

Warm-Up: Have students count to eight together. Have them count and pat the beat together. Have them

sing the numbers on sol-mi together (Teacher may need to demonstrate this first). Have students sing the numbers and pat the beat together.


Introduce the rhyme “1, 2 Buckle My Shoe” by speaking it and having students hold up fingers for the number they hear in the rhyme. Write the numbers in groups of two. Have students join in speaking the numbers while teacher does other parts. Draw pictures to go with the words after each group of numbers. Have students perform the whole thing. Have students add beat while saying the rhyme. Discuss speaking voice.

Guided Practice Activities: Introduce the song “This Old Man” from Spotlight on Music – 1 by singing it and having students hold up fingers for the number they hear in the song. Have students listen for the parts that are the same while teacher sings up to number five. Practice those parts together. Ask students to predict by singing the parts that they think will be the same for six. Teacher should add the part that’s new. Continue in this way through ten. Review the part that was different for each number and draw a simple picture to illustrate it. Discuss singing voice.

Independent Activities/Meaningful-Use Task:

Have students perform the whole thing. Then students should add the beat while singing the song. Have students review “1, 2 Buckle My Shoe” with beat while speaking. Review speaking voice.

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SAMPLE LESSONS


Assessment: Students should demonstrate the ability to perform the musical selections using the appropriate voice with the class. Make note of those students who are not performing with the group and those who are not on task.

Closure Activities: Sing or speak short musical phrases from each counting selection. Have students identify whether they heard singing or speaking by holding their thumbs up for singing and thumbs down for speaking.

Note: The song “1, 2 Tie My Shoe” is included on a CD called Sing to Read by Wilma Salzman. There is a big book published for the song to accompany the recording. The big book comes with a black-line master for multiple copies of a little book that students can color and make for their own version of the big book. Table Top Press, P. O. BOX 640296, EL PASO, TX 79904, puts out these materials. The book, This Old Man, illustrated by Carol Jones could be shared with students for comparison to the version of the song done in class.

SAMPLE LESSONS


Grade Kindergarten – Lesson 3 Lesson Title: Dynamics – Rain Songs Overview:

Students will recognize dynamics in order to sing and play instruments using the appropriate dynamics. (Kindergarten Reading Theme 6 is called “Sunshine and Raindrops.”)


• Identify musical contrasts such as loud/soft. (I.A.2) • Investigate various vocal timbres through whispering, speaking, and singing. (I.B.4) • Interpret sounds in music using shapes and pictures. (I.D.1) • Sing and interpret several songs representative of different activities. (II.A.1) • Investigate sound production using voices, classroom instruments and other objects that make

sound. (III.A.1) • Accompany songs and stories using student selected instruments and sounds. (III.B.1)

Warm-Up:

Sing “Rain, Rain Go Away.” Have students join in if they know it. Whisper the song. Say the words of the song. Discuss different voices.


Introduce the song “Rain on the Green Grass” by singing it. Then speak the words a phrase at a time and have students repeat each phrase. Draw simple pictures for grass, tree, housetop, and an umbrella for the last phrase. Review speaking voice. Use the singing voice and do the same thing. Then have the students whisper the whole song together using the pictures as cues. Finally the whole class sings the whole song. Discuss which voice was the quiet voice and which was a louder voice.


Discuss the sequence of events for a rainstorm. Discuss which parts are loud and quiet. Make a graphic drawing of a rainstorm on a large piece of poster paper. Start with a few raindrops, which increase as the storm continues. Add some swirlly symbol for the wind. Add lightning bolts for thunder and lightning. Make up a symbol for hail. As a class, discuss which instruments could play the different parts of the rainstorm. Discuss whether they would play loud or quiet. Assign students to instruments.

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SAMPLE LESSONS



Have students follow along and play the instrument sound that goes with each part of the storm as the teacher points to the different symbols on the chart. Teacher may need to point to more than one thing at a time. Begin and end the storm by singing “Rain, Rain Go Away.” At the beginning, sing the song loudly. At the end, sing it quietly and change the words to “Rain, Rain, stay away.”

Assessment:

Students should demonstrate the dynamics by singing the song correctly. Make note of those students who are not singing with the group and those who are not on task.

Closure Activities: Sing “Rain on the Green Grass” loudly. Have students quietly whisper sing the song as they are leaving.

Note: The book It’s Raining, It’s Pouring, by Kin Eagle is a picture book connected to the theme and includes the music for the song at the back of the book. The song “Rain on the Green Grass” is included on a CD called Sing to Read by Wilma Salzman. There is a big book published for the song to accompany the recording. The big book comes with a black-line master for multiple copies of a little book that students can color and make for their own version of the big book. Table Top Press, P. O. BOX 640296, EL PASO, TX 79904, distributes these materials.

SAMPLE LESSONS


Grade Kindergarten – Lesson 4 Lesson Title: Tempo Trains Overview:

Students will recognize tempo in order to show changes in tempo while singing and moving to a song. (Kindergarten Reading Theme 7 is called “Wheels Go Around” and could be linked to music with this lesson on tempo. Other transportation songs could be used as well and the Reading Theme includes “The Wheels on the Bus.”)


• Identify musical contrasts such as fast/slow, short/long, high/low and loud/soft. (I.A.2) • Relate movements such as walking, skipping, running, turning, bending, and stretching to musical

sounds. (I.C.1) • Dramatize stories of familiar songs. (II.C.1)

Warm-Up:

Play the “Metronome Game.” Explain that the beat can be fast or slow, walking or running, and show the class how the “tempo” can be varied on the metronome. Ask students to identify the tempo set on the metronome. Have students move fast and slow with the ‘drum’ metronome.


Discuss how trains move. Introduce the song “Engine #9.” Guided Practice Activities:

Make up a story of a train’s travels. Have students act out the story of the train while singing the song. Show the tempo of leaving the station (increasing speed), traveling to the next station (steady fast speed) and arriving at this station while passengers get off and on (slowing speed).


Share other train stories like I’ve Been Working on the Railroad by Nadine Bernard Westcott and Down By the Station by Will Hillenbrand with the class. Vary the tempo as story is read. As students become familiar with songs, vary the tempo according to predetermined signals for fast and slow.

Assessment:

Make note of those students who are showing the correct tempo in each section of the story and those who are not on task.

Closure Activities: Review the concept of fast and slow tempo discussed in the lesson and review how the students moved during the songs.

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SAMPLE LESSONS


Grade Kindergarten – Lesson 5 Lesson Title: Farm Animals – Old MacDonald Overview:

Students will interpret pictures and letters in order to sing the song and add animal sounds at the appropriate time. (Kindergarten Reading Theme 8 is called “Down on the Farm.” Cows in the Kitchen, a songbook, is included with this Reading theme.)


• Investigate various vocal timbres. (I.B.4) • Interpret sounds in music using shapes and pictures. (I.D.1) • Sing and interpret several songs representative of different activities. (II.A.1) • Explain briefly the historical context of selected songs. (II.B.1)

Warm-Up:

Write the letters E, I, and O on the board. Ask students to name the letters. Ask if anyone knows a farm song with those letters in it. (Tell students “Old MacDonald” if they do not know.)


Introduce the song “Old MacDonald” by singing it and having students raise their hand with they hear the letters on the board. Then have them join in singing that part.


Make eight copies of small farm animal pictures. Discuss some of the animals that might be on the farm and the sounds they make. Show pictures of the animals they name. Review the song to determine how many times we make a given animal sound before the word “here.” Put up two of the pictures of that animal. Do the same for “there.” Group each set of animals. Repeat for “here a ?,” “there a ?” and “everywhere a ? ?” Sing the song again pointing to the animal pictures as the class sings. Do the same with some of the other animals that are suggested by students. Have students hold up fingers to show how many times they make the animal sound each time.


Have students listen to other versions of Old MacDonald and follow the pictures and letters on the board. Have students see if the same pattern for sounds and the same animals are used. Create a Venn diagram showing which animals are used in both songs and which animals are used in one or the other.

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Assessment:

Students should demonstrate the ability to interpret the pictures and letters that are shown in order to sing the song correctly. Make note of those students who are not singing with the group and those who are not on task.

Closure Activities: Have students sing the song in their head and hold up the number of fingers for each animal sound.

Note: The Singlish series of charts and CDs has a version of Old MacDonald. The charts show the words by themselves or the words with pictures.

The book, Old MacDonald, illustrated by Carol Jones could be shared with students for comparison to the version of the song done in class.

SAMPLE LESSONS


Grade Kindergarten – Lesson 6 Lesson Title: Moving Like an Elephant Overview:

Students will identify and move to match tempo changes in the music. (Kindergarten Reading Theme 10 is called “A World of Animals.” This song and other animal songs could be used in conjunction with this theme to teach tempo and movement.)


• Identify musical contrasts such as fast/slow. (I.A.2) • Relate movements such as walking, skipping, running, turning, bending, and stretching to musical

sounds. (I.C.1) Warm-Up:

Introduce “The Elephant” from Learning Basic Skills Through Music. Discuss how elephants move. Introductory and Developmental Activities:

Listen to the music. Have students identify the slow tempo by holding up one finger. Discuss what happened in the music with the tempo. Discuss reasons for the tempo change in the middle, i.e. someone chasing the elephant. Discuss how the music indicates the action with the tempo change.


Listen to the music again and show slow tempo by holding up one finger and fast tempo by holding up two fingers.

Independent Activities/Meaningful-Use Task: Introduce the movement activity by discussing how to move like an elephant (swing trunk) and move to the speed or tempo of the music. Practice both slow and fast tempo. Perform with the music.

Assessment:

Each student moves to match the tempo in each section of the music. Make note of students who are not on task or who need more time for mastery of this skill.

Closure Activities:

Review the two speeds or tempo changes that the elephants showed with the music.

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Grade K – Lesson 7 Lesson Title: I Know an Old Lady – Digital Product Overview:

Students will dramatize a story song in order to create a multimedia production depicting “I Know an Old Lady Who Swallowed a Fly.”


• Dramatize stories of familiar songs. (II.C.1) • Sing from memory fifteen songs. (I.B.2)

Student Standards for Technology Addressed in this Lesson:

• Explain connectivity. • Use teacher selected technology tools that enhance learning. • Recognize that various media formats are used to communicate ideas, such as CDs.

Warm-up:

Students will sing a familiar song from memory, textbooks, website projected on a screen, monitor, or through the television. Remind them to use the “Checklist for Healthy Singers” to guide their performance. The “Checklist for Healthy Singers” includes the following: energy and projection, ensemble “singing together,” diction and expression, correct pitch, pleasant tone, correct rhythm, concentration and focus.

Sample Sing-a-Long Websites: • National Institute of Health Kid’s Page: http://www.niehs.nih.gov/kids/musicchild.htm • PBS Kids: http://pbskids.org/music.html • Llerrah Music (MIDI only): http://www.llerrah.com/jukekids.htm • Timmy Abell’s Home Page (Real Audio/Wav): http://www.timmyabell.com


Explain that songs can tell a story. Have students listen to this song about a lady who does some strange things. Perform “I Know an Old Lady” by playing a recording from a website or CD.

“I Know an Old Lady” Websites • Timmy Abell: http://www.timmyabell.com/music/lyrics/ol/oldlady.htm • Angie Palmer’s (MIDI): http://www.enchbyench.com/angie/lady_who_swallow.htm • Peter, Paul and Mary (lyrics): http://www.peterpaulandmary.com/music/f-17-07.htm • Index of Rhymes (lyrics): http://www.snaithprimary.eril.net/stfly.htm Discuss who the main character of this song might be. Discuss some of the things she does in the story. The following software can be used to create a graphic organizer: Kidspiration, Inspiration, Microsoft Word, and Microsoft PowerPoint. Use a web graphic organizer poster or one of the digital resources to display the feedback you receive from the students.

SAMPLE LESSONS


Graphic Organizer Websites and Resources • RWT Webbings Tool: http://interactives.mped.org/view_interactive.aspx?id=127&title • Education World (Downloadable Word Template):

http://www.educationworld.com/tools_templates/sm_nov2002.doc

Use one of the children’s books listed at the end of the lesson to show how the illustrator tells the story. Discuss how the illustrator shows the personalities of the characters in the story. Explain to students that they will be making a living book. They will work with a partner to dramatize one of the characters in the song. Explain that dramatize means to use movements, facial expressions, and sounds to express who another person, object, or animal is.

Guided Practice Activities: Have students begin with the fly. Discuss the following:

How does a fly move? Is its flight pattern regular or irregular? Will it move fast or slow? Will it move high and low? Or will it stay on the same level?

Have one student demonstrate how a fly moves. Give students a count of eight beats to move and eight beats to return to their seat. Allow time for several volunteers.


Have students work in groups to dramatize a character from the song. Remind students to use their knowledge of the animal or insect as well as “context clues” or clues from the song lyrics to help decide how to move. Remind them to think about how the creature moves in its normal habitat. Discuss whether it crawls, flies, creeps, wobbles, or leaps. Give students time to discuss the creature with their teammates. Students should show how they would move. In order to decide how the group movement should look, each person can demonstrate their idea by using eight beats for movement and eight beats to return to a neutral position. They may combine movements from the members of their team to make their creature exciting and believable. Give students time to create a dramatization that the whole group can perform. Assemble the class and have the students sing the song again. They should demonstrate their dramatization when their creature is introduced. Reinforce the idea that all of these creatures help tell the story by singing. Use recorded accompaniment so that videotaping is possible.

Assessment:

Students will select from the following final products to dramatize the song: • Music Video of the Song – Videotape a performance of the song in an ensemble with “dancers”

representing the characters. • Sing-a-Long Book – Students record a CD of the song to include in a picture book they have

created using photos of the creatures with the text. PowerPoint slides can be formatted with photos and text, printed, and assembled in book form for this product.

• Visual Aid for Ensemble Performance of the Song – Students perform the song while PowerPoint slides are projected of the characters on the screen for each verse.

• Classroom Performance – Students perform the song portraying their assigned characters.

Use the following rubric to assess student’s dramatization of the story.

SAMPLE LESSONS


3 – Student uses a wide range of appropriate movements to express the identity of their creature. The performance is credible.

2 – Student uses a wide range of movements to express the identity of their creature. The performance is credible. However, student does not move within the number of beats available within their creature’s introduction.

1 – Student does not demonstrate appropriate choices in portraying his/her creature and lacks physical presence or appropriate body language.

0 – Student does not perform. Closure Activities:

Discuss with students other songs that they could dramatize in a similar way. Additional Lesson Materials:

Felt Board Stories and Cut-Outs, Preschool Pintables, http://www.preschoolprintables.com/felt/oldlady/feltoldlady.shtml Pictures for an Accordion Book, Santee Schools, http://teachers.santee.k12.ca.us/Carl/mother_goose.htm Tools for Differentiated Instruction: Activity Card (Visual Aid), Teach Virginia Website, http://www.teach.virginia.edu/go/wil/I_Know_an_Old_Lady_Activity_Card.pdf Word Search, Santee Schools, http://teachers.santee.k12.ca.us/Carl/mother_goose.htm Bi-Lingual Instruction: Spanish Language Version, Bilingual Library Programs for Children, http://www.tsl.state.tx.us/ld/pubs/bilingual/preschoolers/ququiri.htm Print/Audio Materials (Reading level: Ages 4-8): • I Know an Old Lady Who Swallowed a Fly by Mary Ann Hoberman • I Know an Old Lady Who Swallowed a Fly by Nadine Bernard Westcott • I Know an Old Lady by Public Domain, Claudia Rueda, Illustrator • There Was an Old Lady Who Swallowed a Fly by Simms Taback • I Know an Old Lady Who Swallowed a Fly (Sing-Along Stories) by Mary Ann Hoberman • Know an Old Lady Who Swallowed a Fly (Paperback Pop-up/Lift-the-flap) by Colin Hawkins • There Was An Old Lady Who Swallowed a Fly by Glen Hay • I Know an Old Lady by G. Brian Karas • I Know an Old Lady by Rose Bonne • I Know An Old Lady Who Swallowed a Fly (Pop-Up Book) by E-learning Books Variations on the Text • I Know An Old Woman by Bari Weissman • I Know an old Lady who Swallowed a Bat by Lucille Colandro • There was an old Lady who Once Saw a Ghost and Other Funny Rhymes by Shirley Pettigrew • I Know an old Lady who Swallowed a Trout! By Teri Sloat • I Know an Old Lady Who Swallowed A Pie by Alison Jackson, Judy Schachner • I Have A Weird Brother Who Digested A Fly by Joan Holub • Oh My a Fly! by Jan Pienkowski

SAMPLE LESSONS


Videos: • I Know an Old Lady Who Swallowed a Fly (1964) Directed by Derek Lamb (6 min) • “Mammals on The Move” Video Segment , Mammals #1, United Streaming:

http://www.unitedstreaming.com/ (2:28)

Additional Internet Resources: • The Free Dictionary, http://www.thefreedictionary.com • PowerPoint in the Classroom, http://www.actden.com/pp/ • Windows Movie Maker: Adding Credits to a Film,

http://presentationsoft.about.com/od/moviemaker/ss/titles.htm

SAMPLE LESSONS


Grade 1 – Lesson 1 Lesson Title: Melody – Dog Songs Overview:

Students will read melodic notation and recognize solo and ensemble in order to read melodic notation on a two line staff and sing at the correct point in the song. (The First Grade Reading Book, Theme 1 is “All Together Now” and Theme 4 is “Family and Friends.” This lesson would be a good link to either Reading Theme for the students. The songs, “BINGO,” “Where Oh Where Has My Little Dog Gone?” and “How Much is That Doggie?” are included with this theme in the Reading series. This lesson may take 2 – 3 class periods.)


• Sing simple “Sol-Mi” patterns using hand signs. (I.B.1) • Read and perform simple melodic notation. (I.D.1) • Read and sing “Sol-Mi” patterns as notated on the music staff. (II.D.2) • Dramatize and pantomime songs using movement. (II.C.1) • Investigate the difference between solo and ensemble performances. (II.D.1)

Warm-Up: Sing “Bingo” from Spotlight on Music – K. Write the letters on the board. Assign each of the five

letters to five individual students to sing at the appropriate time in the song to build fluency. Introductory and Developmental Activities: Write the words for “Oh Where, Oh Where Has My Little Dog Gone?” on a chart. Write each

phrase in a different color. Read the chart as a class. Echo sing each phrase. (The melody for this song is included in the First Grade Reading Book, Theme 4 “Family and Friends.”) Assign each phrase to a small group of students. Have the small groups sing their phrases in order. Work for fluency as they each sing their part.

Guided Practice Activities: Review the hand signs for Sol and Mi. Echo sing simple four beat Sol-Mi patterns with hand signs.

Have students read each phrase from “Doggie” using the hand signs and their names. (See attached song sheet.) Add words.

Assign the dog part to one student and the bear part to another student. Have each person sing their part. If puppets are available, use a dog and bear puppet for the soloists. Allow each student in the class to sing one of the solo parts.

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Independent Activities/Meaningful-Use Task: Read the notes on the board and sing with hand signs for the “ruff, ruff” part included below. Have

the class sing together with words. Read the story How Much Is That Doggie in the Window? Have students sing the ruff, ruff part at the end of each phrase in the story.

Ruff Ruff Assessment:

Make note of those students who are not singing at the appropriate time. Those students should receive a 2 for their assessment grade. Those students who are singing and consistently using the correct hand signs should receive a 1 for their assessment grade.

Closure Activities: Read the notes for two to three melodic patterns from the board with the hand signs.

SAMPLE LESSONS


Doggie Song sheet

Bear Sings: Dog - gie Dog – gie, where’s your bone? Dog Sings: Some - one stole it from my home. Dog Sings: Who stole my bo - ne? Bear Sings: I stole your bo - ne.

SAMPLE LESSONS


Grade 1 – Lesson 2 Lesson Title: Different Voices – Nursery Rhymes Overview:

Students will perform different Mother Goose rhymes in order to demonstrate solos, male and female ensembles after a discussion of the words and characters in the rhymes. (This lesson may take more than one class period.)


• Recognize musical contrasts such as unaccompanied melody/melody with accompaniment. (I.A.2) • Identify the different voices of males and females as well as children. (I.A.3) • Sing and interpret several songs representative of different countries and cultures. (II.A.1) • Explain briefly the historical context of selected song from various cultures. (II.B.1) • Dramatize and pantomime songs using movement. (II.C.1) • Investigate differences between solo and ensemble performances. (II.D.1)

Warm-Up:

Following the First Grade Reading Theme 2 “Surprise,” have students review the nursery rhyme “Mary Had a Little Lamb.”

Introductory and Developmental Activities: Discuss whether Mary is a girl or boy. Have just the girls say the rhyme. Change the name to

Marty. Go over the words to see if any other words need to change, i.e. pronouns. Have only boys say the rhyme.

Guided Practice Activities: Do the same with other nursery rhymes like Jack Be Nimble (change to Jill), Old Mother Hubbard

(Father), Little Miss Muffet (Mister), and Old Woman in the Shoe. Discuss any background information needed to better understand each rhyme.

Independent Activities/Meaningful-Use Task: Divide the class into small groups. Give each group a copy of the words to one of the rhymes.

Have the students in the group figure out how to act out the rhyme and whether they want the main character to be a boy or a girl. Have students perform their rhymes for the class.

Assessment:

Make note of those students who are not contributing to the group work. Those students should receive a 2 for their assessment grade. Those students who are participating with their group should receive a 1 for their assessment grade.

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Closure Activities: Go over Jack and Jill and divide the rhyme up between boys and girls with the boys saying the part

about Jack falling down and the girls saying the part about Jill tumbling after. Do the same with Peter, Peter Pumpkin Eater.

Extensions:

Give each student a copy of each of the rhymes printed one to a page with space left on the paper for a picture. Have students illustrate each rhyme and make their own nursery rhyme book.

SAMPLE LESSONS


Grade 1 – Lesson 3 Lesson Title: Sol-Mi in Clock Songs Overview:

Students will identify the Sol-Mi pattern in order to respond with movement to the pattern in “The Cuckoo in the Deep Woods” by Saint-Saens. (First Grade Reading Theme 4 is “Family and Friends.” During this theme, students have an opportunity to compare and contrast. This lesson could be a good reinforcement of those skills.)


• Sing simple “sol-mi” patterns using hand signs. (I.B.1) • Dramatize and pantomime songs using movement. (II.C.1) • Write new verses to familiar songs. (II.B.1)

Warm-Up:

Review Sol-Mi with hand signs. Play the pattern on bells. Discuss a cuckoo clock. Compare the cuckoo clock to other kinds of clocks including clocks today. The cuckoo sound from the cuckoo clock is the same as Sol-Mi.


Play a brief sample of “The Cuckoo in the Deep Woods” from Carnival of the Animals (Bowmar Listening Library). Distribute copies of the cuckoo clock included with this lesson. (These could be mounted on index cards.) Explain to students that when they hear the cuckoo or the sol-mi pattern, they should hold up their index card with the cuckoo clock on it. Play a two-minute sample of the music. Divide students into small groups. Have students make a cuckoo clock by having three or four of the students make the walls and arch of the clock and one student to be the cuckoo. Practice having the cuckoo come out of the “clock” when they hear the pattern. Play the music and have students be the cuckoo clock. Students should recognize and move to the Sol-Mi pattern when it occurs in the music. Select a group that can find the Sol-Mi consistently in the music.


Introduce the nursery rhyme ‘Hickory Dickory Dock.’ Discuss a grandfather clock. Compare it to the other clocks discussed earlier in the lesson. Repeat the rhyme so that the students can say it without assistance. Have students raise their hands when they hear a rhyming word. List these on the board: dock-clock, one-down (?). After each dock or clock, have the selected group do their ‘cuckoo’ action and sing on Sol-Mi while the rest of the class does the rhyme. Working together as a class, create a new verse for 2 o’clock. Example:

Hickory Dickory Dock, the cat jumped up on the clock. The clock struck two, the cat went meow. Hickory Dickory Dock.

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Independent Activities/Meaningful-Use Task: Divide the class into ten groups for the other times on the clock. Each group should create a new

verse for their hour on the clock. Assessment:

Make note of students who are not on task or who need more time for mastery of the skill of recognizing Sol-Mi. Those students should receive a 2 for their assessment grade. Those students who recognize Sol-Mi consistently should receive a 1 for their assessment grade. Make note of students who are not on task while the group is creating a new verse. Those students should receive a 2 for their assessment grade. Those students who are consistently contributing should receive a 1 for their assessment grade for making up new verses.

Closure Activities: Review the hand signs that match the cuckoo sound from the music heard in the lesson.

Cuckoo

SAMPLE LESSONS


Grade 1 – Lesson 4 Lesson Title: Melodic Notation using “Teddy Bear” Overview:

Students will use melodic notation manipulatives in order to read melodic notation on a two line staff and then dramatize/pantomime the song while singing. (First Grade Reading Theme 6 is “Animal Adventures.” Students will work on real and fantasy in this theme. This lesson would be a good link for the students. )


• Sing simple “Sol-Mi” patterns using hand signs. (I.B.1) • Read and sing “Sol-Mi” patterns as notated on the music staff. (I.D.1) • Dramatize and pantomime songs using movement. (II.C.1)

Warm-Up: Play the “Follow the Ball” game. Substitute a teddy bear for the ball. To play, choose eight

children to form a line in front of the classroom. Give the first child a teddy bear. Children pass the bear either over their heads (Sol) or between their legs (mi) to the person behind. Class sings sol and mi as the ball is passed from child to child.

Introductory and Developmental Activities: Review the hand signs for Sol and Mi. Echo sing simple four beat Sol-Mi patterns with hand signs.

Echo the first phrase from “Teddy Bear” using the hand signs and their names. (See attached song sheet.) Add the words for the song. Discuss whether a teddy bear is real or make believe as well as whether a teddy bear could really do the things in the song.

Guided Practice Activities: Introduce the teddy bear manipulatives. The teddy bears should be in two colors, one for Sol, and

the other for Mi with the note names on the manipulatives. (Instructions for constructing these are included.) Draw the two line staff on the board as it is shown on the song sheet. Discuss with students how to put the bears on the two lines to show the melody for the song. (See example in attached song sheet.)

Independent Activities/Meaningful-Use Task: Sing with hand signs from the bears on the board. Sing the next phrase of the song while following

the bears on the board. Point out to the students that the phrase uses the same melody. Put a repeat sign at the end of the line. Do the same for the last two phrases of the song. All phrases are the same. Have the students sing the whole song with hand signs while pointing to the bears on the board.

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Assessment:

Make note of those students who are not looking at the board or are not doing the hand signs. Those students should receive a 2 for their assessment grade. Those students who are visually following the notes on the board and consistently using the correct hand signs should receive a 1 for their assessment grade.

Closure Activities: Review the hand signs. Sing the song without the hand signs. Make note of the directions the

song has in it. Have students dramatize the song by following those directions while singing. Extensions: Other ideas for manipulatives with limited tone songs – trains for “Engine #9,” birds for “Bluebird,”

pennies for “Who Has the Penny?,” hearts for “Georgy Porgy,” etc.

Play the Chinese children’s song “Kuma San” from Share the Music, grade 3 and Kindergarten for and Spotlight on Music – 3 a multicultural connection.

SAMPLE LESSONS


Teddy Bear

sol, sol, sol, mi, mi, mi sol, sol, mi Teddy Bear, Teddy Bear, turn around. Teddy Bear, Teddy Bear, touch the ground. Teddy Bear, Teddy Bear, tie your shoe. Teddy Bear, Teddy Bear that will do.

MANIPULATIVE CONSTRUCTION: Make five brown bears and four white bears using the pattern below. Label the brown bears with Sol. Label the white bears with Mi. Laminate the bears. Put magnets or tacky on the back to stick to the board.

SAMPLE LESSONS


Grade 1 – Lesson 5 Lesson Title: Melody in 2, 4, 6, 8 Overview:

Students will identify Sol-Mi in order to perform, read and compose using Sol-Mi in a song. (First Grade Reading Theme 7 is “We Can Work It Out.” This lesson could be used to reinforce the comprehension skills of problem solving from the Reading Theme for the students. )


• Sing simple “Sol-Mi” patterns using hand signs. (I.B.1) • Read and sing “Sol-Mi” patterns as notated on the music staff. (I.D.2) • Develop the ability to compose and arrange music. (III.B)

Warm-Up:

Play “Going Fishing.” Before the lesson, make a fishing pole using a yardstick, string, and a magnet in place of a hook. Cut out several construction paper fish. On one side write four beat melodic patterns. Laminate the fish and glue magnetic strips on backs. Place fish on the floor with magnetic strip side up. Choose a student to fish with pole and magnet. When the student has caught a fish, he/she goes to the board and writes the pattern on a staff while the next student goes fishing. Students will sing the pattern that is caught and notated on the board.

Introductory and Developmental Activities: Teach the song “Two, Four, Six, Eight” from Share the Music, grade 1 and from Spotlight on Music - 1. Discuss which patterns in the song sound like Sol-Mi.


Have the students use their hands (on shoulders for Sol and on their knees for Mi) to show the melodic pattern in the song. Sing the song and use the movement pattern each time the Sol-Mi patterns occur.


Discuss the words of the song and when the song might have been sung (a long time ago). Discuss possible reasons why someone might be late and what the other person could do in those situations. Explain to students that just as they made up solutions to the problem in the song, they will now make up their own melody for part of the song. Distribute the enclosed song sheet. Have students review the song using the song sheet. Practice writing possible melodic patterns for the third line of the song on the board. Have students make up their own melodic pattern on the third line of their worksheet. Have students share their new third line with the class.

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Assessment:

As students sing their melody patterns, make note of those students who did not write a melody pattern or could not sing what they had written. Those students should receive a 2 for their assessment grade. Those students who did write a melody pattern and could sing what they had written should receive a 1 for their assessment grade.

Closure Activities:

Review the concept of Sol-Mi by having students stand when the teacher sings the pattern.

SAMPLE LESSONS


Two, Four, Six, Eight

Compose a melody for “If I’m late, don’t wait” by writing combinations of sol and mi on the blank lines above the words using the rhythm notes given. Be prepared to sing what you have written.

Two, four, six, eight, Meet me at the gar - den gate.

If I’m late, don’t wait.

Two, four, six, eight.

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Grade 1 – Lesson 6 Lesson Title: New Spider Verses Overview:

Students will create new verses for “Eensy Weensy Spider” in order to add actions to dramatize the new verses. (The First Grade Reading Theme 7 includes the song “The Ants Go Marching,” which could be used for this same lesson. Reading Theme 8 is “Our Earth.” This lesson could also be used in conjunction with this theme. This lesson may take two-three class periods.)


• Dramatize and pantomime songs using movement. (II.C.1) • Write new verses to familiar songs. (III.B.1)

Warm-Up: Sing “Eensy Weensy Spider” from Spotlight on Music - K with actions. Introductory and Developmental Activities: Read other versions of this song from picture books like: Itsy Bitsy Spider by Iza Trapani, Eensy

Weensy Spider by Mary Ann Hoberman, Roly Poly Spider by Jill Sardegna, Itsy Bitsy Spider by Lorianne Siomades, etc. Explain that the class will be making up their own version of the song and then add actions to go along with it.

Guided Practice Activities: Have the students brainstorm several possibilities for what kind of spider their version of the song

could be about. List those on the board. Vote on one. Discuss where their spider could be going for the next part of the song and how it could be moving there. Get several ideas and then, again, vote on one. Use chart paper to keep track of the new version as it develops so students can see their progress and review as new parts are added. Continue to add new parts a section at a time. Check each new part to make sure it fits with the melodic rhythm. Make minor adjustments as needed.


When the new version is completed, have each student sing the whole song in their head. Ask them to think about any editing changes that need to be made. Go over those ideas together as a class. Sing the whole song as a class. Have students divide into cooperative groups with students sitting close by them to discuss possible ideas for actions to go with the new version. Observe the groups as they are working. Share ideas from the group work with the whole class. Work together as a class to develop actions to dramatize the song.

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Assessment:

Throughout the class, make note of those students who are not participating as the class is developing the new verse and actions. Those students should receive a 2 for their assessment grade. Those students who are participating should receive a 1 for their assessment grade.

Closure Activities: Have the students sing the whole song with the new actions. Extension:

“La Pequenita Arana” Eency Weency Spider sung in Spanish can be found in Spotlight on Music, grade Kindergarten.

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Grade 1 – Lesson 7 Assessment Activity Lesson Title: Rhythmic Building Blocks Overview:

Following instruction on reading rhythms using quarter notes and quarter rests, students will be able to read rhythm notes in order to compose four rhythm patterns.


• Read and perform simple rhythmic notation using quarter notes and rests. (I.D.1) Activity:

Give students craft sticks and have them create four patterns, one at a time, using quarter notes and rests in groups of four beats. Review with students that both the note and the rest get a beat. Have students clap their patterns with a partner and then ask individuals to clap their pattern for the class.

Assessment: Assess the students as they clap their patterns. Make note of those students who did not write a four beat pattern or could not clap what they had written. Those students should receive a 2 for their assessment grade. Those students who did write a four beat pattern and could clap what they had written should receive a 1 for their assessment grade.

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Grade 1 – Lesson 8 Lesson Title: Music and Writing Overview: Students will learn to sing “Shoo Fly Don’t Bother Me” and create a class book by writing and

illustrating their own answers to a phrase from the song in order to identify ABA form. They will be able to read and sing their book in ABA form.


• Sing familiar songs in an ensemble. (I.B.3) • Write new verses to familiar songs. (III.B.1)

Warm-Up: Sing and move to any AB or ABA song already taught and review the form. Introductory and Developmental Activities: Listen to “Shoo Fly Don’t Bother Me” from Spotlight on Music – 2. Many children will already know

it. Ask them to listen again and identify how many different sections they hear. If they are not ready to do this, identify the A section for them and ask them to signal each time they hear the B section. Echo sing the song and have them perform a different movement with each section. Create movements or ask the students to create them. The movements may match the steady beat or be more like a circle dance. Ask which section is sung last? Identify the form as ABA.

Guided Practice Activities: Write the phrase “I feel like a _________.” on the board or on a chart. Ask the students to think of

a noun to fill in the blank. Guide them by giving several examples such as butterfly, lion, tower, balloon, or race car. Write down several of their answers. Then ask them think of an adjective (a describing word) for their noun or a verb (an action word). Chart several examples such as a “pretty butterfly” or “floating balloon.”

Independent Activities/Meaningful-Use Task: Pass out the writing page included with this lesson and have the students write their answers in the

blank with a pencil. Have them ask how to spell any words they are unsure of because they are writing a book and all of the words in a book must be spelled correctly. If there is time, they may begin to draw a picture of their answer in the box provided with their pencil.

Assessment:

Make note of the students who are not on task or who need more time for mastery of the skill of recognizing the different sections of music in the song. Those students should receive a 2 for their assessment. Those students who recognize the different sections of music in the song consistently should receive a 1 for their assessment grade.

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Closure Activities: Collect papers and pencils and sing a closing or line-up song to end class. Check over the papers

for spelling errors and completion of work before the next class. If time permits, trace over their answers with a permanent fine-point black marker.

Day 2: Completing the Class Song Book Warm-up: Sing and move to “Shoo Fly Don’t Bother Me.” Identify the form again as ABA. Introductory and Developmental Activities: Review the song sheet tasks. They are to fill in the blank with their noun and an adjective or a

verb, and draw a picture in the box to illustrate their answer. Guided Practice: Share a page that has already been created as a model or show several good examples from the

class or another class. Independent Activities/Meaningful-Use Task: Have the students finish their answers and pictures in pencil. When they are done, they may add

color to their picture with crayons or markers. They may sing their answers in class when they are done or try to read and sing someone else’s answer.

Assessment:

Make note of students who are not on task and do not complete their song sheet page. Those students should receive a 2 for their assessment grade. Those students who stay on task and complete their song sheet page should receive a 1 for their assessment grade.

Closure Activities: Select several of the student pages to sing in the song. Review the song as a class.. Extension: Put all completed pages into a plastic sheet cover and place in a binder with a cover page stating

the song title, class name, month and year. Present their book to them at the next class and sing through it. They will be reading and singing their own class book. It may be a good idea to use the black fine-point permanent marker to trace over all pencil markings in their pictures if time permits. This makes the pictures look better. Include the original lyrics to the song as the first page of the book. Label the A and B sections for reinforcement.

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Writing Page

I feel, I feel, I feel, I feel like a ____________________________

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Grade 2 – Lesson 1 Lesson Title: Trout Quintet and Art Overview:

Students will recognize theme and variations in order to create an original drawing of a fish and six variations. (This lesson ties in with Second Grade Reading Theme 1 called “Silly Stories.”)


• Relate musical sounds to visual art identifying repetition and contrast. (II.C.1) Warm-Up:

Have students read the title for Dr. Seuss’ One Fish, Two Fish, Red Fish, Blue Fish. Introductory and Developmental Activities:

Have students repeat it the same way. Then have students say it using a happy voice, sad voice, mad voice, tired voice, etc. Explain that the music they will hear will take a theme and repeat it but with different sounds each time.


Distribute the drawing sheet included with this lesson. Demonstrate how students should draw a plain fish in the top box. As each variation in the “Trout Quintet” is played, they should draw the same fish as the previous box but add something new each time. Demonstrate how they might add the changes like fins, stripes and even silly ones like baseball hats and beards.


Play the “Trout Quintet” from Spotlight on Music – 6 and have students draw. Signal to the students when each new variation begins so that they can start the next box. If they finish their fish drawing, they could add details in each box to create a fish tank picture.

Assessment: Assess the students’ work using the following scoring tool:

1 – Students drew pictures, which demonstrate an understanding of contrast in theme and variations while listening to the music without talking.

2 – Students were not listening to the music or attempting any pictures.

Closure Activities: Have students examine their papers to find if their pictures are all the same (showing repetition) or different (showing contrast).

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Name _________________________ Homeroom _________________________

Trout Quintet

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Grade 2 – Lesson 2 Lesson Title: Crazy Critter Songs Overview:

Students will create “Crazy Critters” in order to compose song stories about them demonstrating knowledge of beginning consonant blends. (The Second Grade Reading Theme 1 called “Silly Stories” would be a nice link for this lesson.)


• Perform simple ostinato patterns to accompany songs using classroom rhythm instruments. (I.B.1) • Relate body movements to tempo, rhythmic patterns, repetition and contrast. (I.C.1) • Relate musical sounds to visual art identifying repetition and contrast. (II.C.1) • Develop the ability to compose and arrange music. (III.B)

Warm-Up:

Teach the children a tongue twister, such as “Sally Sells Seashells, By the Seashore” or “How Much Wood Would a Woodchuck Chuck.” The choral warm-up, “Chewy chocolate cherries are Charlie’s choice” is also good. The pitches are Do, Re, Mi, Fa, Mi, Re, Do, using one pitch on each word.


Present teacher example of a cluster critter to the class. Perform tongue twister for the class. Introduce the concept of “alliteration.” Alliteration is the use of similar consonants for the poetic or literary effect achieved by using several words that begin with the same or similar consonants, as in “Whither wilt thou wander, wayfarer?”


Model the process for creating cluster critters. (See attached worksheet.) Introduce the concept of drawing from “imagination.” Their critters do not have to look like real animals. Assign a consonant blend to each student by writing the blends on slips of paper and have each student select one.


Ask students to create a critter drawing using only the letters in their blend, such as CR. Then have them write a tongue twister about the critter they have created utilizing alliteration to describe their critter’s home, food, environment and/or form of movement etc. The assigned blend will serve as the repeating consonant sound. Students should practice saying their tongue twister maintaining the tempo while they are saying it. They should be prepared to share it with the class as they show their drawing.

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Assessment:

Those students who did not create a tongue twister or cluster critter should receive a 2 for their assessment grade. Those students who were able to perform the tongue twister that goes with their cluster critter drawing should receive a 1 for their assessment grade.

Closure Activities: Perform the opening tongue twister(s) again.

Day 2: Setting the Stories to Music Warm-Up: Start with a tongue twister from the previous class. Introductory and Developmental Activities:

Review how to speak their tongue twisters rhythmically in tempo. Make sure to establish a strong, steady beat that they are required to follow. Then, show them how to play a rhythm pattern while they chant their tongue twister in rhythm. Have students make up their own rhythm pattern to go with their tongue twister.


Review information the students may have made up about their critter’s home, food, environment and/or form of movement, etc. from the previous lesson. Explain that students will now be making up a story about their critter. At points in the story that they decide on, they should say their tongue twister and add their rhythm pattern.

Independent Activities/Meaningful-Use Task: Allow the students to work on their own story songs. They may work alone or in small groups if

preferred. If working in a group, the group may choose one member’s critter to use for the story. Assessment:

Have students again display their “Crazy Critter” drawings and have them perform their song stories for the class. Those who present their song story following the directions will receive a 1 for their assessment grade. Those who have not created a song story or make no attempt to perform their song story will receive a 2 for their assessment grade.

Closure Activities: Review several of the tongue twisters created by class members.

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Crazy Critter Drawings

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Grade 2 – Lesson 3 Lesson Title: Melodic Notation using “Star Light” Overview:

Students will use melodic manipulatives in order to read melodic notation on a two line staff. (The Second Grade Reading Theme 2 is called “Nature Walk.” This lesson would be a good link to the Reading Theme for the students.)


• Sing simple “sol-mi-la” patterns using hand signs. (I.B.2) • Relate body movements to melodic direction. (I.C.1) • Identify and sing, from written notation, melodic direction. (I.D.1) • Read and sing “sol-mi-la” patterns as notated on the music staff. (I.D.2)

Warm-Up: Begin with the “Can You Sing Sol-Mi-La?” activity. Draw a two line staff on the board and choose a

student to place magnets on board to create a sol-mi-la pattern. Substitute the star manipulatives in the attached worksheet for the magnets. Student chooses another student to sing the pattern. Child who sings pattern correctly changes the pattern and chooses another child to sing.

Introductory and Developmental Activities: Review the hand signs for Sol, Mi and La. Echo sing simple four beat sol-mi-la patterns with hand

signs with the whole class. Echo the first phrase from “Star Light” using hand signs and their names. Continue with the whole song. Then add the words. (See attached song sheet.)

Guided Practice Activities: Introduce the star manipulatives. The stars should be in three colors, one for Sol, one for La, and

the other for Mi with the note names on the manipulatives. (Instructions for constructing these are included.) Draw the two line staff on the board as it is shown on the song sheet. Going note by note and using the lyrics of the song as well as the hand signs, discuss with students how to put the stars on the two lines to show the melody for the first phrase of the song. (See example in attached song sheet.)

Independent Activities/Meaningful-Use Task: Sing the first phrase with hand signs and song lyrics from the stars on the board. Then sing using

note names. Sing the next phrase of the song, note by note and have students come up to put the notes on the board. At the end of the second phrase, sing what is already notated, using hand signs and lyrics then hand signs and note names.

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Do the same for the last two phrases of the song. Practice singing the whole song with note names and hand signs. Have students stand to sing the song. Using the following positions have them move to show the melodic direction while doing the hand signs and singing: stand (sol), tiptoes (la), and squat (mi).

Assessment:

Have the students sing the whole song with hand signs and note names while the teacher points to the stars on the board. Make note of those students who are not looking at the board or are not doing the hand signs. Those students should receive a 2 for their assessment grade. Those students who are visually following the notes on the board and consistently using the correct hand signs should receive a 1 for their assessment grade.

Closure Activities: Review the hand signs used for the song. Put a four beat pattern on the board with stars from the

song. Give students thinking time and then have them read and sing the pattern using hand signs and note names. Do a couple more if time permits.

Extensions: Other ideas for manipulatives with limited note songs – trains for “Engine #9,” birds for “Bluebird,”

pennies for “Who Has the Penny?,” hearts for “Georgy Porgy,” etc.

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Star Light, Star Bright

Sol mi sol mi Sol mi, la sol, sol mi

Sol, sol mi sol, sol mi Sol, sol mi, la sol, sol mi Star light, star bright, First star I see tonight. Wish I may, wish I might, Have the wish I wish tonight.

MANIPULATIVE CONSTRUCTION: Make thirteen blue stars, two yellow stars, and eight white stars using the pattern below. Label the blue stars with Sol. Label the yellow stars with La. Label the white stars with Mi. Laminate the stars. Put magnets or tacky on the back to stick to the board.

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Grade 2 – Lesson 4 Lesson Title: Rhythmic Improvisation – Dog Named Nickel Overview:

Students will create a rhythm pattern in order to accompany a song with new verses created by the class. (Second Grade Reading Theme 4 is called “Amazing Animals.” This lesson would be a good link to the Reading Theme for the students.)


• Sing simple “sol-mi-la” patterns using hand signs. (I.B.2) • Relate body movements to rhythmic patterns. (I.C.1) • Identify and sing, from written notation, melodic direction. (I.D.1) • Read and sing “sol-mi-la” patterns as notated on the music staff. (I.D.2) • Improvise simple rhythmic phrases. (III.A.1)

Warm-Up: Review the hand signs for Sol, Mi and La. Echo sing simple four beat sol-mi-la patterns with hand

signs with the whole class. Introductory and Developmental Activities: Introduce the first phrase of “Dog Named Nickel” using hand signs and their names. Continue with

the second phrase. Then add the words. (See attached song sheet.) Discuss whether this could really happen or not.

Have students stand to sing the song. Using the following positions, have them move to show the melodic direction while doing the hand signs and singing: stand (sol), tiptoes (la), and squat (mi). Notate the song on the board on a two line staff as indicated on the attached song sheet.

Guided Practice Activities: Change the word ‘nickel’ in the song to “penny’ and make up a new verse with something that

rhymes with penny. Decide whether the verse should be silly or real and use that as a guide for the new verse.


Have students name other coins. Make up new verses for other coins. Put the verses in order from the lowest coin to the highest coin. Sing the whole song.

Assessment:

Make note of those students who do not add anything or who do not sing the complete song. Those students should receive a 2 for their assessment grade. Those students who are singing and did help with new verses should receive a 1 for their assessment grade.

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Closure Activities: Review the hand signs used for the song. Encourage the students to make up their own verses for

the song at home.

A Dog Named Nickel

Sol la la sol sol mi mi sol la sol mi

Sol sol la la sol sol mi mi Sol sol la la sol mi I had a little dog, his name was Nickel Every time I turned around, he turned into a pickle.

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Grade 2 – Lesson 5 Lesson Title: Melodic Improvisation - Mabel Overview:

Students will improvise a melodic response in order to add an ending to a song. (Second Grade Reading Theme 5 is called “Family Time.” This lesson could be a good link to the Reading Theme for the students.)


• Sing simple “sol-mi-la” patterns using hand signs. (I.B.2) • Relate body movements to melodic patterns. (I.C.1) • Identify and sing, from written notation, melodic direction. (I.D.1) • Read and sing “sol-mi-la” patterns as notated on the music staff. (I.D.2) • Improvise simple melodic phrases. (III.A.1)

Warm-Up: Review the hand signs for Sol, Mi and La. Echo sing simple four beat sol-mi-la patterns with hand

signs with the whole class. Introductory and Developmental Activities: Introduce the first phrase of “Mabel” using hand signs and their names. Continue with the second

phrase. Then add the words. (See attached song sheet.) Have students stand to sing the song. Using the following positions, have them move to show the melodic direction while doing the hand signs and singing: stand (sol), tiptoes (la), and squat (mi). Notate the song on the board on a two line staff as indicated on the attached song sheet.

Guided Practice Activities: Introduce the solo phrase. List a few of the possible items that are needed to set a table. Give

students an opportunity to think of at least three ideas that they can add to the song. They could add food items as well as utensils.


Sing the song as a group. Pass a plastic fork or spoon to the first person who will add the solo phrase. They sing at the appropriate time in the song. The group repeats their phrase after them. Continue until everyone has had a turn passing the fork to the next person each time.

Assessment:

As the students sing the song with solo parts, teacher should monitor who is singing at the appropriate time. Make note of students who do not add anything or who do not sing the complete phrase. Those students should receive a 2 for their assessment grade. Those students who are singing their new phrase at the appropriate time should receive a 1 for their assessment grade.

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Closure Activities: Review the hand signs used for the song.

Mabel

Sol mi sol mi Sol la sol mi

Sol, sol, mi, mi, sol mi Sol, sol, mi, mi, sol mi Mabel, Mabel, set the table. Just as fast as you are able. Don’t forget the _____?_____ (solo) Don’t forget the _____?_____ (group)

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Grade 2 – Lesson 6 Lesson Title: Rhythm reading with “The Toreadors” Overview:

Students will identify rhythm patterns in order to play them for the A section of “The Toreadors” noting which ones are the same/different and finding the strong/weak beat pattern. (Second Grade Reading Theme 6 is called “Talent Show.” This lesson could be linked to that reading theme.)


• Find the strong and weak beat patterns in duple and triple meter. (I.A.1) • Relate body movements to rhythmic patterns, repetition and contrast. (I.C.1) • Identify and sing, from written notation, like/unlike phrases of songs from various cultures. (I.D.1)

Warm-Up: Use the song “Matarile” from Share the Music – Songs to Sing and Read. Have students play

“Make Your Move” making up movements that show which phrases are the same and different. Have students share their movements with the class.

Introductory and Developmental Activities: Distribute copies of the Tapping Sheet for “The Toreadors” that shows dots with starburst/no

starburst. (See attached sheet.) Using the picture at the top of the Tapping Sheet, have students suggest what toreadors are. Add additional cultural information. Look at the dot patterns. Decide which are the same and different. Have students use the tapping sheet while listening to “The Toreadors” from Carmen by Bizet.

Guided Practice Activities: Discuss how to write these patterns with standard musical notation using quarter notes and rests.

Distribute two paper plates to each student. Have students read patterns while playing paper plate cymbals, first without music and then with music. Discuss how many times the section repeats.


Have students read and perform the patterns with their paper plates. Assessment:

Observe the students and make note of those who are not on task or have difficulty performing the patterns. Those students should receive a 2 for their assessment grade. Those students who are able to play the patterns with the music should receive a 1 for their assessment grade.

Closure Activities: Review the concept of same and different phrases by clapping the same pattern and having the students identify the different pattern by standing up when it is heard.

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Tapping Sheet – “The Toreadors”

The Special Ending

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Grade 2 – Lesson 7 Lesson Title: Form and The Nutcracker Overview:

Students will compare two parts of The Nutcracker in order to describe what makes one AB form and the other ABA form.


• Identify sound patterns in simple forms such as AB and ABA. (I.A.3) • Relate body movements to repetition and contrast. (I.C.1) • Relate musical sounds to visual art identifying repetition and contrast. (II.C.1) • Arrange given musical ideas (excerpts) to create musical forms such as AB and ABA. (III.B.1)

Warm-Up:

Sing “Jingle Bells” from Share the Music, grade 2 and from Spotlight on Music - 1. Discuss the form of this song (verse-refrain or AB). Pass out color squares of two colors with the letter A on one color and the letter B on another to each student. Play the song again and have students hold up color squares to show which section of music is being sung.


Discuss The Nutcracker ballet. Listen to the “Overture from the Nutcracker” using the map on Resource 2.9 from Share the Music, grade 2. Compare the form of the “Overture” to “Jingle Bells.” Decide on movements to go with the first and second parts of the music to show AB form. Listen to the “March from the Nutcracker” using the map on Resource 2.10 from Share the Music, grade 2. Compare the form of the “March” to “Jingle Bells.” Play the rhythm sticks while marching during the A section; play the jingle bells and scurry during the B section to show ABA form. Discuss what makes the two musical selections from The Nutcracker different.


Using “Jingle Bells” and “We Wish You a Merry Christmas,” have the students decide how to make an AB form and an ABA form.


Perform the AB form and the ABA form. Divide students into groups of three to four. Assign each group the letter A or B. Have students create simple movements to accompany their section. Have students sing and perform their movements at the appropriate time.

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Assessment:

As students perform the AB and ABA forms, make note of those students who are not on task or who need more time for mastery of this skill. Those students should receive a 2 for their assessment grade. Those students who demonstrate an understanding of AB and ABA form by moving and singing in the correct manner should receive a 1 for their assessment grade.

Closure Activities:

Review these concepts by clapping an AB or an ABA set of patterns and have the students identify them correctly.

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Grade 2 – Lesson 8 Lesson Title: Exploring Musical Form with Digital Resources Overview: Students will arrange given musical ideas in order to create musical forms such as AB, ABA, and

Rondo forms. Their compositions will be saved. Students will use digital resources including websites and/or computer software to do their creations.


• Arrange given musical ideas to create musical forms such as AB, ABA, and rondo. (III.B.1) • Listen to and express opinions about recorded musical performances, both audio and video.

(V.A.1) • Identify sound patterns in simple forms such as AB, ABA, and rondo. (I.A.3) • Relate body movements to repetition and contrast. (I.C.1) • Examine ways in which music is a part of each student’s life and the lives of children around the

world. (II.A.1)

Student Standards for Technology Literacy Addressed in this Lesson

• Use computer and multimedia technology with some teacher support. • Use the mouse/touch pad correctly. • Select and insert images and text. • Select text by highlighting to perform functions such as deleting, changing fonts, and moving text. • Use technology tools including software and hardware, from a range of teacher selected options to

learn new content or reinforce skills. • Describe ways the selected technology tools are being used to support learning goals and

accomplish tasks. • Communicate with various audiences independently or with assistance using different media

formats. Day 1: Experiencing ABA Warm-up:

Students will play a matching game or sing a song in ABA form. Online Resources

• Melody Memory Game, http://www.melodymemorygame.com/ • Match the Musical Phrase Game, http://creatingmusic.com/puzzles/puzzles.html • Sing a Song in ABA form (Start with slide 3),

http://civic.acadiau.ca/links/Composition%20Lessons/ABA_Composition.ppt

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(No-Tech Option: Place several melody cards and their matches facing the blackboard. Ask a student to turn a card. Play or sing the melodic phrase on the selected card and the child will guess which hidden card has a matching melody. When the children find a match, show both cards and play or sing them as an AA phrase.)

Introductory and Developmental Activities: Remind the students they were asked to find matching phrases in the warm-up. Explain that when music is organized using these phrases, they are called musical themes. Communicate that composers use musical themes so that the mood of the music can be understood. When all the parts are put together, a composition’s musical form can be identified. Musical form is how the music is organized.

Guided Practice Activities: Let students listen to Robert Schumann’s composition “Folk Song” from Album for the Young.

Three-Part (A B A) Form Website 1 (QuickTime Plug-in Required), http://raider.muc.edu/~miskeljp/intro/kamien/t/aba/aba.htm

Outline the phrases kinesthetically as the students listen to the music. Although it is not necessary for the students to see the notation and analysis at this point, they should be encouraged to mirror the movements. (Kinesthetic representation of the phrase could include drawing the phrase in the air or pointing to sound motifs in the air or on a chart. More examples of kinesthetic movement have been included in the extension section of this lesson. In any case, emphasize the use of shorter notes in the B section by changing the type of movement for this section. A diagram has been included below to organize your movement.)

Sections A B A Measures 1 – 8 9 - 16 (faster) 17 – end

Use questioning to help students identify each section. Examples: Are all of the phrases alike? Did you move the same way for the entire composition? How did your movement change? Did any sections repeat?

Independent Activities/Meaningful-Use Task: The instructor identifies the first theme as section A. The students should be able to distinguish the form of the selection by identifying the middle theme as different (B) and the last section as similar to the first theme (A). Review the selection again using the automated movie version of this sound clip so that the students can see the music and the form as they listen.

Three-Part (A B A) Form Website 2: http://raider.muc.edu/~miskeljp/intro/kamien/t/aba/aba.mov

Closure Activities: Show the motions for each section of the ABA piece again and have students identify which

section is being shown by calling out A or B depending on the movement they see.

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Day 2: Composing ABA Warm-up:

Review the concept of composing in ABA form by using the following websites: Making Tracks Composer: http://www.bbc.co.uk/radio3/makingtracks/makeatune.shtml

(This site offers a point and click method for sound selection in any form.)

Introductory and Developmental Activities: Explain that the class will be composing a piece in ABA form. Play a student composition from the following website.

Student Composition in ABA Form (A prompt to download Scorch should be expected.) http://www.vtmidi.org/examples_scores/FinalDavidOpus9.htm


Guide students, using Finale NotePad, to create like and unlike phrases that can be combined to create various musical forms such as ABA. Students should have hands-on training in a lab or a one-computer classroom with the aid of an online tutorial.

“Document Setup Wizard”, http://www.atomiclearning.com/finale_notepad

Independent Activities/Meaningful-Use Task: Students should identify types of melodic movement using website for melodic contour and decide the type of contour their musical theme will have.

“Melodic Contour”, http://www.creatingmusic.com/contours/index.html

Closure Activities: Have selected students share what they have developed for their ABA form. Let students know that they will continue to work on their ABA composition in the next lesson.

Day 3: Partner ABA’s Warm-up:

Review the concept of composing in ABA form by using the following websites: Music First! Form Activity: http://highered.mcgraw-

hill.com/sites/0072287683/student_view0/chapter11/activities.html# (This site offers a point and click method for examining musical form.)

Introductory and Developmental Activities: Have students share what they need to do to create an ABA form. Independent Activities/Meaningful-Use Task:

Have students work with a partner to create their composition in ABA form. Each student will create a melodic phrase (A) consisting of eight beats of music. Students should be encouraged to use the playback feature to make changes to their compositions. They should also try to use familiar rhythms such as: quarter notes and rests, eighth notes, half notes and rests, etc. in their compositions. After saving their performance of their eight beat phrases for their partner, they will

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create a contrasting eight beat phrase for theme B. Students can restate the A section or use the cut and paste feature of the software to add the final section to their ABA composition.

Assessment: Use the following rubric to assess student compositions:

1 – The composition has three eight beat phrases/themes that follow ABA form and the B section is in contrast musically to the A section through melodic contour, rhythm, or other distinctive musical elements.

2 – The composition does not explore the use of eight beat phrases/themes to reflect the form ABA.

Closure Activities:

Students will be asked to reflect on the process by responding to the following prompt in their student journals:

Is revising or making changes to the music composition during the writing process a good idea? How did revising affect the final composition?

Additional Lesson Materials:

Additional Tutorials: Band in a Box: Use this to add accompaniment/harmony to student compositions. http://www.pgmusic.com/bbdemovideos.htm Kinesthetic Approach: Hoedown Visual Listening Map Video (Chart) http://faculty.weber.edu/tpriest/VisualListeningMaps/Hoedown2.mov Hoedown Kinesthetic Listening Map Video (Movement): http://faculty.weber.edu/tpriest/Kinesthetic%20Listening%20Maps/Hoedown.mov Interactive Music Composition Sites: San Francisco Symphony’s Composerizer, http://www.sfskids.org/templates/musicLabF.asp?pageid=15 (This sight has short phrases which can be organized and replayed to create a theme.) Morton Subotnick’s Creating Music Website, http://creatingmusic.com/mmm/index.html Article: It’s Elementary: Integrating Music Technology, http://metmagazine.com/mag/elementary/index.html

Optional Software and Usage: Basic: Use Music Ace “Doodle Pad” to organize pictorial representations. Proficient: Use Finale Notepad to create like and unlike phrases. Advanced: Sibelius can be used to create short compositions in ABA form. Exemplary: Use Garage Band to combine recorded voices/instruments with digital medium.

SAMPLE LESSONS


Grade 3 - 6 – Lesson 1 Lesson Title: Multiple Meanings in Music Overview:

Students will explore music vocabulary words in order to identify the correct music definition from the context of the sentence for those with multiple meanings.


• Define tempo, dynamics, and meter using musical terms. (I.A.1) • Describe characteristics of music such as crescendo, decrescendo and accent using appropriate

musical terms. (I.A.2) Warm-Up:

Have students make a list of music words, one for each letter of the alphabet, if possible. Encourage students to use the word walls, displays, and bulletin board information.

Introductory and Developmental Activities: Discuss which ones on the list have multiple meanings. Examples: pitch, note, piano, rests,

instrument. Discuss how the sentence context helps to determine the meaning. Guided Practice Activities: Divide students into pairs. Assign each pair of students one of the music words with multiple

meanings. Each pair should think of two sentences using each of the words but in a different context.


Student pairs should share their sentences with the class. The class should give the meaning for each word.

Assessment: Have students complete the worksheet given here (or something similar) and assess using the

following rubric: 4 – Students select the correct definition for each word with 90% accuracy. 3 – Students select the correct definition with 80% accuracy. 2 – Students select the correct definition with 70% accuracy. 1 – Students select the correct definition with 60% accuracy. 0 – Students select the correct definition with less than 60% accuracy.

Closure Activities:

Ask students to think of other music words that have multiple meanings.

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SAMPLE LESSONS


MULTIPLE MEANING WORDS In the following example, each word has more than one meaning. Select the word, which has the same meaning as the underlined word. _____ 1. The pitch of the violin was very high. A. sound B. throw C. melody D. angle _____ 2. The tempo of the march made it very exciting. A. beat B. rhythm C. speed D. dynamics _____ 3. When the orchestra played piano, the audience struggled to hear. A. instrument B. softly C. keyboard D. fast _____ 4. When Mrs. Johnson sings the notes she sings very beautifully. A. pieces of paper B. music pitches C. letters D. reading parts _____ 5. In order to read guitar tablature you must understand what chords are. A. notation B. sounds C. music D. strings

SAMPLE LESSONS


USING CONTEXT CLUES

Use clues from the following passages to find the meaning of the underlined words. Select the phrase, which has the same meaning as the underlined word.

1. While walking to the park with my grandmother we heard music playing. As we walked closer, the music began to crescendo. When we arrived at the park we realized that a concert was taking place.

In this passage the word crescendo means to

_____ A. get louder

_____ B. walk slowly

_____ C. run quickly

_____ D. stop playing

2. Yesterday my mother and I went to my sister’s concert at school. The last song was supposed to be sung in harmony but I could only hear the melody.

In this passage the word harmony means

_____ A. two or more parts

_____ B. with the band

_____ C. one part

_____ D. as a solo

3. One of our favorite dances is the Cha Cha Slide. It has a very strong bass part and the beat is easy to hear.

In this passage the word bass means

_____ A. fish

_____ B. high

_____ C. loud

_____ D. low

SAMPLE LESSONS


Grade 3 – Lesson 2 Lesson Title: Tempo – Beat games Overview:

Students will play a variety of beat games from different cultures in order to compare two of the games as well as telling which they prefer. (This unit may take several lessons. Pieces of the unit could be done if materials are not available for all the songs. Also the Third Grade Reading Theme 1 called “Off to Adventure” has a section on listening to and writing about world music. This would be a great link between music and reading. )


• Define tempo using musical terms. (I.A.1) • Interpret music in free and patterned forms in various meters using body movements. (I.C.1) • Sing a variety of western and non-western folk and composed songs including those in other

languages. (II.A.1) • Compare the music for various groups of people as a part of everyday life. (II.A.2) • Explain preferences for songs to sing, instruments to play, music for listening and related activities.

(IV.A.1) • Construct support for individual interests in different styles and kinds of music. (II.B.1)

Warm-Up:

Review the song “Engine #9.” Have students tap the beat with their right hand only on the floor while singing.

Introductory and Developmental Activities: Sing the song at a faster tempo. Discuss what happens with the beat. Do the same while singing

at a slower tempo. Discuss tempo. Explain to students that they will be playing passing games from different countries to practice tempo. They will use only their right hand for the games. Passing object will move around the circle in a counter clockwise direction.

Guided Practice Activities: Introduce the passing action for “Engine #9.” Class should be sitting in a circle. Students should

cross their right hand on the floor in front of their left knee. This position is the ‘pick it up’ position. Have students move their right hand in front of their neighbor’s left knee. This position is the ‘pass it’ position. Have students practice the action first without a block and then with a block.


Add the song when the passing action is smooth. For a more challenging game, give each student a block so everyone passes at the same time.

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SAMPLE LESSONS


Closure Activities:

Review the passing action for the game and what happens to the passing action when the tempo gets faster. Next class, there will be a game from Africa with something different being passed.

Day 2: African Children’s Game Warm-Up:

Review the song “Engine #9” with the passing action. Have students tap the beat with their right hand only on the floor while singing.


Play a recording of “Obwisana” from Share the Music, grade 3 and Spotlight on Music - K. Have students pat the beat while listening. Review the action from “Engine #9” with the “Obwisana” recording. Have students sing along as they become familiar with the song. Once the passing action is mastered, pass around a rock or stone. Discuss with students where the song originates and the use of natural resources by children playing the game. Ask what resources the children who live near the coast in Ghana may use. (Shells)


As children become more proficient, hand out a stone to each child. There is a version of this game in Share the Music where the pattern is: pick it up, pass it, thumb (left), thumb (right).

Independent Activities/Meaningful-Use Task: Have students compare and contrast the two games played so far, using a Venn diagram. Closure Activities:

Review the passing action for the two games and what happens to the passing action when the tempo gets faster. Next class, there will be another game from America with a slightly different passing action.

Day 3: African American Children’s Game Warm-Up:

Review the song “Obwisana” and have students show the passing action while singing. Remind students which hand is active.


Play “Bob-a-Needle” from Shake It To the One That You Love the Best. Have students pat the beat with just their right hand. Then have students put both hands behind their back. The right hand is still active and passes the object from their left hand to their neighbor’s left hand. The students’ left hand should be behind their left hip while seated so that their neighbor can reach it to place the object in the left hand.

SAMPLE LESSONS


Guided Practice Activities: Students should be able to maintain the passing action while singing the song. Practice passing around a small object that can be hidden in their hands while being passed. A brief discussion of the history of the game would be appropriate here, sharing with students the idea that slave children did not have many toys and often had to make do with whatever was handy. For this reason, a small sewing needle case would be most authentic, if available.

Independent Activities/Meaningful-Use Task: The game is played with someone in the middle trying to guess who has the needle case by the end of the song. After playing, have students compare and contrast all of the games played so far, using a Venn diagram with three circles.

Closure Activities:

Review the passing action for “Bob-a-Needle” and what happens to the tempo for this game. Next class, there will be another game from Latin America with something different being passed.

Day 4: Latin American Children’s Game Warm-Up:

Have students listen to the recording of “Acitron” from Share the Music, grade 3 and Spotlight on Music - 6. Have students pat the beat while listening.

Introductory and Developmental Activities: Review the action from “Engine #9” and “Obwisana.” Review what happened with the tempo in “Obwisana.” (It. got faster.) The same thing happens with “Acitron,” but this time passing another item from the natural environment - a stick.


After practice passing one stick, have students listen again to the recording for the words ”triqui, triqui, tron.” On these words, the person holding the stick taps it twice in front of them before passing it on.

Independent Activities/Meaningful-Use Task: When students are proficient at the game with one stick, distribute sticks to the entire circle. After playing, have students compare and contrast all the games played so far, using a Venn diagram with additional circles.

Closure Activities:

Review which games had songs sung in a different language and where they were from. Review which game had a stone being passed. Next class, there will be another game in a different language where a stone is passed but from America instead of Africa.

SAMPLE LESSONS


Day 5: Native American Children’s Game Warm-Up:

Sing “Engine #9” at a slow tempo. Pat the beat with both hands to match the tempo.

Introductory and Developmental Activities: Teach the “Cheyenne Hand Game” from Dance Down the Rain, Sing Up the Corn using the Cheyenne language. Have students pat the beat with both hands while singing.


Demonstrate the actions using the two pats on each of the following verbal cues: straight, cross, straight, out. When this action is mastered, demonstrate how the stone is hidden in the left hand on the first two pats, switched to the right hand on the cross, hidden in the right hand during the next two pats, and then hand to the right side neighbor on the “out” part of the pattern.

Independent Activities/Meaningful-Use Task: Play this game as a hiding game with a person in the center trying to guess who has the stone. Have students compare and contrast all the games played so far, using a Venn diagram with additional circles.

Closure Activities:

Review the passing action for “Bob-a-Needle” and where the hands were for the passing action. Next class, there will be another game from Japan with something different being passed behind the back.

Day 6: Japanese Children’s Game Warm-Up:

Have students listen to the recording of “Sara Watashi” from Spotlight on Music – 1 and pat the beat.


Review the action for “Bob-a-Needle.” Practice this with the “Sara Watashi” song. Guided Practice Activities:

Have students try this standing in a circle. Students will need to be standing shoulder to shoulder to hide the plate from the person in the center. Practice with a paper plate.

Independent Activities/Meaningful-Use Task: Play the game with a standing circle and with the recording. Have students compare and contrast the three games played so far, using a Venn diagram.

SAMPLE LESSONS


Closure Activities:

Review the passing action for the “Cheyenne Hand Game” and what happens to the tempo for this game. Next class, there will be another game from Latin America with something different being passed.

Day 7: Jamaican Children’s Game Warm-Up:

Play the song “Biddy Hold On” from Share the Music, grade 3. Have students keep the beat using the action from “Bob-a-Needle” and the plate passing game from Japan.


Have students stand as in the plate passing game. Teacher should walk around the circle with a long length of string. Each person should grasp the string with their knuckles up and fingers curled over the string. Tie a ring onto the string.


The ring will be passed along the string using a motion similar to “Bob-a-Needle.” The left hand is holding the string ready to receive the ring from the neighbor. Their right hand is active moving from their own left hand picking up the ring and moving it to the right side neighbor’s left hand.

Independent Activities/Meaningful-Use Task: This is a hiding game also with someone in the center trying to guess who has the ring by the end of the song. As a final review of the games, have students compare and contrast any two games played, using a Venn diagram on paper. They should also write down which game was their favorite and give specific details about the game to support their answer.

Assessment:

Observe students as they are playing any or all of the games and assess using the following rubric. (This could be done as a final test at the conclusion or as an on-going assessment through the unit.):

4 – Students are consistently following the directions for playing the game and are able to maintain the pattern in tempo with the music.

3 – Students are generally following the directions for playing the game and are somewhat able to maintain the pattern in tempo with the music.

2 – Students are attempting to follow the directions for playing the game and are somewhat able to maintain the pattern in tempo with the music.

1 – Students are attempting to follow the directions for playing the game but are not able to maintain the pattern in tempo with the music.

0 – Students are not following the directions and not able to maintain the tempo.

SAMPLE LESSONS


Scoring tool for the final comparison of two games:

4 – Students were able to correctly identify two things the same and two things different about the games they selected and something about tempo was included in the comparison.

3 – Students were able to correctly identify two things the same or two things different about the games they selected and something about tempo was included in the comparison.

2 – Students were able to correctly identify only one thing the same or one thing different about the games they selected and nothing about tempo was included in the comparison.

1 – Students attempted to respond but answer was inappropriate or incomplete. 0 – Students did not respond.

Rubric for their response to the writing prompt about which game was their favorite:

4 – Students clearly stated and fully supported their preference using specific details about the game.

3 – Students clearly stated and somewhat supported their preference using general details about the game.

2 – Students clearly stated their preference but did not support with details about the game.

1 – Students attempted to respond but answer was unclear or incomplete. 0 – Students did not respond.

Closure Activities: Ask students to define tempo and give examples of how the tempo could be shown from the music done in this unit.

SAMPLE LESSONS


Grade 3 – Lesson 3 Lesson Title: Birthday Songs Overview:

Students will sing birthday songs from two cultures in order to create a new birthday song by writing new words to a familiar tune. (Third Grade Reading Theme 2 is called “Celebrating Traditions.” This would be a nice link for students. In addition this theme has a section on salsa music, which would provide another link for this lesson.)


• Sing a variety of western and non-western folk and composed songs including those in other languages. (II.A.1)

• Compare the music for various groups of people as a part of everyday life. (II.A.2) • Explain preferences for songs to sing, instruments to play, music for listening and related activities.

(IV.A.1) • Construct support for individual interests in different styles and kinds of music. (IV.B.1)

Warm-Up:

Sing “Happy Birthday,” substituting ‘anybody’ for a person’s name. Review meter by conducting triple meter while singing.


Discuss birthday customs that students have in their own families. Point out the customs that are most common. Discuss whether people in other countries celebrate birthdays. Ask students to identify the country that is our neighbor to the south. Inform students that they are going to hear a song sung as a birthday song by people in Mexico. Play “Las Mananitas” from Share the Music, grade 4 or 6 and Spotlight on Music - 4.


Discuss what language is spoken in Mexico. Point out that the Mexican people sing in the same language that they speak. Distribute copies of the song or the textbook. Go over the Spanish words in the song. Give students an opportunity to sing the song with the recording.


Divide students into cooperative groups. Have the groups pick a familiar tune to use to create a new birthday song, i.e. “Twinkle, Twinkle,” “If You’re Happy and You Know It,” “Old MacDonald,” etc. The groups should then make up new words for the song, practice it together as a group, and be prepared to perform it for the class.

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SAMPLE LESSONS


Assessment: Observe students as they are working and assess using the following rubric:

4 – Students create and perform a new birthday song with a group. 3 – Students create and perform part of a birthday song with a group. 2 – Students create part of the birthday song but are not able to perform it with their group. 1 – Students attempted to create part of the birthday song but did not finish. 0 – Students made no attempt to complete the task.

Closure Activities:

Review birthday customs and compare to Mexico. Encourage students to find out how people in other countries celebrate as well as how other members of their extended family celebrate birthdays

SAMPLE LESSONS


Grade 3 – Lesson 4 Lesson Title: Dynamics and Drama in “Crocodile Song” Overview:

Students will use dynamics and movements in order to dramatize the story of this song and then create a sequence chain in cartoon form. (Third grade Reading Theme 3 called “Incredible Stories” could be linked to this lesson.)


• Describe characteristics of music such as crescendo, decrescendo, and accent using appropriate musical terms. (I.A.2)

• Interpret music in free and patterned forms in various meters using body movements. (I.C.1) • Sequence the events in a musical drama. (II.C.1)

Warm-Up:

Play “Alligator Jaws” game using the “Dance of the Comedians.” Show the dynamics of the music by opening and closing hands (alligator jaws).


Teach “The Crocodile Song” from Music and You, grade 3 by rote. Discuss how dynamics could make the story more interesting. Try out some of the students’ ideas. Add the movement directions suggested in the Teachers Manual.

Guided Practice Activities: Have students make a cartoon of this story, sequencing the events in the following manner:

A. Draw a picture of the lady sailing on the back of the crocodile on a bright and sunny day. B. The lady is shown petting the crocodile. C. The crocodile and lady sail past the pyramids on the Nile River. D. The crocodile is shown winking his eye as the lady waves to the crowd. E. The crocodile is shown moving the opposite way and the lady is seen inside the crocodile. F. The crocodile has a big smile.


Perform the song with movements and dynamics. Have students take home the cartoon and perform it for a family member.

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SAMPLE LESSONS



4 – Students use proper dynamics, movements and draw cartoon using the directions given.

3 – Students use most of the dynamics, movements and draw four of the pictures using the directions given

2 – Students use some of the dynamics, movements and draw three of the pictures using the directions given

1 – Students use very few of the dynamics, movements and draw one of the pictures suing the directions given.

0 – Students made no attempt to complete the task. Closure Activities:

Review how the dynamics and the movements added expression to the story and review the sequence of events from the cartoon.

SAMPLE LESSONS


Grade 3 – Lesson 5 Lesson Title: Cartoon Tunes Overview:

Students will create song lyrics in order to have an opening song for a cartoon using a familiar melody.


• Sing simple melodic patterns containing “do” and “re” using hand signs. (I.B.3) • Read and perform simple melodic notation including half notes. (I.D.1) • Read and sing “mi-re-do” patterns as notated on the music staff. (I.D.2) • Sequence the events in a musical drama. (II.C.1) • Improvise simple pentatonic ostinati to accompany familiar songs. (III.A.1) • Select and play instruments to match the mood of extra musical ideas. (III.B.1)

Warm-Up: Review the “Dogzilla” cartoon story that is part of the Reading instruction for Theme 3 “Incredible

Stories.” (Part of the lesson for reading is to write lyrics for an opening song to go with the cartoon. The reading lesson suggests using Old MacDonald however the same thing could be done in music class with the addition of writing down the melody notes with the song “Hot Cross Buns”.)

Introductory and Developmental Activities: Review the hand sins for Sol, Mi, La, Re, and Do. Echo sing simple four beat melody patterns with

hand signs. Introduce the song “Hot Cross Buns” using hand signs and their names. Then add the words. Notate the song using a two line staff on the board.

Guided Practice Activities: Discuss the story and how the tune of “Hot Cross Buns” might be rewritten to fit the story. Have

students work together to write new words for an opening song for the cartoon. Independent Activities/Meaningful-Use Task: Practice singing the new words. Have students make up melody patterns that could be played on

tone bar instruments with the new song. Add song effects to other parts of the story. Perform the story with the song and sound effects. Evaluate the performance. Discuss what needs to be improved.

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SAMPLE LESSONS


Assessment:

Observe students as they create and perform their new words and music using the following scoring tool:

4 – Students contributed consistently to the group composition and performed it. 3 – Students contributed occasionally to the group composition and performed it. 2 – Students contributed to the group composition but did not perform it or performed it but

did not help with the composition. 1 – Students made a minimal attempt to be part of the group work in either composition or

performance. 0 – Students made no attempt to contribute to group work.

Closure Activities: Think about other television shows or commercials that have music.

SAMPLE LESSONS


Grade 3 – Lesson 6 Lesson Title: Melodic ostinato with “Laugh, Ha, Ha” Overview:

Students will recognize a half note in order to sing and play a melodic ostinato pattern that contains a half note. (This lesson may need to be done in two – three class periods.)


• Maintain tempo and pitch while singing familiar rounds. (I.B.2) • Sing simple melodic patterns. (I.B.3) • Read and perform simple rhythmic and melodic notation including half notes. (I.D.1)

Warm-Up: Play “Magic Number.” Before class, write five rhythmic patterns on the board. Students identify

one of the five patterns clapped by the teacher by hiding the correct number of fingers behind their backs. The patterns will contain half notes as well as other rhythmic notation already studied. When teacher says “Show me your magic number,” students show how many fingers they were hiding. Repeat at least four times.

Introductory and Developmental Activities: Introduce the song “Laugh, Ha, Ha” from Share the Music, Songs to Sing and Read. Isolate the

pattern for the first phrase of the song. Practice singing this pattern alone. Then sing this pattern while the teacher sings the song melody. Then switch parts, the teacher sings the pattern while the class sings the song melody.

Guided Practice Activities: Divide the class into two groups having one half sing the pattern while the other half sings the song

melody. Sing the song as a round. For additional challenge, divide the class into one additional group and add the melodic ostinato.


Listen to “Pachelbel Canon” from Silver Burdett Music, grade 5. Have the students follow the half note melodic ostinato, first as the teacher plays it on the piano and then as it is heard in the musical listening. Relate this ostinato to the one that the students have just performed with the song “Laugh, Ha, Ha.” Divide the class in half and review the song with the melodic ostinato. Give everyone a chance to sing the melodic ostinato part.

SAMPLE LESSONS


Assessment:

Assess while observing the students as they perform the melodic ostinato. 4 – Students consistently maintained the ostinato while others sang the melody. 3 – Students generally maintained the ostinato while others sang the melody 2 – Students attempted the ostinato but could not maintain it while others sang the melody. 1 – Students sang the melody rather than the ostinato. 0 – Students did not respond.

Closure Activities:

Review the concept of ostinato by clapping patterns that are and are not an ostinato and have the students stand when they hear an ostinato.

SAMPLE LESSONS


Grade 3 – Lesson 7 Assessment Activity Lesson Title: Musical Drama Overview:

Students will draw scenes from a musical drama while listening in order to recognize the sequence. (Third Grade Reading Theme 5 called “Voyagers” has comprehension instruction for predicting outcomes. Any of the stories could be used for reinforcement of these skills.)


• Sequence the events in a musical drama. (II.C.1) Activity: Discuss the story in a drama like The Nutcracker, Sorcerer’s Apprentice, Hansel and Gretel,

Cinderella, etc. (There are picture books and/or videos with these stories, which may be used to familiarize students with the stories, as well.)

Distribute a sequence chain. Have students draw pictures to demonstrate an understanding of the

sequence of the story while listening to excerpts from the musical dramas. Assessment: Assess the students’ work using the following scoring tool:

4 – Students drew pictures, which demonstrated an understanding of the sequence of the story while listening to the music without talking.

3 – Students drew pictures, which demonstrated an understanding of the sequence of the story while listening to the music with some talking.

2 – Students listened to the music but their pictures did not demonstrate an understanding of the sequence of the story.

1 – Students listened to the music but did not attempt any pictures. 0 – Students were not listening to the music or attempting any pictures.

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SAMPLE LESSONS


Grade 3 – Lesson 8 Assessment Activity Lesson Title: Melody in “Bonefish, Bluebird” Overview:

Following instruction on reading melodies using do, re, and mi, students will learn to write melodies in order to compose a melody for the words of a song using these melody notes.


• Read and perform simple rhythmic and melodic notation. (I.D.1) • Read and sing “mi-re-do” patterns in various keys as notated on the music staff. (I.D.2)

Activity:

Using the worksheet included with this lesson, have the students review the pattern for “mi-re-do” at the top of the sheet. Have students compose a melody for the first three lines of this song and write it on their own paper. Students should be prepared to perform their melody for the class by singing their new melody.


4 – Students created a melody using the correct melody notes and performed it correctly for the class.

3 – Students created a melody with no more than two errors in melodic notation and performed it with no more than two errors for the class.

2 – Students created a melody with numerous melodic notation errors and could not perform it for the class.

1 – Students attempted to create a melody but could not perform it for the class. 0 – Students did not respond.

SAMPLE LESSONS


Bonefish, Bluebird Compose a melody for the first three lines using mi, re, and do by writing the melody notes on the blank lines above the words using the rhythm notes given. Be prepared to sing what you have written.

Mi Re Do

Bone - fish, Blue - bird, Sheep and flea,

Chick a - dee, doo – dle bug, ro - bins in a tree.

Fly in the cream jar. Frog in the pool.

Clap for all the child - ren here at school.

SAMPLE LESSONS


Grade 3 – Lesson 9 Assessment Activity Lesson Title: Personal Preferences Overview:

Students will write about their favorite song using musical terms in order to give support for their preference.


• Define tempo, dynamics and meter using musical terms. (I.A.1) • Explain preferences for songs to sing, music for listening and related activities. (IV.A.1) • Construct support for individual interests in different styles and kinds of music. (IV.B.1)

Activity: Discuss/review the definitions for musical terms like melody, rhythm, tempo, dynamics, meter, and

form. Discuss/review different singing and speaking voices (male, female, and children) as well as instrumental pieces and singing with instruments. Have students complete the following writing activity.

My favorite song is _________________ because ______________________________ ___________________________________________________________________ . (Be sure to use four of the musical terms in your supporting statement as well as some information on what type of singing or instruments or both you hear.)


4 – Students clearly stated and fully supported their preference using at least three of the musical terms correctly and indicating the type of voices or instruments.

3 – Students clearly stated and supported their preference using at least one of the musical terms correctly and indicating the type of voices or instruments.

2 – Students clearly stated and somewhat supported their preference using at least one of the musical terms correctly or indicating the type of voices or instruments.

1 – Students clearly stated but did not support their preference or used the musical terms incorrectly.

0 – Students did not respond.

SAMPLE LESSONS


Alternative Activity: This addresses the following indicator as well:

Experience a live performance outside the school setting and compare to recorded performances, both audio and video.

Following a performance of the school chorus or band, have students listen to a taped recording of

a performance as well as watch a video of a performance. Briefly discuss the advantages and disadvantages of each type of performance from the position of a consumer of music. Discuss what the producers of the music (the performers) would prefer and why.

Have students complete the following statement:

If I had a choice of spending money on a concert ticket, a video of a performance, or a tape recording or CD of the performance, I would spend my money on _________________ because ______________________________________________ .


4 – Students clearly stated and fully supported their preference. 3 – Students clearly stated and somewhat supported their preference. 2 – Students clearly stated but did not support their preference. 1 – Students attempted to answer but did not respond appropriately. 0 – Students did not respond.

SAMPLE LESSONS


Grade 3 - Lesson 10 Lesson Title: “Peter and the Wolf” Listening Map Overview:

Student will listen to and classify string and woodwind instrument in order to understand the choices Prokofiev made in selecting instruments when he composed “Peter and The Wolf.” (This lesson can be implemented in a whole class setting, in a classroom center, or as a home to school project.)

Indicators from Scope and Sequence:

• Sequence events in a musical drama. (II.C. 1) • Construct perspectives from listening to western instrumental music from various historical periods.

(II.B.1) • Listen to orchestral music which features string and woodwind instruments to introduce

classification terms: chordophones and aerophones. (II.D.1) • Explain preferences for songs to sing, instruments to play, music for listening and related activities.

(IV.A.1) Student Standards for Technology Literacy Addressed in this Lesson:

• Understand that some programs require connection to the Internet. • Use of removable storage including floppy disk. • Identify examples of how technology has affected the environment past and present. • Identify use text features to facilitate understanding of informational text. • Recognize and use online text features including URLs, Hypertext links, Sidebars, Drop down

menus, and Homepages. • Explain the purpose for a chosen media format.

Warm-up:

Students will respond in writing to the following question: Which picture represents the music you are listening to? They should be prepared to explain your answer.

Display the images located on the following websites: • Two Figures (Russian artist Liubov' Sergeevna Popova)

http://www.rollins.edu/Foreign_Lang/Russian/frame4.html • Above Eternal Peace (Russian artist Isaac II’ich Levitan)

http://www.rollins.edu/Foreign_Lang/Russian/frame3.html Play the excerpt on the following site:

• Musical Selection: “Peter and the Wolf”, String Theme (Peter) http://library.thinkquest.org/17321/data/pwmusic.html

SAMPLE LESSONS


Introductory and Developmental Activities: Explain that composers can use music to tell a story or communicate their ideas. Introduce Sergei Prokofiev.

Listen to an online radio broadcast highlighting the life and music of the composer. (Download Flash: 6:01min.)

Classics for Kids, http://www.classicsforkids.com/shows/showdesc.asp?id=4 Guided Practice Activities:

Tell the story of “Peter and the Wolf” and explore the characters and their instruments using any of the following resources:

Online text of “Peter and the Wolf“(Print Material is also noted in this plan), http://library.thinkquest.org/17321/data/estext.html

Web Investigation of “Peter and the Wolf” http://library.thinkquest.org/17321/data/pandw.html Narrated story with orchestral sounds (PowerPoint)

http://www.lexington1.net/technology/instruct/lessons/elementary/animals/wolf/aspeter.ppt Instruments in “Peter and The Wolf“(PowerPoint)

http://www.sover.net/~fcsu/gceit/ajarvis%20grade%203%20music%20powerpoint%20appendix.ppt

“Peter and the Wolf” instruments no sound (PowerPoint) www.musiceducationmadness.com/downloads/Peter and the Wolfppp.ppt

Matching Instruments to Characters (PowerPoint) http://www.primaryresources.co.uk/music/powerpoint/peter_and_the_wolf_2.ppt

Help the students identify the characters and the instruments Prokofiev uses to portray them recording their answers on a graphic organizer.

Graphic Organizer Websites and Resources • RWT Webbings Tool: http://interactives.mped.org/view_interactive.aspx?id=127&title • Education World (Downloadable Word Template):

http://www.educationworld.com/tools_templates/sm_nov2002.doc • The following software can also be used to create a graphic organizer: Kidspiration, Inspiration,

Microsoft Word, and Microsoft PowerPoint. Explain the factors influencing a composer’s decision to use an instrument such as, tone quality and range and identify means of sound production of the instruments by using the following website:

DSOKids, http://www.dsokids.com/2001/instrumentchart.htm The students will use group response to classify instruments using the Hornbostel-Sachs system for classification. In this lesson include the following: aerophones, chordophones, idiophones, or membranophones in creating the instructor led web graphic organizer. The students should find a picture of the instrument and listen to its sound as a solo instrument and in an ensemble to determine their response.


Students can begin their independent work by taking an online quiz. “Peter and the Wolf” Quiz, http://library.thinkquest.org/17321/data/quiz.html

SAMPLE LESSONS


Students will create a sequential listening map of “Peter and the Wolf” which identifies the characters and predominant instruments as they appear in the story. The students can use Microsoft Word, Paint, PowerPoint or scan a painting or drawing of their map to create a digital file. Allow the students to independently review the websites used in class to support their work.

Listening Map Example: Sound and Stories (PDF doc. p.17 - 20) http://www.cincinnatisymphony.org/PDF/SoundsandStories05.pdf

The students will respond to the following writing prompts in their journals: • What are your feelings about Prokofiev’s instrument choices in “Peter and the Wolf”? • Prokofiev was born in 1891. How would a modern composer like Quincy Jones set the story to

music? What instruments would he use? • If you were a musician in the National Symphony Orchestra, which instrument would you play

and why? Assessment:

Assess student’s listening map using the following rubric: 4 – The listening map shows the relationship between characters and instruments in the

correct order. 3 – The listening map shows the sequence of events but does not accurately depict the

relationship of characters to their instruments. 2 – There is not an apparent relationship between the characters portrayed in the music

and the instruments and one or more items is out of sequence. 1 – The listening map shows a loose connection to the musical themes presented in the

selection. 0 – No response to assigned task

Assess student responses to journal prompts using the following rubric.

4 – Reflections in the journal response are expressed using complete sentences, contain clear and detailed explanations to questions using three or more sentences, and demonstrate a high level of reflection on the part of the writer.

3 – Reflections in the journal response are expressed using complete sentences and exhibit a degree of reflection on the part of the writer. However, the explanations or opinions expressed are not clear.

2 – Reflections in the journal are loosely expressed and are not detailed or clear in expressing the opinions of the writer.

1 – Reflections are incomplete or have insufficient detail for the reader to understand the opinion of the writer.

0 – No response to assigned task

Closure Activities: Allow student time to share their responses in their journal entries.

SAMPLE LESSONS


Additional Lesson Materials: Print/Audio Materials: • Sergei Prokofiev’s “Peter and the Wolf” and the Cincinnati Symphony (includes CD) • Peter and the Wolf(mechanical book) Viking Kestrel • Peter and the Wolf Beck, Ian. • Peter and the Wolf Carlson, Maria. • Peter and the Wolf Chappell, Warren. • Peter and the Wolf Cooney, Barbara. • Peter and the Wolf Crampton, Patricia. • Peter and the Wolf Gukova, Julia. • Peter and the Wolf Hastings, Selina. • Peter and the Wolf Lemieux, Michèle. • Peter and the Wolf Prado, Miguelanxo. • Peter and the Wolf Vagin, Vladimir. • Peter and the Wolf Voigt, Erna. • Peter and the Wolf Wiencirz, Gerlinde.

Retold(PowerPoint Presentation) http://www.genevacsd.org/Peter%20and%20the%20Wolf2.htm

Videos

“Part I, Max and All His Instruments,” Musical Max, United Streaming (3:34/9:20) http://www.unitedstreaming.com

The Hunter’s Theme (32 seconds) http://disneyshorts.toonzone.net/videos/peterandthewolf2.mov

Printable Materials

Not Just for Kids, http://www.bayweekly.com/year98/kids6_10.html Listening Map, http://www.cincinnatisymphony.org/PDF/SoundsandStories05.pdf Journal Sheet, http://readwritethink.org/lesson_images/lesson313/journal-sheet.pdf

Tutorials

PowerPoint Tutorial, http://www.electricteacher.com/tutorial3.htm

For more information on Hornbostel-Sachs classifications go to: MSN Encarta, http://encarta.msn.com

SAMPLE LESSONS


Guidelines for Recommended Music Activities in Intermediate Grades

The lesson plan for Intermediate students can involve the integration of musical concepts or skills. Careful assessment of students’ skills and knowledge prior to the introduction of new music learning is critical. If students are weak in prerequisite skills, it is important that those skills be part of the instruction for new learning. The statement of the objective should introduce students to music terminology but link the musical terms to language that students will understand. The warm-up should introduce the objective without much discussion. Singing familiar songs, listening to a new song with a specific purpose, echo experiences, or music reading activities for warm-ups will help with transitions. The teacher directed activities could include more teacher talk than in the primary lesson but still needs to be interactive so that students are engaged. It is again best to limit directions to two or three at a time. Asking students to repeat directions before starting an activity is wise especially if the directions are complicated. There can be more development of a musical concept in an intermediate lesson but this should still be done through a variety of activities. However, one activity can lead into the next, for example, clapping rhythm patterns, then finding them in a new song, and then playing them on instruments during the performance of the song. Intermediate students can sing longer songs with more complicated melodies. They should have the opportunity to follow the musical score with guidance to increase their musical literacy. The rhythm and melody can be taught in isolation but should eventually be integrated as part of the musical experience. Composition and improvisation within structured guidelines is appropriate at this age. Games to assist with music notation skills can be beneficial but the skills need to be extended to include an authentic performance experience. The performance experience should focus on mastery of individual skills as well as a quality ensemble sound. Students can evaluate both their individual performance as well as that of the ensemble given specific criteria and then make necessary improvements to the performance.

Students on this level need to be able to interpret the lyrics of the music and analyze what they lyrics say about the people who sing the song both culturally and historically. Having students complete writing activities to demonstrate an understanding of the lyrics is appropriate and can be handled in a variety of ways as suggested by many of the sample lessons included here. Again, the integration of the instruction of the musical elements contained in a song and an analysis of the lyrics of the music would be appropriate for this age. Encouraging students to then perform the music reflecting the culture of the people who performed the music in the past or in another culture helps to develop musical sensitivity. Students this age are ready to experience longer, more focused listening experiences. This age student will need assistance to develop the appropriate music vocabulary to discuss the listening experience and this may need to be modeled by the teacher. The same can be applied to evaluating musical performances. Students should be encouraged to be specific in using the music vocabulary when doing this type of activity. Instrument skills can be more complex with a higher level of mastery. Students should be able to sing and play at the same time. Again, students need instruction in how to play instruments correctly and with care. Where it is available, technology can be integrated into music lessons at this level. Students in the Intermediate grades can handle cooperative group activities as well as whole group experiences. Cooperative group activities need to be monitored closely for on task behavior. A variety of assessment strategies for this age is important. Integration of whole group assessment, individual assessment, and written assessment activities is important. Criteria for determining the grade should be shared with students so that they know how they will be assessed. Communication about these criteria should be stated frequently so that students have a goal to work towards through the musical experience. Closure should summarize the focus of that day’s lesson as well as prepare for the following lesson.

SAMPLE LESSONS


LESSON PLANNER – INTERMEDIATE DIRECTED TEACHING ACTIVITY PLANNER – 30 MINUTE LESSON

Focusing Student Attention

Statement of Objective: What should students know and do as a result of the lesson?

Warm-Up: How will you engage students in learning? How will you connect the lesson to their prior knowledge?

Times approximate:

5 minutes

Introductory and/or Developmental Activities

Teacher Directed Activities: How will you aid students in constructing meaning of new concepts? How will you introduce/model new skills or procedures?

5 minutes

Guided Practice Teacher-Monitored Activities: What will students do together to use new concepts or skills? How will you assist students in this process? 10 minutes

Independent Activities and/or Meaningful-Use Tasks

Extension, Refinement, and Practice Activities: What opportunities will students have to use the new skills and concepts in a meaningful way? How will students expand and solidify their understanding of the concept and apply it to a real-world situation? How will students demonstrate their mastery of the essential learning outcomes?

5 minutes

Assessment Formative Assessment: How will you monitor student progress throughout the lesson?

Summative Assessment: How will you ensure that all students have mastered the identified learning indicators? How will you assess their learning? Daily and end of unit.

Closure Activities: How will you assist students in reflecting upon what they learned today and are preparing for tomorrow’s lesson? What homework will be assigned to help students practice, prepare, or elaborate on a concept or skill taught?

5 minutes

SAMPLE LESSONS

196 Curriculum Framework – Elementary Vocal and General Music

Grade 4 – Lesson 1 Lesson Title: Colonial games Overview:

Students will sing Colonial work and game songs for children in order to discuss the historical context. (The Fourth Grade Reading Theme 2 called “American Stories” would be a nice link to this unit. The Reading Theme includes a section on reading and analyzing song lyrics with cowboy songs. That type of comprehension development could be reinforced in these lessons. This unit may take several lessons.)


• Perform simple melodic ostinati to accompany songs. (I.B.1) • Sing simple melodic patterns containing high “do” using hand signs. (I.B.2) • Sing and play classroom instruments in an ensemble, responding to conducting cues. (I.B.3) • Read and perform simple melodic notation. (I.D.1) • Identify and sing octaves as notated on the treble staff. (I.D.2) • Perform music with appropriate expression as indicated by the written score. (I.D.3) • Describe how music reflects traditions in various cultures. (II.A.1) • Examine the use of musical elements and perform music using the style reflective of that culture.

(II.A.2) • Sing and summarize the historical context of early American music such as folk songs. (II.B.1) • Perform children’s game songs from various historical periods and cultures. (II.B.2) • Improvise pentatonic melodies on keyboard instruments. (III.A.1) • Summarize ways in which people from diverse cultures enjoy performing and creating music.

(IV.A.1) • Evaluate individual performances for the reflection of cultural authenticity. (IV.B.1)

Day 1: Pentatonic Song Review Warm-Up:

Echo sing with hand signs several patterns using notes in pentatonic.

Introductory and Developmental Activities: Pass out the song sheet included with this lesson. Have students read the notes on the sheet with hand signs. Add the words.

Guided Practice Activities: Have students read the notes for the melodic ostinati. Discuss octaves. Find the pattern that has

the octave.

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SAMPLE LESSONS


Independent Activities/Meaningful-Use Task: Play the melodic ostinati on classroom melody instruments. Sing the song while playing the instruments. Have small groups make up their own ostinato to add to the song. Give the students two or three notes to use for their ostinato. Stay with pentatonic notes for this activity. It may be easier with the F and B bars removed from the instruments. Switch groups who compose a new ostinati and give them new notes to use so that all students have an opportunity.

Assessment: Assess students as they are playing the melodic ostinato using the following rubric:

4 – Students consistently maintain the melodic ostinato while singing the song. 3 – Students generally maintain the melodic ostinato while singing the song. 2 – Students can generally maintain the melodic ostinato but not while singing the song. 1 – Students are attempting to play the melodic ostinato or attempting to sing. 0 – Students are not attempting the melodic ostinato or singing the song.

Assess students as they are composing a new melodic ostinato using the following rubric:

4 – Students consistently maintain their own melodic ostinato using the assigned notes while singing the song.

3 – Students generally maintain their own melodic ostinato using the assigned notes while singing the song.

2 – Students generally maintain their own melodic ostinato but did not use the assigned notes while singing the song.

1 – Students are attempting to play their own melodic ostinato but are not attempting to sing.

0 – Students are not attempting the melodic ostinato or singing. Closure Activities:

During the next class, the song will be reviewed and information about the people who sing and the jobs they do will be shared. Ask students to think about what the job was for the song from this lesson.

Day 2: Colonial Work Songs Warm-Up:

Play “When I First Came to This Land” from Share the Music, grade 4 and Spotlight on Music - 3. This song is also included in the Reading Theme 2. Discuss who would sing this song.


Briefly introduce how life was different for the early colonists from what it is today. This lesson will look at what kids did in Colonial times compared to today. Ask students how many of them have to do chores today. Let them know that that is something that they have in common with kids in Colonial times. Review the song “Pity My Case” from the last class. What job was the song about? Ask how many kids have to help do laundry for their chores. Discuss how doing laundry is different today from Colonial times. Complete a Venn diagram with information discussed in class.

SAMPLE LESSONS


Guided Practice Activities: Review the song and add actions to show the work the song lyrics tell about.

Independent Activities/Meaningful-Use Task: Discuss the steps to getting the laundry done in Colonial times. Talk about how the lyrics would change to sing about the different steps to getting the laundry done.

Closure Activities: Discuss what other chores Colonial kids might have to do and compare to today’s kids.

Day 3: Colonial Games Warm-Up:

Listen to “The Distressed Damsel” from Voices of American History - Colonial America. If that is not available, review “Pity My Case.”

Introductory and Developmental Activities: Share information with the class about different social classes during Colonial times (i.e. wealthy landowners – gentry, middle class – middling sort, servants – indentured servants, slaves, poor and unemployed). Discuss which classes were singing while they were working (all but gentry and poor). Listen to “Draw a Bucket of Water” from Share the Music, grade 3 and Spotlight on Music - 3. Share with students that the same song was sung by indentured servants and slaves although with different singing styles.


Discuss what type of work was in today’s song. Compare to work of today. Ask students to think of work that is done by kids today that Colonial kids did not have to do.

Independent Activities/Meaningful-Use Task: Discuss what kids get to do after their chores are done today. (play) Same was true in Colonial times. Share the game that goes with “Draw a Bucket of Water” from Step It Down. Demonstrate with a group of four then let the whole class try it in groups of four.

Closure Activities: Play the song “The Green Grass Grew All Around” from Spotlight on Music - 1. Share with students that singing together with their family was another form of recreation for kids during Colonial times.

SAMPLE LESSONS


Day 4: Comparing Colonial Times to Today Warm-Up:

Review “Pity My Case,” “When I First Came to this Land,” “Draw a Bucket of Water,” and “Green Grass Grew All Around.”


Review the Venn diagram from the earlier lesson.

Guided Practice Activities: Have students select a chore that they do today and compare it to something that Colonial kids had to do. Distribute copies of a Venn diagram for students to complete for their selected chore.

Independent Activities/Meaningful-Use Task: Have students respond to the following prompt. Discuss in class how students should complete the prompt. Give students time to complete their response at home as homework or provide time in class for students to work on this.

Pretend you are writing a report for a Colonial child telling them about the kinds of jobs or chores children have to do in today’s world. Compare today’s jobs to what you know about the jobs that Colonial children had to do. Select one of the Colonial work songs sung in music class and write down new words you might use in the song telling about one of jobs you have to do around your house.

Assessment:

Scoring tool for the Colonial writing prompt: 4 – Prompt is completely written with the proper form and accurate historical/cultural

information. 3 – Prompt is generally well written with the proper form and somewhat accurate

historical/cultural information. 2 – Attempt is made to answer the prompt but information was generally inaccurate or

incomplete. 1 – Limited attempt is made to answer the prompt. 0 – Students did not respond.

Grade drops one letter grade for missing music information.

Closure Activities: After students turn in their ‘work,’ let them ‘play’ one more time the games that go with “Draw a Bucket of Water” or “London Bridge.”

SAMPLE LESSONS


Pity My Case

Do Do Pi - ty my case.

In some la - dy’s gar - den.

Clothes to wash when I get home.

In some la - dy’s gar - den.

SAMPLE LESSONS


Grade 4 – Lesson 2 Lesson Title: Music of the Underground Railroad Overview:

Students will sing African American spirituals in order to discuss the historical context and their use as code songs. (Fourth Grade Reading Theme 2 called “American Stories” or Theme 4 called “Problem Solvers” would be a nice link to this unit.)


• Describe how music reflects traditions in various cultures. (II.A.1) • Examine the use of musical elements and perform music using the style reflective of that culture.

(II.A.2) • Sing and summarize the historical context of early American music such as spirituals. (II.B.1) • Summarize ways in which people from diverse cultures enjoy performing and creating music.

(IV.A.1) • Evaluate individual performances for the reflection of cultural authenticity. (IV.B.1)

Warm-Up:

Sing “This Little Light of Mine” from Spotlight on Music – 2. Students may join in if they know it.

Introductory and Developmental Activities: Discuss what kind of song this is and who would sing this song. (Spirituals sung by African Americans.) Discuss the use of these songs as code songs for the Underground Railroad. Discuss Underground Railroad history.


Play “Follow the Drinkin’ Gourd” from Share the Music - 6 and Spotlight on Music - 5. Have students learn the song. Read the book and show the Reading Rainbow video to go along with the song. Discuss the specific codes in the song. Sing other spirituals and examine the lyrics for possible codes. Possible songs include: “Get On Board,” “Swing Low, Sweet Chariot,” “All Night, All Day,” and “When the Saints Go Marching In.”

Independent Activities/Meaningful-Use Task: Review “This Little Light of Mine” from the beginning of class. Review call and response. Have students form cooperative groups. Each group should make up new words for the calls that would be codes for the Underground Railroad. Groups should each perform their new version of the verse of the song for the class. The class should join in singing the response and refrain.

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SAMPLE LESSONS


Assessment:

Assess students as they are singing their new verse using the following rubric: 4 – Students created and sang a new verse for the song that showed an understanding of

the codes used for the Underground Railroad. 3 – Students created and sang part of a new verse for the song that showed an

understanding of the codes used for the Underground Railroad. 2 – Students created a new verse for the song that showed an understanding of the codes

used for the Underground Railroad but were not able to sing it. 1 – Students attempted to create a new verse for the song but did not finish and were not

able to sing it. 0 – Students did not attempt a new verse.

Closure Activities:

Think of other spirituals that students may know and discuss the codes in those songs.

Extension: The resource Music of the Underground Railroad by Kim and Reggie Harris provides excellent information on this topic as well as a recording of many of the spirituals used on the Underground Railroad.

SAMPLE LESSONS


Grade 4 – Lesson 3 Lesson Title: “The Star-Spangled Banner” Overview:

Students will learn to sing “The National Anthem” in order to present it in historical context with a short dramatic presentation of the history of the song. (The Fourth Grade Reading Theme 2 called “American Stories” or Theme 5 called “Heroes” would be nice links for this series of lessons.)


• Perform music with appropriate expression as indicated by the written score. (I.D.3) • Examine the use of musical elements and perform music using the style reflective of that culture.

(II.A.2) • Sing and summarize the historical context of early American music such as patriotic songs. (II.B.1)

Warm-Up: Practice several choral warm-ups relating to the use of head voice. Demonstrate the difference

between chest voice and head voice. Introductory and Developmental Activities: Read the historical background on “The Star-Spangled Banner” provided in the Music and You,

Grade 4. Guided Practice Activities: Teach the students to sing “The Star-Spangled Banner.” Use choral techniques to address its

unique vocal challenges, such as its wide range. Work extensively on getting proper use of head voice to achieve success with this song.

Independent Activities/Meaningful-Use Task: Have students study the lyrics. After some study time, have students complete a fill-in-the-blank

test on the words to “The National Anthem.” A possible incentive for getting all the words right would be to have a competition between classes to see which class gets the highest percentage of correct answers. A challenge could also be issued to the staff to see if they can better the students’ score.

Closure Activities:

Have students sing the song to determine whether they are able to properly employ the use of their head voice and whether they know the words completely and correctly. Let students know that they will learn the history of “The National Anthem” next time.

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SAMPLE LESSONS


Day 2: Preparing the Play/Polishing the Song Warm-up: Review “The National Anthem.” Review head voice. Introductory and Developmental Activities: Discuss why we stand when we sing our national anthem and the importance of this act. Share

with the students the other two choices for our national song: “America, the Beautiful” and “Yankee Doodle.” Discuss what choice they would have made and why.

Guided Practice Activities: Discuss the history behind “The Star Spangled Banner.” If available, read through the script of

“O’er the Ramparts.” Discuss what parts are needed for a dramatization of the story. Have students audition for the speaking parts or assign them. Every student should have a part in the play. Assign some to be British soldiers and some could be American soldiers. A few students could provide the sound effects of the battle re-enactment.

Independent Activities/Meaningful-Use Task: Discuss costumes needed and props. Ask students to bring items they think might be useful.

Speak through the song and then sing the song to aid in memorization. Closure Activities: Review the basic history of the song. Day 3: Rehearsing the Play Warm-up: Sing “The National Anthem.” Review head voice. Introductory and Developmental Activities: Review assigned roles. Review the history or read through the play if available. Guided Practice Activities: Review what each group will need to do and when. Independent Activities/Meaningful-Use Task: Divide up into groups to plan staging and acting plan. Closure Activities:

Review “The Star Spangled Banner.” Remind students to memorize their lines and practice their parts at home as well as bringing costumes and props.

SAMPLE LESSONS


Day 4: Rehearsing the Play Warm-up:

Sing “The National Anthem” with and without the words. Introductory and Developmental Activities: Review parts. Set the blocking for the play and sing “The National Anthem” at the end. Independent Activities/Meaningful-Use Task: Practice the play and song several times, as needed. Closure Activities:

Discuss inviting some people, including parents, to be the audience for the presentation of the history of the National Anthem.

Day 5: Perform the Play Warm-up:

Sing “The National Anthem” with and without the words. Review parts. Take care of any last minute performance needs.

Independent Activities/Meaningful-Use Task: Perform the play with the singing of “The National Anthem” at the end. Assessment: Assess students using the following rubric:

4 – Students demonstrated a complete understanding of the history of the patriotic song during their performance of the play and singing the song.

3 – Students demonstrated a limited understanding of the history of the patriotic song during their performance of the play and singing the song.

2 – Students did not demonstrate an understanding of the history of the patriotic song but did participate in the performance of the play and sang the song.

1 – Students made a minimal effort to be part of the play or sing the song. 0 – Students did not attempt to be part of the play or sing the song.

Closure Activities:

Review the events in the history of the National Anthem.

SAMPLE LESSONS


Grade 4 – Lesson 4 Lesson Title: Rhythm Review for Percussion Overview:

Following instruction on reading rhythm patterns using quarter notes, quarter rests and eighth notes, students will write rhythms in order to create a percussion rap using these rhythm notes. Students will select which instruments will perform the different patterns in their rap as well as the order of the patterns. (Fourth Grade Reading Theme 4 called “Problem Solvers” includes a poetry unit where students are asked to write a rap. This could be done in conjunction with that unit.)


• Sing and play classroom instruments in an ensemble, responding to conducting cues. (I.B.3) • Read and perform simple rhythmic notation. (I.D.1) • Compose and perform music using simple rhythmic notation for classroom percussion instruments.

(III.B.1) Warm-Up: Play “Find the Rhythm.” Prior to class prepare several flash cards with four beat rhythm groupings.

Students will identify the rhythm that the teacher claps. Teacher chooses a child to find the card. When the child finds it, they clap it back for the teacher. Extend to eight beats when they are ready.

Introductory and Developmental Activities Have the class create a rhythmic phrase of four measures in 4’s. Use the names of cities, states,

cars, animals, flowers, etc. as text material. Compile a list of words in the chosen category on the board. Arrange the words in groups so that they fit the chosen category.

Guided Practice Activities Clap the words in each measure and write the notation. Have the class perform their creation. Independent Activities/Meaningful-Use Task:

Divide students into cooperative groups. Using the worksheet included with this lesson, have the students complete the patterns by writing in the rhythm note that goes with the word. Students should then arrange the four phrases into a rap. When they have determined the order the phrases will go in, they should select a different percussion instrument to perform each rhythm.

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SAMPLE LESSONS


Assessment:

Assess the students’ work using the following scoring tool: 4 – Students created a four pattern rhythm rap and performed it correctly using percussion

instruments for the class. 3 – Students created a four pattern rhythm rap with no more than two errors in notation

and performed it using percussion instruments with no more than two errors for the class.

2 – Students created a four pattern rhythm rap with numerous notation errors but were able to perform it for the class using percussion instruments.

1 – Students created part of a four pattern rhythm rap with numerous notation errors and were unable to perform it for the class.

0 – Students did not complete the task.

SAMPLE LESSONS


Rhythm Review Say and clap the words in the patterns below. Fill in the blank spaces with the rhythm of the words. Then decide which order the patterns should go in. Select different percussion instruments to play each pattern. Practice together as a group. Be prepared to perform for the class.

Reading, writing, math, and art Diving, swimming, rowing, polo Chicken, eggs, fish, and pork Kickball, softball, soccer, tag

SAMPLE LESSONS


Grade 4 – Lesson 5 Assessment Activity Lesson Title: Timbre in Music/Color in Art Overview:

Students will write about the color that comes to mind when different pieces of music are played in order to compare timbre to color. (Fourth Grade Reading Theme 5 called “Heroes” has a section on listening to music with a purpose. This could be done in conjunction with the Reading instruction.)


• Compare timbre in music to color in visual art. (I.C.1) Activity:

Play a few minutes of four diverse pieces of music. (Suggested list: “Stars and Stripes Forever,” “Brahms’ Lullaby,” “Sabre Dance,” and the “Pastoral Symphony”) Have students complete the following sentence for each musical sample: This music reminds of the color _______________ because _______________________ ______________________________________________________________________ .


4 – Students supported all of their color ideas with specific information connecting the color to the music.

3 – Students supported some of their color ideas with specific information connecting the color to the music.

2 – Students stated their color ideas but gave only general information connecting the color to the music.

1 – Students stated but did not support their color ideas. 0 – Students did not attempt the activity.

Extension: Another possible writing activity: This music reminds me of (a fictional character from a list provided by the teacher) because

___________________________________________________________ . (Possible characters: Cinderella, the Wicked Witch of the West, Scooby Doo, King Kong, etc.)

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SAMPLE LESSONS


Grade 4, 5 – Lesson 6 Lesson Title: Instrument Classification Overview:

Students will investigate how instruments produce sound in order to classify instruments according to sound production families and compare these groups to the sections of the orchestra/band. Classification will be extended to include other sounds and student created instruments. (The Fourth Grade Reading Theme 4 called “Problem Solvers” has a story called “Sing to the Stars” which includes a game with instruments. The Fifth Grade Reading Theme 2 called “Give It All You’ve Got” has a section on Yo Yo Ma and refers to the book Mozart Season. These might be nice links to this unit. This unit may take several lessons.)


• Describe tone color and methods of sound production of orchestral, band and related folk instruments using sound classification terms (i.e. aerophones…). (Grade 5 – I.A.2)

• Listen to orchestral compositions which emphasize brass and percussion instruments and classify using the terms: aerophones, membranophones, and idiophones. (Grade 4 – II.D.1)

• Listen to musical compositions and identify selections, which emphasize various instrumental ensembles. (Grade 5 – II.D.1)

Day 1: Classification Introduction Warm-Up:

Play a selection of orchestral music. Have students name some of the instruments they hear and what family they think the instrument is in.


Share information with students about sound production families. Show how the sections of the orchestra are included in these families, i.e. Chordophones (string starters) – string section, Aerophones (air starters) – woodwind and brass sections, Membranophones (skin starters) – percussion section, and Idiophones (self starters) – percussion section.


Share with students a story, which includes orchestra instruments. Possibilities include Orchestranimals by Irene Eugen and Vlasta van Kampen and the classic Peter and the Wolf. As the story is read discuss the instruments named in the story. Classify the instrument into the correct sound production family as well as identifying the section of the orchestra.

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SAMPLE LESSONS


Independent Activities/Meaningful-Use Task: Listen to the story of Tubby the Tuba from Spotlight on Music - 1. Have students identify the sound production family and the section of the orchestra by using an all pupil response such as holding up one finger for string starters, two for air starters, three for skin starters, and four for self starters. Have students use the other hand to identify the section of the orchestra with a similar system.

Closure Activities:

Review the sound production families and compare to sections of the orchestra.

Day 2: Classification Experience Warm-Up:

Play a different selection of orchestral music than what was heard during the precious lesson. Have students name some of the instruments they hear and what family they think the instrument is in.


Review the sound production families. Divide students into cooperative groups for the Classifying Instruments activity from the Tone Color section of the Instructional Activities part of this guide. The boxes can include real instruments and pictures of instruments. Students should be able to classify both.


Show students the instruments they will need to classify from some of the boxes and the information they need to share with their group.


Students should complete the Classifying Instruments activity. Have random students share their classification information with the class. Discuss whether the class agrees with the student’s classification information or not.

Closure Activities:

Now that students have had experience classifying instruments, they should think about what type of instrument they would like to create and how it would be classified.

Day 3: Instrument Creation Warm-Up:

Play the “Orchestra Song” from Share the Music, grade 4 and Spotlight on Music - 5. Classify the instruments used in the song.


Go over the directions in the worksheet included with this lesson called “Create an Instrument.”

SAMPLE LESSONS


Guided Practice Activities: Give students time to work on the worksheet in class.


Have students take the work sheet home to finish and bring back to the next class. Assessment:

Assess students’ instrument creation using the following rubric: 4 – Students correctly classified the instrument according to information given, completely

described the instrument including the material it is made of as well as size and shape and created an instrument that matches the desired tone quality in all ways.

3 – Students correctly classified the instrument according to information given, described some of the instrument’s characteristics and created an instrument that matches the desired tone quality in most ways.

2 – Students correctly classified the instrument according to information given, described a few of the instrument’s characteristics but did not create an instrument that would match the desired tone quality.

1 – Students attempted to create an instrument but did not classify it correctly. 0 – Students did not attempt to create an instrument or their creation was incomplete.

Closure Activities:

Inform students that they will use their instrument creation to write an advertisement during the next class.

Day 4: Instrument Advertisement Warm-Up:

Review the “Orchestra Song.” Again, classify the instruments used in the song. Introductory and Developmental Activities:

Share a variety of music equipment catalogs with the class. Students should examine sample catalog entries for musical instruments. Make note of the description for information regarding size as well as the materials used to make the instrument, any explanation about how the instrument is played, and descriptions of the sound the instrument makes. Make note of the persuasive language that is used to advertise the factual information.


Share with students how they might use persuasive language to sell their instrument. Compare the appearance of color photos of instruments to black and white. Encourage them to add color to the picture. Share ads where people are used in the picture compared to those, which do not. Discuss the persuasive value of having people in the picture.

SAMPLE LESSONS


Independent Activities/Meaningful-Use Task: Have students complete the Advertising worksheet for the instrument they created during the previous class.

Assessment:

Assess students’ instrument advertisement using the following rubric: 4 – The description is complete and well organized, with persuasive language choices,

which are appropriate for the intended audience. 3 – The description is generally complete and organized, with persuasive language

choices, which are appropriate for the intended audience. 2 – The description is incomplete and poorly organized, but the language choices are

persuasive and appropriate for the intended audience. 1 – Students attempted to write an advertisement for their instrument but the information

was poorly organized and incomplete. 0 – Students did not attempt to write an advertisement.

Closure Activities:

Encourage students to think about how they might classify instruments that they hear in the future.

SAMPLE LESSONS


Create an Instrument

You now need to create your own original instrument. (You cannot “create” a flute or piano. These are not your own original ideas.) First you should decide on a particular musical sound you would like your instrument to make. Consider tone qualities you would like your instrument to have, including the ability to play high or low sounds, loud or quiet sounds, long or short sounds. Then create the instrument that would produce that sound. Use information from what was discussed in class to classify your instrument. Draw a sketch of your instrument showing somebody playing it. Give your instrument a name. Musical sound you would like your instrument to produce________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________. What size is it? _______________________________________________________________________ What is it made of? _____________________________________________________________________ How do you play it? _____________________________________________________________________ What part of the instrument makes the sound? ________________________________________________ What Sound Production Family would it be in? ________________________________________________

Sketch of your instrument

(Be sure to show somebody playing it.)

Name of your instrument _________________________________________

SAMPLE LESSONS


Advertising Your Instrument Use your Create an Instrument worksheet to complete the following writing activity:

Pretend that a music equipment company has agreed to advertise your instrument in their catalog. Write a persuasive catalog entry using factual information about your instrument as you would like it to appear in the catalog. Be sure your writing includes:

• a catchy name for your instrument, • a complete description of the materials it is made from and the size using language that

will make it sound interesting to the potential buyer, • an explanation of what part of the instrument makes the sound and how to play your

instrument in a way that will attract your buyer, • the type of musical sound it can produce.

You should include a color drawing of your instrument showing somebody playing your instrument that would catch the eye of a potential buyer.

Name of your instrument

SAMPLE LESSONS


Grade 4, 5 – Lesson 7 Lesson Title: Native American Dances Overview:

Students will experience Native American dances in order to evaluate their personal performances for cultural authenticity. (The Fourth Grade Reading Theme 2 called “American Stories” would be a nice link to this unit. The Fifth Grade Reading Theme 5 called “One Land, Many Trails” has stories about Native Americans. This could be done in conjunction with these stories. This unit may take several lessons.)


• Describe how music reflects traditions in various cultures. (Grade 4 – II.A.1) • Examine the use of musical elements and perform music using the style reflective of that culture.

(Grade 4 – II.A.2) • Sing and summarize the historical context of early American music such as Native American

music. (Grade 4 – II.B.1) • Summarize ways in which people from diverse cultures enjoy performing and creating music.

(Grade 4 – IV.A.1) • Evaluate individual performances for cultural authenticity. (Grade 4 – IV.B.1) • Perform appropriate dances to accompany traditional folk music. (Grade 5 – I.C.2) • Compare the uses of music in western and non-western cultures. (Grade 5 – II.A.1) • Determine the characteristics of a good performance such as sing or playing in tune, proper tempo,

and appropriate expression. (Grade 5 – IV.A.1) Warm-Up: Play “Grand Entry” from Share the Music, grade 6 and Spotlight on Music - K. Have students pat

the beat and listen for which instrument plays the beat in the musical selection. Introductory and Developmental Activities:

Introduce Native Americans including information about the many different tribes here in our country and that their customs are different depending on the region they are in. However some musical characteristics are the same for all the tribes. One of those characteristics is a clear beat in their music, which is most often played on the drum. One of the traditions that many tribes share is dance. The dances and reasons for the dance vary but all Native American tribes dance. Native American dance is different for many other forms of dance and the focus of the unit will be to identify the characteristics of Native American dance and make sure that the way that the class performs the dances reflects the culture of the people.

Show an excerpt of a video with Native American dancing. Ask students to identify some of the characteristics that they notice for what they see. (Ideas: serious, feet moving often more than hands, special costumes, singing with the dance, drum beat)

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Share with students that Native Americans often dance to pay respect or show honor for some living being. Often dances are done before a hunt to pay respect for what they are about to hunt. Using the resource Moving Within the Circle by Bryan Burton (includes recording and book with excellent instructions), share the legend of the bear. Following the directions given in the book, demonstrate and then have students dance the Bear Dance with the recording. Encourage them to use some of the characteristics they identified earlier following the video. (serious, feet moving, drum beat, add the singing if possible)


Other recommended dances from the same resource include: Canoe Song, Basket Dance, and Indian Two-Step. Discuss the purpose behind the different dances as well as giving students an opportunity to experience the dance. Continue to encourage them to use the characteristics they identified earlier from the video to perform the dance with cultural authenticity (serious, feet moving, drum beat, add the singing if possible). Discuss why that is important.

Assessment:

Assess the students’ dance performances during the entire unit using the following scoring tool: 4 – Students are consistently performing Native American dance in a way that shows a

respect for the culture. 3 – Students are generally performing Native American dance in a way that shows a

respect for the culture. 2 – Students are occasionally performing Native American dance in a way that shows a

respect for the culture. 1 – Students attempted the Native American dances but did not show respect for the

culture. 0 – Students did not attempt the Native American dances and did not show respect for the

culture.

SAMPLE LESSONS


Grade 5 – Lesson 1 Lesson Title: Patterns in Music and Art Overview:

Students will draw quilt patterns while listening to “Eine Kleine Nachtmusik” by Mozart in order to identify patterns in music. (Fifth Grade Reading Theme 2 called “Give It All You’ve Got” makes reference to the book Mozart Season. This lesson could be done in conjunction with that book.)


• Identify patterns in music and relate them to patterns in visual arts. (II.C.1) Warm-Up: Discuss going to bed practices like brushing teeth, putting on pajamas, etc. Discuss what objects

young children sometimes sleep with like blankets, teddy bears, stuffed animals. Introductory and Developmental Activities: Show pictures of quilts or a real quilt. Make note of the patterns in the quilt. Discuss lullabies and

introduce the musical piece “Eine Kleine Nachtmusik” by Mozart from Spotlight on Music - 3. Discuss the title and its English translation - A Little Night Music. Discuss information about Mozart being a child prodigy and what that means.


Distribute square pieces of drawing paper. Show ways to draw different quilt designs. Have students draw a quilt pattern of their own design while listening to the music.

Assessment: Observe students as they are working and assess using the following rubric:

4 – Students are following the directions for creating a quilt pattern while listening to the music without talking.

3 – Students are following the directions for creating a quilt pattern while listening to the music with some talking.

2 – Students are listening to the music but did not complete a quilt pattern. 1 – Students listened to the music but did not attempt a quilt pattern. 0 – Students were not listening to the music or attempting a quilt pattern.

Closure Activities: Review the name of the music and the English translation for the name. Ask students how the

music relates to the artwork they have created.

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Grade 5 – Lesson 2 Lesson Title: Freedom Songs Overview:

Students will sing freedom songs in order to learn the history shared in the lyrics of the Freedom Songs of the Civil Rights Movement. (Fifth Grade Reading Theme 2 called “Give It All You’ve Got” or Theme 4 “Person to Person” would be nice links to this unit. This unit may take several lessons.)


• Compare the uses of music in western and non-western cultures. (II.A.1) • Determine how lyrics of songs reflect the culture and history of various people. (II.A.2) • Interpret in writing an understanding of the relationship between music and events in United States

history. (II.B.1) • Improvise vocally using various forms such as call and response and question and answer.

(III.A.2) • Determine the characteristics of a good performance such as appropriate expression. (IV.A.1)

Warm-Up:

Sing “This Little Light of Mine.” Have students join in if they know it. Introductory and Developmental Activities:

Teach the song for those who do not know it or know only part of it. Introduce call and response form and show how it is used in this song. Explain how a song leader to change the lyrics of a song to share information can use call and response form.


Using the text book The African American Experience as a resource, create a timeline of the following events from the Civil Rights Movement, i.e. Bus Boycott, Little Rock, Sit-Ins, Freedom Rides, Birmingham, Freedom Summer, and Bloody Sunday. Have students listen to Freedom Songs from the Civil Rights Movement and listen for information about the events in the lyrics. An excellent resource for this is I’m Gonna Let It Shine, a CD and book with selections of Freedom Songs, which demonstrate how the lyrics reflect the history.


Divide students into cooperative groups. Assign each group one of the events mentioned above. Have the groups read about the event from the textbook mentioned above and complete the graphic organizer included with this lesson.

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Each group should prepare a presentation to the class using one of the following formats: • Eyewitness news report • Talk show interview • Dramatize the event • Debate the two sides • Oral history presentation – take the position of someone who was there • Analysis – “we think they should have…” • What if – change one thing and predict what might have happened if … • Application – Haw can someone use what happened from the event to change or work on

one of today’s issues? • Abstraction – If an event like this happened today, how would things be different? • Presentation ideas of their own with teacher approval before they continue.

After each group presents information, about their event, play and have students sing one of the freedom songs that fit with the event so students hear the connection between the music and the history. (Possibilities: If You Miss Me From the Back of the Bus – Bus Boycott, I’m Gonna Sit at the Welcome Table – Sit-ins, Hold On – Birmingham, Calypso Freedom – Freedom Rides, etc.) Have students individually respond to the following prompt:

Pretend you are a freedom fighter in today’s world. Select an issue that you feel needs people’s attention (for example: drugs, weapons, violence, education). Write a speech to a group of today’s freedom fighters telling them how you feel about this issue. Include information about what you feel needs to be changed. Describe how you might use something you learned from the Civil Rights Movement to help make changes. In your speech, name a freedom song that you could use for the issue you have selected and write down new words you might sing in the song to speak about your issue.

Assessment:

Scoring tool for the writing prompt: 4 – Prompt is completely written with the proper form, clearly stated position, and made a

connection to the Civil Rights Movement. 3 – Prompt is generally well written with the proper form, somewhat clear position, and

made a connection to the Civil Rights Movement. 2 – Attempt is made to answer the prompt but position was unclear or there was no

connection to the Civil Rights Movement. 1 – Limited attempt is made to answer the prompt. 0 – Students did not respond.


Closure Activities: Encourage students to find songs today where people share their feelings about what needs to be changed in their music.

SAMPLE LESSONS


SAMPLE LESSONS


Grade 5 – Lesson 3 Lesson Title: Yankee Doodle Overview:

Students will learn Yankee Doodle in order to know the history behind the song and make up their own version. (Fifth Grade Reading Theme 3 called “Voices of the American Revolution” uses this song to teach how to read and understand song lyrics. This lesson could be done in conjunction with the Reading instruction.)


• Determine how lyrics of songs reflect the culture and history of various people. (II.A.2) • Interpret in writing an understanding of the relationship between music and events in United States

history. (II.B.1) Warm-Up:

Sing “Yankee Doodle” from Spotlight on Music – 2, 4. Have students join in if they know it. Some may remember it from their reading instruction. Have students review rhythm by clapping while they are singing.


Teach the song for those who do not know it or know only part of it. Review information about the historical time period that the song comes from. There are some excellent books with information about the history of the song as well as the time period. One of these is by Steven Kellogg. Discuss vocabulary that may be unfamiliar to the students.


Using the students’ Social Studies text book as a resource, create a timeline of the events leading up to and after the Revolutionary War, i.e. French and Indian Wars, Boston Massacre, Boston Tea Party, Continental Congress, Declaration of Independence, The Revolutionary War, Surrender at Yorktown, Writing of the Constitution, First President, etc. Discuss the conditions for soldiers during the war. Discuss the two sides in the war, patriots and loyalists.


Divide students into cooperative groups. Have each group select a side; patriot or loyalist. Have them create a new verse for “Yankee Doodle.” Groups should sing the new verse for the class and the class should try to determine which side they are on; patriot or loyalist, from the new lyrics.

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Assessment: Assess the students’ new verse for “Yankee Doodle” using the following scoring tool:

4 – Students created and performed a verse that showed an understanding of the historical time period.

3 – Students created and performed part of a verse that showed an understanding of the historical time period.

2 – Students created and performed part of a verse but it did not show an understanding of the historical time period.

1 – Students created part of a verse that showed an understanding of the historical time period but were not able to perform it.

0 – Students did not attempt to create or perform a new verse. Closure Activities:

Encourage students to find other songs that share political feelings about historical events.

SAMPLE LESSONS


Grade 5 – Lesson 4 Lesson Title: African-American Spirituals Overview:

Students will utilize a literary text and a dramatic presentation in order to bring to life the historical context of the African-American spirituals in this series of lessons. (The Fifth Grade Reading Theme 4 called “Person to Person” would be a nice link for these lessons.)


• Determine how lyrics of songs reflect the culture and history of various people. (II.A.2) • Interpret an understanding of the relationship between music and events in United States history.

(II.B.1) • Listen to musical compositions and identify selections, which emphasize chorus. (II.D.1)

Warm-Up: Using the call and response method, teach the students to sing “Go Down, Moses” and/or “Wade

in the Water.” Identify the song(s) as African-American spirituals. Spirituals are a form of music that originated out of the experiences of African American people.

Introductory and Developmental Activities: Introduce the text A Band of Angels by Deborah Hopkinson. Tell students that this story is fiction

but it is based on real people and events. As the story is read, let students know that they will be participating in the story by performing a listening task. Their task will be to say, “Jubilee, jubilee, a time of hope and freedom,” every time they are given a signal. (Teacher selects signal and the places in the text where the phrase goes, for example, at page turns or important events in the story.) Have students say it a little louder each time if necessary to get the desired dramatic effect. The story should build to a climax when the Jubilee singers begin to sing their own music for the first time.

Guided Practice Activities: Read A Band of Angels with the students performing the listening task stated above. Afterwards,

discuss the events in the story and the significance of the Jubilee Singers. Inform the students that there are two types of spirituals, the folk spiritual and the arranged spiritual. The Jubilee Singers were the ones who developed the arranged spirituals for presentation in concerts all over the United States and Europe. The call-and-response pattern of singing, from the beginning of the class, was the basis for the folk spirituals and their teaching. The call-and-response pattern has flourished everywhere the people of Western and Central African countries have gone.

Independent Activities/Meaningful-Use Task: Chart the sequence of events in the story on the board.

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Assessment: Assess students using the following rubric:

4 – Students accurately charted the events from the story and participated in the telling of the song.

3 – Students charted the events from the story with some mistakes and participated in the telling of the song.

2 – Students accurately charted the events from the story or participated in the telling of the song but did not do both.

1 – Students did not chart the events from the story but did participate in the telling of the song.

0 – Students did not chart the events from the story and did not participate in the telling of the song.

Closure Activities: Sing the opening song again. Identify it as one of the Fisk Jubilee Singers pieces. Day 2: Perform and Discuss Warm-Up: As students enter the room with lights off, if possible, and have CD of “Gwen Briley Strand as

Harriet Tubman” playing. Enjoy the dramatic effects of a nighttime ride on the Underground Railroad and the spirituals, which she sings along the way. Play as much as time allows. If access to this CD is not available, review the spiritual from day 1.

Introductory and Developmental Activities: Introduce a new spiritual from the following: “All God’s Children Got Shoes,” “Every Time I Feel the

Spirit,” “Nobody Knows the Trouble I’ve Seen,” “Steal Away,” “Swing Low, Sweet Chariot,” “Deep River,” “Let Us Break Bread Together,” “Follow the Drinking Gourd,” and “Oh Freedom.” Rehearse the selected spiritual.

Guided Practice Activities: Discuss the different purposes of the spirituals: songs of encouragement, sorrow songs, Bible

songs, coded songs, and freedom songs. Review several songs listed above. Review the events from the text of A Band of Angels on the board.

Independent Activities/Meaningful-Use Task: Have the students select a spiritual from the list to go with the main events listed on the board from

the text A Band of Angels. Students should give a reason for their choices. Assessment:

Assess students using the following rubric: 4 – Students demonstrated a complete understanding of the history shared in the book

with the support for the selection of the spiritual to match the event. 3 – Students demonstrated a limited understanding of the history shared in the book with

the support for the selection of the spiritual to match the event.

SAMPLE LESSONS


2 – Students did not demonstrate an understanding of the history shared in the book but did make a selection of the spiritual to match the event.

1 – Students made a selection but did not give a reason for their choice. 0 – Students did not attempt to make a selection.

Closure Activities: Have each student share a piece of information about African Americans that they did not know

before. Extensions:

Prepare a dramatic presentation of the main events in the text A Band of Angels and insert the spirituals learned where appropriate.

SAMPLE LESSONS


Grade 5 – Lesson 5 Lesson Title: Sea Chanteys Overview:

Students will sing a variety of sea chanteys in order to pantomime the work done by sailors as they were singing the chanteys. Students will respond to a writing prompt at the end of the unit in order to share their knowledge of the work of sailors based on what they know from the sea chanteys sung during the unit. (Curriculum guide page 351) (The Fifth Grade Reading Theme 4 called “Person to Person” or Theme 5 called “One Land, Many Trails” would be nice links to this unit. This unit may take several lessons.)


• Determine how lyrics of songs reflect the culture and history of various people. (II.A.1) • Interpret in writing an understanding of the relationship between music and events in United States

history. (II.B.1) • Identify musical abilities, which give personal satisfaction. (II.C.1)

Day 1: Sea Chantey Introduction Warm-Up:

Play a version of “Cape Cod Chantey” Spotlight on Music – 6. Ask students what group of people they think may sing this type of song.


Introduce the sailors of the 1700’s-1800’s. Discuss the work they might have to do on the ship, including winding up ropes, setting the sails, and turning the anchor. Discuss where they would sleep on the ship (below deck). Discuss what would help the sailors work together at the same pace. (music) Discuss the role of the chantey man. (to set the pace of the singing to help the sailors get the work done and not get too tired) Share terminology for the chanteys and the connection to the work being done. Short haul chanteys for pulling ropes and other short jobs Halyard (haillard) chanteys for setting the sails and longer jobs Capstan chanteys for turning the capstan, which raises and lowers the anchor Forecastle chanteys for off duty hours in the sleeping quarters or forecastle


Review “Cape Cod Chantey.” This is an example of a short haul chantey. Show the action of pulling the ropes. (Both hands together like they are holding a rope in front of the body waist high. Tug with one hand and then the other on the accented beat of each measure.)

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Independent Activities/Meaningful-Use Task: Have the class sing the response as they are showing the work. Ask students to volunteer to be the chantey man and sing the call while the class sings the response and everyone does the work.

Closure Activities:

Review with students that the sailors sing to set the pace of the work. Next time, halyard chanteys will be sung.

Day 2: Halyard Chanteys Warm-Up:

Listen to “Haul Away, Joe” from Music and You, Book 5. Review with students what group of people would sing this type of song.


Review the work the sailors might have to do on the ship. Discuss what would help the sailors work together at the same pace (music). Discuss the role of the chantey man. (to set the pace of the singing to help the sailors get the work done and not get too tired) Review what type of chantey was introduced during the previous class. Review the halyard (haillard) chanteys, which were for setting the sails and longer jobs.


Have students listen to “Haul Away, Joe” again and learn the response of the song. This is an example of a halyard chantey. Show the action of pulling the ropes to set the sails. (Both hands together like they are holding a rope in front of the body but hands raised overhead. Tug with one hand and then the other on the accented beat of each phrase.)


Have the class sing the response as they are showing the work. Ask for new volunteers to be the chantey man and sing the call while the class sings the response and everyone does the work.

Closure Activities:

Review with students that the sailors sing to set the pace of the work. Next time, capstan chanteys will be sung.

Day 3: Capstan Chanteys Warm-Up:

Listen to “Away for Rio” from Music and You, Book 5 and Spotlight on Music – 2.. Review with students what group of people would sing this type of song.

SAMPLE LESSONS


Introductory and Developmental Activities: Review the work the sailors might have to do on the ship. Review what types of work and chanteys were introduced during the previous classes. Introduce the capstan chanteys, which were sung to turn the capstan, which was a turnstile on the main deck with ropes or chains attached to the anchor under the ship.


Have students listen to “Away for Rio” again and learn the response of the song. This is an example of a capstan chantey. Show the action of turning the capstan. (A line of sailors would grip a pole that was inserted through the turnstile. There would be about 14 poles per capstan. There would be about ten men on both sides of the pole or 20 men per pole.)


To demonstrate the action of turning the capstan, have ten students line up next to each other, shoulder to shoulder, and have them turn as a line around one other student who stands still as the capstan. Have the class sing the response as the demonstration group is showing the work of turning the capstan. Ask for new volunteers to be the chantey man and sing the call while the class sings the response and the demonstration group moves.

Closure Activities:

Review with students that the sailors sing to set the pace of the work. Next time, chanteys that were sung in off duty hours will be the focus of the lesson.

Day 4: Forecastle Chanteys Warm-Up:

Listen to “Shenandoah” from Music and You, Book 5 and Spotlight on Music - 4. Review with students what group of people would sing this type of song.


Review the work the sailors might have to do on the ship. Talk about what sailors might be able to do during off duty hours. Share with students that telling stories was one form of recreation. Stories that are put to music or “ballads” were also sung during off duty hours. These were sung in the sleeping quarters, below deck in what is called the forecastle. So the songs were forecastle chanteys.


Have students listen to “Shenandoah” again and learn the song. Discuss what they were singing about and what it says about what the sailors thought about during their off duty times.

Independent Activities/Meaningful-Use Task: Review all the types of chanteys that have been sung during the unit and the work for each. Have students respond to the following prompt:

SAMPLE LESSONS


Pretend you are looking for a sailor to go to sea during the 1700’s. Write an advertisement for a newspaper to persuade more sailors to come work on your ship. Include information about the life on the ship or jobs you have to perform as a member of the crew. Tell what you may have a chance to do in your leisure time. Tell about a favorite sea chantey you enjoy singing and what you are generally doing when you sing it.

Assessment:

Assess the students’ performance of the chanteys and the work during the entire unit using the following scoring tool:

4 – Students are consistently performing the chanteys in a way that shows an understanding of the sailors and their work.

3 – Students are generally performing the chanteys in a way that shows an understanding of the sailors and their work.

2 – Students are occasionally performing the chanteys in a way that shows an understanding of the sailors and their work.

1 – Students attempted to perform some of the chanteys but did not show an understanding of the sailors and their work.

0 – Students did not attempt to perform the chanteys.

Scoring tool for the writing prompt: 4 – Prompt is completely written with the proper form and accurate historical/cultural

information. 3 – Prompt is generally well written with the proper form and somewhat accurate

historical/cultural information. 2 – Attempt is made to answer the prompt but information was generally inaccurate or

incomplete. 1 – Limited attempt is made to answer the prompt. 0 – Students did not respond.


Closure Activities: Have students think of how music could help make their own work get done easier.

SAMPLE LESSONS


Grade 5 – Lesson 6 Assessment Activity Lesson Title: Reading in Two Meters Overview:

Following instruction on reading music in duple and triple meters, the students will read music in both meters in order to perform patterns in both meters on classroom percussion instruments.


• Read, write, and perform simple music in duple and triple meter including dotted half notes. (I.D.1) Activity:

Copy the worksheet included with this lesson. Have the students practice playing the rhythmic patterns with a partner. Each student will choose a rhythm instrument on which to play one pattern in duple meter and one pattern in triple meter. Each student will demonstrate proficiency in a small group and individually.


4 – Students perform both patterns with no errors. 3 – Students perform both patterns with fewer than four errors. 2 – Students perform both patterns with fewer than six errors. 1 – Students perform both patterns with fewer than ten errors. 0 – Students did not respond to the prompt.

SAMPLE LESSONS


Reading in Two Meters Read these rhythms. Then play them on percussion instruments.

34

34

24

24

SAMPLE LESSONS


Grade 5, 6 – Lesson 7 Lesson Title: Kente Cloth patterns Overview:

Students will design Kente cloth patterns while listening to West African percussion ensemble music in order to identify patterns.


• Compare the uses of music in western and non-western cultures. (Grade 5 – II.A.1) • Identify patterns in music and relate them to patterns in visual art. (Grade 5 – II.C.1) • Relate styles in music to style in visual art. (Grade 6 – II.C.1) • Compare folk music to other forms of artistic expression in western and non-western cultures.

(Grade 6 – II.C.2) Warm-Up: Play West African drum music. Have students indicate when they hear a rhythm pattern. Explain

that this is one of the characteristics of African music. Introductory and Developmental Activities:

Make note on a map what region of Africa the music is from. Explain that there is another art form that uses patterns that comes from the same area of Africa. Ask students if they have seen Kente cloth before. Show a sample if available. Ask students to find patterns in the cloth. Share the book Kente Colors by Debbi Chocolate. Relate the patterns in the Kente cloth to patterns in the West African music.


Distribute a large sheet of plain drawing paper. Have students draw a Kente cloth design using the entire sheet as if it were a piece of cloth. Play the West African drum music as students are working on their designs.


4 – Students are following the directions for creating a Kente cloth pattern while listening to the music without talking.

3 – Students are following the directions for creating a Kente cloth pattern while listening to the music with some talking.

2 – Students are listening to the music and attempted a Kente cloth pattern but did not create a pattern.

1 – Students listened to the music but did not attempt a Kente cloth pattern. 0 – Students were not listening to the music or attempting a Kente clothe pattern.

SAMPLE LESSONS


Grade 5, 6 – Lesson 8 Lesson Title: Manager’s Critique Overview:

Following a performance by the school chorus or band or a performance by an outside group, students will observe a performance in order to write a critique of the performers. (Fifth Grade Reading Theme 2 called “Give It All You’ve Got” would be a nice link for this lesson.)


• Determine the characteristics of a good performance such as singing or playing in tune, proper tempo, and appropriate expression. (Grade 5 – IV.A.1)

• Construct and apply criteria of good musical performances to individual achievements. (Grade 6 – IV.A.1)

Warm-Up:

Discuss the characteristics of a good performance. Discuss responsibilities of a performer’s manager.


Allow students to perform a musical selection of their choice for the class. (This would be a good performance opportunity for those piano students and instrumental music students.)

Guided Practice Activities: Have the rest of the class make notes about the performance, including what was performed, stage presence, compliments and suggestions for improvement for the performer.

Independent Activities/Meaningful-Use Task: Have students respond to the following prompt:

Pretend you are the manager of one of today’s performers. Write a critique of their performance commenting on the following: their talent, choice of music, performance, bravery, organization, and if applicable, cooperation with other members of the performing group. Include at least three of these areas in your critique. Write at least two compliments (positive statements) as well as two suggestions for improvement. Keep in mind as you make your word choices that this person is your employer and you want to offer them assistance in improving their performance and at the same time, keep your job.

Use the writing process for the completion of this writing assignment.

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SAMPLE LESSONS



4 – Students answered the prompt completely commenting on three of the suggested areas with two compliments and two suggestions for improvement.

3 – Students answered the prompt commenting on one or two of the suggested areas with two compliments and/or two suggestions for improvement.

2 – Students answered the prompt commenting on one or two of the suggested areas with only one compliment and/or only one suggestion for improvement.

1 – Students attempted to answer the prompt but left out the suggested areas, compliment, or suggestion for improvement.

0 – Students did not respond to the prompt. Closure Activities: Review the characteristics of a good performance. Alternative Activity:

Have students write a recommendation for the performer.

SAMPLE LESSONS


Guidelines for Teaching Sixth Grade Using the Middle School Model

The sixth grade student is in the middle – socially and developmentally – between the need for specific directions and guidance of elementary and the beginnings of independence and responsibility of early adolescence. With this movement toward independence:

• the peer group takes on greater importance in personal decision making • there is a greater capacity to work • students can participate in organized group activities with rules and expectations (i.e.,

chorus and band groups, sports) • there is a greater capacity to express opinions, either verbally or written • students are beginning to discover strengths and talents, and more willing to work toward

greater skill development, which is essential to begin career focus and development Because of these factors, students in 6th grade are to be instructed using the Middle School model. Class periods will be 45 minutes in length, on an A/B day schedule. The music concepts will be taught in units, with approximately 20 lessons in each unit. The course description in the Middle School Courses Catalog, states that students in 6th Grade General Music will: “demonstrate the ability to perceive, perform and respond to music. The students will develop their vocal and general music skills by singing, playing classroom instruments, identifying and understanding the elements of music, writing and performing music, identifying and classifying styles and music genres. Students will begin to explore music technology and careers in music.” To accomplish this, students will

• Require more time for guided practice and independent work after direct instruction. • Work on individual and group projects – i.e., exploring careers in music, composition, music

technology. • Incorporate writing activities to develop note-taking skills, expressing opinions, writing to persuade

and writing to inform. • Improve skills on recorder and classroom instruments (guitar and keyboard if available) through

individual and ensemble performance. The Middle School courses catalog states that students participating in 6th Grade chorus will: “continue the development of their vocal/choral skills begun in elementary school. Literature and

techniques are selected according to the developmental needs of the students. Repertoire is representative of various styles and cultures.”

Chorus students should be able to sing songs with multiple verses, various languages, and two-parts. Students should be able to sing and play accompaniment parts on various classroom instruments. Opportunities to participate in outside performances, audition for Honors Chorus, as well as school performances should be provided. A 6th grade student should audition for the elementary Honors Chorus, unless it is determined by their teacher that the voice has sufficient maturity to participate at the Middle School level.

SAMPLE LESSONS


Grade 6 – Lesson 1 Lesson Title: Multicultural Rhythms Overview:

Students will experience rhythm ensemble music from three cultural regions of the world in order to classify and compare the instruments used from the three regions. (This unit is divided into five lessons.)


• Describe the tone color and methods of sound production for instruments using sound classification terms. (I.A.4)

• Read and perform simple rhythmic notation including sixteenth notes. (I.D.1) • Examine music, which is unique to students’ cultural heritage. (II.A.1) • Relate the ways in which music of various cultures, such as African and Latin American, influenced

the development of musical styles in the United States. (II.A.2) • Compare the use of music and the roles of musicians in our culture and those in selected non-

western cultures. (II.B.1) • Select and play classroom instruments that are appropriate to the non-western music being

studied. (II.B.2) Day 1: Basic rhythm review Warm-Up:

Read and clap rhythm patterns from the board using quarter notes and rests, eighth notes, half notes, and whole notes.


Assign the new names given below to the notes: Jazz Ragtime Have students read the following rhythms using the names given above.

Divide the class and have half the class read and clap the top rhythm while the other half does the same with the bottom rhythm. Call out switch and the students should switch to the other rhythm.

SAMPLE LESSONS


Guided Practice Activities: Play “The Entertainer” by Scott Joplin. Have students clap, first one rhythm, than the other rhythm while the music plays. Call out when to switch as the music plays. Explain to students that they will hear the music again and they will now need to listen for when to split. When they hear “split,” half the class claps one rhythm while the other half claps the other. Play the music again. Have the students start out like before but part way through, call out “split” and later call out “switch” so that students have an opportunity to do both rhythms in unison as well as harmony.


Have students use the ragtime note names to read “Lion Dance #1.” (See song sheet included with this lesson.) Have students signal the rest rather than saying it. Assign students to play the rhythms on the designated instruments. Play all four parts at the same time. Explain that this is a sample of one of the rhythms that might be played during a Lunar New Year parade. This is when people dress in a lion costume and move through the streets as they celebrate Lunar New Year. Discuss other customs associated with Lunar New Year. Distribute Lunar New Year information sheet included with this lesson. Using this sheet as a guide, prepare questions for the students to answer. Answers should be in selected response format or brief constructed response format. This could be used for an assessment activity as well.

Assessment:

Observe students as they perform the “Lion Dance” to assess their skills using the following scoring tool:

4 – Students can maintain their assigned rhythm with minimal errors in performance. 3 – Students were generally accurate with some errors but maintained the assigned

rhythm. 2 – Students were generally accurate but not able to maintain their assigned rhythm. 1 – Students made a recognizable attempt at playing their assigned rhythm but were not

able to maintain it and made several errors. 0 – Students made no attempt to play assigned rhythm.

Closure Activities:

Review the new note names for familiar notes. Students will be learning a new rhythm note in the next lesson.

Day 2: Asian rhythm ensemble Warm-Up: Students should think about the following questions which have been written on the board:

“In our last class, we learned about the Lunar New Year. What celebrations can you think of that involve large groups of people in an organized activity? Does your family participate in this celebration? If no, why not? If yes, is it a celebration you look forward to?”

Review “Lion Dance #1” from the previous lesson using the ragtime note names.

SAMPLE LESSONS


Introductory and Developmental Activities: Introduce the sixteenth note using the word “entertainer” for reading these notes. Have students read the following rhythms using the names given above. Divide the class and have half the class read and clap the top rhythm while the other half does the same with the bottom rhythm. Call out ‘switch’ and the students should switch to the other rhythm. Review the two rhythms from the previous class. Use all four and divide the class into four groups.

Guided Practice Activities: Again, play “The Entertainer” by Scott Joplin. Have students clap each rhythm, one at a time while the music plays. Call out when to switch as the music plays. Explain to students that they will hear the music again and will now need to listen for when to split. When they hear “split,” each group needs to clap their assigned rhythm. Play the music again. Have the students start out like before but part way through, call out “split” and later call out “switch” so that students have an opportunity to do all four rhythms in unison as well as harmony. Show students how sixteenth notes and eighth notes can be combined and performed using combinations of the new “ragtime” note names as in the example below:

Rag – tainer Enter - time Independent Activities/Meaningful-Use Task:

Have students use the ragtime note names to read “Lion Dance #2.” Have students signal the rest rather than saying it. Assign students to play the rhythms on the designated instruments. Play all four parts at the same time. Review Lunar New Year customs. Explain that this is another sample of one of the rhythms that might be played during a Lunar New Year parade. Do the same with the Dragon Dance. Explain that some years the parade uses a dragon rather than a lion. Again assign students to instruments to perform the Dragon Dance rhythms.

Assessment:

Observe students as they perform the “Lion Dance #2” and “Dragon Dance” to assess their skills using the following scoring tool:

4 – Students can maintain their assigned rhythm with minimal errors. 3 – Students were generally accurate with some errors but maintained the assigned

rhythm. 2 – Students were generally accurate but unable to maintain their assigned rhythm. 1 – Students made a recognizable attempt at playing their assigned rhythm but were not

able to maintain it and made several errors. 0 – Students made no attempt to play assigned rhythm.

Closure Activities:

Review the new names for reading all the notes used in this lesson. Review their real names as well. Students will be learning rhythms from other cultures in the next lessons.

SAMPLE LESSONS


Day 3: Rhythms of Japan Warm-up: Play a selection of Japanese instrumental music and have students respond to the following which

is written on board: “Use your listening journal to record observations of the piece of music to which you are listening. Does this sound familiar? Is it something you would expect to hear on the radio? What element of the music (instruments, rhythms, overall sound) do you like? What element does not sound like anything you have heard before?”

Introductory Activities: Share the following information with students:

Japan is an island country. Big cities and quiet countryside are what will be found there, and there is also a heavy emphasis on tradition while pursuing new technology. Japanese music is also full of contrasts. Music traditions here are very old, and many of the old practices are still followed. One of the traditional folksongs is Sakura. This song is known and sung by both young and old people.

Have students listen to a recording of “Sakura” from Spotlight on Music, Book 6. Share with students the following information about the koto: The koto is a stringed instrument that originated in China. However, it was brought to Japan, where it obtained many more strings. The koto now has 13 strings. It is a popular household instrument, like the piano in the United States. Have students listen to “Sakura” played on the koto. Sing along with the recording. Share information about the taiko. The taiko is a drum. The word “taiko” means fat drum in Japanese. These drums were

used for many purposes, such as in ceremonies and in wartime to frighten the enemy and to command the troops.


Have students listen to “Lion” from Spotlight on Music, Book 6. Have students tap the steady beat. Form four groups and have students create and practice an ostinato for the A section. Play the ostinato on drums during the A section on the recording (when the voices are chanting). All groups play their ostinato on the final A section.

Independent Activity:

Have students record which piece of Japanese music most appealed to them in their listening journals. Students should give one reason for their preference and must choose one of the pieces heard in class today.

Assessment: Observe students as they create the ostinato to assess their skills using the following scoring tool: 4 – Students can maintain their ostinato and it fits the music. 3 – Students can start the ostinato but not maintain it. 2 – Students can start the ostinato but it does not fit the music. 1 – Students made a minimal effort to perform the ostinato. 0 – Students made no attempt to create or perform an ostinato.

SAMPLE LESSONS


Closure: Compare the three cultures explored thus far in the unit. What instruments are the same? What role does music play in Japanese society? How about in Chinese? Students will explore rhythms from Africa next.

Day 4: African rhythm ensemble Warm-Up: Have students follow these directions written on the board:

Today, you are going to be a music teacher. Choose a partner and take turns teaching a pattern of four to eight beats long. Think about expressing the pattern (tempo, dynamics) as well as actually teaching the rhythm itself. Be ready to perform today!


Play West African drumming music for the students and have students listen to the rhythms. Explain that in West Africa, the study of music is done differently. Musicians serve an apprenticeship, working with a master to learn rhythms and expression. Because it is difficult to learn expression from traditional notation, this music is passed from teacher to student or from person to person by ear. This is referred to as “oral tradition.” To introduce students to African rhythms, and the characteristic sound of a West African ensemble, numbers will be used rather than notation. Show students the “Akua” rhythm pattern. Have them count out the lines one at a time. They should repeat the rhythm until given the signal to stop. Missing numbers should be said in their head and not left out. The teacher should be keeping a steady beat and counting to help the students master their patterns.

Guided Practice Activities: Divide students into six groups and assign each group one of the rhythms. Layer the entrance of each rhythm. Have the rhythms stop in reverse order when given the signal to stop. Have students transfer their rhythms to designated instruments.


Show students the “Anansi” rhythm patterns. Follow the same procedure to perform this rhythm. Explain that the name Anansi is also used in African folktales or trickster tales. Have students perform the patterns they taught in the beginning of class. Each group should play both patterns together, one after the other. The class will determine if the pattern sounded the same or different. They will also try to determine who the master was and who the apprentice was. Review with students the African tradition of improvisation in music. Explain to students that the West African music will be played again and they should improvise their own rhythm pattern to go with the music. Play the music and allow students to improvise while it is playing.

Assessment: Observe students as they improvise to assess their skills using the following scoring tool:

SAMPLE LESSONS


4 – Students can maintain their improvised rhythm and it fits with the West African music. 3 – Students can improvise but not maintain their rhythm. 2 – Students can improvise a rhythm but it does not fit with the West African music. 1 – Students made a minimal attempt to improvise and it did not fit with the music. 0 – Students made no attempt to perform an improvised rhythm.

Closure Activities:

Review the difference between learning rhythms in the African culture compared to the Asian culture. Review the definition of oral tradition. Compare the advantages and disadvantages to this tradition with learning by standard notation. Discuss and compare the instruments used in the two rhythm ensembles. Students will be learning rhythms from another culture in the next lesson.

Day 5: Latin America rhythm ensemble Warm-Up:

Have students listen to an example of salsa music like “La Bamba” from Share the Music, grade 5 and Spotlight on Music - 3.


Share with students that this style is called salsa. Discuss other uses of the word ‘salsa, ’ i.e. Mexican food. Share where the music comes from. Discuss the instruments heard in the music. Discuss the importance of the percussion section. Discuss whether it seems to be a separate entity or serve to provide an underlying beat. Explain that the new rhythm ensemble that the students will be performing will use instruments from Latin America. Show students the instruments typically used in Latin American music. If instruments are not available, locate pictures to show students. Demonstrate the correct way to hold and perform on the instruments. A great resource for supplemental instruments is: http://www.jazzatlincolncenter.org/jazzED/j4yp_curr/modules/latinAfroCubanJazz/module.html This site brings you to the opening of the Latin Afro-Cuban Jazz lesson, which has an instrument sound library.

Guided Practice Activities: Have students read the rhythms that are on the sheet included with this lesson one at a time. Divide the students into six groups. Assign each group a rhythm. Have them clap their assigned rhythm when the refrain of “La Bamba” is playing.


Have students transfer their assigned rhythm to the designated instrument. Again, perform their rhythm with the refrain of “La Bamba.”

Assessment:

Observe students as they perform the Latin rhythms to assess their skills using the following scoring tool:

SAMPLE LESSONS


4 – Students can maintain their assigned rhythm with minimal errors in performance with “La Bamba.”

3 – Students were generally accurate with some errors but maintained the assigned rhythm with “La Bamba.”

2 – Students were generally accurate but not able to maintain their assigned rhythm with “La Bamba.”

1 – Students made a recognizable attempt at playing their assigned rhythm but were not able to maintain it and made several errors.

0 – Students made no attempt to play assigned rhythm. Closure Activities:

Discuss and compare the instruments used in the rhythm ensembles from the four cultures. Point out which instrument all the ensembles have in common (drums of some type) and the instruments that are unique to each culture. Discuss what the instruments in the ensembles from different cultures are made of (Asian – metal, African – natural materials, Latin American – variety). Discuss which instruments are also used in American music. Have students draw comparisons between the ensembles discussed in this unit using the visual organizer included with this lesson.

SAMPLE LESSONS


The Lunar New Year

The Lunar New Year, also called the Chinese New Year, lasts for fifteen days. The first week is the most important and most often celebrated with visits to friends and family as well as greetings of good luck. The date of the New Year changes each year depending on the Chinese calendar. The same calendar is used by countries and cultures that are influenced by the Chinese, such as Korea, Japan, Tibet, and Vietnam.

On the days before the New Year celebration, Chinese families give their home a thorough cleaning. It is believed the cleaning sweeps away bad luck and makes their homes ready for good luck to arrive. All brooms and dust pans are put away on New Year's Eve so that good luck cannot be swept away. Some people give their homes, doors and windowpanes a new coat of red paint. Homes are decorated with paper cutouts of Chinese auspicious phrases and couplets (short phrases) that speak of "happiness," "wealth," "longevity."

A reunion dinner is held on New Year's Eve where members of the family, near and far, get together for celebration. The New Year's Eve dinner is very large and traditionally includes foods with names that mean good things. Because certain things and/or food sound alike to certain Chinese well-wishes, the belief is that having one will lead to the other. It is interesting to note that in the Chinese tradition, the name of an object can influence people to believe that it is either good or bad luck. Words that sound alike but mean different things are called homophones.

Usually family members gather on the morning of New Year's Day. It is at this gathering that red envelopes are given by senior members of the family, usually married, to unmarried junior members of the family. Red packets traditionally consisted of amounts which were considered multiples. Amounts like $2 or $20 were acceptable. Similarly "multiples of 2" such as $1.10 and $2.20 were also acceptable. However, this is not strictly adhered to. The gift was originally a token amount but these days it is not uncommon to receive large sums in affluent families. Employers may also give red envelopes to their employees on the first working day after the festival.

Family members, in order of their seniority, will pay a visit to their oldest and most senior member of their family, usually their parents or grandparents, or even great grandparents. The venue of the aforementioned Reunion Dinner is usually, if not always, at the eldest and most respected family member's residence. This has been in practice for many centuries.

Some families will invite a Lion Dance troupe to their home as a symbolic ritual to usher in the Lunar New Year as well as to force-evict bad spirits out of the premises. Chinese red firecrackers will also be on display where the deafening explosion of each firecracker is believed to scare evil spirits away.

Some specific traditions of the Lunar New Year are that on the third day, it is best not to visit family members. The seventh day traditionally is known as the “Common Man's Birthday,” the day when everyone grows one year older.

The fifteenth and last day of the New Year is the time when an old woman will greet you with a basket of celery. Depending on locality, the same day may also be celebrated as the Lantern Festival, or as the Chinese Valentine’s Day.

SAMPLE LESSONS


Firecrackers

Firecrackers are either by themselves or strung in a long string. They are cased in red paper, as red symbolizes good things. The loud popping noise created by the explosion is thought to scare away evil spirits.

Clothing

Red clothing is worn throughout the Chinese New Year, as red will scare away evil spirits and bad fortune.

Decorations

Red banners with "Luck" (福) written on them are hung around the house and on the fronts of doors. There are also several flowers and plants which are popular for the New Year, such as peach blossoms, kumquat plants, narcissus, chrysanthemums, and bamboo.

Superstitions during the New Year period

• Buying a pair of shoes is considered bad luck. The word "shoes" is a homonym to the word for "rough" in Cantonese.

• Buying a pair of pants is also considered bad luck. The word "pants" is a homonym to the word for "bitter" in Cantonese. (Although some perceive it to be positive as the word 'pants' in Cantonese could be a homonym to the word for "wealth".)

• A hair-cut is considered bad luck. The word "hair" is a homonym to the word for "prosperity". Thus "cutting hair" could be perceived as "cutting your prosperity" in Cantonese.

• Candy is eaten to ensure the eater a "sweet" year.

Talking about death is inappropriate for the first few days of Chinese New Year, as it is considered inauspicious as well.

Information taken from www.wikipedia.org/ .

SAMPLE LESSONS


Lion Dance # 1 line 1 = finger cymbals, line 2 = triangle, line 3 = gong and suspended cymbal, line 4 = drum

Lion Dance # 2 line 1 = finger cymbals, line 2 = triangle, line 3 = gong and suspended cymbal, line 4 = drum

Dragon Dance line 1 = finger cymbals, line 2 = triangle, line 3 = gong and suspended cymbal, line 4 = drum

SAMPLE LESSONS


Akua Rhythm Pattern Split Log 1 2 3 4 5 6 7 8 Drum Large Drum 1 2 3 5 6 7 Shakers 1 2 3 5 6 7 Sticks 1 8 Hand Drum 1 4 5 8 Blocks 1 3 5 6 8

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Anansi Rhythm Pattern Split Log 1 3 5 7 Drum Hand Drum 1 2 Shakers 1 2 5 6 Bongo Drum 1 5 7 Large Drum 1 3 8 Sticks 1 3 4 6 7

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Latin American Rhythms

cowbell maracas bongos cabasa guiro claves

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West Africa

Japan

China

Latin America

Graphic Organizer for Rhythm Ensembles

SAMPLE LESSONS


Grade 6 – Lesson 2 Lesson Title: Parody Songs Overview:

Students will compare two performances of the same song with different words in order to create new lyrics for a song of their choice.


• Examine music that is unique to students’ cultural heritage. (II.A.1) • Develop the ability to compose and arrange music. (III.B.) • Compare dissimilar performances of the same work discussing differences in interpretation and

preferences. (IV.A.1) Warm-Up: Have students respond to the following: “In your listening journal, record your impressions of this piece of music. What is the

message that is being delivered by the lyrics? What is the mood of the piece?” Play a piece of music by the Bob Rivers Band or Weird Al Yankovich, two musicians who have

made a career from parody music. Try to pick a song that you think your students will recognize from the opening measures. (“Eat it!” by Weird Al is a great example.)

Introductory and Developmental Activities: Write the word “pitch” on the board. Ask students to think of two definitions of the word, one of the

definitions must be musical. Ask them to also use the word in a sentence to fit each definition. Ask students to name songs they might hear at a baseball game. (Hopefully, “Take Me Out to the Ball Game” will be on their list but if not, share this one.)

Introduce the song “Take Me Out to the Ball Game.” Have students join in with the singing or

teach the song if they do not know it. Go over the words until they are comfortable singing it. Share the versions of the song in either of the books Take Me Out of the Bathtub and I’m Still Here

in the Bathtub by Alan Katz. Make note of the patterns in the original song that are maintained in the new versions. Let students know that these are parody songs.

Guided Practice Activities: Students will write their own with the topic of school, i.e. Take me out of the grade school… List

ideas of things they might include in their song. Show how the tune of the song should be maintained as they write new lyrics as well as a rhyme scheme if possible.

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SAMPLE LESSONS


Independent Activities/Meaningful-Use Task: Have students divide into cooperative groups. Each group needs to work on a version of their own.

Provide chart paper and markers for students to write down their final version as well as scratch paper for them to write rough drafts and ideas.

Assessment:

Have the students sing the whole song with each group singing their new verse. If each group starts their new verse with the words ‘Take me out of the grade school,’ the whole class could join in on that part of the song as each group sings the verse. Observe students as they create and perform their new verse to assess their skills using the following scoring tool:

4 – Students contributed consistently to the group composition and performed it. 3 – Students contributed occasionally to the group composition and performed it. 2 – Students contributed to the group composition but did not perform it or performed it but

did not help with the composition. 1 – Students made a minimal attempt to be part of the group work in either composition or

performance. 0 – Students made no attempt to contribute to group work.

Closure Activities: Have students think of other familiar songs that could have new words added.

SAMPLE LESSONS


Grade 6 – Lesson 3 Lesson Title: Rhythmic Dictation Overview:

Following instruction on reading rhythmic notation including sixteenth notes, the students will recognize rhythmic notes in order to write four-beat patterns that the teacher plays on a hand drum.


• Write simple rhythmic and melodic patterns from dictation. (I.D.2) Introductory and Developmental Activities:

The teacher will clap eight beat patterns. Using manipulatives for quarter notes, quarter rests, eighth notes, half notes, whole notes, and sixteenth notes, students will arrange the patterns to reflect what the teacher is clapping.

Guided Practice Activities: Have students work with a partner for cooperative learning. After three patterns, have students work alone.

Independent Activities/Meaningful-Use Task: The teacher will clap ten rhythmic patterns containing the same note values as mentioned above. Students will write the patterns down as they hear them.


4 – Students write down all patterns with fewer than two mistakes. 3 – Students write down all patterns with fewer than four mistakes. 2 – Students write down all patterns with fewer than six mistakes. 1 – Students write down all patterns with fewer than eight mistakes. 0 – Students did not respond.

Closure Activities: Have individual students clap patterns that the teacher must notate.

SAMPLE LESSONS


Grade 6 – Lesson 4 Lesson Title: Compare and Contrast Overview:

Students will listen to two versions of the song “Guantanamera” in order to discover similarities and differences in the performances of each.


• Compare dissimilar performances of the same work discussing differences in interpretation and preferences. (IV.A.1)

Warm-Up:

Review syncopation patterns by using the “Rise and Shine” echo clap activity. Students echo clap several patterns. When they hear a syncopated pattern, they “rise” when they echo the pattern. When they hear an non-syncopated pattern, they sit back down when they echo the pattern.


Listen to the recording of the song “Guantanamera” from Music and You, Grade 6 and Spotlight on Music - 5.


Discuss the different musical elements of this recording such as: instruments, performers, where they are performing, tempo, dynamics, melody, and form. Use a Venn diagram to list the students’ answer. Listen to another recording of the song made at the Smithsonian Folklife Festival (Smithsonian Folkways World Music Collection). Compare these two recordings, listing the answers on the Venn diagram.


Working alone or with a partner, choose a familiar song (i.e. “Twinkle Twinkle Little Star.” Emphasize that if working with a partner, the song selected must be known to both people in the group.) List ways that the piece of music could be changed. Experiment with suggestions until comfortable with one. Then, combine with another group and perform the different versions. Complete a supporting statement which shows which version is preferred using the following prompt: “I liked _________________ version best because ______________________________.” Students may not comment on the student performance, just on the song itself.

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4 – Students completed the diagram and wrote a supporting statement including all the elements discussed.

3 – Students completed the diagram and wrote a supporting statement including four of the elements discussed.

2 – Students completed the diagram and wrote a supporting statement including at least two of the elements discussed.

1 – Students completed part of the diagram and wrote a supporting statement including at least one of the elements discussed.

0 – Students did not respond to the prompt. Closure Activities:

Review the activities completed in these lessons and review the different musical elements that can be changed in different versions of the same music.

SAMPLE LESSONS


Grade 6 – Lesson 5 Lesson Title: The Romantic Period Overview: Students will examine the influence of daily experiences of musicians and artists in the Romantic

Period in order to describe the connection to musical works and artistic creations of the Romantic Period.


• Perform and compare examples of monophonic, polyphonic and homophonic texture. (I.A.3)

• Relate styles in music to styles in visual arts. (II.C.1) • Identify aurally a repertoire of diverse vocal and instrumental compositions written by

exemplary composers. (II.D.1) Day 1: The Romantic Period Warm-up: Prepare a transparency of the painting “The Wanderer Above the Sea of Fog” by Casper David

Friedrich. Do NOT reproduce the title. (The painting is provided at the end of this lesson.) Display it on an overhead as students come in to class. Ask students to brainstorm what this artist might have been trying to convey through his work. After students have responded, tell students the title of the work. Ask students to identify elements in the work that fit with the title of the piece.


Explain to students that art and music history are divided into time periods based on prevailing opinions at the time. The Romantic Period covered the years from 1825-1900 and there is a parallel Romantic period in literature and art. The piece of art work from the beginning of class was painted by Casper David Friedrich, a German painter who lived from 1774-1840. He painted this in 1818. Share with students the following information about the Romantic Period:

The Romantic Period was a reaction to the music of the Classical Period. In the Classical Period, there were a lot of rules that had to be followed by composers, musicians, and artists. In the Romantic Period, composers and artists used events from their daily lives as source material and inspiration for their creativity.

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Guided Practice Activities: Using the template #1 (included with this lesson), tell students that they are going to be listening to four excerpts of music. They are to record how each piece makes them feel while they are listening to it. Students will possibly be uncomfortable with this task as it involves not only a different listening style, but a more personal one. Depending on the character of the class, students may need to be separated to keep them engaged in the task. Model appropriate responses for the students using a recording of “Moonlight Sonata” by Ludwig von Beethoven. Students are to write a sentence which reflects the mood of the piece, and also what they think the composer was thinking or feeling when he wrote the piece. Remind students that there are no wrong answers in this exercise. Other selections that may be used in this lesson are: Erlkonig - Schubert Gretchen am Spinrrade - Schubert Symphonie Fantastique - Berlioz Symphony Number 6, “Pastoral” - Beethoven Carmen - Bizet Firebird - Stravinsky All of these can be located on the www.classicalarchives.com website, which is a free website.


Again, using template #2 (included with this lesson), tell students to listen to the scenarios that are read in class. They are to then write one or two sentences describing the music that they feel would best accompany each scenario. They may use existing pieces or create their own. However, if they create their own piece, they must describe what it would sound like (fast, slow, loud, instrumentation, etc.).

Assessment: Assess student understanding of the music and art connection using the following scoring tool: 4 – Students completed all of the scenarios with complete sentences. 3 - Students completed most of the scenarios but one or two are missing. 2 – Students completed half of the scenarios or their answers are incomplete. 1 – Students show an attempt to complete the work but most of their answers are missing

or incomplete. 0 – Students did not make an effort to try the assignment. Closure Activities: Have students list things in everyday life that could inspire a piece of music or art. Have each

student in the class contribute one idea.

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Listening Template # 1

Use this chart to record your impressions of the four listening selections. You are specifically focusing on mood…how does the piece make you feel? How do you think the composer was feeling when writing this piece?

Selection 1-

This piece made me feel _____________.

I think the composer was feeling __________________________________.

Selection 2-



Selection 3-



Selection 4-



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Scenarios Template # 2

In this template, you will write what you think would be a theme song for the scenario your teacher reads. Consider tempo, dynamics, and instruments. You may use an existing piece of music; however, you need to make sure that you are using school appropriate music.

Scenario 1 Scenario 2

Scenario 3 Scenario 4

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Grade 6 – Lesson 6 Lesson Title: Multiple Meanings and Musical Terms Overview: Students will study multiple meanings of words in order to define the musical use of the term.

(This lesson and musical vocabulary list can be used throughout the year to introduce new musical terms and their multiple meanings in preparation for the MSA assessments.)


• Describe the characteristics of musical sound. (I.A) • Develop a comprehension of the relationships of music to the other fine arts. (II.C)

Introductory and Developmental Activities: Discuss musical terms that have multiple meanings. (A list of possible terms is provided at the end

of the lesson.) Select one or two musical words, such as pitch or rest, and have the students identify and discuss the multiple meanings of these words. (See Appendix for the Music Glossary from the Voluntary State Curriculum.)


Distribute the following text on a worksheet or a similar text which uses the musical term or terms: • The teacher said, “I am not going to repeat myself. Put the rubber band down!” • It is only natural to want modern computer equipment. • Pitch your tent in the flat area with grass. • I was sent to see the Principal, because I hit Carol with a meter stick. Go over the first sentence with the students and underline the words that are musical terms. Have students define the meaning of the words using the context clues from the text. Then, have students look up the musical definition of the term using a musical dictionary or music textbook. Write the definition next to the word on the word wall and on the student’s paper. Have students finish the worksheet by underlining the musical terms, looking up the musical definition, and writing it down next to each musical term. Discuss the answers as a class and have students correct any errors.

Independent Activities/Meaningful-Use Task: Share the following story with the students: Ben and Carol were so excited. They were going to see the Orioles play the Red Sox –

the first major league game of the season. The weather was perfect and the stadium was packed. Carol had another motive for coming to the game. Whitney Houston was singing “The National Anthem” and this was a perfect opportunity to hear her live and in person. Ben had another reason for coming. His ma told him that Melody, the new student at school with the cute accent from Hungary, was going to be there. Melody entered the

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stadium right on cue. “I’m going to go talk to her,” he said. “Oh, give it a rest Ben,” said his sister, “the program is starting.”

Have students independently underline the musical terms and give their musical definitions on a separate sheet of paper. Then have them finish the story using more musical terminology.

Assessment:

Assess the students’ work using the following scoring tool: 4 – Students completed the story with additional musical terms and included appropriate definitions

for the musical terms. 3 – Students completed the story with additional musical terms and included somewhat appropriate

definitions for the musical terms. 2 – Students attempted to complete the story with a few additional musical terms and included

some of the definitions for the musical terms. 1 – Students attempted to complete the story but did not include the definitions. 0 – No attempt made to complete the story or write the definitions.

Closure Activities: Have students share their stories with the class. Have the class identify and define the musical terms.

List of Possible Terms:

Accent Album Al fine Alteration Arrangement Balance Band Bar line Ben – as in “ben marcato” Carol Chord Con Cue Cut time Ma - as in “lento ma non troppo” Major Medieval Melody Meter Modern Motive Natural Perfect Petite Pitch Program Principal Range Repeat Resonance Rest Rhapsody Roll Rhythm Root Round

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Grade 6 – Lesson 7 Lesson Title: Leitmotif Overview:

Students will examine the concept of leitmotif in order to compose a personal theme song. Indicator(s) from Scope and Sequence:

• Investigate the use of electronic instruments and equipment in the making of music. (III.A.1) • Write compositions in complex forms such as fugue and theme and variations. (III.B.1)

Warm-up:

Using personal knowledge of the students, choose a theme that the students will recognize. Some examples:

Harry Potter Fresh Prince of Bel Air Star Wars

Have students complete one of the following statements: “I recognize this piece of music. It is from _____________.” “I do not recognize this piece of music.”


Share with students the following information about leitmotif: The leitmotif is a concept that is widely used by composers today. It can be traced back to Richard Wagner, who used it heavily in his operas. A definition of the leitmotif is a musical theme that is directly tied to a specific person, place, thing, or event. In Star Wars, for example, composer John Williams wrote easily recognizable themes for Darth Vadar, Luke Skywalker, and Princess Leia. In the Harry Potter movies, themes are used for each of the main characters. A third example, and probably the most developed of those mentioned, is The Lord of The Rings. All three movies in the series use themes for death, the ring, and the main characters. Leitmotifs are a compositional tool that allows the composer to tell a story. The listener is quickly able to recognize the sound of each of these themes, and the theme itself becomes a powerful part of the story. Savvy directors can use the music to foreshadow coming events, to create suspense (think about “Jaws.” We all knew when the shark was coming!)


Have students brainstorm what they would want their personal theme to be. Discuss instruments, dynamics, tempo, and note values. Specifying note values will make this activity easier for students to conquer. Record personal choices from the discussion on chart paper or the board. Model how to compose an eight note pattern that will be a personal theme. Emphasize that the pattern should be easy to recognize and remember.

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Independent Activities/Meaningful-Use Task: Have students follow the same thought process to create their own lietmotif. They should record their brainstorming in case they get stuck in the process. Their decisions should be a map to completing this activity. Provide students with several choices for instruments to use for their theme, such as recorders, pianos, guitars, or MIDI if access is available. While students are working, if possible, record the class theme created during the Guided Practice on any technology available. Students should be able to perform their themes. Some students should be able to correctly notate their melody on staff paper.

Assessment:

Assess student compositions using the following scoring tool: 4 – Students wrote a melody that fit with ideas that they wrote for their personal theme. 3 – Students wrote a melody for their theme, but it is awkward. 2 – Students wrote a partial melody, less than the specified eight beats. 1 – Students attempted to write the melody but were not able to complete the assignment. 0 – Students made no attempt at composition. Closure:

Have students sing, whistle, or hum themes from television or movies for other students to guess. Discuss what that theme says about the movie or TV show.

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Grade 6 – Lesson 8 Lesson Title: The Blues Overview:

Students will analyze the blues and their relationship to the African-American Spiritual in order to compose their own blues piece. (This unit may take several lessons.)


• Analyze musical selections for the use of syncopation and blues notes. (I.A.2) • Sing and play melodies and descants to accompany songs. (I.B.1) • Read and play a harmonic classroom instrument using standard chord symbols. (I.D.4) • Relate the ways in which music of various cultures such as African, European, and Latin American,

influenced the development of musical styles in the United States. (II.A.2) • Write compositions in complex forms. (III.B.1)

Day 1: What is the blues? Warm-Up:

Echo sing several simple phrases or a familiar call and response song. Identify call and response as a common musical technique used in African-American spirituals and jazz music.

Introductory and Developmental Activities: Share the following information about the blues with students: The blues is a style of music that began in America in the early twentieth century and its

roots can be found in spirituals and work songs. The blues is primarily a vocal solo or narrative with instrumental accompaniment and a fixed harmonic progression. The first blues music was performed by singers, guitarists, and banjo players. There are three distinct blues forms: 8-bar blues, 12-bar blues, and 16-bar blues. The 12-bar blues is the most commonly used form. A blues note is a pitch that is lowered by one half step.

Listen to a blues piece such as “Joe Turner Blues” from Music and You, Grade 6. Identify the blues form used for this piece.

Guided Practice Activities: Display the chord progression for “Joe Turner Blues” or the selection played earlier. Explain that a

chord is three or more tones produced at the same time. The chord symbols on the chart will represent the root note of each chord.

Play the progression on an instrument of choice, first playing the full chord and then playing the

root note for each chord only. In order to learn the 12-bar blues chord progression, the students will be playing the root notes only today.

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Independent Activities/Meaningful-Use Task: Have students play the “Joe Turner Blues” chord progression on classroom instruments.

Closure Activities: Review the three distinct blues forms.

Day 2: The 12-bar blues chord progression Warm-Up: Sing “Joe Turner Blues” or the blues song introduced in the previous lesson. Introductory and Developmental Activities: Review the chord progression from previous lesson. Review the information about chords and

chord roots. Explain how to add the fifth of each chord to the progression and display the pattern with these two notes, if using tonebar instruments. If using autoharps or guitars, explain how all of the notes in each chord are already being played.

Review the 12-bar chord progression using movement. On the I chord pat knees, IV chord pat

shoulders, and V chord pat head. Have students take turns playing the 12-bar chord progression while the rest of the class sings the song and demonstrate the movement.

Guided Practice Activities: Explain that the 12-bar blues lyrics often are written in a standard form. The first phrase makes a

statement, the second phrase repeats this statement, and the third phrase answers or completes the statement. Have students analyze “Joe Turner Blues” lyrics to see if they follow this format.

Independent Activities/Meaningful-Use Task: Have students create their own blues lyrics in the style and form of “Joe Turner Blues.” (AAB text

form) They should be able to sing their lyrics to the same tune or a composed melody while playing the 12-bar blues accompaniment on an instrument. Students should begin to work in class and then complete the assignment as homework.

Assessment: Assess students as they perform the chords while singing:

4 – Students were able to maintain the chord progression with minimal errors. 3 – Students were generally accurate in maintaining the assigned chord progression. 2 – Students were generally accurate but were not able to maintain the chord progression. 1 – Students made a recognizable attempt at playing the chord progression but were not able to

maintain it and made several errors. 0 – Students made no attempt to play the chord progression.

Closure Activities: Review the 12-bar blues form and directions for the assignment.

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Day 3: Rehearsing our blues compositions Warm-up: Listen to a new blues song. Decide which form it is: 8-bar, 12-bar or 16-bar. Introductory and Developmental Activities: Review the 12-bar chord progression using movement while singing. Guided Practice Activities: Review the 12-bar blues lyrics form from the “Joe Turner Blues.” Remind students that their

compositions have to follow that form. Independent Activities/Meaningful-Use Task: Allow students to share instruments and practice their compositions. They need to be prepared to

perform them for a grade. Closure Activities:

Remind students that all blues pieces will be performed for the class during the next lesson and students should bring a copy of their lyrics. Songs should be given a title.

Day 4: Performance Day! *Performing the compositions may take more than one day. Warm-up: Review the “Joe Turner Blues.” Review the 12-bar chord progression using movement while

singing. Introductory and Developmental Activities: Distribute and review the BCR forms to each student. Form should include the following: Performer(s) ____________________________ Title of Song ____________________________ What was the best part of the performance? ____________________________________ ________________________________________________________________________ What part of the performance needs improvement? Give specific ideas for how it might be

improved. _______________________________________________________________ ________________________________________________________________________ Independent Activities/Meaningful-Use Task: Have students perform their blues compositions for the class. Other students should complete

their BCR forms following each performance.

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Assessment: Assess the student performances using the following scoring tool:

4 – Students performed their piece with minimal errors and with correct phrasing and format. Their lyrics were creative and interesting.

3 – Students performed their piece with minimal errors but the phrasing or format contained some errors. Their lyrics were somewhat interesting.

2 – Students made several errors in their performance but the correct format was used. 1 – Students made many errors and did not follow the correct format. 0 – Students made no attempt to write or perform a blues piece. Assess the BCR responses using the following rubric: 4 – Students evaluated the performance completely given details from the performance and ideas

from their own experiences. 3 – Students evaluated the performance given limited details from the performance or limited ideas

from their own experiences. 2 – Students evaluated the performance with few details from the performance or ideas from their

own experiences. 1 – Students attempted to evaluate the performance but the evaluation was incomplete. 0 – Students made no attempt to evaluate the performance or writing did not answer the BCR.

Closure Activities: Discuss with students other topics for blues creations.


Appendix


Maryland State Department of Education MUSIC GLOSSARY from the Voluntary State Curricula

ABA Often referenced as “song form,” musical structure with a beginning section, followed by a contrasting section, followed by a repetition of the beginning. Accuracy The ability to be precise and avoid errors. Acoustic Sound Sources All instruments that do not require electronics to produce sound, including brass, woodwind, string, or percussion instruments and instruments from various cultures. Aesthetic Criteria Standards used for assessing the effectiveness of music. (These may include the quality of the aural perception, emotional makeup of the listener, and the context in which a particular work is being experienced.) Articulation Clarity and distinct rendition in musical performance. Bass Clef F clef that indicates the placement of F below Middle C on the staff. (It is used for low-pitched instruments and voices and for left-hand keyboard parts.) Blend The process of producing tones that pass imperceptibly into each other. Call-and-Response A song style that follows a simple question-and-answer pattern in which a soloist leads and a group responds. Chance Music Music in which composers deliberately leave parts of the composition and performance undetermined. (Aspects such as melody, rhythm, dynamics, timbre, and form are left wholly or partly to the discretion and creativity of the performer. It is also known as aleatory music.) Classroom Instruments Any of a number of musical instruments typically found in a general music classroom, inclusive of, but not limited to: keyboard, guitar, Orff instruments (melody and rhythm), and small auxiliary instruments. Compose Process of creating a musical work Culture(s) The shared ideas, beliefs, customs, and experiences of a given people at a given time. Descant A freely written or improvised soprano part added to a melody. Describe Demonstrate understanding of music through reading and writing music notation, other visual representation, verbal description, and movement. Dynamics The volume of sound, the loudness or softness of a musical passage. Electronic Sound Sources Personal computers, basic midi devices such as keyboards, sequencers, synthesizers, drum machines, and other developing technology.


Elements of Music Components of musical activity, including pitch, duration, form, dynamics, texture, and tone color. Families of Instruments In Western music, like instruments are often categorized in four groups, or families: string, woodwind, brass, and percussion. Folk Music The indigenous music of the world evoking the life and culture from which it comes. (Music often handed down by the aural/oral tradition.) Form The way a musical composition is organized, often referring to repetition and contrast within the work. Free Form Musical structure that relies less on repetition and contrast and more on motivic development. Fugue A polyphonic composition consisting of a series of successive melody imitations. Genre Category of music marked by a distinctive style, form, or content. Homophonic A style of musical texture in which a single melody is supported by chords. Hornbostel-Sachs Classification System A system, devised in 1914, for classification of musical instruments based on the sound produced by the vibrating material. (The five major categories are: Idiophones – Self sounding instruments; Membranophones – Instruments producing sound by means of a stretched skin or membrane; Aerophones – Wind instruments with the sound caused by vibrating air; Chordophones – String instruments; Electrophones – Instruments using electronic circuits.) Improvisation Spontaneous musical invention commonly associated with jazz. Interval The distance in pitch between two tones. Intonation The act of singing or playing in tune. Listen To make a conscious effort to hear, being intent upon the various aspects of musical composition and performance. Locomotor Movement Movement through space involving a change in location; a moving base involving a progressive relocation of the body in space. (Examples of basic steps are walk, run, leap, hop, and jump. Skip, slide, and gallop are examples of irregular rhythmic combinations.) Major Key (Major Mode) Tonality of a composition based on a scale formula of two whole steps, one half step, three whole steps, and one half step. Melodic Pattern A representative example of a short melody or combined melodies. Melody A succession of notes, varying in pitch, which have an organized and recognizable shape. Meter A rhythmic measure of a certain number of beats.


Minor Key (Minor Mode) Tonality of a composition based on a scale formula of one whole step, one half step, two whole steps, one half step, two whole steps. Motive (Motivic) A short, distinctive musical pattern or figure, often used by composers as a building block. Movement Patterns Any type of bodily response to music. It may include fingers only, hands or arms only, feet only, or the entire body. Music Structure Synonymous with form; the way a musical composition is organized, often referring to repetition and contrast within the work. Non-Locomotor Movement Movement that occurs above a stationary base; movement of the body around its own axis. (Also called axial movement, it includes bending, stretching, pushing, pulling, bouncing, swinging, shaking, and twisting.) Ostinato A brief, unvarying melody repeated continually throughout a composition. Pentatonic Any five-tone scale. Pitch The highness or lowness of sound determined by its frequency of vibration. Polyphonic A texture which is characterized by the simultaneous combination of different melodies and rhythms. Rondo A form of composition, usually instrumental, in which one section intermittently recurs. (A frequent pattern is ABACADA.) Round A composition in which the same melody is started at different times and sounded together; also called canon. Rhythmic Pattern A representative example of a short rhythm or set of rhythms. Rhythm Combinations of long and short sounds that convey a sense of movement – pertaining to everything having to do with the time aspect of music. Scale of 1 – 6, Graded Music Publishers and music education organizations grade music according to level of difficulty. (In Maryland, the official lists are available from the Maryland Music Educators Association.) Serialism Use of a set sequence of pitches as the basis for a musical composition, such as the ordering of the twelve chromatic tones, which are then transposed, inverted, or presented in retrograde Solfeggio A method of sight reading using the syllables, “DO, RE, MI, FA, SOL, LA,TI, DO” Staff A set of five lines and four spaces on which music is notated. Style Musical characteristics shared by a “school” or group of composers; process by which a composer or performer uses musical material in a unique manner.


Stylistic Eras Approximate time periods in music history during which composers used similar compositional techniques, e.g., Renaissance, Baroque, Classic, Romantic, and Impressionist. Tempo (Tempi) The speed at which a piece of music is performed. Theme and Variations A musical form in which a theme is stated, then varied in a succession of statements; variations may be sectional or continuous. Timbre The distinctive tone quality of a sound. (See tone color.) Tone color Specific quality of a sound. (See timbre.) Transposition Changing a whole piece or a section of a piece from one pitch level (key or tone row) to another. Treble Clef The sign, which indicates that the line on the staff on which it is placed, is the G a fifth above middle C (It is used for high-pitched instruments and voices and for right-hand keyboard parts). Two Staff System Two connected sets of five lines and four spaces used to notate two part vocal or instrumental music. Verse and Refrain Song form in which each stanza, or line of metrical writing, is followed by a chorus that is repeated after each verse. Western Traditional Instrument Classification System In this system, musical instruments are classified by family: string, woodwind, brass, and percussion. World Culture(s) The shared ideas, beliefs, customs, and experiences of a given people at a given time.


Professional Organizations MENC: Music Educators National Conference www.menc.org/ is the national association for music education. Its mission is to advance music education by encouraging the study and making of music by all. Membership in MENC includes two of its publications. The Music Educators Journal offers timely articles on teaching approaches and philosophies, current trends and issues in music education and the latest in products and services. Teaching Music focuses on practical articles in specific areas. It includes guides on technology, advocacy resources and how-to articles in all specialty areas. MMEA: The Maryland Music Educators Association www.mmea-maryland.org/ is the professional association for the school music teachers of Maryland. MMEA is a not-for-profit association incorporated in the State of Maryland whose mission is to provide professional development for music teachers, opportunities for excellence for music students and teachers, and to serve as an advocate for music education in schools. MMEA and MENC have joint memberships. Members of MMEA receive its official publication, the Maryland Music Educator, which reaches all areas of music education: choral, band, orchestra, general music, research, elementary, middle school, junior high, senior high, college, university, private school, private teachers, and music supervisors. NATS: National Association of Teachers of Singing www.nats.org/index.php is the largest association of teachers of singing in the world, with members in more than 25 countries. Members of NATS find themselves in a community of friends and colleagues who are all seeking the same goal: excellence in teaching and singing, both for themselves and their students. The official publication of NATS is the Journal of Singing, which provides current information regarding the teaching of singing as well as results of recent research in the field. A reference journal, it serves as an historical record and is a venue for teachers of singing and other scholars to share the results of their work in areas such as history, diction, voice science, medicine, and especially voice pedagogy. ACDA: American Choral Directors Association www.acdaonline.org/ is a nonprofit music education organization whose central purpose is to promote excellence in choral music through performance, composition, publication, research, and teaching. In addition, ACDA strives through arts advocacy to elevate choral music's position in American society. Its official publication is the Choral Journal. The editorial purpose of the Choral Journal is to provide ACDA members with practical and scholarly information about choral music and its performance. Articles and columns cover a variety of topics. AOSA: AMERICAN ORFF-SCHULWERK ASSOCIATION www.aosa.org The American Orff-Schulwerk Association is a professional organization of music and movement educators dedicated to the creative teaching approach developed by Carl Orff and Gunild Keetman. They are joined by their belief that learning about music - learning to sing and play, to hear and understand, to move and create - should be an active and joyful experience. The Orff Echo is the official publication of the American Orff-Schulwerk Association. Published quarterly, it provides vital research information and the dissemination of teaching ideas pertaining to Orff Schulwerk. P. O. Box 391089 Cleveland, OH 44139 (216) 543-5366. The two local chapters are the Middle Atlantic Chapter and the Greater Baltimore Chapter.

OAKE: ORGANIZATION OF AMERICAN KODALY EDUCATORS www.oake.org/ The Organization of American Kodaly Educators was founded in 1973. Its purpose is to promote Kodaly's concept of "Music for Everyone" through the improvement of music education in schools and to enrich the quality of life of the people of the U.S.A. through music education. The Kodály Envoy is the quarterly publication of the Organization of American Kodaly Educators. The local chapter is the MUSIK: MARYLAND UNITED SPECIALISTS IN KODALY.


CURRICULUM GUIDE EVALUATION FORM This form is to be used by individual teachers to provide a reaction to the curriculum guide currently being used. At the end of each unit taught or after teaching from the entire document, please complete the form and send it to the Coordinating Supervisor of Special Area Programs, Department of Curriculum and Instruction, ISSC Building. Your input is necessary in order to assess what revisions must be made in the document. Thank you for helping to review and revise your curriculum so that it is meaningful to your teaching. PGIN: 7690-_______ __________________________________________ Name of Document __________________________________________ Name of Unit/Chapter Evaluated ______________________ __________________ Instructional/Grade Level Publication Date

1. In-service was received on this publication. Yes ______ No ________

2. The in-service was (adequate, inadequate) for using this document.

3. Teachers could use further in-service on the following topics/chapters/units: __________________________________________________________________

__________________________________________________________________

4. The errors/omissions noted in the document are on page(s)___________________

__________________________________________________________________

5. The best written and most helpful sections or pages of this document are:

__________________________________________________________________ ____ 6. Information needs to be revised on the following:

__________________________________________________________________ ___________________ ______

7. The attached material (outline, lesson plan, etc.) should be added to the document.

__________________________________________________________________


8. Did the format of the guide make it easy to use? Yes _____ No _____

9. What changes would you like to see included? ____________________________

__________________________________________________________________

10. Do the lessons contain realistic teaching time frames? Yes _____ No ______

11. Are there a sufficient number of teaching lessons/activities? Yes ____ No ____

12. Are there a sufficient number of available resources listed? Yes ____ No ____

13. Was the content appropriate for the level of teaching? Yes ____ No _____

14. Does the content adequately provide for Title IX (sex equality) guidelines?

Yes ____ No ____

15. Does the content adequately provide for inclusion of information about

multi-cultural and multiracial relationships? Yes ____ No ____

16. The following suggestions would improve this document: __________________

_________________________________________________________________ _________________________________________________________________ _________________________________________________________________ _________________________________________________________________ Name (if desired) ______________________________________________ School ______________________________________________________

elementary vocal and general music curriculum framework overview

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