music theory ii-iv, honors music theory ii-iv. judith lagana ms. judith newins mr. stanley koba ms....

FREEHOLD REGIONAL HIGH SCHOOL DISTRICT

OFFICE OF CURRICULUM AND INSTRUCTION

MUSIC DEPARTMENT

Music Theory II-IV,

Honors Music Theory II-IV

COURSE DESCRIPTION

Grade Level: 10-12 Department: Music Department

Course Title: Music Theory II-IV, Credits: 5.0

Honors Music Theory II-IV

Course Code: 102200, 102220, 102240,

102280, 102300, 102320

Board of Education adoption date: August 27, 2012

Board of Education

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

Mr. Carl Accettola Mr. William Bruno

Mrs. Elizabeth Canario Mrs. Kathie Lavin

Mr. Ronald G. Lawson Mr. Michael Messinger Ms. Maryanne Tomazic

Mr. Charles Sampson, Superintendent

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

Curriculum Writing Committee Mr. Anthony Limaldi Mr. Edward Gattsek

Supervisors

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

Ms. Stephanie Kayafas

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

Music Theory II-IV

Course Description & Philosophy

This is a one year, five credit course which satisfies the 5 credit graduation requirement for fine and performing arts. Music Theory explores various styles

of musical composition. It is a rigorous course with a structured and regimented method. The main composition style that will be explored is that which

was used by composers during the Common Practice Period (1500-1913) In addition, some contemporary techniques will be explored. Composition and

analysis will constitute the bulk of the course work and nightly homework will be assigned. A musical background and/or working knowledge of musical

rhythm and at least one musical clef: treble or bass, will be helpful, but not necessary. The level of musicianship ranges from students who understand

the fundamentals of music to students who can create original works for large ensembles.

We believe our curriculum should provide quality experiences that are musically meaningful to the education of all our students. It should help them

discover, understand, and enjoy music as an art form, an intellectual endeavor, a medium of self-expression, and a means of social growth.

Music is considered basic to the total educational program. To each new generation this portion of our heritage is a source of inspiration, enjoyment, and

knowledge which helps to shape a way of life. Our music curriculum enriches and maintains this life and draws on our nation and the world for its ever-

expanding course content taking the student beyond the realm of the ordinary, everyday experience.

Music is an art that expresses emotion, indicates mood, and helps students to respond to their environment. It develops the student’s character through

its emphasis on responsibility, self-discipline, leadership, concentration, and respect for and awareness of the contributions of others. Music contains

technical, psychological, artistic, and academic concepts. It is an integral part of life and therefore should be studied to further enrich the lives of our

students.

“Musical training is a more potent instrument than any other, because rhythm, harmony, and melody find their way into the inward places of our soul, on

which they mightily fasten, imparting grace, and making the soul of him who is educated graceful.” — Plato

Course Map and Proficiencies/Pacing

Course Map

Relevant

Standards

Enduring

Understandings Essential Questions

Assessments

Diagnostic Formative Summative

1.1.12.B.1 1.1.12.B.2 1.2.12.A.1 1.3.12.B.1 1.3.12.B.2 1.3.12.B.3 1.3.12.B.4

It is the combination of harmony and rhythm that forms the foundation of music of the Western Hemisphere.

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

Anticipatory set Oral questions/discuss ion

Research and define terms Quizzes Critique & analysis

Unit test Individual performance

1.1.12.B.1 1.1.12.B.2 1.2.12.A.1 1.3.12.B.1 1.3.12.B.2

(Four/SATB) Part-writing is the foundation of the language of music.

What is four-part/SATB writing?

How does four-part writing affect the study music theory?

Where is four-part writing used?

Anticipatory set Student survey Discussion

Homework assignments Participation Assignments Analysis

Unit Test Analysis

1.1.12.B.1 Major and minor scales and combinations of their intervals are the vocabulary of harmonic language.

What are major and minor scales? How many major and minor scales are there? Where are major and minor scales utilized? To what extent are major and minor scales utilized in music? What are the different combinations of intervals that make chords and other desired sounds?

Discussion Anticipatory set Analysis

Aural identification Exercises Analysis

Performance Unit Test

1.1.12.B.1 1.2.12.A.1

Having a basic understanding of the keyboard (clavier) is essential to learning Music Theory.

What patterns in the keyboard can be identified?

Does performing on the keyboard help with learning music theory?

Discussion Anticipatory set questions Entry performance/assessment

Performance exercises Analysis Exit performance

Performance

1.1.12.B.1 1.1.12.B.2 1.2.12.A.1 1.2.12.A.2 1.3.12.B.1 1.3.12.B.3 1.4.12.A.1

Listening is an essential skill. How does performing in an ensemble better us as musical listeners?

How does listening to ensemble works develop musical leadership skills in order to conduct/lead? How does listening to compositions give a better understanding of music theory?

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

Why is hearing a sense that should be protected?

How often do musicians lose their hearing?

Why should hearing be protected?

What steps can be taken to protect hearing?

Discussion Oral questions

Aural identification Professional speech from audiologist Analysis Criticism Research

Individual/group project Analysis

1.1.12.B.1 1.1.12.B.2 1.3.12.B.1 1.3.12.B.3

Music Theory is expressed by both aural and tactile means.

Why is penmanship important when writing music?

Explain some of the methods used to transcribe music.

How is ear training a big part of music theory?

How does singing improve ear training?

Why is ear training essential in music theory?

Why do listening and performing become essential components to developing musicianship?

Discussion Anticipatory set Questions Aural exercises Written exercises

Aural exercises Written exercises Aural performance Critique

Aural Test Written Test Performance

1.1.12.B.1 1.1.12.B.2 1.2.12.A.1 1.2.12.A.2 1.3.12.B.1 1.4.12.A.4

Music Theory provides insight into the background of musicians & composers.

Where do popular musicians & composers get their musical experience?

How much of musician’s and composers’ experience is taught and how much is learned?

Discussion Oral questions

Research Written assignments Analysis

Individual & group projects

1.1.12.B.2 1.2.12.A.2 1.3.12.B.3 1.3.12.B.4 1.4.12.B.3

Notation software and other technologies have a role to play in modern music notation.

How does having an understanding of notation software impact knowledge of music theory?

How does notation software effect writing and creating in music theory?

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

Discussion Student survey

Presentation projects Present various examples Multimedia presentation

Comparison presentations Individual projects

1.1.12.B.2 1.2.12.A.1 1.2.12.A.2 1.3.12.B.1 1.3.12.B.3 1.3.12.B.4

A musician knowing his/her role is essential to having a successful ensemble.

What background does a conductor need to have in order to be successful?

What techniques are needed in order to be a successful conductor?

How does music theory correlate with conducting?

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

Define the roles performed by various instruments.

Discussion Background presentation Oral questions/discussion

Exercises Analysis Interpretation project

Performance Individual project

Proficiencies and Pacing

Unit Title Unit Understanding(s) and Goal(s) Recommended Duration

Unit 1 - The Fundamentals of Music: Notation/Elements of Pitch, Scales, Tonality, Key, Modes, Intervals & Transposition

Notation is essential when using music theory.

Scales, intervals, and transposition along with tonality are the foundation of music.

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

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

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

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

10-11 Weeks ongoing

Unit 2 - Structural Elements of Music: Triads, Cadences, Nonharmonic Tones, Voice Leading in Two & Four Voices, and Harmonic Progression and Harmonic Rhythm, Dominant 7th Chord, Leading-Tone Seventh Chords, Secondary Dominants and Leading-Tone Chords

Harmony is the musical result of tones sounding together. Whereas melody implies the linear or horizontal aspect of music, harmony refers to the vertical dimension of music.

Chord structures and all their varieties and inversions provide a pillar in the construction of Western Music.

Phrases are created in music through an interaction of melody, harmony, and rhythm. Voice leading is the term used to describe the linear aspect of musical writing. In four-voice textures, the interaction of harmony and melody and their equal importance become clear. Chords are selected to succeed each other in a piece of music using harmonic progressions.

Students will be able construct chords and cadences using proper voice leading.

The dominant seventh chord is a diatonic seventh chord built on the fifth scale degree of the major, harmonic minor and melodic minor scales. The major triad and minor seventh create a distinctive sound that is universally linked to the dominant function.

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

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


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

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

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

written and aural. 5. Compose duets and trios.

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

1. Harmonize advanced melodies with secondary dominant and leading tone seventh chords, utilize figured bass for analysis.

2. Demonstrate knowledge of borrowed and altered chords. (Examples: Neapolitan 6th, Augmented 6th chords)

13-14 Weeks ongoing

Unit 3 - Melodic and Rhythmic Organization

Organizing melody and melodic thought are the ways in which musical units are combined into larger.


1. Write intermediate melodies using proper rhythms and melodic movement, in both major and minor keys up to 4 #s and 4 bs.

2. Take intermediate dictation in rhythm and melody. 3. Sing intermediate melodic and rhythmic patterns used in class and on approved music theory training

websites. 4. Use of solfege syllables to be used in both sight singing and dictation. 5. Demonstrate knowledge of all note values and their use in proper measure of advanced time

signatures.


1. Work in advanced syncopated rhythmic notation. 2. Write advanced melodies using proper rhythms and melodic movement in both major and minor keys

up to 7 #s and 7bs. 3. Take advanced melodic and rhythmic dictation. 4. Sing intermediate melodic and rhythmic patterns used in class and on approved music theory training

websites. 5. Demonstrate knowledge of simple melodic form.


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

websites.

3-5 Weeks

Unit 4 - Texture, Textural Reduction and Form: Polyphony and other textures, Two-Part (Binary) Form, Three-Part (Ternary, ABA), Sonata Form(s)

Texture refers to the way melodic rhythmic and harmonic materials are woven together in a composition.

Secondary dominants are chord that are altered to sound like dominants.

Form in music is the result of the interaction of all the structural elements. Two-Part Binary Form deals with complete compositions.

Ternary form is a sectional form consisting of three principal parts (A B A) in which each section is a complete musical statement.


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


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


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

and sonata-allegro forms). 4. Students will be able to differentiate, analyze, and create compositions with different textures.

3-5 Weeks

Unit 5 - Composers, Composing and Performance

Twentieth century music is a departure of common musical practices. Many different styles culminate to develop the definitions of twentieth century music.

Composition is the ultimate demonstration of concept mastery.

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


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


1. Compose 4-part passages for brass, woodwind, strings and mallet ensemble - make necessary arrangements to have it performed in class.

2. Compose and perform a four-part work that demonstrates elementary modulation (V/V, pivot chords) and make necessary arrangements to have it performed in class.

1. Compose harmonic and melodic passages in all modes in all key signatures. 2. Demonstrate basic knowledge of whole tone, quartile, quintal and twelve tone harmonies. 3. Compose and arrange music for voices, wind band, orchestra, jazz band, rock band, and other small

ensembles. 4. Compose and arrange music with advanced modulations to unrelated keys. 5. Demonstrate knowledge of major, minor, augmented and diminished 9th, 11th, and 13th chords, root

position, both written and aural.

10-12 Weeks ongoing

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

of Music

Unit Plan

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

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

What are the major and minor scales? How many major and minor scales are there? Where are major and minor scales utilized? To what extent are major and minor scales utilized in music? What are the different combinations of intervals that make chords and other desired sounds?

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

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

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

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

Unit Goals:


1. Demonstrate knowledge of the letter names in alto and tenor clefs.

2. Demonstrate knowledge of all note values and how their use in measures of 3/8, 12/8, 5/8, 5/4, 7/8.

3. Demonstrate knowledge of all harmonic and melodic minor scales.

4. Demonstrate advanced knowledge of the circle of fifths, i.e., chord substitutions.

5. Demonstrate knowledge of all intervals within two octaves, both written and aural.

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

1. Demonstrate knowledge of ranges, clefs and transpositions of all band and orchestral instruments.

2. Demonstrate knowledge of all modes relative to "C".

(Honors Prerequisite-Participation in a school performing ensemble)

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

1. Demonstrate knowledge of all clefs.

2. Demonstrate examples of arrangements and compositions appropriate to the student's pre-assessed skill set.

3. Customize arrangements for specified school ensembles.

Recommended Duration: 10-12 weeks

Guiding/Topical Questions Content/Themes/Ski

lls Resources and Materials Suggested Strategies Suggested Assessments

How do scale degrees vary?

How are intervals used?

What is the level of keyboard competency throughout the class?

Can the students perform a scale?

Why is ear training important?

What is the level of ear training throughout the class?

What resources are available to help students develop their ear training?

What are the different tonalities and modalities? How do you calculate each of them based on “C” and on other pitches?

Calculate intervals and scales based on print and aural perception.

Write in and perform a variety of scales and modes.

Transpose for basic band instruments, in Bb, Eb, and F.

Complete musical work in treble, bass, alto and tenor clefs.

Ascertain which intervals are more recognizable than others.

Current textbook and workbook

Kostka, Stefan & Dorothy Payne. Tonal Harmony with an Introduction to 20th Century Music, 6th ed. Boston: McGraw-Hill, 2009. Marker board with staff lines and markers

Interactive whiteboard

Appropriate websites

Keyboard or percussion keyboard instrument with proper mallets

Other appropriate instruments

Secure storage for said instruments

Staff paper notebook, pencils and eraser

Provide specific written examples of notation of pitch, scales, tonality, key signatures, modes, intervals and transposition.

Listening Activities of specific tonalities and modalities. Try Norton Scores.

Play various intervals and scales.

Have students perform on an instrument (even if for the first time) to their ability. Use mallet instruments and give the student one stick and assign responsibility for a single, simple line, while other, more experienced students can contribute at their appropriate levels.

Use a website such as teoria.com or musictheory.net which offers free examples with which to practice.

Complete text book and workbook exercises.

Analyses of scores

Class preparation

Safe handling of class materials.

Performances

Aural Dictation Project/Exam

Responses to discussion questions

Written tests & quizzes

Penmanship

AR.9-12.1.1.12.B.1

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

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

composition software.

Differentiation

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

Other differentiation strategies which can be used include:

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

Technology

Using a projector and screen in conjunction with a video camera or document projector will allow the entire class to comfortably view the hands of a keyboardist or guitarists so that visual patterns can be associated with various harmonies and rhythms. Use notation software or websites print music. Use for homework submission, composition, etc. Use electronic instruments--keyboard, guitars, amplifiers (often student provided), sound machines, tuners, mixers, even microphones and recording equipment--constitutes real-world use of music and music technology. Use software like Audacity, Sibelius, Garage Band, Finale, etc. as tools to edit and manipulate music and sound files.

College and Workplace Readiness

It is without question that this course will serve the needs of future music professionals –performers, composers, educators and therapists. The study of intervals, tonality, modes, etc. would serve well in many kinds of musical fields, of course, but might also serve many other types of artistic endeavors. Lessons plans could be made in incorporate any number of subsets or skills into the classroom. Students can be exposed to subfields and related professions that include acoustician, architect, filmmaker, videogame creator, alarm maker. Music theory or harmonic/rhythmic language can be used in and to describe other arts. In a multi-year music theory program, students who are enrolling for second and third years could serve as student leader/mentors for their younger, less experienced counterparts in Music Theory I. Project-based learning, with many of our activities based in students working in tight-knit groups towards a common goal of a musical composition and performance, is critical in the college environment and in the business world. Students will gain an improved detail in listening skills as they practice error detection. Students will learn about and practice strategies for protecting hearing so there is little long term hearing loss. Students will practice and refine ear-training for music professionals. Students will practice skills from character education: persistence, initiative, optimism, resiliency, flexibility, independence.

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

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

of Music

Unit Plan

Enduring Understandings:

It is the combination of harmony and rhythm that forms the foundation of music of the Western Hemisphere.


Major and minor scales and combinations of their intervals are the vocabulary of harmonic language.

Listening is an essential skill.

Music theory is expressed by both aural and tactile means.

Essential Questions:

To what extent do harmony and rhythm affect Western music?

How is Western music different from music around the world?

How much does rhythm affect music?

How much does harmony affect music?


How does four-part writing affect studying music theory?


What are the major and minor scales?

How many major and minor scales are there?

Where are major and minor scales utilized?

To what extent are major and minor scales utilized in music?

What are the different combinations of intervals that make chords and other desired sounds?

How does performing in an ensemble better us as musical listeners?

How does listening to compositions give a better understanding of music theory?

Why is penmanship important when writing music?

What are some of the methods used to transcribe music?

How is ear training a big part of music theory?

How does singing improve ear training?

Why is ear training essential in music theory?

Why do listening and performing become essential components to developing musicianship?

Unit Goals:


1. Demonstrate knowledge of major, minor, augmented and diminished triads in 1st and 2nd inversions both written and aural.

2. Demonstrate knowledge of major, minor, augmented and diminished seventh chords, both written and aural

3. Harmonize intermediate rhythmic melodies with I, II, III, IV, V, VI, and VII chords, utilize figure bass notation for analysis.

4. Use of diatonic, non-harmonic tones, both aural and written.

5. Compose Four-part passages in SATB.


1. Harmonize advance melodies with seventh chords, sub tonic, minor dominant and utilize figured bass for analysis.

2. Use of chromatic non-harmonic tones both aural and written.

3. Demonstrate knowledge of the common essentials of part writing.

4. Demonstrate knowledge of major, minor, augmented and diminished seventh chord, 1st, 2nd and 3rd inversions, both written and aural.

5. Compose duets and trios.


1. Harmonize advanced melodies with secondary dominant and leading tone seventh chords, utilize figured bass for analysis.

2. Demonstrate knowledge of borrowed and altered chords (Examples: Neapolitan 6th, Augmented 6th chords).

(Honors Prerequisite - Participation in a school performing ensemble)

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

1. Aurally identify triads, seventh chords and other advanced harmonies with inversions.

2. Conduct/lead a musical ensemble.

3. Compose/arrange advanced, genre-specific, compositions for school ensembles.

Recommended Duration: 13-15 Weeks (ongoing)

Guiding/Topical

Questions

Content/Themes/Skills Resources and

Materials

Suggested Strategies Suggested

Assessments How has harmony and rhythm changed throughout the centuries?

How does harmony effect musical composition?

What do proper and improper voice leadings sound like?

Why do certain cadences slow down, speed up or stress certain parts of the beat?

How do secondary dominant chords relate to dominant chords?

What are the uses of the dominant, secondary dominant and augmented sixth chords?

How are chords used in their respective keys?

What leads a composer to choose certain meters?

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

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

Notation of chords

Chromatic chords in major and minor keys

Important chromatic seventh chord in major and minor modes

Calculate through aural perception and written use, the dominant and secondary dominant seventh chords.

Define various meters and their uses.

Harmonic progressions

Proper voice leading


Kostka, Stefan & Dorothy Payne. Tonal Harmony with an Introduction to 20th Century Music, 6th ed. Boston: McGraw-Hill, 2009. Marker board with staff lines and markers



Keyboard loud enough for entire class to hear


Provide specific written and aural examples of triads, cadences, non-harmonic tones, voice leading in 2 and 4 voices, and harmonic progression and harmonic rhythm, dominant 7th chords, leading-tone seventh chords, secondary dominants leading-tone chords and augmented sixth chords.

Performance projects

Lecture

Use a website such as teoria.com or musictheory.net which offers free examples with which to practice.

Use masking tape to make large 5-lined staff on the floor. Have students stand in/on appropriate lines and spaces for voice leading and chord resolutions.


Analyses of scores

Notate chords, voice single triads, use proper parallel motion of voices.

Performance

Lab


Worksheets

Project assessments

Chapter test

Workbook exercises

Projects

Manuscript book assessments

Responses to discussion questions and topics

Penmanship

AR.9-12.1.1.12.1 Understanding nuanced stylistic differences among various genres of music is a component of musical fluency. Meter, rhythm, tonality, and harmonics are determining factors in the categorization of musical genres.

AR.9-12.1.1.12.B.1 Examine how aspects of meter, rhythm, tonality, intervals, chords, and harmonic progressions are organized and manipulated to establish unity and variety in genres of musical compositions.

AR.9-12.1.3.12.4 Basic vocal and instrumental arranging skills require theoretical understanding of music composition.

Differentiation

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

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

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

Other strategies which can be used to differentiate include:

vary levels of reading materials

use texts with key portions highlighted

provide organizers to guide note taking

provide a list of key terms, vocabulary, events, etc.

provide supplemental materials of interest to students

use examples based on student interests

allow for wait time for student reflection

vary instructional strategies—lecture, group work, independent study

use tiered activities—activities at different levels of difficulty, but focused on same learning goals

vary pacing of student work

use of variety of criteria to measure success

show examples

use multisensory materials

provide multiple exams

highlight critical features in lessons, texts, etc.

provide multiple media and formats

utilize pre-tests to assess where individual students need to begin study of a given topic

make assessment an ongoing, interactive process

compact or exempt students from work on which they show mastery

bookmark websites on key topics

intersperse lecture with small group discussions

make connections with key ideas/skills and students’ cultures and interests

provide tiered practice and assessments

Technology



It is without question that this course will serve the needs of future music professionals –performers, composers, educators and therapists.

The study of intervals, tonality, modes, etc. would serve well in many kinds of musical field, of course, but might also serve many other types of

artistic endeavors. Lessons plans could be made in incorporate any number of subsets or skills into the classroom. Students can be exposed to

subfields and related professions that include acoustician, architect, filmmaker, videogame creator, alarm maker.

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

In a multi-year music theory program, students who are enrolling for second and third years could serve as student leader/mentors for their

younger, less experienced counterparts in Music Theory I.

Project-based learning, with many of our activities based in students working in tight-knit groups towards a common goal of a musical

composition and performance, is critical in the college environment and in the business world.

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

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

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

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

Rhythmic Organization

Unit Plan

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

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

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


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

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

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

Unit Goals:


1. Write intermediate melodies using proper rhythms and melodic movement, in both major and minor keys up to 4 sharps and 4 flats.

2. Take intermediate dictation in rhythm and melody.

3. Sing intermediate melodic and rhythmic patterns used in class and on approved music theory training websites.

4. Use of solfege syllables to be used in both sight singing and dictation.

5. Demonstrate knowledge of all note values and their use in proper measure of advanced time signatures.


1. Work in advanced syncopated rhythmic notation.

2. Write advanced melodies using proper rhythms and melodic movement in both major and minor keys up to 7 sharps and 7 flats.

3. Take advanced melodic and rhythmic dictation.

4. Sing intermediate melodic and rhythmic patterns used in class and on approved music theory training websites.

5. Demonstrate knowledge of simple melodic form.


1. Take advanced melodic and rhythmic dictation on 3 or fewer hearings.

2. Sing advanced melodic and rhythmic patterns used in class and on approved music theory training websites.



1. Create simple, intermediate and advanced melodic and rhythmic dictations to be used by the class/ensemble.

2. Share advanced knowledge of music theory websites and other web resources.

Recommended Duration: 3-6 Weeks

Guiding/Topical Questions Content/Themes/Skills Resources and Materials Suggested Strategies Suggested Assessments


What is the level of ear training throughout the class?

How does rhythm affect music?

How is music that is purely rhythmic written?

What musical devices help us organize rhythm and melody?

What resources are available to help students develop their ear training?

How often do students rely on their hearing v sight when learning music?

What sorts of intervals and basic melodies pervade our everyday life?

Calculate intervals and scales based on print and aural perception

Take melodic and rhythmic dictation

Notation of melodies in tenor and alto clef

Ascertain which intervals are more recognizable than others

Perform on keyboard the simple and recognizable intervals

Notate music that only has rhythm

Define various meters and their uses

Define subdivisions and how they change in various meters

Play by imitation

Take melodic and rhythmic dictation


Kostka, Stefan & Dorothy Payne. Tonal Harmony with an Introduction to 20th Century Music, 6th ed. Boston: McGraw-Hill, 2009.

Marker board with staff lines and markers



Keyboard load enough for entire class to hear


Use the interactive whiteboard to demonstrate a musical line, 2 lines or even an entire score. The effect of seeing the music and hearing the music as it is going by simultaneously is desirable.

Dictate many melodies. Keep simple at first use Do and Re and offer rhythmic options of 1-beat quarters and 2-beat half notes. Many students complete assignments using those four variables. Each lesson, change or add another note of the scale or rhythmic complication.

Students compose their own monophonic melodies – combine with Unit IV.

Lecture and class discussion

Lecture

Performance projects


Composition assessment rubric

Musical performances


Aural Dictation Project/Exam

Responses to discussion questions

Workbook exercises

Penmanship

AR.9-12.1.1.12.1

Understanding nuanced stylistic differences among various genres of music is a component of musical fluency. Meter, rhythm, tonality, and harmonics are determining factors in the categorization of musical genres.

AR.9-12.1.1.12.2 Musical proficiency is characterized by the ability to sight-read advanced notation. Musical fluency is also characterized by the ability to classify and replicate the stylistic differences in music of varying traditions.

AR.9-12.1.3.12.B.2 Analyze how the elements of music are manipulated in original or prepared musical scores. AR.9-12.1.3.12.B.4 Arrange simple pieces for voice or instrument using a variety of traditional and nontraditional sound sources or electronic media, and/or analyze prepared scores using music


Differentiation

Allow students to sing, hum or use an instrument (perhaps even use a kazoo) to demonstrate melodies. Enhanced skills can be developed at the appropriate differentiated level on websites such as teoria.com and music theory.net.

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

Additional differentiation strategies include:

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

Technology



It is without question that this course will serve the needs of future music professionals –performers, composers, educators and therapists. The study of intervals, tonality, modes, etc. would serve well in many kinds of musical fields, of course, but might also serve many other types of artistic endeavors. Lessons plans could be made in incorporate any number of subsets or skills into the classroom. Students can be exposed to subfields and related professions that include acoustician, architect, filmmaker, videogame creator, alarm maker. Music theory or harmonic/rhythmic language can be used in and to describe other arts. In a multi-year music theory program, students who are enrolling for second and third years could serve as student leader/mentors for their younger, less experienced counterparts in Music Theory I. Project-based learning, with many of our activities based in students working in tight-knit groups towards a common goal of a musical composition and performance, is critical in the college environment and in the business world. Students will gain an improved detail in listening skills as they practice error detection. Students will learn about and practice strategies for protecting hearing so there is little long term hearing loss. Students will practice and refine ear-training for music professionals. Other college and workplace readiness skills include:

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

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

Reduction and Form

Unit Plan

Enduring Understandings:

It is the combination of harmony and rhythm that form the foundation of music of the Western Hemisphere.


Listening is an essential skill.

Music theory provides insight in to the background of musicians & composers.

Essential Questions:

To what extent do harmony and rhythm affect Western music?

How is Western music different from music around the world?

How much does rhythm affect music?

How much does harmony affect music?


How does four-part writing affect studying music theory?


How does performing in an ensemble better us as musical listeners?

How does listening to compositions give a better understanding of music theory?

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

Why is hearing a sense that should be protected?

How often do musicians lose their hearing?

Why should hearing be protected?

What steps can be taken to protect hearing?

Where do popular musicians and composers get their musical experience?

How much of musician’s and composers’ experience is taught and how much is learned?

Unit Goals:


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


1. Demonstrate knowledge of secondary dominant chords and their inversions in a textural setting.

2. Students will recognize, construct, and utilize secondary dominants in their proper formats.

3. Demonstrate knowledge of Two-Part Binary Form in a composition.


1. Demonstrate knowledge of Ternary (A B A) form by using it in a composition.

2. Students will be able to analyze large works and identify specific forms.

3. Demonstrate knowledge of advanced musical structure and design such as binary, ternary, rondo and sonate-allegro forms.

4. Students will be able to differentiate, analyze, and create compositions with different textures.



1. Analyze complex/major works for form and advanced harmonies such as secondary dominants.

2. Compose/arrange works which demonstrate advanced musical structure and design. (Examples: binary, ternary, rondo and sonata-allegro forms)

Recommended Duration: 4 - 8 weeks ongoing

Guiding/Topical Questions Content/Themes/Skills Resources and Materials Suggested Strategies Suggested Assessments


What is musical texture?

What do different textures sound

like?

How is music “put together?”

How are poetry and music congruent

in terms of form?

Play various selections of

music from various genres

Define monophonic,

polyphonic, duo phonic,

homophonic and antiphonal

Define forms such as Two-

Part (Binary) Form, Three-

Part (Ternary, ABA), Rondo,

Sonata Form(s)

Recommend various live

performances for students to

attend, amateur as well as

professional

Research various genres and

identify contrasting

characteristics

Identify different

characteristics within each

selection played

Kostka, Stefan & Dorothy

Payne. Tonal Harmony with an

Introduction to 20th Century

Music, 6th ed. Boston: McGraw-

Hill, 2009.

Audio system with volume loud

enough for the entire class to

hear

Recordings or streaming video

of appropriate examples.

Musical score for same

Interactive whiteboard or

projector with screen

Textbook

Describe the different

techniques used in the

listening selections

Compare and contrast

various textures.

Discuss musical themes. Use

examples of modern music

and classical or perhaps

famous film scores.

Provide musical examples of

forms such as the

Symphony, the Concerto,

the Concerto Grosso, Rondo,

Fugue, Toccata, Da Capo

Aria, etc.

Allow students to

demonstrate their own

selections.

Characteristic rubric

Analyses of scores

Listening quizzes

Research projects

Characteristic quizzes

AR.9-12.1.1.12.B.2 Synthesize knowledge of the elements of music in the deconstruction and performance of complex musical scores from diverse cultural contexts.

AR.9-12.1.3.12.1 Technical accuracy, musicality, and stylistic considerations vary according to genre, culture, and historical era. AR.9-12.1.3.12.2 The ability to read and interpret music impacts musical fluency.

Differentiation

We must “tap into” the multi-stimulus, kinesthetic nature of music theory. Most differentiation needs can be met by varying

assignments and instruction to improve skills in four core music theory areas: musical composition, analytical skills, performance skills

and aural skills. Each student will have strengths and weaknesses based in each of these core skills. Activities should represent

differentiation for the needs of the students based on pre-assessment.

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

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

shifts.

Other differentiation strategies include:

use of texts with key portions highlighted

use of small group instruction

provide a list of key terms, vocabulary, events, etc.

provide supplemental materials of interest to students

allow for wait time for student reflection

make task directions more detailed and specific for some learners and more open for others


allow multiple options to express learning

balance competitive, collegial and independent work arrangements

use rubrics—give to students prior to assignment


provide opportunities to practice with support


break assignments into smaller, more manageable parts that include structured directions for each part

use pre-assigned groups so students know by cue where to move in the room and who to sit with

provide practical, analytical, and creative options for student work

use ‘expert groups’ to help teach key ideas

Technology

Using a projector and screen in conjunction with a video camera or document projector will allow the entire class to comfortably view the hands of a keyboardist or

guitarists so that visual patterns can be associated with various harmonies and rhythms. Use notation software or websites print music. Use for homework submission, composition, etc. Use electronic instruments--keyboard, guitars, amplifiers (often student provided), sound machines, tuners, mixers, even microphones and recording equipment--constitutes real-world use of music and music technology.

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


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

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

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



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

Students will use reasoning skills to evaluate evidence and text; problem solving skills and creativity when revising music; note taking skills during class lectures; reading skills such as pattern recognition and reading for comprehension and analysis.

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

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

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

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

Composing and Performance

Unit Plan

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

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

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


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

How does performing in an ensemble better us as musical listeners? How does listening to compositions give a better understanding of music theory? What common musical devices are common in society? (Examples: intervals, car horns, jingles, trademarks and commercials) Why is hearing a sense that should be protected? How often do musicians lose their hearing? Why should hearing be protected? What steps can be taken to protect hearing?

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

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

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

Unit Goals:


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


1. Compose 4-part passages for brass, woodwind, strings and mallet ensemble - make necessary arrangements to have it performed in class.

2. Compose and perform a 4-part work that demonstrates elementary modulation (V/V, pivot chords) - make necessary arrangements to have it performed in class.


1. Compose harmonic and melodic passages in all modes in all key signatures.

2. Demonstrate basic knowledge of whole tone, quartal, quintal and twelve tone harmonies.

3. Compose and arrange music for voices, wind band, orchestra, jazz band, rock band, and other small ensembles.

4. Compose and arrange music with advanced modulations to unrelated keys.

5. Demonstrate knowledge of major, minor, augmented and diminished 9th, 11th, and 13th chords, root position, both written and aural.

(Honors Prerequisite -Participation in a school performing ensemble)


1. Compose/arrange advanced, genre-specific, compositions for school ensembles.

2. Demonstrate knowledge of composers' styles and historical contexts.

3. Conduct/lead a musical ensemble.

Recommended Duration: 2-4 weeks Guiding/Topical Questions

Content/Themes/Skills Resources and Materials Suggested Strategies Suggested Assessments

What is tonal?

What is the common practice period?

How has the definition of tonality been challenged?

How many current forms of music can be identified as having

been influenced by the “classics”?

To what extent do composers such as Bach, Mozart,

Beethoven, and Brahms effect current forms of music?

What is atonal music?

What modern composers continue to compose in the style of

the common practice period?

How is mathematics involved in some forms of contemporary

music?

What sorts of choices are there for notation software

programs?

What are the characteristics of each program?

What students have experience using software?

When a piece of music is performed, how much of it is

notation and how much is interpretation?

How do rhythm and harmony affect music and composing?

What leads a composer to choose certain meters?

How are chords used in their respective keys?

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

ensemble?

How does listening to ensemble works develop musical

leadership skills in order to conduct/lead?

Research basic understanding of

how to use notation software

Construct scales

Research & analyze famous works

Construct original composition(s)

Notation of chords

Define various meters and their uses

Harmonic progression

Proper voice leading

Observe various conductors and

their styles through media and live

Learn different conducting patterns

in various meters

Read scores mimicking a live

ensemble

Conduct a live ensemble

Discuss communication between the

musical leader/conductor and the

ensemble, also musical

communication which goes on

within the ensemble

Demonstrate various patterns

Computer

Internet access and

appropriate websites

Appropriate music notation

software

Textbook & Workbook

Kostka, Stefan & Dorothy

Payne. Tonal Harmony with

an Introduction to 20th

Century Music, 6th ed.

Boston: McGraw-Hill, 2009

CD’s, iPod & docking station

Manuscript book

Video/DVD’s

Scores

Worksheets

Lecture

Complete text book and

workbook exercises.

Play selections using material

using listening rubric.

Analysis of scores

Demonstrate rhythm, harmony,

and contour.

Have students perform on an

instrument (even if for the first

time) to their ability. Use mallet

instruments and give the

student one stick and assign

responsibility for a single, simple

line, while other, more

experienced students can

contribute at their appropriate

levels.

Determine the instrumental

experience of each student.

Form groups based on

instrumental logistics. Assign

various projects that

demonstrate the desired

objective.

Arrange previously composed

music for an ensemble of varied

instruments.

The activities of this unit represent a very

effective way to assess many of the skills taught

in Units I-IV.

Projects assessments

Performance assessments

Lab(s)

Research projects

Manuscript book assessment

Responses to discussion questions and topics

AR.9-12.1.1.12.1 Understanding nuanced stylistic differences among various genres of music is a component of musical fluency. Meter, rhythm, tonality, and harmonics are determining factors in the categorization of musical genres.

AR.9-12.1.1.12.B.1 Examine how aspects of meter, rhythm, tonality, intervals, chords, and harmonic progressions are organized and manipulated to establish unity and variety in genres of musical compositions.

AR.9-12.1.1.12.2 Musical proficiency is characterized by the ability to sight-read advanced notation. Musical fluency is also characterized by the ability to classify and replicate the stylistic differences in music of varying traditions.

AR.9-12.1.1.12.B.2 Synthesize knowledge of the elements of music in the deconstruction and performance of complex musical scores from diverse cultural contexts. AR.9-12.1.3.12.1 Technical accuracy, musicality, and stylistic considerations vary according to genre, culture, and historical era. AR.9-12.1.3.12.B.4 Arrange simple pieces for voice or instrument using a variety of traditional and nontraditional sound sources or electronic media, and/or analyze prepared scores using music


Differentiation

Composition and performance represent the very best of differentiation in music theory. In these processes, students can contribute in so many diverse ways. Excellent classroom management and varying

expectations are a must. In pre-assessment, establish which students possess instrumental skills. (Any student without will be able to contribute to performance by striking single notes on a mallet instrument.)

Within a school year of instruction there is opportunity for both teacher-generated groups and ultimately, student-generated groups. It is important to establish clear guidelines and expectations for group work and

group activities. Logistics also plays a role in group creation. Depending on the goals of the assignment, the groups may have to be as small as a duet or as large as the entire class. Groups of instruments in some

close variation of SATB voicing will also be helpful for many assignments. Within the group context the student may serve as a group leader, principal or minor composer, principal or minor performer, score/part

maker, teacher liaison, all the while, the students must work together to perform their group composition assignment within a certain deadline. It is in this context also that students demonstrate their readiness.

Teachers must observe here if the students are demonstrating knowledge, comprehension, application, analysis, synthesis, and/or evaluation.

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

demonstrated.

Additional strategies include:

use of small group instruction

model skills and behaviors


use of rubrics—give to students prior to assignment

show examples

set benchmarks—break larger tasks into smaller tasks


provide opportunities to practice with support


break assignments into smaller, more manageable parts that include structured directions for each part

establish stations for inquiry-based independent learning activities

post several room arrangement charts to have students rearrange the room quickly

use pre-assigned groups so students know by cue where to move in the room and who to sit with

plan groups for like and unlike readiness, interest, and learning profile groups

make connections with key ideas/skills and students’ cultures and interests

provide practical, analytical, and creative options for student work

use ‘expert groups’ to help teach key ideas

have students perform any classroom functions that are not imperative for the teacher to perform

Technology



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

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

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



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

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

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

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

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

Career planning is a continuous component throughout the course.

music theory ii-iv, honors music theory ii-iv. judith lagana ms. judith newins mr. stanley koba ms....

Documents