Course Profile Music, Grade 9 open, Catholic

Unit 1

Course Profiles are professional development materials designed to help teachers implement the new Grade 9 secondary school curriculum. These materials were created by writing partnerships of school boards and subject associations. The development of these resources was funded by the Ontario Ministry of Education and Training. This document reflects the views of the developers and not necessarily those of the Ministry. Permission is given to reproduce these materials for any purpose except profit. Teachers are also encouraged to amend, revise, edit, cut, paste, and otherwise adapt this material for educational purposes.

Any references in this document to particular commercial resources, learning materials, equipment, or technology reflect only the opinions of the writers of this sample Course Profile, and do not reflect any official endorsement by the Ministry of Education and Training or by the Partnership of School Boards that supported the production of the document.

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Acknowledgements:

Project Manager: Barry Elliot Windsor-Essex Catholic District School Board (WECDSB)

Lead Writer: Michael Seguin Catholic Central Secondary School WECDSB

Writers: Rose Jobin Holy Names Secondary School WECDSB

Gabe Gagnon St. Anne Secondary School WECDSB

Beth Dykeman St. Anne Secondary School WECDSB

Luigi Di Fazio Catholic Central Secondary School WECDSB

Ann Wilkie Holy Names Secondary School WECDSB

Unit # 1

Activity 1½Activity 2½Activity 3½Activity 4½Activity 5½Activity 6½Activity 7

Title: Listening

Time: 25 Hours

Unit Developers: Michael Seguin Windsor-Essex Catholic District School Board

Rose Jobin

Gabe Gagnon

Beth Dykeman

Luigi Di Fazio

Ann Wilkie

Development Date: April 7, 1999

Unit Description

This unit involves listening to live and/or recorded performances to understand the language of music, its historical and cultural context, and how effectively its composers and performers communicate to their audience. The music analyzed will be drawn from a range of cultures and the Catholic faith tradition. This unit is intended to develop in students an understanding and appreciation of music through practical skills including interval, melodic and rhythmic exercises through creative work.

Strands & Expectations

Ontario Catholic School Graduate Expectations: 2a,b,c,e; 3b,e; 4b,e,f,g; 5b,c,e,g,h; 7f,g

Strands: Analysis, Creation, Theory

Overall Expectations: MAV.01X, 02X, 03X, 04X, 05X, MCV.01X, 02X, 04X, MTV.02X, 03X

Specific Expectations: MAI.01X, 02X, 03X, 04X, 05X, 06X, 07X, MA2.02X, 03X, 04X, 05X, 07X, MC1.01X, 02X, 08X, 11X, MC2.02X, 03X, MT1.01X, 05X, 09X, 11X

Activity Titles (Time and Sequence)

Activity 1	Jazzing It Up - New Orleans Dixieland to the Chicago Style	180 min
Activity 2	Musical Textures	300 min
Activity 3	Let’s Talk Music	240 min
Activity 4	Clapping is the Way	180 min
Activity 5	Train Those Ears To Listen	180 min
Activity 6	Another Look At Intervals	180 min
Activity 7	Computer Music Applications	240 min

Unit Planning Notes

A sound system, television and VCR in the classroom are vital audio-visual aids. Texts such as theory books, sight reading and ear-training materials and examples of appropriate repertoire are necessary. Equipment such as computers, MIDI and Internet access keeps students abreast with the changing advancements and requirements in modern technology.

Prior Knowledge Required

Students must demonstrate an understanding of the basic elements of music through listening, performing and creating activities. It is important that students be well-versed in playing instruments and singing with expression and proper technique; use the musical terminology associated with the specific expectations for grade eight correctly; read, write, and perform musical notation accurately and fluently; communicate their understanding and knowledge of music in appropriate ways; and, identify and perform music of a variety of cultures and historical periods.

Teaching/Learning Strategies

The teaching and learning strategies will consist of brainstorming, conferencing, group work and listening activities. Students will engage in critical analysis and reflective learning activities. Through group discussions, teachers will identify the effectiveness of activity design and encourage students to modify and improve activity development.

Assessment/Evaluation

Students will engage in formative and summative assessments in order to ensure that overall, specific and Catholic expectations are being met. Assessment strategies will consist of the following methods: personal communication through journals, logs, conferences and self-assessment; paper and pencil tests in the form of quizzes, mid-term and final exams; and formal and informal observation. Students will be assessed through performance and theoretical applications. Assessment tools will include checklists and anecdotal comments to students.

Activity #1

Title: Jazzing It Up - New Orleans Dixieland to the Chicago Style

Time: 180 minutes

Description

Through the examination of historical events and the study of jazz music, students will gain understanding and insight into the significance of jazz music in society. The students will gain deeper understanding through listening to recorded examples of Dixieland music and the study of the people who helped to shape and influence one of the most popular musical styles of the 20th century. The analysis of the musical style and structure of the era will enable students to further distinguish between the New Orleans and Chicago style of Dixieland music.

Strands and Expectations

Ontario Catholic School Graduate Expectations:

The graduate:

• Achieves excellence, originality, and integrity in one’s own work and supports these in the work of others. (5g)

• Respects and understands the history, cultural heritage and pluralism of today’s contemporary society. (7g)

Strands: Analysis, Creation

Overall Expectations:

At the end of Grade 9, students will:

• demonstrate an understanding of music history and its cultural context. (MAV.01X)

• demonstrate the ability to listen attentively and with discernment to live and recorded music, using the stages of critical analysis (initial reaction, description, analysis, interpretation, and judgement). (MAV.02X)

• demonstrate an understanding of the effects of music education on themselves and their peers. (MAV.03X)

• demonstrate an understanding of the function of music in society. (MAV.04X)

• identify connections between music education and various careers. (MAV.05X)

• make artistic decisions that affect the stylistic accuracy of their playing or singing (e.g. articulation, phrasing, posture, dynamics, tone quality, intonation, rhythm, balance, blend, etc.) (MCV.02X)

• demonstrate an understanding of a broad overview of the historical and stylistic context of music (MTV.03X)

Specific Expectations:

Students will:

• identify and describe, orally and in writing, how the elements of music work together to establish historical style and cultural context in a variety of music, dealt with chronologically, conceptually, thematically, and/or by genre. (e.g., chronologically: Baroque, Classical, Romantic, contemporary, development of jazz, evolution of popular music, etc.; conceptually: rhythmically-oriented music, melodically-oriented music, loud or quiet music, music of a specific texture, etc.; thematically: music for celebration, music for dance, music for film, music for rituals, music that tell stories, patriotic music, etc.; by genre; impressionism, ragtime, big band, jazz, rock' n' roll, Kodo, Ghanian drumming, aboriginal songs, Canadian maritime music, etc.) (MAI.02X) <

• analyse the quality of their own and their peers' performances, using appropriate music vocabulary to suggest ways of improving those performances. (e.g., "style/groove", "intonation", "tone quality", "dynamics", "articulation", "phrasing", "rhythm", "balance and blend", "overall effect") (MAI.04X) <

• accurately play or sing notated or stylistically correct articulations (MC1.01X)

• play or sing with an understanding of musical phrase structure: notated, improvised, or stylistically correct (MC1.02X)

• use appropriate terminology to describe how repetition and contrast of musical elements are used to organize sound (MT1.11X) <

Planning Notes

• A sound system and recordings will be required for the listening portion of the activity.

• Students will need to have journal or log books for self-reflection activities.

Prior Knowledge Required

1. Students will need to have an understanding of the characteristics of different historical periods in order to draw comparisons between the structure and style of Dixieland and Western European music.

2. A brief understanding and definition of the key features and elements of jazz is also required.

Teaching/Learning Strategies

1. Students will listen to an example of New Orleans jazz. (e.g., “Mississippi Mud”, “Bill Bailey”)

2. Students will identify and reflect upon the kind of music they are hearing. They will comment about what they are hearing by writing it in their journals.

3. Students will then engage in a discussion about what they have just heard using the following points:

• What is the style of music that you are hearing? Where does it originate?

• What pictures are you seeing in your mind as you listen?

• What instruments are being used in the performance? (including vocals)

• How would you describe the structure (sections) of the song? e.g. introduction, head, solos, etc.

• Define improvisation. (Compare with Catholic Jazz Rap, “Kumbya” - Fr. Stan Fortuna, Macedonian Improvisation, “Ergenski Dance” - Ivo Papasov and his orchestra)

• How did this type of music shape the future of music?

4. Repeat steps above with examples of Chicago-style Dixieland. Note differences between the two styles.

5. Why did the Dixieland music style move north?

6. Discuss the parallel piano styles occurring in New Orleans Ragtime and Chicago Boogie-Woogie.

7. Students will learn to perform a period music work (e.g., “The Saints”).

8. Assign a Dixieland work to student groups of four or five - They will analyze, perform and present their work with the following considerations: Style (New Orleans or Chicago); Sections of the work (introduction, head, solos (improvisation), return to head, ending etc.); Instrumentation; Unique features.

“Al Hinna” (Improvised - Egyptian folk-singing tradition)

N.B. Diagnostic assessment of students’ abilities is necessary.

Accommodations for the Activity

1. Provide audio taped samples for reference and study purposes.

2. Pair or group students for presentations.

3. Provide alternatives to formal written assignments. (e.g., collage, picture essay, taped audio presentation)

Assessment/Evaluation

1. Reflections - reading response journals, probing questions and statements. (MAV.01X, 02X, 04X)

2. Observation - formal teacher observation, informal teacher observation. (MAV.03X)

3. Performance Assessments - demonstration of performance of repertoire in solos and ensembles, diagnostic assessment of abilities, demonstration of jazz techniques, presentations of period work, essays and reports. (MAI.04X) (MC1.02X)

4. Paper and Pencil Tests - teacher-created. (MAI.02X)

Resources

1. CD: Balkanology - “Ergenski Dance”: Ivo Papasov and his Orchestra - Rykodisc, 1991.

2. Listening Guides for Jazz - Sharon J. Camblin and Bruce A. Camblin, J. Weston Walch Publisher.

3. The Making of Jazz, - James Lincoln Collier, Dell Publishing Co., 1979.

4. Jazz Anyone? Play and Learn Book I and II, (with CD), Belwin Mills Publishing Corporation, 1996.

5. CD: Fr. Stan Fortuna CFR: Sacro Song - “Kumbya” - Francesco Productions, 1998.

6. Music: The Art of Listening (with Cassettes) Jean Ferris, Wm. C. Brown Publ., 2nd Ed.1988, p.298-305.

7. Dixieland Ensemble Paks - Hal Leonard, 1986.

8. “Al Hinna”, Simon Shaheen - The Music of Mohamed Abdel Wahab, Mango Records, 1990.

Activity #2

Title: Musical Textures

Time: 300 minutes

Description

Through the examination of various listening examples of music representing the Renaissance, Baroque and Classical Musical Eras, students will gain an understanding of monophonic, homophonic and polyphonic styles of music.

Strands and Expectations

Ontario Catholic School Graduate Expectations:

The graduate :

• Respects and affirms the diversity and interdependence of the world’s peoples and cultures. (7f)

• Respects and understands the history, cultural heritage and pluralism of today’s contemporary society. (7g)

Strands: Analysis, Creation, Theory

Overall Expectations:

At the end of Grade 9, students will:

• demonstrate an understanding of music history and its cultural context. (MAV.01X) <

• demonstrate an understanding of the effects of music education on themselves and their peers.
(MAV.03X) <

• demonstrate an understanding of the function of music in society. (MAV.04X) <

• identify connections between music education and various careers. (MAV.05X) <

• make artistic decisions that affect the stylistic accuracy of their playing or singing (MCV.02X)

• demonstrate an understanding of a broad overview of the historical and stylistic context of music (MTV.02X)

Specific Expectations:

Students will:

• identify and describe, orally and in writing, how the elements of music work together to establish historical style and cultural context in a variety of music, dealt with chronologically, conceptually, thematically, and/or by genre. (e.g., chronologically: Baroque, Classical, Romantic, contemporary, development of jazz, evolution of popular music, etc.; conceptually: rhythmically-oriented music, melodically-oriented music, loud or quiet music, music of a specific texture, etc.; thematically: music for celebration, music for dance, music for film, music for rituals, music that tells stories, patriotic music, etc.; by genre; impressionism, ragtime, big band, jazz, rock' n' roll, Kodo, Ghanian drumming, aboriginal songs, Canadian maritime music, etc.). (MAI.02X) <

• play or sing with accurate intonation both melodically and harmonically (MCI.08X)

• define and describe musical textures (MTI.09X)

Planning Notes

• Three main recordings representing the Renaissance, Baroque and Classical will be studied: “Gaudeamus Omnes”, “Fugue in G”, and “Marriage of Figaro”. Particular emphasis will be given to Gregorian Chant, the Fugue, and the Orchestra to help students understand the contrasting musical textures, the characteristics of each musical style and forms that predominated each era.

• Display a timeline exhibiting composers, musicians and main musical eras.

• Three separate columns will be drawn on chart paper to represent era, form and textural characteristics.

• Students will be invited to submit information after each listening example is played.

• Teacher will review the meaning of such words as texture, theme, counter melody, exposition, development, recapitulation, opera, fugue, Gregorian Chant or plainsong and voicing.

• Plainchant styles will be discussed referring to syllabic and melismatic styles.

• Examples of the 17^th century modal system that gave way to our scale system today will be exhibited.

Prior Knowledge Required

1. Musical eras and general characteristics.

2. Elements of music.

3. Definition of Texture.

4. Conducting patterns.

Teaching/Learning Strategies

The teacher will play “Gaudeamus Omnes”, “Little Fugue in G Minor” and the “Marriage of Figaro”.

1. Students graph the voicing in blank boxes using coloured pencils to represent the different voices, then sing or play music to represent monophonic, polyphonic and homophonic textural styles e.g., “Pange-lingua” CBW II, “Cast Thy Burden Upon The Lord” - Benjamin Harlem, “Agnus Dei” - Sherry Porterfield, rounds, fugues.

2. By brainstorming, teacher lists the characteristics of each of the recordings in separate columns on the blackboard. Students identify voicing, instrumentation, texture, texts, dynamics, rhythm, sacred or secular. Students record in journals.

3. Teacher discusses the difference between syllabic and melismatic voicing found in plainsong. Students are given a line of poetry and are to make up their own short phrases representing both styles (project).

4. Teacher introduces the term “mode” and discusses the relation of Church modes to our scale system. Students create their own short examples of plainsong using different modal keys.

5. Teacher shows excerpts from the video, “Marriage of Figaro”. Students analyze according to initial reaction, description, interpretation and judgement. A comparison may also be drawn between an opera and an oratorio.

6. Teacher plays a recording of “Marriage of Figaro”. Students sing using a variety of nonsense syllables in the style of scat singing.

7. Teacher demonstrates conducting patterns. On second playing of “Marriage of Figaro” students try their hand at conducting.

8. Students will create their own listening logs representing the three styles and present to the class anecdotal summaries of their findings.

Accommodations for the Activity

1. Provide glossary of terms.

2. Provide visual and audio aids.

3. Pair or group students for presentations.

4. Modify format for presentations.

Assessment/Evaluation

1. Projects - (MAV.01X)

2. Teacher Observation - (MAV.02X)

3. Self Assessment - (MAV.04X)

4. Presentations - (MAV.05X)

5. Demonstrations - (MAV.03X)

6. Rubrics - (MAI.02X) (See Appendix A)

Resources

1. Experiencing Music - Recordings, Wingell - Alfred Publishing.

2. Music: The Art of Listening - Jean Ferris - Wm. Brown Publishers.

3. The Enjoyment of Music, “Gaudeamus Omnes” - Joseph Machlis - Norton and Company, 1984.

4. An Overview of Gregorian Chant - Dom Eugene Cardone - Abbaye Saint - Pierre de Solesmes.

5. Gregorian Chant - The Monks and Their Music -Multi Media Communicators.

6. Musical Growth - A Process of Involvement - Natalie Kuzmich.

7. For Young Musicians - Bray, Snell, Peters,Waterloo.

8. Catholic Book of Worship Book II - Canadian Conference of Catholic Bishops and Gordon V. Thompson, 1980.

9. “Cast Thy Burden Upon The Lord” - Harold Flammer - 1989.

10. “Agnus Dei” - Sherri Porterfield - Alfred Publications.

11. “The Marriage of Figaro” - W. A. Mozart.

12. “Little Fugue in G Minor” - J. S. Bach - The Norton Recordings, Volume I, 1995, 7^th ed.

Appendix:

Appendix A: Achievement Chart - Activity #2 - Musical Textures

CATEGORIES Theory (Knowledge/ Understanding	50 - 59 % (Level 1) The student:	60 - 69% (Level 2)	70 - 79% (Level 3)	80 - 100% (Level 4)
-knowledge of facts and terms	-demonstrates limited knowledge of textural styles	-demonstrates some knowledge of textural styles	-demonstrates considerable knowledge of textural styles	-demonstrates thorough knowledge of textural styles
-understanding of concepts, elements, principles and theories	-demonstrates limited understanding of syllabic and melismatic voicing found in plainsong	-demonstrates some understanding of syllabic and melismatic voicing found in plainsong	-demonstrates considerable understanding of syllabic and melismatic voicing found in plainsong	-demonstrates thorough and insightful understanding of syllabic and melismatic voicing found in plainsong
-understanding of relationships between concepts	-demonstrates limited understanding of the relationship between church modes and our scale system	-demonstrates some understanding of the relationship between church modes and our scale system	-demonstrates considerable understanding of the relationship between church modes and our scale system	-demonstrates thorough and insightful understanding of the relationship between church modes and our scale system

Activity #3

Title: Let’s Talk Music

Time: 240 minutes

Description

Through the use of music vocabulary and terminology, students will acquire the skills to listen, analyze, and critique recordings and performances of different styles.

Strands and Expectations

Ontario Catholic School Graduate Expectations:

The graduate:

• Thinks reflectively and creatively to evaluate situation and solve problems. (3c)

• Achieves excellence, originality, and integrity in one’s own work and supports these in the work of others. (5g)

Strand: Analysis

Overall Expectations:

At the end of Grade 9, students will:

• demonstrate an understanding of the effects of music education on themselves and their peers. (MAV.03X)

• demonstrate an understanding of the function of music in society. (MAV.04X)

• identify connections between music education and various careers. (MAV.05X)

Specific Expectations

Students will:

• analyse, orally and in writing, the quality and impact of a variety of live and/or recorded performances, using appropriate music vocabulary. (MAI.03X) <

• analyse the quality of their own and their peers' performances, using appropriate music vocabulary to suggest ways of improving those performances (e.g., "style/groove", "intonation", "tone quality", "dynamics", "articulation", "phrasing", "rhythm", "balance and blend", "overall effect"). (MAI.04X) <

• reflect on learning by maintaining a journal and/or practice log to record progress. (MA2.03X) <

Planning Notes

• A CD/tape player will be required.

• A field trip to a live music performance would be appropriate for this lesson.

Prior Knowledge Required

Use the musical terminology associated with the specific expectations for grade eight correctly.

Teaching/Learning Strategies

1. Students will be given a listening guide handout with music vocabulary terms consisting of:

A. Rhythm/Pulse E. Dynamics I. Phrasing M. Texture/Timbre

B. Style/Groove F. Balance and Blend J. Harmony N. Form

C. Intonation G. Melody/Pitch K. Style/Mood O. Overall Effect

D. Tempo/Metre H. Articulation L. Tone Colour

2. The teacher will lead the class in a discussion of each music vocabulary term to ensure full understanding. The teacher may use recorded examples of music to describe particular terms (e.g., “O Come, O Come Emmanuel” (Melody/Pitch), “Gloria” (Balance/Blend), “God Bless The Child” (Style/Mood), “God So Loved” - Jaci Velasquez).

3. The students will be encouraged to suggest other examples of music to describe these terms.

4. The teacher will play a recording for the students and the students will analyze the performance using the handout on music vocabulary terms.

Accommodations for the Activity

1. Provide modifications to listening guide. (See Appendix B below)

Assessment/Evaluation

1. Quiz on music vocabulary terms - match the column or fill in the blanks. (Paper & pencil) (MAI.03X)

2. Oral assessment to be done by the teacher. (MAI.03X)

3. Journal entry by student to assess their personal growth and development during this activity. (MAI.04X) (MA2.03X)

4. Performance - formal written assignment. (MAV.02X) (MAI.03X, 04X)

Resources

1. Experiencing Music - Richard Wingell, Alfred Publishing Recordings

2. Questions About Music - Roger Sessions.

3. “O Come, O Come Emmanuel” #440 - Catholic Book of Worship II - Canadian Conference of Catholic Bishops and Gordon V. Thompson, 1980.

4. CD “Gloria” - Gregorian Chants - Laser Light Digital, Delta Music Inc, 1984.

5. “God Bless The Child” - Shania Twain - PolyGram Records Inc. 1995.

6. CD “God So Loved” - Jaci Velasquez, Fun Attic Productions, 1997. Website: www.myrrh.com

Appendix:

Appendix B: Let’s Talk Music

The terms of the listening guide have been listed in order of increasing difficulty. The level of difficulty should be individualized according to each student’s I.E.P. The definition of terms should employ vocabulary compatible with individual student’s level of comprehension.

MUSIC VOCABULARY TERMS

1. Melody/Pitch 6. Balance and Blend 11. Overall Effect

2. Tempo/Metre 7. Articulation 12. Intonation

3. Rhythm/Pulse 8. Style/Groove 13. Form

4. Dynamics 9. Phrasing 14. Tone Colour

5. Harmony 10. Style/Mood 15. Texture/Timbre

Activity #4

Title: Clapping is the Way

Time: 180 minutes

Description

Students will gain insight and expertise in reading rhythms and will be able to adapt easily to reading musical rhythms with respect to various types of ensemble music. Through various rhythmic activities, students will discover rhythms in two-measure segments.

Strands and Expectations

Ontario Catholic School Graduate Expectations:

The graduate:

• Thinks reflectively and creatively to evaluate situations and solve problems. (3c)

• Thinks critically about the meaning and purpose of work. (5b)

• Achieves excellence, originality, and integrity in one’s own work and supports these in the work of others. (5g)

Strands: Analysis, Creation, Theory

Overall Expectations

At the end of Grade 9, students will:

• demonstrate the ability to listen attentively and with discernment to live and recorded music using the stages of critical analysis (initial reaction, description, analysis, interpretation and judgement).
(MAV.02X) <

• play or sing technical exercises and diverse repertoire that reflect the theory expectations (MCV.01X)

• demonstrate the ability to read and understand music notation (MTV.02X)

Specific Expectations

Students will:

• clap back, aurally identify and notate given rhythms up to two measures in 4/4, 3/4, 2/4, using eighth through whole notes and rests, including dotted values. (MAI.05X) <

• reflect on learning by maintaining a journal and/or practice log to record progress. (MA2.03X) <

• accurately play or sing notated or improvised rhythms (MCV.11X)

• define and identify basic musical indicators of the duration (MTI.01X)

Planning Notes

• a careful approach from easy to difficult, one to two measure rhythms is suggested.

• it is important to note that wherever possible, recorded music that the students can relate to is valuable for these activities.

• a CD/Tape player will be required.

Prior Knowledge Required

The students will need to have a knowledge of basic music notation.

Teaching/Learning Strategies

1. Students will listen to the teacher clap a one measure rhythm in 4/4 time. They will in return clap it back, keeping a steady beat. The teacher will then do several examples of one measure rhythms with the students clapping back in response.

2. Students will be encouraged to make up their own one-measure rhythms perhaps in group work and their peers will respond by clapping back. Students will listen to the teacher clap a two measure rhythm in 4/4 time. (Refer to #1) (Same as #2 except for a two-measure rhythm).

3. Combine #1 and 2 but make up rhythms in 3/4 and 2/4 time. Give comparisons to the time signatures with recorded music examples - e.g. 4/4 - (“Flood” - Jars of Clay, “Heaven and the Real World” - Steven Curtis Chapman); 3/4 - waltz and/or use pop music example (“Open Arms” - Journey; “Iris” - Goo Goo Dolls; “Arms of an Angel” - Sarah McLaughlin; “Eye Has Not Seen” - Marty Haugen); 2/4 - marches (“Colonel Bogey” - K. Alford, “Washington Post” - J. P. Sousa). Students to engage in oral evaluations for #1 to 3.

4. Students will be introduced to notation - whole, half, quarter, eighth notes and dotted notes with comparative rest values through board examples, flash cards and written work from appropriate text.

5. Students will be introduced to a system of counting to be said orally and notated underneath any given examples of written rhythms. Teachers can make up or use commercially prepared rhythm sheets.

6. Written evaluation will follow regarding note names, values and system of counting.

7. Teacher will clap two measure rhythms in 4/4, 3/4, and 2/4, and students will respond by clapping back while maintaining a steady tempo. (Teachers need not restrict themselves to two measure rhythms if the students show ability to handle longer phrases.) Students will also make up their own rhythms and notation.

8. Teacher will put on recorded examples and the students will clap their rhythms along with the music, (e.g., “Bolero” - Ravel, for 3/4; marches for 2/4; and “Dance Mix” (most have a steady quarter note predominate beat) for 4/4. This will be background accompaniment when students are performing rhythms individually and/or collectively (assessment #3 below).

Accommodations for the Activity

1. Provide both kinesthetic activities when teaching rhythm (e.g., hand-over-hand, marching, tapping on a partner’s back).

2. Provide audio taped samples for reference and study purposes.

Assessment/Evaluation

1. Reflections of their clapping experiences with the popular music will be made by students in their response journals. These will be checked for completion but not assessed. (MA2.03X)

2. Observation - informal teacher assessment as well as student observation. (MAI.05X)

3. Performance Assessments - orally both individual and collective (link to ensemble performance).

(MAV.03X; MAI.05X, MA2.02X, MA2.04X)

4. Teacher created or commercial tests - paper and pencil. (MAI.05X, MAV.02X)

Resources

1. Rhythm Vocabulary Charts For Effective Rhythmic Development - Ed Sueta , Book 1, Charts 1-10.

2. Essentials of Music Theory - Andrew Surmani, Karen Farnum Surmani, Morton Manus

Units 1, 6-9, 10-12, 15-17.

3. Practical Theory Complete - Lessons 5-7, 11-16.

4. Rhythm Workshop - Clark A. Chaffee.

5. Rhythm Flashcards (made up by the teacher or commercially prepared).

6. “Eye Has Not Seen” - Marty Haugen - Gather - GIA Publications, 1988.

7. “Washington Post” - J. P. Sousa - Sousa: The Stars and Stripes Forever - Nimbus Records Ltd. 1988.

8. CD - City of Angels - “Iris”; “Angel” - Warner Brothers, 1998.

9. CD - Songs for Life - Lift Your Spirit - “Flood” and “Heaven In The Real World” EMI-Capitol, 1998.

Activity #5

Title: Train Those Ears To Listen

Time: 180 minutes

Description

Through practice with rhythmic and melodic dictations, students will gain an understanding of tonal direction and learn the skill of reproducing music on a staff. Listening activities will focus on simple two bar melodies within the octave in 3/4 and 4/4 time. Application of this listening skill will utilize various recordings whereby the student listens and plays along then reproduces the short melodies on the staff.

Strands and Expectations

Ontario Catholic School Graduate Expectations:

The graduate:

• Thinks reflectively and creatively to evaluate situation and solve problems. (3c)

• Examines and reflects on one’s personal values, abilities and aspirations influencing life’s choices and opportunities. (4g)

• Applies skills for employability, self-employment and entrepreneurship relative to Christian vocation. (4e)

Strands: Analysis, Creation, Theory

Overall Expectations:

At the end of Grade 9, students will:

• Demonstrate the ability to listen attentively and with discernment to live and recorded music, using the stages of critical analysis. (initial reaction, description, analysis, interpretation, and judgement). (MAV.02X) <

• demonstrate an understanding of the effects of music education on themselves and their peers. (MAV.03X)

• demonstrate an understanding of the function of music in society. (MAV.04X)

• identify connections between music education and various careers. (MAV.05X) <

• demonstrate an understanding of musical literacy, at a level appropriate for the grade (MCV.04X)

Specific Expectations:

Students will:

• reproduce, aurally identify and notate given intervals in a major scale. (i.e. P1, +2, +3, P4, P5, +6, +7) (MAI.06X) <

• reproduce and notate simple melodies up to two measures in 4/4 and 3/4, using eighth through whole notes and rests, including dotted values, within an octave. (MAI.07X) <

• reflect on learning by maintaining a journal and/or practice log to record progress. (MA2.03X) <

• demonstrate an understanding of transposition (e.g. adapting an existing melody for their own performance medium (MC2.03X)

Planning Notes

• Beginning stages of ear-training exercises will focus on the inclusion of simple melodic dictations which encompass the first three to five notes of the major scale.

• Progressively, dictations will include notes within the major scale up to an octave.

• Rhythmic dictations will successively incorporate eighth through whole notes and rests, including dotted values.

• Easy melodic recordings will be used for transcribing purposes.

Prior Knowledge Required

1. Elements of music - (rhythmic values, notation, counting technique, etc.)

2. Recognition of intervals within the major scale.

3. Ability to write music notation.

4. Music Time - Passport (Macintosh Software).

5. Sol-fa syllables.

Teaching/Learning Strategies

1. Teacher will prepare a variety of rhythmic/melodic dictation exercises and dictate each rhythm three times.

2. Students will make up rhythms using whole, half, quarter and eighth notes. Count and clap.

3. Teacher will write or play recordings of short melodic exercises (e.g., Malaguena),

4. Students listen, write and edit. Write counting and sol-fa syllables below each.

5. Teacher plays a recording. Students play along with recording and practise matching a melodic line both in pitch and rhythm. (e.g., “Isaiah 49" - Carey Landry, “Prayer of St. Francis” - Sebastian Temple)

6. Students write notes on staff as they identify pitches, choose their own recording and practise the technique of transcribing, and perform their transcriptions for the class.

7. Students will use Music Time or other music notation program software to write melodies (see appendix).

Accommodations for the Activity

1. Pair students for activities (assistance with reading, writing and preparing performance). (see Appendix C)

2. Arrange for a “study buddy” to provide extra practice.

Assessment/Evaluation

1. Teacher made test - Paper and Pencil. (MAV.02X)

2. Peer evaluation - Reflection. (MAV.03X) (See Appendix)

3. Check list - Conference. (MA1.06X)

4. Assessment of performance by teacher. (MA1.07X)

5. Journal entries. (MA2.03X, MAV.03X, 04X, 05X) Sample Questions: “When I listen to music, I understand.... Transcribing will help me for my audition at... I can identify simple melodies/rhythms...”

Resources

1. Essential Musicianship - Emily Crocker, Janice Killain, Linda Rans. - Hal Leonard.

2. Ear Training and Sight Singing - Maurice Lieberman.

3. Music Time - Passport (Macintosh).

4. “Isaiah 49" - Carey Landry and “Prayer of St. Francis” - Sebastian Temple, Keyboard Accompaniment - North American Liturgy Resources, 1988.

5. CD “Malaguena” - Espana Pops Concert - MTL Vancouver, B.C. 1996.

6. “Malaguena” - Pak 14 Easy Jazz Ensemble Series - Hal Leonard, 1986.

7. CD - Royal Conservatory Graded Ear Training.

Appendix:

Appendix C: Music Time Melodies Peer Evaluation Checklist

1. Single staff lines 5. Stem directions 9. Note range

2. Four measures 6. Tempo 10. Beats per measure

3. Treble/Bass Clef 7. Dynamics 11. Writes the counting

4. Meter (4/4, 3/4, 2/4) 8. Notation 12. Identify Solfege

Activity #6

Title: Another Look At Intervals

Time: 180 minutes

Description

Through the use of commonly known recordings of music repertoire, students will be able to quickly identify the intervals of a major scale. Popular songs will be suggested in order to enhance the efficiency of interval recognition thereby helping to develop the ear training of the student. Students will then be able to apply their newly acquired skill to other facets of music listening activities.

Strands and Expectations

Ontario Catholic School Graduate Expectations:

The graduate:

• Thinks reflectively and creatively to evaluate situation and solve problems. (3c)

• Sets appropriate goals and priorities in school, work and personal life. (4e)

• Examines and reflects on one’s personal values, abilities and aspirations influencing life’s choices and opportunities. (4g)

Strands: Analysis, Theory

Overall Expectations:

At the end of Grade 9, students will:

• demonstrate an understanding of the function of music in society. (MAV.04X) <

• identify connections between music education and various careers. (MAV.05X)

Specific Expectations

Students will:

• reproduce, aurally identify, and notate given intervals in a major scale (i.e., P1, +2, +3, P4, P5, +6, +7, P8). (MA1.06X) <

• reflect on learning by maintaining a journal and/or practice log to record progress. (MA2.03X) <

• identify and describe their own strengths and needs at various points in the course and work towards improving themselves in identified areas. (MA2.02X) <

• solve and notate the intervals within a major scale. (MT1.05X) <

Planning Notes

• The use of a piano or other instrument would be useful for the performance of intervals.

• A chalkboard or overhead projector would aid the written representation of interval examples.

• The use of recordings and sound system to identify well-known intervals in the media would greatly enhance the lesson.

• Students will require manuscript paper for the notation portion of the lesson.

Prior Knowledge Required

1. Knowledge of the construction of a major scale is a necessary prerequisite. Students will have to learn the intervals of a major scale in a lesson prior to this one.

2. Musical terminology (e.g., "perfect" and "major") must be understood.

3. The knowledge of the reading and writing of musical notation is required.

Teaching/Learning Strategies

1. Review definition of scales, intervals. Have students put examples on board.

2. Review the intervals of a major scale.

3. Teacher will play or sing examples of intervals. Teach students to internally sing up the scale to find the interval (use solfege).

4. After short quizzes pertaining to part 3, teacher and students will brainstorm to identify popular songs which begin with the notes of the specific intervals (e.g., +6 - “Entertaining Angels”, P4 - “Because You Loved Me”, P5 “Uninvited” - Alanis Morissette, +2 - “All That We Have” from Glory and Praise Vol. II,)

5. Have students declare their own examples of interval songs. Each should make up their own list to be kept in their portfolio or journal.

6. Students will be assigned to bring from home examples of all intervals for next class. Encourage the use of musical examples from a variety of different cultures including the Catholic faith tradition.

7. From their homework examples, students will make up their own quiz games and test each other in a follow-up lesson.

Accommodations for the Activity

1. Provide a glossary of terms.

2. Arrange for a “study-buddy”.

3. Provide teacher-created tests.

Assessment/Evaluation

1. Complete an individual listening log containing samples of intervals derived from various cultural styles of music as presented by classmates. (MA2.03X)

2. Create short quizzes about the intervals of a major scale as found in music in the media and through performance by the teacher in the classroom. (MA1.06X) (MT1.05X)

3. Monitor student progress on an on-going basis. Progress charts, checklists, anecdotal observations. (MA2.02X)

4. Wrap-up activities - Student designed tests and peer evaluation. (MAV.02X)

5. Evaluate student examples of intervals through music in the media. (MAV.04X)

Resources

1. For Young Musicians, Volume I, Kenneth Bray, Bruce Snell, Waterloo Music Co., Ltd. p. 89-111.

2. Ready-To-Use Music Activities Kit, Audrey Adair, Parker Publishing Co., Inc. 161-178.

3. CD - “Because You Loved Me” - Celine Dion, Columbia Records, 1996.

4. CD - “Uninvited” - Alanis Morissette, City of Angels - Warner Brothers, 1998.

5. CD - “Entertaining Angels” - Newsboys - Wow 1999, EMI Christian Music Group Inc., 1998

6. Preliminary Rudiments, James Lawless, p. 90-94.

7. Practical Theory - A Self Instruction Music Theory Course with Software Vol II - Disk II, Sandy Feldstein, Alfred Publishing Co., Inc. p. 51-54.

8. “All That We Have” - Gary Ault - Glory and Praise, Vol. II, North American Liturgy Resources, 1980.

9. CD - Royal Conservatory Graded Ear Training.

Activity #7

Title: Computer Music Applications

Time: 240 minutes

Description

Students will gain an understanding of the music publishing business in today’s world through the writing and notation of music. Insight will be gained in the use of technology including insight into computer applications and music software. Students will use music notation via computer technology and understand its importance in the music industry.This is a culmination of previous activities.

Strands and Expectations

Ontario Catholic School Graduate Expectations:

The graduate:

• Reads, understands and uses written materials effectively. (2b)

• Examines and reflects on one’s personal values, abilities and aspirations influencing life’s choices and opportunities. (4g)

• Applies skills for employability, self-employment and entrepreneurship relative to Christian vocation. (5h)

Strands: Analysis, Creation

Overall Expectations:

At the end of Grade 9, students will:

• demonstrate an understanding of music history and its cultural context. (MAV.01X)

• demonstrate an understanding of the effects of music education on themselves and their peers. (MAV.03X)

• demonstrate an understanding of the function of music in society. (MAV.04X) <

• identify connections between music education and various careers. (MAV.05X) <

• demonstrate an understanding of music literacy (MCV.04X)

Specific Expectations

Students will:

• reproduce and notate simple melodies up to two measures in 4/4 and 3/4, using eighth through whole notes and rests, including dotted values, within an octave. (MAI.07X) <

• identify how skills developed in music relate to various music-related careers. (MA2.07X) <

• use the elements of melody, rhythm and form in a variety of media to create a simple composition (MC2.01X)

Planning Notes

• Students will need manuscript paper for the first portion of the unit.

• The second phase of this activity will require a computer, printer and appropriate software for music publishing.

Prior Knowledge Required

1. Students need to have a working knowledge of the preliminary rudiments of music.

2. Basic theory skills will be required along with computer experience.

3. Students will need to be taught how to use the computer software for music notation.

Teaching/Learning Strategies

1. Students will be asked to compose a short two measure melody for their instrument.

2. Students will be challenged to write more complex examples for any combination of instruments.

3. The song can be a new composition or an arrangement of a pre-existing tune such as “You Are Mine” (psalm response for a school liturgy) by David Haas.

4. Students will notate the music using appropriate notation and dynamic markings with a pencil and manuscript paper.

5. The work will then be transferred to a music software program and printed for use.

6. The final product should include title, name of arranger/composer, tempo markings, text, musical notation, name of publishing company, and other pertinent information as outlined in the software program.

7. A performance of the work by the class members would conclude the activity.

8. Students will survey musicians in the field for practicality of computer use in the music industry.

Accommodations for the Activity

1. Provide reference notes.

2. Pair or group students for activities (compositions, notation, computer work and performance).

Assessment/Evaluation

1. Project - assess computer competency via publishing assignment. (MA2.07X)

2. Checklists - for required elements of assignment. (MAI.07X)

3. Performance Evaluation - Anecdotal comments. (MAV.02X)

4. Surveys - generated by students. (MAV.04X, 05X) (See Appendix D)

Resources

Computer Software Notation Programs:

1. Passport Encore, Passport Designs Inc.

2. MiBAC Music Lessons, MiBAC Music Software Inc.

3. Band-In-A-Box, PG Music Inc.

4. Allegro by Finale, Coda Music Software.

5. Finale, Coda Music Software.

6. Music Prose, Coda Music Software.

7. Cubase - Saved by Technology.

8. CD - You Are Mine - David Haas - GIA Publication 1995.

Appendix:

Appendix D: Music Industry Computer Survey

1. Classify your music occupation (e.g., writer, arranger, composer, musician, manager, sound engineer)

2. Do you own a computer, what kind and which software programs do you use?

3. Do you use a computer for your job and what do you use it for? (e.g., sheet music, advertising, business cards, e-mail, billing)

4. How has the computer affected the music industry, your company and yourself?

5. What are the most popular computers and programs that are being used today?

What kind of computer training is required today and what advice would you give to a young person who is interested in this field?

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