Course Profile Music, Grade 9 open, Public

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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Acknowledgments

Public District School Board Writing Team - Music

Lead Board

Upper Canada District School Board

Management Team: Eleanor Newman

Brenda King

Dorothy Stewart

Course Profile Writing Team Co-ordinating Partners

John Love, Toronto DSB Andy Ringlet, Renfrew County DSB

Chris Arthurs, Peel DSB Marg Stewart, Limestone DSB

Jessica Kun, Toronto DSB Helen Beck, Hastings & Prince Edward DSB

Mark Girard, Upper Canada DSB Kit Rankin, Halton DSB

Jill Pensa, Upper Canada DSB Anne Clifton, Halton DSB

Contributors

Vivian Hingsberg, Jim Lawlis, Beth MacRae, Paul Marshall,Theresa Mathers, Robin Vaughan

Unit #1: Performance in Music

Time: 75 Hours

Unit Developers

Jessica V. Kun, Toronto DSB

Chris Arthurs, Peel DSB

John Love, Toronto DSB

Development Date: April, 1999

Unit Description

In this unit students will engage in activities that involve the performance of music. The unit will focus on concepts that include warming up, the building of technique, making artistic choices, listening, examining and understanding repertoire, and ensemble performance. Activities involving warm-up, technique, artistic choices and ensemble performance are intended to be ongoing throughout the duration of the course.

Strands & Expectations:

Strands: Theory, Creation, Analysis

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

Specific Expectations: MCI.01X, 02X, 03X, 04X, 05X, 06X, 07X, 08X, 09X, 10X, 12X, 13X; MC2.03X, 04X; MA1.01X, 03X, 04X, 06X; MA2.01X, 02X, 03X, 04X, 05X, 06X; MTI.01X, 02X, 03X, 04X, 05X, 06X, 07X, 09X, 10X, 11X, 12X, 16X

Activity Titles (Time and Sequence)

Activity 1	Warming-Up For Tuning, Tone, and Internal Rhythm	10 min. per class
Activity 2	Building Technique	20 min. per class
Activity 3	Making Artistic Choices	10 min. per class
Activity 4	Listening For Performance Through Exemplars	200 min.
Activity 5	Examining and Understanding Repertoire	160 min
Activity 6	Ensemble Performance	35 min. per class

Unit Planning Notes

The teaching of this unit requires a facility with enough space to accommodate large groups of students, secure storage space, instruments, chairs, music stands, stereo system, adequate lighting, metronome, an accurate tuning device, chalkboards, and resources consistent with the delivery of an instrumental or vocal music program (e.g. music folders, method books, supplementary resources on technique, and an appropriate part of each selection of music currently being rehearsed for performance or competency purposes).

When this unit is being applied, Activities 1, 2, 3, and 6 are designed to be delivered throughout the duration of the course as a daily routine that focuses upon the development of tone quality, intonation, rhythm and pitch accuracy, articulation, and musicality. The consistent application of such a routine will enhance the student’s ability to apply musicianship and artistic decision making into the creative process through performance skills.

Activity 4 is designed to be delivered in five 40 minute sessions to enrich performance skills from an analytical and aural perspective. Although Activity 5 is designed to be delivered in four 40 minute sessions to enrich performance skills from an analytical perspective, it describes a process that can be used on a continual basis, concurrent with the preparation of repertoire throughout the course.

Prior Knowledge Required

Successful completion of Grade 8 music as prescribed by The Ontario Curriculum, Grades 1 - 8, 1998.

Teaching/Learning Strategies

Strategies include: teacher-directed, student-centred, investigative, application of previously learned concepts to new situations, research, review, problem solving, collaborative learning, drill, modeling, expanded opportunity, and enrichment.

Assessment/Evaluation

Strategies include: assessment of the development of cognitive and psychomotor skills, the affective domain, rubrics, portfolio, peer evaluation, self-evaluation, taped evaluation, reflective journal writing, formative assessment, and summative evaluation.

Resources (from Bibliography)

1, 2, 3, 4, 5, 7, 8, 9, 10, 11,12, 13, 14,15, 17, 18, 19, 20, 21, 22, 23, 24, 28, 29, 31

Activity #1: Warming-Up for Tuning, Tone, and Internal Rhythm

Time: 10 minutes per class for the duration of the course

Description

Through participating in carefully designed daily warm-up exercises, students will develop the skills necessary to play or sing with good posture, playing position, tone production, phonation, breath support, range, intonation, dynamic control, rhythm and pitch accuracy, blend and balance, articulation, vowel formation and internal rhythm. The development of these skills in isolation will facilitate the integration of these skills in the performance of musical repertoire.

Strands and Expectations

Strands: Theory, Creation, Analysis

Overall Expectations:

At the end of Grade 9, students will:

• play or sing technical exercise and diverse repertoire (including their own creations when appropriate) that reflect the theory expectations

• 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)

• demonstrate an understanding of music literacy, at a level appropriate for the grade, using the creative process (perception, production and reflection)

• 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)

• demonstrate the ability to read and understand music notation

Specific Expectations: MC1.01X, 03X, 04X, 06X, 07X, 08X, 09X, 10X; MA2.01X, 02X, 03X; MT1.01X, 03X, 05X, 06X, 07X, 10X

Planning Notes

• using a wide variety of resources and approaches, the teacher teaches the concepts of posture, playing position, tone production, breath support, intonation, dynamic control, rhythm and pitch accuracy, blend and balance, articulation/diction/bowing.

• while they progress through the following exercises, teachers and students listen to, analyze, discuss, and correct their performance to ensure that the selected concepts are being correctly understood.

• the technical demands of these exercises should be increased as students demonstrate mastery of the expectations.

Prior Knowledge Required

• embouchure formation, posture and playing position (where applicable)

• breath support (where applicable)

• aural concept of the characteristic tone, initiation and release of the tone

• knowledge of issues addressing safety in regard to proper breathing, embouchure development, and physical demands of playing an instrument or singing

• how instruments or voices are adjusted for tuning

Teaching/Learning Strategies

1. Upon entering the music room, students immediately engage in pre-established routines.

2. The teacher or a student then leads the class in a series of exercises designed to develop the skills of posture, playing position, tone production, breath support, intonation, dynamic control, rhythm and pitch accuracy, blend and balance, and articulation/diction/bowing.

3. Initial Tuning (for instrumentalists): Using any available means, the teacher produces an accurate pitch which is most appropriate for tuning purposes (for at least 3 seconds in order to engage students’ aural sensitivity). Students match the tuning pitch by singing or humming for approximately 5 seconds, or until the teacher is satisfied that students have internalized the tuning pitch.

4. Students tune their instruments to match the internalized tuning pitch. This procedure should be repeated for instruments which need to tune more than one note.

Exercise 1: Using a major scale that is most appropriate for tuning and warm-up purposes, students play or sing an exercise similar to the following example, designed to improve tuning and tone quality:

While performing this exercise, students concentrate on tuning each note and on producing good tone. Each new section of the exercise must be articulated clearly and together (when participating with a group), while maintaining consistent tempo. (Students will achieve the best results if this exercise is performed with their eyes closed).

Exercise 2: Using a note that is suitable for tuning and warm-up purposes, students play or sing an exercise designed to build tone production, breath support, intonation, dynamic control, and pitch accuracy. For example: Students play or sing a sustained pitch for at least 10 seconds while performing a gradual change in dynamics from pianissimo to fortissimo and back to pianissimo.

Exercise 3: Using a major scale that is most appropriate for tuning and warm-up purposes, students perform an exercise similar to the following example, (for other examples see Resources) designed to improve tuning, tone quality, and internal rhythm:

Students continue the pattern adding an eighth note and rest to each repetition of the exercise up to 8 eighth notes and rests. While performing this exercise, students concentrate on tuning each note and playing or singing with good tone. Each new section of the exercise must be articulated clearly and together (when participating with a group), while maintaining consistent tempo. (Students will achieve the best results if this exercise is performed with their eyes closed).

Assessment/Evaluation

1. Students track their progress using a checklist of the concepts being studied.

2. Students use the process of reflection and journal writing to evaluate their own progress, identifying areas of strength, and addressing areas in need of improvement. The teacher is encouraged to provide a specific framework and/or questions for students to use to focus their writing. For example: “One thing I am thinking about after today’s class is ...”; “Some areas I feel successful in are ...”.

Resources (see Bibliography)

1, 7, 8, 10, 15, 16, 18, 21, 22, 26

Appendices

Appendix A: Tuning and Tone Quality Building Checklist

Activity #2: Building Technique

Time: 20 minutes per class for the duration of the course

Description

Through the playing or singing of carefully designed daily technical exercises, students will develop the skills necessary to build the technical aspects of musical performance. While specifically addressing the development of articulation, pitch and rhythm accuracy, improved technical speed, and expanded range, this activity also supports further development of good posture, playing position, tone production, breath support, intonation, dynamic control, and internal rhythm. The development of these skills in isolation will facilitate the integration of these skills in the performance of musical repertoire.

Strands and Expectations

Strands: Creation, Analysis, Theory

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

Specific Expectations: MC1.02X, 04X, 05X, 07X, 08X, 09X; MA1.06X; MA2.01X, 02X, 03X; MT1.01X, 03X, 04X

Planning Notes

• using varied approaches and selected resources (scale cycle sheets, method books, fingering charts, vocalizes, etc.) the teacher illustrates the concepts of scales and arpeggios as they are applied to repertoire.

• while they progress through the following exercises, teachers and students listen to, analyze, discuss, and correct their performances to ensure that the selected concepts are being correctly understood.

• provide blank manuscript sheets for the purpose of notating scale cycles.

• the technical demands of these exercises should be increased as students demonstrate mastery of the expectations.

Prior Knowledge Required

• embouchure formation, posture and playing position (where applicable)

• breath support

• aural concept of the characteristic tone

• initiation and release of the tone

• articulation

• concepts of ascending and descending note movement

• the difference between written and sounding pitches (for transposing instruments)

• basic understanding of music notation

Teaching/Learning Strategies

1. Once students have completed a guided warm-up activity, the teacher leads the class in a series of exercises designed to develop technical skills. Exercises 1, 2, and 3 are repeated throughout the course systematically introducing major and minor keys (suggested up to 4 sharps and 4 flats).

Exercise 1: Using whole notes in a major key that is most appropriate for the initial development of technical skill (i.e. Concert B flat for band, C or D for strings, E for guitar, etc.), students notate scales and arpeggios in an established scale cycle. This cycle can be prescribed by the teacher, in an order similar to the following example: Major, Major Arpeggio, Relative Harmonic Minor, Relative Melodic Minor (Natural Minor optional), Relative Minor Arpeggio, Major Chromatic scale. The teacher prescribes the range to be covered by each instrument, bearing in mind issues of safety, and pedagogical issues of embouchure development, consideration for changing voices, fingering, and limitations of instruments.

• Having completed the above exercise, students spend a few minutes individually playing and refining their notation.

Exercise 2: Using the major scale from Exercise 1, the teacher checks the students’ work with an exercise similar to the following example (for other examples see Resources):

This exercise also addresses skill development in the areas of breath support, pitch accuracy, tone production, intonation, and the concept of intervals within a major scale (i.e. P1, +2, +3, P4, P5, +6, +7, P8).

Exercise 3: The teacher or a student leads the class through the playing of the scale cycle. While playing this exercise, the students concentrate on pitch accuracy, articulation/diction/bowing, tuning, and playing with good tone quality, while maintaining consistent tempo. The effectiveness of this exercise is enhanced with the use of varied tempos, articulations, dynamics, rhythms, meters, and note values (i.e. sixteenth through whole notes and rests, including dotted values, simple and compound meters 4/4, 3/4, 2/4, and 6/8). A suggested ideal tempo to achieve best results of technical speed is to play scales in eighth notes at a metronome marking of quarter note equals 120.

2. Using the same key signature from Exercise 1 the teacher or student leads continued drill and study for the development of technical skill to be selected from a class method book.

Assessment/Evaluation

1. Students use a practice record sheet to record time spent practicing technical exercises.

2. Formal assessment using a variety of modes (e.g. peer evaluation, self-evaluation, rubrics).

3. Students will perform regular tests to evaluate achievement.

Resources (see Bibliography)

1, 4, 9, 11, 14, 15, 19, 20 ,23, 24, 28, 29 and blank Scale Cycle sheets, selected class method book(s)

Appendices

Appendix B: Rubric for Assessing Progress

Activity #3: Making Artistic Choices

Time: 10 minutes per class for the duration of the course

Description

Through practicing the creativity with existing melodic and harmonic material, students will develop the skills necessary to make the artistic choices essential in order to experience an aesthetically rich sense of satisfaction while performing musical repertoire. This activity is designed to enhance students’ ability to make artistic decisions regarding dynamics, balance and blend, articulation, stylistic accuracy, and the understanding of musical structure. The development of these skills in isolation will facilitate the integration of these skills in the performance of musical repertoire and all music making processes.

Strands and Expectations

Strands: Theory, Creation, Analysis

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

Specific Expectations: MC1.01X, 02X, 03X, 04X, 05X, 06X, 07X, 08X, 09X, 10X, 12X,
13X; MC2.03X, 04X; MA1.04X; MT1.02X, 06X, 07X 09X, 10X

Planning Notes

• using varied approaches and selected resources (unison melodies, chorales, repertoire), the teacher illustrates the concepts of dynamics, balance and blend, articulation, stylistic accuracy, and the understanding of musical structure.

• while progressing through the following exercises, teachers and students listen to, analyze, discuss, and correct their performances to ensure that the selected concepts are being correctly understood.

• the technical demands of these exercises should be increased as students demonstrate mastery of the expectations.

Prior Knowledge Required

• embouchure formation, posture and playing position (where applicable)

• breath support

• aural concept of the characteristic tone

• initiation and release of the tone

• articulation

• concepts of ascending and descending note movement

• ability to read simple music notation

Teaching/Learning Strategies

1. Once students have completed guided warm up activities and technical drills, the teacher will lead the class in a series of exercises designed to develop balance and blend within an ensemble, while exploring artistic choices. There is a variety of teaching/learning strategies that will enable students to make artistic choices. The exercises below are one such method. Note: Once the following exercises are treated in isolation a number of times, Exercise 3 may be all that is necessary for the remainder of the course.

Exercise 1: Using an existing unison melodic line (at least sixteen bars), the teacher leads the class through a variety of different interpretations effected through the manipulation of dynamics, tempo, and articulation. Students should be encouraged to suggest and demonstrate where and how the changes should be made.

• The class performs the melody several times, incorporating the artistic choices suggested.

• Repeat this exercise several times until musical possibilities are exhausted.

Exercise 2: Using an existing chorale of more than 2 parts, the teacher leads the class through the same procedures outlined in Exercise 1. While demonstrating the effectiveness of student choices, the teacher is encouraged to illustrate the difference in character between melody, bassline, and accompaniment parts. The teacher is also encouraged to illustrate how melody, bassline, and accompaniment parts combine to establish the balance and blend within an ensemble.

Exercise 3: Using an appropriate section of repertoire being studied by the class, the teacher leads the class through the same procedures outlined in Exercises 1 and 2. While demonstrating the effectiveness of student choices, the teacher is encouraged to illustrate the connection between artistic decisions and prescribed markings of the composer. The teacher is also encouraged to illustrate that the artistic choices of a musician are often made within established parameters that define that piece’s stylistic and historical context.

Assessment/Evaluation

1. Students will assess their understanding by applying the quality of their performances to a rubric which is posted in the classroom.

2. Students will use their journals to reflect upon their ability to demonstrate level of understanding.

3. Students will use their journals to reflect upon their ability to achieve the tasks set out by the exercises.

Resources (see Bibliography)

3, 4, 5, 8, 11, 13, 17, 18, 20, 23, 24, 29, 31 and selected class method book(s), melodic material, material which includes harmony, and repertoire.

Appendices

Appendix C: Rubric to Assess Student Ability to Make Creative Choices

Activity #4: Listening For Performance Through Exemplars

Time: 200 minutes

Description

Through active and attentive listening, students will use the stages of critical analysis (initial reaction, description, analysis, interpretation, judgement) to improve their individual performances within an ensemble. This activity is designed to enhance the student’s ability to make artistic decisions regarding dynamics, balance and blend, articulation, stylistic accuracy, and the understanding of musical structure. The development of these skills in isolation will facilitate the integration of these skills in the performance of musical repertoire. Although this activity describes a process that can be used on a continual basis, it is intended to provide a formalized and detailed study of repertoire being prepared.

Strands and Expectations

Strands: Theory, Creation, Analysis

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

Specific Expectations: MA1.01X, 03X, 04X; MA2.02X; MT1.02X, 06X, 07X, 10X, 11X, 12X

Planning Notes

• using varied approaches and selected resources (stereo system, professional recordings, ensemble repertoire) students will participate in a guided listening exercise that is designed to improve the quality of their own performances and their ability to discuss music in musical terms.

Prior Knowledge Required

• some familiarity with repertoire studied in class

• some familiarity with the elements of music

Teaching/Learning Strategies

Using 5 examples of repertoire being studied by the class, complete the following exercises in one 40 minute session for each piece.

• Students listen to two or three professional recordings of a piece being studied by the class. In cases where such recordings do not exist, substitute professional recordings of similar pieces.

• Through class discussion, students compare and contrast the recorded examples (initial reaction, description, analysis, interpretation, and judgement).

• Through class discussion, students then compare and contrast their own performances with the recorded examples. Through listening with discernment, students develop strategies to improve their own performances of the work.

• When articulating their responses, students are encouraged to use the elements of music (rhythm, melody, timbre, dynamics, harmony, texture and form).

• When articulating their responses, students are encouraged to discuss the use of dynamics, balance and blend, articulation, stylistic accuracy, and the understanding of musical structure.

• When articulating their responses, students are encouraged to use musical terms related to dynamics, change in dynamics, tempo, and change in tempo (i.e., andante, allegro, ritardando, pianissimo, forte, crescendo, etc.)

• When articulating their responses, students are encouraged to describe how form and the repetition and contrast of musical elements are used to organize sound (phrase structure, motif, theme, imitation, etc.)

Assessment/Evaluation

1. Students will submit a written critique and an outline of self-improvement strategies.

Resources (see Bibliography)

3, 4, 13, 19, 20, 21, 22 and selected professional recordings, repertoire

Appendices

Appendix D: Listening For Performance Through Exemplars: Sample Outline for Written Assignment

Activity #5: Examining and Understanding Repertoire

Time: 160 minutes

Description

Through basic score analysis, students will use the stages of critical analysis (initial reaction, description, analysis, interpretation, and judgement) to improve their individual performances within an ensemble. This activity is designed to enhance the students’ ability to make artistic decisions regarding dynamics, balance and blend, articulation, stylistic accuracy, and the understanding of musical structure. The development of these skills in isolation will facilitate the integration of these skills in the performance of musical repertoire.

Strands and Expectations

Strands: Theory, Creation, Analysis

Overall Expectations:

At the end of Grade 9, students will:

• 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)

• demonstrate an understanding of music literacy, at a level appropriate for the grade, using the creative process (perception, production, and reflection).

• identify and define, in simple terms, the elements of music (i.e., rhythm, melody, timbre, dynamics, harmony, texture and form)

• demonstrate the ability to read and understand music notation

Specific Expectations: MA1.03X; MA2.05X, 06X; MT1.01X, 02X , 03X, 06X, 07X, 11X, 12X

Planning Notes

• Using varied approaches and full scores, students participate in a guided analysis exercise that is designed to improve the quality of their own performances and their ability to discuss music in musical terms.

Prior Knowledge Required

• some familiarity with repertoire studied in class

• some familiarity with the elements of music

Teaching/Learning Strategies

1. Using full scores from 5 examples of repertoire being studied by the class, complete the following exercises in four 40 minute sessions.

• In the first session, students split up into groups of no less than three. Each group studies the full score of a piece that is being played by the class. The teacher instructs the students to identify the formal sections, melodic material, and phrase structure within the piece. Students will record their findings.

• In the second session, each group identifies the bass lines and accompaniment material within the piece. Students will also identify the common rhythmic features and special markings (dynamics, tempo, performance directions, etc.). Students will record their findings.

• In the third session, groups prepare to report their findings and respond to the following:

• What makes this piece interesting? (3 to 5 features)

• What will the class learn by performing this piece? (3 to 5 concepts)

• Identify the artistic decisions that would maximize the effect of the piece. (3 to 5 decisions)

• How would an audience react to hearing this piece played well and why?

• In the fourth session, each group will deliver a five minute presentation in which they will report their findings to, and share their answers with the rest of the class.

Assessment/Evaluation

1. Assessment of the five minute presentation. Teachers are encouraged to use Appendix E to design teacher, peer and self assessment tools for this presentation.

Resources (see Bibliography)

2, 3, 4, 5, 7, 13, 20, 21, 22, 31 and full scores of selected repertoire

Appendices

Appendix E: Examining and Understanding Repertoire: Sample Outline for Group Presentation

Activity #6: Ensemble Performance

Time: 35 minutes per class

Description

This activity is designed to apply the knowledge and skills learned concurrently to selected repertoire.

Strands and Expectations

Strands: Theory, Creation, Analysis

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

Specific Expectations: MC1.01X, 02X, 03X, 04X, 05X, 06X, 07X, 08X, 09X, 10X, 12X, 13X; MC2.03X, 04X; MA1.01X; MA2.02X, 03X, 04X, 05X, 06X; MT1.01X, 02X, 03X, 06X, 07X, 10X, 11X, 12X, 16X

Planning Notes

• Using varied approaches and selected repertoire, the teacher leads the rehearsal of the performance ensemble.

• Prior to introducing this activity, the teacher can enhance the student’s musical experience through the careful selection of repertoire. Careful preparation of that repertoire will enhance the teacher’s ability to deliver effective and musical instruction.

Prior Knowledge Required

• embouchure formation, posture and playing position (where applicable)

• breath support

• aural concept of the characteristic tone

• initiation and release of the tone

• articulation

• familiarity with music notation

• aural concept and understanding of intonation, good tone production, balance and blend

Teaching/Learning Strategies

Once students have completed guided warm-up activities, technical drills, and artistic decision-making exercises, the teacher or a student will lead the class in the study and performance of selected repertoire.

• The teacher selects repertoire that meets the following criteria:

- addresses the initial and potential skill level of participating students

- promotes the development of performance skills (tone quality, articulation, dynamic control, rhythmic and pitch accuracy, technical facility, balance and blend, phrasing)

- creates opportunities for the making of artistic choices

- accommodates different time signatures (4/4, 3/4, 2/4, 6/8), styles, forms, periods, and cultures

• While studying and performing the repertoire selected, students demonstrate good tone quality, intonation, proper articulation, dynamic control, rhythmic and pitch accuracy, technical facility, and phrasing, while always maintaining good balance and blend. If students experience difficulty mastering any of the skills necessary to perform the piece to their highest potential, the teacher assists in solving problems, encouraging students to identify how they can improve areas of difficulty.

• The teacher/class is encouraged to identify specific areas of difficulty, offer suggestions for improvement, and allow students the opportunity to experience success by correcting problems.

• The teacher/class is encouraged to isolate appropriate sections of the piece in order to allow students the opportunity to apply creative choices. (see Activity #3)

• The above procedures should be repeated until the group can play the piece(s) to completion, demonstrating the best possible execution of skills and development.

• Once a number of pieces from selected repertoire has been rehearsed and refined to the ensemble’s highest potential, students and teachers are encouraged to organize a formal concert. Such a concert provides motivation to achieve mastery of unit objectives.

Assessment/Evaluation

1. Students use a practice record sheet to record time spent practising their parts.

2. Formal assessment using a variety of modes (e.g. peer evaluation, self-evaluation, rubrics).

3. Students will perform regular tests to evaluate achievement.

4. Students use the process of reflection and journal writing to evaluate their own progress, identify areas of strength, and address areas in need of improvement. The teacher is encouraged to provide a specific framework and/or questions for students to use to focus their writing.

5. Students will provide an analog recording of their performance.

6. Students will submit a written review of their performance.

Resources (see Bibliography)

2, 3, 4, 5, 7, 8, 11, 13, 15, 17, 18, 20, 21, 22, 31 and selected repertoire

Achievement Chart - Grade 9

Performance in Music

Categories	50-59% (Level 1)	60-69% (Level 2)	70-79% (Level 3)	80–100% (Level 4)
Theory (Knowledge/ Understanding)	The student will demonstrate the ability to read and understand music notation.
knowledge of basic indicators of pitch and duration	demonstrates limited knowledge of basic indicators of pitch and duration	demonstrates some knowledge of basic indicators of pitch and duration	demonstrates considerable knowledge of basic indicators of pitch and duration	demonstrates thorough knowledge of basic indicators of pitch and duration
understanding of indicators of speed, changes of speed, dynamics, changes of dynamics	demonstrates limited understanding of indicators of speed, changes of speed, dynamics and changes of dynamics	demonstrates some understanding of indicators of speed, changes of speed, dynamics and changes of dynamics	demonstrates considerable understanding of indicators of speed, changes of speed, dynamics and changes of dynamics	demonstrates thorough and insightful understanding of indicators of speed, changes of speed, dynamics and changes of dynamics
understanding of phrasing and musical structure	demonstrates little understanding of phrasing and musical structure	demonstrates some understanding of phrasing and musical structure	demonstrates considerable understanding of phrasing and musical structure	demonstrates thorough and insightful understanding of phrasing and musical structure

Categories	50-59% (Level 1)	60-69% (Level 2)	70-79% (Level 3)	80–100% (Level 4)
Thinking/Inquiry	The student will demonstrate the ability to listen attentively and with discernment to live and recorded music, using the stages of critical analysis and by making effective use of analog and digital technology in music applications.
critical analysis (their own and peers’ performances)	uses critical analysis with limited clarity and effectiveness	uses critical analysis with moderate clarity and effectiveness	uses critical analysis with considerable clarity and effectiveness	uses critical analysis with a high degree of clarity and effectiveness
creative and thinking skills (strengths, needs, self improvement)	uses creative thinking skills with limited effectiveness	uses creative thinking skills with moderate effectiveness	uses creative thinking skills with considerable effectiveness	uses creative thinking skills with a high degree of effectiveness
making connections (between their own performance and the quality and impact of a variety of live and/or recorded performances)	makes connections with limited effectiveness	makes connections with moderate effectiveness	makes connections with considerable effectiveness	makes connections with a high degree of effectiveness

Categories	50-59% (Level 1)	60-69% (Level 2)	70-79% (Level 3)	80–100% (Level 4)
Communication	The student will play or sing technical exercises and diverse repertoire, demonstrating an understanding of music literacy.
communication and expression of ideas for different audiences/purposes	communicated and expression of ideas for different audiences/purposes with limited clarity	communicated and expression of ideas for different audiences/purposes with moderate clarity	communicated and expression of ideas for different audiences/purposes with considerable clarity	communicated and expression of ideas for different audiences/purposes with a high degree of clarity
use of artistic language and symbols (notation, stylistic markings, indicators of tempo and dynamics)	uses artistic language and symbols with limited accuracy and effectiveness	uses artistic language and symbols with some accuracy and effectiveness	uses artistic language and symbols with considerable accuracy and effectiveness	uses artistic language and symbols with full accuracy and effectiveness
use of forms of communication (adherence to stylistic parameters of repertoire being performed)	demonstrates limited command of the use of forms of communication	demonstrates moderate command of the use of forms of communication	demonstrates considerable command of the use of forms of communication	demonstrates full command of the use of forms of communication

Categories	50-59% (Level 1)	60-69% (Level 2)	70-79% (Level 3)	80–100% (Level 4)
Creation Application	The student will play or sing technical exercises and diverse repertoire, making artistic decisions that affect stylistic accuracy, demonstrating an understanding of music literacy.
application of knowledge and skills in familiar context through playing technique (tone quality, intonation, rhythm and pitch accuracy, articulation)	uses knowledge and skills in familiar contexts with limited effectiveness	uses knowledge and skills in familiar contexts with moderate effectiveness	uses knowledge and skills in familiar contexts with considerable effectiveness	uses knowledge and skills in familiar contexts with a high degree of effectiveness
transfer of knowledge and concepts to new contexts (musicality, phrasing, dynamics, consistency of tempo)	transfers knowledge and skills to new compositions with limited effectiveness	transfers knowledge and skills to new compositions with moderate effectiveness	transfers knowledge and skills to new compositions with considerable effectiveness	transfers knowledge and skills to new compositions with a high degree of effectiveness
use of equipment, materials, and technology (instruments and recording devices	uses equipment, materials, and technology safely and correctly only with supervision	uses equipment, materials, and technology safely and correctly with some supervision	uses equipment, materials, and technology safely and correctly	demonstrates and promotes the safe use of equipment, materials, and technology
application of the creative process through performance skills (balance, blend, creative and artistic decisions in individual and group situations)	uses the application of the creative process through performance skills with limited effectiveness	uses the application of the creative process through performance skills with some effectiveness	uses the application of the creative process through performance skills with considerable effectiveness	uses the application of the creative process through performance skills with a high degree of effectiveness

Unit 1

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