Course Profile Comprehensive Arts, Grade 9 open, Catholic

Unit 3

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. 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 or by the Partnership of School Boards that supported the production of the document.

©Queen’s Printer for Ontario

Acknowledgments

Comprehensive Arts Writing Team – Catholic

Darcey M. French (LEAD WRITER), St. Theresa Catholic Secondary School

John Burns, St. Theresa Catholic Secondary School

Linda Girard, St. Mark Catholic High School

Mary Kay Eckert-Fernandes, Notre Dame Catholic High School, Carleton Place

Paula Kolodzie Moffat, St. John Catholic High School

Bronek Korczynski, Algonquin and Lakeshore C.D.S.B.

Joanne Holmes, Notre Dame Catholic High School, Carleton Place

Virginia Winfield, Notre Dame Catholic High School, Ottawa

Francine Yasko, Stirling School of Dance

The Comprehensive Arts writing team would like to thank the following people and institutions for their varied contributions to our document. The time, effort, and creative suggestions are appreciated by the writers and will benefit everyone who utilizes this document.

Mrs. Barbara Day -Wills- Superintendent, Algonquin and Lakeshore Catholic District School Board

Sandy Bender - Co-ordinator, Sencodary Programs Ottawa-Carleton C.S.B.

Alec Aklwenzie - Ministry of Northern Affairs

Alex Zikakis (Director), Claire Grazette, Deborah Wallace, and the staff at the Donald Gordon Centre (Queen’s University) for their generosity and hospitality

Ann Perron - Toronto District Catholic School Board

Ann Kubasta - McMichael Art Gallery

Anne Collins - Algonquin and Lakeshore Catholic District School Board

Bill Kilfoyle - Indian Affairs (ret.), Kemptville, Ontario

Bob Hilderley - Quarry Music Books

Central Ontario Catholic Curriculum Co-operative

Charles Burke - Educator (ret.), Peterborough

David Booth - Ontario Institute for Studies in Education, University of Toronto

Denyse Latour - Algonquin and Lakeshore Catholic District School Board

Eastern Ontario Catholic Curriculum Co-operative

Glenys McQueen - Fuentes- Brock University

International Tele-Film Enterprises Limited, Etobicoke

Jonas Ambromatis - Canadian Conference of Catholic Bishops

Norma More - St. Theresa Catholic Secondary School

Professor Michael Wilson, Phd. - University of Ottawa

Roger Clark - Althouse College, University of Western Ontario

TV Ontario - Toronto

Vince Kicknosway - Odawa Native Friendship Centre, Ottawa

We would like to specially thank our families for their patience, support and love during our harried writing experiences, we love you.

Unit 3: Music

Activity 1½Activity 2½Activity 3½Activity 4½Activity 5½Activity 6

Time: 27.5 hours

Unit Developer(s)

Joanne Holmes, Notre Dame Catholic High School, Carleton Place

Darcey French, St. Theresa Secondary School

Development Date: July 5, 1999

Unit Description

This unit is intended to function as an introduction to the secondary school music program. Emphasis is given to the theory, practice, and enjoyment of music at a simple and experiential level. Through vocal, electronic, and instrumental study, presentation skills of technique and performance are enhanced. Music presented in this course is rooted in a contemporary Canadian historical and religious context. It incorporates sources including our own Catholic faith journey/story which emphasizes issues of care for the environment, the human experience, and social justice.

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations: OCGE 1d, 1h, 1i, 2b, 2c, 2e, 3b, 3c, 4a, 4f, 5a, 5g, 7a, 7e, 7j.

Strand(s): Creation, Analysis, Theory

Overall Expectations: LTV.01, LTV.02, LTV.03, LCV.01, LCV.02, LCV.03, LCV.04, LAV.01, LAV.02, LAV.03, LAV.04.

Specific Expectations: LTI.01, LTI.02, LTI.03, LTI.04, LTI.05, LTI.06, LTI.07, LTI.08, LTI.09, LCI.01, LCI.03, LCI.04, LCI.05, LCI.07, LAV.01, LAV.02, LAV.03, LAV.04, LAV.0, LAV.06, LAV.07, LAV.08, LAV.09, LAV.10, LAV.11, LAV.13.

Activity Titles (Time + Sequence)

Activity 1	Liturgy Through Musical Exploration	185 minutes
Activity 2	Canadian Aboriginal Rhythms	410 minutes
Activity 3	Music of the Baroque Era	185 minutes
Activity 4	Canadian Folk Music	305 minutes
Activity 5	Careers In Music	185 minutes
Activity 6	Children’s Musical Theatre	380 minutes

Unit Planning Notes

· If instruments are available, teachers are strongly encouraged to provide access to them and integrate into units at all possible times.

· If the teacher is not qualified to teach concert band instruments, the use of simple percussion instruments (such as triangle, tambourine, wooden blocks, home-made shakers) is strongly encouraged for use in the activities.

· This course requires planning with community members and colleagues in other curriculum areas to provide an inclusive learning experience for students.

· Technological resources, such as video cameras, lights, and musical software programs, are utilized and integrated into units where appropriate and available.

· Health and safety issues must be addressed, and safe music room practices should be adhered to during all creative processes.

· Throughout the activities, emphasis on Canadian identity and awareness must be fostered to depict a cultural diversity in Canadian society, by including resources and material that reflect various cultural contributions to music.

Prior Knowledge Required

Students are able to:

· demonstrate an understanding of the basic elements of music specified for this grade through listening to, performing, and creating music;

· sing and play instruments to express and develop proper technique;

· use the correct musical terminology associated with the specific expectations for this grade;

· read, write, and perform from musical notation accurately and fluently;

· communicate their understanding and knowledge of music in appropriate ways;

· identify and perform music of a variety of cultures and historical periods.

Teaching/Learning Strategies

· Teachers should employ a variety of teaching strategies and techniques (teacher demonstrations, lecture, video presentation, listening exercises) to ensure that all students are able to succeed.

· The teacher facilitates practices for both groups and individuals.

· Guest presentations, teacher mini-lectures, and workshops given by priest/chaplain offer variety to presentation of new material.

· Instrumental and/or vocal performances enhance musical skill as well as offering the class valuable listening experiences.

· Teaching delivery should be infused with the Catholic Graduate Expectations whenever and wherever possible, by using the Catholic “lens” to help students explore and critique pertinent issues regarding their faith journeys.

Assessment/Evaluation

The teacher assesses and tracks students based on the areas of diagnostic, formative, and summative evaluation.

Diagnostic: At the beginning of the unit: introductory questionnaire where students question each other on general music knowledge in a ‘game’ format. Diagnostic evaluation does not necessarily require an assigned mark as it is a research tool for the teacher. For issues of fairness to the student, it is strongly recommended that a mark not be assigned.

Formative: Journals (formal and informal), teacher observation, peer conferences, co-operative small group presentations, individual and group research, student/teacher conferences. Formative assessment should be ongoing throughout the course.

Summative: Summative evaluation occurs throughout the course, generating a mark based on four units.

Accommodations

· All communication disabilities need the consultation of the school resource teacher.

· Organize a learning team including the student, parent, and resource teacher to devise a working plan, and set-up a regular communication up-dater.

· Students’ needs must be frequently monitored on an ongoing basis.

· Modify movement exercises where necessary, ensuring that all students are given the opportunity to take part within their abilities.

· Minimize clutter for students.

· Ensure a clear view of the instruction area for students.

· Establish a structured classroom routine.

· Provide a multi-model of instructional delivery based on IEP in consultation with school resource teacher and Board consultant.

· Have a learning buddy available for support of academic and social integration.

· In particular situations, teacher assistants may be necessary.

· Provide hearing impaired students with strong and consistent visual exemplars, written script, and notes whenever possible.

Resources

Adair, Audrey J. Basic Music Theory: 50 Ready-to-use Activities For Grades 3 to 9. West Nyack: Parker Pub. Company, 1987

Canadian Music Educators Association. Canadian Artists Series (sound recordings). Toronto, 1987.

Chosksy, Lois. The Kodaly Method (3rd ed.). New York: Prentice Hall, 1998.

Jackson, Rick. Encyclopedia of Canadian Rock Pop & Folk Music. Kingston: Quarry Press, 1994.

Activity 1: Liturgy Through Musical Exploration

Time: 185 minutes

Description

Students create and participate actively by integrating our Catholic faith traditions in a liturgy that they design. Students explore the various parts of a mass, and work co-operatively to fulfill these expectations using musical performance, planning, and research skills.

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations:

The graduate is expected to:

· listen actively and critically to understand and learn in light of gospel values (CGE2a);

· present information and ideas clearly and honestly and with sensitivity to others (CGE2c);

· use and integrate the Catholic faith tradition, in the critical analysis of the arts, media technology, and information systems to enhance the quality of life (CGE2e);

· adopts a holistic approach to life by integrating learning from various subject areas and experience.(CGE3e).

Strand(s): Creation, Analysis, Theory

Overall Expectations:

· create a work by applying concepts common to all arts areas ( LCV.01x);

· use the creative process to produce artworks that demonstrate innovative connections among the arts (LCV.04x);

· explain the historical context and style of particular art forms (LTV.02x);

· demonstrate an understanding of cultural characteristics that distinguish an individual’s and/or community’s artistic identity ( LAV.02x).

Specific Expectations:

· create works in one art by applying elements and principles found in all of the arts (LCI.01x);

· modify elements of a work to change its effect (LCI.03x);

· create an artistic/production that combines materials and techniques from various art forms (LCI.04x);

· communicate a specific message using appropriate materials, techniques, and technologies (LCI.05x);

· explain how chosen techniques used in works and productions communicate mood and message (LTI.07x);

· demonstrate an understanding of the traditions and values reflected in personal art works (LAI.05x);

· identify cultural symbols within musical works (LAI.06x);

· explain how a culture expresses its identity through the arts (LAI.08X).

Planning Notes

· Contact school priest and/or chaplain to arrange for a classroom visit, to plan activities, and to discuss elements that should be covered in the class liturgy.

· Teacher and students provide various liturgical and non-liturgical music.

· Students should be made aware of the school’s liturgical calendar so as not to duplicate the work of the priest/chaplain or mass planning group.

Prior Knowledge Required

Students are able to:

· demonstrate knowledge of the Catholic faith and various parts of the mass;

· exhibit knowledge of either singing or musical playing.

Teaching/Learning Strategies

· The school priest/chaplain presents to the students, through a workshop on the different functions and parts of the Catholic mass, how it is integral to our faith culture.

· Specific emphasis must be dedicated to the selection of readings, songs, prayers of the faithful, decorations, and music to be chosen for a mass that takes place at the end of the given time period.

· The class as a whole chooses a common liturgical theme that affects the choice of materials to be incorporated into the mass.

· The teacher arranges students into small groups to begin selection of materials for presentation.

· Each group presents their selections to the class as a whole, in order to gain feedback, input, and possible direction for further exploration.

· Students place their research findings into individual course portfolios for presentation to the teacher.

· The students practise selected music and readings, and create their decorations.

· Students should be encouraged to invite other members of the school community to their celebration.

· Led by the priest/chaplain, the class celebrates mass as a sacred liturgical community.

Assessment/Evaluation

· Students present their journals through a teacher/student conference for assessment based upon depiction of their faith culture, completion, thought process, creativity, and selection of musical information. (LAI.08x)

· Students provide a self-evaluation based on their assessment of personal participation, identifying their faith community, and completion of the activity. (LAV.02x)

· Students complete evaluations based on their peers’ participation in contributing to the common good, creativity, and their ability to adapt. (LCI.03x)

· Students are assessed as a group on their contribution to the depiction of our faith culture based upon the input/information given by the liturgical leader (priest/chaplain), using a checklist. (LAI.08x)

Health and Safety

· Consult the board policy guidelines concerning health and safety issues in the classroom (WIMIS).

· Students should be discouraged from using open flames, as it could pose a possible fire hazard.

· Strong scents should be avoided as some people are extremely allergic or sensitive to strong odors.

· Noise levels should not be excessive in order to prevent permanent hearing damage (see board decibel levels), e.g., recorded music playing, amplified guitars, etc.

· The teacher is strongly encouraged to have First Aid and C.P.R. training.

Care for the Environment

· Encourage students to use renewable materials for decorations at every opportunity.

· Incorporate the theme of “Stewardship For The Earth” into the liturgy.

· Use materials and make decorations that could have other applications for the school and be stored for further use - not just thrown out at the end of the liturgy.

Accommodations

· Students with visual learning disabilities should be either paired with a learning buddy, or provided with the opportunity to partake in more hands-on activities.

· Students with assistive devices should be encouraged to fully participate utilizing their gifts to the best of their ability.

· Enriched students could compose original music, art, and poems/literature for use in this depiction of our faith community.

· Encourage ESL students to utilize images, stories, and songs from their country of origin, with the possibility of cross-referencing existing North American traditions.

Resources

Mazar, Peter. To Crown The Year. Chicago: Archdiocese of Chicago: Liturgy Training Publications, 1995.

Neuberger, Anne. Advent Stories and Activities: Meeting Jesus.

Through the Jesse Tree. Connecticut: 23rd Publications, 1997.

Appendix A

Activity 1: Liturgy Through Musical Exploration

Liturgy Checklist

Group:_________________________________________ Date:______________________

	Level One (50-59%) Rarely	Level Two (60-69%) Sometimes	Level Three (70-79%) Always	Level Four (80-100%) Exceptional
Items the group demonstrates:
1. Was there creativity in the presentation of information?
2. Flow of the liturgy. Are the segments in order?
3. Does the mass fit the class theme?
4. Was there group co-operation during the mass?
5. Was the material selected for presentation complete?
6. Was there a fusion of the personal life history/story to the selection of the materials presented?

Student Level: 1 2 3 4

Comments:

Activity 2: Canadian Aboriginal Rhythms

Time: 410 minutes

Description

This activity encourages students to demonstrate their appreciation of the spiritual aspect of Canadian aboriginal music. Students design and make their own drum. They also compose a song using their instruments incorporating form, line, style, and the elements of aboriginal Canadian drumming music. The students use standard notation to perform the song for their class and possibly members of the aboriginal community.

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations:

The graduate is expected to be:

· creates, adapts, and evaluates new ideas in light of the common good; CGE3b)

· witness Catholic social teaching by promoting equality, democracy, and solidarity for a just, peaceful, and compassionate society. (CGE7e)

Strand(s): Creation, Analysis, Theory

Overall Expectations:

· describe orally, and in writing the elements and principles of the arts found in their own work, and that of others. (LTV. 01x)

· explain the historical context and style of particular artworks/art forms; (LTV.02x)

· create a work by applying concepts common to all arts areas; (LCV.01x)

· create works in all arts areas by applying techniques specific to each; (LCV.02x)

· use the creative process to produce artworks that demonstrate innovative connections among the arts; (LCV.04x)

· demonstrate an understanding of cultural characteristics that distinguish an individual’s and/or community’s artistic identity; (LAV.02x)

· demonstrate the ability to conduct a step-by-step critical analysis of their own work and that of others.

Specific Expectations:

· identify the elements and principles common to all the arts; (LTI.01x)

· explain how chosen techniques used in works and productions communicate mood and message; (LTI.07x)

· demonstrate an understanding of the traditions and values reflected in personal artworks; (LAI.05x)

· identify cultural symbols within artworks; (LAI.06x)

· explain how a culture expresses its identity through the arts; (LAI.08x)

· apply the process of critical analysis (initial reaction, description, analysis, interpretation, and judgement) to selected works and productions; (LAI.01x)

· document perceptual differences within a group of students when applying critical analysis. (LAI.02x)

Planning Notes

· Research the diverse cultural perspectives within the Canadian aboriginal culture.

· Ensure that the various cultures that are examined are done so without trivialization.

· Utilize and invite members of the local native community for input and participation, where available.

· Use diagnostic assessment to evaluate notation comprehension through the use of a game like Musical Jeopardy.

· If a guest speaker is not available, the teacher needs to assume the responsibility for gathering recordings of Canadian aboriginal drumming and other necessary resources.

Prior Knowledge Required

Students are able to:

· improvise a solo melody line;

· read, write, and perform from musical notation accurately and fluently;

· communicate their thoughts and feelings about the music they hear, using language and a variety of art forms and media;

· describe their response to a musical performance in their community;

· recognize theme-and-variations in music they perform and hear;

· identify meters and the corresponding time signatures in the pieces they play or sing.

Teaching/Learning Strategies

· Invite a guest speaker from the native community to lead a discussion using examples of Canadian aboriginal music. If a guest speaker is not available the teacher leads the class.

· Live or recorded aboriginal music may be used to introduce the theme.

· Students should discuss symbolism, spiritualism, and various musical elements/principles such as form, style, expressions, dynamics, and tempo, identifying the qualities that are unique to this music.

· The students research, design, and create their own drum that reflects aboriginal cultural influences.

· In small groups the students create their own drumming composition containing rhythmic patterns using proper notation, a minimum 16 bars, and ostinato with the four parts lined up evenly under one another.

· There should be special performance instructions including tempo, dynamics, and instrumentation.

· Students perform compositions in front of classmates, as well as members of the aboriginal community, if possible.

· As an extension to this activity, students may integrate other disciplines into the performance e.g., Dance, Visual Arts.

Assessment/Evaluation

· Students submit to the teacher their personal reflections on Aboriginal spiritual music in course journal. (LTV.01x)

· Group and self-evaluation on performance by students is based on musical elements and principles based on score and performance skills. (LTI.01x)

· The guest is asked to submit an anecdotal response for the group performances. (LAI.05x)

· The teacher completes a checklist on drum construction and design. (LCI.04x)

· Students provide written critiques of selected works. (LAI.01x)

Accommodations

· Modify the length of the composition, notation style, and musical elements to fit the needs of the student.

· Students with special needs should be given the opportunity to work with a learning buddy in the construction of their instrument.

· Students with mobility needs could be aided using the hand-over-hand method of assistance in the construction and playing of their drum.

Resources

Blacking, John. How Musical is Man. London: University of Washington Press, 1973.

Luboff, Pat and Pete. 88 Song Writing Wrongs and How to Rite Them. United States: Writer’s Digest Books, 1992.

Stevens, J. Drumming at the Edge of Music. San Francisco: Grateful Dead Books, 1990.

For further information we suggest contacting the following groups:

Assembly Of First Nations National Office

Inuit Centre National Office

Congress of Aboriginal People

Native Women’s Association of Canada

Ontario Federation Of Indian Friendship Centres

Appendix A

Activity 2: Canadian Aboriginal Music

Reflective Journal Entry

Student:___________________________ Date:____________________________

1. What is the name of the speaker? Does the speaker’s name have a special meaning? If so, describe it.

2. What did you learn about Aboriginal music that was unique in style or performance practice?

3. Name some traditional aboriginal instruments.

4. What contemporary instruments today are based on Aboriginal tradition?

5. What function does a musical instrument have in aboriginal society?

6. What is the role of the music maker in their society?

7. How does music relate to spiritualism in aboriginal culture?

8. If you had an opportunity to speak further to the guest, what question(s) would you ask?

9. In what other ways does the aboriginal express spirituality?

10. What are the materials used in the making of the instruments?

Activity 3: Music of the Baroque Era

Time: 185 minutes

Description

The main focus of this unit is to demonstrate an awareness and appreciation of stylistic elements of music of the Baroque era. The impact of Baroque music to the contemporary listener/performer, and the connection to other art forms are addressed. Students have the opportunity to create mind maps based on an artistic element of that time period.

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations:

The graduate is expected to:

· respect the faith traditions, world religions and the life-journeys of all people of good will; (CGE1h)

· read, understand, and use written materials effectively; (CGE2b)

· present information and ideas clearly and honestly with sensitivity to others; (CGE2c)

· use and integrate the Catholic faith tradition, in the critical analysis of the arts, media technology, and information systems to enhance the quality of life; (CGE2e)

Strand(s): Creation, Analysis, Theory

Overall Expectations:

· explain the historical context and style of particular artworks/art forms; (LTV.02x)

· use the creative process to produce artworks that demonstrate innovative connections among the arts; (LCV.04x)

· demonstrate an understanding of cultural characteristics that distinguish an individual’s and/or community’s artistic identity. (LAV.04x)

Specific Expectations:

· identify how historical, theoretical, and technical change have contributed to the arts; (LTI.04x)

· identify, research, and describe historical and stylistic links within the arts; (LTI.06x)

· create works in one art by applying elements and principles found in all the arts; (LCI.01x)

· demonstrate an understanding of the traditions and values reflected in personal artworks; (LAI.05)

· identify cultural symbols within artworks (LAI.06x)

· explain how a culture’s social and economic priorities influence the arts and arts productions; (LAI.07x)

· explain how a culture expresses its identity through the arts; (LAI.08x)

· analyse artworks in one arts area to identify connections with other art forms. (LAI.13x)

Planning Notes

· Become familiar with Baroque elements of music and art.

· Research preparation is essential in gathering items on the Baroque era from the library: music examples, architecture, theatrical examples, philosophy, and art.

Prior Knowledge Required

Students are able to:

· describe some aspects of the historical context of music that they listen to;

· communicate their thoughts and feelings about the music they hear, using language and a variety of art forms and media;

· identify music of a variety of cultures and historical periods.

Teaching/Learning Strategies

· Guide students through directed listening using musical selections from the Baroque period (e.g., Vivaldi, Handel).

· Students create pen and ink drawings, using felt tipped pens, emphasizing the patterns occurring in the music while listening to this music.

· The teacher leads a mini-lecture on the Baroque period detailing key musical features, focusing on imitative counterpoint as well as: composers, contributions, philosophies, and artistic styles of that era.

· Provide examples of Baroque (e.g., painting, sculpture, architecture).

· In groups, students conduct research through the library and select a topic related to the arts in the Baroque period.

· Students place their findings into their sketch book/journal.

· With this information, students create their own mind maps using key elements such as colour and symbols, to be placed in their course portfolio.

· In their groups, students unitize key words from their mind maps, to create their own imitative counterpoint, to be presented to the class.

· In their groups, students perform a class fugue, using different groups to verbalize different parts.

Assessment/Evaluation

· Students submit their sketchbook/journals for assessment of research findings by the teacher using anecdotal comments, based upon the Baroque Era. (LTI.06x)

· Students submit pen and ink drawings and their completed mind maps for formative assessment by the teacher through the use of rating scale, to be included in their course portfolio. (LCI.01x)

· The students perform a group fugue for the teacher, who provides anecdotal feedback. (LCI.04x)

Accommodations

· Students with learning difficulties should create co-operative mind maps.

· During presentations to the class, students with special needs should be encouraged to present using symbols and words.

Resources

Ages of Evolution of Art & Music (CD-ROM). ZCI Publishing, 1995.

Hutchinson Encyclopedia of Music (CD-ROM). Helicon Publishing Ltd, 1996.

The Life, Times and Music of Antonio Vivaldi, 1650's-1741 (compact disc and video). Neponsit: Phoenix International Inc.

The Life, Times and Music of Johann Sebastián Bach, 1685-1750 (compact disc and video). Neponsit: Phoenix International Inc.

Revolutions in Art & Music (CD-ROM). Zane Home Library, 1996

Activity 4: Canadian Folk Music

Time: 305 minutes

Description

Students have the opportunity to examine historic and contemporary Canadian folk music. An emphasis is placed on the final creative production of a folk song that incorporates composition, dance, and movement. Utilizing their Catholic faith traditions, students become mentors for younger children by teaching a song and dance/game.

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations:

The graduate is expected to:

· think reflectively and creatively to evaluate situations and solve problems; (CGE 3c)

· witness Catholic social teachings by promoting equity, democracy, and solidarity for a just, peaceful, and compassionate society. (CGE 7e)

Strand(s): Creation, Analysis, Theory

Overall Expectations:

· describe orally, and in writing, the elements and principles of the arts found in their own work and that of others; (LTV.01x)

· explain the historical context and style of a particular artworks/art forms; (LTV.02x)

· create a work by applying concepts common to all arts areas; (LCV.01x)

· create works in all art areas by applying technologies specific to each; (LCV.02x)

· use the creative process to produce artworks that demonstrate innovative connections among the arts; (LCV.04x)

· demonstrate an understanding of cultural characteristics that distinguish an individual’s and/or community’s artistic identity. (LAV.04x)

Specific Expectations:

· demonstrate an understanding of arts elements that are specific to each of the arts; (LTI.02x)

· demonstrate an understanding of the use of elements and principles in various artworks of their own and others; (LTI.03x)

· explain how chosen techniques used in works and productions communicate mood and message; (LTI.07x)

· identify moral and legal ramifications in arts productions; (LTI.08x)

· create an artwork/production that combines materials and techniques form various art forms; (LCI.04x)

· explain how a culture’s social and economic priorities influence the arts and arts productions; (LAI.07x)

· explain how a culture expresses its identity through the arts. (LAI.08)

Planning Notes

· Use a wide variety of folk music, i.e., Leahy, Neil Young, Great Big Sea and Buffy Saint-Marie, incorporating a variety of Canadian regions.

· Begin collecting and selecting appropriate music as soon as possible.

· Teachers should familiarize themselves with Canadian songs and dances for children.

Prior Knowledge Required

Students are able to:

· identify and perform music from a variety of cultures;

· recognize relevant forms for the appreciation and creation of music;

· communicate their thoughts and feelings about the music they hear using language and a variety of art forms.

Teaching/Learning Strategies

· Lead an introduction to folk songs by presenting and describing a variety of music from different periods in Canadian history.

· Teach a folk song by rote.

· The students write in their journals conveying messages they hear, and their thoughts and feelings about the music.

· In their groups, students explore and research various regions of Canadian folk songs, from historic time periods, to present day, e.g., west coast native music, east coast Celtic, French Canadian logging songs.

· The students analyse the selected folk song by focussing on the intended audience, the reason for the song, what it expresses, and the musical elements in it (e.g., story, the pentatonic scale, form, dynamics, melody, line, tempo, and lyrics).

· In small groups the students examine the elements listed above as they apply to a Canadian children’s folk song (e.g., Raffi, Mr. Dressup, Passe-Partout).

· The students compose a children’s folk song in their groups, based upon the Pentatonic scale, adding instrumentation if possible.

· Finally, students integrate a game or dance to be taught to at the primary level.

Assessment/Evaluation

· Students complete a peer evaluation using a checklist assessing the elements of composing a folk song. (LTV.01x)

· Students complete self and peer evaluations based on their success in conveying a message through song. (LTI.03x)

· Through observations used to generate anecdotal comments the teacher conducts a summative evaluation of the students’ ability to present their song to younger children. (LTI.07x)

Accommodations

· Provide students with mobility issues the opportunity to compose works on the computer.

· Students with visual impairment are provided with a learning buddy to collaborate on a single work.

· Students with auditory disabilities should be provided with fully notated copies of songs that incorporate numeric, letter, and possible visual depictions of the songs they wish to examine.

· Encourage ESL students to expand and elaborate on music that is native to their culture of origin.

· Enriched students should be given the opportunity to manipulate and alter one or more aspect of the songs that they chose to examine, with a possible link to their created song.

Health and Safety

· Provide an open, safe space to allow for safe movements.

Care for the Environment

· Encourage students to use renewable materials with multiple purposes.

· Have students copy only materials that are needed in order to conserve paper and other resources.

· Do not allow students to use toxic materials in their games or depictions of their song.

· Encourage students to choose songs with themes that are appropriate to this area of concern, the environment.

Resources

Cass-Beggs, Barbara. Canadian Folk Songs for the Young. Toronto: Douglas and McIntyre, 1992.

Gilette, Steve, Songwriting and the Creative Process, Suggestions and Starting Points of Songwriters. Writer’s Digest Books, 1992.

Melhuish, Martin. Celtic Tides: Tradional Music in a New Age. Kingston: Quarry Music Books, 1996.

Melhuish, Martin. Oh, What a Feeling-A Vital History of Canadian Music. Kingston: Quarry Music Books.

Appendix A

Activity 4: Canadian Folk Music

Teacher Rating Scale for Folk Song Performance

Student:____________________________________________ Date:________________________

A. Did the given melody of the folk song reflect the theme?

1 2 3 4

B. Is there a clear Canadian component to the theme?

1 2 3 4

C. Did the student use the pentatonic scale in their melody?

1 2 3 4

D. Did the student perform their original folk song with a dance/game element?

1 2 3 4

E. Did the student successfully teach younger students their folk song by rote?

1 2 3 4

General Comments:

Activity 5: Careers in Music

Time: 185 minutes

Description

Students conduct research on various careers in music, gathering information to create an interesting display at a community presentation. The goal is to stimulate the students’ interest in the field of music.

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations:

The graduate is expected to:

· read, understand, and use written materials effectively; (CGE 2b)

· present information and ideas clearly and honestly, and with sensitivity to others; (CGE 2c)

· apply effective communication, decision-making, problem-solving, and time and resource management skills. (CGE 4f)

Strand(s): Creation, Analysis, Theory

Overall Expectations:

· describe orally, and in writing, the elements and principles of the arts found in their own work and that of others; (LTV.01x)

· demonstrate an understanding of common practices while working in the various areas; (LTV.03x)

· create works by using technologies and new technological information; (LCV.03x)

· explain the socio-economic function of the arts; (LAV.03x)

· describe similarities and differences among careers in arts and arts-related fields. (LAV.04x)

Specific Expectations:

· identify how historical, theoretical, and technical change have contributed to the development of the arts; (LTI.04x)

· identify moral and legal ramifications in arts productions; (LTI.08x)

· create works in one art by applying elements and principles found in all the arts; (LCI.01x)

· research Canadian artists whose work incorporates more than one arts form; (LCI.07x)

· identify, research, and describe arts resources within the community in co-operation with local artists; (LAI.04x)

· explain how a culture’s social and economic priorities influence the arts and arts production; (LAI.07x)

· identify career possibilities in arts management, promotion, distribution, and so on, specific to all the arts; (LAI.09x)

· identify several careers that reflect the individual student’s interest; (LAI.10x)

· describe skills and aptitudes required for specific careers in the arts. (LAI.11x)

Planning Notes

· Create a database of community music contacts, phone numbers, and organizations willing to be active participants in this activity.

· Utilize government funding initiatives to provide additional expert instruction and resources.

· Network with fellow teachers in your community to prevent overlapping of resources.

· Guests are not expected to bring a display as students are expected to do the research and presentation of topic.

· Explore and present opportunities to contribute to the music of the church, either in the school or church (e.g., organist, choir member, or leader).

Prior Knowledge Required

Students are able to:

· communicate their understanding and knowledge of music in appropriate ways;

· identify ways in which the music industry affects various aspects of society and the economy.

Teaching/Learning Strategies

· Students individually research a job that is specifically related to the music industry through contact, research, and information provided by the musical community at large (e.g., music therapy, management, song writing, sound technology).

· Their research information is entered into their course journal.

· The students create a visual presentation in the form of a display for classmates, and people in the school community, possibly parents, about the music career they have chosen at a job fair.

· Community members involved in a particular field in the music industry may also be invited to act as a primary resource for the students’ display.

· Students write a two-page review based on two of the career booths that they viewed at the job fair for presentation, content, and level of interest.

· Students have photos taken of their individual display for their course portfolio.

Assessment/Evaluation

· The teacher completes an evaluation checklist/rating scale on content of the display board, using the criteria of clarity, aesthetic value, and research. (LCI.07x)

· Students complete a peer evaluation form on two of the displays, using the same criteria as the teacher checklist. (LAI.09x)

Accommodations

· Provide students with mobility issues the opportunity to move freely around the job fair booths, so that every display is accessible.

· Students with visual impairments are provided with a learning buddy so they can orally hear the information that is given at the booths.

· Students may create an acoustic display on a career in music.

· Modify the amount of information given and label visual representations with words.

· Enriched students should be given the opportunity to extend this pictorial presentation to an oral format describing the career to the public, and developing further information supplements to the public.

Health and Safety

Please refer to health and safety list at start of unit.

Care for the Environment

· Encourage students to use renewable materials, with multiple purposes.

· Have students copy only materials that are needed in order to conserve paper and other resources.

· Do not allow students to use toxic materials in their presentations.

Appendix A

Activity Five: Careers In Music

Student/Teacher Evaluation Checklist

Student:____________________________________________ Date:__________________________

TOPIC	YES/NO	COMMENTS
1. Content reflects research
2. Clear presentation
3. Title of music career
4. Principles and elements of artistic design
5. Clarity of written information

General Comments:

Activity 6: Children’s Musical Theatre

Time: 380 minutes

Description

Students examine and discuss elements of musical theatre and incorporate what they have learned into a final project. Students have the opportunity to improvise and add music and dramatization to a Canadian children’s book of their choice. The book should contain a moral message (e.g., the need for a compassionate society). Students discover how music, costume, and dramatization can convey a specific mood or feeling to the audience. Students perform in groups for younger children and for their class, utilizing their skills as Christian mentors.

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations:

The graduate is expected to:

· develop attitudes and values founded on Catholic social teaching and acts to promote social responsibility, human solidarity, and the common good; (CGE1d)

· listen actively and critically to understand and learn in light of gospel values; (CGE2a)

· demonstrate a confident and positive sense of self and respect for the dignity and welfare of others; (CGE4a)

· work effectively as an interdependent team member. (CGE5a)

Strand(s): Creation, Theory, Analysis

Overall Expectations:

· describe orally, and in writing, the elements and principles of the arts found in their own work and that of others; (LTV.01x)

· demonstrate an understanding of common practices while working in the various arts areas; (LTV.03x)

· create a work by applying concepts common to all arts areas; (LCV.01x)

· use the creative process to produce artworks that demonstrate innovative connections among the arts. (LCV.04x)

Specific Expectations:

· demonstrate an understanding of the use of elements and principles in various artworks of their own and others; (LTI.03x)

· explain how chosen techniques used in works and productions communicate mood and message; (LTI.07x)

· identify moral and legal ramifications in arts productions; (LTI.08x)

· create works in one art by applying elements and principles found in all the arts; (LCI.01x)

· create an artwork/production that combines materials and techniques form various art forms; (LCI.04x)

· create a group of works in at least three of the arts by applying a theme; (LCI.06x)

· apply and document the use of improvisation in all the arts. (LCI.10x)

Planning Notes

· Provide students with access to a wide variety of Canadian children’s books and authors.

· Arrange for primary students to visit the school for the performance.

· The teacher must have knowledge concerning copyright laws in Canada.

Prior Knowledge Required

Students are able to:

· utilize past experience creating and performing a short musical that consists of contrasting song, dialogue, and drama;

· demonstrate the ability to produce the same pitch as others, vocally or instrumentally;

· play or sing music with appropriate articulation and phrasing;

· communicate their thoughts and feelings about the music they hear, using language, and a variety of art forms and media.

Teaching/Learning Strategies

· The students view a selection of musical theatre videos, discussing the elements common to musical theatre based up on form, e.g. dialogue, setting, mood, story line, musical lyrics.

· Read a popular Canadian children’s story to the class as a model of linguistic accuracy and proper use of dialogue.

· The class discusses the book and possible ways to incorporate music, drama, and elements of musical theatre into the teacher’s story.

· Discuss legal ramifications and copyright infringements with the class to ensure that the author’s work is protected.

· Students divide into three groups of their choice and pick a Canadian children’s book to add musical theatre elements to it.

· Each group adds musical theatre elements to their book.

· The students compose a minimum of one song with additional instrumentation segments to accompany their story.

· Students meet with teacher to present their work in progress for formative assessment.

· Students perform their musical theatre using appropriate drama props, staging, costumes, and instrumentation.

· Students videotape their musical production.

Assessment/Evaluation

· Students are evaluated by the teacher during a class conference in a positive environment. (LTV.01X)

· Students are evaluated on their written script and score which are later put into their portfolio, using the criteria of neatness, alteration, script, score, and costume. (LCI.04X)

· Students are evaluated by the teacher, using a rubric, on their finished videotaped performance. (LCI.06x)

Accommodations

· When modifying for students with disabilities, provide equitable opportunities for participation.

· Encourage ESL students to expand and elaborate on simple words that are often used in children’s books.

· Enriched students should be given the opportunity to explore foreign language stories for presentation.

Health and Safety

There are limited concerns for health and safety issues for this unit.

· The only consideration is spatial breadth, to allow for safe movements.

· See course list of possible health and safety issues for further clarification.

Care for the Environment

· Encourage students to use renewable materials, with multiple purposes.

· Encourage students to embrace a sense of stewardship for the earth in their stories if possible.

· Do not allow students to use toxic or flammable materials in their presentations.

Resources

Brown, John Russell. The Oxford Illustrated History of Theatre. Bath: Oxford University Press, 1995.

Novak, Elaine and Deborah Novak. Staging Musical Theater. Cincinnati: Bettwerway Books, 1996.

Yakim, Moni. Creating a Character: A Physical Approach to Acting. New York: Applause Theater Books, 1990.

Appendix A

Activity 6: Children’s Musical Theatre

Teacher/Student Anecdotal Conference of Musical Theatre Presentation

Student: ___________________________________________ Date: _______________________

Communication	Student Comments	Teacher Comments
1. Music
2. Staging
3. Light effects
4. Props
5. Costumes

Comments:

Continue to Unit 4 | Back to Unit 2 | Back to Course Profiles main menu