Course Profile Music, 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 reference in this document to particular commercial resources, learning materials, equipment, or technology reflect only the opinion 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.

Acknowledgments

Project Manager

Barry Elliott

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 3: Performance

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

Time: 30 hours

Unit Developer(s)

Michael Seguin, Windsor-Essex Catholic District School Board

Rose Jobin

Gabe Gagnon

Beth Dykeman

Luigi Di Fazio

Ann Wilkie

Development Date: June 23, 1999

Unit Description

This unit involves the practical application of performance skills and knowledge of theory as they relate to the performance medium. Students sing or play, individually and in ensembles (e.g., using voice, band instruments, string instruments, guitar, keyboards, or other performance media).

Strand(s) and Expectations

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

Strand(s): Analysis, Creation, Theory

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

Specific Expectations: MA1.01X, .03X, .04X, .05X, .07X, MA2.01X, .02X, .03X, .04X, .05X, .06X, .07X, MC1.02X, .03X, .04X, .05X, .07X, .09X, .13X, MC2.01X, .04X, MT1.04X, .05X, .06X, 10X, .13X, .14X.

Activity Titles (Time and Sequence)

Activity 1	Breathing and Posture	120 minutes
Activity 2	Music in Various Cultures	300 minutes
Activity 3	Developing Performance Skills in Small Ensembles	240 minutes
Activity 4	Live Performance Analysis	300 minutes
Activity 5	Technique Lessons - Scales and Intervals	180 minutes
Activity 6	Testing 1, 2, 3!	180 minutes
Activity 7	An Introduction to Early Canadian Folk Music	480 minutes

Unit Planning Notes

A sound system, television, and VCR in the classroom are vital audio-visual aids. Texts such as theory and sight-reading books, ear-training materials, and examples of appropriate repertoire are necessary. Equipment such as computers, MIDI, and Internet access involves students in 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 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. Successful completion of Grade 8 music as prescribed by The Ontario Curriculum, Grades 1-8, 1998 is recommended.

Teaching/Learning Strategies

The teaching and learning strategies consist of researching, conferencing, discussion, brainstorming, interpreting, critiquing, listening activities, and cross-curricular approaches. Performing and composing activities (singing, playing) are combined with the teaching and learning strategies. Music technology (computers, MIDI) and the use of media such as sound recordings, film, and television are incorporated in the teaching concepts and creating of music. Students engage in critical analysis and reflective learning activities. Students apply their learning through performance at community activities, field trips, class visits by artists, and attendance at live concerts.

Assessment/Evaluation

Students are assessed using both formative and summative formats in order to ensure that overall, specific, and Catholic expectations are met. Assessment strategies consist of the following methods: projects, presentations, demonstrations, teacher/student observations, performances, self/peer assessment, checklists, rubrics, charts, student/teacher/peer conferencing, formal written assignments, response journals, probe questions, paper/pencil tests, and multiple choice tests. Students are assessed through performance and theoretical applications.

Resources

The use of periodicals, books, newspapers, magazines, videotapes, audio tapes, compact disc recordings, CD-ROMs, computer software, Internet, radio, television, newsletters, studio guest artists, and business partnerships can enhance the teacher’s preparation for the activities outlined in this document. Other valuable resources include universities, colleges, workshops, libraries, the school resource centre, provincial subject associations, The Ontario Music Educator’s Association, the Canadian Music Centre, The Ontario Arts Council and various arts associations. Specific resources are outlined within each activity.

Activity 1: Breathing and Posture

Time: 120 minutes

Description

The concepts of correct breathing and posture are two very important aspects of being an efficient musician. The basics of good breath support and proper posture while playing and singing are essential elements in tone production. By focusing on breathing techniques and posture, students develop proper habits in the development of performance skills.

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations:

The graduate:

· demonstrates flexibility and adaptability; (4b)

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

Strand(s): Creation, Analysis

Overall 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). (MCV.02X)

Specific Expectations:

· demonstrate consistently correct body posture; (MC1.03X)

· play or sing with tone quality appropriate to the repertoire being performed; (MC1.05X)

· explain the effects of physical fitness and health habits on music performance skills; (MA2.01X) ;

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

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

Planning Notes

· It is preferable to have a carpeted floor where students may lie down.

· A CD/Tape player is required.

· Charts/diagrams of correct posture and pictures of a larynx are required.

Prior Knowledge Required

· Students should be able to demonstrate an understanding of the basic elements of music specified for Grade 8 through listening to, performing, and creating music.

· Students should be able to sing and play instruments with expression and proper technique (e.g., with correct breathing or fingering).

· Students should be able to use correctly the musical terminology associated with the specific expectations for Grade 8.

Teaching/Learning Strategies

1. The teacher demonstrates proper posture while standing and sitting. The teacher emphasizes the direct link between posture and fitness.

1. Students are expected to use proper breathing techniques and posture when practicing or performing.

2. Students put their instruments on their chairs or in a safe position on the floor. The students lie down, face up, on the carpeted floor. The lights are turned down (or off) with relaxing music on the CD/Tape player. Explain to the students that they are to close their eyes and relax. In this relaxed state, explain that they are now breathing properly for singing and playing. Students place a textbook on their abdomen. Students then breathe, moving the book as they inhale and exhale. Also, have student take a breath, hold it, sip in more air, hold it, take another sip, and exhale on cue. (You will no doubt experience much laughter through all of this but be patient. They will respond once they settle down.) Try exhaling very slowly. It is important to make sure that the setting is very relaxed so that students can focus on their breathing.

3. Once students are back in their seats, show them pictures of the human body, in particular the abdominal area. Explain how the abdomen moves in and out during the breathing process. Mention that their belt or pant/skirt waistline should move when they take a breath. If students raise their shoulders, then correct them using the milk bottle analogy - the bottom part fills up first.

4. Divide the class into groups of two or three. Practise the textbook breathing exercise while peers evaluate each other. Take small pieces of paper and attempt to keep them on the wall by blowing on the paper. Have students time each other in a friendly competition.

5. Various breathing exercises can be used in small portions at the beginning of each performance class in warm ups. Daily reminders are a must.

Accommodations

· If students have prohibitive physical disabilities determine instrumental or vocal suitability on a one-to-one basis.

Assessment/Evaluation

1. Students keep track of their progress in their personal journals/logs. (MA2.03X)

2. Demonstration/Observation - use Rubric (Appendix H). (MA2.01X)

3. Peer Conferencing - students assess each other during group work. (MCV.02X)

Resources

Kenney, James. Becoming a Singer Performer. Dubuque: William C. Brown Publishers, 1987.

Randel, Don, ed. The New Harvard Dictionary of Music. London: The Belknap Press, 1986.

Schmidt, Jan. Basics of Singing. New York: Schirmer Books, 1984.

Appendix H: Rubric for Assessing Breathing and Posture

RUBRIC FOR ASSESSING BREATHING AND POSTURE
Level 1 (50-59%)	Level 2 (60-69%)	Level 3 (70-79%)	Level 4 (80-100%)
Student shows limited knowledge of standing posture for correct playing/singing position.	Student shows some knowledge of standing posture for correct playing/singing position.	Student shows more extensive knowledge of standing posture for correct playing/singing position.	Student shows thorough knowledge of standing posture for correct playing/singing position.
Student possesses limited knowledge of sitting posture for correct playing/singing position.	Student possesses some knowledge of sitting posture for correct playing/singing position.	Student possesses more extensive knowledge of sitting posture for correct playing/singing position.	Student possesses thorough knowledge of sitting posture for correct playing/singing position.
Student demonstrates limited knowledge of diaphragmatic breathing for playing/singing.	Student demonstrates some knowledge of diaphragmatic breathing for playing/singing.	Student demonstrates more extensive knowledge of diaphragmatic breathing for playing/singing.	Student demonstrates thorough knowledge of diaphragmatic breathing for playing/singing.

Activity 2: Music in Various Cultures

Time: 300 minutes

Description

Through the examination of historical events and the study of music from different historical periods, students demonstrate their understanding and insight into the significance of the cultural context of music. By listening to recorded examples and through the insight gained in other activities, students define and critique, with skill, the music of their performance medium.

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations:

The graduate:

· reads, understands, and uses written materials effectively; (2b)

· thinks critically about the meaning and purpose of work. (5b)

Strand(s): Theory, Creation, Analysis

Overall Expectations:

· identify and define in simple terms the elements of music (i.e., rhythm, melody, timbre, dynamics, harmony, texture, and form); (MTV.01X) ;

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

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

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

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

Specific Expectations:

· explain the influence of music in a variety of historical and cultural contexts (e.g., Indonesian gamelon, 2500 B.C.E. Turkish war cymbals); (MTI.13X) ;

· explain the evolution of their performance medium; (MTI.14X) ;

· control notated or stylistically correct dynamics while maintaining good tone quality; (MC1.04X) ;

· play or sing with tone quality appropriate to the repertoire being performed. (MC1.05X) ;

Planning Notes

· Provide Recordings of music (e.g., 1812 Overture) to enhance the effectiveness of the lesson.

· Provide music and history texts for lesson planning, pictures.

· Provide appropriate music history software.

· Provide published music for performance-oriented lessons.

Prior Knowledge Required

· Students require a basic knowledge of the history of music.

· Students should have become acquainted with some aspects of the historical context of music by being able to identify some major political events, social or philosophical movements, and architectural or painting styles.

· Students require knowledge of the elements of music.

Teaching/Learning Strategies

Part I

1. Play live or recorded examples of bugle/trumpet calls.

2. Ask students to identify the meaning that is associated with them (e.g., Reveille, Taps, The Last Post, William Tell trumpet fanfare excerpt, call of the horses at a raceway, etc.).

3. Have students draw up a list of music for various other instruments that contain a special meaning similar to that of the bugle calls.

4. Generate a discussion about how music has historically been an influence on culture. Some examples could include national anthems (people respond by standing), nationalistic symphonic music (Rule Britannia and the rituals associated with it), the use of music in movies and television to influence certain desired effects (Star Wars/The Ring Cycle - the use of motif).

Part II

5. Students provide similar examples (Part I, strategy 3) from their heritage.

6. Students perform or demonstrate the new sounds on their instruments.

7. The class discusses how the examples have had an influence on different cultures.

8. In a performance-based course, repertoire could be chosen to highlight the topics discussed in this activity (e.g., 1812 Overture - French-Russian history, national themes, the overlaying of these themes to imitate battle).

9. The teacher may use examples for the class considering their demographic make-up to discuss how the particular performance medium (e.g., steel drums course) has evolved in our country. (Use Appendix I for assessment.)

Part III

10. Students write in journals about their favourite music using Appendix J - Music Around The World Research Guideline as a guide. Themes for the writing could include their impressions of:

A. Who are the artists and where did they originate?

B. Describe the instrumentation and style of the music.

C. How has the music influenced the culture it originated from?

D. How has the music influenced our/their own culture?

E. Analyse and describe the cultural connections of that particular style of music.

11. Use the elements of music as a focal point for a discussion of the music being analysed.

Accommodations

· Arrange for peer assistance for journaling.

· Use tape recorder as a journal in Part III.

Assessment/Evaluation

1. Projects/seminars - for Part II of Activity (use Appendix I - Rubrics, for assessment); (MT1.13X)

2. Performance tests; (MTV.02X, 03X) (MC1.04X, 05X)

3. Journals - Part III of Activity (Appendix J - Music Around The World Research Guideline); (MT1.13X, 14X) (MTV.01X)

4. Observation/conferencing/informal discussion. (MAV.01X, 04X)

Resources

Apel, Willi. Harvard Dictionary of Music. Cambridge, Massachusetts: The Belknap Press of Harvard University Press, 1972.

Bray, Kenneth I., D. Bruch Snell, and Ralph M Peters. For Young Musicians Volume I, II. Waterloo: Waterloo Music Company Limited, 1967.

Cooper, Martin, ed. The Concise Encyclopedia of Music and Musicians. New York: Sony Music Entertainment Inc., 1968.

Grout, Donald J. and Claude V. Palisca. A History of Western Music. New York: W.W. Norton and Company Inc., 1988.

Hancock, Herbie (host). Rock School, Volume III, “Funk, Reggae and New Music.” Oakville: Lorimar Home Video Canada, Ltd., 1987. 80 min.

Hughes, David H. A History of European Music. New York: McGraw-Hill Book Company, 1974.

Lent, Chris, ed. Rock School, Volume I, II. Port Chester, NY: Cherry Lane Music Co., 1984. (Text for Herbie Hancock Video listed above)

Machlis, Joseph. The Enjoyment of Music. New York: W.W. Norton and Company Inc., 1984.

Marsalis, Wynton. Marsalis on Music: Sousa To Satchmo. New York: Sony Music Entertainment Inc., 1995. 55 min.

Marsalis, Wynton. Marsalis on Music: Why Toes Tap. New York: Sony Music Entertainment Inc., 1955. 53 min.

Appendix I: Rubric for understanding connections between music and culture

MUSIC AND CULTURE RUBRICS
Categories	Level 1 (50-59%)	Level 2 (60-69%)	Level 3 (70-79%)	Level 4 (80-100%)
Thinking/Inquiry	The student:
· critical analysis (e.g., analysing aesthetic components)	· analyses music of cultures with limited clarity and effectiveness	· analyses music of cultures with moderate clarity and effectiveness	· analyses music of cultures with considerable clarity and effectiveness	· analyses music of cultures with a high degree of clarity and effectiveness
· creative thinking skills (e.g., fluency, flexibility, divergent thinking)	· 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 (e.g., between the arts and personal experiences, among the arts, and between the arts and the world outside the school)	· demonstrates limited understanding of connections between music and culture	· demonstrates some understanding of connections between music and culture	· demonstrates considerable understanding of connections between music and culture	· demonstrates thorough and insightful understanding of connections between music and culture

Appendix J: Music Around The World Research Guideline

1. Choose a country that interests you.

2. Research background information (location, climate, culture, geography, industries).

3. Listen to music from that country and describe the style.

4. What accompaniment instruments are used and what do they look like

5. What role does music play in everyday life here?

6. For what occasions do people use music?

7. What is the national anthem?

8. How do people keep their culture alive?

9. What is the cultural dress?

10. In your opinion, what is the most valued heritage factor in this country?

Activity 3: Developing Performance Skills in Small Ensembles

Time: 240 Minutes

Description

Using the voice or traditional western instruments, students develop performance skills useful in small ensemble performances. Teacher and peers listen, describe, judge, interpret and analyse the performance in both orally and written form. Evaluation criteria are based upon pre-determined checklists and guidelines.

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations:

The graduate:

· demonstrates flexibility and adaptability; (4b)

· thinks critically about the meaning and purpose of work; (5b)

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

Strand(s): Theory, Analysis, Creation

Overall Expectations:

· 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) ;

· identify and define in simple terms the elements of music (i.e., rhythm, melody, timbre, dynamics, harmony, texture and form); (MTV.01X) ;

· demonstrate the ability to read and understand musical notation; (MTV.02X) ;

· play or sing technical exercises and diverse repertoire (including their own creations when appropriate) that reflect the theory expectations; (MCV.01X) ;

· 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). (MCV.02X) ;

Specific Expectations:

· 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; (MA1.04X) ;

· analyse orally and in writing, the quality and impact of a variety of live and/or recorded performances, using appropriate music vocabulary; (MA1.03X)

· make artistic decisions about aspects of performance in individual and group situations; (MC2.04X) ;

· create a simple composition using the elements of melody, rhythm, and form and a variety of media (e.g., pencil and paper, acoustic instruments, recording equipment , MIDI technology, music software). (MC2.01X)

Planning Notes

· Prepare listening examples of music performed by large ensembles (orchestra/chorus) and small ensembles (instrumental/vocal chamber groups).

· Prepare overheads of a vocal and band conductor score. Design a chart to catagorize instruments/voices according to Soprano/Alto/Tenor and Bass ranges.

· Design a chart to catagorize classroom instruments/voices according to Soprano/Alto/Tenor/Bass ranges.

· Prepare copies of Chorale #2 from Belwin “Warm-ups” For Symphonic Band or Jubilate Deo by Jerry Estes, for distribution purposes.

· Purchase commercial chamber music for performance purposes suitable to the level of the class.

· Manuscript paper for transposition purposes.

Prior Knowledge Required

· Definition of orchestra, concert band, chamber music, combo, quintet, quartet, trio, duet

· Names and performance ranges of the instruments of the orchestra

· Possible voice groupings of a choir: S, SA, SSA, SAB, SATB

· Grouping of the instruments of the orchestra: woodwinds, brass, percussion and strings

· Performance evaluation criteria (style, tone quality, articulation, rhythm, balance/blend, and overall effect)

· Ability to interpret/compare/classify/describe and evaluate

Teaching/Learning Strategies

1. Teacher presents listening examples of large ensembles. One of the following examples may be useful in this exercise. (For example, Africa, Ceremony, Song and Ritual by Robert W. Smith; Britannia by Elliot Del Borgo; Fantasia on Greensleeves by Vaughan Williams; Tales of the Vienna Woods by Johann Strauss; Roumania, On Popular Roumanian Themes by Jean Absil; Indian Suite by Edward Mac Dowell; Divertissement by Peter Tchaikovsky; Song of Good News, #561, (CBW); “Sabbath Prayer” from Fiddler on the Roof; “Hallelujah Chorus” from Messiah). Students listen and catagorize instruments/voices according to the correct range classification column on the prepared chart (e.g., Soprano, Alto, Tenor or Bass Range) and identify/relate instruments to the melodic or harmonic function.

2. Teacher presents listening examples of small ensemble styles. These include: the combo, chamber music, quintets, quartets or trios. All You Need Is Love by the Canadian Brass and any jazz choir recording by the Magnetics from Mayfield Secondary School, Brampton, Ontario, would demonstrate small ensemble and combo styles. Students listen and catagorize instruments/voices according to the correct voice classification on the prepared chart (e.g., Soprano, Alto, Tenor or Bass Range) and identify/relate instruments/voices to the melodic or harmonic function. Teacher and students discuss difference between large and small ensembles.

3. Each student identifies his/her instrument/voice according to Soprano, Alto, Tenor or Bass voicing and recognizes the melodic or harmonic function.

4. Teacher distributes copies of Chorale #2 by J.S. Bach or Kyrie by Jerry Estes. Students select the voice that best represents their instrument/voice and transposes the music on manuscript paper using the correct key signature. Students play together as a large ensemble and experiment with a variety of chamber group combinations. Performance criteria are based on Appendix K - Chamber Performance Evaluation. Students participate in the evaluation process by filling out Appendix L - Peer Evaluation of Chamber Performance.

5. From the class, students make up their own chamber groups, decide on the melodic and harmonic roles, compose a 16-measure song, and perform using the Performance Evaluation Criteria (style, tone quality, articulation, rhythm, balance/blend, and overall effect).

6. Students choose their own chamber groups and arrange a song of their choice. Evaluation is based on Appendix L - Peer Evaluation of Chamber Performance.

Accommodations

· Provide alternative to ensemble performance, such as solo/duet performance.

Assessment/Evaluation

1. Chamber Performance Assessment - Appendix K; (MCV.01X) (MA1.03X, .04X)(MTV.02X)

2. Peer Assessment - Appendix L; (MC2.04X) (MCV.02X) (MAV.02X) (MA2.02X)

3. Projects; (MAV.01X) (MC2.01X)

4. Teacher Observation; (MAV.02X)

5. Presentations/demonstrations (Appendix K); (MTV.01X) (MA1.03X)

6. Checklist (Appendix L); (MAV.02X)

7. Discussion/conference; (MAV.01X) (MAV.04X) (MAV.03X) (MCV.02X)

8. Writing folder/notebooks; (MA2.03X)

9. Composition. (MCV.01X)

Resources

Barnes, Walter H. Book of Beginning Quintets. Toronto: Gordon V. Thompson Music, 1984.

The Best of Strauss. Holland: Point Productions, 1988.

The Canadian Brass. All You Need Is Love. Toronto: RCA Victor, 1997.

Estes, Jerry. Three Contemporary Latin Settings. Delaware Water Gap: Shawnee Press. 1993.

Ferris, Jean. Music: The Art of Listening. New York: William C. Brown Publishers, 1988.

James, O.J. Twenty-One Christmas Carols for Woodwind Trio. Pennsylvania: Shawnee Press, 1991.

Kuzmich, Natalie. Musical Growth. A Process of Involvement. Toronto: Gordon V. Thompson Publ., 1986.

Laszlo, Csupor. Konnyu fuvolatriok: Easy Trios for Flutes: Leichte Florentrios. Budapest: Editio Musica, 1983.

MacDowell, Edward. Smart Ready-To-Use Listening Tapes “Indian Suite” by Gwen Hotchkiss. New York: Parker Publishing Co., 1990.

Machlis, William. The Enjoyment of Music. New York: W.W. Norton and Company Inc., 1984.

Miles, R. Teaching Music Through Performance in Band, Vol. 1 & 2. Chicago: GIA Publications, 1998.

Rice, Tim and Andrew Lloyd Webber. Fiddler On The Roof, “Sabbath Prayer”. New York: Times Square Music Publications, 1967.

Smith, Leonard B. and Jack Bullock. Belwin “Warm-ups” For Symphonic Band. Miami: Belwin Mills, 1990.

Tchaikovsky, Peter. “Divertissement.” The Nutcracker Highlights. Los Angeles: Delta Music Inc., 1989.

Voxman, H. and R.P. Block. First Book of Saxophone Quartets. San Antonio: Southern Music Co., 1986.

Appendix K: Chamber Performance Evaluation

CHAMBER PERFORMANCE EVALUATION

Student Name: ___________________________

Date: __________________________________

Instrument/Voices: __________________________________________________________________

Title of Piece: ______________________________________________________________________

Arranger/Composer: ________________________________________________________________

Performance Criteria		Achievement The performance is assessed using the following descriptions:
		(NI) Needs Improvement	(S) Satisfactory	(G) Good
1.	Articulation
2.	Phrasing
3.	Posture
4.	Dynamics
5.	Tone quality
6.	Intonation
7.	Rhythm
8.	Balance/blend
9.	Style/groove
10.	Appropriate range
11.	Constant tempo
12.	Meter 2/4, 3/4, 4/4, 6/8
13.	Overall effect.

Appendix L: Peer Evaluation of Chamber Performance

PEER EVALUATION OF CHAMBER PERFORMANCE

A Critical Analysis

Student Name: _________________________

Date: _______________________________

Instrument: _____________________________________________________________________

Title of Solo: ___________________________________________________________________

Arranger: ______________________________________________________________________

Peer Evaluator’s Name: ___________________________________________________________

While listening to the chamber performance, analyse using the following criteria:

Initial Reaction (As you listen to the performance, what are your first impressions?)

Description (Through listening, describe the general format of the song.) Refer to Appendix F - Listening Guideline (Title, Composer, Era, Meter, Style, Instruments, Mood/Feeling, Tempo, Form, Conducting Pattern).

Analysis (Use Chamber Performance Evaluation Criteria - Appendix J, in reviewing criteria, analysing performance). (Articulation, Phrasing, Posture, Dynamics, Tone Quality, Intonation, Rhythm, Balance/Blend, Style/Groove, Appropriate Range, Constant tempo, Meter, Overall effect.)

Interpretation (Does the performer interpret the performance with the correct stylistic accuracy intended by the composer? Explain why or why not.)

Final Reflections (What is your personal feeling regarding the performance?)

Circle a), b), or c) and explain: a) needs improvement b) successful c) superior

Activity 4: Live Performance Analysis

Time: 300 minutes

Description

Students attend and critique the performances of musical ensembles at school and in their community. They learn to evaluate and produce critiques about the music they have heard. They compare their critiques with examples from the media. A structured format for the analysis process is introduced to them.

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations:

The graduate:

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

· achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others; (5g)

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

Strand(s): Analysis, Creation, Theory

Overall Expectations:

· identify and define in simple terms the elements of music (i.e., rhythm, melody, timbre, dynamics, harmony, texture, and form); (MTV.01X) ;

· 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) ;

Specific Expectations:

· analyse the quality of their own and their peer’s performances, using appropriate music vocabulary to suggest ways of improving those performance (e.g., “style’ groove”, “intonation”, “tone quality”, “dynamics”, articulation”, “phrasing”, “rhythm”, “balance and blend”, “overall effect”); (MA1.04X) ;

· make artistic decisions about aspects of performance in individual and group situations. (MC2.04X) ;

Planning Notes

· Pre-arrange field trips for this activity. Visits to a local symphony, choir, or band would be appropriate examples of these field studies.

· Students prepare musical ensembles that are evaluated by their peers.

· Provide class sets of the entertainment section of local newspapers for art critique.

Prior Knowledge Required

· Students must be familiar with music terminology, specifically the elements of music in order to critique at the appropriate level.

· Students must have met the Grade 8 expectations.

· Students view, listen to, and read Rock School videos and text for knowledge about the formation and make-up of different types of ensembles. This prior knowledge will help form a basis for the understanding of how groups are put together and how the different sections of an ensemble function as a whole.

Teaching/Learning Strategies

Part I

1. Students define and review the elements of music.

2. Play recordings of live performances. (e.g., Live at the Boston Pops, TV Ontario, Winnipeg Ballet, Riverdance, Stomp, Montreal Jazz Festival, Diana Krall).

3. Define the term critique. Students then critique the example.

4. Students make a template of suitable critiquing elements such as “phrasing, dynamics, tone quality, sound, ensemble/individual balance, technique, accuracy, individual contribution of the members, levels of difficulty, program design,” where appropriate.

5. Have class develop a number and rating scale that includes anecdotal comments.

6. Select performance repertoire and rehearse.

7. Peer adjudication and critique take place for in-class/school ensembles.

Part II

8. Students attend a live performance.

9. Students do their own critique of the performance.

10. Students bring in newspaper examples of music critique articles.

11. Students compare their critiques with the newspaper version.

12. Comparisons (style, elements of music used in critique, method of describing observations, personal opinions articulated) are made with their work in Part I and Part II of this activity.

13. Follow with a discussion.

Accommodations

· Provide “study buddy” for use of Appendix M.

Assessment/Evaluation

1. Formal written assignments - critique of live professional and peer performances; (MC2.04X) MA1.04X) (MA1.04X) (MAV.02X)

2. Teacher assessment - Appendix M; (MTV.01X) (MAV.02X)

3. Response Journals; (MAV.05X)

4. Generate informal discussion about a career in arts criticism. (MAV.04X)

Resources

Ferris, Jean. Music: The Art of Listening. New York: William C. Brown Pub., 1988.

Hancock, Herbie (host). Rock School, Volume I, “Elementary Equipment and Basic Technique.” Oakville: Lorimar Home Video Canada, Ltd., 1987. 80 min.

Hancock, Herbie (host). Rock School, Volume II, “Blues To Heavy Metal.” Oakville: Lorimar Home Video Canada Ltd., 1987. 55 min.

Hancock, Herbie (host). Rock School, Volume IV, “Arrangements - Putting It Together.” Oakville: Lorimar Home Video Canada, Ltd., 1987. 80 min.

Kuzmich, Natalie. Musical Growth: A Process of Involvement. Toronto: Gordon V. Thompson Publications, 1986.

Lent, Chris, ed. Rock School, Volume I, II. Port Chester, NY: Cherry Lane Music Co., 1984. (Text for Herbie Hancock Video, listed above)

Lisk, E. Intangibles of Music Performance. Florida: Meredith Music Publications, 1996.

Marsalis, Wynton. Marsalis on Music: Tackling The Monster. New York: Sony Music Entertainment Inc., 1995. 54 min.

McBeth, W.F. Effective Performance of Band Music. Texas: Southern Music Co., 1972.

Miles, R. Teaching Music Through Performance in Band, Volume I, II. Chicago: GIA Publications, 1998.

Wingell, Richard. Experiencing Music. Sherman Oaks, CA: Alfred Music Presentations, 1983.

Appendix M: Rubric: Grade 9 Secondary School Ensemble Adjudication Form

GRADE 9 SECONDARY SCHOOL ENSEMBLE ADJUDICATION FORM
Course Code: _____________________ Date: ____________________________		Name of Ensemble: _____________________________ Adjudicator: (Teacher’s Name) ___________________
Student Names: ___________________________ ___________________________ ___________________________ ___________________________
Performance Criteria	Level I	Level II	Level III	Level IV
Communication Phrasing and Dynamics	- seldom plays with accurate phrasing and attention to dynamic markings	- sometimes plays with accurate phrasing and attention to dynamic markings	- most often plays with accurate phrasing and attention to dynamic markings	- consistently plays with accurate phrasing and attention to dynamic markings
Tone Quality and Sound	- seldom plays with full sound, supported with air	- sometimes plays with full sound, supported with air	- most often plays with full sound, supported with air	- consistently plays with full sound, supported with air
Ensemble Balance	- seldom plays with attention to balance of the ensemble	- sometimes plays with attention to balance of the ensemble	- most often plays with attention to balance of the ensemble	- consistently plays with attention to balance of the ensemble
Technique and Accuracy	- seldom plays accurate pitches and note values at the required speed	- sometimes plays accurate pitches and note values at the required speed	- most often plays accurate pitches and note values at the required speed	- consistently plays accurate pitches and note values at the required speed

Activity 5: Technique Lessons - Scales and Intervals

Time: 180 minutes

Description

Learning to sing and/or play a musical instrument is a very rewarding experience. Through the use of various activities, the students play and notate major scales up to and including four sharps and flats as well as the major scale intervals (P1, M2, M3, P4, P5, M6, M7, P8).

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations:

The graduate:

· reads, understands, and uses written materials effectively; (2b)

· participates in leisure and fitness activities for a balanced and healthy lifestyle. (4h)

Strand(s): Analysis, Creation

Overall Expectations:

· demonstrate the ability to read and understand musical notation; (MTV.02X)

· play or sing technical exercises and diverse repertoire (including their own creations when appropriate) that reflect the theory expectations. (MCV.02X)

Specific Expectations:

· identify and notate major key signatures and scales, up to and including a minimum of four sharps and four flats; (MT1.04X)

· solve and notate the intervals within a major scale; (MT1.05X)

· demonstrate consistently correct body posture; (MC1.03X)

· play or sing with tone quality appropriate to the repertoire being performed; (MC1.05X)

· play or sing with accurate pitch; (MC1.07X)

· play or sing maintaining a consistent tempo; (MC1.09X)

· play or sing a sixteen-bar melody, using correct technique; (MC1.13X)

· reproduce, aurally identify, and notate given intervals in a major scale (i.e., P1, M2, M3, P4, P5, M6, M7, P8); (MA1.05X)

· make artistic decisions about aspects of performance in individual and group situations; (MC2.04X)

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

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

· demonstrate an understanding of rehearsal, performance, and audience etiquette (appropriate to the cultural context); (MA2.04X)

· describe the distinctive nature of participating in the various roles associated with music activities (e.g., soloist and accompanist, ensemble member, or leader); (MA2.05X)

· 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. (MA1.07X)

Planning Notes

The teacher needs:

· flash cards with key signatures and intervals;

· staff paper and pencils;

· instruments (if an instrumental class).

Prior Knowledge Required

The student should know:

· key signature and major scales up to three sharps and three flats;

· how to notate simple melodies using eighth through whole notes and rests;

· major scale intervals - from previous activities.

Teaching/Learning Strategies

1. Provide a handout on the order of Sharps and Flats (see Resources).

2. Students memorize the acronym, (FCGDAEB) “Father Charles Goes Down And Ends Battle” for the sharps and (BEADGCF) “Battle Ends And Down Goes Charles Father” for the flats.

3. The teacher defines the order of tones and semitones in a major scale. Use a keyboard to illustrate M2 and M2. Introduce each key signature starting with C+, G+, D+, A+, E+, F+, B=+, E=+, and A=+. Relate each key sign to the Order of Sharps and Flats.

4. There are many ways to remember each key signature. Determine the best method for your students (see Resources).

5. Teacher and students review the major scale intervals using the piano for reference. The teacher and students discuss the various songs associated with the intervals for fast and easy recognition.

6. These scales and intervals can now be used in technique exercises for both instrumental and vocal students. They can be incorporated as part of a warm-up activity and should be ongoing. There are many method books available that involve these elements.

7. Divide the class into nine groups. Assign each group a key and an interval from the major scale. Students compose a sixteen-bar melody in their key using eighth through whole notes and rests, and must use their given intervals at least four times. Students perform these melodies for the class and their peers evaluate them using the checklist provided (Appendix N).

Accommodations

· Arrange for a “study buddy” to help prepare for paper/pencil tests.

Assessment/Evaluation

1. Pencil and paper tests (MTV.02X, MT1.04X, MT1.05X, MA1.05X, MA1.07X)

2. Teacher/Peer evaluation (MTV.02X, MCV.02X, MC1.03X, MC1, 05X, MC1.07X, MC1.09X, MC1.13X, MC2.04X, MA2.04X, MA2.05X)

3. Journal entries (MA2.02X, MA2.03X)

Resources

Adair, Audrey J. Ready-To-Use Music Activities Kit. New York: Parker Publishing Company, Inc. 1984.

Elledge/Yarbrough/Pearson. Standard of Excellence - Book 1 “Music Theory & History Workbook.” California: Neil A. Kjos Music Company, Publisher, 1993.

Garofalo, Robert. Rehearsal Handbook for Band and Orchestra Students. New York: Meredith Music Publications, 1983.

Lawless, James. Preliminary Rudiments. Waterloo Music Company, Ltd., 1975.

Peters/Yoder. Master Theory Book 2. Lessons 31-36, 44-52. Neil A. Kjos Company, 1964.

Wharram, Barbara. Theory for Beginners. Toronto: Frederick Harris Music, 1974.

Appendix N: Group Checklist For Assessing Scale/Interval Composition Performance

GROUP CHECKLIST FOR ASSESSING SCALE/INTERVAL COMPOSITION PERFORMANCE
		YES	NO
1.	Was the composition sixteen bars in length?
2.	Did the group vary the rhythm using eighth through whole notes/rests?
3.	Did the words match the scale and interval (if required)?
4.	Was the group’s interval used four times? Circle one: 1 2 3 4
5.	Did the group use correct body posture?
6.	Was the group leader effective?
7.	Did the ensemble members carry out their parts/roles?
8.	Was the audience showing proper performance etiquette?
9.	Did the group maintain a consistent tempo?
10.	Did the group maintain accurate pitch?
Comments:

Activity 6: Testing 1, 2, 3!

Time: 180 minutes

Description

Students learn to use and handle P.A. equipment while understanding the basics of sound reproduction through an amplified system.

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations:

The graduate:

· thinks critically about the meaning and purpose of work; (5b)

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

Strand(s): Theory, Analysis

Overall Expectations:

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

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

Specific Expectations:

· define and describe characteristics of sound and categories of sound (e.g., instrumental, vocal, high, low, bright, dark); (MT1.06X)

· describe concepts of “balance and blend”; (MT1.10X)

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

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

· demonstrate an understanding of the relationship of the audience and performer (e.g., attend a live performance and respond to it orally or in writing, using terminology appropriate for the grade); MA2.06X

· identify how skills developed in music are applied in various music-related careers. (MA2.07X)

Planning Notes

· This activity requires a Public Address system comprised of a four or more channel powered mixing board, a speaker for the left and right sides, two 1/4 speaker wires 25 feet or more in length, one or more microphones, one or more XLR low impedance microphone cable, or high impedance 1/4 microphone cable, one or more microphone stands with a boom (optional) and microphone clip.

Prior Knowledge Required

No prior knowledge required.

Teaching/Learning Strategies

1. Teacher demonstrates all parts of P.A. system by physically plugging in all parts and commenting while demonstrating a P.A. system set-up.

2. Students write notes about the various terms used in describing a P.A. system such as: squeals, XLR cables, 1/4 jacks, line out, line in, channel, level, peaking, treble, high, mid high, mid low, bass, equalizer, volume faders, sum, monitor, gain, phantom power, effects out, and effects in. Most of these terms can be found in the mixer’s manual.

Step 1 - Shut off all volume knobs or faders.

Step 2 - Plug in mixer board.

Step 3 - Plug speakers into mixer board.

Step 4 - Plug in microphone XLR or 1/4 inch cable.

Step 5 - Plug cable into microphone.

Step 6 - Turn master volume up.

Step 7 - Adjust levels according to needs.

3. Teacher explains how to troubleshoot for problems, e.g., squeal, distortion, and lack of sound (usually one of the previous steps was missed or not properly executed).

4. Teacher explains that a microphone only projects what is input into it. Students quickly realize it does not make a singer sing any better than he/she would sound unamplified.

5. Teacher explains differences with microphones such as: condenser microphones are used to amplify from far away - good for amplifying a choir - also need a battery or phantom power; omnidirectional microphones are all-purpose; unidirectional microphones used when amplifying an instrument.

6. Students make observations that male voices sound darker, therefore need more highs, and female voices sound brighter, therefore need more lows.

7. Teacher can set up a tour of a recording studio in order to show students how a person can make a living setting sound, e.g., recording engineer.

8. Teacher gives students a journal topic such as How do you think P.A. systems have affected the music industry?

Accommodations

· Provide definitions of terms describing P.A. systems.

· Arrange for a peer helper to assist with the setting up of the P.A. system.

Assessment/Evaluation

1. Self-assessments (Reflection) (MA2.02X)

2. Checklist (Conferencing) (MT1.06X, 10X)

3. Students keep track of their progress and reflections in their journals. These will be checked for completion but not assessed. (MA2.03X)

4. Paper and pencil tests (MA2.06X)

5. Student/teacher conferencing (MA2.07X)

Resources

Mixing board - manual

Kenney, James. Becoming a Singing Performer: A Text for Voice Classes, Chapter 16 “Microphones and Amplification” pp. 58-61. Dubuque: William C. Brown Publishers, 1987.

Schmidt, Jan. Basics of Singing, Chapter 6 “The Theatrics of Singing” pp. 31-35. New York: Schirmer Books, 1984.

Appendix O: P.A. System Schematic Handout

Note: All underlined words should not appear in the students’ handout of Appendix O. As teacher demonstrates a P.A. system set up, students fill in the blanks. Students draw all connecting patch chords, microphone cable, AC plug, microphone clip, and arrows indicating where the boom, microphone stand, 4-channels, treble, mids, bass, sum A and sum B faders, and 10 Band Equalizer are located.

Activity 7: An Introduction to Early Canadian Folk Music

Time: 480 minutes

Description

Through a study of the geographical, cultural, and historical settlements in Canada, students gain an understanding of the varied origins of Canadian Folk Music. They discover the characteristics of the Folk Song, become familiar with the tunes of specific examples of Canadian Folk Songs and gain an appreciation of Canada's varied treasury of folk songs. They express and describe their own Canadian heritage by composing examples of folk tunes.

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations:

The graduate:

· reads and understands and uses written materials effectively; (2b)

· demonstrates flexibility and adaptability; (4b)

· thinks critically about the meaning and purpose of work; (5b)

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

Strand(s): Analysis, Theory, Creation

Overall Expectations:

· identify and define in simple terms the elements of music (i.e., rhythm, melody, timbre, dynamics, harmony, texture, and form); (MTV.01X) ;

· demonstrate the ability to read and understand musical notation; (MTV.02X) ;

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

· explain methods of production and editing of musical recording (e.g., analog or MIDI); (MTV.04X) ;

· play or sing technical exercises and diverse repertoire (including their own creations when appropriate) that reflect the theory expectations; (MCV.01X) ;

· demonstrate an understanding of music literacy, at a level appropriate for the grade, using the creative process (perception, production, and reflection); (MCV.04X) ;

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

Specific Expectations:

· play or sing with an understanding of musical phrase structure (e.g., notated, improvised, or stylistically correct); (MC1.02X) ;

· play or sing a sixteen-bar melody, using correct technique; (MC1.13X) ;

· make artistic decisions about aspects of performance in individual and group situations; (MC2.04X) ;

· identify and describe, orally and in writing, the elements of music (rhythm, melody, timbre, dynamics, harmony, texture, and form) from a variety of live and recorded examples; (MA1.01X) ;

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

Planning Notes

· Scores and recordings representing a variety of Canadian Folk songs are used for demonstration purposes.

· A large map of Canada indicating provincial boundaries and geographical conditions is displayed in front of the class.

· Each student is given a handout of the map of Canada.

· Students need pencils and manuscript paper for composition purposes.

· A sound system, piano, organ and portable instruments (e. g., drum, violin, viol, flute, recorder, guitar) would be appropriate items in the learning environment.

· Confer with Geography/History/Art teachers regarding the possibility of cross-curricular activities and introductory lessons explaining the physical features, boundaries of Canada, the settlement location and characteristics of the first Canadian Inhabitants.

· Confer with the Visual Arts teacher to present an introductory lesson on the Elements of Design.

· Have students bring in one landscape picture depicting any part of Canada (e.g., The West Wind (1917) by Tom Thomson or Blue Mountain by Lawren Harris). Use school library.

· Book an appropriate video that emphasizes the varied geographical, industrial, and climatic conditions of early Canada.

Prior Knowledge Required

· Being familiar with the elements of music.

· Knowing the provinces of Canada: physical conditions, industries, climate, and boundaries would be an asset.

· Knowing the history of the first settler: the settlement areas in Canada, customs, work, and pleasure activities.

· Being able to play an instrument and being willing to sing.

Teaching/Learning Strategies

1. The Geography teacher or music teacher presents an introductory lesson of Canada to discuss and review: the provinces and boundaries; the physical land features; and the climate conditions that promote the major Canadian industries. Appropriate information is marked on the map handouts.

2. The History teacher or Music teacher presents an introductory lesson of Canada focusing on: the first inhabitants, the major Canadian early settlement areas, job descriptions of the new settlers, and leisure time and entertainment activities. Students colour-code the map handout by labelling the various inhabitants, the major settlement areas, and the job descriptions and leisure time activities.

3. Students play, examine, and listen to early Canadian folk songs. Choice of material is based on imported songs, songs that originated in Canada, early settlement locations songs, and work songs. Students discuss characteristics and fill in Appendix P.

4. Students select one Canadian folk song as a basis from which to arrange an original folk song. Students employ the Elements of Music Criteria Checklist - Appendix R, when writing and refer to the Characteristics of the Canadian Folk Song Multiple Choice Checklist - Appendix P, as a guideline. Guidelines For Composing A Song - Appendix Q, will greatly aid in the writing format.

5. Where possible, students use a computer program to formally arrange a folk song composition. Students employ the elements of music as a guideline and sing or play the original composition for the class. Class evaluates each composition according to the Elements of Music Criteria Checklist - Appendix R, and the Characteristics of the Canadian Folk Song Multiple Choice Checklist - Appendix P.

6. The Visual Arts teacher presents an introductory lesson incorporating the Elements of Design. Students sketch a Canadian Landscape picture, possibly from the Group of Seven, in the Visual Arts room environment. Students incorporate the Elements of Design (line, colour, shape, texture, value) and evaluate sketches orally. While sketching, students listen to contemporary Canadian folk singers.

7. Students compose inspirational music to represent the Canadian landscape incorporating Appendix R and Appendix P as references. Students play or sing individual selections for the class on their selected instruments.

8. Where possible, invite a guest artist to the classroom to demonstrate the construction and symbolism of a Dream Catcher. Each student is given the materials for construction. As a follow-up activity, students will analyse and perform the Band selection "The Dream Catcher" by Francis McRose. (See Appendix M - Grade 9 Secondary School Ensemble Adjudication Form.)

9. Students visit a museum to examine the art of the early Canadian Settlers. They construct Aboriginal or First Nation craft models using clay or plaster.

10. Students analyse and sight read (melody line only) a Canadian folk song arrangement.

11. Students view a film of the first Canadian settlers. Discuss geographical, historical, cultural, industrial, and folk song significances (e.g., The Last Spike by Pierre Burton).

Accommodations

· Modify “Multiple Choice Checklist” according to individual IEP.

· Arrange for peer assistance with reading and composing.

Assessment/Evaluation

1. Assess skills in arranging original compositions using computer technology where applicable. (MCV.01X, 03X)

2. Multiple Choice Checklists - for required performance analysis, original composition, artistic designs, stylistic context. (MTV.0IX, 03X, 04X) ( MAV.01X) (Appendices P, Q and R)

3. Performance Evaluation - (MCV.02X) (Appendix R)

4. Projects - (MC1.13X) (Appendix P)

5. Journal/practice logs to record daily listening activity of contemporary Canadian folk singers. (MA2.03X)

Resources

Bray, K., N. Telfer, and G. Wensch. Reflections of Canada. Vol. 1, Oakville: Frederick Harris, 1985.

Bray, K., N. Telfer, and G. Wensch. Reflections of Canada. Vol. 2, Oakville: Frederick Harris, 1986.

Fowke, E. and R. Johnston. Folk Songs of Canada. Waterloo: Waterloo Music, 1954.

Frece, Robert De. Canada: Its Music. Don Mills: Collier MacMillan Canada, 1989.

Great Big Sea. Scarborough: Warner Music Canada, Scarborough, 1995.

Kallmann, H., G. Potvin, and K. Winters. Encyclopedia of Music in Canada. University of Toronto Press, 1981. pp. 336﷓346

Leahy. “Cape Breton Medley.” Canada: Virgin Enterprises Ltd., 1996.

MacIsaac, Ashley. Fine Thank You Very Much. Ancient Music Ltd., 1996.

MacMaster, Natalie. “Fiddle and Bow.” Scarborough: MacMaster Music, 1996.

McDermott, John. “Daughter of Mine.” Canada: EMI Music, 1999.

McGee, T. The Music of Canada. New York: Norton and Co., 1985.

McRose, Francis. Dream Catcher. Southern Music Co., 1997.

Melhuish, Martin. Oh What A Feeling: A Vital History of Canadian Music. Kingston: Quarry Press, 1996.

Music Time - Passport (Macintosh)

The Rankin Family. Endless Seasons. Canada: EMI Music, 1995.

Rogers, Stan. “Home Halifax.” Fogarty's Cove & Cole Harbour Music Ltd., 1982.

Wright, D. Youthful Voices. Toronto: Gordon V. Thompson, 1959.

Appendix P: Multiple Choice Checklist for Assessing Canadian Folk Song Characteristics

CHARACTERISTICS OF THE CANADIAN FOLK SONG

Canadian Folk Song Title: ____________________________________________________

Resource: _________________________________________________________________

Arranger: _________________________________________________________________

Multiple Choice Checklist. Circle the appropriate answer with a pencil.

Meter:

2/4

Tempo:

Origin:

Language:

3/4

a) slow

a) Aboriginal

a) French

4/4

b) fast

b) Inuit

b) English

6/8

c) moderate

c) European

c) other

9/8

d) alternates

12/8

e) other

Style of Music:

Texture:

10.

Level of Difficulty:

a) sacred

a) monophonic

a) easy to perform

b) secular

b) homophonic

b) difficult to perform

c) polyphonic

11.

Purpose of the song:

a) describe an emotion

e) explain an event

b) poke fun

f) express a prayer

c) tell a story

g) describe work

d) describe the environment

h) other

12.

Variation:

13.

Form:

14.

Vocal Arrangement:

a) multiple text for one melody

a) AABA

a) S

b) multiple melodies for one text

b) ABBA

b) SA

c) ABCB

c) SSA

d) other

d) SAB

e) SATB

i) Refrain sung by group

ii) Verse sung by soloist

i) yes

ii) no

15.

Instruments found in accompaniment:

a) drum

e) woodwind

b) fiddle

f) rattle

c) fife

g) other

d) whistle

Appendix Q: Guidelines for Composing a Song

GUIDELINES FOR COMPOSING A SONG

The following guidelines are suggestions for the music composer:

1. Arrange composition in four, 4-measure phrases.

2. Include a key signature of your choice after the clef sign on each staff.

3. Draw a bar line at the beginning of each staff (double bar line at end).

4. Write the time signature after the key signature on the first line only.

5. Think of a musical theme or motif. How can it be used throughout?

6. Choose the form structure before composing the song (e.g., ABAA, ABBA)

7. Include a question and answer musical idea between phrase one and phrase two. (Phrase one ends on the dominant chord, while phrase two ends on the tonic. Phrase one sounds incomplete and phrase two sounds finished.)

8. Vary rhythmic choices. Use whole, half, quarter, and eighth notes.

9. Create a balance. Too many musical ideas frustrate the listener or performer.

10. Re-edit constantly. Put song away when tired and begin to compose again when refreshed.

11. Check note stem directions. (Notes below third line, stems are drawn go up; notes above, stems are drawn down.)

12. Line up bar lines on the staff to achieve a balanced look.

13. Draw legible large notes. Stems are attached to appropriate note values. Use MIDI computer program if possible.

14. Check intervals throughout song. If you can sing the melody, easily, the interval is perfect. If you cannot hear the leap, interval is too large.

15. Decide whether or not to write the rhythm or the melody first, then proceed. Song ideas may originate from written texts, pictures, stories, poems, or friendships.

16. Play often while creating. Re-edit if song is not pleasing.

Appendix R: Elements of Music Criteria Checklist

ELEMENTS OF MUSIC CRITERIA CHECKLIST
The Elements of Music will be considered in the following manner, as student arrange original Folk Songs. This checklist is to be used as a guide for composition.
		YES	NO
1.	Rhythms correspond to time signature.
2.	Melody moves in a step-wise direction.
3.	Instrument/vocal combinations are balanced.
4.	Dynamic markings are present.
5.	Chordal accompaniment sounds accurate.
6.	Arrangement matches the song style and mood.
7.	Song consists of four, 4-measure phrases.

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