Course Profile Music, Grade 10, Open, Catholic

Unit 1: In the Beginning…

Time: 14 hours

Unit Description

This unit involves a review of basic theory, notation, performance technique, and performance etiquette. Overall course requirements, in the form of listening journals and practice logs, are outlined and initiated. The impact of Pope Gregory and plainsong on musical history is addressed. Students create and perform an original, sacred piece of music. This unit is intended to provide a solid foundation for theory and performance.

Strand(s) and Expectations

Ontario Catholic Graduate Expectations: CGE1e, CGE2a, CGE2b, CGE2c,CGE3c, CGE4a, CGE4b, CGE4c, CGE4e, CGE4f, CGE4h, CGE5a, CGE5b, CGE5e, CGE5f, CGE6a, CGE7b, CGE7i.

Strand(s): Analysis, Creation, Theory

Overall Expectations: THV.01X, THV.02X, THV.04X, CRV.01X, CRV.02X, CRV.03X, CRV.04X, ANV.02X, ANV.03X.

Specific Expectations: TH1.01X, TH1.02X, TH1.03X, TH1.07X, TH1.11X, TH1.13X, TH1.15X, CR1.01X, CR1.02X, CR1.04X, CR1.05X, CR1.06X, CR1.07X, CR1.08X, CR1.09X, CR1.10X, CR1.11X, CR2.01X, CR2.04X, CR2.06X, AN1.01X, AN2.01X, AN2.02X, AN2.03X, AN2.07X, AN3.05X, AN3.08X.

Activity Titles (Time + Sequence)

Activity 1	Performance Requirements for the Unit	340 minutes
Activity 2	Listening Requirements for the Unit	65 minutes
Activity 3	Getting Started	75 minutes
Activity 4	The Way It Works	30 minutes
Activity 5	An Enchanting Moment	90 minutes
Activity 6	The Pope and Mr. d’Arezzo	90 minutes
Activity 7	Write Away	150 minutes

Prior Knowledge Required

It is expected that students will have some prior exposure to formal musical study. Foundational knowledge and performance skills will be briefly reviewed.

Unit Planning Notes

· Appendices contain samples of all required forms.

· The teacher must have access to information supporting the use of basic MIDI functions, the teaching of chant and music of the medieval period. This must include information on Pope Gregory and Guido d’Arezzo.

· The teacher must have access to written examples of Kyries.

Teaching/Learning Strategies

· Performance: formal, informal, oral, written

· Conferencing

· Group Work

· Listening and Reflection: directed and open, personal and group

· Independent Learning: project and logs

· Brainstorming: group generation of ideas expressed without criticism or analysis

Assessment and Evaluation

Strategies will include:

· Personal Communication: journals/conferencing logs, self-/peer assessment, student-teacher conferences

· Written Work: composing, reflection/response, question/answer, short assignment

· Observation: formal/informal

· Performance Assessment: solo/ensemble performance, role playing

Assessment tools will include:

· Formative Assessment: checklist, anecdotal, rubric, marking scheme

· Summative Assessment: marking scheme, anecdotal

Resources

Course Outline

Review Sheet (Appendix to Unit 1)

Letter Home (Appendix to Unit 1)

Canadian Conference of Catholic Bishops. Catholic Book of Worship III. Canada: Best Gagne Book Manufacturers Inc., 1994.

Forney, Kristine and Joseph Machlis. The Enjoyment of Music, Eighth Edition. New York: W.W. Norton & Company, 1995.

Forney, Kristine and Joseph Machlis. CD series The Enjoyment of Music, Eighth Edition. New York: W.W. Norton & Company, 1995.

Meyer R.F. Band Director’s Guide to Instrument Repair. New York, Alfred Publishing Co., 1973.

Rhodes, Tom C., D. Bierschenk, and T. Lautzenheisen. Essential Elements A Comprehensive Band Method Books 1 and 2. US: Hal Leonard Publishing Corporation, 1991.

Salzer and Schacter. Counterpoint in Composition. New York: Columbia University Press, 1989.

Taruskin, Richard and Piero Weiss. Music in the Western World. New York: Schirmer Books, a Division of Macmillan Inc., 1984.

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

MIDI equipment and software

Senior students or professionals to demonstrate concepts discussed in the unit.

Student Practice Chart and Personal Performance Development Plan Chart (see Appendix)

Activity 1: Performance Requirements for the Unit

Time: 340 minutes

Description

This activity is expected to be ongoing throughout the unit and should not be completed all at one time. The performance expectations listed below have been selected due to their ability to complement this unit. Skills and repertoire chosen will both reinforce and reflect other activities within the unit. Several method books are suggested to provide the student with the opportunity to review, learn new techniques and demonstrate previously learned knowledge and skills. It is suggested that the method book be used along with solo and ensemble repertoire for the duration of the course. A Personal Performance Development Plan is established for each student.

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations

CGE4e - sets appropriate goals and priorities in school, work, and personal life.

Strand(s): Creation

Overall Expectations

CRV.01 - play or sing technical exercises and diverse repertoire that reflect the theory expectations at this grade level (including improvisation and their own creations when appropriate).

Specific Expectations

CR1.01 - accurately play or sing complex notated or stylistically correct articulation;

CR1.02 - play or sing with an understanding of complex musical phrase structures;

CR1.04 - play or sing with tone quality appropriate to the exercises and repertoire being performed;

CR1.05 - play or sing, with control and within an expanded range, the exercises and repertoire being performed;

CR1.06 - play or sing with accurate pitch;

CR1.07 - play or sing with accurate intonation, both melodically and harmonically;

CR1.08 - maintain a consistent tempo and accurately change tempi as found in the exercises and repertoire being performed;

CR1.09 - play or sing in various metres and accurately change metres as found in the exercises and repertoire being performed;

CR1.10 - accurately play or sing rhythms as found in the exercises and repertoire being performed;

CR1.11 - play or sing with detailed attention to the subtleties of balance and blend;

AN2.01 - identify and correct improper postures and/or performance practices that may have negative musical effects and/or cause physical injuries.

Planning Notes

· The teacher chooses appropriate method books to give to the class.

· The teacher selects various excerpts for study from the chosen repertoire. The student should have a choice of excerpts focussing on different skills so that they may begin to choose those that agree with their Personal Performance Development Plan (an example is included in the Appendix 1.2 – Personal Performance Development Plan).

· Daily performance time is structured according to the following criteria:

Warm-up (tuning, tone, breathing, posture, etc.)	5-10 minutes
Technique building (range, dexterity, endurance, articulation/diction, phrasing)	5-15 minutes
Analysing and interpreting repertoire (solo, small group or ensemble: style, balance/blend, dynamics, form, performance etiquette, etc.)	20-40 minutes

Prior Knowledge Required

· Students have some knowledge or prior exposure to musical studies.

· Students have experience with singing and/or performing on an instrument.

Teaching/Learning Strategies

1. Students create a personal performance development plan for the unit in conjunction with the teacher. Students select appropriate excerpts from solo, small group, and full ensemble repertoire to support their personal program. The teacher distributes all selected excerpts and ensemble repertoire at the beginning of the unit.

2. While rehearsing complete works, the teacher identifies suitable areas that can support review and reinforcement of basic musical ideas as presented throughout the unit.

Assessment/Evaluation Techniques

· The teacher will evaluate student performance using a checklist and rubric. As music is a skill that is constantly under development, anecdotal comments should also be provided as formative assessment.

· The student rehearsal plan is assessed with anecdotal comments in conference with the teacher to help guide students in developing and revising their personal development plans.

Accommodations

· The nature of this activity lends great scope for accommodation. Excerpts and solo repertoire could easily be tailored to fit the student.

· Students could receive a greater length of rehearsal time to prepare for tests or assignments.

· Peer and teacher aid could be extended to students requiring more frequent attention.

Resources

Method Books

Band

Erickson, Frank (arr.). Festive & Famous Chorales for Band. USA: Alfred Publishing, 1981.

O’Reilly, John and M. Williams. Accent On Achievement Book 1, 2. USA: Alfred Publishing, 1988.

Pearson, Bruce. Standard of Excellence Book 1, 2. USA: Neil A. Kjos Music Company, 1993.

Ployhar, James and D.G. Zepp. 3D Band Book. USA: Belwin-Mills Publishing Corp., 1983.

Rhodes, Tom, D. Biershenk, T. Lautzenheiser, and J. Higgins (arr.). Essential Elements Book 1, 2. USA: Hal Leonard Publishing Corporation, 1991.

Williams, Richard and Jeff King. Foundations For Superior Performance. USA: Neil A. Kjos Music Company, 1997.

Guitar

Dauberge, Alfred and Morton Manus. Alfred's Basic Guitar Method. USA: Alfred Publishing, 1990.

Kraft, Norbert. Royal Conservatory of Music Guitar Series (2^nd edition.). Canada: Frederick Harris.

Leavitt, William. Phase 1 Guitar. USA: Berklee Publications.

Leavitt, William. Phase 2 Guitar. USA: Berklee Publications.

Leavitt, William. Classical Studies for Pick Style Guitar. USA: Berklee Publications.

Noad, Frederick. Solo Guitar Playing (2 volumes). USA: Shirmer Books.

Shearer, Aaron. Classic Guitar Technique (2 volumes). USA: Belwin Books.

Shearer, Aaron. Basic Elements of Music Theory for the Guitar (Supplement 2). USA: Belwin Books.

Piano/Keyboard

Alfred's Basic Piano Library (The Later Beginner: Levels 1,2,3). USA: Alfred Publishing, 1992.

Royal Conservatory of Music (various selections). Canada: Frederick Harris Music Publishing.

Voice

Crocker, Emily and John Leavitt. Essential Musicianship. USA: Leonard and Hal Co., 1995.

Rao, Doreen et al. Fowler, Charles. Sing! USA: Hinshaw Music, 1988.

Robinson, R. and J. Althouse. The Complete Choral Warm-Up Book. USA: Alfred Publishing, 1995.

Sutherland, Susan. Teach Yourself Singing. London: Hodder and Stoughton, 1995.

Telfer, Nancy. Successful Sight Singing (book 1). USA: Kjos Music Co. Inc., 1992, 1993.

Telfer, Nancy. Successful Warm-ups. Canada: Kjos Music Co. Inc., 1995.

Strings

Allen, M. Daily Warm-Ups for String Orchestra. USA: Hal Leonard Publishing, 1993.

Creston, P. Gregorian Chant Op8-SC/PTS Orchestra. USA: Shawnee Press.

Lamb, N. Guide to Teaching Strings. USA: Wm. C. Brown Publishers, 1990.

Repertoire

Choral

Rutter, John. Gems for Gregorian Chant, Choral SATB. USA: Collegium Records.

Werner, J. Gregorian Chant, Choral unison. USA: Lorenz Corporation.

Gregorian Chant Selections, Vocal. USA: Hal Leonard Corporation.

Band Instrument

Bracco. Three Gregorian Chant Settings - FLD Solo and Ensemble Flute Grade 2. Warner Brothers Music Publisher.

Activity 2: Listening Requirements for the Unit

Time: 65 minutes

Description

This activity is expected to be ongoing throughout the unit and should not be completed all at one time. The listening activities listed below have been selected due to their ability to either review or introduce the concept of ear-training. Skills chosen both reinforce and reflect other theory activities within the unit. This unit focusses on students’ ability to listen critically, identify, and link various notation symbols with the rhythms that are heard.

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations

CGE2a - listens actively and critically to understand and learn in light of gospel values.

Strand(s): Analysis, Theory

Overall Expectations

ANV.02 - use aural discrimination skills to identify complex aspects of music.

Specific Expectations

TH1.13 - use music software to improve aural and theoretical skills;

AN1.01 - demonstrate their mastery of rhythms by clapping back, aurally identifying, and notating given rhythms up to four measures in simple and compound metres, using sixteenth through whole notes and rests, including dotted values and triplets;

AN1.03 - confirm their understanding of aural dictations by reproducing and notating simple melodies up to four measures in simple and compound metres using sixteenth through whole notes and rests, including dotted values, within an octave.

Planning Notes

· The teacher prepares simple one-to-four-bar rhythmic dictations, using a variety of note and rest values, gradually increasing the complexity of each dictation.

· MIDI, a piano, or other instrument may aid teachers in accurate pitch production.

Prior Knowledge Required

· No prior knowledge is required.

Teaching/Learning Strategies

The following Teaching/Learning strategies are to be used on a daily basis:

Students are introduced to the set-up of a rhythmic dictation exercise (time signature, single and double bar lines). The teacher dictates several one-bar rhythmic dictations in 4/4, 3/4, and 2/4 time, using only whole, quarter, and half notes, while identifying various methods used by students to successfully notate the correct rhythms. Gradually increase the length of the dictations each day, incorporating eighth, sixteenth, and dotted notes, culminating with four-bar dictations. The teacher chooses students to clap and sing back the rhythms that they have notated, as well as place the correct notation on the board. As students become more comfortable with this activity, the teacher encourages students to create and dictate their own one-to-four-bar rhythms for the class.

5-10 minutes

The teacher then plays or sings high and low pitches as students identify each pitch to be in the high range or low range.

5 minutes

Assessment/Evaluation Techniques

· Student progress will be assessed using informal conferencing and a checklist.

Accommodations

· The teacher can adjust the level of difficulty of the dictations, depending on the needs of the class.

· The students may practise dictating and notating rhythms in pairs or small groups.

· The teacher can organize a “Rhythmic Dictation Challenge and Clap-Off” to address the needs of an advanced group of students.

Resources

Staff paper or music dictation books

Activity 3: Getting Started

Time: 75 minutes

Description

This activity is designed to familiarize students with the course expectations and to establish some of the ongoing activities. Topics include course and classroom expectations and the establishment of a musical timeline, practice log, and listening journal, which will be used and added to throughout the course. The goal of this initial activity is to have students leave the first lesson with a very clear conception of the expectations, requirements, and rewards of the course.

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations

CGE2b - reads, understands, and uses written materials effectively;

CGE4a - demonstrates a confident and positive sense of self and respect for the dignity and welfare of others;

CGE4e - sets appropriate goals and priorities in school, work, and personal life;

CGE4f - applies effective communication, decision-making, problem-solving, time, and resource management skills;

CGE5e - respects the rights, responsibilities, and contributions of self and others;

CGE6a - relates to family members in a loving, compassionate, and respectful manner;

CGE7b - accepts accountability for one’s own actions.

Strand(s): Theory

Overall Expectations

THV.01 - explain in detail, both orally and in writing, the elements of music;

THV.02 - read and understand musical notation.

Specific Expectations

TH1.01 - identify and describe a greater variety of musical indicators of speed and changes in speed;

TH1.02 - identify and define musical indicators of metre, including compound, asymmetrical, and alternating metres;

TH1.03 - identify and notate double sharps and double flats;

TH1.13 - use music software to improve aural and theoretical skills; use to accommodate exceptionality.

Planning Notes

· Create and make copies of the course outline

· Create and make copies of a letter to go home (Appendix 1.5 - Music and Instrument Procedure)

· Make copies of the review sheet (Appendix 1.3 – Beginning Review)

· Plan a set of classroom rules and expectations

Prior Knowledge Required

· Students should have a general familiarity with instruments or voice.

Teaching/Learning Strategies

1. Present the students with an overview of expected behaviour, classroom routines, and required materials for the course. Students will brainstorm on the subject of classroom rules to set up strategies that meet the overall requirements of a clean, organized, and efficient workspace. The strategies can be written down and posted in the room. A letter should be sent home that outlines some of the behaviours and routines mentioned above. (See Appendix 1.5 – Music and Instrument Procedure.)

2. Students receive a course overview that includes dates of major assignments, field trips, and a general outline of the course of study. Students should take this opportunity to note important dates and assignments.

3. The teacher gives students a copy of the review sheets found in the Appendix 1.3 – Beginning Review. By submitting the completed checklist (Appendix 1.4 – Knowledge Checklist), at the end of the review, students will be able to quickly identify areas of weakness to themselves and to the teacher for remedial study.

4. The student organizes their notebook as follows:

(a) A page should be identified and left blank for students to complete a timeline. As the course progresses through the musical periods, students should fill in this timeline so that by the end of the course, it will be completed and ready for submission as a formal assessment.

(b) Students keep a section of their notebook to use as a practice log. It is recommended that students track date, duration, and content of their practice.

(c) Students should also reserve space in their notebook for a listening journal. Students track date, details of the selection, and duration of listening activities. Activities requiring written reflection will be contained in the student notebook.

5. Students are assigned an instrument or voice part at this time.

Assessment/Evaluation Techniques

· The teacher informally observes students to ensure that journals and logs have been correctly initiated. A checklist is recommended for this assessment.

Accommodations

· Appoint a peer to help set up the notebook as indicated.

· Have the review sheet completed during the class to answer questions.

· Assist in decisions regarding instrument choice to accommodate exceptionalities.

Resources

Course outline

Review sheet (Appendix 1.3 – Beginning Review)

Letter home (Appendix 1.5 – Music and Instrument Procedures)

Activity 4: The Way It Works

Time: 30 minutes

Description

This activity is intended to make students aware of the need for proper instrument care, maintenance, and the importance of physical practice techniques for musical performance. By the end of the activity, students are able to demonstrate proper techniques and have learned a greater respect for the equipment that they are using in class.

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations

CGE2a - listens actively and critically to understand and learn in light of gospel values;

CGE4a - demonstrates a confident and positive sense of self and respect for the dignity and welfare of others;

CGE4f - applies effective communication, decision-making, problem-solving, time, and resource management skills;

CGE5a - works effectively as an interdependent team member;

CGE5b - thinks critically about the meaning and purpose of work;

CGE5e - respects the rights, responsibilities, and contributions of self and others;

CGE7i - respects the environment and uses resources wisely.

Strand(s): Theory, Creation, Analysis

Overall Expectations

THV.01 - explain in detail, both orally and in writing, the elements of music (i.e., rhythm, melody, timbre dynamics, harmony texture and form.);

THV.02 - read and understand musical notation;

CRV.02 - make complex artistic decisions that affect the stylistic accuracy of their playing or singing (e.g., articulation, phrasing posture, dynamics, tone quality, intonation, rhythm balance, blend);

CRV.03 - demonstrate the effective use of digital technology in music applications;

ANV.02 - use aural discrimination skills to identify complex aspects of music;

ANV.03 - evaluate the effects of music education on themselves and their peers.

Specific Expectations

TH1.13 - use music software to improve aural and theoretical skills;

CR2.04 - play or sing with tone quality appropriate to the exercises and repertoire being performed;

CR2.06 - play or sing with accurate pitch;

AN2.02 - demonstrate an understanding of intervals and triads by reproducing, aurally identifying and notating all given intervals from a diminished unison to an augmented octave and major and minor triads;

AN3.05 - identify and correct improper postures and/or performance practices that may have negative musical effects and/or cause physical injuries;

AN3.08 - demonstrate leadership in rehearsal, performance and audience etiquette appropriate to the cultural context.

Planning Notes

· A piano or other instrument is useful for aural dictation purposes.

· Set up demonstration instruments ahead of time in order to facilitate the lesson on proper care and maintenance of class instruments.

· Make a display of different tools and cleaning supplies available to the class.

· Choose a method book, beginning repertoire and a textbook to distribute to students.

· Provide MIDI/digital equipment and software to demonstrate the elements of music.

Prior Knowledge Required

· Students should have a general familiarity with the instruments of the band.

Teaching/Learning Strategies

1. The teacher presents the daily routines of music class. Everyday activities will include ear training, a history/theory lesson, and performance.

2. As a class, review the steps of proper instrument assembly. It may be beneficial for students to label a diagram of their instrument and record the steps to proper assembly in their notebooks. Through demonstration, identify in greater detail more specific parts of the instrument that students may not be aware of (tuning slides, springs, pads, cork) and how to care for them. Present proper cleaning and maintenance techniques to the students and indicate the location of cleaning supplies and tools. Students take out their instruments and demonstrate proper assembly.

3. As a class, review the aspects of proper physical practice for musical performance. Students demonstrate proper posture, breathing techniques, embouchure, positioning, and good tone production.

4. Using the technical equipment available in class (MIDI/digital programs), the teacher reviews and demonstrates melody, harmony, tempo, timbre.

5. Students rehearse a short study or piece and demonstrate correct performance practice.

6. Students comment, in writing, on the importance of respecting and caring for the class environment.

Assessment/Evaluation Techniques

· Use a checklist for instrument assembly and maintenance for formative assessment.

· Teacher/student or student/student informal conferencing will be used throughout the activity for formative assessment.

· The teacher will provide anecdotal comments on the student’s commentary.

Accommodations

· Provide labelled diagrams of instruments to students.

· Provide guiding questions that will help students to write a meaningful reflection.

· Work in sections or pairs to demonstrate proper assembly of instruments.

Resources

Meyer, R.F. Band Director’s Guide to Instrument Repair. New York: Alfred Publishing Co., 1973.

Computer/MIDI software

Rhodes, Tom, C.D. Bierschenk, and T. Lautzenheisen. Essential Elements A Comprehensive Band Method Books 1 and 2. USA: Hal Leonard Publishing Corporation, 1991.

Senior students or professionals to demonstrate instrument repair/maintenance

Activity 5: An Enchanting Moment

Time: 90 minutes

Description

Students define and create Gregorian style or plainsong chant through listening to and performing published music of the Middle Ages. Student compositions use unconventional notation, resulting in a reflection based on the need for common music notation.

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations

CGE4a - demonstrates a confident and positive sense of self and respect for the dignity and welfare of others;

CGE4e - sets appropriate goals and priorities in school, work, and personal life;

CGE4f - applies effective communication, decision-making, problem-solving, time, and resource management skills;

CGE5a - works effectively as an interdependent team member;

CGE5e - respects the rights, responsibilities, and contributions of self and others;

CGE7b - accepts accountability for one’s own actions.

Strand(s): Theory, Creation

Overall Expectations

THV.02 - read and understand musical notation;

CRV.02 - make complex artistic decisions that affect the stylistic accuracy of their playing or singing (e.g., articulation, phrasing, posture, dynamics, tone quality, intonation, rhythm, balance, blend);

CRV.04 - apply the elements and principles of composition at an intermediate level, using the creative process (i.e., perception, production, and reflection).

Specific Expectations

TH1.11 - situate composers in a historic continuum;

TH1.15 - demonstrate an understanding of the function of the menus of notation software;

CR1.06 - play or sing with accurate pitch;

CR1.08 - maintain a consistent tempo and accurately change tempi as found in the exercises and repertoire being performed;

CR1.10 - accurately play or sing rhythms as found in the exercises and repertoire being performed;

AN2.02 - analyse and describe their own strengths and needs at various points in the course and work towards improving themselves in identified areas.

Planning Notes

· The teacher obtains a stereo and recording(s) of Gregorian Chant.

· It would be beneficial to have the “Our Father” written out for presentation to the class (chart paper or overhead, etc.).

Prior Knowledge Required

· No prior knowledge is required.

Teaching/Learning Strategies

1. The teacher presents examples of chant/plainsong to the class for listening purposes. Brainstorm initial definitions on the board.

2. As a class, chant to a few phrases of a poem or prayer (e.g., “Our Father”). The teacher attempts to direct the rise and fall of pitch, variations of tempo and rhythm.

3. As a class, discuss performance problems. Create written symbols and a legend that will accompany the text of the prayer to facilitate class performance. Chant again.

4. In small groups, students write a chant using original text and plainsong notation. When complete, good copies of chants are exchanged with, and performed by, other groups without contact from the composer group. Class discussion will follow, highlighting discrepancies between the notated composition and the actual performance. The class now compares their notation to actual chant text.

5. In a written commentary, students use critical thinking to express positive feedback and constructive criticism on the creative process and success of the activities.

6. Brainstorm, discuss, and demonstrate universal signs and symbols of communication. The discussion should culminate in student awareness of the need for a form of universal musical communication and music notation.

Assessment/Evaluation Techniques

· Students complete a checklist to assess self and peers with regard to group work skills following the group activity. (See Appendix to Unit 1.)

· The teacher assesses the composition using a rubric. (See Appendix 1.6 – Rubric to Assess Student Composition.)

· The teacher generates anecdotal comments in response to student written commentary.

· The teacher uses a checklist to assess student performance.

Accommodations

· Provide a handout of the prayer and other possible texts for the composition.

· Provide guiding questions to direct or enrich student commentary.

Resources

Forney, Kristine and Joseph Machlis. The Enjoyment of Music, Eighth Edition. New York: W.W. Norton & Company, 1995.

Forney, Kristine and Joseph Machlis. CD series: The Enjoyment of Music, Eighth Edition. New York: W.W. Norton & Company, 1995.

Taruskin, Richard and Piero Weiss. Music in the Western World. New York: Schirmer Books, a Division of Macmillan Inc., 1984.

Canadian Conference of Catholic Bishops. Catholic Book of Worship III. Canada: Best Gagne Book Manufacturers Inc., 1994.

Activity 6: Pope Gregory and Mr. d’Arezzo

Time: 90 minutes

Description

The focus of this activity is to highlight the impact that the standardization of notation had on music in the Western world. Students are introduced to the historical figures of Pope Gregory, Charlemagne, and Guido d’Arezzo and the roles these figures had in the spread of conventional notation. Students perform a Kyrie and learn the basic form and function of this music.

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations

CGE2b - reads, understands and uses written materials effectively;

CGE5e - respects the rights, responsibilities and contributions of self and others.

Strand(s): Analysis, Creation, Theory

Overall Expectations

THV.01 - explain in detail, both orally and in writing, the elements of music (i.e., rhythm, melody, timbre, dynamics, harmony, texture, and form);

THV.02 - read and understand musical notation.

Specific Expectations

TH1.11 - situate composers in a historic continuum;

CR1.06 - play or sing with accurate pitch;

CR1.08 - maintain a consistent tempo and accurately change tempi as found in the exercises and repertoire being performed;

CR1.10 - accurately play or sing rhythms as found in the exercises and repertoire being performed;

AN2.07 - explain the function of certain musical forms in daily life (e.g., anthems, marches).

Planning Notes

· The teacher obtains information regarding the Gregorian reform of Roman Chant through the use of travelling cantors, Charlemagne’s attempt to unify Europe, and Guido d’Arezzo’s method of music instruction.

· The teacher chooses a Kyrie of appropriate difficulty for students to perform and analyse.

Prior Knowledge Required

· Students are expected to have a basic musical ability for the performance of a simple piece of music.

Teaching/Learning Strategies

1. The teacher outlines the political relationship between Charlemagne and Pope Gregory and the shared goal of a unified Europe. Guido d’Arezzo is highlighted as the figure who made the greatest impact on the standardization of the use of neumes through his close relationship with Pope Gregory. Students write a descriptive paragraph on music’s role as a principal commonality that helped unify Europe and pull it out of the Dark Ages.

2. Students perform a Kyrie chosen from one of the mentioned resources. Students are encouraged to perform it vocally and, if possible, in the Latin text. The use of Latin in church services should be highlighted as one of the other unifying forces in the story. The concept of melisma is introduced.

3. Students identify the ABA form, stepwise melodic contour, melisma and treatment of text, and musical factors that contribute to the overall mood of the music (number of performers, accompaniment choices, timbre of voices, quiet volume, simplistic rhythm, absence of beat).

4. Students analyse the Kyrie. The form, modality, text, and purpose of this music is studied. Students construct a working definition of a Kyrie for use in the next activity.

5. Students add the historical information discussed in the activity to the timeline established in activity one.

Assessment/Evaluation Techniques

· A rubric is used to assess the descriptive paragraph

· The teacher completes an anecdotal assessment of the Kyrie performance.

· The teacher assesses the analysis of the Kyrie with a checklist.

Accommodations

· Have students re-enact the story.

· Students may be given the definition of Kyrie and use it to perform basic analysis.

· Students may be given a handout detailing the information on the characters to be discussed.

Resources

Taruskin, Richard and Piero Weiss. Music in the Western World. New York: Schirmer Books, a Division of Macmillan, Inc., 1984.

Canadian Conference of Catholic Bishops. Catholic Book of Worship III. Canada: Best Gagne Book Manufacturers Inc., 1994.

Activity 7: Write Away

Time: 150 minutes

Description

This activity involves the writing of an original Kyrie by the student. Each student composer leads the class in the performance of his/her piece. Detailed performance notes will be included.

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations

CGE2c - presents information and ideas clearly and honestly and with sensitivity to others;

CGE3c - thinks reflectively and creatively to evaluate situations and solve problems;

CGE4b - demonstrates flexibility and adaptability;

CGE4c - takes initiative and demonstrates Christian leadership;

CGE4f - applies effective communication, decision-making, problem-solving, time, and resource management skills;

CGE5a - works effectively as an interdependent team member;

CGE5e - respects the rights, responsibilities, and contributions of self and others;

CGE5f - exercises Christian leadership in the achievement of individual and group goals.

Strand(s): Theory

Overall Expectations

THV.01 - explain in detail, both orally and in writing, the elements of music (i.e., rhythm, melody, timbre, dynamics, harmony, texture, and form);

THV.02 - read and understand musical notation;

THV.04 - explain the use of various applications of MIDI technology (e.g., sequencing, notation).

Specific Expectations

TH1.07 - compare and contrast detailed characteristics of sound (e.g., voice types and variations, guitar versus harp, electronic effects on digital sounds).

Planning Notes

· Students require staff paper.

· Keyboard(s) should be available to facilitate the composition process and to aid in the learning of student compositions.

Prior Knowledge Required

· Students need an understanding of basic theory and notation.

· Experience in performance technique and audience etiquette are necessary.

· It is expected that students are familiar with transcription of conventional notation.

Teaching/Learning Strategies

1. Students brainstorm their ideas regarding the composition process (perception, production, and reflection) and form an outline of this process.

2. Individual students compose a Kyrie, including performance notes, following the process outlined in Activity 5.

3. The class performs the compositions under the direction of the composer.

4. Students submit their score, including performance notes, for summative evaluation.

Assessment/Evaluation Techniques

· Student compositions are initially assessed with anecdotal comments to help students complete revisions and make improvements.

· The final score submission will be evaluated with a rubric. (See Appendix 1.6 – Rubric to Assess Student Compositions.)

Accommodations

· Performance of the Kyries may be large group, small ensemble, or solo.

· Notation software may be used for the assignment.

· Composition may be recorded for submission.

· Additional voices may be added to the composition.

Resources

Canadian Conference of Catholic Bishops. Catholic Book of Worship III. Canada: Best Gagne Book Manufacturers Inc., 1994.

Salzer, Felix and Carl Schacter. Counterpoint in Composition. New York: Columbia University Press,
1969.

Appendix 1.1

Practice Log

Name:

Date	Practice time	Content	Parent/Supervisor

Appendix 1.2

Personal Performance Development Plan

Date: ______________ Unit: ________________

Focus areas for performance in this unit:

Teacher Comments:

Parent Comments:

Did I meet my goal?

Appendix 1.3

Beginning Review

It is expected that the information presented below, is already known and understood. Please review this sheet and take note of information you are unfamiliar with. Further study in this course will assume a familiarity with this information.

The Staff: the five lines and four spaces that music is written on; also, the Grand Staff referring to the combination of two staves with differing clefs that piano music is written on.

The Staff

The Grand Staff

Measure: a means of organizing rhythm by grouping together a specified number of beats. Also called bar.

Measure Lines: There are several common measure lines.

Double bar line: used to indicate a division between formal sections of the music.

Double bar line (final): used to indicate the end of a piece of music.

Repeat Sign: used in pairs to indicate a section of music that is to be repeated once.

Melody: an arrangement of pitches in a musically expressive succession.

Melodic contour: the shape of the melody in terms of high and low pitch; often represented by a line.

Texture: a pattern of musical sound created by notes or lines of music played or sung together.

Tone colour (Timbre): the characteristic quality of the sound produced by a particular voice or instrument, sometimes called the “tone of the sound.”

Harmony: the combination of simultaneous notes (chords) and their composition and progression.

Beat: the pulse of the music.

Rhythm: musical sounds organized according to duration.

Notes: the name given to a sign that is used to represent a period of sound in music.

Rests: the name given to a sign that is used to represent a period of silence in music.

Appendix 1.3 (Continued)

Beginning Review

Whole Note

Half Note

Quarter Note

Eighth Note

Sixteenth Note

Whole Rest

Half Rest

Quarter Rest

Eighth Rest

Sixteenth Rest

Dotted notes: a dot placed beside a note, increases the rhythmic value of that note by half.

Triplets: Three notes which are played in the time of two and designated by a bracket over the notes with the number 3.

E.g., Eighth-note triplets

Tempo: The speed of the beat.

Related Markings and Terms:

Prestissimo: as fast as possible.

Presto: very fast.

Allegro: fast.

Andante: moderate (walking speed).

Moderato: moderate.

Adagio: moderately slow.

Lento: slow.

Largo: very slow.

Accelerando: gradually getting faster.

Ritardando: gradually getting slower.

Appendix 1.3 (Continued)

Beginning Review

Clef: a sign at the beginning of a musical staff to show the pitch of the notes.

Treble Clef: indicates that bottom line of the staff is E above middle C.

Bass Clef: indicates that bottom line of the staff is G below middle C.

Articulations: a set of symbols that alter the way in which notes are performed.

Staccato: indicates that the note is to be played shortly (approximately half the written value).

Accent: indicates that the note is to be played strongly and with emphasis.

Legato: indicates that the note is to be played for full value and without accent.

Dynamics: the degree of loudness or softness of a sound and the set of symbols that indicates these degrees:

fortissimo	forte	mezzo-forte	mezzo-piano	piano	pianissimo
very loud	loud moderately	loud	moderately-quiet	quiet	very quiet

Appendix 1.3 (Continued)

Beginning Review

Accidentals: the set of symbols that modify the pitch of a note.

Sharp: raises a note by one semitone.

Flat: lowers a note by one semitone.

Double sharp: raises a note by two semitones.

Double flat: lowers a note by two semitones.

Style:

dolce: softly

cantabile: in a singing style

marcato: marked or accented

Form: the shape or structure of a piece of music.

Related terms: da capo - to the beginning, dal segno (d.s.) - to the sign, al fine - until the end, coda - an ending section not previously played.

Time signature: Two numbers written, one above another, on the staff which indicate the number of beats between measure lines and the type of note that is valued as one beat, e.g.,

Four/four time (common time): indicates four quarter notes (or the equivalent) per bar

Six/eight time: indicates six eighth notes (or the equivalent) per bar

Key signature: a series of accidentals written immediately after the clef that indicates the scale or key in which the piece has been composed. The accidentals are the same as those found in the scale that has been used to create the composition and apply to the entire piece.

Appendix 1.4

Knowledge Checklist

	My Level of Understanding Check the appropriate box (1 - little understanding... 4 - complete understanding)
Subject	1	2	3	4
Staff
Measures
Melody
Harmony
Texture
Timbre
Beat
Rhythm
Note/Rest Values
Dotted Notes
Triplets
Tempo Markings
Clefs
Articulations
Dynamics
Accidentals
Style Markings
Form
Time Signatures
Key Signatures

Appendix 1.5

Music Department

Music And Instrument Procedure

An essential part of your child’s growth as a musician stems from their daily practice. It is my request that all parents/guardians get involved in their child’s learning process by implementing the daily Practice Log at home for your child to rehearse. Please keep in mind that continual encouragement and support is necessary in everyone’s learning process.

Students shall be given the opportunity to borrow music and an instrument from the school; however, I encourage students to rent/purchase their own instrument so they will have an instrument to themselves, thus eliminating any problems associated with the sharing of instruments. If this is not possible they will share their instrument with other musicians.

Instruments that are signed out must be returned the next weekday before 8:45 A.M. If your child is ill that day please have someone drop the instrument off at the school as other musicians will need it. Proper care and maintenance of the instruments is of utmost importance. Any lost or stolen instrument or music must be reported to the music teacher immediately. Please do not try to fix any damaged instrument at home. Willful or irresponsible destruction of instruments and music will not be tolerated and will be followed up with appropriate action, including payment for damages or replacement of the music or instrument.

Your child has indicated an agreement to uphold these conditions. Please sign below to indicate your awareness of these policies. If you have any questions regarding these conditions please call me at the school ( ) - . Thank you for your co-operation.

Sincerely,

Parent/Guardian Signature_______________________________________________

Student Signature_______________________________________________________

Appendix 1.6

Rubric To Assess Student Composition

Categories Criteria	Level 1 (50-59%)	Level 2 (60-69%)	Level 3 (70-79%)	Level 4 (80-100%)
C The score	- creates a visual score with limited accuracy and effectiveness	- creates a visual score with moderate accuracy and effectiveness	- creates a visual score with considerable accuracy and effectiveness	- creates a visual score with a high degree of accuracy and effectiveness
T/K/U Ability to manipulate musical elements	- limited ability to manipulate musical elements	- some ability to manipulate musical elements	- considerable ability to manipulate musical elements	- excellent ability to manipulate musical elements
T/I Creative thinking skills used to create an original piece	- uses creative thinking skills with limited effectiveness	- uses creative thinking skills with some degree of effectiveness	- uses creative thinking skills with a considerable degree of effectiveness	- uses creative thinking skills with a high degree of effectiveness
C/A Application of the creative process	- applies the creative process with limited effectiveness	- applies the creative process with some effectiveness	- applies the creative process with considerable effectiveness	- applies the creative process with a high degree of effectiveness and confidence

Note: A student whose achievement is below level 1 (50%) has not met the expectations for this assignment or activity.

Appendix 1.7

Performance Rubric

Categories	Level 1	Level 2	Level 3	Level 4
Theory (Knowledge/ Understanding)
- understanding of concepts of music notation	- demonstrates limited understanding of concepts of music notation	- demonstrates some understanding of concepts of music notation	- demonstrates considerable understanding of concepts of music notation	- demonstrates thorough understanding of concepts of music notation
- understanding of relationships between musical concepts	- demonstrates limited understanding of relationships between musical concepts	- demonstrates some understanding of relationships between musical concepts	- demonstrates considerable understanding of relationships between musical concepts	- demonstrates thorough understanding of relationships between musical concepts
Thinking/Inquiry
- critical analysis (e.g., analyses repertoire for stylistic and historical accuracy)	- uses critical analysis with limited clarity and effectiveness	- uses critical analysis with some clarity and effectiveness	- uses critical analysis with considerable clarity and effectiveness	- uses critical analysis with thorough clarity and effectiveness
- creative thinking skills (e.g., divergent thinking, musical interpretation)	- uses creative thinking skills with limited effectiveness	- uses creative thinking skills with some effectiveness	- uses creative thinking skills with considerable effectiveness	- uses creative thinking skills with thorough effectiveness
- making connections (e.g., between the repertoire and personal experiences)	- makes connections with limited effectiveness	- makes connections with some effectiveness	- makes connections with considerable effectiveness	- makes connections with thorough effectiveness
Communication
- communication and expression of musical ideas for different audiences and purposes	- communicates and expresses musical ideas for different audiences and purposes with limited clarity	- communicates and expresses musical ideas for different audiences and purposes with some clarity	- communicates and expresses musical ideas for different audiences and purposes with considerable clarity	- communicates and expresses musical ideas for different audiences and purposes with thorough clarity
- use of music indicators as music language	- uses music indicators as music language with limited accuracy and effectiveness	- uses music indicators as music language with some accuracy and effectiveness	- uses music indicators as music language with considerable accuracy and effectiveness	- uses music indicators as music language with thorough accuracy and effectiveness
Creation
- application of knowledge and skills in familiar contexts	- uses knowledge and skills in familiar contexts with limited effectiveness	- uses knowledge and skills in familiar contexts with some effectiveness	- uses knowledge and skills in familiar contexts with considerable effectiveness	- uses knowledge and skills in familiar contexts with thorough effectiveness
- transfer of knowledge and skills to new contexts (e.g., sight reading)	- transfers knowledge and skills to new contexts with limited effectiveness	- transfers knowledge and skills to new contexts with some effectiveness	- transfers knowledge and skills to new contexts with considerable effectiveness	- transfers knowledge and skills to new contexts with thorough effectiveness
- application of the creative process (e.g., striving for originality, exploring alternative approaches)	- applies the creative process with limited effectiveness	- applies the creative process with some effectiveness	- applies the creative process with considerable effectiveness	- applies the creative process with thorough effectiveness

Note: A student whose achievement is below level 1 (50%) has not met the expectations for this assignment or activity.

Appendix 1.8

Checklist for Assessing Group Participation

(For Teacher or Peer/Self-Assessment)

Name: __________________________

Areas for Assessment of Group Participation	Needs Improvement	Satisfactory	Very Good
Respects the ideas and contributions of others
Uses time effectively and stays on task
Contributes ideas to group discussion/activity
Uses effective communication skills (oral and/or written)

Comments: