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Course Profile
Music, Grade 11, University/College Preparation, Catholic and Public
Course Overview
Course
Profiles are professional development materials designed to help teachers
implement the new Grade 11 secondary school curriculum. These materials were
created by writing partnerships of school boards and subject associations. The
development of these resources was funded by the Ontario Ministry of Education.
This document reflects the views of the developers and not necessarily those of
the Ministry. Permission is given to reproduce these materials for any purpose
except profit. Teachers are also encouraged to amend, revise, edit, cut, paste,
and otherwise adapt this material for educational purposes.
Any
references in this document to particular commercial resources, learning
materials, equipment, or technology reflect only the opinions of the writers of
this sample Course Profile, and do not reflect any official endorsement by the
Ministry of Education or by the Partnership of School Boards that supported the
production of the document.
© Queen’s
Printer for
Public
and
Lead
Board
Jennifer
Perkin - Project Manager
Dorothy
Stewart – Project Manager
Course
Profile Writing Team
Bev
MacKillop-Langevin OCCSB – Lead Writer
Neil
Bateman, OCCSB
Brian
Boggs, OCCSB
Laurie
Hamilton, OCDSB
Caroline
Spearing, TDSB
Lead
Reviewer
Lee
Willingham,
Reviewers
John
Phillips, YDSB
John
Love, TDSB
Bernard
Smyth, Institute for Catholic Education
Central
Catholic Curriculum Cooperative
Institute
for Catholic Education
Course
Overview
Music, Grade
11, University/College Preparation, AMU3M
These
music profiles are based on the expectations contained in the Ministry of
Education Document, The
Music
students learn much more than how to play music and listen to music. They are
continuously developing their sense of self, and respect for self and the
dignity and welfare of others, by being part of a performance group. They gain
valuable insight into the meaning of being an effective and contributing
interdependent team member who exercises leadership in the achievement of
individual and group goals. They learn to achieve excellence, originality and
integrity in their own work, and to value those qualities in the work of
others. They gain experience learning how to set appropriate goals and
priorities in school, work and personal life, in order to meet the commitments
of a performing ensemble.
The
intent of this course is to continue the development of the performing
musicians whose greater understanding of the elements of music allows them to
communicate their knowledge through a more refined skill level gained through
the study of all units, into which performance has been infused. Opportunities
for the development and demonstration of independent research and learning
skills will be provided throughout the course.
This
profile will provide teachers with two viable music units, based on The
Ontario Curriculum Grades 11 and 12 The Arts. The music units chosen are
Composing/Arranging and Listening/Analysis. Both of these units are designed as
classroom-ready. However, they also serve as a basis from which to build a more
personalized unit.
Considerations
for planning and effective implementation must include the availability of
computer workstations equipped with
Students
in this course will continue to gain experience working independently as well
as in a group, respecting the rights, responsibilities, and contributions of
self and others. This course enables the students to become self-directed learners
of music who can participate actively in, and make a contribution to, a
musically literate society.
|
Unit 1 |
Performance |
60 hours |
|
* Unit 2 |
Composing and Arranging |
19 hours |
|
* Unit 3 |
Listening and Analysis |
15 hours |
|
Unit 4 |
Music in Society |
8 hours |
|
Unit 5 |
Music and Technology |
8 hours |
* These
units are fully developed in this Course Profile.
Time: 60 hours
Unit
Description
Expectations
representing the three strands (theory, creation, analysis) related to the
study of performance skills are clustered to form this unit. Students have
varied opportunities to demonstrate their ability to meet the overall and
specific expectations through performance. The activities are designed to
elevate and refine the level of performance and to develop a more thorough and
sophisticated understanding of the related knowledge and skills. The four areas
of focus in this performance unit are warm-ups, ensemble development,
studies/vocalises and repertoire. In Activity 1, students continue to create
and extend exercises that develop tone quality, range, technique and
musicianship. It is important that the daily warm-up be closely linked to all
other performance activities. Activity 2 focuses on aspects of ensemble
development such as individual and group intonation, sight-reading and
technique. Students accomplish this through individual and group work,
teacher-directed exercises and activities that involve peer and
self-assessment. In Activity 3, students perform appropriate studies or
vocalises that develop individual technique and musicality. Concepts such as
phrasing, articulation, technical facility, range extension, balance and blend
will be addressed. In Activity 4, students develop a deeper understanding of
musicianship through solo, small and large ensemble performance. Teachers are
encouraged to draw upon all of the concepts explored in the other units. A
variety of musical styles and idioms should be performed. Canadian music as
well as music from a variety of cultures and eras should be included.
Unit
Overview Chart
|
Act. |
Expectations |
Assessment |
Focus |
T/L Strategies |
|
1 |
CRV.01, CRV.02; CR1.02, CR1.04, CR1.05, CR1.06 CGE: 3c, 5a, 5e, 7b, 7j |
K/U; T/I; C; A |
Warm-ups (Breathing, posture, physical and mental preparation, scales and rhythm) |
- Teacher directed, - Group performance - Student creation |
|
2 |
CRV.01, CRV.02, CRI.01, CR1.02, CRI.03, CRI.04, CR1.05, CRI.06, CRI.07, ANV.01, ANI.01, AN1.02 CGE: 3c, 4a, 4b, 4d, 4e,CGE: 5a, 5b, 5c, 5e, 5f, 5g, 7B, 7j |
K; T/I; C; A |
Ensemble Development (Balance/Blend, sight-reading, intonation technique, and scales) |
- Teacher and/or student directed - group and/or solo performance |
K/U =
Knowledge/Understanding C
= Communication
T/I =
Thinking/Inquiry A
= Application
|
3 |
CRV.01, CRV.02, CR1.01, CR1.02, CR1.03, ANV.01, AN1.01, AN1.02 CGE: 3c, 4a, 5a, 5e, 7b, 7j |
K; T/I; C; A |
Studies/vocalises |
- Teacher directed - Group and/or solo performance |
|
4 |
THV.01, TH1.05, CRV.01, CRV.02, CR1.01, CR1.02, CR1.03, ANV.01, ANV.04, AN1.01, AN1.O2, AN1.04 CGE: 3c, 4a, 4b, 4d, 4e, 5a, 5b, 5c, 5e, 5f, 5g, 7b, 7j |
K; T/I; C; A |
Repertoire (Large ensemble, chamber music, solo preparation) |
- solo and/or group performance - Group discussion - Individual/peer practice |
Time: 19 hours
Unit
Description
Expectations
representing the three strands (theory, creation, analysis) related to the
study of performance skills are clustered to form this unit. In this unit
students will have the opportunity to create and perform their original
compositions for a small ensemble. In preparation for this, they further
develop their understanding of the theoretical concepts of music including
scales, intervals, chords, and cadences. History, style, form and score reading
will be emphasised. The non-western music activity would be an excellent place
for the introduction of significant religious music from other cultures. The
students’ final product is a homophonic composition set to a given or
student-created chord progression, incorporating simple polyphonic techniques.
Students apply their knowledge through a culminating activity such as a sound
track for a video, accompaniment for a live performance, or a soundscape, or
music supporting a dramatic arts, dance or visual arts presentation.
Unit
Overview Chart
|
Act. |
Expectations |
Assessment |
Focus |
T/L Strategies |
|
1 |
THV.01, TH1.01, TH1.05, TH2.02, CRV.03, CR2.03, CR2.04, CR2.05, ANV.01, ANV.02, ANV.03, AN1.01, AN1.02, AN1.03, AN1.04, AN1.06 CGE: 2b, 3c, 3e, 5c, 5e, 5f, 5g, 7b |
K; T/I; A |
Preparation |
- Teacher presentation - Peer-instruction - Research - Lecture - Inquiry |
|
2 |
THV.02, TH1.06, CRV.03, CR2.01, CR2.05, AV.01, ANV.02, ANV.03, AN1.01, AN1.02, AN1.03, AN1.06 CGE: 2b, 3c, 3e, 5b, 5e, 5f, 5g, 7b |
K/U; T/I; C |
Non-western music |
- Teacher presentation - Listening Guides - Research - Lecture - Inquiry |
|
3 |
THV.03, TH2.01, TH2.02, CRV.03, CR2.04, CR2.05, ANV.02, ANV.03, AN1.03 CGE: 2b, 3c, 3e, 5b, 5e, 5f, 5g, 7b |
K/U; T/I; C |
Investigation of performance resources |
- Research - Concept clarification - Independent study - Inquiry |
|
4 |
THV.02, THV.03, TH1.06, TH2.01, TH2.02, CRV.03, CR2.01, CR2.02, CR2.03, CR2.04, CR2.05, ANV.01, ANV.02, ANV.03, AN1.01, AN1.02, AN1.03, AN1.04, AN1.06 CGE: 2b, 3c, 3e, 5b, 5e, 5f, 5g, 7b |
K; T/I; A |
Composing and Scoring |
- Lecture - Analysis - Computer-assisted learning - Concept clarification - Note-taking - Inquiry |
|
5 |
THV.03, TH1.06, TH2.02, CRV.01, CRV.02, CRV.03, CR1.01, CR1.02, CR2.02, CR2.03, CR2.04, ANV.03, AN1.03 CGE: 2b, 3c, 3e, 5b, 5e, 5f, 5g, 7b |
K; T/I; C; A |
Performance |
- Individual and Peer-directed practice - In-class performance - Rehearsal |
Unit
Description
Expectations
representing the three strands (theory, creation, analysis) related to the
study of performance skills are clustered to form this unit. This unit is
designed to offer students interesting and varied ways to explore music of the
baroque and classical periods, popular, and Canadian music. In the first two
activities the students investigate the baroque period itself, the relationship
between music and the other arts, the social and political factors influencing
the arts, and some of the major structures and elements of the music. They do
this through class discussion, group projects and performance. They then
compare the texture of baroque and classical music, explore sonata allegro
form, and are asked to compare how the music of the baroque and classical
periods has influenced music today. The students’ exploration of Canadian music
includes the study of various folk songs in terms of their contribution to both
classical and popular music as well as the music of R. Murray Shafer. Wherever
possible, students perform the music being studied.
Unit
Overview Chart
|
Act. |
Expectations |
Assessment |
Focus |
T/L Strategies |
|
1 |
THV.01, TH1.05, CRV.03, CR2.05, ANV.01, ANV.03, ANV.04, AN1.01, AN1.02, AN1.03 CGE: 2b, 2c, 2d, 3c, 3e, 4f, 5e, 5f, 5g, 7b, 7j |
K/U; T/I; C; A |
Elements of music as seen in Popular Music |
- Class discussion, - student listening, - Small group research and presentation |
|
2 |
THV.01, TH1.05, ANV.01, ANV.02, ANV.04, AN1.04, AN1.05 CGE: 2b, 2c, 2d, 3c, 3e, 4f, 5e, 5f, 5g, 7b, 7j |
K/U; T/I; C; A |
Introduction to music of the baroque period |
- Student observation, - Research, - Listening - Composition, - Performance |
|
3 |
THV.01, THV.O2, TH1.05, TH1.06, CRV.01, CRV.03 CR1.06, ANV.01, ANV.02, ANV.03, AN1.01, AN1.02, AN1.03 CGE: 2b, 2c, 2d, 3c, 3e, 4f, 5e, 5f, 5g, 7b, 7j |
K/U; T/I; C; A |
The Fugue |
- Individual student: listening, discussion and performance - Group composition and performance |
|
4 |
THV.01, TH1.05, TH1.06, ANV.01, ANV.02, ANV.04, AN1.01, AN1.02 CGE: 2b, 2c, 2d, 3c, 3e, 4f, 5e, 5f, 5g, 7b, 7j |
K/U; T/I; C; A |
The texture of Classical Music |
- Student listening, - Class discussion, - Group discovery, - Student writing |
|
5 |
THV.01, TH1.05, TH1.06, ANV.01, ANV.02, ANV.03, AN1.01, AN1.02, CGE: 2b, 2c, 2d, 3c, 3e, 4f, 5e, 5f, 5g, 7b, 7j |
K/U; T/I; C; A |
Sonata Allegro Form |
- Student listening, - Teacher directed, - Group listening and discovery, - Group assignment |
|
6 |
THV.01, CRV.03, CR2.04, CR2.05, ANV.01, ANV.02, ANV.03, ANV.04, AN1.01, AN1.02, AN1.03 CGE: 2b, 2c, 2d, 3c, 3e, 4f, 5e, 5f, 5g, 7b, 7j |
K/U; T/I; C; A |
R. Murray Schafer |
- Student listening and discussion, - Group composition |
|
7 |
THV.01, THV.02, TH1.05, TH1.06, CRV.01, CRV.03, CR1.01, CR2.01, CR2.04, ANV.01, ANV.02, ANV.03, ANV.04, AN1.01, AN1.02, AN1.03 CGE: 2b, 2c, 2d, 3c, 3e, 4f, 5e, 5f, 5g, 7b, 7j |
K/U; T/I; C; A |
Canadian Folk Songs |
- Performance - Listening - Analysing, - Arranging |
Unit
Description
Expectations
representing the three strands (theory, creation, analysis) related to the
study of performance skills are clustered to form this unit. This unit offers
students the opportunity to explore music of different cultures. The first
activity introduces the students to music from several cultures through
listening and performing exercises. The second activity encourages students to
explore the relationship between the audience and the performance in different
cultural settings. In the third activity the students are asked to reflect on
the different roles they are asked to play in music-making, and project how
these roles could be applied to possible careers in or related to music.
Unit
Overview Chart
|
Act. |
Expectations |
Assessment |
Focus |
T/L Strategies |
|
1 |
THV.01, TH1.05, CRV.01, CR1.01, CR2.04, ANV.01, ANV.02, ANV.03, ANV.04 AN1.01, AN1.02, AN1.03 CGE: 2b, 2c, 2d, 2e, 3e, 4a, 4g, 5b, 5g, 7f, 7g |
K/U; T/I; C; A |
Music of the World |
- Student listening and exploration, - Performance |
|
2 |
CRV.03, CR2.05, ANV.04, AN1.03, AN1.07 CGE: 2a, 2e, 3e, 4f, 4g, 4h, 5c, 5e, 5g, 7b |
K/U; T/I; C; A |
Audience and the Live Performance |
- Class discussion, - Teacher directed, - Group work |
|
3 |
ANV.05, AN2.01, AN2.02 CGE: 2a, 2e, 3e, 4f, 4g, 4h, 5c, 5e, 5g, 5h, 7b |
T/I; C; A |
Music and Careers |
- Research - Role Play - Guest Speaker - Presentation - Self reflection and analysis - Presentation |
Unit
Description
Expectations
representing the three strands (theory, creation, analysis) related to the
study of performance skills are clustered to form this unit. In this unit the
students gain further understanding of the basic concepts of sequencing and
notation software, including editing of sound, real-time and step-time input,
cutting, copying, and pasting of sound elements and quantizing. Included in
this unit are analog and/or digital recording activities as well as Internet
use. The students have the opportunity to apply their knowledge through
composition and arranging exercises including improvisation of simple melodies.
Some of the activities can be integrated with Unit 1 (Performance) and Unit 2
(Composing and Arranging).
Unit
Overview Chart
|
Act. |
Expectations |
Assessment |
Focus |
T/L Strategies |
|
1 |
THV.03, TH1.03, TH2.01, TH2.02, CRV.03, CR2.05, ANV.03, AN1.03 CGE: 2a, 2b, 2d, 2e, 3e, 3f, 4b, 4d, 5e, 5g |
K/U; T/I; C |
Background (Analog/digital hardware, sequencing, scoring and accompaniment software, and internet use) |
- Student-cantered learning - Teacher directed learning - Problem solving |
|
2 |
THV.03, TH2.01, TH2.02, CRV.03, CR1.04 CR2.05, ANV.03, AN1.03 CGE: 2a, 2b, 2d, 2e, 3e, 3f, 4b, 4d, 5e, 5g |
K/U; T/I; C; A |
Preparation (Theoretical concepts media integration) |
- Investigation - Collaborative learning - Teacher-directed learning |
|
3 |
THV.03, TH2.01, TH2.02, CRV.03, CR1.04, CR2.03, ANV.03 CR2.05, ANV.03, AN1.03 CGE: 2a, 2b, 2d, 2e, 3e, 3f, 4b, 4d, 5e, 5g |
K/U; T/I; C; A |
Performance - Practical application of the technology |
- Collaborative learning - Application of Learned concepts - Investigation |
It is
important to develop well-balanced appropriate activities, which use a variety
of teaching and learning strategies that aid in the development of the
students’ cognitive skills, psychomotor skills and the affective domain. The
following is a list of strategies that should be considered:
|
· Aural dictation |
· Listening |
|
· Class discussion |
· Peer tutoring |
|
· Class performance |
· Practice |
|
· Group work/exploration |
· Student discovery |
|
· Group/Individual Presentation |
· Student performance |
|
· Independent research |
· Student reflection |
|
· Anecdotal |
· Quiz |
|
· Checklists |
· Rubrics |
|
· Journal entries |
· Short assignments |
|
· Performance evaluation |
· Student/teacher conference |
|
· Portfolio |
· Teacher observation |
|
· Written work |
|
Seventy
per cent of the grade will be based on assessments and evaluations conducted
throughout the course. Thirty per cent of the grade will be based on a final
evaluation in the form of an examination, performance, essay, and/or other
method of evaluation.
The music
program must allow for the integration of special needs students and therefore
accommodations may be necessary. Exceptionalities are defined in the Education
Act as behavioural, communicational, physical, intellectual, and multiple.
Individualized Educational Plans (IEPs) must be devised to meet the needs of
exceptional students. Teachers should elicit the assistance of the personnel in
the Resource Departments at the school and board levels. Activities, teaching
and learning strategies, as well as assessment and evaluation techniques,
should be modified when necessary to accommodate special needs students.
Teachers may need to modify safety procedures to accommodate special needs
students. ESL students may require modification of instruction and assessment.
ESL specialists should be consulted when necessary. Modification of some
activities may be necessary to fully engage gifted students.
Some possible accommodations:
·
Allow
additional time that has been pre-established with the student, to complete
tasks.
·
Encourage
drafts and suggest ways to improve drafts.
·
Encourage
students to question for clarification and additional information.
·
Encourage
the use of drawing or sketching as part of the planning process.
·
For
purposes of enrichment, students can perform the music from the cultures
learned, remaining true to the style of the music. Composing their own music
for the culture studied, and using the authentic instruments from that culture
are also considered enrichment activities.
·
Use
of electronic tuning devices for students with limited pitch recognition is
advised.
·
Students
with limited experience/knowledge could be paired with a peer for tutoring.
·
Negotiate
the required length and appropriate deadlines for written assignments.
·
On-line
help and software materials can be used.
·
Provide
advance organizers to structure the content.
·
Provide
immediate reinforcement of correct response and immediate feedback of results
where possible.
·
Provide
models of the writing process, related to the review, that are visible for the
student.
·
Reinforce
oral instructions with written or visual cues.
·
Repeat
important information.
·
Repeat
listening examples if the need arises.
·
Students
may ornament a piece rather than a scale, for enrichment purposes.
·
Students,
with religious concerns, may be provided with alternative repertoire.
·
Teach
in small, incremental steps, moving from simple to more difficult.
School
Library/Resource Centre
Public
libraries
Local
heritage and community cultural centres
The
Internet
Appropriate
recordings
Fowler,
C. Music! Its Role and Importance in our Lives. New York:
Macmillan/McGraw- Hill, 1994.
Shehan
Campbell, P., Sue Williamson and Pierre Perren. Traditional Songs of Singing
Cultures: A World Sampler. Miami, Florida: Warner Bros. Publications. 1996.
Shehan
Campbell, P., Ellen McCullough-Brabson, and Judith Cook-Tucker. Roots and
Branches: A Legacy of Multicultural Music for Children. Danbury,
Connecticut: World Music Press. 1994.
Canon
in D, Johann
Pachelbel, any recording
“Little”
Fugue in Gm, J.S.
Bach, any recording
Eine
Kleine Nachtmusik,
W. A. Mozart, any recording and score
P.D.Q.
Bach on the Air.
Professor Peter Schickele, Santa Monica, CA: Vanguard Everyman Classics, 1988.
50min. VBD-79268
Geographical
fugue
History
Forney,
Kristine and Machlis, Joseph. The Enjoyment of Music, 8th ed. N.Y.: W.W.
Norton and Co., 1995.
Forney,
Kristine and Machlis, Joseph. CD Series The Enjoyment of Music, 8th ed.
N.Y.: W.W. Norton and Co., 1995.
Taruskin,
Richard and Weiss, Piero. Music in the Western World. New York: Schirmer
Books, 1984.
Theory
Dasher,
Richard T. Applying Musical Theory. Portland Maine: J. Weston Walch,
1980.
Lawless,
James and Podoliak, Tela. Writing Music- Book One. Waterloo, Ontario:
Waterloo Music Co. Ltd., 1987. ISBN 0-88909-044-0
Lawless,
James. Preliminary Rudiments. Waterloo, Ontario: Waterloo Music Co.
Ltd., 1975.
ISBN 0-88909-005-X
Wharram,
Barbara. Elementary Rudiments of Music. Oakville, Ontario: Frederick
Harris Music Co. Ltd., 1969. ISBN 0-88797-004-4
The
Pianist
Note: The URLs for the websites have been verified by
the writer prior to publication. Given the frequency with which these
designations change, teachers should always verify the websites prior to
assigning them for student use.
Composition
and Related Sites
http://www.ascap.com/ - American Society of
Composer and Performers
http://www.socan.ca/ - Society of Composers,
Authors, and Music Publishers of Canada.
http://www.taxi.com/ - TAXI (connections for
budding stars to Recording Companies)
http://www.geocities.com/Vienna/Strasse/1570/carnival.htm
- Carnival of the Animals website
http://www.nationalgeographic.com/ngm/0101/online_extra.html
- Japanese gagku music
Electronic
and Digital Music Applications
http://www.anvilstudio.com
- Anvil Studio: Downloadable freeware MIDI and WAV sequencer
http://industryclick.com/magazine.asp?siteid=15&magazineid=33
- Electronic Musician Magazine
http://www.recordingmag.com/
- Tips for all kinds of music projects
http://www.harmony-central.com/
- Established digital Music production
site.
http://www.MusicPlayer.com
- MusicPlayer.com for keyboardists, guitarists, drummers, DJs, vocalists and
production.
http://www.cakewalk.com/Support/Lessons/WindowsMixer.htm
- Explanations for setting up computer sound card to record effectively.
http://www.enoreo.on.ca/musiccyberfest - Online Music Festival
http://www.apple.com/creative/musicaudio/resources/index.html
- Apple Creative
Erickson,
Frank. Arranging for the Concert Band. Melville, New York: Belwin-Mills
Pub. Corp., 1983.
ISBN 0-910957-05-3
Erickson,
Frank. Arranging for the Concert Band Workbook. Melville, New York:
Belwin-Mills Pub. Corp., 1983. ISBN 0-910957-06-1
Kennan,
Kent Wheeler. The Technique of Orchestration, 2nd ed. Englewood Cliffs,
New Jersey: Prentice-Hall Inc., 1970. ISBN 13-900316-9
Wright,
Rayburn. Inside the Score. Delevan, New York: Kendor Music, 1982.
This
Course Profile has been designed to assist in the implementation of The
Ontario Curriculum Grades 11 and 12 The Arts, 2000. The profile also
supports the implementation of:
Ontario
Secondary Schools, Grades 9 to 12, Program and Diploma Requirements, 1999 (OSS), Sections 4, 5, 6, and 7
Choices
into Action, Guidance and Career Education Program Policy for Ontario
Elementary and Secondary Schools, 1999
The
Ontario Curriculum, Grades 9 to 12, Program Planning and Assessment, 2000
Educating
the Soul: Writing Curriculum for Catholic Secondary Schools, 1998.
Coded
Expectations, Music, Grade 11, University/College Preparation, AMU3M
THV.01 · demonstrate an understanding of
the elements of music in relation to music of the baroque and classical
periods, popular music, and Canadian and non-Western music;
THV.02 · demonstrate the ability to notate
rhythmic patterns, melodies, and chords accurately through listening;
THV.03 · demonstrate an understanding of
concepts required in the use of music software.
Musical
Literacy
TH1.01 – identify, using correct
terminology, and notate accurately the following: major, melodic and harmonic
minor, whole tone, chromatic, and blues scales; simple and compound intervals
and their inversions; major, minor, augmented, and diminished triads; dominant
seventh, diminished seventh, major seventh, and minor seventh chords; and
perfect, plagal, and imperfect cadences;
TH1.02 – notate accurately, through
listening, rhythmic patterns of up to four measures in simple and compound metres;
TH1.03 – notate accurately, through
listening, melodies of up to four measures in simple and compound metres;
TH1.04 – identify and notate accurately,
through listening, dominant seventh, diminished seventh, major seventh, and
minor seventh chords, and perfect, plagal, and imperfect cadences;
TH1.05 – describe aspects of the elements
of music (i.e., melody, harmony, rhythm, dynamics, timbre, texture, form) in
music of the baroque and classical periods, and in popular music, Canadian
music, and non-Western music, using appropriate terminology;
TH1.06 – demonstrate an understanding of
the layout and conventions involved in the use of various ensemble scores
(e.g., vocal, orchestral, wind ensemble, and jazz scores).
Understanding
of Technological Concepts
TH2.01 – demonstrate an understanding of
basic concepts of music input in sequencing and notation software (e.g.,
real-time input, step-time input);
TH2.02 – demonstrate an understanding of
basic concepts in the editing of sound in sequencing and notation software
(e.g., cutting, copying, and pasting of sound elements; quantizing).
CRV.01 · perform music appropriate for the
course with accuracy and artistic sensitivity;
CRV.02 · demonstrate mastery of technical
skills appropriate for the course;
CRV.03 · compose and/or arrange musical
works, showing an understanding of the creative process and making appropriate
use of technology.
Performing
CR1.01 – perform musical works proficiently in a
variety of styles for various ensembles;
CR1.02 – demonstrate the specific
technical skills necessary for the expressive performance of repertoire
required in the course (e.g., skills in handling articulation, phrasing,
intonation, dynamics, tempi, rhythms, balance, blend) through the performance
of studies (e.g., solo studies, studies for small or large ensembles) and
course repertoire;
CR1.03 – perform accurately, at sight,
music that is appropriate for the course;
CR1.04 – perform accurately from memory
major, relative melodic minor, and blues scales with up to four sharps and four
flats, covering two or three octaves as appropriate for the instrument or
voice;
CR1.05 – perform accurately the chromatic
scale from the lowest functional note to the highest functional note in the
range of the instrument or voice;
CR1.06 – reproduce accurately, by
clapping, playing, or singing, rhythmic patterns of up to four measures in
simple and compound metres;
CR1.07 – reproduce accurately, by playing
or singing, melodies of up to four measures in simple and compound metres.
Composing
and Arranging
CR2.01 – compose and/or arrange simple
homophonic compositions, using technology where appropriate (e.g., compose a
melody with lyrics that includes non-chord tones and that is set to given chord
progressions that include dominant sevenths; arrange existing music for an
ensemble of available instruments or voices, transposing where appropriate);
CR2.02 – demonstrate facility with simple
polyphonic techniques (e.g., imitation), using sequencing software where
appropriate (e.g., write a round);
CR2.03 – improvise a melody within given
parameters (e.g., a melody eight measures long, with a MIDI accompaniment in
B-flat major using I, IV, and V chords);
CR2.04 – demonstrate an understanding of
all stages of the creative process in producing compositions and/or
arrangements (i.e., generate ideas, develop a plan, compose or arrange a first
version, revise the work, produce the final version);
CR2.05 – demonstrate the ability to use
the Internet to find possible materials (texts and music) for their works,
showing understanding of the necessity of using such materials in an ethical
way.
ANV.01 · analyse and evaluate musical
works, demonstrating an understanding of some major characteristics of baroque
and classical music, popular music, and Canadian and non-Western music;
ANV.02 · identify, analyse, and evaluate
musical works through listening;
ANV.03 · analyse musical works and
performances of works, demonstrating an understanding of the process of
critical analysis;
ANV.04 · analyse the relationship between
music and its cultural context;
ANV.05 · demonstrate an understanding of
possibilities for postsecondary studies and for careers related to music.
Music
Appreciation
AN1.01 – analyse works from the baroque and classical
periods, and from popular, Canadian, and non-Western traditions (e.g., a
chorale and fugue, a sonata-allegro movement, a jazz bebop song, a raga),
explaining how the various elements of music work together in the particular
style, and evaluate the effectiveness of the use of the elements;
AN1.02 – analyse and compare the use of
specific aspects of musical structure in baroque, classical, popular, Canadian,
and non-Western music (e.g., a bridge passage in a fugue, a sonata, and a
popular song);
AN1.03 – analyse live and/or recorded
performances of music (e.g., performances by themselves, their peers,
professional musicians), following standard procedures in critical analysis
(e.g., describe their initial reaction, analyse the performance using
appropriate terminology, and evaluate the performer’s interpretation of the
work);
AN1.04 – compare some stylistic
characteristics of baroque and classical music with characteristics of some of
the other arts in the eighteenth century (e.g., ornamentation in music and
architecture of the baroque);
AN1.05 – explain the influence of some
political, social, and/or technological factors on the lives and music of the
major composers of the baroque and classical periods (e.g., Bach, Handel,
Scarlatti, Vivaldi, Haydn, Mozart, Beethoven);
AN1.06 – analyse two contrasting musical
presentations (e.g., a rock concert and a symphony concert; a string quartet
performance and an orchestral performance), focusing on essential differences;
AN1.07 – analyse the relationship between
the audience and a live performance in a specific setting (e.g., a drum
ceremony at an Ojibway gathering; a late-night performance by a quartet in a
jazz club; an opera performance in a large theatre), and explain why a
particular audience might find the performance satisfying.
Career
Preparation
AN2.01 – evaluate the usefulness, in
various careers, of skills and knowledge that can be developed through the
study of music, including interpersonal and leadership skills;
AN2.02 – identify requirements for careers
in music and in fields related to music, through an analysis of various career
possibilities.
Ontario
Catholic School Graduate Expectations
The
graduate is expected to be:
A
Discerning Believer Formed in the Catholic Faith Community
who
CGE1a -illustrates
a basic understanding of the saving story of our Christian faith;
CGE1b -participates
in the sacramental life of the church and demonstrates an understanding
of the centrality of the Eucharist to our Catholic story;
CGE1c -actively
reflects on God’s Word as communicated through the Hebrew and Christian
scriptures;
CGE1d -develops
attitudes and values founded on Catholic social teaching and acts to
promote social responsibility, human solidarity and the common good;
CGE1e -speaks
the language of life... “recognizing that life is an unearned gift and
that a person entrusted with life does not own it but that one is called to
protect and cherish it.” (Witnesses to Faith)
CGE1f -seeks
intimacy with God and celebrates communion with God, others and creation
through prayer and worship;
CGE1g -understands
that one’s purpose or call in life comes from God and strives to discern
and live out this call throughout life’s journey;
CGE1h -respects
the faith traditions, world religions and the life-journeys of all
people of good will;
CGE1i -integrates
faith with life;
CGE1j -recognizes
that “sin, human weakness, conflict and forgiveness are part of the human
journey” and that the cross, the ultimate sign of forgiveness is at the heart
of redemption. (Witnesses to Faith)
An
Effective Communicator who
CGE2a -listens
actively and critically to understand and learn in light of gospel values;
CGE2b -reads,
understands and uses written materials effectively;
CGE2c -presents
information and ideas clearly and honestly and with sensitivity to others;
CGE2d -writes
and speaks fluently one or both of Canada’s official languages;
CGE2e -uses
and integrates the Catholic faith tradition, in the critical analysis of the
arts, media, technology and information systems to enhance the quality of life.
A
Reflective and Creative Thinker who
CGE3a -recognizes
there is more grace in our world than sin and that hope is essential in facing
all challenges;
CGE3b -creates,
adapts, evaluates new ideas in light of the common good;
CGE3c -thinks
reflectively and creatively to evaluate situations and solve problems;
CGE3d -makes
decisions in light of gospel values with an informed moral conscience;
CGE3e -adopts
a holistic approach to life by integrating learning from various subject areas
and experience;
CGE3f -examines,
evaluates and applies knowledge of interdependent systems (physical, political,
ethical, socio-economic and ecological) for the development of a just and
compassionate society.
A Self-Directed, Responsible, Life Long Learner
who
CGE4a -demonstrates
a confident and positive sense of self and respect for the dignity and welfare
of others;
CGE4b -demonstrates
flexibility and adaptability;
CGE4c -takes
initiative and demonstrates Christian leadership;
CGE4d -responds
to, manages and constructively influences change in a discerning manner;
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;
CGE4g -examines
and reflects on one’s personal values, abilities and aspirations influencing
life’s choices and opportunities;
CGE4h -participates
in leisure and fitness activities for a balanced and healthy lifestyle.
A
Collaborative Contributor who
CGE5a -works
effectively as an interdependent team member;
CGE5b -thinks
critically about the meaning and purpose of work;
CGE5c -develops
one’s God-given potential and makes a meaningful contribution to society;
CGE5d -finds
meaning, dignity, fulfillment and vocation in work which contributes to the
common good;
CGE5e -respects
the rights, responsibilities and contributions of self and others;
CGE5f -exercises
Christian leadership in the achievement of individual and group goals;
CGE5g -achieves
excellence, originality, and integrity in one’s own work and supports these qualities
in the work of others;
CGE5h -applies
skills for employability, self-employment and entrepreneurship relative to
Christian vocation.
A
Caring Family Member who
CGE6a -relates
to family members in a loving, compassionate and respectful manner;
CGE6b -recognizes
human intimacy and sexuality as God given gifts, to be used as the creator
intended;
CGE6c -values
and honours the important role of the family in society;
CGE6d -values
and nurtures opportunities for family prayer;
CGE6e -ministers
to the family, school, parish, and wider community through service.
A
Responsible Citizen who
CGE7a -acts
morally and legally as a person formed in Catholic traditions;
CGE7b -accepts
accountability for one’s own actions;
CGE7c -seeks
and grants forgiveness;
CGE7d -promotes
the sacredness of life;
CGE7e -witnesses
Catholic social teaching by promoting equality, democracy, and solidarity for a
just, peaceful and compassionate society;
CGE7f -respects
and affirms the diversity and interdependence of the world’s peoples and
cultures;
CGE7g -respects
and understands the history, cultural heritage and pluralism of today’s
contemporary society;
CGE7h -exercises
the rights and responsibilities of Canadian citizenship;
CGE7i -respects
the environment and uses resources wisely;
CGE7j -contributes
to the common good.
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