Course Profile Music, Grade 11, University/College
Preparation, Catholic and Public
Unit
2: Composing And Arranging
Time: 19 hours
Activity 1 | Activity 2
| Activity 3 | Activity 4
| Activity 5
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 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 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, a soundscape or music supporting a
dramatic arts, dance or visual arts presentation.
|
Activity |
Time |
Expectations |
Assessment |
Tasks |
|
1. Preparation |
480 min |
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/U; T/I; A |
Students improvise a melody, write short melodic exercises and develop and score an accompaniment |
|
2. Non-western Music |
80 min |
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; A |
Students listen to and develop their own scoring method for non-western music |
|
3. Investigation of Performance Resources |
60 min |
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; A |
Students research and present information concerning the equipment and venue necessary for successful performances |
|
4. Composing and Scoring |
320 min |
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, ANI.06 CGE: 2b, 3c, 3e, 5b, 5e, 5f, 5g, 7b |
K/U; T/I; C; A |
Students create, score and perform a homophonic composition |
|
5. Performance |
200 min |
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/U; T/I; C; A |
Students prepare and perform their compositions for use as a soundtrack or supporting music |
Time: 480 minutes
Students
investigate rhythmic, melodic, harmonic, form and style aspects of homophonic
composition in preparation for the development and creation of their own
compositions. The students develop research and analytical skills through the
study of musical excerpts from various genres. MIDI and information technology
could be used in this investigation to increase efficiency.
Strand(s): Theory, Creation, Analysis
Overall
Expectations
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;
CRV.03 -
compose and/or arrange musical works, showing an understanding of the creative
process and making appropriate use of technology;
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.
Specific
Expectations
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;
TH1.05 -
describe aspects of the elements of music in music of the baroque and classical
periods, and in popular music, Canadian music, and non-western music, using
appropriate terminology;
TH2.02 -
demonstrate an understanding of basic concepts in the editing of sound in
sequencing and notation software;
CR2.03 -
improvise a melody within given parameters;
CR2.04 -
demonstrate an understanding of all stages of the creative process in producing
compositions and/or arrangements;
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;
AN1.01 -
analyse works from the baroque and classical periods, and from popular,
Canadian, and non-western traditions; 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;
AN1.03 -
analyse live and/or recorded performances of music, following standard
procedures in critical analysis;
AN1.04 -
compare some stylistic characteristics of baroque and classical music with
characteristics of some of the other arts in the eighteenth century;
AN1.06 -
analyse two contrasting musical presentations, focusing on essential
differences.
Ontario
Catholic School Graduate Expectations
CGE2b - reads, understands and uses written
materials effectively;
CGE3c - thinks reflectively and creatively to
evaluate situations and solve problems;
CGE3e - adopt a holistic approach to life by
integrating learning from various subject areas and experience;
CGE5c -
develops one’s God-given potential and makes a meaningful contribution to
society;
CGE5e -
respects the right, 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;
CGE7b -
accepts accountability for one’s own actions.
·
Students
should have a basic knowledge of scales, key signatures, intervals, major and
minor triads, rhythmic and melodic notation and transposition.
·
Basic
aural skills and visual identification skills related to the analysis of music
are necessary.
·
Basic
independent research and presentation skills are necessary.
·
Students
require access to music research materials, both written and electronic, to aid
in the completion of their projects.
·
The
teacher should prepare the recommended audio/visual materials and equipment as
detailed in the activities and make appropriate substitutions where necessary.
·
Time
devoted to the activities should be spread throughout the course so that the
student has opportunity for skill acquisition, independent research and
assimilation of knowledge, skills and values.
·
Arrangements
for adequate access to the hardware e.g., computer labs must be made, if
required.
·
Thorough
research of melody and its relationship to harmony is a course unto its own
and, as such, is outside the scope of this unit. Therefore, consideration
should be made for further investigation of melody and harmony as the needs and
desires of the students become apparent.
·
The
detailed study of the history of baroque, classical, and popular music is
necessarily limited by time constraints. An approach that gives the students a
foundation for the continued study of these areas would be appropriate.
·
A
study of Saint-Seans’ Carnival of the Animals as a starting point, could
allow the individual compositions to be used as suite sections in the creation
of a class instrumental suite similar to Carnival of the Animals. Refer
to the resource list for the appropriate website.
1. The teacher hands out Appendix A – Student Completion Checklist for Activity One. The
students refer to this chart throughout Activity 1, aiming for completion upon
conclusion of this Activity 1.
2. The teacher selects representative examples
of simple homophonic and polyphonic works. Printed scores and audio examples
(CD or tape) of these pieces are presented to the students as examples of music
from the classical and baroque eras. Full scores, short scores and modern vocal
scoring models should be introduced at this point.
3. Students, in consultation with the teacher,
compare and contrast the textural differences by listening and score analysis.
4. Melodic and accompaniment structure in the
pieces, and its relationship to the harmony, is examined and compared.
Particular emphasis should be placed on voice leading.
5. Focus should be placed on the stylistic and
form aspects of the baroque and classical eras.
6. Students
improvise a melody, within given parameters e.g., harmonic progression, blues
scale, Dorian mode scale or pentatonic scale. Teacher/class discuss the
process, the difficulties and the effectiveness of the improvised melody.
7. Students write short melodic exercises based
on a harmonic progression provided by the teacher. Students are encouraged to
“aim” their melodies at a target note where the harmony changes.
8. Students develop and score a stylistically
appropriate accompaniment based on the chord progression. Stylistic
considerations are gleaned form the scored examples.
9. The teacher assesses the melody and
accompaniment (Appendix B – Rubric for
evaluation of Student Melody) and provides feedback to the students.
10. Students plan an extension of the simple
melody to a larger form by writing second phrases, background lines, variations
and/or imitations.
·
Student/teacher
conference
·
Teacher
feedback
·
Checklists
(Appendix A – Student Completion Checklist for Activity One)
·
Teacher/student
developed rubric (Appendix B – Rubric for Evaluation of Student Melody)
·
Written
assignment
·
Self-assessment
·
Anecdotal
·
Personal
communication
·
Teacher
assessment/evaluation
·
Formal/informal
observation
·
For
purposes of enrichment, students can compose and perform larger works and/or
works involving stricter forms of imitation such as fugues and canons.
·
Students
may work with a partner.
·
Repeat
listening examples if need arises.
·
Visual
learners could be encouraged to sketch melodies as part of creative process.
·
Allow
additional time.
·
Provide
advance organizers to structure content.
The
Pianist (Software)
Carnival
of the Animals
website - http://www.geocities.com/Vienna/Strasse/1570/carnival.htm
History
Forney,
Kristine and Machlis, Joseph. The Enjoyment of Music, 8th ed. New York:
W.W. Norton and Co., 1995.
Taruskin,
Richard and Weiss, Piero. Music in the Western World. New York: Schirmer
Books, 1984.
Theory
Wharram,
Barbara. Elementary Rudiments of Music. Mississauga, Ontario: The
Fredrick Harris Music Co. Ltd., 1969.
Wharram,
Barbara. Theory for Beginners. Mississauga, Ontario: The Fredrick Harris
Music Co. Ltd., 1974.
Computer
Hurtig,
Brent. Multi-Track Recording. Cupertino, Calif.: Alfred Pub., 1988. ISBN
0-88284-355-9
Arranging
and Composition
Erickson,
Frank. Arranging for the Concert Band. Melville, New York: Belwin-Mills
Pub. Corp., 1983.
ISBN 0-910957-05-3
Time: 80 minutes
In this
activity students will investigate representative examples of music from other
cultures. Through listening and discussion, students become familiar with
alternative styles of expression.
Strand(s): Theory and Analysis
Overall
Expectations
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;
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.0 -
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.
Specific
Expectations
TH1.05 -
describe aspects of the elements of music in music of the and classical
periods, and in popular music, Canadian music, and non-western music, using
appropriate terminology;
CR2.05 -
demonstrate the ability to use the Internet to find possible materials for
their works, showing understanding of the necessity of using such materials in
an ethical way;
AN1.01 -
analyse works from the baroque and classical periods, and from popular,
Canadian, and non-western traditions, 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;
AN1.03 -
analyse live and/or recorded performances of music, following standard
procedures in critical analysis;
AN1.06 -
analyse two contrasting musical presentations focusing on essential
differences.
Ontario
Catholic School Graduate Expectations
CGE2b -
reads, understands and uses written materials effectively;
CGE3c -
thinks reflectively and creatively to evaluate situations and solve problems;
CGE3e -
adopt a holistic approach to life by integrating learning from various subject
areas and experience;
CGE5c -
develops one’s God-given potential and makes a meaningful contribution to
society;
CGE5e -
respects the right, 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;
CGE7b -
accepts accountability for one’s own actions.
·
Basic
aural skills and visual identification skills related to the analysis of music
are necessary.
·
Basic
independent research and presentation skills are necessary.
·
Students
require access to music research materials, both written and electronic
·
The
teacher should prepare the recommended audio/visual materials and equipment as
detailed in the activity and make appropriate substitutions where necessary.
·
Time
devoted to the activities should be spread throughout the course so that the
student has appropriate time for skill acquisition, independent research and
assimilation of knowledge, skills and values.
·
Considerations
for adequate access to the hardware (e.g. computer labs) must be made, if
required.
·
The
detailed study of non-western music is necessarily limited by time constraints.
An approach that gives the students a foundation for the continued study of
these areas would be appropriate.
·
The
teacher may allow for more or less time for this activity depending on the
amount of time allotted to this unit of study.
1. The teacher and students select
representative examples of works from the particular culture and develop a
short description of the society from where it originated, including how the
music was used in that society.
2. Audio examples (CD, tape) of these pieces are
presented to the students.
3. Students, in consultation with the teacher,
compare and contrast the structural differences between the selected works and
western music.
4. Students develop their own scoring method for
the piece that is being studied, where appropriate.
5. Students present and compare their own
scoring method with those of other classmates.
6. The teacher and students ensure that the
music and practices of other cultures are treated sensitively and with respect,
with the understanding that the values and descriptors of our society are not
always applicable to arts practices of other cultures.
·
Student/teacher
conference
·
Teacher
feedback
·
Rubric
(Appendix J – Rubric for Evaluation of Student-developed Score for Non-Western
Music)
·
Written
assignment
·
Self-assessment
·
Anecdotal
·
Personal
communication
·
Teacher
assessment/evaluation
·
Formal/informal
observation
·
For
purposes of enrichment, students can compose and perform their own works in the
style of the presented works.
·
Students
may work with a partner.
·
Repeat
listening examples if need arises.
·
Visual
learners could be encouraged to sketch melodies as part of creative process.
·
Allow
additional time.
White Cliffs Media -
http://www.ethnomusicology.com/
Ethnomusicology Bibliographic Guide -
http://www.library.ucsb.edu/guides/ethno.html
Ethnomusicology
Online - http://www.research.umbc.edu/eol/
Japanese
gagku music - http://www.nationalgeographic.com/ngm/0101/online_extra.html
Worlds
of Music. Titon,
Jeff Todd, ed. New York: Schirmer Books, 1984.
Time: 60 minutes
Students
develop a data bank of the equipment and venues available as performance
resources.
Strand(s): Creation, Analysis
Overall
Expectations
CRV.03 -
compose and/or arrange musical works, showing an understanding of the creative
process and making appropriate use of technology;
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.
Specific
Expectations
TH2.01 -
demonstrate an understanding of basic concepts of music input in sequencing and
notation software;
TH2.02 -
demonstrate an understanding of basic concepts in the editing of sound in
sequencing and notation software;
CR2.04 -
demonstrate an understanding of all stages of the creative process in producing
compositions and/or arrangements;
CR2.05 -
demonstrate the ability to use the Internet to find possible materials for
their works, showing understanding of the necessity of using such materials in
an ethical way;
AN1.03 -
analyse live and/or recorded performances of music following standard
procedures in critical analysis.
Ontario
Catholic School Graduate Expectations
CGE2b -
reads, understands and uses written materials effectively;
CGE3c -
thinks reflectively and creatively to evaluate situations and solve problems;
CGE3e -
adopt a holistic approach to life by integrating learning from various subject
areas and experience;
CGE5b -
thinks critically about the meaning and purpose of work;
CGE5e -
respects the right, 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;
CGE7b -
accepts accountability for one’s own actions.
·
Students
should have basic independent research and presentation skills.
·
Basic
knowledge of computer music hardware and software is an asset.
·
Teacher
should prepare the hardware and software in the stations in order to give each
group easy access to the equipment as well as access to the equipment manuals.
·
Appendix
K – Checklist for Evaluation of Student-developed Resource Guide should be
copied for each student in the class.
·
Potential
performance venues in the school should be assessed.
1. Students are broken into groups and assigned
a piece of equipment or performance medium/venue to research and prepare a
presentation to the class.
2. Students prepare a presentation, such as a
poster, of their findings for homework. A single page handout of the findings
is also prepared for the teacher to give to every student.
3. Students present their findings to the class.
4. Class discusses and analyses each
presentation with the view to discovering possible integration of the materials
and venues for the performances in Activity 5.
5. Each student completes Appendix K – Checklist
for Evaluation of Student-developed Resource Guide and returns it to the group
for inclusion in their portfolios.
·
Student/teacher
conference
·
Teacher/student
developed rubric
·
Peer
Assessment (Appendix K – Checklist for Evaluation of Student-developed Resource
Guide)
·
Personal
communication
·
Teacher
assessment/evaluation
·
Formal/informal
observation
·
Students
who have difficulty with public speaking can be grouped with those more
confident or may be allowed to use an audiotape.
·
Extra
time may be given.
·
Students
with difficulty preparing diagrams could use enlarged photocopies of pages from
equipment manuals, site maps of the school or computer graphics.
·
Equipment
manuals
·
School
site maps
Time: 320 minutes
Students
create and perform homophonic composition set to a given or student-created
chord progression, incorporating simple polyphonic techniques, and score it for
their class arrangement of instruments/voices.
Strand(s): Theory, Creation and Analysis
Overall
Expectations
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;
CRV.03 -
compose and/or arrange musical works, showing an understanding of the creative
process and making appropriate use of technology;
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.
Specific
Expectations
TH1.06 -
demonstrate an understanding of the layout and conventions involved in the use
of various ensemble scores;
TH2.01 -
demonstrate an understanding of basic concepts of music input in sequencing and
notation software;
TH2.02 -
demonstrate an understanding of basic concepts in the editing of sound in
sequencing and notation software;
CR2.01 -
compose and/or arrange simple homophonic compositions, using technology where
appropriate;
CR2.02 -
demonstrate facility with simple polyphonic techniques (e.g., imitation), using
sequencing software where appropriate;
CR2.03 -
improvise a melody within given parameters;
CR2.04 -
demonstrate an understanding of all stages of the creative process in producing
compositions and/or arrangements;
CR2.05 -
demonstrate the ability to use the Internet to find possible materials for
their works, showing understanding of the necessity of using such materials in
an ethical way;
AN1.01 -
analyse works from the baroque and classical periods, and from popular,
Canadian, and non-western traditions 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;
AN1.03 -
analyse live and/or recorded performances of music, following standard
procedures in critical analysis;
AN1.04 -
compare some stylistic characteristics of baroque and classical music with
characteristics of some of the other arts in the eighteenth century;
AN1.06 -
analyse two contrasting musical presentations focusing on essential
differences.
CGE2b -
reads, understands and uses written materials effectively;
CGE3c -
thinks reflectively and creatively to evaluate situations and solve problems;
CGE3e -
adopt a holistic approach to life by integrating learning from various subject
areas and experience;
CGE5b -
thinks critically about the meaning and purpose of work;
CGE5e -
respects the right, 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;
CGE7b -
accepts accountability for one’s own actions.
·
Students
should have a basic knowledge of scales (four sharps and four flats), key
structure, intervals, major and minor triads rhythmic and melodic notation and
transposition.
·
Familiarity
with basic concepts of melodic structure and its relationship to harmony (I, IV
and V chords) is helpful.
·
Basic
aural skills and visual identification skills related to the analysis of music
is necessary.
·
Students
should have basic independent research and presentation skills.
·
A
basic understanding of the stylistic differences between the various musical
eras and genres of music is necessary.
·
Basic
knowledge of computer music hardware and software is an asset.
·
Improvisation
can be incorporated in the cumulative performance if so desired.
·
MIDI
workstation access is the key to the ability of the student to complete the
writing. If this is not available, the length of the exercise should be reduced
in order to facilitate completion. A short piece written for a class-developed
accompaniment wherein each student completes a melody as part of a suite, in
one solution.
·
The
teacher should ensure the students have manuscript, writing tools, erasers as
needed.
·
Several
representative recordings of styles should be available.
·
Computer
technology, photocopying, CD’s and players, VCR, videos should be available.
·
A
review of proper manuscript writing conventions would be appropriate.
·
Time
should be allocated to allow for several revisions.
1. Students determine the available
instrumentation, the practical ranges of the instrument and transposition
requirements. This facilitates the eventual orchestration of their
compositions.
2. Students present the teacher with a detailed
written proposal (Appendix D – Proposal Checklist) for their compositions. The
teacher, in consultation with the students, reviews and alters as required.
Agreement is arrived at between the teacher and the students with regard to the
terms of the proposal e.g., timeline and content.
3. Students create a score for their original
compositions according to terms outlined in the proposal, using the checklist
for student composition as a guide (Appendix C – Checklist for Student
Composition).
4. The teacher assesses the score and provides
suggestions for improvement (Appendix G – Rubric for Composition).
5. Students plan rehearsals and assemble
materials as required.
6. Students rehearse composition, noting any
problems and revisions that may be required
(Appendix E – Rehearsal Assessment Form).
7. Students revise their compositions in
consultation with the teacher (Appendix G – Rubric for Composition).
8. Students revise their scores, parts and
performances, as needed, based on the rehearsal experience, in preparation for
evaluation (Appendix F – Student Self-Assessment of Rehearsal).
·
Student/teacher
conference
·
Teacher
feedback (Appendix D – Proposal Checklist)
·
Teacher/student
developed rubric (Appendix G – Rubric for Composition)
·
Written
assignment
·
Checklists
(C – Checklist for Student Composition and Appendix D – Proposal Checklist
Appendix)
·
Peer
Assessment (Appendix E – Rehearsal Assessment Form)
·
Self-assessment
(Appendix F – Student Self-Assessment of Rehearsal)
·
Anecdotal
·
Personal
communication
·
Teacher
assessment/evaluation (Appendix G – Rubric for Composition)
·
Formal/informal
observation
·
Students
who have difficulty with the concepts may edit an existing composition, instead
of creating their own composition (i.e., changing the composition form major to
minor, or creating their own accompaniment using appropriate software).
·
Extra
time may be given.
·
Students
with oral or written difficulties may work with a partner or scribe.
·
For
the purpose of enrichment, students may expand their knowledge of the stylistic
musical traits found in the particular historical period (i.e., investigation
of the baroque suite and its constituent dance forms or the various sections of
the classical symphony).
·
On-line
help may be utilized for students who require assistance with scoring,
instrumentation or orchestration techniques, theoretical, rhythmic, or notation
elements.
·
Length
of composition is flexible.
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
Arranging
and Composition
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.
Time: 180 minutes
Students
perform their compositions for use as a sound track for a video, accompaniment
for a live performance, a soundscape or music supporting a dramatic arts, dance
or visual arts presentation.
Strand(s): Theory, Creation and Analysis
Overall
Expectations
THV.03 -
demonstrate an understanding of concepts required in the use of music software;
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;
ANV.03 -
analyse musical works and performances of works, demonstrating an understanding
of the process of critical analysis.
Specific
Expectations
TH1.06 -
demonstrate an understanding of the layout and conventions involved in the use
of various ensemble scores;
TH2.02 -
demonstrate an understanding of basic concepts in the editing of sound in
sequencing and notation software;
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 through the performance of
studies and course repertoire;
CR2.02 -
demonstrate facility with simple polyphonic techniques, using sequencing
software where appropriate;
CR2.03 -
improvise a melody within given parameters;
CR2.04 -
demonstrate an understanding of all stages of the creative process in producing
compositions and/or arrangements;
AN1.03 -
analyse live and/or recorded performances of music, following standard
procedures in critical analysis.
Ontario
Catholic School Graduate Expectations
CGE2b -
reads, understands and uses written materials effectively;
CGE3c -
thinks reflectively and creatively to evaluate situations and solve problems;
CGE3e -
adopt a holistic approach to life by integrating learning from various subject
areas and experience;
CGE5b -
thinks critically about the meaning and purpose of work;
CGE5e -
respects the right, 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;
CGE7b -
accepts accountability for one’s own actions.
·
Knowledge
of scales, key structure, intervals, rhythmic and melodic notation and
transposition is necessary.
·
Familiarity
with basic concepts of melodic structure and its relationship to harmony is
necessary.
·
Basic
aural skills and visual identification skills related to the analysis of music
is helpful.
·
Students
should have a basic understanding of various scoring conventions.
·
Basic
independent research and presentation skills would be an asset.
·
A
basic understanding of the stylistic differences between the various musical
eras and genres of music is necessary.
·
Students
require access to music research materials, both written and electronic, to aid
in the completion of their projects.
·
The
teacher should prepare the recommended audio/visual materials and equipment as
detailed in the activities and make appropriate substitutions where necessary.
·
Time
devoted to the activities should be spread throughout the course so that the
students have appropriate time for skill acquisition, independent research and
assimilation of knowledge, skills and values.
·
Considerations
for adequate access to the hardware (e.g. computer labs) must be made, if
required. Manuals for synthesizers, recorders and similar hardware may have to
be referred to before the equipment can utilized.
1. The teacher provides a copy of the assessment
rubric to all students (Appendix H – Culminating Task Assessment Rubric).
2. Students work in pairs for this activity.
3. Students decide on the purpose of their
recording (i.e., sound track for a video accompaniment, or background music for
a live creative arts performance or sound track for a visual arts
presentation).
4. Students assemble any audio/visual materials
and equipment that might be required for the recording of their compositions
(from Activity 2) and for the recording of the visual portion of their project.
5. Students videotape the visuals that will be
used with their compositions.
6. Students perform their compositions with the
ensemble for which it was written, as their partner records the music.
7. Students create program notes for the
audience and record these as the front section of their audio/visual
presentation.
8. Students prepare post-performance assessment
of the work. A short description of the process and their ideas regarding the
successes, troubles and the solutions could be included. They may use Appendix
H – Culminating Task Assessment Rubric as a guide.
9. Students submit a complete portfolio
containing all the materials developed by them during the process, to the
teacher (Appendix I – Composition Portfolio Checklist), including the completed
assessment rubric (Appendix H – Culminating Task Assessment Rubric).
10. The teacher evaluates the projects on overall
effectiveness and continuity of process (Appendix H – Culminating Task
Assessment Rubric).
·
Teacher
summative evaluation of performance (Appendix H – Culminating Task Assessment
Rubric)
·
Student
post-performance assessment (Appendix H – Culminating Task Assessment Rubric)
·
Rubric
for composition and its performance
·
Reflective
journal writing
·
Unit
portfolio and assessment checklist (Appendix I – Composition Portfolio
Checklist)
·
Students
with less prior knowledge may be allowed additional time and/or resources for
preparation.
·
Adherence
to students’ IEPs is important.
·
For
purposes of enrichment, students could be encouraged to develop a
multi-movement work or use such advanced techniques as textural variations,
advanced harmonies or serial writing.
|
Item |
Yes |
No |
|
I have listened to stylistically representative music |
|
|
|
I have compared textural differences |
|
|
|
Melody/harmony relationship has been examined |
|
|
|
Stylistic and form considerations examined |
|
|
|
Melody written/improvised according to parameters |
|
|
|
Melody written to fit given harmonic progression |
|
|
|
Accompaniment developed |
|
|
|
Extensions and variations considered |
|
|
|
Category/Criteria |
Level 1 (50-59%) |
Level 2 (60-69%) |
Level 3 (70-79%) |
Level 4 (80-100%) |
|
Knowledge/ Understanding Understanding of phrase structure of melody Melody is representative of style Melody accurately follows harmonic foundation |
- shows limited understanding of structure - when assistance is provided, melody somewhat suits the chosen style - limited evidence that melody has some relationship to the harmony |
- shows some understanding of structure - melody somewhat appropriate for chosen style - some evidence that melody has some relationship to harmony |
- shows considerable understanding of structure - melody considerably appropriate for chosen style - melody has close relationship to harmony |
- shows thorough understanding of structure - melody thoroughly appropriate for chosen style - melody has high degree of relationship to harmony |
|
Thinking/Inquiry Melody uses proper voice leading |
- limited evidence of proper voice leading |
- some evidence of proper voice leading |
- considerable evidence of proper voice leading |
- consistent use of proper voice leading throughout |
|
Melody shows evidence of variation and alterations |
- limited evidence of variety and alteration |
- some evidence of variety and alteration |
- considerable evidence of variety and alteration |
- extensive use of variety and alteration throughout |
|
Communication Communication in written and oral work |
- uses music, language and symbols with limited accuracy and effectiveness |
- uses music, language and symbols with some accuracy and effectiveness |
- uses music, language and symbols with considerable accuracy and effectiveness |
- uses music, language and symbols with comprehensive accuracy and effectiveness |
|
Application Transfer of knowledge and skills to melody writing |
- evidence of limited effectiveness in transfer of skills to melody writing |
- evidence of moderate effectiveness in transfer of skills to melody writing |
- evidence of substantial effectiveness in transfer of skills to melody writing |
- extensive and consistently effective transfer of skills to melody writing |
Note: A student whose achievement is below
level 1 (50%) has not met the expectations for this assignment or activity.
Appendix C
|
Melody |
Yes |
No |
|
· Uses chord notes on strong beats |
|
|
|
· Melody is the appropriate length |
|
|
|
· Melody uses some passing tones with discretion |
|
|
|
· Melody is stylistically representative |
|
|
|
· Melody shows variation and interest |
|
|
|
· Voice leading is appropriate |
|
|
|
Harmony |
|
|
|
· Complete and accurate chord spelling and notation |
|
|
|
· Proper voice-leading |
|
|
|
· Chord notes are accurate for the transposition required |
|
|
|
· Inversions where required are accurate |
|
|
|
· Cadences are in appropriate places |
|
|
|
Rhythm |
|
|
|
· Measures are accurate for rhythmic note values |
|
|
|
· Rhythmic interest and continuity is evident |
|
|
|
· Has evidence of rhythmic unity |
|
|
|
Notation |
|
|
|
· All parts are checked for proper notation techniques |
|
|
|
· Full score is checked for notation errors and revised |
|
|
|
· All parts are checked for notation errors and revised |
|
|
|
· Signs and expression marks are included |
|
|
|
· Stylistic markings and articulations are included |
|
|
|
· Bar lines are drawn with a ruler and lined up accurately |
|
|
|
· Note heads and stems are neat, accurate and discernable |
|
|
|
· Rough drafts are completed in pencil and final copies in ink |
|
|
|
· Rehearsal numbers or letters are evident and clear |
|
|
|
· Instrumentation is clearly indicated on the full score |
|
|
|
· Notes are aligned in the bar according to their value |
|
|
|
· Sections dividing form are clearly marked with a double bar |
|
|
|
· Key signatures and time signatures are accurately notated |
|
|
|
· Special notes and composers requests are included |
|
|
|
· Leger lines are even and consistently spaced |
|
|
|
· Staves are lined up on the full score |
|
|
|
Instrumentation and
Orchestration |
Yes |
No |
|
· Instrumental range considerations are appropriate |
|
|
|
· Transposition is accurate and consistent |
|
|
|
· Consideration is made for breath marks and breaks |
|
|
|
· Student abilities are taken into account |
|
|
|
Style |
|
|
|
· Piece is closely representative of the chosen style |
|
|
|
· Accents and articulations are consistent with the style |
|
|
|
Item |
Inc.4 |
Achievement |
Comments |
|
Objective of Composition |
|
N S E |
|
|
Description of Compositional Style |
|
N S E |
|
|
Equipment Required |
|
N S E |
|
|
Instrumentation |
|
N S E |
|
|
Performance Venue |
|
N S E |
|
|
Performance Length |
|
N S E |
|
|
Personnel Requirements |
|
N S E |
|
|
Completion Date |
|
N S E |
|
N = Needs
improvement S = Satisfactory E = Excellent
Student
composer, student performer(s) and the teacher should each complete this
Rehearsal Assessment Form for submission to the student composer
|
Criteria |
Comments |
Corrections/revisions
(4) Student Teacher |
|
|
Clarity of Notation |
|
|
|
|
Notation detailed and accurate |
|
|
|
|
Accuracy of transposition |
|
|
|
|
Melody effective, given stated objectives |
|
|
|
|
Harmonies correct and complete |
|
|
|
|
Voice leading is stylistically suitable |
|
|
|
|
Orchestration is appropriate for specific instruments |
|
|
|
|
Sections are balanced, clearly defined |
|
|
|
|
Overall subjective reaction to music |
|
|
|
Date for
completion of revisions: __________________________________________
During
your rehearsal process, evaluate the following elements contained in your
evolving composition;
|
Element |
Reason for
Concern |
Modifications
Made |
|
Melody |
|
|
|
Harmony |
|
|
|
Form |
|
|
|
Instrumentation |
|
|
|
Length |
|
|
|
Balance/Blend |
|
|
|
Detail |
|
|
|
Variety (Melodic, rhythmic and harmonic interest) |
|
|
|
Style |
|
|
|
Technical Aspects (Instrumental ranges, performance level appropriateness) |
|
|
|
Score and Parts (Accuracy, readability, neatness) |
|
|
|
Category/Criteria |
Level 1 (50-59%) |
Level 2 (60-69%) |
Level 3 (70-79%) |
Level 4 (80-100%) |
|
Knowledge/ Compositional elements (melody, harmony, rhythm, form, style, orchestration) |
- limited demonstration of knowledge and understanding of compositional elements |
- some demonstration of knowledge and understanding of compositional elements |
- considerable demonstration of knowledge and understanding of compositional elements |
- thorough demonstration of knowledge and understanding of compositional elements |
|
Thinking/Inquiry Use, synthesis and extension of compositional elements |
- demonstrates limited ability to synthesize and extend the elements into an organic unit |
- demonstrates some ability to synthesize and extend the elements into an organic unit |
- demonstrates considerable ability to synthesize and extent the elements into an organic unit |
- demonstrates exceptional ability to synthesize and extend the elements into an organic unit |
|
Communication Effective use of music terminology in scoring, and in communication with performers, and teacher |
- communicates musical ideas with limited effectiveness |
- communicates musical ideas with some effectiveness |
- communicates musical ideas with considerable effectiveness |
- communicates musical ideas with exceptional effectiveness |
|
Application Aesthetic effectiveness of composition |
- composer achieves limited aesthetic effectiveness |
- composer achieves some aesthetic effectiveness |
- composer achieves considerable aesthetic effectiveness |
- composer achieves thorough aesthetic effectiveness |
Note: A student whose achievement is below
level 1 (50%) has not met the expectations for this assignment or activity.
|
Criteria |
Level 1 (50-59%) |
Level 2 (60-69%) |
Level 3 (70-79%) |
Level 4 (80-100%) |
|
Knowledge/ Understanding Demonstrate an understanding of layout and conventions involved in the use of the ensemble score |
- demonstrates limited knowledge of the layout and conventions involved in the use of the ensemble score |
- demonstrates some knowledge of the layout and conventions involved in the use of the ensemble score |
demonstrates considerable knowledge of the layout and conventions involved in the use of the ensemble score |
- demonstrates thorough knowledge of the layout and conventions involved in the use of the ensemble score |
|
Thinking/Inquiry Analysis of the appropriateness of the relationship between the composition and the visual presentation |
- makes connections between the visual representation and the musical representation with limited effectiveness |
- makes connections between the visual representation and the musical representation with moderate effectiveness |
- makes connections between the visual representation and the musical representation with considerable effectiveness |
- makes connections between the visual representation and the musical representation with a high degree of effectiveness |
|
Communication Demonstrate the ability to use various forms of communication relevant to this project |
- demonstrates limited command of the various forms of communication as they relate to the project |
- demonstrates moderate command of the various forms of communication as they relate to the project |
- demonstrates considerable command of the various forms of communication as they relate to the project |
- demonstrates extensive command of the various forms of communication as they relate to the project |
|
Application Compose and arrange a musical work, making use of appropriate technology |
- demonstrates limited ability to use equipment, materials, and technology safely and appropriately |
- demonstrates some ability to use equipment, materials, and technology safely and appropriately |
- demonstrates considerable ability to use equipment, materials, and technology safely and appropriately |
- demonstrates thorough ability to use equipment, materials, and technology safely and appropriately |
|
Demonstrate an understanding of all stages of the creative process |
- can work through a limited number of the stages of the creative process |
- can work through some of the stages of the creative process effectively |
- can work through most of the stages of the creative process effectively |
- can consistently work through all of the stages of the creative process effectively |
Note: A student whose achievement is below
level 1 (50%) has not met the expectations for this assignment or activity.
Composition Portfolio Checklist Due Date: _____________________
Students should ensure that the following materials are in
their composition portfolio:
q Activity
One Student Self-assessment Form
q Written
Journal Response on Activity One Preparations
q Proposal
Checklist
q Proposal
q Guideline
Checklist for Student Composition
q Rehearsal
Assessment Forms (Composer, performer(s) and teacher)
q All
rough work for composition
q Completed
three-line sketch score of composition
q Completed
orchestration (Parts and score)
q Student
post-performance assessment
Rubric for Evaluation of Student-Developed Score for Non-Western Music
|
Criteria |
Level 1 (50-59%) |
Level 2 (60-69%) |
Level 3 (70-79%) |
Level 4 (80-100%) |
|
Knowledge/ Accuracy |
The score demonstrates limited representation of the aural nature of the piece |
The score demonstrates some representation of the aural nature of the piece |
The score demonstrates considerable representation of the aural nature of the piece |
The score demonstrates thorough representation of the aural nature of the piece |
|
Thinking/ Clarity and Precision |
The score demonstrates limited clarity and precision |
The score demonstrates some clarity and precision |
The score demonstrates considerable clarity/precision |
The score demonstrates thorough clarity and precision |
|
Communication Completeness |
The score represents a limited amount the aural detail |
The score represents some of the aural detail |
The score represents a considerable amount of the aural detail |
The score represents all of the aural detail of the piece |
Note: A student whose achievement is below
level 1 (50%) has not met the expectations for this assignment or activity.
Resource
Investigated: Group Number: Student:
|
I found this
resource presentation; |
Disagree |
|
|
Agree |
|
Complete |
1 |
2 |
3 |
4 |
|
Useful |
1 |
2 |
3 |
4 |
|
Easy to Understand |
1 |
2 |
3 |
4 |
|
Contained relevant material |
1 |
2 |
3 |
4 |
|
Led me to new ideas |
1 |
2 |
3 |
4 |
Overall
Usefulness /10
Comments:
Course
Overview |
Unit 3
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