Course Profile Music, Grade 11, University/College
Preparation, Catholic and Public
Unit
3: Listening And Analysis
Time: 15 hours
Activity 1 | Activity 2
| Activity 3 | Activity 4
| Activity 5 | Activity 6
| Activity 7
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 compare the
texture of baroque and classical music, explore sonata allegro form, and be
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.
|
Activity |
Time |
Expectations |
Assessment |
Tasks |
|
1. Music of Our Generation |
180 min |
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 |
Students research a popular musical style and present their findings to the class |
|
2. Music of the Baroque Era |
75 min |
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 |
The teacher introduces the characteristics of baroque art and music. Students investigate the social and political factors influencing these arts. Students explore the canon and ritornello form |
|
3. The Fugue |
300 min |
THV.01, THV.02, 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 |
Students listen to and analyse the structure of a fugue. In groups they create a rhythmic fugue of their own and perform it for the class |
|
4. The texture of Classical Music |
75 min |
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 |
Through group discussion and listening, students discover the homophonic texture of the classical music and the structure of many melodies |
|
5. Sonata Allegro form |
90 min |
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; A |
Students listen to sonata-allegro form, discover its components and apply this knowledge to another example |
|
6. Canadian Music: R. Murray Shafer |
90 min |
THV.01, TH1.05, CRV.03 CR2.04 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 |
Through listening, discussing and creating, students learn one of the compositional processes used by a Canadian composer |
|
7. Canadian Folk Songs |
90 min |
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 |
The students explore various Canadian Folk Songs through listening, performing, analysing, and arranging |
Time: 180 minutes
This
activity is designed to make students aware of the many styles of popular music
heard today. Students explore the relationship between how our lifestyles and
ways of thinking are expressed in our music and how the social trends of
increasing urbanization, globalization and visualization have influenced contemporary
music.
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.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.
Specific
Expectations
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;
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 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;
AN1.03 -
analyse live and/or recorded performances of music following standard
procedures in critical analysis.
·
Students
should have an understanding of terminology related to the elements of music.
·
Access
to information and audio examples of various popular music styles is essential.
·
The
teacher prepares two audio selections for class listening and discussion.
·
The
teacher prepares copies (2 per student) of the directed listening sheet
(Appendix A – Directed Listening Questions).
·
The
teacher must arrange for some research time in the Library/Resource Centre
during class time.
·
The
teacher ensures that all musical examples brought into the class by students
are screened for content suitability.
·
The
teacher must ensure that established “Acceptable Use” policies for computers
and the Internet are followed.
·
The
teacher must ensure that students adhere to copyright laws.
·
The
teacher creates a timetable for student presentations.
·
The
teacher arranges for CD/tape player(s) for the duration of this activity
·
The
teacher makes appropriate background reading materials available for the class.
·
The
teacher is prepared to steer student discussion away from personal preferences
in order to encourage objective listening, thinking and reflection.
1. Students brainstorm a list of contemporary
popular music styles. Examples may include Rhythm and Blues, Rap, New Age, New
Wave, Alternative, Gospel, Folk, Heavy Metal, Hard Rock, Punk, Reggae, and Soul
etc. The teacher leads a class discussion of some of the societal trends and
issues that have influenced the evolution of popular music.
2. Students listen to one or two
teacher-prepared examples of popular music followed by a discussion on directed
listening sheet (Appendix A – Directed Listening Sheet).
3. Working in pairs, students research and
prepare a 10-15 minute presentation based on one style of popular music from
the original brainstorm list. Research should suggest focus (e.g., societal
trends and issues; leading figures; influence on other styles; modern day
developments). Most of the research and preparation is to be completed outside
of class time. Presentation must include a suitable music example containing
information based on the Directed-Listening Sheet.
4. Students complete an information chart
(Appendix C – Information Chart -Peer Presentations) while listening to peer
presentations.
·
Teacher
evaluates the Directed-Listening Sheet completed in class
(Knowledge/Understanding).
·
Rubric
(Appendix B – Popular Music Presentation Evaluation Rubric) to assess
presentation and completed listening chart (Thinking/Inquiry, Application).
·
Students
submit completed Directed-Listening Sheet (Appendix B – Popular Music
Presentation Evaluation Rubric) for assessment (Knowledge/Understanding).
·
Reinforce
oral instructions with written or visual cues.
·
Repeat
listening examples if the need arises.
·
Encourage
students to question for clarification and additional information.
·
Set
specific time limits for group activity.
Copland,
Aaron. What to Listen For In Music. New York: McGraw-Hill Book Company
Inc., 1957.
Cripps,
Colin. Popular Music in the 20th Century Cambridge University Press,
1989.
Encarta
- http://www.encarta.msm.com
Encyclopedia
of Popular Music
Ferris,
Jean. Music: The Art of Listening, 2nd Ed. New York: William C. Brown
Publishers, 1988.
Fowler,
C. Music! It’s Role and Importance in our Lives. New York:
Macmillan/McGraw -Hill, 1994
Lycos
Music - http://dir.lycos/Arts/Music/History
Lycos
Music - http://music.lycos.com
Marsalis,
Wynton. Marsalis on Music: Listening for Clues. New York: Sony Music
Entertainment Inc., 1995. (54 min.)
The
Ultimate Music Guide -
http://www.fortunecity.com/meltingpot/burnaby/928/tvmovi.htm
Time: 75 minutes
In this
activity the students will investigate the relationship between music and the
other arts of the baroque era, as well as the social and political factors
influencing the arts. Investigation of baroque music includes the form of the
canon and ritornello. This investigation will be accomplished through
observation, brainstorming, group and individual discovery, and teacher
directed learning.
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;
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.04 -
analyse the relationship between music and its cultural context.
Specific
Expectations
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;
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;
AN1.04 -
compare some stylistic characteristics of baroque and classical music with
characteristics of some of the other arts in the eighteenth century;
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.
Ontario
Catholic School Graduate Expectations
CGE2b -
reads, understands and uses written materials effectively;
CGE2c -
presents information and ideas clearly and honestly with sensitivity to others;
CGE2d -
writes and speaks fluently one or both of the official languages;
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;
CGE4f -
applies effective communication, decision-making, problem solving, time and
resource management skills;
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;
CGE7j -
contributes to the common good.
·
The
students have the ability to notate music.
·
The
teacher collects pictures of paintings, sculptures and architecture from the
baroque era.
·
The
teacher collects recordings of appropriate baroque music, the Canon in D
by Johann Pachelbel, and the Seasons by Antonio Vivaldi.
·
The
teacher writes a simple scale, or melody for the ornamentation exercise, and
reproduces enough copies for the class.
·
A
CD or tape player is needed for this activity.
·
In
order to show films in class, the teacher must obtain a copy of the “public
performance videocassette site license agreement” from the school board. This
license can be purchased from “Audio Cine Films Inc.” (see resource list for
ACF website).
1. The teacher guides a class discussion on
their findings, while students add correct information to their notebooks. The
teacher ensures that the students include the following concepts in their
notes: mass and grandeur, drama, motion, contrast, gilt, decoration,
ornamentation and concern with human emotion.
2. Students look at plates of works of art from
the baroque era and write their observations about the art in their notebooks
based on the above-mentioned concepts.
3. Working
in pairs, students then research the social and political factors that
influenced the arts of the baroque era. To accomplish this task the students
can be given time to explore written literature and audio-visual media on the
subject from the Library/Resource Centre or to explore appropriate sites on the
computer. The students present their findings to the class.
4. Students listen to a piece of music from the
baroque era (e.g., the Cum Sancto movement from the B minor Mass by J.S.
Bach, or a movement from a Brandenburg Concerto, also by J.S. Bach), to
see if the same characteristics of art are reflected in the music. The teacher
leads a class discussion about their observations, requesting that students add
this information to their notebooks. Students are encouraged to discover many
parallels between the baroque characteristics of music and those of art (e.g.,
emotion, energy, ornateness and complexity).
To
Introduce the Canon
5. Students sing a simple round such as Three
Blind Mice, Row, Row, Row Your Boat, or Frère Jacques, and discuss
the structure of these simple canons.
6. Students listen to the Canon in D by
Johann Pachelbel to see how a composer might use this structure, followed by a
class discussion on the characteristics of baroque music as found in this work.
Through guided listening, the students should discover that:
·
this
piece contains 4 voices;
·
the
bass line contributes the most to the unity of the piece;
·
the
upper voices contribute the most variety;
·
movement
is created by the combination of the bass line with the smaller note values of
the upper parts;
·
the
work becomes increasingly ornate and complex as it goes along; and that much of
this complexity comes from ornamentation;
·
In
addition to being in canon form, this piece also is built on a ground bass.
7. Students investigate the types of
ornamentation found in Pachelbel’s canon followed by a brainstorming session
outlining other possible ways of ornamenting a piece of music.
8. The teacher presents the previously prepared
short melody or, scale for ornamentation, to the class.
9. Each student completes the ornamentation
exercise, performs it for the class and submits it to the teacher for
assessment.
To
Introduce the Ritornello
10. The teacher divides the class into several
groups. Half of the groups are asked to devise a simple chant on a certain
topic. The other half of the groups are asked to create a descriptive sentence
on the same topic.
11. One of the chant groups is asked to perform,
then one of the sentence groups perform, followed by another chant, followed by
another sentence group and so on, until all the groups have performed. The
teacher follows this with a discussion on the role of the chant groups vs. the
role of the sentence groups. Students will observe the following:
·
The
group that sang the chant had simpler material. This is the ritornello section.
·
The
group that improvised sentences had much more complex material. This is the
solo group. The musicians that performed this material were much more skilled
that the musicians of the ritornello group.
·
The
chant material was interspersed between sections of the complex material.
·
In
baroque music, the chant group gives the stability of what is known as
ritornello form, while the more complex material of the solo groups provides
creative variety. The contrast between the small and larger groups creates what
is known as a Concerto Grosso.
12. Students listen to a movement of a Concerto by
Vivaldi (e.g. Spring from the Four Seasons).
13. The teacher guides a class discussion comparing
the chant and improvised sentences to the ritornello model of the listening
example.
·
Teacher
checks ornamentation exercise for completeness
·
Teacher
observation of Performance by Chant Groups
·
Optional
quiz regarding the learned concepts from this activity
·
Students
with advanced technical skills may do the ornamentation exercise on computer.
·
Students
with advanced creative skills may compose their own melody for ornamentation.
A
recording of the Canon in D by Johann Pachelbel
Appropriate
music textbooks
Appropriate
recordings of baroque music
Fowler,
C. Music! Its Role and Importance in Our Lives. New York:
Macmillan/McGraw-Hill, 1994.
ISBN 0-02-642121-6
Crystal
Productions Video – History Through Art The Baroque Period. VC – 5112
Kuzmich,
N. Musical Growth (A Process of Involvement). Toronto: G.V. Thompson
Music, 1986
Machlis,
J. The Enjoyment of Music, 8th ed. New York: W.W. Norton & Co, 1999
Various plates and pictures of baroque art and architecture
Wingell,
Richard. Experiencing Music. California: Alfred Publishing Co., 1984.
ISBN 0-88284-283-8
Appendix
D – The Baroque Era-Art, Music and Life
Time: 300 minutes
Students
explore the structure and tonality of the fugue, and then, in groups, compose a
rhythmical fugue using their names as subject and counter-subject material. The
fugues will be performed for the class.
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;
THV.02 -
demonstrate the ability to notate rhythmic patterns, melodies, and chords
accurately through listening;
CRV.01 -
perform music appropriate for the course with accuracy and artistic
sensitivity;
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
CR1.06 -
reproduce accurately, by clapping, playing, or singing, rhythmic patterns of up
to four measures in simple and compound metres;
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.
·
Successful
completion of Activity 2 of this unit
·
Some
knowledge of the elements of music
·
The
teacher chooses a fugue for study by the class, and provides a recording.
·
The
teacher provides a score (i.e., Norton Anthology, see resource list) of the
fugue for each student, or each pair of students.
·
The
teacher prepares the class discussion on the structure of the fugue, by
analysing the subject, counter-subject entries, the episodes, stretto and coda.
The teacher should also analyse the tonality of the fugue before the
discussion.
·
The
teacher creates a working packet for this fugue activity. The following
appendices should be included; Appendix D – Create-A-Fugue; Appendix E – Fugue
Completion Checklist; Appendix F – Focused Listening Chart – The Fugue;
Appendix G – Fugue – Performance/Written Evaluation.
·
Students
can complete the assignment directly on the pages in their packet.
·
The
teacher creates a template for the good copy of the fugue assignment. It may
look like:
Subject
1 ___________________________________________________________________
Answer
1 ___________________________________________________________________
Counter
subject 1 _____________________________________________________________
Subject
2, etc. _____________________________________________________________
·
The
teacher creates examples of a subject, and counter-subject for demonstration.
·
The
teacher writes and performs an example of an appropriate spoken fugue subject
for the students.
·
The
teacher may wish to photocopy each group’s fugue.
·
The
teacher may wish to create a group evaluation form for this assignment. A
sample may be found in the Grade 10 Public Course Profile for Music,
Unit 3 – p. 32.
·
The
teacher should monitor the students’ work during all stages of the creation of
the fugue. Based on the monitoring, the teacher is in a better position to
formally evaluate the process as well as the end result.
·
The
teacher may wish to involve the class in setting the criteria for evaluation,
or creating the evaluation rubric.
·
A
CD or tape player is required for this activity.
1. Students
listen to a baroque fugue (e.g. “Little” Organ Fugue in G minor, by J.S.
Bach) chosen by the teacher, while looking at the score. The teacher guides a
class discussion investigating the structure of the fugue. Students learn the
following concepts: subject, counter-subject, answer, episode, stretto, and
coda.
2. Students discuss the relationship between the
keys of the subject and counter-subject entries, and the tonality of the fugue
in general.
3. Students learn the concepts of fragmentation,
augmentation, diminution inversion and repetition, when analysing the episodes
of the fugue.
4. Students perform a spoken fugue, and discover
many of the concepts listed above from that work. A spoken fugue cannot replace
a melodic one however, as the concept of tonality cannot be heard.
5. The teacher hands out the rhythmic fugue
assignment packet (Appendix A – Directed listening Questions, Appendix D –
Create a Fugue, Appendix F – Focused Listening Chart, Appendix G –
Performance/Written Evaluation Rubric) followed by an explanation about the
assignment.
6. Place students in groups of four.
7. Students are asked to use only 4/4 or 6/8
time signatures for the fugues.
8. Each group develops their fugue, filling in
the Completion Checklist (Appendix E – Completion Checklist) as required.
9. Students submit their fugue to the teacher
for photocopying if necessary.
10. Students perform their fugues for the class.
11. Students complete the focused listening chart
(Appendix F – Focused Listening Chart) during each performance while the
teacher completes the performance portion of the Fugue Evaluation Rubric
(Appendix G – Performance/Written Evaluation Rubric)
12. Students submit the written fugue, along with
their completed packet for assessment and evaluation.
·
Performance
assessment
·
Written
fugue
·
Fugue
Packet
·
Students
with writing difficulties should be placed in groups with students who can be
of assistance to them.
·
Students
with advanced technical skills and appropriate resources may write their fugue
on computer.
·
Students
with advanced musical skills may use more complex time signatures, or create
longer subjects and counter-subjects.
·
Students
with very advanced creative skills may use varied pitches for their fugue, as well
as rhythms.
An
appropriate recording of a baroque fugue
Toch,
Ernst. Geographical Fugue. New York: Belwin Mills Publishing, 1957.
60168
Various
plates and pictures of baroque art and architecture
Wingell,
Richard. Experiencing Music. California: Alfred Publishing Co., 1984.
ISBN 0-88284-283-8
Palisca,
Claude. The Norton Anthology of Western Music, 3rd ed., Vol. 2. 1996.
Appendix D – The Great Fugue Assignment
Appendix E – Fugue Completion Checklist
Appendix
F – Focused Listening Chart
Appendix
G – Performance/Written Evaluation Rubric
Time: 75 minutes
In this
activity students explore the texture of classical music, and the shape of the
melodies of this period. Students accomplish this through listening, and group
discussion.
Strand(s): Theory, Analysis
Overall
Expectations
THV.0 -
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.02 -
identify, analyse, and evaluate musical works through listening;
ANV.04 -
analyse the relationship between music and its cultural context.
Specific
Expectations
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;
TH1.06 -
demonstrate an understanding of the layout and conventions involved in the use
of various ensemble scores;
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.
·
Successful
completion of Activities 2 and 3 of this unit is required.
·
Some
knowledge of score reading is essential.
·
The
teacher provides a copy of the texture answer sheet (Appendix H – Texture of
Classical Music) for each student.
·
The
teacher collects an appropriate recording of contrapuntal music from the
baroque era, and an example of homophonic music from the classical era.
·
The
teacher provides scores of the First Movement of the Symphony in G minor KV550
by W.A. Mozart for each group.
·
A
CD or tape player is required for this activity.
1. The teacher distributes a copy of the texture
answer sheet (Appendix H – The Texture of Classical Music) to each student.
2. Students listen to an example of contrapuntal
music from the baroque era, and one example of homophonic music from the
Classical era.
3. The teacher guides a class discussion
concerning the differences in texture between the two pieces.
4. Students complete their answers on their
texture answer sheet (Appendix H – Texture of Classical Music).
5. Students assemble into groups of four.
6. The teacher provides each student with a
score to the First Movement of the Symphony in G minor KV550 by W.A.
Mozart.
7. While in their groups, the class listens to
the opening theme of the First Movement of the Symphony in G minor KV550
by W.A. Mozart, while looking at the score, followed by completion of the
remainder of the questions on the texture answer sheet (Appendix H – Texture of
Classical Music).
8. The teacher follows this with a class
discussion of their findings, and guides the class in reaching a consensus of
the results. Students record the consensus on the wrap-up portion of their
sheet (Appendix H – Texture of Classical Music). It is important that the
students understand the meaning of a “question and answer” style melody.
9. The teacher guides a discussion on the
relationship between the tonic and dominant in classical melodies and the
importance of this relationship in the music of today.
10. Students write a short paragraph outlining how
the texture of classical music and shape of the melody are reflected in the
popular music of today. They should name musical examples supporting their
view.
11. Students submit their paragraphs for
evaluation.
12. Students submit their texture answer sheet
(Appendix H – Texture of Classical Music) for assessment.
·
Evaluation
of student paragraph for completeness and for quality of answers
·
Assessment
of texture answer sheet (Appendix H – Texture of Classical Music)
·
Students
with written language difficulties may submit their paragraph on tape.
·
Students
with advanced technical skills and appropriate resources may create their
paragraph with the appropriate technology.
Appropriate
recordings of baroque music
Appropriate
recordings of classical music
Recording
of the First Movement of the Symphony in G minor KV550 by W.A. Mozart
Score
of the First Movement of the Symphony in G minor KV550 by W.A. Mozart
Palisca,
Claude. The Norton Anthology of Western Music, 3rd ed., Vol.2. 1996.
Appendix
H – Texture of Classical Music
Time: 90 minutes
In this
activity, students are reintroduced to sonata-allegro form. Through teacher
direction, they learn the structure of the form, the reasons for it, and
through group work they apply their knowledge to a new work. They discuss the
importance of this form to music that came after the classical period.
Strand(s): Theory, 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.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
TH1.05 -
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;
TH1.06 -
demonstrate an understanding of the layout and conventions involved in the use
of various ensemble scores;
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.
·
The
ability to read a musical score
·
Some
knowledge of the elements of music
·
Successful
completion of Activity 4 of this unit
·
The
teacher should prepare for this lesson by analysing the structure of both the Sonatina
Op.36 No.6 by Muzio Clementi, and the first movement of Eine Kleine
Nachtmusik K.525 by W.A. Mozart (These two similar selections are suggested
so the learned skills in the teacher-lead analysis can be more easily
transferred independently by the students to the second selection). It is
necessary to know where all the subjects, bridges, development sections and
aspects of the recapitulation are in each work. The teacher should also analyse
the tonality of the works, particularly the relationship between the tonic and
dominant keys, and the changes in tonality in the development sections.
·
A
marking scheme for the group analysis is necessary for this activity.
·
A
CD or tape of each work is required for this activity.
·
Teachers
will have to ensure that there are an appropriate number of music scores for
the students.
1. Students listen to a recording of “New
Horizons in Music Appreciation” by P.D.Q. Bach (see resource list). As each
musical term is mentioned on the recording, the teacher writes it on the board.
When the track is finished, the teacher informs the class that the components
listed on the board follow the musical form known as “sonata-allegro form”.
2. Students copy the major sections of
sonata-allegro form into their notebooks.
3. Students listen to a performance of Sonatina
Op.36 No.6 by Muzio Clementi, while looking at the score.
4. The teacher leads a class discussion about
the form of the work, reaching a consensus about where the following sections
begin and end: 1st theme, bridge, 2nd theme, development, 1st theme, bridge and
2nd theme in the recapitulation, and the coda.
Students copy this
information into their notebooks.
5. The teacher facilitates a discussion with the
students on the relationship between the tonic and dominant in sonata-allegro
form and how they are used throughout.
6. Students brainstorm ways that this
relationship affects the music of today and write their findings in their
notebooks.
7. Students place themselves into groups of four
or five.
8. In their groups, students listen to a
performance of the first movement of Eine Kleine Nachtmusik, K525 by
W.A. Mozart, as they study the score. The students may require extra time than
is allotted to achieve this task. Some of this work may be assigned for
homework.
9. While listening to the work, the groups
analyse it by answering the following questions (the answers are included here
for teacher convenience):
|
QUESTION |
ANSWER |
|
Identify the bar numbers of the three major sections. |
EXP. 2-55, DEV. 56 – 75 RECAP 76-END |
|
Identify the bar numbers of the 1st theme. |
1 - 21 |
|
Name the key, and describe the style of the melody in the first theme. |
G + rhythmical, detached, spirited, moves in arpeggios etc. |
|
Identify the bar numbers of the bridge |
22 - 27 |
|
Identify the note that is helping to change the key. |
C # |
|
Identify the bar numbers of the 2nd theme |
28 - 42 |
|
Name the key, and describe the style of this melody in the second theme. |
D+ (Dominant of G+) lyrical, smoother, moves stepwise etc. |
|
Identify the bar numbers of the 3rd theme. |
43 - 55 |
|
Name the key of the third theme. |
D+ |
|
What is the key of the cadence at the end of the exposition? |
D+ |
|
What musical things happen in the development section? |
Starts in dominant with theme 1, themes are extended, fragmented and changed etc, key changes |
|
How does Mozart introduce variety and interest in this section? |
Accidentals add a sense of instability, unable to name key for long, sequences – all challenge listener |
|
Identify the bar numbers of the 1st theme in the recapitulation. |
76 |
|
Name the key of the first theme. |
G+ |
|
Identify the bar numbers of the bridge in the recapitulation. |
97 |
|
Why don’t we feel a change of key? |
Bass stays on D – dominant of G, as opposed to the A it has in bar 26. A is the dominant of D |
|
Identify the bar numbers of the 2nd theme in the recapitulation. |
101 |
|
Name the key of the second theme of the recapitulation. |
G+ |
|
Identify the bar numbers of the 3rd theme in the recapitulation. |
116 |
|
Name the key of the third theme of the recapitulation. |
G+ |
|
Identify the bar numbers of the Coda. |
132 to end |
|
What is the key of the coda? |
G+ |
|
What is the key of the final cadence? |
G+ |
10. The teacher collects the assignment for
assessment.
11. Students discuss how this form has influenced
music after the classical period. The teacher should ensure that the form has
offered composers the framework for expanding the development section of works
tremendously, that they have broadened the scope of key changes within the
form, that many of them have now used only the skeleton of sonata-allegro from
to give structure to their works.
·
Evaluation
of group answers marked by the teacher
·
Students
with limited experience or written language difficulties should be
strategically placed in groups
CD
or tape of the Sonatina Op.36 No.6 by Muzio Clementi, and the first
movement of Eine Kleine Nachtmusik K.525 by W.A. Mozart.
Ferris,
Jean. The Art of Listening. New York: William C. Brown Publ., 1988. ISBN
0-697-24544-6
Scores
for both of the above works.
Schickele,
Professor Peter. P.D.Q. Bach on the Air. Santa Monica, CA: Vanguard
Everyman Classics,
1988. 50 min. VBD-79268
Time: 90 minutes
In this
activity students explore the concepts of texture, timbre and density through
the study of Canadian composer, R. Murray Schafer’s Epitaph for Moonlight, and
delve into the creative process through a group composition activity.
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.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.
Specific
Expectations
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;
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 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;
AN1.03 -
analyse live and/or recorded performances of music following standard
procedures in critical analysis.
·
Knowledge
of the elements of music
·
The
teacher may have to review terms for describing texture: monophonic,
heterophonic, homophonic, and polyphonic.
·
The
teacher must obtain a copy of the recording and multiple copies of the score.
·
The
teacher should make examples of non-traditional notation available for student
perusal. Be prepared to discuss the idea that Music, like Math and Science, is
a complex symbolic system of communication.
·
Background
information should be provided on R. Murray Schafer.
·
Plan
an effective way of grouping your students for group compositions.
·
Organize
workspaces and provide tape recorders for groups.
·
Create
a self-assessment form for students to complete at the end of this activity.
·
(See
example Appendix TC-12, Unit 3 p. 31 in the Public Grade 10 Course Profile
2000).
1. Introduce
this activity by discussing the importance of hearing how all the elements work
together in music.
2. The
teacher plays a recording of R. Murray Schafer's composition Epitaph for
Moonlight.
3. The teacher explains that the text was taken
from imaginary synonyms for moonlight created by grade 7 and 8 students.
4. Students discuss how the element of texture
is manipulated in this piece (textural density is increased by the building-up
of harmonic tension, and staggered entries of voices a minor second apart) and
how the desired atmosphere is created (ebb and flow between dense and
transparent textures is created through register used, duration, articulation,
use of silence, dynamics, and combinations of timbres give rise to unusual
sonorities).
5. Students discuss the concepts of musical
notation and how symbols can represent sound.
6. The teacher plays Epitaph for Moonlight
again this time having students follow the score.
7. The teacher guides a discussion about the
relative effectiveness of symbols within a graphically notated score and the
performance challenges performers are likely to encounter. Aspects of aleatoric
music should be explained here.
8. The teacher leads a discussion about how
unity and variety, tension and release are achieved in this composition.
9. The class discusses how the elements of
expression (dynamics, contrast, tempo and intensity) contribute to the overall
impact of the piece.
10. Working in groups of 4-6, students organize,
compose, perform and record (if time) a sound composition, which uses the style
of texturalism. Aleatoric aspects should also be incorporated.
11. Students should consider this format;
·
choose
(create or find) a text from which to
work (keep it simple)
·
experiment
with various ways of speaking, singing or chanting the text
·
perform
it as a round to create a polyphonic texture
·
perform
it backwards
·
augment
or diminish the duration of vowel sounds
·
stagger
the entry of voices
·
rehearse,
revise and rehearse your work again
12. Students should consider how they would
create;
·
unity
and variety,
·
tension
and release
·
point
of climax
·
variety
in timbre and texture
·
the
atmosphere desired
·
variety
between dense and transparent textures.
·
unusual
sonorities
13. Students complete a self-assessment reflection
sheet based on Appendix I – Rubric for Assessment of Group Composition.
14. There are many ways of developing a creative
score. Students must keep in mind that other students must be able to interpret
their score so they should make sure the symbols they choose are clear and easy
to understand and provide a key that explains the notation.
·
Teacher
observation during class discussion
·
Rubric
to assess group compositions (Appendix I – Rubric for Assessment of Group
Composition)
·
Completion
of self-assessment/reflection
·
Students
notate compositions using graphic notation devising their own symbols for
indicating duration and creating a legend that explains the meaning of their
symbols.
·
Students
listen to R. Murray Schafer’s Threnody then discuss how this
contemporary work makes a powerful statement about the abuse of nuclear power.
Adams,
Stephen, R. Murray Schafer, Toronto: U. of T. Press, 1983.
Canadian
Music Centre - www.musiccentre.ca
Dawson,
Ted. A Teacher's Guide to Canadian Music, Canadian Music Centre,
Toronto, 1991.
Fowler,
C. Music! It's Role and Importance in Our Lives. New York:
MacMillan/McGraw-Hill, 1994.
Kallmann,
Potvin and Winters, (ed.). Encyclopedia of Music in Canada, University
of Toronto Press, 1981.
Kuzmich,
N. Musical Growth (a Process of Involvement). Toronto: G.V. Thompson
Music, 1986.
Machlis,
J. The Enjoyment of Music, 8th ed. New York: W.W. Norton & Co, 1999.
Proctor,
George, Canadian Music of the Twentieth Century, Toronto, ON: University
of Toronto Press, 1980.
Wingell,
Richard. Experiencing Music. California: Alfred Publishing Co., 1984.
Epitaph
for Moonlight (Schafer)
1968. SATB, bells (optional) BMIC 1969, CBC SM-274 (Festival Singers) Composer
Audiocassette from A Teacher's Guide to Canadian Music)
Time: 90 minutes
In this
activity students explore various Canadian folk songs through listening,
performing, analysing and arranging and discover how they have been
incorporated into both classical and popular genres.
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;
THV.02 -
demonstrate the ability to notate rhythmic patterns, melodies, and chords
accurately through listening;
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.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.
Specific
Expectations
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;
TH1.06 -
demonstrate an understanding of the layout and conventions involved in the use
of various ensemble scores;
CR1.01 -
perform musical works proficiently in a variety of styles for various
ensembles;
CR2.01 -
compose and/or arrange simple homophonic compositions, using technology where
appropriate;
CR2.04 -
demonstrate an understanding of all stages of the creative process in producing
compositions and/or arrangements;
AN1.01 -
analyse works from the band 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.
·
Transposition
and arranging techniques should be reviewed with the students prior to this
activity.
·
This
activity may take more or less time than indicated depending on the allocated
time for this unit as prescribed by the teacher.
·
The
teacher should have various recording of Canadian folk songs available for the
students’ use.
1. The teacher introduces this activity by
facilitating a class discussion focusing on the following questions:
a) What is a folk song (a product of a musical
tradition)?
b) How
have folk songs survived through the generations (orally –therefore they are
subject to variation)?
c) What
are some of the characteristics of folk songs that have survived through time
(they reflect the hopes, dreams, trials, work environment and musical tastes of
a people)?
d) What countries have influenced Canadian folk
songs (France, England, Scotland, etc.)?
2. Students brainstorm a list of Canadian folk
songs with which they are familiar. (Teachers may wish to have students bring
in examples of folk songs in preparation for the next task).
3. Students perform and/or listen to several
Canadian folk songs such as:
I’se the Bye who Builds the Boat, Land of the
Silver Birch,
Un Canadien Errant, She’s Like the Swallow,
J’entends le Moulin
4. Have the students classify each song type
(i.e., narrative, work, drinking, patriotic, survival, game, war, lament,
courtship, nature, comic ditties, singing game, dance, lullaby etc.).
5. The teacher guides the students in an
analysis of the musical traits found in folk songs everywhere:
·
common
intervals of major second and minor third
·
strophic
form (verse chorus verse)
·
speech
patterns
·
short
recurring motifs
·
simple
chord patterns (I, IV, V etc.)
6. The
teacher plays a recording of a folk-inspired work such as Harry Somers’ Five
Songs of the Newfoundland Outports or Sir Ernest Macmillan's Two
Sketches based on French Canadian Airs followed by a discussion about how
our folk song heritage is represented in these works.
7. If time permits have students bring in
recordings of contemporary Canadian artists who use traditional folk music as
the stylistic basis for many of their songs (e.g. Great Big Sea, Spirit of the
West, The Rankin Family, Loreena McKennitt, Figgy Duff, Ashley MacIsaac).
8. In small groups students arrange and rehearse
a Canadian folk song for performance. They devise simple accompaniments using
vocal or body percussion sounds or any simple instruments that are available
(guitar, ukulele, recorder etc.). Teachers of instrumental classes may wish to
have students arrange (harmonize, notate and transpose) a folk song for a small
ensemble of instruments.
9. Students perform their folk song arrangements
for the class.
10. Students write short constructive critiques (1
or 2 points which address questions such as: Things I Liked and Other
Creative Suggestions I Have) for each performance.
·
Teacher
observation during class discussions
·
Peer
and self evaluation
Canadian
Music Centre: - http://www.musiccentre.ca
Adams,
Stephen, R. Murray Schafer, Toronto, ON: U. of T. Press, 1983.
Dawson,
Ted. A Teacher’s Guide to Canadian Music, Canadian Music Centre, Toronto
1991. (with Composter Audiocassettes)
Fowke,
E. The Penguin Book of Canadian Folk Songs. Penguin Books Ltd., 1973.
Jackson,
Rick. Encyclopedia of Canadian Rock, Pop & Folk Music. Kingston:
Quarry Press, Inc. 1994.
Fowler,
C. Music! It's Role and Importance in Our Lives. New York:
MacMillan/McGraw-Hill, 1994.
Kallmann,
Potvin & Winters, (Edit.), Encyclopedia of Music in Canada, University
of Toronto Press, 1981.
Kuzmich,
N. Musical Growth (A Process of Involvement). Toronto, ON: G.V. Thompson
Music, 1986.
Machlis,
J. The Enjoyment of Music, 8th edition. New York: W.W. Norton & Co,
1999.
Melhuish,
Martin. Oh What a Feeling: A Vital History of Canadian Music. Kingston:
Quarry Press Inc., 1996.
Melville,
Naomi A Musical Taste of Our Canadian Heritage Teacher's Manual Choonga
Changa Publishing 1999., 2000.
Proctor,
George, Canadian Music of the Twentieth Century, Toronto: University of
Toronto Press, 1980.
Wingell,
Richard. Experiencing Music. California: Alfred Publishing Co., 1984.
Epitaph
for Moonlight
(Schafer) 1968. SATB, bells (optional) BMIC 1969, CBC SM-274 (Festival Singers)
Composer Audiocassette from A Teachers Guide to Canadian Music)
Threnody
(Schafer) 1967 Composer Audiocassette from A Teacher's Guide to Canadian
Music)
1. What are the main musical characteristics of
this style (e.g. instrumentation, form, hook, etc.)?
2. What elements are most dominant or most
appealing (e.g. rhythm, texture, timbre)?
3. What is the function of this music (e.g.
entertainment, social statement, praise and worship celebration)?
4. What (if any) social message is conveyed in
the music?
5. Which aspect of the music seems to captivate
the listener more (e.g. music, lyrics, special effects)?
6. How have world events, technological
developments or attitudes shaped ideas behind this music?
7. Who is the intended audience and what are the
social characteristics of this particular audience?
8. In your opinion what makes this music popular
(i.e., main selling feature?)
9. What are the enduring qualities of this
music?
|
Category/Criteria |
Level 1 (50-59%) |
Level 2 (60-69%) |
Level 3 (70-79%) |
Level 4 (80-100%) |
|
Knowledge/ Description of characteristics of music |
- describes characteristics of music with limited clarity |
- describes characteristics of music with moderate clarity |
- describes characteristics of music with considerable clarity |
- describes characteristics of music with a high degree of clarity |
|
Use of terminology related to the elements of music |
- shows limited understanding of terminology |
- shows moderate understanding of terminology |
- shows considerable understanding of terminology |
- shows thorough understanding of terminology |
|
Thinking/Inquiry Analysis and understanding of style/selection |
- limited analysis and understanding of style |
- some analysis and understanding of style |
- accurate analysis and understanding of style |
- insightful, accurate analysis and understanding of style |
|
Communication Organization of presentation |
- demonstrates limited organization and originality |
- demonstrates some organization and originality |
- demonstrates considerable organization and originality |
- demonstrates a high degree of organization and originality |
|
Application Makes connections between social and musical trends |
- makes connections with limited effectiveness |
- makes connections with moderate effectiveness |
- makes connections with considerable effectiveness |
- makes connections with a high degree of effectiveness |
Note: Students whose achievement is below
level 1 (50%) have not met the expectations for this assignment or activity.
|
Presenters |
Style |
Musical
Example (Title/Performer) |
Main Musical Characteristics
e.g., Instrumentation Form |
Main Social
Characteristics Intended Audience Mood/Subject matter Topic |
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Instructions
Your task
is to create a four-part fugue using your names as subject and counter-subject
material. Look at the blank master as you read the instructions, it will help
you understand the process.
Your
fugue master must be completed, as marks will be awarded for the process of
writing, as well as the finished product. Follow the instructions below,
step-by-step, and fill in your completion checklist as you go along.
1. Make a list of the names you want to use for
your fugue. Don’t forget that many of your have two middle names, and last
names – use them if you like!
2. Decide which two will be used for your
subject, which two for your counter-subject, and write them on the appropriate
place on your master. Limit your subject and counter-subject to 2 bars each;
otherwise your fugue will be very long and unwieldy.
3. Create rhythms for your phrases and place
them on your working master. Your fugue will be more interesting for your
audience if there is contrast between the rhythms of the subject and the
counter-subject. Write the text directly under the appropriate note.
4. Decide on the order of entries, then fill in
subject and counter-subject on your good copy.
5. Pick two ways of creating episodes, and apply
them to your subject and counter-subject. When we listened to the fugue
earlier, we learned that composers used strategies such as augmentation,
diminution, fragmentation and repetition. There are no hard and fast rules
about doing the episodes, as they are the places in a fugue where you get to be
creative and daring! Write them on your master, and when you have decided how
to use them, write them neatly on your good copy. Not all of your voices will
have the same amount of episodic material, and it is fine to use rests when desired.
6. Create a coda for your fugue that brings all
four voices to an end at the same time.
7. Transfer the coda to your good copy.
8. Add tempo, dynamics, style and expressive
markings to your fugue now.
9. If you need copies of your fugue for your group,
give it to your teacher now for photocopying.
10. Rehearse your fugue for performance for the
class.
Group
Members: _________________________________________________________
Use the
following as a checklist to ensure that you have completed everything.
|
Subject Names chosen |
Yes |
No |
|
Counter-Subject Names chosen |
Yes |
No |
|
Sentences/Phrases formed |
Yes |
No |
|
Subject Rhythm created |
Yes |
No |
|
Counter-Subject Rhythm created |
Yes |
No |
|
Order of Entries decided |
Yes |
No |
|
Good copy complete to this point |
Yes |
No |
|
Subject episode complete |
Yes |
No |
|
Counter-Subject complete |
Yes |
No |
|
Good copy complete to this point |
Yes |
No |
|
Coda written |
Yes |
No |
|
Coda transferred to good copy |
Yes |
No |
|
Expressive markings added |
Yes |
No |
|
Fugue completed |
Yes |
No |
Note: If you have circled “no”, go back
and complete that task before handing in your fugue.
Name:
______________________________________________________________________
|
Group Names |
Your subject
& counter-subject entries were: |
I liked this
about your fugue |
I liked this
about your performance |
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Group
members: _____________________________________________________________
|
Category/Criteria |
Level 1 (50-59%) |
Level 2 (60-69%) |
Level 3 (70-79%) |
Level 4 (80-100%) |
|
Knowledge/ Understanding of fugue structure |
- demonstrates limited understanding of fugue structure |
- demonstrates some understanding of fugue structure |
- clearly demonstrates understanding of fugue structure |
- demonstrates thorough understanding of fugue structure |
|
Thinking/Inquiry Construction of subject/counter-subject material Development of episodes Development of coda |
- shows limited evidence of subject/counter-subject construction - limited development of episodes - shows limited evidence of coda |
- shows some evidence of subject/counter-subject construction - some development of episodes - shows some evidence of coda |
- shows clear evidence of subject/counter-subject construction - clear development of episodes - shows clear evidence of coda |
- shows high level of insight in construction of subject/counter-subject - high degree of development of episodes - shows thorough evidence of coda |
|
Communication. Quality of good copy Technical quality of performance Aesthetic quality of performance |
- final copy not complete - performed with limited technical facility - performed with limited expressiveness and musicality |
- final copy almost complete - performed with some technical facility - performed with some expressiveness and musicality |
- final copy complete and clear - performed with considerable technical facility - performed with considerable expressiveness and musicality |
- final copy complete, clear and polished - performed with thorough technical facility - performed with a high level of expressiveness and musicality |
|
Analysis Contrast between subj. and co/subj. Use of expressive markings |
- demonstrates limited understanding of contrast - limited use of expressive markings |
- demonstrates some understanding of contrast - some use of expressive markings |
- demonstrates considerable understanding of contrast - effective use of expressive markings |
- demonstrates understanding of contrast with a high degree of insight - imaginative and insightful use of expressive markings |
Note: Students whose achievement is below
level 1 (50%) have not met the expectations for this assignment or activity.
Describe
the texture of the first piece of music?
Describe
the texture of the second piece of music.
What
are the differences between them?
Polyphonic
texture is…
Homophonic
texture is…
Contrapuntal
is defined as…
First Movement of the Symphony in
G minor KV550 by W.A. Mozart
In
your groups answer the following to the best of your ability as you listen to
the music:
How
many melodic motifs are there?
How
many phrases do you think there are?
What
do you notice about the first two motifs and the last two?
What
can you say about the shapes of the melodic motifs?
Does
the phrase seem to end after the first motif? Why or why not?
Are
there any similarities among the melodic motifs?
Do
you notice anything else about this melodic fragment?
Wrap-up: (final thoughts)
|
Categories/
Criteria |
Level 1 (50-59%) |
Level 2 (60-69%) |
Level 3 (70-79%) |
Level 4 (80-100%) |
|
Knowledge/ Use of terminology related to the elements of music |
- shows limited understanding of terminology |
- shows moderate understanding of terminology |
- shows considerable understanding of terminology |
- shows exceptional understanding and very effective use of terminology |
|
Thinking/Inquiry Understanding of style |
- demonstrates limited understanding of style |
- demonstrates some understanding of style |
- demonstrates considerable understanding of style |
- demonstrates thorough understanding of style |
|
Communication Organization of musical concepts in composition and originality of composition |
- composition shows minimal organization |
- composition shows some organization |
- composition shows considerable organization |
- composition shows a high degree of organization |
|
- composition shows minimal originality |
- composition shows some originality |
- composition shows considerable originality |
- composition shows a high degree of originality |
|
|
Application Application of the creative process |
- applies the creative process with limited effectiveness |
- applies the creative process with moderate effectiveness |
- applies the creative process with considerable effectiveness |
- applies the creative process with a high degree of effectiveness |
Note: Students whose achievement is below
level 1 (50%) have not met the expectations for this assignment or activity.
Course
Overview | Unit 2
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