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Course Profile Music (AMU4M), Grade 12, University/College Preparation, Catholic and Public

Course Overview

Policy Document: The Ontario Curriculum, Grades 11 and 12, The Arts, 2000.

Prerequisite: Grade 11 Music, University/College or Open

Course Description

This course emphasizes the appreciation, analysis, and performance of music from the romantic period and the twentieth century, including art music, jazz, popular music, and Canadian and non-Western music. Students will concentrate on developing interpretive skills and the ability to work independently. They will also complete complex creative projects.

This course is designed to broaden students’ knowledge and skills in performance, composing and arranging, listening and analysis, music in society, and music and technology. Students concentrate on developing their skills through the performance of complex technical exercises and repertoire, composition and arrangement of their own music, listening and analysis of live and recorded music, and complex creative projects completed through the use of technology, as well as conventional methods. This course is performance-based, and although performance is a specific unit, it is expected that performance be infused in all units of study at this grade level, wherever possible. Teachers are encouraged to select activities from any unit in any order they deem appropriate.

How This Course Supports the Ontario Catholic School Graduate Expectations

Catholic students are encouraged by the community to cultivate their intellectual and aesthetic potential. Music students continue to develop their God-given potential by making a meaningful contribution to the course through achieving excellence, originality, and integrity in one’s own work and by supporting these qualities in the work of others. Music is more than just an artistic form. It can be a conduit of religious feelings, imagination, and understanding. As music students work with and experience this artistic form, they are encouraged to develop self-discipline, to work effectively as interdependent team members, and to listen actively and critically to understand and learn in light of gospel values. The Grade 12 music course helps students develop their Christian leadership potential in the achievement of individual and group goals through the rehearsing and directing of small and large ensembles.

Course Notes

This course is designed to enhance and extend the performance skills of all students, through the acquisition of an advanced theoretical and practical musical education. Grade 12 students have the opportunity to accomplish the knowledge and skills necessary for acceptance into a postsecondary music program at a university or college.

This profile provides teachers with two viable Grade 12 music units based on The Ontario Curriculum, Grades 11 and 12, The Arts, 2000. The music units chosen are Composition and Arranging and Music and Technology. Although both of these units are designed as classroom-ready, they also serve as a basis from which to build a more personalized unit.

Considerations for planning and effective implementation must include the availability of computer MIDI workstations. Although technology appears in this profile as a separate unit, each of the activities in this unit relate directly to the other four units and technology should therefore be appropriately utilized as a reinforcement activity and/or tool in the individual units. Some of the students in this course have Grade 11 Open as their prerequisite course. Additional theory and performance lessons may have to be taught before students can attempt the composition and arranging expectations for this course. The number of hours indicated for the performance unit constitutes classroom hours. Due to the nature of the Grade 12 Music course, students are expected to practise instrument-specific studies and pieces independently, using classroom hours for teacher consultation and assessment, as well as ensemble performance rehearsal.

Students in this course continue to gain experience working independently as well as in a group, respecting the rights, responsibilities, and contributions of self and others. This course enables students to become self-directed learners of music who can participate actively in, and make a contribution to, a musically literate society.

Units: Titles and Time

Unit 1	Performance	45 hours
* Unit 2	Composing and Arranging	20 hours
Unit 3	Listening and Analysis	15 hours
Unit 4	Music in Society	10 hours
* Unit 5	Music and Technology	20 hours

* These units are fully developed in this Course Profile.

Unit Overviews

Unit 1: Performance

Time: 45 hours

Unit Description

Expectations representing the three strands (Theory, Creation, and Analysis) related to the study of performance skills are clustered to form this unit. Students have varied opportunities to demonstrate their ability to meet the overall and specific expectations through performance. The activities are designed to challenge students’ performance abilities on their instruments through improvisation, sight-reading, studies, and orchestral excerpts, with material containing a high level of technical and musical complexity and variety of styles. The four areas of focus are warm up, ensemble skill development, musical leadership, and repertoire. Activity 1 focuses on completing the technical requirements related to their chosen instrument including the memorization of all scales and arpeggios as well as the performance of studies particularly designed for their chosen instruments. In Activity 2, students focus on their roles as performing members of large and small ensembles. Activity 3 allows students to develop their musical leadership by rehearsing and directing student ensembles. In Activity 4, students are actively involved in the planning, rehearsing, and execution of a major performance activity. Concepts explored in the other units form the basis of this performance unit. A variety of musical styles and idioms are performed including Canadian music and romantic music as well as music from other eras and cultures. None of these activities are designed to be taught in isolation of the other units.

Unit Overview Chart

Activity	Learning Expectations	Assessment Categories	Task	Teaching/Learning Strategies
1	CRV.01, CRV.02, CR1.02, CR1.03, CR1.06, CR1.09 CGE3c, 4a, 4e, 5a, 5c, 5g, 7b	Knowledge/ Understanding Thinking/ Inquiry Communication	Warm ups (breathing, posture, physical and mental preparation, scales, rhythm)	- Learning log - Peer teaching - Independent study - Teacher-directed learning
2	CRV.01, CRV.02, CR1.01, CR1.02, CRV.03, CR1.04, CR1.08, CR1.09, CR2.03, ANV.01, ANV.02, AN1.01, AN1.02, AN1.03, AN1.04 CGE3c, 4a, 4b, 4d, 4e, 5a, 5c, 5e, 5f, 5g, 7b, 7j	Knowledge/ Understanding Thinking/ Inquiry Communication	Ensemble Development (balance/blend, sight-reading, intonation, technique, and scales)	- Case study - Collaborative learning - Peer teaching - Response journal - Teacher-directed learning - Rehearsal/ repetition/ practice
3	THV.03, TH2.04, CRV.02, CR1.05, CR1.10 CGE2a, 2c, 3b, 3d, 4a, 4f, 5a, 5e, 5f, 7b, 7j	Knowledge/ Understanding Thinking/ Inquiry Communication	Musical Leadership (conducting, critiquing, listening)	- Learning log - Independent study - Teacher-directed learning - Guided reading - Conferencing, discussion
4	CRV.01, CRV.02, CR1.01, CR1.02, CR1.03, CR1.05, CR1.09, CR1.10, ANV.01, AN1.03, AN1.04 CGE2c, 3c, 4a, 4f, 5a, 5e, 5g, 7b, 7j	Knowledge/ Understanding Thinking/ Inquiry Communication	Major Performance Culminating Task (planning/ organizing, advertising, performance, post-performance evaluation)	- Advance organizer - Anticipation guide - Collaborative learning - Independent research - Learning contract

Unit 2: Composing and Arranging

Time: 20 hours

Unit Description

Expectations representing the three strands (Theory, Creation, and Analysis) related to the study of composing and arranging skills are clustered to form this unit. Students have the opportunity to create and perform their original compositions and arrangements for an ensemble of available instruments. In preparation for this culminating activity, students review and develop their understanding of theoretical concepts of music including scales, intervals, chords, and cadences as well as transposition, compositional technique, instrumentation, melody, harmony, rhythm, dynamics timbre, and texture. Students continue to develop and refine their ear training skills to facilitate their compositional abilities. A look at musical styles and form assists students in the creative process. The culminating activity includes a performance of their compositions and/or arrangements.

Unit Overview Chart

Activity	Learning Expectations	Assessment Categories	Task	Teaching/Learning Strategies
1	THV.01, THV.02, ANV.02, TH1.01, TH1.02, TH1.03, AN1.02	Knowledge/ Understanding Thinking/Inquiry Communication	Advanced elements of music (e.g., melody and harmony)	- Class discussion - Group work/exploration - Listening - Peer tutoring - Student reflection
2	THV.02, CRV.02, TH1.02, TH1.03, TH1.04, CR1.07, CR1.08	Knowledge/ Understanding Thinking/Inquiry Communication	Harmonize given melodies Creating melodies over given harmony	- Aural dictation - Independent research - Listening - Research - Student discovery - Student reflection
3	THV.01, CRV.01, CRV.03, ANV.01, ANV.02, ANV.04, TH1.05, TH2.02, CR2.03, AN1.01, AN1.04, AN1.07	Knowledge/ Understanding Thinking/Inquiry Communication	Writing in different styles and/or forms from Romantic and 20th Century	- Class discussion - Group work/exploration - Listening - Peer tutoring
4	THV.03, CRV.03, CRV.04, TH1.01, TH2.01, CR2.01	Knowledge/ Understanding Thinking/Inquiry Communication	Arranging and scoring in style of students’ decision	- Class discussion - Group work/exploration - Listening - Peer tutoring
5	CRV.03, CRV.04, ANV.02, ANV.03, ANV.04, CR2.04, AN1.01, AN1.03, AN1.04, AN1.06	Knowledge/ Understanding Thinking/Inquiry Communication	Write, rehearse, and present their original compositions	- Class performance - Group/individual presentation - Listening - Practice - Peer tutoring - Student discovery
6	THV.01, CRV.03, CRV.04, ANV.02, ANV.03, ANV.04, TH2.01, CR2.02, AN1.01, AN1.03, AN1.04	Knowledge/ Understanding Thinking/ Inquiry Communication	Students write an atonal theme over a passacaglia bass, using 12-tone technique	- Class performance - Group/individual presentation - Listening - Practice - Peer tutoring - Student discovery - Student reflection
7	THV.01, THV.03, CRV.03, CRV.04	Knowledge/ Understanding Thinking/ Inquiry Communication	Through the examination of performances by Canadian artists, students explore improvisational technique	- Class performance - Group/individual presentation - Listening - Practice - Peer tutoring - Student discovery - Student reflection
8	THV.01, CRV.01, CRV.02, CRV.03, ANV.01, ANV.02, ANV.03, TH1.01, CR2.01, CR2.04, AN1.02	Knowledge/ Understanding Thinking/ Inquiry Communication	Students compose, arrange, and perform an original piece in four parts, in simple homophonic style	- Class performance - Group/individual presentation - Listening - Practice - Peer tutoring - Student discovery - Student reflection

Unit 3: Listening and Analysis

Time: 15 hours

Unit Description

Students are offered interesting and varied ways to explore music of the romantic period and the 20th century, including the music of Berlioz, Wagner, Debussy, and Stravinsky. Expectations representing the three strands (Theory, Creation, and Analysis) are clustered to form this unit. Students have the opportunity to apply their composing and arranging knowledge to the analysis of selected musical scores in order to understand the stylistic idiosyncrasies of that era. In Activity 1, students study musical word painting as used by Schubert in his composition entitled The Erlking. Activity 2 allows students to analyse program music and thematic development through Symphonie Fantastique by Berlioz. Activity 3 focuses on thematic development and leitmotif through a section of music taken from The Ring Cycle by Wagner. In Activity 4, students investigate the use of the whole tone scale in Debussy’s Prélude à l’après-midi d’un faune. Activity 5 provides students with an analysis of the 12-tone technique of Schoenberg and Berg. Students investigate 20th century techniques as used by Stravinsky in Le sacre du printemps in Activity 6. 20th century popular music such as jazz, pop, and musical theatre is the focus of Activity 7.

Unit Overview Chart

Activity	Learning Expectations	Assessment Categories	Task	Teaching/Learning Strategies
1	THV.01, TH1.02, TH1.03, TH1.05, CRV.02, CR1.05, CR1.07, CR1.08, ANV.01, ANV.02, ANV.03, ANV.04, AN1.01, AN1.02, AN1.04, AN1.05, AN1.06, AN2.01 CGE2a, 2b, 2c, 5b, 7b	Knowledge/ Understanding Thinking/ Inquiry Communication	Musical Word Painting (Schubert Lied)	- Advance organizer - Case study - Collaborative study - Computer assisted learning - Discussion - Guided listening - Independent study - Research - Learning log
2	THV.01, TH1.02, TH1.03, TH1.05, CRV.02, CR1.05, CR1.07, CR1.08, ANV.01, ANV.02, ANV.03, ANV.04, AN1.01, AN1.02, AN1.04, AN1.05, AN1.06, AN2.01 CGE2a, 2b, 2c, 5b, 7b	Knowledge/ Understanding Thinking/ Inquiry Communication	Program Music (Berlioz, idée fixe)	- Advance organizer - Collaborative study - Computer assisted learning - Discussion - Guided listening - Independent study - Research - Original composition
3	THV.01, TH1.02, TH1.03, TH1.05, CRV.02, CR1.05, CR1.07, CR1.08, ANV.01, ANV.02, ANV.03, ANV.04, AN1.01, AN1.02, AN1.04, AN1.05, AN1.06, AN2.01 CGE2a, 2b, 2c, 5b, 7b	Knowledge/ Understanding Thinking/ Inquiry Communication	Leitmotif (Wagner, The Ring Cycle)	- Advance organizer - Case study - Collaborative study - Computer assisted learning - Discussion - Guided listening - Independent study - Research - Application
4	THV.01, TH1.02, TH1.03, TH1.05, CRV.02, CR1.05, CR1.07, CR1.08, ANV.01, ANV.02, ANV.03, ANV.04, AN1.01, AN1.02, AN1.04, AN1.05, AN1.06, AN2.01 CGE2a, 2b, 2c, 5b, 7b	Knowledge/ Understanding Thinking/ Inquiry Communication	Techniques of Impressionism (Debussy, whole tone scales, extended chords) on tonality	- Advance organizer - Case study - Collaborative study - Computer assisted learning - Discussion - Guided listening - Independent study - Research - Original composition - Reflection log
5	THV.01, TH1.02, TH1.03, TH1.05, CRV.02, CR1.05, CR1.07, CR1.08, ANV.01, ANV.02, ANV.03, ANV.04, AN1.01, AN1.02, AN1.04, AN1.05, AN1.06, AN2.01 CGE2a, 2b, 2c, 5b, 7b	Knowledge/ Understanding Thinking/ Inquiry Communication	12-Tone Technique (Shoenberg, Berg)	- Advance organizer - Case study - Collaborative study - Computer-assisted learning - Discussion - Guided listening - Original composition - Research - Learning/reflection log
6	THV.01, TH1.02, TH1.03, TH1.05, CRV.02, CR1.05, CR1.07, CR1.08, ANV.01, ANV.02, ANV.03, ANV.04, AN1.01, AN1.02, AN1.04, AN1.05, AN1.06, AN2.01 CGE2a, 2b, 2c, 5b, 7b	Knowledge/ Understanding Thinking/ Inquiry Communication	20th Century Composition Technique (Stravinsky, Stockhausen, Cage)	- Advance organizer - Case study - Collaborative study - Computer assisted learning - Discussion - Guided listening - Original composition - Performance - Learning/reflection log
7	THV.01, TH1.02, TH1.03, TH1.05, CRV.02, CR1.05, CR1.07, CR1.08, ANV.01, ANV.02, ANV.03, ANV.04, AN1.01, AN1.02, AN1.04, AN1.05, AN1.06, AN2.01 CGE2a, 2b, 2c, 5b, 7b	Knowledge/ Understanding Thinking/ Inquiry Communication	20th Century Popular Music (jazz, pop, musical theatre)	- Advance organizer - Case study - Collaborative study - Computer assisted learning - Discussion - Guided listening - Performance - Research - Learning/reflection log

Unit 4: Music in Society

Time: 10 hours

Unit Description

Expectations representing the three strands (Theory, Creation and Analysis) related to the study of music in society are clustered to form this unit. The areas of focus include inquiry and analysis activities in the areas of non-Western music, e.g., Inuit throat singing, raga, with reference to its cultural context as well as an analysis of the relationship between a specific 19th century or 20th century work and its time period. Academic development and career preparation is addressed in Activity 3 with Activity 4 focusing on the skills required in a range of music-related professions as well as their correlation to college and university programs. The impact of music on the local economy, including the production and distribution of music, is also addressed.

Unit Overview Chart

Activity	Learning Expectations	Assessment Categories	Task	Teaching/Learning Strategies
1	THV.01, THV.02, THV.03, TH1.02, TH1.03, TH1.05, ANV.01, ANV.02, ANV.03, ANV.04, AN1.01, AN1.02, AN1.07, AN1.08, AN2.01 CGE1d, 1h, 2a, 2b, 3b, 3e, 5a, 7b, 7f, 7g	Knowledge/ Understanding Thinking/ Inquiry Communication	Non-Western Music and its Cultural Context	- Independent research - Written assignment - Directed reading
2	THV.01, THV.02, THV.03, TH1.02, TH1.03, TH1.05, ANV.01, ANV.02, ANV.03, ANV.04, AN1.01, AN1.02, AN1.07, AN1.08, AN2.01 CGE1d, 1h, 2a, 2b, 3b, 3e, 5a, 7b, 7f, 7g	Knowledge/ Understanding Thinking/ Inquiry Communication	19th/20th Century Music in its Cultural Context	- Independent research - Written assignment - Directed reading
3	ANV.04, ANV.05, ANV.09, AN2.01, AN2.02, AN2.03 CGE2a, 2b, 3e, 4g, 5b, 7b	Knowledge/ Understanding Thinking/ Inquiry Communication	Academic Development and Career Preparation	- Guest speaker - Independent research - Written assignment - Directed reading
4	ANV.04, ANV.05, ANV.09, AN2.01, AN2.02, AN2.03 CGE2a, 2b, 3e, 4g, 5b, 7b	Knowledge/ Understanding Thinking/ Inquiry Communication	Music Careers and Postsecondary Opportunities	- Guest speaker - Independent research - Written assignment - Directed reading
5	ANV.04, ANV.09, AN2.01, AN2.02, AN2.03 CGE2a, 2b, 3b, 3e, 5b, 5e	Knowledge/ Understanding Thinking/ Inquiry Communication	Music and the Economy	- Guest speaker - Independent research - Written assignment - Directed reading

Unit 5: Music and Technology

Time: 20 hours

Unit Description

Expectations representing the three strands (Theory, Creation, Analysis) related to the study of music and technology are clustered to form this unit. Students gain further understanding of advanced concepts of sequencing, notation software, analog, and/or digital recording, and the use of the Internet. Students have the opportunity to apply their knowledge to composition, arranging, listening and analysis, and improvisation activities. The impact of new technologies in music creation and distribution in society is also addressed. This unit involves five activities including performance, composing and arranging, listening and analysis, music in society, and a culminating activity. An overall theme can be developed for the culminating webpage/slideshow/interactive CD that can help focus students while they develop the product.

Unit Overview Chart

Activity	Learning Expectations	Assessment Categories	Focus	Teaching/Learning Strategies
1	THV.02, THV.03, TH2.01, TH2.02, CRV.03, CRV.04, CR2.01, CR2.02, CR2.04 CGE4f, 5e, 5g	Knowledge/ Understanding	Composing/ Arranging	- Group work - Student reflection - Teacher-directed learning
2	THV.03, TH2.03, TH2.04, ANV.04, ANV.05, AN1.08, AN1.09 CGE3c, 4b, 5a, 5g	Thinking/ Inquiry Communication	Listening Analysis	- Listening - Aural dictation - Class performance
3	THV.02, THV.03, TH2.01, TH2.02, CRV.03, CRV.04, CR2.01, CR2.02, CR2.04 CGE4e, 4f, 7b	Thinking/ Inquiry Communication	Music in Society	- Independent research - Class discussion - Group/independent presentation - Practice
4	THV.03, TH2.01, TH2.02, CRV.04, CR2.01, CR2.03 CGE2c, 3c, 4b, 5e, 5g	Application Communication	Performance	- Class/student performance - Group/individual presentation - Practice
5	THV.03, TH2.01, TH2.02, TH2.03, TH2.04, CRV.03, CRV.04, CR2.01, CR2.04, CR2.05, ANV.04, ANV.05, AN1.08, AN1.09 CGE2a, 3c, 4b, 4f, 5g	Thinking/ Inquiry Communication	Culminating Activity	- Student reflection - Student performance - Independent research

Teaching/Learning Strategies

It is important to develop well-balanced, appropriate activities which use a variety of teaching and learning strategies that aid in the development of students’ cognitive skills, psychomotor skills, and the affective domain. The following is a list of strategies that should be considered:

· Aural dictation	· Listening
· Class discussion	· Peer tutoring
· Class performance	· Practice
· Group work/exploration	· Student discovery
· Group/individual presentation	· Student performance
· Independent inquiry and research	· Learning log/response journal
· Discussion	· Reflection
· Checklist	· Student/teacher conferencing
· Teacher feedback	· Observation
· Classroom presentation	· Case study

Assessment & Evaluation of Student Achievement

· Anecdotal	· Quiz
· Checklists	· Rubrics
· Journal entries	· Short assignments
· Performance evaluation	· Student/teacher conference
· Portfolio	· Classroom presentation
· Peer and self-assessment	· Observation
· Class catalogue	· Teacher feedback

Seventy per cent of the grade will be based on assessments and evaluations conducted throughout the course. Thirty per cent of the grade will be based on a final evaluation in the form of an examination, performance, essay, and/or other method of evaluation.

Accommodations

The music program must allow for the integration of exceptional students and therefore accommodations may be necessary. Exceptionalities are defined in the Education Act as being behavioural, communicational, physical, intellectual, and multiple. Individualized Educational Plans (IEPs) outline accommodations to meet the needs of exceptional students. Activities, teaching and learning strategies, as well as assessment and evaluation techniques, should be adapted when necessary to accommodate special needs students. Teachers may need to adapt safety procedures to accommodate exceptional students. ESL students may require adaptation of instruction and assessment. Adaptation of some activities may be necessary to fully engage gifted students.

· Teachers should consult individual student IEPs for specific accommodations for individuals.

· Students may work with a partner, perhaps pairing a strong music student with a strong technology student.

· Students with advanced skills in music technology could produce a CD with side-by-side excerpts from the MIDI and acoustic performances.

· Students with limited experience/knowledge could be paired with a more experienced student.

· Checklists can be used as a tracking tool.

· Allow additional time as required.

· Use of on-line and software “Help” is available.

· Where technology is available, students can record and edit their composition.

· Students can notate their compositions using available software.

· Students, with sufficient background, can use inversions for better voice leading in the harmonization exercises, as well as accented non-chord tones and properly prepared and resolved suspensions in the melodic writing exercises.

· Sophisticated techniques of vocal resonance and use of overtones can be explored and demonstrated in students’ composition and performance

· For purposes of enrichment, students can write and harmonize an eight bar melody which exemplifies ideal practices listed above.

Resources

The URLs for the websites were verified by the writers prior to publication. Given the frequency with which these designations change, teachers should always verify the websites prior to assigning them for student use.

Units in this Course Profile make reference to the use of specific texts, magazines, films, videos, and websites. Teachers need to consult their board policies regarding use of any copyright materials. Before reproducing materials for student use from printed publications, teachers need to confirm that their board has a Cancopy license and that this license covers the resources they wish to use. Before screening videos/films with their students, teachers need to ensure that their board/school has obtained the appropriate public performance videocassette license form an authorized distributor, e.g., Audio Cine Films Inc. Teachers are reminded that much of the material on the Internet is protected by copyright. The copyright is usually owned by the person or organization that created the work. Reproduction of any work or substantial part of any work on the Internet is not allowed without the permission of the owner.

General

Local Heritage and Community Cultural Centres

Public Library

School library/resource centre

The Internet

Yoder, M. Daniel. Beginning Jazz Improvisation. Upper Saddle River, New Jersey: Prentice Hall, 1996.
ISBN 0135146542 (multimedia)

Print

Abersold, Jamey. Blues in All Keys for All Instruments/Book and CD. 1988

Amadie Jimmy. Jazz Improv: How to Play It and Teach It. Thornton Publications, 1984.
ISBN 0961303506

Amadie, Jimmy. Harmonic Foundation for Jazz and Popular Music. Thornton Publication, 1981.
ISBN 0961303506

Baker, David. Arranging and Composing for the Small Ensemble. Chicago: Maher Publications, 1974.

Bent, Ian. Music Theory in the Age of Romanticism. New York: Cambridge University Press, 1996.
ISBN 0521551021

Coker, Jerry. Improvising Jazz. Touchstone Books, 1982 ISBN 0671628291

Crouch, Tanja L. 100 Careers in the Music Business. Hauppauge, New York: Barron’s, 2001.

Cultural Human Resources Council. Now Hear This – Careers in Music and Sound Recording. Ottawa, Ontario: CHRC, 1998.

Dasher, Richard T. Applying Musical Theory. Portland, Maine: J. Weston Walch, 1980.

Forney, Kristne and Joseph Machlis. The Enjoyment of Music, 8th ed. New York: W.W. Norton and Co. 1995. ISBN 0-88909-044-0

Hume, M. Carlyle. The Musician’s Handbook. Upper Saddle River, New Jersey: Prentice Hall, 1998.
ISBN 0138567093

Johnson, Jeffery. Thesaurus of Abstract Musical Properties: A Theoretical and Compositional Resource. Westport, Connecticut: Greenwood Press, 1995.

Klein, Naomi. No Logo. Toronto: Random House of Canada Ltd, 2000.

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

Lawless, James. Writing Music – Book 1. Waterloo, Ontario: Waterloo Music Co., 1984.

Martin, Henry. Charlie Parker and Thematic Improvisation: Institute of Jazz Studies, Rutgers. Lanham, MD: Scarecrow Pres, 1996. ISBN 081083121X

Simms, Bryan R. Schoenberg, Berg, and Webern. A Companion to the Second Viennese School. Westport Connecticut: Greenwood Press, 1999. ISBN 0313296049

Stewart, Dave. Inside the Music. New York: Miller Freeman Books, 1999. ISBN 0879305711

Straus, Joseph Nathan. Introduction to Post-tonal Theory, 2nd ed. Upper Saddle River, New Jersey: Prentice Hall, 2000. ISBN 0130143316

Swope, Carole, M. Activities in Musical Composition. Portland, Maine: J. Weston Walch, 1983.

Weir, Michele. Vocal Improvisation/ Book and CD. Advance Music, 2001. ISBN 89221-062-4

Wharram, Barbara. Elementary Rudiments of Music. Mississauga, Ontario: The Frederick Harris Music Co. Ltd., 1969.

Whittal, Arnold. Musical Composition in the 20th Century. New York: Oxford University Press, 1999.
ISBN 0198166834

Wiggins, Jackie. Teaching for Musical Understanding. Toronto: McGraw Hill, 2001.

Wright-McLeod, Brian. Encyclopedia of Native Music. Kingston, Ontario: Quarry Music Books, 2000.
ISBN 1550822705

Websites

Recording of Inuit Throat Singing	– http://wwwstuff.co.uk/media/polar-relay/inuit.html
General Information	– http://chantdegorge.com/
Aboriginal Legends Website	– www.schoolnet.ca/aboriginal/kenora
Halloween Ghost Stories Website	– www.halloweenghoststories.com
Mythology and Folklore	– www.pitt.edu/~dash/folktexts.html
Folk and Mythology Electronic Texts	– http://netguide.aust.com/guides/myths_guides.html
Education Network of Ontario (Basic Technical Setup)	– http://www.enoreo.on.ca/musiccyberfest/suppor.htm#GT
The MIDI Ring	– http://nav.webring.yahoo.com/hub?ring=midi&list
Music Education Online	– http://www.musiceducationonline.org/links/linxtech.html
Composers in Electronic Residence	– http://www.edu.yorku.ca/CIERmain.html
Finale Notepad Freeware Notator	– http://www.codamusic.com/coda/np.asp
Cool Edit Freeware Recorder	– http://www.cooledit.com
The Association of Professional Recording Services	– http://www.aprs.co.uk/
Audio Engineering Society	– http://www.aes.org/
The Music Producers Guild	– http://www.mpg.org.uk/
Sound Engineers Guild	– http://www.695.com
Audiomedia Web magazine dealing with sound and recording	– http://www.audiomedia.com/
Classical Music Guide	– http://www.classicalarchives.ca
Recording of Inuit Throat Singing	– http://www.stuff.co.uk/media/polar-relay/inuit.html
General Information	– http://chantdegorge.com
Ear training	– http://www.earpower.com
Ear training	– http://wwwhitsquad.com/smm/programs/eartraining
Education Network of Ontario: Recording	– http://www.enoreo.on.ca/musiccyberfest/suppor.htm#ST
Tips and Guides
Windows Recorder/Mixer Tips	– http://www.cakewalk.com/Support/Lessons/WindowsMixer.
Website Design Basics	– http://www.sentex.net/~sfinlay/e3web/basics.html
Web Design Tutorial	– http://www.dreamink.com
Education Network of Ontario MusicCyberFest	– http://www.enoreo.on.ca/musiccyberfest
Norton Scores Website	– http://www.wwnorton.com/classical/covers/62759.htm
12 Tone Music	– http://www.sci.wsu.edu/math/lessons/Music

OSS Considerations

This Course Profile was designed to assist in the implementation of The Ontario Curriculum,
Grades 11 and 12, The Arts, 2000. The profile supports the implementation of:

· Ontario Secondary Schools, Grades 9 to 12, Program and Diploma Requirements, 1999 (OSS), Sections 4, 5, 6, and 7;

· Choices into Action, Guidance and Career Education Program Policy for Ontario Elementary and Secondary Schools, 1999;

· The Ontario Curriculum, Grades 9 to 12 Program Planning Assessment, 2000;

· Educating the Soul: Writing for Catholic Secondary Schools, 1998;

· Creating Catholic Curriculum A Resource for Catholic Teachers, 2001.

Coded Expectations, Music, Grade 12, University/College Preparation, AMU4M

Theory

Overall Expectations

THV.01 · demonstrate an understanding of the elements of music in relation to music of the romantic period and the twentieth century, including art music, jazz, popular music, and Canadian and non-Western music;

THV.02 · demonstrate the ability to notate complex rhythmic patterns, melodies, and chords accurately through listening;

THV.03 · describe the use of technology in music research, in performance and composition, and in the distribution of music.

Specific Expectations

Musical Literacy

TH1.01 – identify, using correct terminology, and notate accurately the following: the seven standard diatonic modes; major, minor, diminished, and augmented triads in root position and all inversions; dominant, diminished, and major and minor seventh chords in root position and all inversions; perfect, plagal, imperfect, and deceptive cadences; and a variety of standard chord progressions;

TH1.02 – notate accurately, through listening, complex rhythmic patterns of up to eight measures in simple and compound metres;

TH1.03 – notate accurately, through listening, complex melodies (e.g., melodies with dissonant intervals) of up to four measures in simple and compound metres;

TH1.04 – identify and notate accurately, through listening, all triads, seventh chords, and cadences listed above, in root position only;

TH1.05 – describe aspects of the elements of music (i.e., melody, harmony, rhythm, dynamics, timbre, texture, form) in music studied in the course, using appropriate terminology.

Understanding of Technological Concepts

TH2.01 – explain the use of advanced editing techniques in sequencing and notation;

TH2.02 – explain the use of the Internet in music research and composition;

TH2.03 – demonstrate knowledge of the different methods of music distribution (e.g., use of a web page, compact discs and tapes, e-mail files);

TH2.04 – demonstrate an understanding of legal aspects of playing, recording, and taping music, and of photocopying musical material.

Creation

Overall Expectations

CRV.01 · perform music appropriate for the course with accuracy, fluency, and sensitivity to the musical style;

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;

CRV.04 · use music technologies appropriately in composing, editing, and performing, and in distributing their creative work.

Specific Expectations

Performing

CR1.01 – perform musical works proficiently in a variety of styles for a solo performer and for various ensembles;

CR1.02 – demonstrate a high level of competence in technical skills (e.g., skills in handling articulation, phrasing, intonation, dynamics, tempi, rhythms, balance, blend) through the performance of complex studies (e.g., solo studies, studies for small or large ensembles) and course repertoire;

CR1.03 – demonstrate the ability to listen to themselves and others, and to make appropriate adjustments (e.g., in tempo, in balance), while performing;

CR1.04 – perform accurately, at sight, music that is appropriate for the course;

CR1.05 – use basic conducting patterns (e.g., patterns for simple metres) and techniques (e.g., cueing) correctly, and read scores accurately;

CR1.06 – perform accurately from memory all major, melodic minor, and chromatic scales, all major and minor arpeggios, and all seven diatonic modes covering two or three octaves, as appropriate for the instrument or voice;

CR1.07 – reproduce accurately, by clapping, playing, or singing, complex rhythmic patterns of up to four measures in simple and compound metres;

CR1.08 – reproduce accurately complex melodies (e.g., melodies with dissonant intervals and/or large leaps) of up to four measures in simple and compound metres, using technology where appropriate;

CR1.09 – demonstrate problem-solving skills in a variety of musical contexts (e.g., identify the need for an alternative fingering and decide on a fingering; deal appropriately with a difficult rhythmic pattern in a work);

CR1.10 – demonstrate an understanding of various interpersonal skills, attitudes, and aspects of behaviour that are essential for the effective functioning of a musical ensemble (e.g., the ability to listen actively, the appropriate use of body language, leadership skills, cooperativeness, organizational skills, skills in delegation of responsibilities, willingness to take responsibility).

Composing and Arranging

CR2.01 – compose and/or arrange simple homophonic compositions in four or more parts, using technology where appropriate (e.g., write a composition using non-chord tones in the melody and chord progressions that include dominant sevenths; arrange existing music for an ensemble of available instruments or voices, transposing where appropriate);

CR2.02 – compose a simple piece in a twentieth-century style (e.g., expressionist, impressionist, minimalist, jazz, blues, popular, aleotoric, musique concrète), using appropriate techniques (e.g., serial, improvisatory) and appropriate technology (e.g., tapes, synthesizers);

CR2.03 – improvise melodies within given parameters (e.g., a melody twelve measures long, with a MIDI accompaniment in G minor using i, iv, and V chords);

CR2.04 – demonstrate an understanding of all stages of the creative process in producing compositions and/or arrangements (i.e., generate ideas, develop a plan, compose or arrange a first version, revise the work, produce the final version);

CR2.05 – promote and distribute student compositions and/or arrangements, using appropriate technology.

Analysis

Overall Expectations

ANV.01 · analyse and evaluate music from the romantic period and the twentieth century, including art music, jazz, popular music, and Canadian and non-Western music;

ANV.02 · identify, analyse, and evaluate musical works through listening;

ANV.03 · analyse musical works and performances of works, demonstrating an understanding of the process of critical analysis;

ANV.04 · analyse the relationship between music and its cultural context;

ANV.05 · demonstrate an understanding of possibilities for postsecondary studies and for careers in music.

Specific Expectations

Music Appreciation

AN1.01 – analyse music from the romantic period and the twentieth century (including art music, jazz, popular music, and Canadian and non-Western music), 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 live and/or recorded performances of music (e.g., performances by themselves, their peers, professional musicians), following standard procedures in critical analysis (e.g., describe their initial reaction, analyse the performance using appropriate terminology, and evaluate the performer’s interpretation of the work);

AN1.03 – demonstrate an understanding of the structure of some major forms of music in the romantic period (e.g., symphony, opera, nocturne, Lied) and twentieth-century music (e.g., impressionist tone poem, serial work, musique concrète work);

AN1.04 – identify and describe stylistic characteristics of music from the romantic period and the twentieth century (e.g., use of thematic transformation in romantic music; use of complex harmonies in nineteenth- and twentieth-century music, including tone clusters; use of improvisation in jazz, Arabic music, and the music of India);

AN1.05 – analyse works by some major composers of the romantic period and the twentieth century (e.g., Schubert, Berlioz, Chopin, Schumann, Wagner, Verdi, Brahms, Schoenberg, Debussy, Stravinsky, Bartók, Varèse, Ives, Berio, Coulthard), and describe the significance of their contributions;

AN1.06 – analyse the relationship between a musical work from the nineteenth or twentieth century (e.g., Chopin’s “Revolutionary” Etude, a jazz piece, a raga) and the period in which it was created;

AN1.07 – describe, through research and listening, a distinctive aspect of a non-Western musical tradition (e.g., throat singing in Inuit culture);

AN1.08 – explain how current social, economic, and technological factors affect the performance, composition, and production and distribution of music;

AN1.09 – analyse the impact of the arts, especially of music, on the local economy, the Ontario economy, and the Canadian economy.

Academic Development and Career Preparation

AN2.01 – demonstrate an ability to do independent research on a specific topic, to organize their research in written form, to follow accepted scholarly procedures (e.g., acknowledgement of sources), and to give a presentation on a topic;

AN2.02 – analyse skills acquired in the study of music, and explain how they can be applied in a variety of other contexts;

AN2.03 – describe differences and similarities between university and college programs in music, between various careers in music, and between careers in fields related to music.

Ontario Catholic School Graduate Expectations

The graduate is expected to be:

A Discerning Believer Formed in the Catholic Faith Community who

CGE1a -illustrates a basic understanding of the saving story of our Christian faith;

CGE1b -participates in the sacramental life of the church and demonstrates an understanding of the centrality of the Eucharist to our Catholic story;

CGE1c -actively reflects on God’s Word as communicated through the Hebrew and Christian scriptures;

CGE1d -develops attitudes and values founded on Catholic social teaching and acts to promote social responsibility, human solidarity and the common good;

CGE1e -speaks the language of life... “recognizing that life is an unearned gift and that a person entrusted with life does not own it but that one is called to protect and cherish it.” (Witnesses to Faith)

CGE1f -seeks intimacy with God and celebrates communion with God, others and creation through prayer and worship;

CGE1g -understands that one’s purpose or call in life comes from God and strives to discern and live out this call throughout life’s journey;

CGE1h -respects the faith traditions, world religions and the life-journeys of all people of good will;

CGE1i -integrates faith with life;

CGE1j -recognizes that “sin, human weakness, conflict and forgiveness are part of the human journey” and that the cross, the ultimate sign of forgiveness is at the heart of redemption. (Witnesses to Faith)

An Effective Communicator who

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

CGE2b -reads, understands and uses written materials effectively;

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

CGE2d -writes and speaks fluently one or both of Canada’s official languages;

CGE2e -uses and integrates the Catholic faith tradition, in the critical analysis of the arts, media, technology and information systems to enhance the quality of life.

A Reflective and Creative Thinker who

CGE3a -recognizes there is more grace in our world than sin and that hope is essential in facing all challenges;

CGE3b -creates, adapts, evaluates new ideas in light of the common good;

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

CGE3d -makes decisions in light of gospel values with an informed moral conscience;

CGE3e -adopts a holistic approach to life by integrating learning from various subject areas and experience;

CGE3f -examines, evaluates and applies knowledge of interdependent systems (physical, political, ethical, socio-economic and ecological) for the development of a just and compassionate society.

A Self-Directed, Responsible, Life Long Learner who

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

CGE4b -demonstrates flexibility and adaptability;

CGE4c -takes initiative and demonstrates Christian leadership;

CGE4d -responds to, manages and constructively influences change in a discerning manner;

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

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

CGE4g -examines and reflects on one’s personal values, abilities and aspirations influencing life’s choices and opportunities;

CGE4h -participates in leisure and fitness activities for a balanced and healthy lifestyle.

A Collaborative Contributor who

CGE5a -works effectively as an interdependent team member;

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

CGE5c -develops one’s God-given potential and makes a meaningful contribution to society;

CGE5d -finds meaning, dignity, fulfillment and vocation in work which contributes to the common good;

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

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

CGE5g -achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others;

CGE5h -applies skills for employability, self-employment and entrepreneurship relative to Christian vocation.

A Caring Family Member who

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

CGE6b -recognizes human intimacy and sexuality as God given gifts, to be used as the creator intended;

CGE6c -values and honours the important role of the family in society;

CGE6d -values and nurtures opportunities for family prayer;

CGE6e -ministers to the family, school, parish, and wider community through service.

A Responsible Citizen who

CGE7a -acts morally and legally as a person formed in Catholic traditions;

CGE7b -accepts accountability for one’s own actions;

CGE7c -seeks and grants forgiveness;

CGE7d -promotes the sacredness of life;

CGE7e -witnesses Catholic social teaching by promoting equality, democracy, and solidarity for a just, peaceful and compassionate society;

CGE7f -respects and affirms the diversity and interdependence of the world’s peoples and cultures;

CGE7g -respects and understands the history, cultural heritage and pluralism of today’s contemporary society;

CGE7h -exercises the rights and responsibilities of Canadian citizenship;

CGE7i -respects the environment and uses resources wisely;

CGE7j -contributes to the common good.

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