Course Profile   Music, Grade 9 open

 

Unit # 2

 

Activity 1½Activity 2½Activity 3½Activity 4½Activity 5

 

Title:    Theory

 

Time:   20 hours

 

Unit Developers

 

                Michael Seguin  Windsor-Essex Catholic District School Board

            Rose Jobin

            Gabe Gagnon

            Beth Dykeman

            Luigi Di Fazio

            Ann Wilkie

 

Development Date:                April 7, 1999

 

Unit Description

 

Theory involves learning the symbols, concepts and conventions used in music. By completing the expectations, students will be able to converse and express themselves using appropriate musical terminology.

 

Strands & Expectations

 

Ontario Catholic School Graduate Expectations:            2a,b,c,e; 3b,c,e; 4b,e,g; 5b; 7f,g

Strands:                             Theory, Creation, Analysis

Overall Expectations:      MTV. 01X, 02X, 03X, 04X, MCV.01X, 04X

Specific Expectations:      MTI.01X, 02X, 04X, 05X, 07X, 09X, 10X, 15X, 16X, 17X, 18X,                                  MA2.03X, MC1.04X, 07X, MC2.01X, 03X, 04X, 05X

 

Activity Titles (Time and Sequence)

 

Activity 1

Music To Our Ears

300 min

Activity 2

Balance and Blend

120 min

Activity 3

Dynamics

240 min

Activity 4

The Organization of Sound

240 min

Activity 5

Mind Over MIDI

300 min

 

Unit Planning Notes

 

A sound system, television and VCR in the classroom are vital audio-visual aids. Texts such as theory books, sight reading and ear-training materials and examples of appropriate repertoire are necessary. Equipment such as computers, MIDI and Internet access keeps students abreast with the changing advancements and requirements in modern technology.

 

 

 

 

 

Prior Knowledge Required

 

Students will demonstrate an understanding of the basic elements of music through listening to, performing and creating music; playing instruments and singing with expression and proper technique; using correctly, the musical terminology associated with the specific expectations for grade eight; reading, writing and performing from musical notation accurately and fluently; communicating their understanding and knowledge of music in appropriate ways; and, identifying and performing music of a variety of cultures and historical periods.

 

Teaching/Learning Strategies

 

The teaching and learning strategies will consist of brainstorming, conferencing, group work and listening activities (e.g., recordings, solo/ensemble/community performances). Performance activities (singing, playing) may be combined with the teaching and learning strategies. Music technology (computers, MIDI) will be incorporated in the teaching of concepts and creation of music. Students will engage in critical analysis and reflective learning activities. Opportunities will be given to apply learning through work experience activities.

 

Assessment/Evaluation

 

Students will be assessed using both formative and summative formats in order to ensure that overall, specific, and Catholic expectations are being met. Assessment strategies will consist of the following methods: personal communication through journals; logs, conferences and self-assessment; paper and pencil tests in the form of quizzes; mid term and final exams; formal and informal observation. Students will be assessed through performance and theoretical applications. Assessment tools will include checklists and anecdotal comments to students.

 

Activity #1

 

Title:    Music To Our Ears

 

Time:    300 minutes

 

Description

 

Through the use of written materials and class performance, the students will explore the evolution of musical notation, the duration of musical sounds and the relationship of tempo to the duration of notes and rests. The student will be introduced to a system of counting to further heighten the musical experience of learning to read music. Through the use of tempo terminology and performance, the student will explore the correlation of tempo to note/rest/duration.

 

Strands and Expectations

 

Ontario Catholic School Graduate Expectations:

The graduate:

•       Adopts a holistic approach to life by integrating learning from various subject areas and experience. (3e)

•       Thinks critically about the meaning and purpose of work. (5b)

 

Strands: Theory, Analysis, Creation

 

Overall Expectations:

At the end of this course, students will:

•       demonstrate the ability to read and understand music notation (MTV.02X) <

 

Specific Expectations:

 

Students will:

•       explain the evolution of musical notation. (MTI.15X) <

•       define and identify basic musical indicators of the duration (e.g., sixteenth notes and rests through to whole notes and rests, including dotted values). (MTI.01X) <

•       identify and describe basic musical indicators of speed and changes in speed (e.g., andante, moderato, allegro, ritardando, rallentando, accelerando). (MTI.02X) <

•       reflect on learning by maintaining a journal and/or practice log to record progress. (MA2.03X) <

•       make simple and effective creative choices in performance within musical parameters (e.g., use call and response: ornament existing melodies: improvise a melody: add dynamics, articulation, and tempi to existing music) (MC2.03X) <

 

Planning Notes

 

•     All attempts must be made to ensure that the students are performing throughout all these activities either by vocalizing or playing an instrument of some kind.

•     The use of recordings is always an asset.

•     A CD/tape player may be required if the teacher chooses to use recorded examples.

 

Prior Knowledge Required

 

1.         Read, write, and perform musical notation accurately and fluently.

2.         Have a working knowledge of note names in both treble and bass clefs.

 

Teaching/Learning Strategies

 

1.         The teacher will discuss the evolution of music notation highlighting:
A.  The teaching of songs to others by singing (rote teaching). Monks taught music by rote. As changes occurred in the music, a system of writing music was needed. Emphasize that the progression towards music notation began in the cathedrals and monasteries of the Roman Catholic Church in the 9th century.
B.   By the end of the 9th century - dots, dashes, squiggles were written over words in service books. These signs were called neumes.

2.         Before the teacher shows a visual example of neumes, the students will sing a simple melody such as “Mary Had a Little Lamb” or “Twinkle, Twinkle Little Star” (or other easy examples). They will write down the words and add their own notation indicating the direction the notes will take during the singing.

            (Liturgical example; Kyrie - Stephen Somerville, CBW II) (“Kehna Hi Kya” - A. R. Rahman)

                                    EX.                             

                                                _                    _     _     _

                                                        _         _

                                                              _

                                                Ma - ry had a lit - tle lamb

 

                                                                              _    _

                                                                       _

                                                 _      _    _

                                                Lit - tle lamb, lit - tle lamb

 

            The students will be encouraged to show their notational system to their peers and explain how their system shows the direction of the melody. The teacher will show the students an example of neumes from an appropriate text as comparison to what the students have produced.

3.         The teacher will engage the students in a discussion about their creations including how to indicate pitch direction and length (duration of the note). The teacher will show the students the four main shapes of note values that developed during the ninth and tenth centuries: double long, long, breve and semibreve.

4.         The teacher can then ask the students for suggestions on how to indicate pitch above their words. Then introduce the concept that occurred around A.D. 900: a horizontal red line was used to indicate the location of the note F. The neumes were placed above or below showing how high or low. Eventually a yellow or green line was drawn to indicate the middle C which was placed above the F line. The teacher can show printed examples of each of these.

5.         At this point, the teacher will give handouts indicating the Ars Nova (q.v.) 14th century notation that our present notational system is based on including: maxima, longa, brevis, semibrevis, minima, semiminima, fusa and semifusa. Hold a short discussion on comparison to present day notation.

6.         The next discussion will involve clefs, barlines, time signatures, changes in the notes (i.e. square and diamond notes had become round) and the invention of the staff. Guido D’Arezzo is probably the most familiar name associated with the staff however if the teacher so chooses, they can mention other composers through further research. The ancient chants of the Catholic Church were written on a four-line staff which was accredited to Guido D’Arezzo. As always, make comparisons to present day notation. The teacher can play musical examples of Gregorian Chant and/or other chants. Students could try to read and/or sing Gregorian Chant (e.g., “Pange Lingua” # 68 CBW III - St. Thomas Aquinas)

7.         The evolution of musical notation will lead into a discussion of the duration of notes/rests. Using the students’ prior knowledge, have the students either individually or collectively in groups map out a Note Value Chart including dotted notes and rests. Refer to “Ready-To-Use Music Activities Kit” Audrey J. Adair, Section IV Figuring Duration.

8.         The teacher will then introduce a system of counting to be used consistently throughout the course and subsequent years. The teacher chooses the system, making sure to have appropriate text for reference.

9.         Again, using prior student knowledge, embark on a discussion concerning tempo. Distribute handouts with definitions and metronomic markings of the following indicators of speed: andante, moderato, allegro, ritardando, rallentando and accelerando. If possible, play musical recordings demonstrating some of these indicators.

10.       Have the students break into groups (own choice or teacher chosen) and create an eight measure melody/rhythm combining all types of notes/rests as discussed. The performance medium will be determined by the teacher and program. The composition must also indicate a tempo and include either a ritardando and/or accelerando in their composition. Group performance will follow with the other members of the class evaluating each performance. (See Appendix E)

 

Accommodations for the Activity

 

1.   Provide reference notes including note names from both treble and bass clefs, basic music indicators of duration and descriptions of basic musical indicators of tempo and changes of tempo.

2.   Provide sample musical recordings to describe tempo variations.

 

Assessment/Evaluation

 

1.   Students will keep track of their progress and reflections in their journals. These will be checked for completion and assessed. (MA2.03X)

2.   Pencil & Paper tests on music notation, duration and speed indicators. (MTV.02X, MTI.01X, 02X, 15X)

3.   Performance - student and teacher assessed through the use of evaluation sheets.
(MTI.01X, 02X) (MC2.03X)

 

Resources

 

1.         Catholic Book of Worship II (CBW II) - Canadian Conference of Catholic Bishops and Gordon V. Thompson, 1980.

2.         Catholic Book of Worship III (CBW III) - Canadian Conference of Catholic Bishops, 1994.

3.         Music Theory & History Workbook - C. Elledge, J. Yarbrough & Bruce Pearson 4H; 5T; 8T; 10T; 15T; 17T.

4.         Ready-To-Use Music Activities Kit - Audrey J. Adair , Sections IV, VIII.

5.         Alfred’s Essentials of Music Theory Book 1 - A. Surmani, K.F. Surmani, M. Manus - Unit 1 p. 8; Unit 2. Lesson 6, 8, 9, p. 14, 15; Unit 4 Lesson 15, 16, 17; Unit 5 Lesson 19.

6.         Practical Theory Complete - S. Feldstein Lessons 5, 7, 11, 15, 21 22, 43, 45, 46, 47.

7.         The Lawless Theory Course - Preliminary Rudiments - J. Lawless p. 16-30.

8.         Alfred’s Basic Adult Theory Piano Book Level One - W. A. Palmer, M. Manus, A. V. Lethco - p. 10, 17, 22, 39, 40.

9.         The New Book of Knowledge Vol. 12 - pp. 522-527.

10.        The Oxford Companion to Music (10th Ed) - Percy A. Scholes - pp. 687-692.

11.        Rehearsal Handbook for Band and Orchestra Students - Robert Garofalo - Unit 1 - Notation, Time Signatures and Counting Method.

12.        Elementary Rudiments of Music - Barbara Wharram Chapter 1 pp. 5-9.

13.        Cassette - Bombay (Movie) - “Kehna Hi Kya”, A. R. Rahman, Polygram India Ltd., 1994.

 

Appendices

Appendix E: Checklist for Assessing Performance

 

PERFORMANCE EVALUATION CHECKLIST

 

Name of Evaluator:__________________________                             Date:_______________

 

Performers:

 

Title of Composition:______________________________________________________________

_________________________________________________________________________

 

Element Checklist:                                                                      YES                 NO

 

1.         Length (8 measures)                                          ___                  ___

 

2.         Note variety (whole, half, quarter, eighth)            ___                  ___

 

3.         Rest variety                                                      ___                  ___

 

4.         Tempo indication                                               ___                  ___

 

5.         Ritardando and/or accelerando indication            ___                  ___

 

Performance Factor Checklist:

 

1.         Begin together                                                   ___                  ___

 

2.         End together                                                     ___                  ___

 

3.         Ensemble articulation                                         ___                  ___

 

4.         Phrase together                                                 ___                  ___

 

5.         Proper and consistent breathing                          ___                  ___

 

(One point for each yes answer)                                    Total:    ____

                                                                                                              10

 

Personal Impressions: (not included in overall mark)

____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

 

Activity #2

 

Title:    Balance and Blend

 

Time:   120 minutes

 

Description

 

Through a variety of listening and playing examples, students will gain an understanding of what to do, what to listen for and how to achieve “Balance and Blend”. Progressive ear training exercises will be used to train the ear so that a sensitive awareness is achieved.

 

Strands and Expectations

 

Ontario Catholic School Graduate Expectations:

The graduate:

•       Reads, understands and uses written materials effectively. (2b)

•       Respects and understands the history, cultural heritage and pluralism of today’s contemporary society. (7g)

 

Strands:        Theory, Creation

 

Overall Expectations:

By the end of this course, students will:

•       identify and define in simple terms the elements of music. (i.e. rhythm, melody, timbre, dynamics, harmony, texture, and form.) (MTV.01X) <

•       demonstrate the ability to read and understand musical notation. (MTV.02X) <

•       demonstrate an understanding of a broad overview of the historical and stylistic context of music. (MTV.03X) <

 

Specific Expectations

Students will:

•       define and describe musical textures (i.e., monophonic, homophonic and polyphonic). (MTI.09X) <

•       describe concepts of “Balance and Blend” related to monophonic, homophonic and polyphonic styles. (MTI.10X) <

•       control notated or stylistically correct dynamics while maintaining good tone quality. (MC1.04X)

•       reflect on learning by maintaining a journal and/or practice log to record progress. (MA2.03X) <

 

Planning Notes

 

•     Teacher will play a variety of listening materials based on monophonic, homophonic and polyphonic styles which represent contrasting “Balance and Blend” requirements.

•     A sound system and piano will be used as demonstration tools.

•     The definition of the “Balance and Blend” concept will be researched and described through a co-operative effort.

•     The most important aspect regarding this concept is the fact that “Balance and Blend” is a learned concept. Students must be aware of this fact and learn how to acknowledge, realize and apply this concept.

•     Students will be given the opportunity to measure the concept of “Balance and Blend” through solo performances, live community performance field trips, guest musicians and school band/choir concerts.

 

 

Prior Knowledge Required

 

1.   Awareness of styles of music - monophonic, polyphonic, homophonic.

2.   Knowledge of how to achieve “Balance and Blend” to suit various styles and periods.

3.   Knowledge of how to listen critically.

4.   Understand the basic elements of music.

5.   Sing and play instruments with proper technique.

6.   Compare the characteristics of music of different historical periods.

7.   Identify and perform music of a variety of cultures and historical periods.

 

Teaching/Learning Strategies

 

1.   Teacher will play a variety of piano pieces from “Famous Piano Classics” representing monophonic, homophonic and polyphonic styles to help describe the concept of “Balance and Blend”. Students will write ideas in writing folders and share descriptive thoughts. Students will contribute such statements as: “give and take idea”; “take care not to leave any notes out”; “bring out the melody”; “keep the accompaniment below”; “each part has an individual life of its own”.

2.   Teacher will play a variety of listening recordings representing contrasting styles e.g., “Jubilate Deo Universa Terra” - (monophonic); “Just Before I Close My Eyes” - Larry Neeck (homophonic); “March - 1941" - John Williams (polyphonic); “Sing We and Chant It” - Thomas Morley (polyphonic-fugal). Students will describe orally the concepts of “Balance and Blend” by answering the following questions:

            Is the melody always audible?

            Is the accompaniment overpowering?

            Where is the melody in comparison to the accompaniment?

            Can all parts be heard?

            Is each section balanced in itself and as a whole?

            Can each line be heard?

            Does one voice dominate the other?

            Are the chords full sounding?

3.   Teacher will arrange opportunities for students to study the concept of “Balance and Blend” through solo performances, live community performance field trips, guest musicians and school band/choir concerts. Students will fill out a listening sheet evaluation form. Students will perform in small group settings and critique the “Balance and Blend” concept found in their live performances of various styles of music. This activity is on-going throughout the course. “Dodi Li” - Doreen Rao (see Appendix F “Listening Guide”)

4.   Teacher will help to make students aware of the fact that certain styles of music require different “Balance and Blend” considerations. Students will list monophonic, polyphonic and homophonic styles in chart form in their writing folders and describe the necessary balance considerations in the following musical forms: the Ballad, the Fugue, the Orchestra, Folk Song, Jazz (e.g., “Marsh Blues” - Ingrid Jensen), Chant.

 

Accommodations for the Activity

 

1.   Pair or group students for written activities.

2.   Provide reference notes including a description of the concepts monophonic, polyphonic, homophonic, “bring out the melody” and “keep the accompaniment below”.

 

Assessment/Evaluation

1.   Probe Questions (see #2 in teaching/learning strategies above). (MTV.03X)

2.   Peer/Self assessment/Reflection. (MTV.02X)

3.   Written Assignments/Listening Sheets/Anecdotal Notes. (MTV.01X)

4.   Formal written assignments/Listening sheet. (MTV.01X)

5.   Student Observation/Conferencing/Observation. (MTV.01X)

6.   Writing folders/Performance Assessments. (MA2.03X) (MTI.09X, 10X)

 

Resources

 

1.   “Just Before I Close My Eyes” - Larry Neeck - (Jazz Band Ballad).

2.   “March 1941" - John Williams, Jenson Publications, 1994.

3.   “Sing We And Chant It” - Thomas Morley - The A Cappella Singer - H. Clough- Leighter.

4.   Interpretation for the Piano Student - Joan Last - Oxford Press (P.48).

5.   Music Fest Canada - Concert Band Evaluation Criteria.

6.   Popular Classics for Piano - R. Benedict, Waterloo Pub.

7.   “Jubilate Deo” - Universa Terra - Experiencing Music - Richard Wingall, Alfred Publ., 1981.

8.   “Marsh Blues” - Vernal Blues - Ingrid Jensen, ENJA Records, 1995.

9.   “Dodi Li” - Doreen Rao, Boosey and Hawkes, 1992.

 

Appendix

Appendix F: Listening Guide

 

            Title:               __________________________________________

 

            Composer:      __________________________________________

 

            Era:                 __________________________________________

 

            Meter:            __________________________________________

 

            Style:               __________________________________________

 

            Instruments:   __________________________________________

 

            Mood/Feeling:            __________________________________________

 

            Tempo: (Italian Term)___________________ Definition____________________

 

            Form:              __________________________________________

 

            Conducting Pattern:

 

            Sketch Conducting Pattern

 

            Personal Impressions:           ___________________________________________

 

Activity #3

 

Title:    Dynamics

 

Time:   240 minutes

 

Description

 

Through the use of listening, writing and performance activities students will be able to identify and describe basic indicators of dynamics.

 

Strands and Expectations

 

Ontario Catholic School Graduate Expectations:

 

The graduate:

•       Respects and affirms the diversity and interdependence of the world’s peoples and cultures. (7f)

•       Respects and understands the history, cultural heritage and pluralism of today’s contemporary society. (7g)

 

Strands: Theory, Creation

 

Overall Expectations

 

At the end of Grade 9, students will:

•       identify and define in simple terms the elements of music (i.e. rhythm, melody, timbre, dynamics, harmony, texture and form. (MTV.01X, 04X) <

•       demonstrate the ability to read and understand music notation; (MTV.01X, 02X ) <

•       demonstrate an understanding of a broad overview of the historical and stylistic context of music. (MTV.02X, 03X ) <

•       explain methods of production and editing of musical recording (e.g., analog and MIDI) (MTV.04X ) <

•       play or sing technical exercises and diverse repertoire (including their own creations when appropriate) that reflect the theory expectations (MCV.01X)

 

Specific Expectations

 

Students will:

•       identify and describe basic musical indicators of dynamics (i.e. pianissimo through fortissimo, including crescendo and decrescendo). (MTI.07X) <

•       control notated or stylistically correct dynamics while maintaining good tone quality. (MCI.04X)

 

Planning Notes

 

•     Teacher draws a dynamic chart on blackboard which includes all ranges from ppp to fff.

•     Teacher prepares applications for the dynamic concept worksheets from Practical Theory and Essentials of Music Theory.

•     Teacher finds listening examples of music which represent dynamic differences as a result of changes in texture, instrumentation and intensity.

 

Prior Knowledge Required

 

1.   Demonstrate an understanding of the basic elements of music.

2.   Sing or play instruments with expression and proper technique (e.g. with correct breathing or fingering).

3.   Use correctly the musical terminology (e.g., large ensemble and small ensemble).

4.   Read, write and perform musical notation accurately and fluently.

5.   Communicate an understanding and knowledge of music in appropriate ways (e.g. compare the characteristics of music from different historical periods).

 

Teaching/Learning Strategies

 

1.   Students will sing a note to the syllable “lah” or perform a “comfortable” note on a wind instrument. It will be sung/played as softly as possible then as loudly as possible. The teacher will indicate with a pointer at what end of the dynamic spectrum the students are performing. Students will then play/sing as softly as possible at the triple pianissimo level and build in intensity until a triple fortissimo sound is achieved while maintaining a good sound quality. Teacher will, at all times, indicate with the pointer, the level of intensity that is being achieved. Students will describe the physical effort and control that is exerted in the production of loud to soft and soft to loud sound when producing a crescendo over a count of eight measures.

2.   Teacher uses Practical Theory (pp. 23-26) and Essentials of Music Theory (pp. 43-46) as worksheet applications to represent the “Dynamic” concept. Students submit worksheets for evaluation.

3.   Teacher uses the piano/instrument/voice and demonstrates the wide range in dynamics produced by playing with variations in intensity. Teacher plays a variety of short selections from Famous Piano Classics employing varying uses of dynamics. Students listen and chart dynamic variations in workbooks.

4.   Teacher plays recordings representing the Renaissance, Baroque and Romantic eras. Students make anecdotal notes regarding the use of instrumentation/intensity or texture to create dynamics. The terms ripieno (small ensemble) and concertino (large ensemble) are defined and compared to our modern day concerto. “Sing We and Chant It” - Thomas Morley (Madrigal - forte vs. piano, intensity) “Brandenburg Concerto #5" - J. S. Bach, “Music for The Royal Fireworks” - Handel (ripieno vs concertino, instrumentation/texture) “Hungarian Rhapsodies” - Franz Liszt (expressive homophony, intensity), represent contrasting historical musical styles which vary dynamics by the use of intensity, instrumentation or texture.

5.   Teacher presents a new piece of music to challenge dynamic interpretation. Students perform music and follow the dynamics, playing/singing as expressively as possible. (“We Will Rise Again” - Gather, (vocal), “Chorale #2" Belwin Warm-ups, (Instrumental) “Siyahamba” (African-Zulu), “Nukapianguaq” (Inuit))

6.   Students compose/graph an eight bar song based on a poem or appropriate theme and write in the appropriate dynamics. Students arrange a composition on MIDI using Performer, MusicTime or other available music software.

7.   Students draw their own progressive dynamic chart in their notebooks and mark in all dynamic ranges.

8.   Students pair up, create a chant verse and perform for each other using specific dynamics. On the second performance students play using the opposite dynamics. Students will discuss and compare effects.

9.   Students bring to class a recording of their favourite artist. Every student plays a short excerpt of the song and explains the use of dynamics.

 

Accommodations for the Activity

 

1.   Pair students for written activities (assist with reading and writing).

2.   Provide a copy of the dynamic chart.

 

 

Assessment/Evaluation

                       

1.   Informal teacher observation.(MTV.01X, 04X)

2.   Formal Written Assignments - Essentials of Music Theory - (p. 28, 29)/ Practical Theory -
(p. 43-46) (MTV.01X, 02X)

3.   Chart graphs of sound intensity.

4.   Observation. (MTV.02X, 03X)

5.   Anecdotal comments. (MTV.03X)

6.   Presentations. (MTV.03X)

7.   Peer and Teacher Evaluations. (MTV.01X, 02X, 03X) (see Appendix G)

 

Resources

 

1.         Musical Growth - Natalie Kuzmich, Gordon V. Thompson.

2.         Experiencing Music/Recordings - Richard Wingell, Alfred Pub.

3.         Essential Repertoire - Janice Killian, Michael O’Heern, Linda Rann, Emily Crocker, Hal Leonard.

4.         Essentials of Music Theory - Andrew Surmani, Karen Farnum Surmani, Morton Manus/Alfred. P28,29.

5.         “We Will Rise Again” #350 - Gather - North American Liturgy Resources, GIA Publ. 1988.

6.         Computer Software - (Midi) Performer /Music Time - Passport (Macintosh).

7.         CD - "Mad About Baroque" - "Music for the Royal Fireworks" - G. F. Handel - "La Rejouissance" - Deutsche Grammophon, 1993.

8.         Belwin Band Warm-ups- “Choral #2" Belwin, Leonard B. Smith and Jack Bullock - Belwin Mills.1990.

9.         “Siyahamba” (African - Zulu) - Doreen Rao, Boosey and Hawkes, 1991.

10.        “Nukapianguaq” (Inuit) - Stephen Hatfield, Boosey and Hawkes, 1993.

 

Appendix:

Appendix G: Sample Rubrics

 

CATEGORIES

 

Theory (Knowledge/

Understanding

50 - 59%

(Level 1)

The student:

60 - 69%

(Level 2)

70 - 79%

(Level 3)

80 - 100%

(Level 4)

-knowledge of facts and terms

-demonstrates limited knowledge of dynamics

-demonstrates some knowledge of dynamics

-demonstrates considerable knowledge of dynamics

-demonstrates thorough and insightful knowledge of dynamics

-understanding of concepts, elements, principles and theories

-demonstrates limited understanding of the use of instrumentation, intensity or texture to create dynamics

-demonstrates some understanding of the use of instrumentation, intensity or texture to create dynamics

-demonstrates considerable understanding of the use of instrumentation, intensity or texture to create dynamics

-demonstrates thorough and insightful understanding of the use of instrumentation, intensity or texture to create dynamics

-understanding of relationships between concepts

-demonstrates limited understanding of the use of dynamics in a performance situation

-demonstrates some understanding of the use of dynamics in a performance situation

-demonstrates considerable understanding of the use of dynamics in a performance situation

-demonstrates thorough and insightful understanding of the use of dynamics in a performance situation

 

 

Activity #4

 

Title:    The Organization of Sounds

 

Time:    240 minutes

 

Description

 

Through the examination and analysis of musical form and structure, students will gain understanding and insight into the techniques of writing music. Students will understand how to use the repetition and contrast of musical elements to organize sound. The students will further understand and investigate musical structure through the study and performance of musical forms from a variety of cultures and the Catholic faith tradition and apply them to both written and recorded examples. The activities will enable the student to demonstrate an understanding of a broad overview of the historical and stylistic context of music.

 

Strands and Expectations

 

Ontario Catholic School Graduate Expectations:

The graduate:

•       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. (2e)

•       Thinks reflectively and creatively to evaluate situation and solve problems. (3c)

•       Demonstrates flexibility and adaptability. (4b)

 

Strands: Theory, Creation

 

Overall Expectations

 

At the end of Grade 9, students will:

•       identify and define in simple terms the elements of music (i.e., rhythm, melody, timbre, dynamics, harmony, texture, and form). (MTV.01X) <

•       demonstrate the ability to read and understand music notation. (MTV.02X) <

•       demonstrate an understanding of a broad overview of the historical and stylistic context of music. (MTV.03X ) <

•       explain methods of production and editing of musical recording. (e.g., analog and MIDI) ( MTV.04X) <

•       play or sing technical exercises and diverse repertoire that reflect the theory and expectations (MCV.01X)

 

Specific Expectations

 

Students will:

•       use appropriate terminology to describe how repetition and contrast of musical elements are used to organize sound (e.g., phrase structure, motif and theme, imitation, verse and chorus, bridge).
(MTI.11X) <

•       demonstrate an understanding of the following simple musical forms: binary, ternary, popular song, and two other simple performance forms related to a specific cultural context (e.g., Native drum song, Scottish pipe song). (MTI.12X) <

•       explain the influence of music in a variety of historical and cultural contexts (e.g., Indonesian gamelon, 2500 B.C.E. Turkish war cymbals). (MTI.13X) <

•       explain the evolution of their performance medium. (MTI.14X) <

•       play or sing with accurate pitch (MC1.07X)

 

Planning Notes

 

•     Students will require manuscript paper and pencils. The learning environment should contain an adequate sound system.

•     For performance related approaches to these activities, students should bring their instruments with them.

•     The teacher should have appropriate percussion instruments available for the lesson.

•     Should the final recital option be included in the delivery of these activities, an appropriate performance venue should be secured.

 

Prior Knowledge Required

 

1.   Students must have a clear understanding of the elements of music.

2.   Previous knowledge should include experience with basic form structures such as rondo form (ABACA) and theme-and-variations (A,A1,A2, etc.).

3.   Students should have a basic knowledge of music notation.

 

Teaching/Learning Strategies

 

Part I

1.         Introduce to students the basic rhythmic pattern of a Spanish style called “bolero” by tapping the rhythmic pattern on a small hand drum or other appropriate instrument.(e.g., “Bolero Certo Danza D’Castille”)

2.         Have the students echo by repeating the basic percussion pattern and transfer it to music notation.

3.         Discuss the countries of the world that would be most likely to use this rhythmic element (Latin countries).

4.         Identify the historical connections between these countries.

5.         Teacher will compose a short melody to accompany the rhythm.

6.         Students will be asked to compose and perform, on their instrument, a short (four to eight measures) melody in a simple key (concert pitch) that is appropriate for the types of instruments being used.

7.         The teacher will select from the student examples excerpts to be played by the students along with the teacher-generated original rhythm.

8.         Select a few melodies and overlap them simultaneously. Do they appear to go together?

9.         Introduce the concept of a “round”. Perform these new melodies (2 or 3) as a round.

10.        Discuss “round” as a type of musical form. (e.g., “Blessing” #722 - Joe Dailey, CBW II)

11.        Play a recording of Ravel’s Bolero and have students identify similarities with their newly constructed music. (e.g., “Bolero” - Maurice Ravel)

12.        Have students identify the rhythm, instrumentation, and sections of music in a simple way (repetition, dynamics, crescendo, texture-from very thin to very full and complex, motifs used, themes, imitation).

 

Part II

1.   Apply the concept now to a modern rhythm such as rap or a basic rock pattern and create a piece to be performed in the same manner as in Part I.

2.   Introduce other forms such as theme and variations, rondo (“Rondeau” - Mouret), sonata, canon (“Canon in D” - Pachelbel), binary, and popular song (introduction, verse, chorus, solos, verse, chorus, coda or ending -“Awesome God” - Rich Mullins, “Entertaining Angels” - Newsboys, “Besame Mucho” - arr. Kirby Shaw) by playing simple recordings of works with these types of forms.

3.   Compare early historical musical forms to modern forms by using the same terminology as in Part I and include A,B,C schematic formatting. Draw parallels between yesterday’s and today’s music.

4.   Students will write their own compositions using one of the forms from Part II section 1 or 2 in any appropriate ensemble (e.g., percussion ensemble) which can culminate in a concluding activity where all classmates can analyze each other’s work. A final recital performance can be included where appropriate including recording of performance by peers.

 

Accommodations for the Activity

 

1.   Review the elements of music and music notation.

2.   Provide chart format for historical musical forms.

3.   Provide alternatives for writing compositions (pre-recorded music accompanied by pictures, examples of music videos).

4.   Provide alternative to final recital.

 

Assessment/Evaluation

 

1.   Informal teacher observation. (MTV.03X, MTI.11X)

2.   Roving conference. (MTV.04X, MTI.13X)

3.   Probe Questions. (MTV.01X, 02X, MTI.12X)

4.   Presentations, performances. (MTI.14X)

5.   Recording Project.(MTV.04X)

 

Resources

 

1.         Experiencing Music - Richard Wingell, Alfred Publ. (Includes recordings).

2.         Oxford Companion to Music - Percy. A. Scholes.

3.         Musical Growth - Natalie Kuzmich, Thompson Publ.

4.         The Enjoyment of Music - Machlis, Norton Publ.

5.         “Blessing” - Joe Dailey - Catholic Book of Worship II - Canadian Conference of Catholic Bishops and Gordon V. Thompson, 1980.

6.         “Besame Mucho” (SATB) - Arranged by Kirby Shaw, Promotora Americana.

7.         CD - Espana Pops Concert - “Bolero Certo Danza D’Castille”, CVD Manufacturing Inc., 1996.

8.         CD - Best Of the Classics - “Bolero” - Madacy Music Group Inc., 1993.

9.         CD - Mad About Baroque - Pachelbel: “Canon in D”, “Rondeau” - Mouret - Deutsche Grammophon, 1993.

10.        CD - “Winds Of Heaven”, “Stuff of Earth” - “Awesome God” - Reunion Records, 1988.

11.        CD - WoW 1999 - “Entertaining Angels” - Newsboys, EMI Christian Music Group Inc., 1998. Website: www.wow99.com

 

 

Activity #5

 

Title:    Mind Over MIDI

 

Time:   300 minutes

 

Description

 

Students will enhance their own understanding of MIDI recording and create their own glossary of terms through composition exercises. The following terms and MIDI techniques will be addressed: MIDI, Sequencer, On-board sequencer, Stand-alone, Computer software sequencer, Controllers, Tone generators, Multi-timbral, Sampler, Music Interface, Step Time Recording, Real Time Programming and Quantizing. This activity will be a culmination of previous activities in this unit.

 

Strands and Expectations

 

Ontario Catholic School Graduate Expectations:

The graduate:

•       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. (2e)

•       Respects and understands the history, cultural heritage and pluralism of today’s contemporary society. (7g)

 

Strands:        Theory, Analysis

 

Overall Expectations:

At the end of Grade 9, students will:

•       identify and define in simple terms the elements of music (i.e., rhythm, melody, timbre, dynamics, harmony, texture, and form). (MTV.01X) <

•       explain methods of production and editing of musical recording (e.g., analog and MIDI). (MTV.04X) <

•       demonstrate the effective use of analog and digital technology in music applications. (MCV.04X) <

 

Specific Expectations:

Students will:

•       demonstrate an understanding of the procedure of making an analog recording of a student performance (e.g., adjustment of levels) (MTI.16X) <

•       describe the uses of various functions found in recording equipment and sequencers; (MTI.17X) <

•       identify and describe MIDI-specific terms as they relate to MIDI recording (e.g., real-time). (MTV.18X) <

•       use the elements of melody, rhythm, and form in a variety of media (e.g., pencil and paper, acoustic instruments, recording equipment, MIDI technology, music soft-ware) to create a simple composition. (MC2.01X ) <

•       use analog and digital recording technology to demonstrate an understanding of the basic processes involved. (MC2.05X) <

•       reflect on learning by maintaining a journal and/or practice log to record progress (MA2.03X)

•       use the elements of melody, rhythm, and form in a variety of media (e.g. pencil and paper, acoustic instruments, recording equipment, MIDI technology, music software) to create a simple composition. (MC2.01X)

•       demonstrate an understanding of transposition (e.g. adapt an existing melody for their own performance medium) (MC2.02X)

•               make artistic decisions about aspects of performance in individual and group situations (MC2.04X)

 

 

Planning Notes

 

•           Computer software such as Cakewalk, Finale, Power Tracks Pro, Band in the Box.

•           Access to a keyboard sequencer (ex. Korg 01W, 01 or X3) or keyboard slave.

•           Cassette Tape recorder with microphone and CD burner.

 

Prior Knowledge Required

 

Students should be able to create a musical composition that makes use of the elements of music.

 

Teaching/Learning Strategies

 

1.         Students will be asked to define MIDI recording terminology as it appears during the recording process. They will keep a journal containing definitions of newly acquired MIDI language terms.

2.         Instead of providing a prepared terminology sheet, a “Learn as you go” approach will enable students to experience MIDI-specific terms at their own pace while recording a composition using a multi-timbral synthesizer or tone generator and a multi-track sequencer.

3.         Pairs of students working at a computer workstation can brainstorm the MIDI Recording terminology amongst themselves.

4.         Through individual conferencing, teachers can earmark certain terms as they come up for discussion and then initiate a class discussion about the terms.

5.         By utilizing a mind map (brainstorming) with the whole class, a comprehensive picture of MIDI Recording Terminology can be identified.

6.         Some listening materials as examples would be a good preparatory activity (i.e., song files created by the teacher in real-time recording versus step-time recording files).

7.         Students listen for the differences between the rigid step-time recording versus the natural sounding real-time recording.

8.         Students will explore a variety of sounds and organize them in a chosen form.

9.         The composition must include some form of suspense and release through variation in volume, pitch and texture.

10.        Students will then critique each other’s work and make constructive suggestions for improvement.

11.        Once their composition is complete, students will make an analog recording of their work experimenting with the recording levels as needed.

12.        As more compositions are created during the year, the work will be saved onto floppy disk, cassette or CD.

13.        Students will be encouraged to explore work experience opportunities (e.g. Co-operative education).

 

Accommodations for the Activity

 

1.   Modify assessment techniques (refer to individual I.E.P.’s).

2.   Provide terminology sheets to be used for study purposes.

3.   Arrange for a “study buddy”.

 

Assessment/Evaluation

 

1.   Peer-assessment–rating scales, rubrics, anecdotal comments. (MTV.01X)

2.   Self-assessment–rating scales, rubrics, probe questions. (MA2.03X)

3.   Student observation–checklists. (MA2.03X)

4.   Student-Teacher conferencing–teacher logs. (MTI.16X,17X,18X)

5.   Peer conferencing–anecdotal notes. (MTI.16X,17X,18X)

6.   Roving conferencing–probe questions. (MTV.04X)

7.   Performances–rating scales, peer assessments, audio taping. (MC2.04X)

8.   Demonstrations. (MC2.05X)

9.   Portfolios. (MC2.01X)

 

Resources

 

1.         Cakewalk–Twelve Tone Systems Inc.

2.         Band in the Box–PG music Inc.

3.         Power Tracks Pro–PG music Inc.

4.         Finale–Coda Music Software.

5.         What’s MIDI? Making Musical Instruments Work Together - by Jon F. Eiche.

6.         What’s a Sampler? - by Freff.

7.         What’s a Sequencer? A Basic Guide to Their Features and Use - by Greg R. Starr.

8.         What’s a Synthesizer? Simple Answers to Common Questions About the New Musical Technology by Jon F. Eiche.

9.         Electronic Musician’s Tech Terms - A Practical Dictionary for Audio and Music Production - from Electronic Musician Magazine - by George Petersen & Steve Oppenheimer

10.        Eric’s Catholic MIDI Website (Eric Giguere), 1995, http://www.csgrs6k1.uwaterloo.ca:80/~giguere/music/.

11.            Cubase Program - Saved by Technology.

 

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