Course Profile Comprehensive Arts, Grade 9 open, Public

Unit #3: Integrating the Arts

Activity 1 | Activity 2 | Activity 3

Time: 30 hours

Unit Developers

Ron Dodson, Avon Maitland DSB (Project Leader)

Daryl Ouellette Upper Canada DSB

B.J. Reid, Upper Canada DSB

Susan Selby, Durham DSB

Development Date: April, 1999

Unit Description

In this unit, students will create works in all arts areas by applying techniques specific to each and concepts common to all arts disciplines. Students will produce artworks that demonstrate innovative connections among the arts by using technologies and new technological information. Students will demonstrate the ability to conduct a step-by-step critical analysis of their own work and that of others. Students will demonstrate an understanding of cultural characteristics that distinguish an individual’s and/or community’s artistic identity. Students will describe and express, orally, visually and in writing, the elements and principles of the arts found in their own work and that of others. Students will demonstrate an understanding of common health and safety practices while working in the various arts disciplines.

Strands and Expectations

Strands: Theory, Creation, Analysis

Overall Expectations: LTV.01X, LTV.03X, LCV.01X, LCV.03X, LCV.04X, LAV.01X, LAV.02X

Specific Expectations: LT1.02X, LT1.03X, LT1.07X, LC1.02X, LC1.04X, LC1.05X, LC1.06X, LC1.08X, LC1.09X, LC1.10X, LAV.01X, LA1.02X, LA1.03X, LA1.12X, LA1.13X

Activity Titles, Sequence and Suggested Time

Activity #1	Introduction to rhythm and movement in the arts	75 – 150 minutes
Activity #2	Creating rhythm and movement in the arts	1425 – 1575 minutes
Activity #3	Reflecting upon rhythm and movement in the arts	75 – 150 minutes

Unit Planning Notes

• Attention must be paid to the special needs of ESL/ESD students and those with perceptual or physical exceptionalities.

• Each period should include time for warm-up and clean-up/wrap-up.

• The knowledge and skills taught in each activity depend upon the degree to which students master those of the previous unit.

• Assessment and evaluation must be clear, thorough and ongoing.

Prior Knowledge Required

The student will need a working knowledge of the concepts and principles taught in Units 1 and 2.

Assessment/Evaluation Techniques

Assessment and evaluation techniques are detailed with each activity.

Resources

Art reproductions, videos and recordings from Unit 1

Student art works collected from previous classes

Examples of rhythm and movement from each discipline

Sound system

Effort cards and tension cards

Overhead transparency or copies of Laban’s “Theory of Movement”

Overhead projector

Chart paper

Markers

Venn diagram blank

Activity #1: Introducing Rhythm and Movement in Dance/Drama, Music and Visual Arts

Time: 75 - 150 min.

Description

This activity introduces students to the presence and effect of rhythm and movement in each of the four arts disciplines. The knowledge gained in this preliminary activity is applied in subsequent activities.

Strands and Expectations

Strands: Theory, Analysis

Overall Expectations: LTV.01X

Specific Expectations: LA1.03X*, LA1-13X

Planning Notes

The learning will be more powerful and immediate if students discover the focus of this unit, rather than being told the focus. Teachers should consider the social, artistic and historical contexts of artworks.

Prior Knowledge Required

Students will need a working knowledge of the elements and principles specific to and common among the four arts disciplines taught in Unit 1.

Teaching/Learning Strategies

The teacher will select appropriate examples of rhythm and movement from visual art reproductions, video and recordings used in Unit 1, Activity 2. The teacher will ask students, “What do you see?" (or hear, as appropriate), brainstorming as many responses as possible. Student answers will reinforce awareness of individual differences and creativity. In small groups (2-4), the students will then categorize their observations. The key categories the teacher will draw out of this strategy are rhythm and movement. The student will also discover the language of rhythm and movement specific to each of the disciplines.

Following this, the teacher may select one (or more) examples of rhythm and movement from each of the four arts disciplines. The teacher will lead students in an examination of how these examples illustrate rhythm and movement.

Assessment/Evaluation

Anecdotal, teacher observation, checklists based on student participation.

Resources

• Reproductions, videos, recordings used in Unit 1, Activity 2.

• Additional examples of rhythm and movement from the four disciplines as desired/required by the teacher.

Accommodations

Opportunities for students with special needs must be explored by the teacher and be available.

Activity #2: Creating Rhythm and Movement

Time: 1425 - 1575 minutes

Description

In this activity, students will refine their understanding of terms and techniques specific to the use of rhythm and movement in each of the four arts disciplines and will create a rhythm and movement product for each discipline which demonstrates their understanding of rhythm and movement in each of the disciplines.

Strands and Expectations:

Strands: Theory, Creation, Analysis

Overall Expectations: LTV.01X, LTV.03X, LCV.01X*, LAV.01X

Specific Expectations: LT1.01X, LT1.03X, LT1.07X, LC1.01X*, LC1.05X*, LA1.01X, LA1.03X

Planning Notes

It is important that the following three modules are taught in the order which follows; they have been planned to flow from Music to Dance/Drama to Visual Arts. Materials include a collection of magazines which have strong ties to the human form in action (e.g. Sports Illustrated, Men’s Health, etc.), scissors, glue sticks, cartridge paper (12" x 18"), slides, video clips, reproductions, sketchbook or notebook, tempera paint, brushes of varying size. Teachers are reminded that using the students' prior knowledge of all arts areas, including skills in instrumental and vocal music, for example, is important to the success of this activity.

Prior Knowledge Required

Students need a working knowledge of the elements and principles specific to music, dance and drama as learned in Unit 1.

Module 1: Music (5 periods)

Planning Notes

One class set of five gallon plastic pails and pairs of percussion sticks made from one inch dowels.

Teaching/Learning Strategies

Strategy 1: Finding the Beat

Students will listen to a piece of recorded music in 4/4 that is rather “mellow” in nature (at a walking pace; e.g. Handel, Mozart), while performing a steady beat.

For example: First 8 beats - clap on 8 beats Second 8 beats - Clap on 7 beats, snap on 1

Third 8 beats - Clap on 6 beats, snap on 2 Fourth 8 beats - Clap on 5 beats, snap on 3

Fifth 8 beats - Clap on 4 beats, snap on 4 Sixth 8 beats - Clap on 3 beats, snap on 5

Listen to the recording again and repeat the procedure in reverse.

Strategy 2: Accenting the Beat

Students will be given 4 sets of beat patterns (larger circles denote accented notes) which they will practice clapping until they can clap those accented patterns individually and in sequence (as a class). The class will be divided into 4 groups; each group is assigned 1 rhythm pattern. The teacher will count 8 beats to start, slowly adding each group (repeating their pattern) until all 4 patterns are being played simultaneously.

Students will then reinterpret their 4 rhythm patterns for use on an imaginary drum set through coordinating hands and feet. For example: using 1 of the 4 beat patterns, students will

• tap a steady beat with foot (smaller and larger circles)

• clap accented notes (larger circles)

The teacher will divide the class into 4 groups, with each group assigned 1 rhythm pattern. The teacher will count 8 beats to start, slowly bringing in each group (repeating their pattern), until all 4 patterns are being played simultaneously.

Sample Pattern 1

1	2	3	4	5	6	7	8

– denotes accented beats – denotes regular beat

Students will then reinterpret their 4 rhythm patterns for use on an imaginary drum set through coordinating hands and feet. For example: using 1 of the 4 beat patterns:

• Tap a steady beat with foot (smaller and larger circles)

• Clap accented notes (larger circles)

• Divide the class into 4 groups, each group is assigned 1 rhythm pattern

• The teacher will count 8 beats to start, slowly bringing in each group (playing their pattern over and over) until all 4 patterns are being played simultaneously.

Rhythm Clapping Quiz - Students will clap 2 lines of accented rhythm (1 line own choice, 1 line teacher choice)

Strategy 3: Coordinating the Beat

Students will count and coordinate their hands and feet to further simulate a drum set player, beginning with coordination warm-ups. For example: one arm swings fully in one direction while the other arm swings fully in the opposite direction. Discuss the importance of focus and concentration.

Students will listen to a recording of a rock or blues song (something with a strong driving rhythm).

Students will listen, analyze and practice beat patterns. For example:

• strong beats on 2, 4, 6 and 8

• weak beats on 1, 3, 5 and 7

• a steady beat with the left foot

• strong beats on 2, 4, 6 and 8, using the right hand

• weak beats on 1, 3, 5 and 7, using the left hand

Strategy 4: Rhythmic Dictation

The student will learn to identify correctly or indicate the rhythms they hear. Students will take rhythmic dictation. The teacher will demonstrate by clapping a pattern and the students will clap it back. The teacher will clap out 8 (8 beat) rhythms and the students will circle the numbers where they hear a sound.

Strategy 5: Rhythmic Composition

Students will compose an original 8 measure rhythm score in common time for 2 parts (left and right hand or snap and slap thigh, etc.)

Assignment requirements:

• the composition will be 8 measures in common time for two parts

• each student performs both parts

• both parts must line up evenly under one another

• students must complete a rough draft and a final score (on 8_” x 11" paper)

• there must be a variety of rhythms (no 2 measures can be the same)

• composition must include accented beats (using larger circles)

• there must be a variety of beats (small circles) and rests (blanks)

• score must be neatly organized and legible, written in standard music notation

• there must be specific performance instructions on the score - tempo, dynamics, choice of instruments (hand, drum etc.)

Students will rehearse and perform their own original rhythm compositions for the class.

Assessment/Evaluation

Composition Rubric, Rhythmic Dictation Quiz, Teacher Observation and Anecdotal

Resources

Sound System, examples of appropriate music, such as Handel, Mozart and marches.

Appendices

E: Rhythm Clapping quiz

F: Rhythmic Dictation sheet

Module 2: Dance/Drama (10 periods)

Planning Notes

Assuming the teacher is a generalist, as opposed to a dance specialist, the dance strategies will focus on movement as opposed to dance skills. As such, the disciplines of dance and drama are integrated in the following strategies. Specialists are encouraged to supplement these activities.

Teaching/Learning Strategies

Strategy 1: Feeling the Beat (1 period)

Name/Movement Game

• Each student will speak their name and provide a movement per syllable.

• Play the game around the circle (room) having student repeat movement/names.

Concentration Game

• The students will number off in a circle with the teacher as #1.

• With the whole class performing the rhythm “slap, clap, snap, snap”, the teacher will call out his/her number on the first snap and then a student’s number on the second snap.

• That student will then call out his/her number on the first snap and another’s number on the second snap (slap, clap, snap (( #1)), snap ((#6)); slap, clap, snap ((#6)), snap ((#8)); slap, clap...).

Unclassified Sequential Movement

• The teacher will place students in groups of 6 or 8. Students will count off within their group.

• Person #1 will teach his/her group 4 simple movements that can be performed to a steadily-paced count of four (one movement per beat). When all can perform this simultaneously, person # 2 teaches his/her 4 simple movements, keeping the pace, and starts from the position at which beat 4 of person #1 left them.

• When all can simultaneously perform the sequence of persons #1 and #2, continue with #3...#4....#5...etc. until the last person takes the group back to the neutral position for their 4^th movement in which person #1 started. In this way, the group can perform the entire movement sequence any number of times of times without missing a beat.

• When groups are able to perform the entire movement sequence twice, the students will perform it for the class to music with a strong 4/4 beat.

• Extensions: Try two pieces of music which have contrasting moods. How does the music change the mood of the movement sequence? Try putting two or three groups in concentric circles and have them perform their movement sequence simultaneously.

Strategy 2: Dancedrama (7-8 periods)

• Envisioning the Story

The teacher will lead students in a discussion of how the soundtracks they hear while they watch a movie create a mood and underscore important events. The students will think/pair/share point-form notes of the story they see in their mind’s eye while listening to an instrumental song. The common elements found in their storylines, i.e. night time setting, footsteps, etc. is shared. The teacher will define Dancedrama as a story told through movement, choreographed to music.

• Fantasia; an example of a Dancedrama.

The students will view “The Sorcerer’s Apprentice” from "Fantasia" and describe how the movement is choreographed to the rhythm of the music, and how the movement reflects the mood of the music.

• Mini Dancedrama

Students will individually brainstorm and then share with a partner a possible storyline based on a brief instrumental song. Based on discussion and decision-making, students will create, rehearse and perform this mini-dancedrama.

• Dancedrama

In small groups, students will create a dancedrama based on a story brainstormed by the group using instrumental music brought by the students or provided by the teacher. Individually, students will complete a planning sheet for the choreography of their group’s dancedrama which demonstrates how movement has been choreographed to the beat of their music and the how it reflects the mood of the music. This planning sheet also provides a bird’s-eye-view of the initial stage positions of the performers and set pieces.

Strategy 3: Interpreting Movement as Character (1-2 periods)

• Standing, the students will spread out and individually improvise silent movement using a situation to illustrate each of the eight efforts in Laban’s “Theory of Movement” (e.g. Gliding: “It’s winter, you’re at the rink. Strap your skates on and go!”) The teacher will side coach to encourage use of the whole body in the physical interpretation of the situation.

• The teacher will use the overhead of Laban’s “Theory of Movement” (see Appendix G) to explain Laban’s definition of all human movement according to the three dimensions of weight, space and time. The teacher will lead students through an identification of what situations improvised above yielded which of the eight efforts. Responses will differ depending on individual student’s physical interpretations of the situation.

• The student will explore the vocal equivalents of the eight movements, finding examples of the eight efforts and possible situations in which that vocalization might take place. For example:

effort	pressing
dimensions	(strong/direct/sustained)
vocal example	"aaaghhh!"
situation	falling from a building

• The teacher will divide the class into pairs. Each partner will draw one slip from the “heavy” efforts, one from the “light” efforts and a “tension card”. Partners will prepare, rehearse and present a brief (60 second) scene in which they must define their character physically and vocally by the effort slips they drew, within the situation of the tension card.

Planning Notes

Prepare enough heavy slips and light slips and tension cards for half the number of students in your class. One heavy effort is listed per slip; one light effort is listed per slip. One situation of tension/conflict is listed per card. For example:

Heavy Effort Slip Light Effort Slip Tension Card

(Red background) Punching

(Blue background) Gliding

(Green background) Interview in Principal’s Office

Debrief/Discuss: The teacher will elicit identification of the two efforts characterized in each scene, followed by a discuss on the clarity of the three dimensions of each and the partnership’s success.

Resources

• Enough effort slips prepared by the teacher (divided into heavy and light dimensions) for each student.

• Enough tension cards (such as being stuck in an elevator, meeting with the principal, coming home after curfew) for each pair. i.e. enough slips for half the class

• Overhead and projector and/or student hand out of Laban’s Theory of Movement.

• Sound system

Appendix

G: Laban’s “Theory of Movement”

Assessment/ Evaluation

Dancedrama Rubric; teacher anecdotal observation based on student participation, completion of individual and group brainstorming; Dancedrama planning sheet; notebook

Module 3: Visual Arts (5 periods)

Planning Notes

Teachers will remind students not to focus on the negative connotations of the word “critique”. Alternative possibilities for this module: printmaking (stencil repetition), pattern collages, weaving with a tapestry pattern.

Collection of magazines, scissors, 12" x 18" cartridge paper, glue sticks, tempera paint of a variety of colours, paint brushes of varying sizes.

A variety of slides, video clips and large-format reproductions which are effective examples of the concept of rhythm and movement in Visual Arts.

Students require a sketchbook or notebook.

Teaching/Learning Strategies

Strategy 1: Introduction to rhythm and movement

The teacher will show a series of reproductions of varied art forms which illustrate strong rhythm and movement. Through a discussion of these slides, the teacher will establish:

• the meaning of visual rhythm, through a discussion of positive shapes (motif) and negative spaces (beats), reminding students of the musical connection

• the difference between rhythm and movement (be sure to select clear examples for each)

• motifs, modules and patterns

The students will complete #1 and #2 of the sketchbook/notebook assignment.

Strategy 2: Alternating Rhythm/Flowing Rhythm/Progressive Rhythm

The teacher will review the language of lesson one and expand on the idea of pattern by asking students to give familiar examples of pattern in their day to day living.

Using a TIC TAC TOE grid

POSITION

<	>	<
>	<	>
<	>	<

CONTENT

<	O	<
O	<	O
<	O	<

SPACING

<		<
	<
<		<

The teacher will demonstrate methods of creating alternating rhythm and flowing rhythm. The student will complete #3 and #4 of the sketchbook/notebook assignments (see below). The teacher will show examples of progressive rhythm either by still visual examples or a video of “growth” such as the germination of a seed. The students will complete sketchbook/notebook assignment #5.

Sketchbook/Notebook Assignments

#1 - Visual Beat: Students will find and glue the following in their sketchbook/notebook under the appropriate headings. Students will find 2 magazine ads that use rhythm to create movement, circling the positive beats with crayon or marker.

#2 - Motifs, Modules and Pattern: Students will collect photographs, fabrics, newspaper or magazine clippings of 10 different patterns. These may be simply catalogues or arranged into a pleasing collage. Students will draw a circle around each different motif, module or pattern.

# 3 - Rhythm: Students will select a clip art motif or design their own motif depending on the software available. Using this motif, students will create examples of random regular and alternating rhythm (2^nd motif can be created by flipping or turning original motif). This assignment can also be done with stamps or stencil if computer availability is limited.

# 4 - Flowing Rhythm: Students will find 2 of the best possible examples of newspapers or magazines to illustrate flowing rhythm.

#5 - Progressive Rhythm: Students will select a simple geometric shape such as a circle and progressively in 5 steps create a free form shape. (Use of the computer is optional.)

Strategy 3: Why Do Artists Use Rhythm and Movement?

The teacher will pose this question to students: “Why do artists use rhythm and movement?”, with several visual examples posted. Class discussion should lead to students concluding that artists communicate feelings of calm, excitement or change, or to control the way a viewer will see a work. Students will create a painting showing rhythmic movement that will direct the viewer’s eye through the work. They may use one or more motif(s) and use at least three of the five kinds of visual rhythm they have studied. Students will select a colour to enhance the rhythmic figure and the mood expressed. Students will begin by brainstorming ideas about rhythmic activities. Examples such as joggers or marching bands should come to mind. Students will visually research and record gestures in their sketchbooks of classmates playing sports and/or of community members going about their daily activities on the street. Works by Jacob Lawrence such as “Parade” or “Study for the Munich Olympic Games 1971" are excellent choices for class discussion and analysis. M.C. Escher also provides good sources for this activity. The National Gallery website (see resource list) has good selections. Students will select their best drawing and make a rough plan of how to organize the work by repeating the figure. Planning should include positioning the figure to move the viewer’s eye through the work as well as a discussion of colour use to express a particular mood. Students will complete an “Aesthetic Critique” of their own work.

Alternate activity for Strategy 3

This activity has been designed especially for students with special needs.

Students will:

• find a complete body of an action figure (human or animal) from a magazine or newspaper and cut out the figure carefully

• select a colour scheme to use as a background (monochromatic, warm, cool, etc.), arranged in concentric outlines around the central figure; outlines can be of the same width or progressively larger or smaller.

• experiment with several placements of the central motif to create the most effective centre of interest

• a rough plan should be made on 12" x 18" cartridge paper (A note to the teacher: assessment rubric available at this point)

• draw and paint the outlines using tempera paint, then glue the figure into the place

• mat the final work

• use the “Aesthetic Critique” to complete a self-critique.

Alternate possibilities: printmaking (stencil) repetition, pattern collage, weaving with a pattern (tapestry or basket)

Assessment/Evaluation

Teacher checklists based on completion, participation in class discussion.

Sketchbook evaluation from Unit 1.

Rhythmic Action Figure Rubric.

Resources

Slides, photographs, video clips or reproductions of the effective use of rhythm and movement in Visual Arts. For example:

Rhythm: quilts, tapestries, Mexican pottery, Andy Warhol’s “Marilyn Monroe”, Josef Albers’ “Homage to the Square Glow”

Movement: Michelangelo’s “David”, compared to Bernini’s “David”; Rosa Bonheur’s “Horse Fair”; Alex Calder’s “Lobster Trap & Fish Tail”; Katsushika Hokusai’s “The Great Wave off Kanagawa”; Max Ernst’s “The Eye of Silence”; Sandy Skofund’s “The Green House”; Peter Paul Rubens’ “Daniel in Lion’s Den”; V. Van Gogh’s “Starry Night”

Additional resources include: Arttalk. 2^nd. Ed., Ragans. Pg. 220-249, CD on M.C. Escher

Computer programs: Print Artist, Instant Artist, M.S. Publisher

Accommodations

Opportunities for students with special needs must be explored by the teacher and be available. Alternate activities have also been outlined.

Appendices

E: Rhythm Clapping quiz

F: Rhythmic Dictation sheet

G: Laban's "Theory of Movement"

H: Dancedrama Performance Rubric

I: Rhythmic Action Figure Rubric

Activity #3: Reflecting on Rhythm and Movement in the Arts

Time: 75 - 150 minutes

Description

In this activity, students will reflect upon how similarities and differences in rhythm and movement operate within each of the four disciplines. Students will critique their final products in each of the disciplines and reflect upon their learning and growth.

Strands and Expectations

Strands: Theory, Creation, Analysis

Overall Expectations: LTV.01X*, LAV.01X

Specific Expectations: LT1.01X, LT1.02X, LT1.03X*, LT1.07X, LC1.04X*, LC1.05X, LA1.01X, LA1.03X, LA1.13XD

Planning Notes

Chart paper and markers are required.

Prior Knowledge Required

The “Steps to an Aesthetic Critique” from Unit 1, Activity 5 and a basic knowledge of oral presentation skills: eye contact, vocal clarity, volume, pace, intonation, vocabulary, are necessary.

Teaching/Learning Strategies

1. The teacher will divide the class into three Expert Groups and assign one discipline (Music, Drama/Dance or Visual Arts) to each. The Expert Group will create a mind map to brainstorm the terms and techniques learned in this unit relating to their assigned discipline.

2. The students will jigsaw to form Home groups consisting of three students, one from each of the disciplines. In these groups, students will share the results of their Expert Group mind maps and individually transfer this information onto a Rhythm and Movement Venn Diagram sheet.

3. Individually, students will complete the “Steps in Aesthetic Critique” for each of their three module products: Rhythm Composition, Dancedrama, Action Figure. Using this and their Venn diagram, each student will prepare a brief oral presentation or performance to be delivered in front of a small peer group of 3 - 4 students. In this presentation, students must demonstrate their learning about the discipline and themselves by using the language of each discipline.

Assessment/Evaluation

• Unit 3 Summary Rubric

• Journal

• Planning sheet

• Critical assessment sheet

Appendices

J: Unit 3 Summary Rubric

K: Commonalities Among Dance (Movement), Drama, Music, And Visual Arts

ALC 1O Course Profile Glossary

Please see The Ontario Curriculum, Grades 9 and 10: "The Arts" (1999) for a complete listing.

ALC 1O Course Resources

At all times, but especially when selecting resources, the teacher must ensure that students receive bias-free teaching. Arts resources must be selected from a wide variety of sources and be free of gender, age, ethnicity/nationality, religious or other bias. See also the resources listed in the Grade 9 Course Profiles for each of the arts.

The following list is simply a starting point, compiled for the generalist and supplemented by other resources as they become known. The teacher should also be aware of the resources in the community (museums, orchestras, theatres, dance companies, libraries, community members), the school board (Resource or Media Centre, consultant personnel) and the school (Resource Centre and subject specialists).

Drama/Dance

*Note - Sources may come from literature, newspapers, photographs, recorded clips (sound, music, video and digital), letters, interviews and many other areas.

Booth, David. Games for Everyone. Pembroke Publishing Ltd, 1986 ISBN 0 921217 03 X

Booth, David and Lundy, Charles. Improvisation: Learning Through Drama. Harcourt Brace Jovanovich, Canada, 1985 ISBN 0 7747 1211 2

Franklin, Eric. Dance Imagery for Technique and Performance. Windsor, Ontario. Human Kinetics. ISBN 0 87322 943 6

Lundy, Charles and Booth, David. Interpretation: Working with Scripts. Academic Press Canada, 1983. ISBN 0 7747 1210 4

Spolin, Viola. Theater Games for the Classroom Northwestern University Press, 1986. ISBN 0 8101 4004 7

Morgenroth, J. Dance Improvisations Pittsburgh: University of Pittsburgh Press. 1987

Neelands, Jonothan. Ed. Tony Goode. Structuring Drama Work. Cambridge University Press, 1990. ISBN 0521 37635 1

O’Toole, John and Haseman, Brad. Dramawise: An Introduction to GCSE Drama. Oxford: Heinemann Educational Books, 1988. ISBN 0 435 18036 3

Penrod, J. and J. Plastino. The Dancer Prepares: Modern Dance for Beginners. Mountainview: Mayfield Publishing Co., 1990

Smith, Farank and Walker, Bette. The Drama Process: Year One. Richmond Hill: Summit Educational Services, 1993

Music

Canadian Encyclopedia of Music

For Young Musicians. Ken Bray

The Enjoyment of Music. Joseph Machlis Text/CD’s

Alfred’s Theory/Ear Training Series

Visual Arts

Bennett, B. and C. Hall. Discovering Canadian Art: Learning the Language. Prentice Hall Canada. 1984.

MacGregor, R. et al. Canadian Art: Building a Heritage. Prentice Hall Canada Inc. 1987.

Mayer, R. The Artist's Handbook. Penguin Books. 1991

Visual Arts cont.

Mittler, Gene. Art in Focus. California: Glencoe Publishing Co., 1989.

Mittler, Gene and R. Ragans. Exploring Art. Mission Hills: Macmillan/McGraw-Hill. 1992

Ragans, Rosalind. Arttalk, 2^nd ed. California: Glencoe McGraw Hill. 1995.

Roukes, Nicholas. Art Synectics: Stimulating Creativity in Art. Worchester, Mass: Davis Publications. 1982

Roukes, Nicholas. Design Synectics: Stimulating Creativity in Art. Worchester, Mass: Davis Publications. 1982

Smith, Annie. Getting into Art History. Barn Press, Toronto, 1993.

Stoops, Jack and J. Samuelson. Design Dialogue. Worchester, Mass: Davis Publications, 1983.

General Resources

Websites

(Teachers are reminded that website URLs may change.)

Art Gallery of Ontario, Toronto: www.ago.on.ca

Canadian Conference on the Arts: www.culturenet.ca

Canadian musical composer portraits: www.music.mcgill.ca (follow link)

Playwright’s Union Canada: www.puc.ca

Musical composers: www.lib.washington.edu/music/composers.html

McMichael Canadian Collection, Kleinberg: www.mcmichael.com

National Gallery of Canada, Ottawa: http://national.gallery.ca

Toronto Symphony Orchestra Musicians:

www.tsomusicians.com/whatsnew/links.html

Compact Discs

Great Artists. Attica Cybernetics Ltd., and Marshall Cavendish Ltd., 1994.

Microsoft Art Gallery. Microsoft Corporation, 1993.

Video

"Why Man Creates". International Telefilm Ent., 1968

"Stomp". Yes/No Productions Ltd., 1997

ISBN 0 7831 1279 3

"The Mind's Eye". Miramar Films

ISBN 1 877828 09 2

“Fantasia”. Walt Disney Company.

ISBN 1 55890 132 9

Slides

“Discovering Art History” slide series by Gerald Brommer

Appendix A

RUBRIC: Music - Rhythmic/Composition/Performance/Individual/Ensemble

Student: ___________________________________

Criteria	Level 1	Level 2	Level 3	Level 4
Variety of Rhythms	the student has used a variety of rhythms with limited accuracy and effectiveness	the student has used a variety of rhythms with moderate accuracy and effectiveness	the student has used a variety of rhythms with considerable accuracy and effectiveness	the student has used a variety of rhythms with a high degree of accuracy and effectiveness
Rhythmic Accuracy	the student has demonstrated rhythmic accuracy with limited effectiveness	the student has demonstrated rhythmic accuracy with moderate effectiveness	the student has demonstrated rhythmic accuracy with considerable effectiveness	the student has demonstrated rhythmic accuracy with a high degree of effectiveness
The Score	the student has created a visual score with limited accuracy and effectiveness	the student has created a visual score with moderate accuracy and effectiveness	the student has created a visual score with considerable accuracy and effectiveness	the student has created a visual score with a high degree of accuracy and effectiveness
Performance Value	the student applies knowledge of the use of rhythmic language with limited accuracy and effectiveness	the student applies knowledge of the use of rhythmic language with moderate accuracy and effectiveness	the student applies knowledge of the use of rhythmic language with considerable accuracy and effectiveness	the student applies knowledge of the use of rhythmic language with a high degree of accuracy and effectiveness

Appendix B

RUBRIC: Create

Student name: ______________________________________

Criteria	Level 1	Level 2	Level 3	Level 4
THEORY: understanding of elements, principles of the two or more selected arts	the student demonstrates limited understanding of elements and principles	the student demonstrates some understanding of elements and principles	the student demonstrates considerable understanding of elements and principles	the student demonstrates thorough and insightful understanding of elements and principles
THINKING: connections among the two or more selected arts aesthetically critiques own work and that of others	makes connections with limited effectiveness aesthetically critiques with limited clarity and effectiveness	makes connections with moderate effectiveness aesthetically critiques with moderate clarity and effectiveness	makes connections with considerable effectiveness aesthetically critiques with considerable clarity and effectiveness	makes connections with high degree of effectiveness aesthetically critiques with a high degree of clarity and effectiveness
CREATION: transfer and application of knowledge and skills to products	transfers and applies skills to product with limited effectiveness	transfers and applies skills to product with moderate effectiveness	transfers and applies skills to product with considerable accuracy and effectiveness	transfers and applies skills to product with a high degree of accuracy and effectiveness
COMMUNICA-TION: uses artistic language and symbols	uses artistic language and symbols with limited accuracy and effectiveness	uses artistic language and symbols with moderate accuracy and effectiveness	uses artistic language and symbols with considerable clarity and effectiveness	uses artistic language and symbols with a high degree of accuracy and effectiveness

Appendix C

Steps In Aesthetic Critique

Describe (What the viewer sees)	I see/hear....
Analyze (How the work is organized)	Elements and Principles used:
Interpret (What the artist is communicating)	I feel this artist is communicating...
Assess (How successful is the artwork and why)	Successful aspects: I might suggest improving...

Appendix D

RUBRIC: The Arts Connected

Student: __________________________________

Criteria	Level 1	Level 2	Level 3	Level 4
THEORY: the student demonstrates an understanding of concepts in the arts	the student demonstrates a limited understanding of key concepts	the student demonstrates a moderate understanding of key concepts	the student demonstrates a considerable understanding of key concepts	the student demonstrates a thorough and insightful understanding of key concepts
THINKING: the student demonstrates connections among the arts	the student demonstrates connections with limited effectiveness	the student demonstrates connections with moderate effectiveness	the student demonstrates connections with considerable effectiveness	the student demonstrates connections with a high degree of effectiveness
ANALYSIS: the student uses critical analysis in their artworks	the student uses critical analysis with limited clarity and effectiveness	the student uses critical analysis with moderate clarity and effectiveness	the student uses critical analysis with considerable clarity and effectiveness	the student uses critical analysis with a high degree of effectiveness
COMMUNICATION: the student uses various forms of communication	the student demonstrates a limited command of various forms of communication	the student demonstrates a moderate command of various forms of communication	the student demonstrates a considerable command of various forms of communication	the student demonstrates a full command of various forms of communication

Appendix E

Rhythm Clapping Quiz

	1	2	3	4	5	6	7	8
1	l	l	l	l	l	l	l	l
2	l	l	l	l	l	l	l	l
3	l	l	l	l	l	l	l	l
4	l	l	l	l	l	l	l	l
5	l	l	l	l	l	l	l	l
6	l	l	l	l	l	l	l	l
7	l	l	l	l	l	l	l	l
8	l	l	l	l	l	l	l	l
9	l	l	l	l	l	l	l	l
10	l	l	l	l	l	l	l	l
11	l	l	l	l	l	l	l	l
12	l	l	l	l	l	l	l	l

Appendix F

Rhythmic Dictation Worksheet

Sample Rhythm Line	*	*	*	*	*	*	*	*
Example 1.	*	*	*	*	*	*	*	*
Example 2.	*	*	*	*	*	*	*	*
Example 3.	*	*	*	*	*	*	*	*
Example 4.	*	*	*	*	*	*	*	*
Example 5.	*	*	*	*	*	*	*	*
Example 6.	*	*	*	*	*	*	*	*
Example 7.	*	*	*	*	*	*	*	*
Example 8.	*	*	*	*	*	*	*	*
Example 9.	*	*	*	*	*	*	*	*
Example 10.	*	*	*	*	*	*	*	*

Appendix G

LABAN'S THEORY OF MOVEMENT

The Laban theory is based upon the following basic principles of movement.

That movement happens:

• with weight (connection to the earth)

• through space (from A to B)

• in time (time to get there)

Dimension	Yield	Contend
Weight	Light	Strong
Space	Flexible	Direct
Time	Sustain	Quick

EFFORTS

	Weight	Space	Time
PUNCHING	strong	direct	quick
PRESSING	strong	direct	sustained
DABBING	light	direct	quick
GLIDING	light	direct	sustained
FLICKING	light	flexible	quick
FLOATING	light	flexible	sustained
SLASHING	strong	flexible	quick
WRINGING	strong	flexible	sustained

Appendix H

RUBRIC: Dancedrama Performance

Student Name: _______________________________________

Criteria	Level 1	Level 2	Level 3	Level 4
Movement to Music * most important	choreographs movement to music with limited accuracy and effectiveness	choreographs movement to music with moderate accuracy and effectiveness	choreographs movement to music with considerable accuracy and effectiveness	choreographs movement to music with a high degree of accuracy and effectiveness
Clarity and Appropriateness of Storyline * most important	communicates and expresses dramatic form with limited clarity and appropriateness	communicates and expresses dramatic form with moderate clarity and appropriateness	communicates and expresses dramatic form with considerable clarity and appropriateness	communicates and expresses dramatic form with a high degree of clarity and appropriateness
Concentration and Focus	demonstrates a limited degree of concentration and focus	demonstrates a moderate degree of concentration and focus	demonstrates a considerable degree of concentration and focus	demonstrates a high degree of concentration and focus
Facial Expression	communicates and expresses character with limited effectiveness	communicates and expresses character with moderate effectiveness	communicates and expresses character with considerable effectiveness	communicates and expresses character with a high degree of effectiveness
Appropriateness of Music	demonstrates limited understanding of effective choices in music	demonstrates moderate understanding of effective choices in music	demonstrates considerable understanding of effective choices in music	demonstrates a high degree of understanding of effective choices in music
Production	demonstrates effort and applies knowledge of the use of costuming, set, design and props with limited effectiveness	demonstrates effort and applies knowledge of the use of costuming, set, design and props with moderate effectiveness	demonstrates effort and applies knowledge of the use of costuming, set, design and props with considerable effectiveness	demonstrates effort and applies knowledge of the use of costuming, set, design and props with a high degree of effectiveness

Appendix I

RUBRIC: Visual Arts - Rhythmic Action Figure Module

Student Name: _____________________________________

Intended message/feeling: ___________________________

Criteria	Level 1	Level 2	Level 3	Level 4
Use of Rhythmic Movement	uses rhythmic movement with limited accuracy and effectiveness	uses rhythmic movement with moderate accuracy and effectiveness	uses rhythmic movement with considerable accuracy and effectiveness	uses rhythmic movement with a high degree of accuracy and effectiveness
Use of Media	uses media with limited effectiveness	uses media with moderate effectiveness	uses media with considerable effectiveness	uses media with a high degree of effectiveness
Communicates Intended Message/Mood	communicates message with limited clarity	communicates message with moderate clarity	communicates message with considerable clarity	communicates message with a high degree of clarity

Appendix J

RUBRIC: Unit 3 Summary

Student Name: _______________________________

Criteria	Level 1	Level 2	Level 3	Level 4
COMMUNICATE Use of language appropriate to four arts forms	uses language with limited accuracy and effectiveness	uses language with moderate accuracy and effectiveness	uses language with considerable accuracy and effectiveness	uses language with a high degree of accuracy and effectiveness
REFLECTION JOURNAL Reflects ideas clearly in written form	communicates ideas with limited effectiveness	communicates ideas with moderate effectiveness	communicates ideas with considerable effectiveness	communicates ideas with a high degree of effectiveness
UNDERSTANDING Internalization of concepts of rhythm and movement	demonstrates limited understanding of concepts of rhythm and movement	demonstrates moderate understanding of concepts of rhythm and movement	demonstrates considerable understanding of concepts of rhythm and movement	demonstrates a high degree of understanding of concepts of rhythm and movement
PEER EVALUATION Critical Analysis has been demonstrated	uses critical analysis with limited clarity and effectiveness	uses critical analysis with moderate clarity and effectiveness	uses critical analysis with considerable clarity and effectiveness	uses critical analysis with a high degree of clarity and effectiveness
EVIDENCE OF PLANNING	plans with limited effectiveness	plans with moderate effectiveness	plans with considerable effectiveness	plans with a high degree of effectiveness

Appendix K

COMMONALITIES AMONG DANCE (MOVEMENT), DRAMA, MUSIC, AND VISUAL ARTS

ARTS DISCIPLINE	COMMON CONCEPTS	ELEMENTS	PRINCIPLES	FORM
DRAMA	RHYTHM MOVEMENT	volume space time weight	sound/silence proximity/distance movement/stillness light/darkness tension form	role play dancedrama storytelling mime tableau mask puppetry improvisation script warm-ups/games
MOVEMENT (DANCE)	CONTRAST EMPHASIS BALANCE	time energy space shape	symmetry balance contrast repetition	African jazz modern ballet social South-east Asian
MUSIC	VARIETY UNITY STRUCTURE EMOTION	texture melody harmony rhythm dynamics form style tone colour	contrast unity rhythm variety emphasis balance	instrumental/vocal performance theory composition M.I.D.I. analysis solo score-reading ear-training small ensemble
VISUAL ARTS		colour line shape/form value texture space	unity balance variety/contrast emphasis proportion rhythm/pattern movement	painting sculpting printmaking drawing photography graphic design architecture crafts film video mixed media digital imaging

Appendix L: Venn Diagram

Appendix M: Venn Diagram

STUDENT PLANNING SHEET FOR RHYTHM & MOVEMENT, LANGUAGE/CONCEPT, JIGSAW ACTIVITY

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