Course Profile   Music, Grade 9 open, Catholic

 

Unit 4:  Developing Personal Connections To Music

 

Activity 1˝Activity 2˝Activity 3˝Activity 4˝Activity 5

Time:  15 hours

Unit Developer(s)

Michael Seguin, Windsor-Essex Catholic District School Board

Rose Jobin

Gabe Gagnon

Beth Dykeman

Luigi Di Fazio

Ann Wilkie

Development Date:  June 23, 1999

Unit Description

This unit is intended to develop in students an understanding and appreciation of music through practical skills and creative work. Students demonstrate an understanding of rehearsal, performance, and audience etiquette appropriate to various cultures and the Catholic faith tradition. Students explore the various roles associated with music activities to develop an understanding of the relationship between the audience and the performer. Emphasis is placed on identifying musicians who have been inspired to write music for environmental issues.

Strand(s) and Expectations

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

Strand(s):  Analysis, Creation, Theory

Overall Expectations:  MTV.01X, .02X, .03X, .05X, MCV.01X, .04X, MAV.01X, .02X, .03X, .04X, .05X.

Specific Expectations:  MT1.05X, .06X, .08X, MC1.02X, MC2.01X, .03X, .04X, MA1.01X, .03X, .04X, MA2.02X, .03X, .04X, .05X, .06X, .07X.

Activity Titles (Time and Sequence)

Activity 1

Canadian Music

120 minutes

Activity 2

Quality and Impact of Live and/or Recorded Music

120 minutes

Activity 3

Tension and Texture

240 minutes

Activity 4

A Day at the Symphony

120 minutes

Activity 5

Sounds In The Environment

300 minutes

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 involves students with the changing advancements and requirements in modern technology.

Prior Knowledge Required

Students should demonstrate an understanding of the basic elements of music through listening, performing and creating activities. It is important that students be well-versed in playing instruments and singing with proper technique; use the musical terminology associated with the specific expectations for Grade 8 correctly: read, write, and perform musical notation accurately and fluently; communicate their understanding and knowledge of music in appropriate ways; and, identify and perform music of a variety of cultures and historical periods. Successful completion of Grade 8 music as prescribed by The Ontario Curriculum, Grades 1-8, 1998 is recommended.

Teaching/Learning Strategies

The teaching and learning strategies consist of conferencing, brainstorming, essay writing, oral presentations, demonstrations, composing, creating, and reviewing. Performance activities (singing, playing) are combined with the teaching and learning strategies. Music technology (computers, MIDI) and the use of media such as sound recordings, film, and television is incorporated in the teaching concepts and creation of music. Students engage in critical analysis, listening, and reflective learning activities and apply their learning through attendance at live concerts.

Assessment/Evaluation

Students are assessed using both formative and summative formats in order to ensure that overall, specific, and Catholic expectations are being met. Assessment strategies consist of the following methods: response journals, anecdotal comments, learning logs, teacher logs for day-to-day work, journal reflections, formal/informal teacher observations, checklists, peer conferencing, probe questions, rating scales, surveys, presentations, performances, rubrics, charts, video/audio taping, peer assessments, written assignments, projects, essays, reports, oral presentations, and charting.

Resources

The use of periodicals, books, newspapers, magazines, videotapes, audio tapes, compact disc recordings, CD ROMs, computer software, Internet, radio, television, newsletters, studio guest artists, and business partnerships can enhance the teacher’s preparation for the activities outlined in this document. Other valuable resources include universities, colleges, workshops, libraries, the school resource centre, and provincial subject associations, The Ontario Music Educator’s Association, the Canadian Music Centre, The Ontario Arts Council and various arts associations. Specific resources are outlined within each activity.

Activity 1:  Canadian Music

 

Time:  120 minutes

Description

Through listening, analysing, and critiquing Canadian music recordings, students learn to recognize differences among various Canadian musical styles and gain a deeper understanding of the important influence of Canada in today’s music world.

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations:

The graduate:

·         listens actively and critically to understand and learn in light of gospel values; (2a)

·         respects the rights, responsibilities, and contributions of self and others; (5e)

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

Strand(s):  Analysis, Theory

Overall Expectations:

·         demonstrate an understanding of music history and its cultural context; (MAV.01X)

·         demonstrate the ability to listen attentively and with discernment to live and recorded music, using the stages of critical analysis (initial reaction, description, analysis, interpretation, and judgement); (MAV.02X)

·         demonstrate an understanding of the effects of music education on themselves and their peers; (MAV.03X)

·         demonstrate an understanding of the function of music in society; (MAV.04X)

·         identify connections between music education and various careers. (MTV.05X)

Specific Expectations:

·         identify and describe, orally and in writing, the elements of music (rhythm, melody, timbre, dynamics, harmony, texture, and form), from a variety of live and/or recorded examples; (MA1.01X)

·         analyse, orally and in writing, the quality and impact of a variety of live and/or recorded performances, using appropriate music vocabulary. (MAI.03X)

Planning Notes

·         Materials needed - CD player, cassette player, recorded player, VCR, TV, Internet, concert halls.

·         Various Canadian music recordings can be used in this activity, such as:

·         country music (e.g., Shania Twain, Anne Murray, Prairie Oyster, George Fox);

·         folk music (e.g., Neil Young, Bruce Cockburn, Gordon Lightfoot);

·         rock music (e.g., Bachman Turner Overdrive, Tea Party, Rush, Brian Adams, Tragically Hip);

·         jazz music (e.g., Oscar Peterson, Diana Krall, Rob McConnell, Oliver Jones);

·         pop music (e.g., Blue Rodeo, Sarah McLachlan, Jan Arden, David Foster, Barenaked Ladies);

·         sacred music (e.g., Jules Gouin).

Prior Knowledge Required

·         Students require a working knowledge of the elements of music.

Teaching/Learning Strategies

1.       Students listen to various recordings of Canadian music.

Through an open discussion, students compare various styles of Canadian music (music of Canadian artists, writers, producers, musicians).

Students are encouraged to use the elements of music and musical terms when analysing recordings.

Students participate in a field trip to the Canadian Music Centre.

In lieu of field trip, students visit the Canadian Music Centre by way of the Internet.

Students use resource centre to investigate additional Canadian artists through the Internet, books, magazines, and newspapers.

Students maintain a log or journal reflecting upon newly discovered Canadian artists.

Accommodations

·         Use tape recorder for log or journal.

Assessment/Evaluation

2.       Response journals, learning logs, journal reflections. (MA1.03X)

Informal teacher observation - teacher logs for day-to-day work. (MAV.02X)

Formal teacher observation - informal discussion. (MA1.01X)

Student/teacher conferencing. (MAV.05X)

Peer conferencing - probe questions. (MAV.03X, 04X)

Listening assignments. (Appendix S)

Resources

Tapes, CD’s, and videos used for presentation

Canadian Music Centre

School library/resource centre

Handouts on facts about Canadian composers and their music

Magazines, journals, newspapers, Internet, radio broadcasts, etc.

Melhuish, Martin. Oh What A Feeling: A Vital History of Canadian Music. Kingston: Quarry Press, 1996.

Gouin, Jules. His Call. Windsor: 1995. 48 min.

Gouin, Jules. His Will. Windsor: 1996. 49 min.

http://www.julesonline.com

Appendix S:  Canadian Music Listening Chart

 

CANADIAN MUSIC LISTENING CHART

TITLE: ______________________________ ARTIST: _____________________________

 

(Circle the letter that best matches the song)

STYLE

a)

Country

b)

Folk

c)

Rock

d)

Jazz

e)

Pop

f)

Sacred

INSTRUMENTS

a)

electric

b)

acoustic

c)

wind

d)

string

e)

percussive

f)

brass

DYNAMICS

a)

loud

b)

soft

c)

mixture of both

RHYTHM

a)

2/4

b)

3/4

c)

4/4

d)

5/4

e)

6/8

f)

12/8

TEMPO

a)

fast

b)

moderate

c)

slow

TEXTURE

a)

thin

b)

thick

c)

varied

TONALITY

a)

major

b)

minor

c)

other

LYRICS

a)

happy

b)

sad

c)

melancholy

d)

hopeful

e)

comedic

 

 

IMPACT ON SELF

a)

liked it

b)

loved it

c)

tolerated it

d)

enjoyed it

 

 

 

 

COMMENTS: (Include reason why you believe the music is Canadian, e.g., music of Canadian artists, producers, writers, or musicians.)

 

 

 

 

 

 

Activity 2:  Quality and Impact of Live and/or Recorded Music

 

Time:  120 minutes

Description

Through examination and exploration of various live and/or recorded music, students develop effective listening and appreciation skills. Students use appropriate music vocabulary while describing the quality and impact this music has on their daily lives. Students are guided to discover the power and beauty of music and how it relates to specific events both religious and secular.

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations:

The graduate:

·         listens actively and critically to understand and learn in light of gospel values; (2a)

·         applies skills for employability, self-employment, and entrepreneurship relative to Christian vocation. (5h)

Strand(s):  Analysis, Theory, Creation

Overall Expectations:

·         demonstrate the ability to listen attentively and with discernment to live and recorded music, using the stages of critical analysis (initial reaction, description, analysis, interpretation, and judgement); (MAV.02X) ;

·         demonstrate an understanding of the effects of music education on themselves and their peers; (MAV.03X)

·         demonstrate an understanding of the function of music in society; (MAV.04X)

·         identify connections between music education and various careers; (MAV.05X) ;

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

·         demonstrate an understanding of music literacy, at a level appropriate for the grade, using the creative process (perception, production, and reflection). (MCV.04X) ;

Specific Expectations:

·         analyse, orally and in writing, the quality and impact of a variety of live and/or recorded performances using appropriate music vocabulary; (MA1.03X) ;

·         identify and describe their own strengths and needs at various points in the course and work towards improving themselves in identified areas; (MA2.02X) ;

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

·         demonstrate an understanding of rehearsal, performance, and audience etiquette (appropriate to the cultural context); (MA2.04X) ;

·         describe the distinctive nature of participating in the various roles associated with music activities (e.g., soloist and accompanist, ensemble member or leader); (MA2.05X) ;

·         demonstrate an understanding of the relationship of the audience and performer; (e.g., attend a live performance and respond to it orally or in writing, using terminology appropriate for the grade. (MA2.06X) ;

Planning Notes

·         Live music performances should be utilized as much as possible.

·         Live recorded music will provide an alternative.

·         Recorded music may be used as a comparison study to the live recordings/performances.

·         A CD/Tape player will be required.

Prior Knowledge Required

The students should be able to:

·         describe some aspects of the historical context of music that they sing, play, or listen to (e.g., identify major political events, social or philosophical movements, architectural or painting styles, religious events and ceremonies).

·         communicate their thoughts and feelings about the music they hear, using language and a variety of art forms and media (e.g., videotape, improvisation, water colour paintings).

·         describe their response to a musical performance in their community.

Teaching/Learning Strategies  

3.       The students attend a live concert or recital. If this is not possible, they listen to a live recording.

Following the standard format of short essay writing, students write a report based on the following criteria of the live performance or recording:

A.  Name of concert/recording;

B.   Type of group/ensemble/soloist;

C.   Type of instrumentation;

D.  Number of performers;

E.   Type of music;

F.   Specific event or reason for performance;

G.   Mood;

H.  Impact on self;

I.    Reaction of the audience;

J.    Impact on performers;

K.  Quality of the performance.

The students prepare an oral presentation for the class on one song/composition from the concert or live recording following an outline based on the following criteria:

A.  Group/Artist

B.   Song Title

C.   Length of piece

D.  Instrumentation

E.   If a synthesizer is used, what sounds/instruments are being replicated and/or new unique sounds are being created?

F.   Overall mood and how is it created

G.   Main message of the song/composition. Is there a spiritual connection?

H.  Why did the songwriter choose specific words or phrases?

I.    What is the form of your song/composition?

J.    Impact of this song/composition on self, audience and performers

K.     Quality of the performance

Accommodations

·         Provide glossary of terms.

·         Provide modified report template.

·         Pair or group students for presentations.

·         Class presentation may take the form of a pre-taped presentation, a poster, a drawing, or magazine illustration.

Assessment/Evaluation

4.       Teacher assesses reports based on criteria checklist, which includes organization, clarity of presentation, and impact/quality. (MA1.03X)

Teacher and peers to assess student presentations through the use of a checklist with the following criteria: (MA2.04X) (MA2.05X) (MA2.06X) (MAV.02X, 05X) (MTV.03X) (MCV.04X)

·         Organization - did they cover all components of the criteria required for the presentation?

·         Clarity of presentation.

·         Impact and Quality of the music - did they present these aspects effectively?

Students reflect in their journals based on personal growth of their experiences with live or recorded music. (MA2.02X) (MA2.03X) 

Resources

Adair, Audrey. Ready-To-Use Music Activities Kit. New York: Parker Publishing Co., 1984.

Wingell, Richard. Experiencing Music. Sherman Oaks, CA: Alfred Publications, 1983.

Appendix T:  Checklist for Assessing Student Presentation

 

CHECKLIST FOR ASSESSING STUDENT PRESENTATION

Criteria

Limited

Some

Most

Thorough

Organization

 

 

 

 

 

Clarity of Presentation

 

 

 

 

Impact/Quality

 

 

 

 

 

 

Activity 3:  Tension and Texture

 

Time:  240 minutes

Description

Through a comparison of the sounds of the Romantic and 20th century musical styles, students have a greater understanding of the way sounds are put together and the way composers manipulate pitches to create tension and release. Recognition of tonal versus atonal sounds is examined through listening and creative activities. The major scale, intervals, and chords that create textured sounds are compared to intervals in the scale that create tension. Students describe the sounds and musical effects and create their own songs.

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations:

The graduate:

·         listens actively and critically to understand in light of gospel values; (2a)

·         adopts a holistic approach to life by integrating learning from various subject areas and experiences. (3e)

Strand(s):  Analysis, Creation, Theory

Overall Expectations:

·         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 and understand a broad overview of the historical and stylistic context of music;  (MTV.03X) ;

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

·         demonstrate an understanding of music literacy, at a level appropriate for the grade, using the creative process (perception, production, and reflection); (MCV.O4X)

·         demonstrate an understanding of music history and its cultural context; (MAV.01X)

·         demonstrate the ability to listen attentively and with discernment to live and recorded music, using the stages of critical analysis (initial reaction, description, analysis, interpretation, and judgement. (MAV.02X)

Specific Expectations:

·         describe the difference between consonance and dissonance in various contexts; (MT1.08X) ;

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

·         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) ;

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

·         play or sing with an understanding of musical phrase structure (i.e., notated, improvised, or stylistically correct); (MC1.02X)

·         solve and notate the intervals within a major scale; (MT1.05X) ;

·         define and describe characteristics of sound and categories of sound (e.g., instrumental, vocal, high, low, bright, dark). (MT1.06X) ;

Planning Notes

·         Teacher creates ear-training exercises that incorporate consonant and dissonant intervals. Teacher writes these intervals on the board and plays them on the piano.

·         Teacher designs a chart to compile and describe or categorize sounds found in the classroom, the home, and the environment.

·         A comprehensive list of descriptive words is compiled so that students can describe the sounds that are heard when various recordings are played.

·         Teacher prepares listening examples that provide a variety with regards to musical style, genre, musical era, and consonant/dissonant styles.

·         The piano/keyboard is used for demonstration purposes and the sound system is used for listening purposes.

·         Cassette recorder and cassette tapes should be made available for the students.

Prior Knowledge Required

·         Recognize the difference between tonal and atonal music. (Atonality moves away from the tonal centre.)

·         Demonstrate an understanding of the basic elements of music.

·         Use the musical terminology pertaining to the study correctly; atonal/tonal, abstract, twelve tone row, transposition, call and answer, ornaments, dynamics, improvisations, articulation, and speed variations (augmentation and diminution).

·         Read, write, and perform from musical notation.

·         Communicate an understanding and knowledge of music of different historical periods.

Teaching/Learning Strategies

5.       Teacher and students brainstorm and devise a comprehensive list of words that describe the sounds that are heard when various recordings are played. Sounds are catagorized to represent tension, relief, or texture (e.g., flowing, lush colours, traditional harmonies, lyrical sounds, expressive vs. tension, unrest, needs resolution, shifting meters, non melodic, vocals, abrupt, mixture of chord sounds, strange, complex pounding rhythms, polyrhythms, polytonality, and non-harmonic are some suggestions). Students draw charts in notebooks and fill in answers.

Prepare listening samples that provide a sample of musical style, genre, musical era and consonant/dissonant style [e.g., Ode to Joy - Beethoven (Chorus/Orchestra), Romeo and Juliet Overture - Tchaikovsky (Symphonic Poem), Polonaise in A= - Frederic Chopin (Piano), Erlkonig - Schubert (Romantic Song) versus Ancient Voices of Children - George Crumb (atonal voices/instruments), Rite of Spring - Stravinsky (primitivism/orchestra), Quintet for Winds - Arnold Schoenberg (twelve-tone system), Epitaph for Moonlight - Murray Schafer (atonal/voices), I Found a Treasure - St. Louis Jesuits (consonant/piano/guitar), Ave Maria - Charlotte Church (vocalist)]. Students listen to excerpts, refer to descriptive word list and fill in Appendix U - Listening and Categorizing Sound.

Divide class into three groups. In the first exercise, group one is given the pitch F, Group 1 sings and sustains the tone, breathing when necessary. Group 2 sings F< and Group 3 enters singing the G. Students gain an understanding of a consonant harmonic chord by singing this example. Further application of interval identification can be found in teacher-made, student-made and interval exercises from commercial theory books.

Students bring recordings of their favorite group to class. Teacher plays portions from each song without announcing title or name of group. Students try to recognize group name along with consonant and dissonant effects.

Students compose their own 20th century compositions by creating a 16 measure, twelve tone row, using appropriate rhythms and notes in a set order. In the musical creations, students use different musical parameters (e.g., call and answer, ornaments, dynamics, articulation and speed variations). Students play or sing creations and class evaluates according to Appendix V - Creating a Twelve Tone Row.

Students create a two-minute story using abstract sounds to represent events. Story and sound affects are taped using a cassette tape recorder or MIDI system. During class presentation, presenters point to a large illustrated conductor score while tape recorder/computer plays the recorded abstract sounds.

Accommodations

·         Arrange for a “study buddy”.

Assessment/Evaluation

6.       Teacher made tests (pencil and paper) (MTV.01X)

7.       Informal teacher observation (observation) (MTV. 01X)

Self/peer-assessment. (reflection) (MCI.13X) (MT1.03X, 05X,.06X) (Appendix V - Creating a Twelve Tone Row)

Commercial-made test “Practical Theory” Papers - Sandy Fieldstein.

Demonstrations /observations (performance assessment). (MTV.02X, .03X) (MTI.06X, .08X) (MCI.02X, 05X, .07X) (MCV.01X, .04X)

Checklist (conferencing) Appendix U - Listening and Categorizing Sound.

Brainstorm. (MTV.01X)

Written answers in workbooks or on chart paper. (MA2.03X)

Projects - (MC2.01X) (MC2.02X, .03X, .04X) (MCV.01X, .04X)

Resources

Wingell, Richard. Experiencing Music & Recordings. Van Nuys: Alfred Publishing Co., 1983.

Feldstein, Sandy. Practical Theory. Van Nuys: Alfred Publishing Co. Inc., 1988.

St. Louis Jesuits. Steadfast Love. North American Liturgy Resources, Mississauga: Epoch Universal Pub., 1985.

Salzman, Eric. Twentieth-Century Music: An Introduction. New York: Prentice Hall Inc, 1967.

Kuzmich, Natalie. Musical Growth. Toronto: Gordon V. Thompson, 1986.

Church, Charlotte. Voice of an Angel. Sony Music Entertainment, 1998.

MIDI - The Performer - Microsoft, Mark of the Unicorn, Cambridge, Ont.

Appendix U:  Listening and Categorizing Sound

 

LISTENING AND CATEGORIZING SOUND

Selection

Composer

Musical

Style

Genre

Musical

Era

Consonant

Dissonant

 

 

 

 

 

 

 

Ode To Joy

 

 

 

 

 

 

Romeo and Juliet

 

 

 

 

 

 

Polonaise in A=

 

 

 

 

 

 

Erlkonig

 

 

 

 

 

 

Ancient Voices of Children

 

 

 

 

 

 

Rite of Spring

 

 

 

 

 

 

Quintet for Winds

 

 

 

 

 

 

Epitaph for Moonlight

 

 

 

 

 

 

I Found a Treasure

 

 

 

 

 

 

 

Appendix V:  Creating a Twelve Tone Row Song

 

CREATING A TWELVE TONE ROW SONG

Checklist

ü

·         Begin writing song on any note of the chromatic scale.

 

·         Include all notes of the chromatic scale in a sequence.

 

·         Do not repeat any notes unless all notes of the scale have been played once.

 

·         Use retrograde inversion of the main melody (start from the end and repeat backwards).

 

·         Use a variation of rhythmic values (half, quarter, eighth, sixteenth notes and rests).

 

·         Use call and answer technique between right and left hand or two instruments/voices.

 

·         Embellish by using ornamentation on notes (trills, falls, vocals).

 

·         Use appropriate dynamics.

 

·         Articulate by using accents.

 

·         Vary the tempo.

 

 

Activity 4:  A Day At The Symphony

 

Time:  120 minutes (performance time of concert)

Description

Listening to music is one of the most popular hobbies of people all over the world. Music has the power to inspire and move the inner soul both spiritually and emotionally. In this activity, the students discover the techniques of developing good listening habits. By attending a local symphony concert, the students assess the performance using a listening guide, and learn audience etiquette and the various roles associated with a symphony orchestra.

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations:

The graduate:

·         listens actively and critically to understand and learn in light of gospel values; (2a)

·         thinks reflectively and creatively to evaluate situations and solve problems; (3c)

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

Strand:  Creation

Overall Expectations:

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

·         demonstrate the ability to listen attentively and with discernment to live and recorded music, using the stages of critical analysis (initial reaction, description, analysis, interpretation, and judgement); (MAV.02X) ;

·         demonstrate an understanding of music literacy, at a level appropriate for the grade, using the creative process (perception, production, and reflection). (MCV.04X) ;

Specific Expectations:

·         analyse, orally and in writing, the quality and impact of a variety of live and/or recorded performances using appropriate music vocabulary; (MA1.03X) ;

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

·         demonstrate an understanding of rehearsal, performance and audience etiquette (appropriate to the cultural context); (MA2.04X) ;

·         describe the distinctive nature of participating in the various roles associated with music activities (e.g., soloist and accompanist, ensemble member, or leader); (MA2.05X) ;

·         demonstrate an understanding of the relationship of the audience and performer (e.g., attend a live performance and respond to it orally or in writing, using terminology appropriate for the grade); (MA2.06X) ;

·         identify how skills developed in music are applied in various music-related careers. (MA2.07X) ;

Planning Notes

·         Select a local concert to attend and contact the symphony office to arrange for an informal “chat” before or after the concert with the conductor, concertmaster, or musicians.

·         Make all arrangements.

·         Students should bring a notepad with them to write down ideas during the performance.

·         If the teacher was able to arrange to have members of the symphony speak to the students, the students should have questions prepared in advance;

·         Have pictures/posters of the musical instruments in a symphony orchestra available.

Prior Knowledge Required

The students should be able to:

·         describe some aspects of the historical context of music that they sing, play, or listen to (e.g., identify political events, social or philosophical movements, architectural or painting styles, religious events, and ceremonies);

·         communicate thoughts and feelings about the music they hear, using language and a variety of art forms and media (e.g., videotape, improvisation, water colour paintings);

·         describe their response to a musical performance in their community.

Teaching/Learning Strategies

8.       The teacher is to guide the students through four listening exercises based on “Section 10, Learning to Listen” of the Ready-to-Use Music Activities Kit by Audrey J. Adair. These include: “Your Opinion, Please “(Identifying listening skills), “How Do You Listen?” Examining listening skills), “Broaden Your Appreciation” (answering thought questions on music appreciation) and “What’s Your Attitude?” (evaluating types of listening). Note:  These are reproducible activity sheets. If this resource is not available, the teacher makes up listening exercises based on those titles.

The teacher reviews/discusses the names and types of instruments that are used in a symphony orchestra. Any specialty instrument that might be used in the performance should be included.

Guide the students through an informal discussion of audience etiquette and what-to-wear to a symphony performance. If there is a selection during the concert with movements, the students need to be informed to applaud when the entire piece is finished.

Discussion continues with references to the various roles associated with the orchestra: conductor, concertmaster, section leader(s), section players, personnel manager, announcer (if any), etc.

Distribute listening guide (see Appendix W) at this time. Students have this with them at the concert so they can write down any comments during the performance. Any concerns or questions can be dealt with during a discussion of this guide which can be revised at any time to accommodate the specifics of any performance. The intent is that this guide is to be generic for any concert.

Students hand in this guide at the next music class for evaluation by the teacher.

Accommodations

·         Provide a review sheet of names and types of instruments used in a symphony orchestra.

Assessment/Evaluation

9.       Reflection in journals checked for completion but not assessed. (MA2.03X)

Listening guide evaluation by teacher. (MC2.04X, MAV.02X, MCV.04X, MA1.03X, MA2.06X)

Peer/teacher conferencing - audience etiquette, musical roles. (MA2.04X, MA2.05X, MA2.06X, MA2.07X)

Resources

Adair, Audrey J. Ready-to-Use Music Activities Kit. New York: Parker Publishing Co., 1984.

Camblin, Sharon J. and Bruce A. Camblin. Listening Guides for Concert Music. New York: J. Weston Walch Pub., 1978.

Stycos, Roland. Listening Guides for Band Musicians. New York: J. Weston Walch Pub., 1991.

 

Appendix W:  Listening Guide

 

A DAY AT THE SYMPHONY - LISTENING GUIDE

·         Concert Details:

A. Name of Concert _______________________________________________________

B. Name of Orchestra _____________________________________________________

C. Name of Soloists _______________________________________________________

D. Location of Concert ____________________________________________________

E. Length of Program _____________________________________________________

·         Style of the music (Classical, Baroque, Romantic or Contemporary) ________________

·         Define the expression “musical climax” _______________________________________

·         How does a composer guide a musical climax? _________________________________

·         At what point in the music was there a musical climax (beginning, middle, end). ______

·         What instruments were involved in the musical climax? __________________________

·         Percussion/Woodwinds/Brass/Strings - How does each section add colour and excitement to the music?

A. percussion ___________________________________________________________

B. woodwinds ___________________________________________________________

C. brass ________________________________________________________________

D. strings _______________________________________________________________

·         What element of music is the most prominent feature of the concert? _______________

·         Explain the use of dynamics. _______________________________________________

·         If there are any changes, why does the composer change keys? ____________________

·         Define “musical conversation” and give an example from the performance. __________

_______________________________________________________________________

·         Describe the following reactions to the music:

A. Do you like the music? _________________________________________________

B. How did it make you feel (excited, bored, want to cry, upset, anxious, other)? ______

_______________________________________________________________________

C. How did the audience react to the music? ___________________________________

D. How did the musicians react to performing the music? ________________________

E. Describe how the conductor contributed to the performance of the music? _________

·         If you could become the composer, the conductor, the concertmaster, or musician, what would you do differently in the performance of the music? (Choose one of the above people.)

_______________________________________________________________________

_______________________________________________________________________

·         Additional comments:

_______________________________________________________________________

_______________________________________________________________________

 

Activity 5:  Sounds In The Environment

 

Time:  300 minutes

Description

Using the elements of music as a basis for study, students listen to sounds in the school environment, outdoors, and home environment. The sounds are recorded and classified as either human or nature-created, and under which music element it can be categorized. The end result of the study is for students to gain a stronger awareness of the sounds in their environment and to make critical evaluations about the musical or non-musical nature of the sounds. Students create a final composition using their new information about sounds and have the composition performed by their peers. Traditional or non-traditional music notation is used. A final discussion includes the aspect that while certain sounds are considered musical to some, others regard these sounds as noise.

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations:

The graduate:

·         thinks critically about the meaning and purpose of work; (5b)

·         achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others. (5g)

Strand(s):  Theory, Creation, Analysis

Overall Expectations:

·         demonstrate an understanding of music literacy, at a level appropriate for the grade, using the creative process (perception, production, and reflection); (MCV.04X)

·         demonstrate the ability to listen attentively and with discernment to live and recorded music, using stages of critical analysis (initial reactions, description, analysis, interpretation, and judgement); (MAV.02X) ;

·         demonstrate an understanding of the function of music in society; (MAV.04X) ;

·         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)

Specific Expectations:

·         identify and describe, orally and in writing, the elements of music from a variety of live and/or recorded examples; (MA1.01X) ;

·         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) ;

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

·         analyse the quality of their own and their peer’s performances, using appropriate music vocabulary to suggest ways of improving those performance (e.g., style’ groove, intonation, tone quality, dynamics, articulation, phrasing, rhythm, balance and blend, overall effect. (MA1.04X) ;

Planning Notes

·         Pre-arrange field trips to outdoor sites (a field, a factory) for this activity.

·         Pre-arrange student ensembles.

·         Provide examples of non-traditional music notation for a pre-activity lesson.

Prior Knowledge Required

·         Students are to be familiar with music terminology such as the elements of music in order to discriminate between musical and non-musical sounds.

·         Students are to have met the Grade 8 expectations.

Teaching/Learning Strategies

Part I - Internal Environment (school)

10.   Collect sounds by criteria: 1) Human-made, 2) Nature-made. (Listen for 15 minutes eyes open and 15 minutes eyes closed.)

List under which element of music each sound falls (see Appendix X).

Part II - External Environment (outdoors)

Collect sounds by criteria: 1) Human-made, 2) Nature-made. (Listen for 15 minutes eyes open and 15 minutes eyes closed.)

List under which element of music each sound falls (see Appendix X).

Part III - Home Environment (homework)

Collect sounds by criteria: 1) Human-made, 2) Nature-made. (Listen for 15 minutes eyes open and 15 minutes eyes closed.)

List under which element of music each sound falls (see Appendix X).

Part IV - Discussion

Discuss different interpretation of:

A.  which sound is musical and which is not musical;

B.   which sound is human-made, which is nature-made;

C.   comparison of sounds from different environments.

Discuss the point that certain sounds are musical to some and not to others.

Note:  All sounds contain potential musical elements. The purpose of this discussion is to answer the question “What is music?” and then determine through exploration, whether the criteria are met.

Part V - Composition and Performance

Create a four-measure composition in common time using human-made and/or nature sounds. Refer to the elements of music (see Appendix X) as a basis for the composition.

Perform each composition in solo or small groups.

Create music notation for the composition. The notation can either be traditional or a newly designed contemporary notation. Teacher gives examples of non-musical notation.

Accommodations

·         Arrange for a “study buddy” to assist with homework, composition, and performance activities.

Assessment/Evaluation

11.   Probe questions in practical and discussion phase. (MCV.04X) (MAV.04X)

Rating scales - Appendix X. (MAV.02X)

Journals - Student’s reactions to the alternate way of perceiving their environment. (MTV.01X) (MAV.01X)

Performance of Music - Part V of the activity. (MC2.03X, 04X) (MA1.04X)

Resources

Adair, Audrey. Ready-To-Use Music Activities Kit - Chapter “Learning To Listen” pp. 213-218. New York: Parker Publishing Company Inc., 1984.

Bray, Kenneth I., D. Bruce Snell, and Ralph M. Peters. For Young Musicians Volume 1, II. Waterloo: Waterloo Music Company Limited, 1967.

Copland, Aaron. What To Listen For in Music. New York: McGraw-Hill Book Company Inc., 1957.

Ferris, Jean. Music: The Art of Listening, 2nd Ed. New York: William C. Brown Publishers, 1988.

Ford, Clifford. Canada’s Music: A Historical Survey. Agincourt, Ontario: GLC Publishers Ltd., 1985.

Kuzmich, Natalie. Musical Growth. Toronto: Gordon V. Thompson Publications, 1986.

Marsalis, Wynton. Marsalis on Music: Listening For Clues. New York: Sony Music Entertainment Inc., 1995. (54 min.)

 

Appendix X:  A Sample Sound Classification Comparison Chart

 

SAMPLE: SOUND CLASSIFICATION COMPARISON CHART

Student Name:                             Shafer, R. Murray                             Class:             AMU10            Instructions:  Classify each sound you hear using the categories below.

Element

Human-made

Nature

Musical Element(s)

INTERNAL SOUNDS

walking in hall

 

rhythm

teacher talking

 

tone

furnace pulsating

 

rhythm

 

 

 

 

 

 

EXTERNAL SOUNDS

 

birds chirping

pitch

truck braking

 

—

 

woodpecker pecking

rhythm

 

 

 

 

 

 

HOME SOUNDS

washer

 

—

stereo

 

melody/harmony

 

snoring

—

 

 

 

 

 

 

 

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