Course Profile
Music, Grade 9 open, Public
Unit 3: The Role of Music in Society
Activity 1 | Activity 2
| Activity 3 | Activity 4 | Activity 5 | Activity 6 | Activity
7
Unit Developer(s)
Jessica V. Kun, Toronto District School Board
Chris Arthurs, Peel District School Board
John Love, Toronto District School Board
Development Date: July 1999
Students examine the various roles that music plays in society. Students consider music as art, music as community, music as ritual and music as cultural celebration. Students identify, examine, and compare the similarities and differences of these roles in various societies.
Strand(s): Creation, Analysis, Theory
Overall Expectations: MCV.01X, .02X; MAV.01X, .02X, .03X, .04X, .05X; MTV.01X, .02X, .03X.
Specific Expectations: MT1.12X, .13X, .14X, .15X; MC1.01X, .02X, .04X, .05X, .07X, .08X, .09X, .11X, .13X; MC2.04X; MA1.02X, .03X; MA2.01X, .02X, .03X, .04X, .05X, .06X, .07X.
|
Activity 1 |
Exploring Folk Music |
100 minutes |
|
Activity 2 |
Popular Song |
100 minutes |
|
Activity 3 |
Music for Ritual, Ceremony, and Celebration |
100 minutes |
|
Activity 4 |
You and Your Instrument/Voice |
25 minutes |
|
Activity 5 |
Music in Your Community |
40 minutes |
|
Activity 6 |
Attending a Performance |
40 minutes |
|
Activity 7 |
Careers in Music |
75 minutes |
The teaching of this unit requires a wide variety of resources and recordings. This unit need not be applied in one block of time, but rather, each activity may be introduced throughout the course. Activities 1 and 2 should be introduced in succession, in order for students to make connections between them. Activity 3 may be introduced in isolation. Activities 4, 5, and 6 should be introduced in succession at a time of year when there are opportunities in the community for students to experience live performances. Activity 7 is a culminating activity which should be introduced later in the course, since students will likely have had exposure to many different types of possible careers in music throughout the course.
Successful completion of Grade 8 Music as prescribed by The Ontario Curriculum, Grades 1-8, 1998.
Teacher-directed, student-centered, investigative, application of previously learned concepts to new situations, research, review, problem solving, collaborative learning, modeling, expanded opportunity, enrichment.
Assessment and evaluation address the development of cognitive skills, the affective domain, portfolio, self-evaluation, peer evaluation, reflective journal writing, formative assessment, and summative evaluation.
Appropriate and accessible resources available in the community (and beyond, where possible) should be incorporated into the unit. Public and school libraries can provide lists of available recordings and videotaped resource material. Resources may include musicians and groups, educators, recording studios, record companies, record stores, radio and television stations, instrument makers and repair professionals, the Canadian Music Centre, retail instrument and music stores, local symphony orchestra and/or choral societies, opera companies, major orchestras and choirs, and local heritage and cultural centres.
The students themselves may provide a source of diverse cultural backgrounds and experience. Encourage the sharing of these music heritages to provide rich insights for all involved.
Teachers and students should include current videos, recordings, commercial software, and other such forms of media to enhance the activities.
Copland, A. What To Listen For in Music. New York: McGraw-Hill Inc., 1985.
Fowler, C. Music! Its Role and Importance in Our Lives. New York: Macmillan/McGraw-Hill, 1994.
Grout, D. and C. Palisca. A History of Western Music (fourth edition). New York: W.W. Norton, 1988.
Kuzmich, N. Musical Growth (A Process of Involvement). Toronto: G.V. Thompson Music, 1986.
Machlis, J. The Enjoyment of Music (Text & Recordings). New York: W.W. Norton.
Wingell, Richard. Experiencing Music. California: Alfred Publishing Co., 1983.
Various Encyclopedias of Music
Various recordings (e.g., “Naxos” collections)
Time: 100 minutes
Through exploration involving listening, analysing, and performance, students are able to demonstrate their awareness and understanding of the elements and characteristics of folk songs.
Strand(s): Creation, Analysis, Theory
Overall Expectations: MAV.01X, .02X, .04X; MCV.01X, .02X; MTV.01X, .02X, .03X.
Specific Expectations: MT1.12X, .13X, .15X; MC1.01X, .02X, .04X, .05X, .07X, .08X, .09X, .11X, .13X, MC2.04X; MA1.02X, .03X; MA2.04X, .05X.
· Using a wide variety of resources and recordings, the teacher introduces folk song as a musical tradition.
· Prior to introducing this activity, students locate and bring to school one or two folk songs that represent the predominant cultural features of their parents’ or grandparents’ heritage (e.g., Portuguese, Italian, Polish, Jamaican, Chinese, Finnish, Japanese, Bulgarian, Scottish, Irish, Indian, etc.).
· The teacher and students provide examples of Canadian folk songs which may demonstrate certain cultural features.
· The teacher should ensure that all musical examples brought into the classroom by students are screened for suitability of content.
· ability to sing or play an instrument
· ability to notate music
· some understanding of the elements of music
The teacher guides the class in a discussion about folk songs as a musical tradition. Students are encouraged to share their own experience with folk music from their heritage/culture, in order to come to the realization of the purpose and use of folk songs.
The discussion needs to reveal that the origins of songs and performances of those songs evolve due to the way songs are passed down from generation to generation (The song’s survival depends on its ability to reflect the life, hopes, aspirations and musical tastes of a people.) Students should realize that the communication of folk songs from generation to generation, or even person to person, is largely an oral tradition (Encourage discussion of the implications of this.) and that notating folk songs can be a tedious process, due to improvisations made on the original song, language barriers, unreliable memory, and any number of reasons.
The discussion also explores the meaning of the song as well as identify the musical elements of the song (form, melody, harmony, timbre, texture, rhythm, dynamics)
Perform (sing or play) and/or listen to a few Canadian folk songs.
Analyse each song: classify, according to one or more of the following song types (narrative, ceremonial, riddle, love, courtship, lament, work, drinking, cradle, love of country, survival, nature, game, war, rivalry) and elements (e.g., melodic shape, form).
Students analyse one of their own examples from the recordings they have brought in, according to the given criteria of analysis for the preceding Canadian folk songs.
Students answer these questions by writing a descriptive paragraph:
· What is your song about?
· Why is this song important? Describe its significance and function in a historical and cultural context.
· How is this song performed? (Set-up of the group, instrumentation, behavior of the musicians)
· What is the form of your song?
· Discuss whether the song is ensemble-based, a solo, or a combination. How does this make the song effective?
· Is there improvisation on the melody or elsewhere in the music? How does improvisation make the song effective?
· Describe the quality of the singing voice.
· Are instruments used? If so, what are they?
· How do the instrumental parts support the music?
As a class, listen to a variety of folk songs from many different cultures, then compare and contrast them, making a list of the similarities and differences.
Students present their findings about their song in small groups. They compare and contrast their individual examples. Where possible, students are encouraged to perform a folk song for the class, using authentic performance practice.
· Peer- and self-evaluation of the presentation/performance of Step 7
· Students use a checklist to ensure that they have addressed all of the key concepts of the activity.
· Teacher marks the written assignment (Strategy 5), evaluating students’ understanding of the meaning of the song and its musical elements (form, melody, harmony, timbre, texture, rhythm, dynamics).
Public and school libraries can provide lists of available recordings and videotaped resource material. Canadian Music Centre
Local heritage and cultural centres
The students themselves may provide a source of diverse cultural backgrounds and experiences.
Fowler, C. Music! Its Role and Importance in Our Lives. New York: Macmillan/McGraw-Hill, 1994.
Kuzmich, N. Musical Growth (A Process of Involvement). Toronto: G.V. Thompson Music, 1986.
Wingell, Richard. Experiencing Music. California: Alfred Publishing Co., 1983.
Various encyclopedias of music
Appropriate recordings
Appendix U3-1: Peer and Self-Evaluation Assessment Sheets
Appendix U3-2: Folk Song Assignment Checklist
Time: 100 minutes
Through listening and analysis, students demonstrate their understanding of the elements of popular music as a part of every day culture. They recognize and understand the purpose and use of popular songs as they relate to different facets of life. Students gain awareness of the characteristics of the songs, including meaning, musical elements and function in society. This activity can be extended to include music in television and films.
Strand(s): Analysis, Theory
Overall Expectations: MAV.01X, .02X, .04; MCV.04; MTV.01X, .03X.
Specific Expectations: MT1.12X, .13X; MA1.02X, .03X; MA2.04X, .05X, .06X.
· Using a wide variety of recordings, the teacher introduces popular song and its role in society.
· A discussion about the history of popular music requires background information to be located by the teacher that can be found in books, on the Internet, etc.
· Students select a recording of their favorite song.
· The teacher selects recordings of songs that exemplify the main styles of popular music (e.g., rock, reggae, ska, heavy metal, funk, grunge, techno).
· The teacher should ensure that all musical examples brought into the classroom by students are screened for suitability of content.
· some understanding of the elements of music
1. The teacher guides the class in a discussion about current popular songs. Students are encouraged to express types of music they enjoy listening to and what they like about this music. A discussion about the history of popular song helps students understand the historical context of their favorite types of music heard today. The discussion should lead from recording techniques to the success of a song and how they contribute. The different ways of recording should be discussed in order to help students understand that there is more to success than having a good song.
As a class, brainstorm and list the various types of music heard on the radio and identify other places we hear popular music (e.g., television, films). Categorize the different types under a few headings (foundational elements which determine general types or genres). For example, there are many types of rock music: heavy metal, speed metal, thrash, etc., but it is all essentially “rock”.
Discuss the classification of song types (e.g., dance, narrative, ceremonial, love, courtship, lament, work, survival, nature, war, rivalry) and elements (melody, form, harmony, rhythm, timbre of voice and instruments, dynamics, and texture). Draw conclusions about the overall effectiveness of its role and performance practices.
Discuss the performance practices of each genre of popular music. How is the group set up on stage and why? What do the performers do? What do they wear? What does the stage look like? Why is this so? What does the audience do? Why do the different genres dictate different performance practices? How is live performance different from what you see on music videos?
Students use a recording of a favorite song and complete the following assignment to be presented to the class:
Write out the lyrics and analyse the meaning of the poetry. Analyse the elements of the music of your song. Determine the effectiveness of the music and how it relates to the words (poetry). Note: Encourage students to exercise discretion in their choice of lyrics.
Students answer these additional questions in writing:
a. What is your song about?
b. Why is this song important? Describe its significance and function in a society.
c. How is this song performed? (Set-up of the group, instrumentation, behavior of the musicians)
d. What is the form of your song?
e. Discuss whether the song is ensemble-based, a solo, or a combination. How does this make the song effective?
f. Is there improvisation on the melody or anywhere else? Why or why not?
g. Describe the quality of the singing voice.
h. What are the instruments used?
i. How do the instrumental parts support the music?
Students present their song to the class (five - seven minute presentation). In their presentation, students recite the lyrics or a portion of the lyrics, explaining the meaning of the lyrics, how the music and lyrics relate. They tell the class the function of this song in society and why it is their favorite song. They play a recording (or portion) of the song. The class is encouraged to discuss and respond to the music presented.
2. Use peer- and self-evaluation of the class presentation.
Teacher marks the written assignment (Steps 5 and 6), evaluating students’ understanding of the meaning of the song and its musical elements (form, melody, harmony, timbre, texture, rhythm, dynamics).
Public and school libraries can provide lists of available recordings and video taped resource material. Include musicians and groups, educators, recording studios, record companies, record stores, and radio and television stations.
Fowler, C. Music! Its Role and Importance in Our Lives. New York: Macmillan/McGraw-Hill, 1994.
Kuzmich, N. Musical Growth (A Process of Involvement). Toronto: G.V. Thompson Music, 1986.
Wingell, Richard. Experiencing Music. California: Alfred Publishing Co., 1983.
Various encyclopedias of music
Appropriate recordings
Appendix U3-1: Peer and Self-Evaluation Assessment Sheets
Time: 100 minutes
Through listening and analysis, students demonstrate their understanding of music used for ritual, ceremony and celebration. They recognize and understand the purpose and use of music which occurs as a part of special occasions. Students gain awareness of the characteristics of the music, including meaning, musical elements, and function in society.
Strand(s): Analysis, Theory, Creation
Overall Expectations: MAV.01X, .02X, .04X; MCV.04X; MTV.01X, .03X.
Specific Expectations: MT1.12X, .13X; MA1.02X; MA2.03X.
· The teacher selects a wide variety of recordings that are good examples of celebration, ceremony, and/or ritual and their role in society.
· Students are encouraged to bring in recordings of music they may have or be able to acquire which exemplify music used in celebration, ceremony, and/or ritual.
· The teacher locates recordings of songs that exemplify the main styles of music used in celebration, ceremony, and ritual from a variety of cultures.
· The teacher should ensure that all musical examples brought into the classroom by students are screened for suitability of content.
· some understanding of the elements of music
3. The teacher guides the class in a discussion about music used in special occasions, particularly for ritual, ceremony, and celebration. Students are encouraged to share their own experiences with music in these contexts and to discuss how each heritage/culture has similarities and differences, in order to come to the realization of the purpose of the different genres.
In dealing with ceremony, the class brainstorms the different types of ceremony and the types of associated music. Some examples are weddings, funerals, religious ceremonies, and graduation ceremonies. Listen to some recordings of music associated with ceremony. Discussion determines the suitability of the music to the occasion.
In dealing with celebration, the class brainstorms the different types of celebration and the types of music associated with each. Some examples are: wedding receptions, religious ceremonies, birthday parties, and anniversaries. Listen to some recordings of music associated with celebration. Discussion determines the suitability of the music to the occasion.
In dealing with ritual, the class brainstorms the different types of ritual and the types of music associated with each. Some examples are religious rituals. Depending on the culture, the music may include particular songs, chanting, or any music the class associates with ritual. Listen to some recordings of music associated with ritual. Discussion determines the suitability of the music to the occasion.
Students research the music for ritual, then create their own music for a real or imaginary class ritual, ceremony, or celebration, reflecting their research. Students present their creation to the class. As an introduction to their performance, students present their findings, reflecting their research, and explain their own composition and how it relates to their knowledge about music for ritual, ceremony, and celebration.
· Peer and self-evaluation of the presentations (See Appendix U3-1).
Public and school libraries can provide lists of available recordings and videotaped resource material.
(Local heritage and cultural centres)
The students themselves may provide a diverse source of cultural backgrounds and experiences. The sharing of these music heritages should be encouraged and will provide rich insights for all involved.
Fowler, C. Music! Its Role and Importance in Our Lives. New York: Macmillan/McGraw-Hill, 1994.
Kuzmich, N. Musical Growth (A Process of Involvement). Toronto: G.V. Thompson Music, 1986.
Wingell, Richard. Experiencing Music. California: Alfred Publishing Co., 1983.
Various encyclopedias of music
Appropriate recordings
Appendix U3-1: Peer and Self-Evaluation Assessment Sheets
Time: 25 minutes
This activity is a research assignment where students demonstrate an understanding of their performance medium and how it connects to the performance world. Through their research, students discover the history, function, evolution, and physical demands of playing their musical instruments or singing.
Strand(s): Analysis, Theory
Overall Expectations: MAV.03X, .04X; MTV.03X.
Specific Expectations: MT1.14X; MA2.01X, .05X.
· The assignment differs for instrumental and vocal music classes
None
This project may be modified to be completed individually, in pairs, or small groups.
Answer the following questions through researching the
history, function, and evolution of your instrument. Once you have completed
the questions, use this information to write an essay, or prepare a class
presentation, describing what you have learned.
4. What instrument do you play in class?
Describe your instrument.
i. What is it made of?
ii. How does your instrument produce sound?
iii. What family of instruments does it belong to?
iv. What is its range?
v. What does it look like?
a. How long is it?
b. What are its features?
c. What makes it distinct from other instruments?
Describe the physical demands of playing your instrument. Why should you be in good shape to play your instrument?
Describe the effects of physical fitness and good health habits in order to play your instrument well and safely. How does this affect the quality of performance? Why?
What are the different versions of your instrument? How do they differ? How are they similar?
Describe the origin of your instrument.
How does the instrument you play now differ from the original one? How is it the same?
In what types of ensembles is your instrument used?
Name three composers who have written music for your instrument and describe how they use your instrument in their compositions.
What are the performance characteristics of your instrument? What are its capabilities?
Is your instrument mainly a solo instrument or ensemble instrument? Explain.
Add any comments you would like to make about your instrument.
This project may be modified to be completed individually, in pairs, or small groups.
Answer the following questions through researching the
history, function, and evolution of your instrument. Once you have completed
the questions, you will use this information to write an essay or prepare a
presentation describing what you have learned..
5. What type of music do you prefer to sing (pop, classical, folk, etc.)?
Describe the different vocal ranges of a typical choir. What is your range?
How is sound produced by a singer?
Describe the physical demands of singing. Why should you be in good shape to sing?
How is the voice used in different cultures? (Use three contrasting examples). Explain.
Describe different types of vocal performing ensembles.
Name three composers who have written music for voice (in three different styles) and describe how they use the voice in their compositions.
What are the performance characteristics of the voice as an instrument? What are its capabilities?
Is your particular vocal part mainly a solo part or ensemble part? Explain.
Why is your particular vocal part important? How does it relate in the vocal ensemble(s) you are a part of?
Add any comments you would like to make about the voice.
Teacher marks the written essay/presentation.
Public and school libraries
Instrument makers and repair professionals
Retail instrument and music stores
Choral societies
Local heritage and cultural centres
The Internet
Appropriate recordings
Copland, A.. What To Listen For in Music. New York: McGraw-Hill Inc., 1985.
Fowler, C. Music! Its Role and Importance in Our Lives. New York: Macmillan/McGraw-Hill, 1994.
Grout, D. and C. Palisca. A History of Western Music (fourth edition). New York: W.W. Norton, 1988.
Kuzmich, N. Musical Growth (A Process of Involvement). Toronto: G.V. Thompson Music, 1986.
Machlis, J. The Enjoyment of Music (Text & Recordings). New York: W.W. Norton.
Wingell, Richard. Experiencing Music. California: Alfred Publishing Co., 1983.
Various encyclopedias of music.
Time: 40 minutes
Through discussion and research, students demonstrate an understanding of the opportunities to participate in performing groups and attend concerts of performing groups which exist in their community. They will be able to recognize important musical activities in their community.
Strand(s): Analysis, Theory
Overall Expectations: MAV.03X, .04X.
Specific Expectations: MA2.03X, .05X.
· Compile a list of resources in the community, including people, performing organizations, business and industry.
· Make contacts to determine the availability of and access to local resources.
None
6. The teacher guides the class in a discussion about musical opportunities in the community. The discussion should begin to include the following areas where music can be found in the community:
· home, school, church, shopping malls, radio, television, movies, concerts, recordings, etc.
The discussion should then begin to focus on including places in the community where students may access opportunities to join musical performance groups such as:
· community bands, choirs, orchestras (youth groups and general community groups)
· church choirs and instrumental ensembles, playing for services, special events, etc.
· military bands, local drum and bugle corps
· local musical theatre, conservatory groups, and cultural and heritage community groups
In a personal response, students reflect on the discussion in their journals.
The teacher guides the class in a discussion about opportunities to attend performances in the community. The discussion includes the following areas where music can be found in the community:
· school, church, shopping malls, local theatres, libraries, concert halls, etc.
The discussion focuses on places where students may access opportunities to attend professional or semi-professional performances in their community.
Students reflect on the discussion in their journals.
Students complete the following assignment:
Part 1: Using newspapers, telephone, community television station, the Internet, or any other information network, research possible performing groups of which you could be a part. List at least three possible performing groups and gather information about each such as: name of group, type of group, audition requirements, dates of auditions, contact person, conductor, rehearsal days and times, age limits, and any other information you can find about the group.
Part 2: Using newspapers, telephone, community television station, the Internet, or any other information network, research possible performances to attend. List at least five possible performances and gather information about each such as: title of the performance, group performing, conductor, what they are performing (if possible), cost of tickets, place, dates, and times of performances.
Teacher marks the written assignment, based on thoroughness and accuracy of content.
Local newspapers, telephone book, community television, the Internet, and community centres
Video: Listen Up (CMR Industry) or any more current media resources that have become available
Time: 40 minutes
Students attend a performance of a professional, semi-professional, or community performing group. Along with the experience of attending a live performance, students complete a review of the performance. By answering a set of questions, students demonstrate the ability to listen attentively and with discernment to live music.
Strand(s): Analysis
Overall Expectations: MAV.04X; MCV.04X.
Specific Expectations: MA2.04X, .05X, .06X.
· Plan the trip to attend a performance.
· Introduce some background information about the type of performing group and perhaps the actual performing group being visited.
· some understanding of the instrumentation and performance medium
7. Plan for the class to attend a performance of a performing group. Provide background information about the performing group, about proper etiquette by audience members, and about what to expect of the experience. Include preparing students for what they will hear during pre-trip organizing. Discuss the concert hall, the musicians, the conductor, and the composer(s) being performed.
The following is a suggested approach and assignment that students complete throughout the experience. The example is that of an educational trip to see and hear a local symphony orchestra. Most resident orchestras, choirs, and bands provide the same type of experience and the teacher is encouraged to tailor the assignment to that of the excursion planned for their students.
A similar exercise may be designed for any concert performance field trip.
Once the class has attended the concert, each student answers questions similar to the ones below. (Alternately, students are encouraged to design their own questions, based upon the experience.)
a. Describe your experience as you entered the building and took your seat.
b. Describe the concert program you received and one thing you noticed about the program which you found impressive.
c. What music was performed? List the pieces and make comments about each piece.
d. What is the role of the concertmaster or leader (if applicable)?
e. Was the music they performed presented the same way we studied it in class (if applicable)?
f. What was the make up of the ensemble?
g. Describe your impressions of the performance of the piece you liked best.
h. Indicate features of the performance you liked/didn’t like. Explain.
i. Explain some things you experienced, but did not expect.
Students use their information, derived from answering the questions, to write a half-page ‘Review’ of the concert. The answers to the questions and the review may be part of a class discussion or feedback session about the concert.
· Students peer-evaluate the review.
Local symphony orchestra and/or choral societies, major orchestras and choirs, local heritage and cultural centres
Copland, A. What To Listen For in Music. New York: McGraw-Hill Inc., 1985.
Fowler, C. Music! Its Role and Importance in Our Lives. New York: Macmillan/McGraw-Hill, 1994
Grout, D. and C. Palisca. A History of Western Music (fourth edition). New York: W.W. Norton, 1988.
Machlis, J. The Enjoyment of Music (Text and Recordings). New York: W.W. Norton.
Wingell, Richard. Experiencing Music. California: Alfred Publishing Co., 1983.
Time: 75 minutes
Through class discussion and research, students demonstrate an understanding of how skills developed in music are applied to various music-related careers. They have an understanding of the effects of music education on themselves, peers, and society. Although students may not desire to pursue a career in music, they will be able to identify connections between music education and various careers.
Strand(s): Analysis
Overall Expectations: MAV.03X, .04X, .05X.
Specific Expectations: MA2.03X, .07X.
· Make arrangements to provide access to any resources available, including the Internet and library resource material.
· Unit 3, Activities 1 through 6
8. Guide the class in a discussion about the many music-related careers. Encourage students to brainstorm as many jobs or careers as possible which are connected to music. Using some form of brainstorming- web, record the discussion on the blackboard.
When the class has identified all of the possible jobs or careers, divide the class into groups of three or four. Assign each group a few of the jobs/careers identified and have them brainstorm two lists: skills needed to be successful at the job/career and what the job/career entails.
The groups report their brainstorming to the class and the ideas are added to the “brainstorming-web”. Encourage the class to add their ideas to those of each group, in order to come up with the most complete collection of ideas possible.
Encourage students to copy the “brainstorming-web” into their journals and add to it as they discover new ideas about careers.
Students are given the following assignment to complete:
Complete the following assignment in your
journal. You may need to access books from the library or the Internet to find
information or talk to people in your chosen career:
Part 1
1. Choose a music-related job or career in which you are most interested (imagine that you will pursue this job/career).
2. What are the skills you need to have to be successful?
3. What are the responsibilities and characteristics of your chosen job/career?
4. What are some skills, talents, and strengths you possess which will help you be successful?
5. What are some things you have learned or gained experience in through music education that will help you be successful?
6. How does your chosen job/career benefit society?
Part 2
1. Think of several non-music related careers. What skills, talents, and strengths can you bring to these careers, based upon your music experiences?
2. How does your chosen, non-music job/career benefit society?
Teacher can assess students’ understanding through interviews or group presentations.
Public and school libraries
Guidance departments and human resource departments
Musicians and groups, educators, recording studios, record companies, record stores, radio and television stations, instrument makers and repair professionals, the Canadian Music Centre, retail instrument and music stores, local symphony orchestra and/or choral societies, theatres, and concert halls.
Internet
Fowler, C. Music! Its Role and Importance in Our Lives. New York: Macmillan/McGraw-Hill, 1994.
Wingell, Richard. Experiencing Music. California: Alfred Publishing Co., 1983.
Various encyclopedias of music.
Presenter(s): ________________________________________________________________________
Rate the following aspects of this presentation by circling the number on the scale (that represents your opinion) (1 = lowest, 10 = highest). In the space provided below each category, jot down a few comments about the overall presentation before handing this sheet in.
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Clarity of voice __________________________________________ |
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Presenters are well prepared __________________________________________ |
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Content is relevant __________________________________________ |
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Clear explanation of statements __________________________________________ |
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Clear, logical delivery of content __________________________________________ |
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Use of audio/visual aids to support content __________________________________________ |
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Creativity of presentation __________________________________________ |
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Overall presentation __________________________________________ |
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Some things done well: __________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
Some things needing improvement: ________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
Some ideas or suggestions that could make presentation better next time: __________________
_____________________________________________________________________________
_____________________________________________________________________________
Your Name: ___________________________________________________________________
Use the following as a checklist to make sure you have addressed all of the elements in preparing your presentation and written assignment. As you address the concept, check off whether you have clearly and completely presented the information (Yes), or have not addressed the concept clearly or at all (No). If you have not addressed a concept clearly and completely, revise your work until you can check off “Yes”.
|
Concept |
YES |
NO |
|
Origin of the song |
o |
o |
|
Method of communication of the song (has it changed or evolved?) |
o |
o |
|
Notation of the song (is it written down anywhere?) |
o |
o |
|
Various reasons for miscommunication |
o |
o |
|
Meaning of the song |
o |
o |
|
Importance of the song |
o |
o |
|
Significance and function in a historical and cultural context |
o |
o |
|
Identify the musical elements of the song |
|
|
|
form |
o |
o |
|
melody |
o |
o |
|
harmony |
o |
o |
|
timbre |
o |
o |
|
texture |
o |
o |
|
rhythm |
o |
o |
|
dynamics |
o |
o |
|
Artistic decisions you have made about the performance |
o |
o |
|
How the song is performed |
o |
o |
|
Improvisation in the song (are there any?) |
o |
o |
|
Classification according to song type |
o |
o |
|
Ensemble-based or solo |
o |
o |
|
Is this typical of most folk songs from that country? |
o |
o |
|
Quality of the singing voice |
o |
o |
|
Instruments used in the original song |
o |
o |
|
How do the instrumental parts support the music? |
o |
o |
|
Similarities and differences to folk music studied in class |
o |
o |
In order to fully demonstrate an understanding of these concepts, you should consider expanding on the areas that you have not checked off “Yes”.
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