Lesson+Plans

Essential question: How does American Music reflect the diversity of its people?
 * Chapter 1 **___________________________ ** Time line **____Week1_____

Essential understanding: The microcosm of American Music styles follows the same trends as the American Culture.

**Instructional Activities /** **Lessons** ||  ** Options for Modifications / Extensions **  ||  ** Assessment **  ||  ** Resources **  || 1.4 1.5 || Active Listening: Classical Music Culture Homophony Jazz Musical Style Passive Listening || Students will explain how the variety of music inAmericareflects the diversity of its people Students will become familiar with and begin to identify a wide range of musical styles. Students will begin to describe, compare, and contrast musical compositions. || Students listen to and evaluate several brief excerpts of music and determine the length of time and tolerance they have for each example. || Vocabulary list for reference. || Participation Evaluation Oral Reports || Radio Scan Worksheet Indicated CD’s || 1.4 1.5 || Active Listening: Classical Music Concerto Culture Homophony Jazz Wynton Marsalis Musical Style Passive Listening Cole Porter || Students will explain how the variety of music inAmericareflects the diversity of its people Students will become familiar with and begin to identify a wide range of musical styles. Students will begin to describe, compare, and contrast musical compositions. || Students listen to and evaluate several brief excerpts of music to categorize them by musical example. || Suggested list of music classifications. Divide assignment into segments || Participation Evaluation Journals || Musical Styles Worksheet Indicated CD’s || 1.4 1.5 || Diversity inAmerica || Students will explain how the variety of music inAmericareflects the diversity of its people Students will become familiar with and begin to identify a wide range of musical styles. Students describe, compare, and contrast musical compositions. || Students gather data on their own music listening habits for a few days. Keep track of the amount of time and the various ways students listen to music. Allow for class discussion/cooperative learning. || Suggested listening list Allow the use of technology to complete work || Listening Journal || Compare Listening Habits Worksheet || 1.4 1.5 || Variety of American Music || Students will explain how the variety of music inAmericareflects the diversity of its people Students will begin to identify a wide range of musical styles. Students will begin to describe, compare, and contrast musical compositions. || Students bring in a favorite musical example. Have them introduce and provide background. Have the class analyze each example using perceptive active listening. || Group work Small group presentation || Oral Presentation || Analyze Musical Preferences worksheet ||
 * ** NJCCCS ** ||  ** Content **  ||  ** Objectives **  ||  **Areas of Focus /**
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Chapter 2__________________________ ** Time line **____Week 2_____ Essential question: What does the music of various cultures teach us about a culture and its people? How does the classification of musical instruments describe how the instrument produces sound? What are the characteristics of classical music?

Essential understanding: Other cultures are similar to our own; the people had dreams and found ways of coping with the human struggle. They considered the arts important in their lives. Instruments are classified according to the medium used on the instrument to vibrate the air. Classical music is generally considered to be composed between 1750 and 1830. It is a style of art that stands apart from traditional or popular music. One gains insight into a culture by studying its art forms. **Instructional Activities /** **Lessons** ||  ** Options for Modifications / Extensions **  ||  ** Assessment **  ||  ** Resources **  || 1.4 1.5 || Music of other cultures: empathy heterophony timbre Ethnomusicologist Anthropologist || Students will assess their familiarity with music of other cultures. Students will begin to associate musical styles with their geographic origin. || Students listen to several short excerpts of music from around the world. Rate the music based on familiarity, and identify musical characteristics that guided their decision. || Group work Pair share || Particiaption evaluation || Discover Music from other Countries handout ||
 * ** NJCCCS ** ||  ** Content **  ||  ** Objectives **  ||  **Areas of Focus /**
 * 1.3

1.1 1.5 1.3 || Music of other cultures: Mariachi, mestizo, Lali, Peking Opera || Students will be able to recognize and discuss music of African, Mexican, and Chinese Americans. Students will evaluate how various cultures use music for different purposes. || Clap varying patterns together to develop an appreciation for the complexity of the rhythm. Divide class in two. Using the mariachi audio example, "La Negra,” have student identify different rhythmic patterns. Students may then try Students listen to a Peking Opera excerpt. Have them distinguish different sources of sound, relationship between parts, and think of forms of expression of similar function in the United States. || Students use a MIDI program to create repeating rhythmic ideas that demonstrate ideas from West African music. || Aural rhythm assessment Written reflection || La Negra recording Peking Opera recording || 1.3 || Define your musical Community. || Students will analyze their surrounding to determine where music is performed within the community. || Students will investigate where they can go in the community to hear music from other cultures. Students may collaborate in groups. || Work in groups || The class may compile a list for distribution. || Music in your community worksheet ||
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Chapter 3______________________ ** Time line **____Week3_____ Essential question: How does improvisation or an ostinato effect a musical performance? Essential understanding: Each is a performance style. While ostinato makes adds to a music’s form and structure, the improvisation follows a form and structure.

**Instructional Activities /** **Lessons** ||  ** Options for Modifications / Extensions **  ||  ** Assessment **  ||  ** Resources **  || 1.3 || Rhythm in Music: accelerando Nicolai Rimsky-Korsakov accent rhythm ritardando tempo meter || Students will use body movements to understand rhythm in music. || Students will listen to two recorded excerpts of equal length. They will then choose adjectives to describe the music, and decide if one sounded longer based on the moods created. || Provide students with a list of music adjectives || Compare and Contrast worksheet || “felt” time recordings from the “Music” series || 1.2 1.3 1.5 || “Felt Time”: Scott Joplin a tempo syncopation || Students will compare and contrast "felt" time and "real" time. Students will become familiar with tempo designations, pulse, meter, accent, and syncopation. || Students listen to an instrumental pop recording. They then experiment with clapping accents on various beats and may try to simultaneously maintain a steady beat with one foot. || Students will invent a 4-measure rhythm score for two parts - one for the left hand, the other for the right hand. Students will begin independently, then perform for the class, then allow others to try their work. || Aural Rhythmic evaluation Composition || Instrumental pop recording || 1.1 || Improvisation || Students will be able to improvise rhythms. || Students will work in small groups. First they will establish an ostinato. Then, they may improvise over it. The final step would be notating the ostinato and having other groups improvise over it, noting how it varies the overall feel of the music. || Students work in groups of five to seven. They will organize, compose, perform, and record a 32-measure soundtrack for percussion. || Rhythm Performance || Recording device || 1.4 1.5 || Music of other Cultures: Raga - Melody Tala - Rhythm rhythm cycle || Students will be able to recognize key rhythmic aspects of Indian music. || Students will listen to traditional Indian music. Students will identify the raga and tala of the composition. || Manipulatives: graphic representation of the raga and tala || Students will create a listening map || Recording of traditional Indian music ||
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** Chapter 4 **___________________________ ** Time line **____Week 4_____ Essential question: How does American Music reflect the diversity of its people?

Essential understanding: The microcosm of American Music styles follows the same trends as the American Culture.

**Instructional Activities /** **Lessons** ||  ** Options for Modifications / Extensions **  ||  ** Assessment **  ||  ** Resources **  || 1.2 || Dance rhythms: ballet suite minuet waltz || Students will understand how different rhythms create different dances and will develop a vocabulary for discussing them. || Students learn dance rhythms in the textbook first by tapping, then transferring to instruments. Students may then accompany the provided recording and perform for the class. || Use a MIDIsequencer to import a dance rhythm. Students will compose new tracks that convey similar rhythms. || performance || Textbook MidiSoftware Computers || 1.5 || Music of other Cultures: Conjunto Samba Reggae tango || Students will discuss the origins and functions of Tex-Mex and Native American dance. || Students will watch a video segment of traditional Native American dance. Students will then comment upon the function and symbolism of the music. || Students may draw a pictoral interpretation of the dance || Written reflection || Video of Lakota Eagle Dance || 1.3 || Styles of Dance: William Grant Still Igor Stravinsky || Students will distinguish between the music used for popular, folk, theatrical, ballet, and modern dance. || Students will listen to the “Firebird Suite” and describe the style of dance used to accompany the suite. || Listening Map Students can perform a dance to accompany the “Firebird Suite” || Written reflection || Video of the “Firebird Suite” || 1.4 || The use of dance: Leonard Bernstein || Students will recognize how composers have utilized dance rhythms in their instrumental works. || Listen to the Music of “West Side Story:” Students will listen to several dance numbers from “West Side Story,” and based on verbal cues and musical descriptors, determine the order of the story line. || Students will compose a 16-measure dance melody in the style of a Viennese waltz. Two waltz phrases will be provided on a worksheet. Students will compose "answer phrases" in C Major and in 3/4 time with the use of a keyboard. || Composition Written or acted story to accompany music of “West Side Story”. || Recording ofWest SideStory ||
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** Chapter 5 **___________________________ ** Time line **____Week5_____ Essential question: Why is audiation necessary during the musical experience?

Essential understanding: The voice is the most natural musical instrument. Due to the connection between the voice and the ears, vocalization strengthens musical dialogue.

**Instructional Activities /** **Lessons** ||  ** Options for Modifications / Extensions **  ||  ** Assessment **  ||  ** Resources **  || 1.5 || Musical Expression: Marian Anderson phrase bel canto vocal register || Students will be able to use their voice to express themselves musically. || Students listen to two vocal excerpts of music from Bulgaria and Mali. Discussion to follow about vocal timbre and how it affects the mood of the music. Students will listen to a few different versions of “Amazing Grace.” Students identify different timbres and how they create and enhance the musical style. || Students sing “Dona Nobis Pacem” with a recording. They should follow dynamic and phrase markings on the music to make the goal of the performance their musical expression. Allow verbal responses. || Oral Discussion Written reflection of timbres || Vocal excerpts fromBulgariaandMali Different recordings of Amazing Grace || 1.4 || Musical Interpretation and Communication: crescendo decrescendo John Cage || Students will begin to develop the vocabulary necessary for musical interpretation and communication. || Make Your Own Music: Students put on mock performances of John Cage's 4'33''. Students should take note of sounds/silence and their emotional reaction to them. Class discussion to follow. || Use demonstration and modeling || Performance || John Cage 4’33” program notes. || alto countertenor baritone mezzo soprano bass basso profundo soprano tenor vocal range coloratura contralto || Students will classify musical voices. || Students will read the description in the text. Various examples will be played and students will be asked to identify them. || Allow short breaks between teaching sessions. Allow for oral answers. || Written responses || Musical Voice recordings from the “Music” series ||
 * ** NJCCCS ** ||  ** Content **  ||  ** Objectives **  ||  **Areas of Focus /**
 * 1.2
 * 1.2 || Audiation || Students will learn to develop audiation, or the ability to "think" music. || Think the Musical Sound: Students will be given a C and understand it as 'Do'. They then audiate a major scale silently and then sing the high 'Do' when they get there. || Work with a partner || Participation || Pitched instrument ||
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 * 1.3 || Classification of Musical Voices:

** Chapter 6 **___________________________ ** Time line **____Week6_____ Essential question: How does the ability to critically listen to music change a consumer’s musical experience.

Essential understanding: Educated consumers know what to listen for and are able to discern musical nuances.

**Instructional Activities /** **Lessons** ||  ** Options for Modifications / Extensions **  ||  ** Assessment **  ||  ** Resources **  || 1.5 || Levels of experiencing music: authenticity || Students will explore the various levels of experiencing music as a listener. Students will become familiar with the use of dynamics and loudness as tools of expression || Use Your Imagination: Students will listen to a Sousa march. Have them act out different scenarios of a parade and then identify their level of musical listening, ranging from oblivious to peak. || Use demonstration, modeling, and shaping Seat students in small groups || Performance assessment || Recording of a Sousa March || Aerophones idiophones membranophones chordophones electrophones || Students will experience instrumental sounds and be able to categorize them by timbre. || Music with MIDI: Use a MIDI sequencer and tone module to vary timbres of instrument sounds. Student should try to emulate timbres they are familiar with. || Vary teaching formats Present realistic expectations to the children and teach to increase independent skills || Performance assessment || Computers Midiprogram || 1.5 || What is a music critic? || Students will understand the role of a musical critic, and begin to develop the ability to critique. || Compare Performances: Students listen to two versions of Bach's Toccata and Fugue in D minor, one for organ, the other transcribed for orchestra. Students will listen perceptively and analyze which they liked more. Answers may be based on musical authenticity and intention. Investigate Music Reviews: Students will read varying newspaper columns and classify them as reviews or simple news articles. They will then write their own review of a similar performance. || Write a Music Review: Students select a recording to review. They should take a positive or negative stance and make clear the reasons for their choice. Students should make sure to include some informed opinions. || Allow oral responses Organize students in group || Two recordings of Bach’s Toccata and Fugue in D minor (organ and orchestra) ||
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 * 1.4 || Categories of instruments:
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** Chapter 7 **___________________________ ** Time line **____Week7_____ Essential question: What are the criteria for the classification of “virtuoso”?

Essential understanding: Virtuoso’s are able to master the technique of their craft whether it is through natural ability or hard work.

**Instructional Activities /** **Lessons** ||  ** Options for Modifications / Extensions **  ||  ** Assessment **  ||  ** Resources **  || 1.4 || Virtuoso Musical Performers: Louis Armstrong musical expression child prodigy virtuoso || Students will be able to identify great musical performers of the past and present. Students will be able to recognize and describe characteristics of a virtuoso performer. . || Discover Musical Virtuosity: Students will listen to several examples of virtuoso performers as provided in the companion CD series. Students will then make a list of the qualities that make each unique. Students will listen to three guitarists, all of different styles, using different instruments. Students will determine why each is considered a virtuoso. || Students will present virtuoso performances from their own listening library || Written reflection Pair a preferred activity with a non-preferred activity || Companion CD of virtuoso performances 3 guitar recordings. || 1.4 || Virtuoso Musical Performers:
 * ** NJCCCS ** ||  ** Content **  ||  ** Objectives **  ||  **Areas of Focus /**
 * 1.3
 * 1.3

double bass technique || Students will discover what makes music difficult to master. Students will develop criteria for judging musical performances || Identify a Quality Performance: Students will listen to two pairs of songs, each performed by different musicians. Students must decide who the virtuoso is, whether they like the music or not. || Let students illustrate the qualities rather than presenting them || Oral presentation || Two contrasting performances one being of virtuostic qualities ||

** Chapter 8 **___________________________ ** Time line **____Week8_____ Essential question: How does musical texture affect one’s listening experience?

Essential understanding: Texture refers to how many “lines” there are in music. It determines how complex, simple, consonant or dissonant the music.

**Instructional Activities /** **Lessons** ||  ** Options for Modifications / Extensions **  ||  ** Assessment **  ||  ** Resources **  || 1.4 1.5 || Music of other Cultures: call and response H. B. canon neumes solmization || Students will discover Native American flute music. . || Describe the Sounds: Students listen to an example of shakuhachi flute and the kaen (from Laos). Students must then categorize each instrument and find the vocabulary to categorize the timbre of each. Call and Response: Students listen to example of spiritual music. They then audiate and identify how often they hear call and response. || Students will create their own ‘response’ lyrics in small groups. || Written assessment || Call and Response recordings from CD set || 1.3 || Texture of music: monophony polychoral music texture polyphony homophonic texture || Students will understand and identify the basic textures of music. || Identify Musical Texture: Students listen to 10 examples of music that span several centuries. They then identify the texture (i.e. monophonic, unison, canonic, polyphonic, etc.). || Create a collage that represents the different musical textures || Written assessement Pictoral assessment || Musical Texture examples from CD set. || 1.2 || Conducting: conductor Giovanni Gabrieli || Students will be able to conduct in patterns of 2, 3, and 4. || Learn to Conduct: Students learn three basic beat patterns. After listening to several examples, students should make note of beat, tempo, and style characteristics. They may then conduct along with the recordings. || Students may tap the beat with an emphasis on the beginning of each measure || Kinesthetic evaluation || CD examples is duple meter || 1.3 || What is a concerto? Counterpoint imitation || Students will describe a concerto. || Students will listen to a concerto. Students will identify what makes it classified as a concerto. || Allow for oral responses || Written evaluation || Recording of a concerto ||
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** Chapter 9 **___________________________ ** Time line **____Week9_____ Essential question: How is music a symbolic system of communication? Why does music affect emotions?

Essential understanding: Music is a written and aural system of symbols that are interpreted into sound or emotion. Music can induce brain rhythms and is easily connected with memory.

**Instructional Activities /** **Lessons** ||  ** Options for Modifications / Extensions **  ||  ** Assessment **  ||  ** Resources **  || 1.3 1.4 || Music can stir emotions: a cappella music drama libretto I. || Students will discover how music stirs emotions. Students will learn that music is a symbolic system of communication. || Students go back and listen to a favorite musical example. They must then explain which musical characteristics affect them, which other factors are of influence, and what other aspects of the performance cause in them a reaction. Students listen to three varying examples of music. They then write, in two columns, words that describe the emotions they felt, and what they heard in the music that made them feel they way they did. || Students listen to an example of blues by Blind Willie Johnson. Students must determine what effect the moans have, whether or not the performer instills empathy, and the effect of the slide-guitar. || Written response || Various recordings Blues by Blind Willie Johnson || 1.2 1.5 || Music of other cultures: Gamelan || Students will become familiar with the Balinese gamelan. || Students start by creating a pentatonic melody similar to that of a Balinese dance. They will then delete certain notes and see if they can recreate them in real-time. || Arrange students in small groups. Allow students to use the keyboard or computer. || Performance || Instruments || 1.3 1.4 1.5 || Timbres of the orchestra: Romantic period Ludwig van Beethoven symphony Wolfgang Amadeus Mozart Requiem Mass || Students will become acquainted with music of the Romantic period. || Recognize the Timbres of the Orchestra: Students listen to an example of orchestral music by Wagner. Students must be able to express how Wagner uses instrumental timbres to convey the emotions of the characters involved. || Feel the Emotion: Students will listen to the fourth movement of Beethoven's Ninth Symphony. They must then identify what makes the theme uplifting, determine if the text has an effect, and see if they can identify tension in the orchestra as it builds to the final theme. || Listening log || Recording of the 4th movement of Beethoven’s 9th symphony ||
 * ** NJCCCS ** ||  ** Content **  ||  ** Objectives **  ||  **Areas of Focus /**
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** Chapter 10 **___________________________ ** Time line **____Week10_____ Essential question: How is music organized? Essential understanding: The organization of music is called form. Form determines the way melodies and harmonies are organized, repeated and changed.

**Instructional Activities /** **Lessons** ||  ** Options for Modifications / Extensions **  ||  ** Assessment **  ||  ** Resources **  || 1.4 || How is music organized? Finding order in music: aleatory music hook John Philip Sousa motive || Students will investigate some of the ways in which music is organized. || Students listen to “My Funny Valentine.” They designate the form using A’s and B’s. They then compare sections based on melody and harmony. || Arrange students in small groups Allow for verbal responses || Listening Log || Recording of My Funny Valentine || 1.2 || Music of other cultures: Listening to a 2-part Cuban Clave pattern: ostinato || Students will discover characteristics of Afro-Cuban music. || Using notation patterns in the textbook, students learn to perform both ostinato sections. Discussion will follow about the complexity and difficulty. || Arrange students in small groups || Performance || Textbook || 1.2 1.3 || Musical form: Recognition of Form: rondo fugue sonata || Students will become familiar with the rondo, sonata, and fugue forms. || Students sing and clap the rhythm of the theme. After learning to perform it on the keyboard (by finger numbers), students will look at a score to the piece and identify each time the fugue statement appears. || Pair students Place numbers on keys Write melody using numbers || Performance || Keyboards || 1.2 1.4 || Musical Expression: Johann Sebastian Bach || Students will learn how composers use contrast and repetition to create musical expression. || Students listen to excerpts of each of the three movements from Beethoven’s “Moonlight Sonata.” They learn to clap the rhythm of the main theme. Students will then characterize the mood of each movement and compare the way the themes are similar and different in each. || Allow students to respond orally || Performance Listening Journal || Recording Beethoven’s Moonlight Sonata ||
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** Chapter 11 **___________________________ ** Time line **____Week11_____ Essential question: How is music used to dramatize the meaning of text?

Essential understanding: Music can create emotions the same emotions as speech. It can be manipulated to evoke the same textual emotions or to heighten accompanying text.

**Instructional Activities /** **Lessons** ||  ** Options for Modifications / Extensions **  ||  ** Assessment **  ||  ** Resources **  || 1.3 1.4 || Love is universal: Chord changes: cadence cakewalk primary chords harmony interval scale || Students will learn how the theme of love is universal in all music. || Students will listen to three love songs in different popular styles. Following this, they identify the style and the basic message of the music. Students listen to “Annie Laurie.” Students count the number of bars each chord lasts. Students identify primary and secondary chords. || Allow students to respond orally Listening Map || Oral response Listening Journal || Recording of 3 Love Songs Recording of Annie Laurie || 1.4 1.5 || Music of other cultures: Major and Minor Scales || Students will become familiar with the evolution of the American popular love song. Students will be able to compare/contrast Mexican and Egyptian love songs with American love songs. || Students listen to a Mexican love song. They make a list of emotions they feel the song is conveying. Class discussion to follow. || Write a Love Song: Students learn to sing the chorus of “Bill Bailey.” Students determine where the phrases are and how many syllables make up each one. After choosing a love theme (longing, lost love, celebration), students will write their own lyrics that fit the phrasing. || Class Discussion Listening Journal || Recording of a Mexican Love Song Recording of Bill Bailey || 1.4 || Musical Expression: Rondeau oratorio || Students will understand more elements of musical expression. || Students listen to a section of “Madame Butterfly.” Students identify the major sections. Students will analyze how Puccini used music to dramatize the meaning of the text. || Let students illustrate the answers || Oral report || Recording of Madame Butterfly ||
 * ** NJCCCS ** ||  ** Content **  ||  ** Objectives **  ||  **Areas of Focus /**
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** Chapter 12 **___________________________ ** Time line **____Week12_____ Essential question: Why is music important in religion? Essential understanding: The part of the brain that controls our musical response is also connected to the portion that controls memory. Music often reflects a culture which is usually related to a corresponding religion.

**Instructional Activities /** **Lessons** ||  ** Options for Modifications / Extensions **  ||  ** Assessment **  ||  ** Resources **  ||
 * ** NJCCCS ** ||  ** Content **  ||  ** Objectives **  ||  **Areas of Focus /**

1.3 1.4 || Elements of contrast in Music: conjunct disjunct harmonics overtones chorale preludes || Students will categorize how music interprets the meaning of sacred texts. Students will describe the importance of music in most of the world’s religions. || Students listen to a Hindu song. Determine how many times each line is repeated. Discuss timbre and instrumentation. Discuss which elements provide musical contrast. Students listen to two versions of “Kol Nidrei,” one by a cantor and one by an orchestra. Make a list of the words that describe the mood of the text and music. Discuss whether the melody is conjunct or disjunct. Class Performance Project: Students learn the chorale of “Sleeper’s Awake.” Assign some students to play the countermelody. Assign others to play the bass line. Perform them all together and discuss the musicality. || List of timbre and instrumentation choices List of descriptive workds || Word List Class Discussion Performance || Recording of “Kol Nidrei” Recording of “Sleepers Awake Music to Sleepers Awake || 1.5 || Rhythmic Variation:
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kriti qawwali mass word painting cantata || Students will become familiar with music of different religions. || Students listen to a Buddhist religious dance song. Students will then answer questions about suitability, rhythmic variation, and instrument categorization. || Give students a copy of the questions and explain them prior to listening. || Written Response || Recording of Buddhist religious dance || 1.2 1.5 || Gospel Music || Students will explain the history and style of gospel music. || Students learn about performance practices in African-American Gospel music. After listening to two versions of “Ordinary People,” students will learn to sing it and clap the off-beats. Students may create their own version of the song and perform it together with the provided accompaniment. || Assign students in small groups Allow students to perform rhythmic parts rather than sing. || Performance || Recording of Ordinary People ||
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** Chapter 13 **___________________________ ** Time line **____Week13_____ Essential question: How is music used for celebration? Essential understanding: Celebratory music is often loud, reverent and in a major key.

**Instructional Activities /** **Lessons** ||  ** Options for Modifications / Extensions **  ||  ** Assessment **  ||  ** Resources **  || 1.3 || Music for Celebration || Students will examine music and determine how cultures use music as an essential part of celebration. || Students listen to Elgar’s “Pomp and Circumstance.” After listing musical characteristics, students will write down how contrast and celebratory emotions are created. || Allow students to work in groups || Listening Log || Recording “Pomp and Circumstance” || 1.2 || Late Century composers || Students will discover the music of Ives, Tchaikovsky, and Elgar. || Master a Psychomotor Challenge: Students listen to Berlin’s “Puttin’ on the Ritz.” Students learn to tap a beat and then tap the melodic rhythm. The goal is to combine the two simultaneously. || Divide the class into two parts and assign one rhythm to each || Performance || Recording ”Puttin on the Ritz” || 1.4 || Comparing National Anthems || Students will understand the role of a band in celebration. || Compare National Anthems: Students listen to national anthems from the United States and France. Students should then compare and contrast each piece for characteristics such as range, length, meter, form, etc. Discussion to follow || List of characteristics to compare and contrast || Class Discussion Comparison/ Contrast List || Recording of the national anthems ofFranceand theUnited States || 1.2 1.5 || Celebrations in Japan and Nicaragua: gagku marimba bugaku || Students will discover how music is used for celebrations in Japan and Nicaragua. || Technology Option: Students will use a MIDI sequencer to create a composition to serve as a backdrop for a haiku. Students will listen to various examples for ideas. || Modeling || Performance || Recordings of Japanese and Nicaraguan celebratory music ||
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** Chapter 14 **___________________________ ** Time line **____Week14_____ Essential question: How do different forms of music express emotion? Essential understanding: Music can effect emotion is many unique ways.

**Instructional Activities /** **Lessons** ||  ** Options for Modifications / Extensions **  ||  ** Assessment **  ||  ** Resources **  || 1.3 || Emotions about death: lieder Frederic Chopin opus Franz Schubert through-composed tonality || Students will investigate how music is used to express emotions connected with death. || Explore Expressions of Grief: Students listen to “Crucifixus” from Bach’s Mass in B Minor. They will learn to play the ground bass on a keyboard. Students will then discuss musical characteristics and aesthetics. || Using any melodic instrument, students play one single pitch and create various musical moods. Students must identify the musical elements that created those moods. ||  ||   || 1.4 1.5 || Music from other Cultures: atonal gambang || Students will be able to draw connections between New Orleans jazz and West African music. Students will experience funeral music of Bali and West Africa || Experience a New Orleans Funeral Parade: Students watch a video of this performance. Students will then discuss questions concerning the connection of this music to jazz, instrumentation, and how this music helps people to cope. ||  ||   ||   || 1.3 || Emotions about death:
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Billie Holiday Eric Clapton || Students will learn how death is expressed in twentieth century opera. || Find the Meaning: Students listen to Billie Holiday’s recording of “Strange Fruit.” Students will discuss the sociological significance of this song. ||  ||   ||   ||

** Chapter 15 **___________________________ ** Time line **____Week15_____ Essential question: How does a combination of musical elements effect musical expression.

Essential understanding: Musical elements affect each listener differently. Music is a very personal experience.

**Instructional Activities /** **Lessons** ||  ** Options for Modifications / Extensions **  ||  ** Assessment **  ||  ** Resources **  || 1.4 || Expressive devices in music: obbligato Hector Berlioz program symphony harmonizing Gioacchino Rossini idée fixe modulation || Students will understand the significance of combining musical elements. Students will understand the role of texture in musical expression. Students will be able to discuss expressive devices such as harmonization and arranging. || Students listen to a homophonic song, “Mome Odi”, and learn to clap the 7/8 rhythmic motive while singing. Harmonization: Students listen to “The Golden Vanity”. Students mark on the music where they hear chords changing. They then learn to label them properly. || Students will learn to sing chord roots against the melody, causing a simple harmonization to occur. Students will work in groups || Performance || Recording of Mome Odi Recording of The Golden Vanity || 1.3 || Musical arrangements: Arranger transcriptions || Students will differentiate between an arrangement and a transcription. || Comparing Originals and Transcriptions: Students will discuss similarities and differences between the original vocal and a band transcription of Bach’s “Eternal Father, Strong to Save”. || Word bank || Venn Diagram || Recording of vocal and band arrangement of “Eternal Father, Strong to Save” ||
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** Chapter 16 **___________________________ ** Time line **____Week16_____ Essential question: How do underlying structures unconsciously guide the creation of art works?

Essential understanding: Underlying structures in art can be found via analysis and inference.

**Instructional Activities /** **Lessons** ||  ** Options for Modifications / Extensions **  ||  ** Assessment **  ||  ** Resources **  || 1.2 1.5 || Music of other cultures: Kecak || Students will explore the creative process in music. Students will acquire some perspective of their own creativity. || Students will watch a video of the Rayamana Monkey Chant. || Students will create a chant of their own. Work in groups || Group work Performance || Video of Rayamana Monkey Chant || 1.2 1.3 || 12 bar blues: blues blue notes W.C. Handy || Students will describe the structure beneath a 12-bar blues. || Understand the 12-bar Blues Pattern: Students mark chord changes on a chart to a Buddy Guy blues song. They learn to label the chords with roman numeral notation || Technology Option: Students use a MIDI sequencer to create a 12-bar blues pattern with which they can create variations and improvisations. || Performance || Recording of a Buddy Guy Blues song || 1.2 || Theme and Variation:
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interlocking rhythms || Students will understand and identify a theme and variations. || The Interlocking Rhythms of Kotekan: Students will learn to clap the rhythm to a Balinese musical piece. After becoming comfortable with two overlapping rhythms, students will transfer their playing over to other percussion instruments. || Students may compose based on their major instrument Pictoral representation of Balinese music || Performance || Recording of Kotekan || 1.3 1.5 || Serial Music: Arnold Schoenberg Retrograde tone row || Students will be able to describe serial music and the work of Schoenberg. || Hear the Tone Row: Students will listen intently to a Schoenberg piece while following a marked score. Students will strive to truly hear when the tone row appears in its various forms. || Number sheet indicating tone rows || Musical evaluation || Recording of Schoenberg piece Score for Schoenberg piece ||
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** Chapter 17 **___________________________ ** Time line **____Week17_____ Essential question: How does technology extend human capabilities? What are the positive and negative consequences of technology? Should technologies that produce negative impact continue to be used?

Essential understanding: Technological outcomes have the potential for anticipated and unanticipated positive and negative results.

**Instructional Activities /** **Lessons** ||  ** Options for Modifications / Extensions **  ||  ** Assessment **  ||  ** Resources **  || 1.2 1.4 || Technology in Music: drum machine sampling hyperinstruments sequencer Tod Machover synthesizer MIDI telharmonium musique concrete || Students will articulate how technology has changed the role of composers and performers. Students will demonstrate how electronic sounds are generated. Students will be able to distinguish between electronically and traditionally produced sounds. || Distinguish the Origin of Sound: Students will listen to eight short musical excerpts. They must differentiate between electronic and acoustic sounds. Perform Non-acoustic Music: Students will create and perform a composition made entirely from nonacoustic sources. || Using MIDI: Students may experiment freely with using tone generators and drum machines to create electronic compositions. || Performance || CD recording from “Music” that include 8 short examples ||
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 * || History and Importance of musical figures in electronic music. || Students will be able to describe the history and important figures of electronic music. || Recognize the Elements of Music: After listening to an electronic piece by Ussachevsky, students must use their knowledge of the musical elements to see if this piece meets the criteria for establishing a piece of music. || Criteria list || Organizational Map || Recording of Ussachevsky ||

** Chapter 18 **___________________________ ** Time line **____Week18_____ Essential question: What is old and what is new in any work of art? How important is “new” in art?

Essential understanding: Every artist has a style; every artistic period has a style.

**Instructional Activities /** **Lessons** ||  ** Options for Modifications / Extensions **  ||  ** Assessment **  ||  ** Resources **  || 1.3 1.5 || Identify the characteristics of Jazz: bridge creative license cadenza. composition || Students will understand characteristics that define American music. Students will understand the complexity involved with being a composer. || Students will listen to Copeland’s Clarinet Concerto. They will clap along with some rhythmic patterns provided in the text that demonstrate the influence of jazz. Students listen to an improvised jazz saxophone solo. They must identify the bridge and point out how they came to their conclusion. || Perform a Folk Ostinato: Students will perform a steady ostinato pattern on a keyboard to accompany Copland’s “Simple Gifts.” Compare and contrast chord changes with the original. || Performance || Recording of Copleland’s Clarinet Concerto || 1.3 1.4 || Identify the characteristics of Jazz: swing era chromatic glissando swing || Students will be able to demonstrate knowledge of Duke Ellington, Libby Larsen, and Aaron Copland. || Analyze Duke Ellington’s “Mood Indigo:” Several students will play the unison melody line, which is very simple. Another student may accompany the changes on the piano, demonstrating how the complex harmony and simple melody join together to create a beautiful song. || Perform Swing Music: Students will listen to Ella Fitzgerald sing “It Don’t Mean A Thing.” They will sing along with the repeated swing line, and the attempt to sing it straight. || Listening Map || Recording of Ella Fitzgerald “It Don’t Mean a Thing”
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Recording of Duke Ellington “Mood Indigo” ||

** Chapter 19 **___________________________ ** Time line **____Week19_____ Essential question: To what extent does the viewer properly affect and influence the art and the artist and to what extent is the art for the artist?

Essential understanding: Though the artist’s imagination and intuition drive the work, great art requires skills and discipline to turn notions into a quality product. The artistic process can lead to unforeseen or unpredictable outcomes.

**Instructional Activities /** **Lessons** ||  ** Options for Modifications / Extensions **  ||  ** Assessment **  ||  ** Resources **  || 1.2 1.3 || Play the Part: Broadway musical lyrics dialogue Richard Rodgers Oscar Hammerstein Andrew Lloyd Webber vaudeville || Students will draw connections between musical theatre and real-world experiences. Students will describe the dramatic tools of expression (sets, costumes, etc.). Students will discover the Broadway musical. || Students read a scene from “Carousel.” After reading/acting out a spoken dialogue, the class will learn to sing a song that complements the scene. Discussion to follow on whether the musical adaptation of the text was effective. After learning about Hammerstein, students will write a list of adjectives describing the character of Billy in “Carousel.” They then use those words to explain how the character creates a sense of empathy from the audience. || After listening to “You’ll Never Walk Alone,” students will sing along. Then they can discuss the musical details that make it effective and appropriate as a finale to “Carousel.” || Character Reflections || Recording “You’ll Never Walk Alone” Scene from Carousel || soliloquy librettist libretto || Students will be able to express the difference between a drama and a musical. || Students use a MIDI sequencer to create a piece of musical theatre that features spoken and sung text. || Students can find spoken and sung text online. || Performance || Midisequencer ||
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 * 1.2 || Play the Part:

** Chapter 20 **___________________________ ** Time line **____Week20_____ Essential question: How do underlying structures unconsciously guide the creation of art works?

Essential understanding: Underlying structures in art can be found via analysis and inference.

**Instructional Activities /** **Lessons** ||  ** Options for Modifications / Extensions **  ||  ** Assessment **  ||  ** Resources **  || absolute pitch grand opera James Levine Georges Bizet opéra comique José Carreras Luciano Pavarotti Placido Domingo || Students will understand how a story may be told through Opera. || Using a handout, students will compare two different interpretations of an aria from “Carmen.” || Use the hip-hopera “Carmen” as a comparison || Venn Diagram || Two different recordings of “Carmen” || 1.2 || Compose a Gypsy Rhythm: Aria recitative entr’acte music || Students will be able to explain terms used in Opera. Students will list the parts of the Opera. || The class may be split in sections so that they accompany the “Gypsy Dance” from “Carmen.” Some may play on off-beats, while others maintain a steady downbeat. || Students will conduct the entr’acte to Act 3 of “Carmen.” They will be taught to cue sections and instruments. || Performance || Recording of the entr’acte to Act 3 of Carmen Recording of the “Gypsy Dance” from “Carmen” || 1.2 1.3 || Explore the Seguidilla || Students will be able to differentiate different voice timbres and how they add to the characters of an Opera. || Students learn to clap the seguidilla rhythm. They may clap the melody in the appropriate sections with a recording. || Student may be assigned rhythms based on groups || Performance || Seguidilla Rhythm Recording of a Sequidilla Rhythm ||
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 * 1.4 || Opera:
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** Chapter 21 **___________________________ ** Time line **____Week21_____ Essential question: How does creating and performing in the arts differ from viewing the arts? To what extent does the viewer properly affect and influence the art and the artist and to what extent is the art for the artist?

Essential understanding: The arts serve multiple functions: enlightenment, education, and entertainment. Though the artist’s imagination and intuition drive the work, great art requires skills and discipline to turn notions into a quality product. The artistic process can lead to unforeseen or unpredictable outcomes.

**Instructional Activities /** **Lessons** ||  ** Options for Modifications / Extensions **  ||  ** Assessment **  ||  ** Resources **  || 1.3 || Film Scoring: background music scoring dubbing soundtrack incidental music spot mag track || Students will explore how film music developed. Students will become familiar with the works of several film composers. || Students will listen to an instrumental excerpt used to accompany a silent film. Discussion to follow about the effect of the music and what makes it appropriate for films. Students will listen to three excerpts of opening music to a film. They will then choose words from a list that characterize the music. || Students will work in small groups and will learn to perform the ostinato from “Midnight Express.” || Performance || 1 Music excerpt that accompanies a silent film.
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3 musical excerpts that are the opening music from a film. || 1.4 || Film Socring: Samuel Barber Alan Menken John Williams || Students will be able to explain how certain music enhances the visual aspects of a film. || Examine Background Music: Students will listen to Barber’s “Adagio for Strings.” A student may be selected to play along with the melody. Students must define the characteristics that make this music an appropriate choice to accompany the movie “Platoon.” || Students will watch a scene from “The Stranger.” Students will then answer questions about what the music adds to the film. || Performance Class Discussion || Move Platoon Recording of Barber’s “Adagio for Strings” Scene from “The Stranger” ||
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** Chapter 22 **___________________________ ** Time line **____Week22_____ Essential question: To what extent does the viewer properly affect and influence the art and the artist and to what extent is the art for the artist?

Essential understanding: Though the artist’s imagination and intuition drive the work, great art requires skills and discipline to turn notions into a quality product. The artistic process can lead to unforeseen or unpredictable outcomes.

**Instructional Activities /** **Lessons** ||  ** Options for Modifications / Extensions **  ||  ** Assessment **  ||  ** Resources **  || 1.2 1.4 || Expansion of Jazz: globalization urbanization New Age visualization || Students will be able to describe the characteristics of modern popular and classical styles. Students will understand how music is a reflection of its society. || Students will create a Latin jazz composition, and then alter the musical elements to make it fit other popular styles. . || Have students listen to a New Age piece and evaluate its musical expressiveness based on prior knowledge of the elements of music || Performance Composition || Latin Percussion Instruments Recording of a new age composition || 1.5 || Compare the Generations: New Romanticism Minimalism Philip Glass program music || Students will be able to describe minimalism and New Romanticism. || Students will listen to a piece of Romantic period music, and compare and contrast it with a modern piece by John Corigliano. || In groups, students will discuss the work of John Corgliano. || Venn Diagram || Recording of John Corgliano’s music || 1.3 || Globalization in music || Students will understand how exposure, urbanization, and globalization of cultures affect trends in music. || Students will create a new accompaniment to given lyrics. Then, using their own accompaniment, they will create new lyrics. || Students can rewrite a current composition by replacing the lyrics || Composition ||  || 1.3 || How Video affects aesthetics. || Students will understand how video can alter musical perceptions. || Students discuss four types of music videos. They watch three videos on their own. They will keep a record of what they see in each video. Comments will then be made regarding the effect of the video on the music. || Provide the videos that students watch as a prepared webquest. || Journal ||  ||
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** Chapter 23 **___________________________ ** Time line **____Week23_____ Essential question: Does art have boundaries? Why should I care about the arts?

Essential understanding: Breaking accepted norms often gives rise to new forms of artistic expression. Aesthetics fosters artistic appreciation, interpretation, imagination, significance and value. The point of studying the arts is to foster meaning making, deeper emotional response and more inventive decision making.

**Instructional Activities /** **Lessons** ||  ** Options for Modifications / Extensions **  ||  ** Assessment **  ||  ** Resources **  || 1.4 || Evolution of Musical Styles || Students will understand the evolution of musical styles. Students will understand the relationship between homophony and polyphony. Students will realize the connection between the way people think and the music they create. || Students will listen to a madrigal and follow the text. They will figure out, through analysis, how the composer used word painting. Students will compare and contrast a Vivaldi composition with a Mozart composition. || After listening to Symphony No. 101 by Haydn, students will answer questions that will help them to understand the importance of form and structure in the music. || Fill in the blank || Recording of a madrigal Recording of a Vivaldi composition Recording of a Mozart Composition Recording of Haydn’s Symphony No. 101 || 1.4 || Evolution of Musical Styles madrigals terraced dynamics Baroque period Renaissance period continuo concerto grosso concerto style tutti Antonio Vivaldi Franz Joseph Haydn || Students will learn about composers and style characteristics of the Renaissance, Baroque, and Classical periods. || After listening to a Rameau composition, students will answer questions regarding texture, expressive elements, form, and instrumentation. || Create a vocabulary sheet for expressive elements. || Multiple Choice reading for understanding || Recording of Rameau ||
 * ** NJCCCS ** ||  ** Content **  ||  ** Objectives **  ||  **Areas of Focus /**
 * 1.1
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** Chapter 24 **___________________________ ** Time line **____Week24_____ Essential question: Does art have boundaries? Why should I care about the arts?

Essential understanding: Breaking accepted norms often gives rise to new forms of artistic expression. Aesthetics fosters artistic appreciation, interpretation, imagination, significance and value. The point of studying the arts is to foster meaning making, deeper emotional response and more inventive decision making.

**Instructional Activities /** **Lessons** ||  ** Options for Modifications / Extensions **  ||  ** Assessment **  ||  ** Resources **  || 1.4 || Jazz History: avant-garde fusion bop break free jazz swing || Students will learn about the history of jazz. || After listening to a Jelly Roll Morton piece, students should identify the instrumentation. Afterwards, they should try to distinguish formal sections. || Create a worksheet including a listening map and instrument pictures as a student guide. || Aural identification || Recording of Jelly Roll Morton || 1.2 1.4 || Jazz History: Benny Goodman Charlie Parker Dorian mode scat singing || Students will be able to differentiate between different styles of jazz. Students will become familiar with examples of classic jazz. Students will learn about the important figures in the evolution of jazz. || Students will differentiate between improvised and pre-determined sections of a Louis Armstrong piece. Students will learn to sing “I Got Rhythm.” They will then try to sing it along with Duke Ellington’s “Cotton Tail” and Dizzy Gillespie’s “Shaw Nuff,” showing the same chord structures. E. || Students will listen to examples by Thelonious Monk and Miles Davis. They should write down comparisons and contrasts. || Venn Diagram || Recording of: Louis Armstrong “I Got Rhythm” “Cotton Tail” “Shaw Nugg” Thelonius Monk Miles Davis || 1.4 ||  || Students will be able to improvise demonstrating jazz influence. || Students will listen to several short examples of creative improvised music. They will determine how each is put together. They will then create their own forms for improvisation and perform them as small groups. || Have the class analyze and sing “When the Saints Go Marching In.” In small groups, students will find places where solo breaks could take place. Students may tap rhythms during those breaks, or possibly scat sing. || Performance || Recording of: “When the Saints go Marching in” ||
 * ** NJCCCS ** ||  ** Content **  ||  ** Objectives **  ||  **Areas of Focus /**
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