Course Profile   Music, Grade 9 open, Catholic

 

Unit 1

 

Course Profiles are professional development materials designed to help teachers implement the new Grade 9 secondary school curriculum. These materials were created by writing partnerships of school boards and subject associations. The development of these resources was funded by the Ontario Ministry of Education and Training. This document reflects the views of the developers and not necessarily those of the Ministry. Permission is given to reproduce these materials for any purpose except profit. Teachers are also encouraged to amend, revise, edit, cut, paste, and otherwise adapt this material for educational purposes.

 

Any references in this document to particular commercial resources, learning materials, equipment, or technology reflect only the opinions of the writers of this sample Course Profile, and do not reflect any official endorsement by the Ministry of Education and Training or by the Partnership of School Boards that supported the production of the document.

 

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Acknowledgements:

 

Project Manager:           Barry Elliot             Windsor-Essex Catholic District School Board (WECDSB)

 

Lead Writer:                 Michael Seguin        Catholic Central Secondary School WECDSB

 

Writers:                        Rose Jobin              Holy Names Secondary School WECDSB

                                    Gabe Gagnon          St. Anne Secondary School WECDSB

                                    Beth Dykeman        St. Anne Secondary School WECDSB

                                    Luigi Di Fazio          Catholic Central Secondary School WECDSB

                                    Ann Wilkie              Holy Names Secondary School WECDSB

 

 

Unit # 1

 

Activity 1˝Activity 2˝Activity 3˝Activity 4˝Activity 5˝Activity 6˝Activity 7

 

Title:   Listening

 

Time: 25 Hours

 

Unit Developers:     Michael Seguin  Windsor-Essex Catholic District School Board

                                    Rose Jobin

                                    Gabe Gagnon

                                    Beth Dykeman

                                    Luigi Di Fazio

                                    Ann Wilkie

 

Development Date:      April 7, 1999

 

Unit Description

 

This unit involves listening to live and/or recorded performances to understand the language of music, its historical and cultural context, and how effectively its composers and performers communicate to their audience. The music analyzed will be drawn from a range of cultures and the Catholic faith tradition. This unit is intended to develop in students an understanding and appreciation of music through practical skills including interval, melodic and rhythmic exercises through creative work.

 

Strands & Expectations

 

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

Strands:                             Analysis, Creation, Theory

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

Specific Expectations:      MAI.01X, 02X, 03X, 04X, 05X, 06X, 07X, MA2.02X, 03X, 04X, 05X, 07X, MC1.01X, 02X, 08X, 11X, MC2.02X, 03X, MT1.01X, 05X, 09X, 11X

 

Activity Titles (Time and Sequence)

 

Activity 1

Jazzing It Up - New Orleans Dixieland to the Chicago Style

180 min

Activity 2

Musical Textures

300 min

Activity 3

Let’s Talk Music

240 min

Activity 4

Clapping is the Way

180 min

Activity 5

Train Those Ears To Listen

180 min

Activity 6

Another Look At Intervals

180 min

Activity 7

Computer Music Applications

240 min

 

Unit Planning Notes

 

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

 

Prior Knowledge Required

 

Students must 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 expression and proper technique; use the musical terminology associated with the specific expectations for grade eight 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.

 

Teaching/Learning Strategies

 

The teaching and learning strategies will consist of brainstorming, conferencing, group work and listening activities. Students will engage in critical analysis and reflective learning activities. Through group discussions, teachers will identify the effectiveness of activity design and encourage students to modify and improve activity development.

 

Assessment/Evaluation

 

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

 

 

Activity #1

 

Title:   Jazzing It Up - New Orleans Dixieland to the Chicago Style

 

Time: 180 minutes

 

Description

 

Through the examination of historical events and the study of jazz music, students will gain understanding and insight into the significance of jazz music in society. The students will gain deeper understanding through listening to recorded examples of Dixieland music and the study of the people who helped to shape and influence one of the most popular musical styles of the 20th century. The analysis of the musical style and structure of the era will enable students to further distinguish between the New Orleans and Chicago style of Dixieland music.

 

Strands and Expectations

 

Ontario Catholic School Graduate Expectations:

The graduate:

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

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

 

Strands:        Analysis, Creation

 

Overall Expectations:

At the end of Grade 9, students will:

•       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. (MAV.05X)

•       make artistic decisions that affect the stylistic accuracy of their playing or singing (e.g. articulation, phrasing, posture, dynamics, tone quality, intonation, rhythm, balance, blend, etc.) (MCV.02X)

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

 

Specific Expectations:

Students will:

•       identify and describe, orally and in writing, how the elements of music work together to establish historical style and cultural context in a variety of music, dealt with chronologically, conceptually, thematically, and/or by genre. (e.g., chronologically: Baroque, Classical, Romantic, contemporary, development of jazz, evolution of popular music, etc.; conceptually: rhythmically-oriented music, melodically-oriented music, loud or quiet music, music of a specific texture, etc.; thematically: music for celebration, music for dance, music for film, music for rituals, music that tell stories, patriotic music, etc.; by genre; impressionism, ragtime, big band, jazz, rock' n' roll, Kodo, Ghanian drumming, aboriginal songs, Canadian maritime music, etc.) (MAI.02X) <

•       analyse the quality of their own and their peers' performances, using appropriate music vocabulary to suggest ways of improving those performances. (e.g., "style/groove", "intonation", "tone quality", "dynamics", "articulation", "phrasing", "rhythm", "balance and blend", "overall effect") (MAI.04X) <

•       accurately play or sing notated or stylistically correct articulations (MC1.01X)

•       play or sing with an understanding of musical phrase structure: notated, improvised, or stylistically correct (MC1.02X)

•       use appropriate terminology to describe how repetition and contrast of musical elements are used to organize sound (MT1.11X) <

 

Planning Notes

 

•  A sound system and recordings will be required for the listening portion of the activity.

•  Students will need to have journal or log books for self-reflection activities.

 

Prior Knowledge Required

 

1.    Students will need to have an understanding of the characteristics of different historical periods in order to draw comparisons between the structure and style of Dixieland and Western European music.

2.    A brief understanding and definition of the key features and elements of jazz is also required.

 

Teaching/Learning Strategies

 

1.    Students will listen to an example of New Orleans jazz. (e.g., “Mississippi Mud”, “Bill Bailey”)

2.    Students will identify and reflect upon the kind of music they are hearing. They will comment about what they are hearing by writing it in their journals.

3.    Students will then engage in a discussion about what they have just heard using the following points:

•   What is the style of music that you are hearing? Where does it originate?

•   What pictures are you seeing in your mind as you listen?

•   What instruments are being used in the performance? (including vocals)

•   How would you describe the structure (sections) of the song? e.g. introduction, head, solos, etc.

•   Define improvisation. (Compare with Catholic Jazz Rap, “Kumbya” - Fr. Stan Fortuna, Macedonian Improvisation, “Ergenski Dance” - Ivo Papasov and his orchestra)

•   How did this type of music shape the future of music?

4.    Repeat steps above with examples of Chicago-style Dixieland. Note differences between the two styles.

5.    Why did the Dixieland music style move north?

6.    Discuss the parallel piano styles occurring in New Orleans Ragtime and Chicago Boogie-Woogie.

7.    Students will learn to perform a period music work (e.g., “The Saints”).

8.    Assign a Dixieland work to student groups of four or five - They will analyze, perform and present their work with the following considerations: Style (New Orleans or Chicago); Sections of the work (introduction, head, solos (improvisation), return to head, ending etc.); Instrumentation; Unique features.

      “Al Hinna” (Improvised - Egyptian folk-singing tradition)

      N.B. Diagnostic assessment of students’ abilities is necessary.

                       

Accommodations for the Activity

 

1.   Provide audio taped samples for reference and study purposes.

2.   Pair or group students for presentations.

3.   Provide alternatives to formal written assignments. (e.g., collage, picture essay, taped audio presentation)

 

 

 

Assessment/Evaluation

 

1.   Reflections - reading response journals, probing questions and statements. (MAV.01X, 02X, 04X)

2.   Observation - formal teacher observation, informal teacher observation. (MAV.03X)

3.   Performance Assessments - demonstration of performance of repertoire in solos and ensembles, diagnostic assessment of abilities, demonstration of jazz techniques, presentations of period work, essays and reports. (MAI.04X) (MC1.02X)

4.   Paper and Pencil Tests - teacher-created. (MAI.02X)

 

Resources

 

1.   CD: Balkanology - “Ergenski Dance”: Ivo Papasov and his Orchestra - Rykodisc, 1991.

2.   Listening Guides for Jazz - Sharon J. Camblin and Bruce A. Camblin, J. Weston Walch Publisher.

3.   The Making of Jazz, - James Lincoln Collier, Dell Publishing Co., 1979.

4.   Jazz Anyone? Play and Learn Book I and II, (with CD), Belwin Mills Publishing Corporation, 1996.

5.   CD: Fr. Stan Fortuna CFR: Sacro Song - “Kumbya” - Francesco Productions, 1998.

6.   Music: The Art of Listening (with Cassettes) Jean Ferris, Wm. C. Brown Publ., 2nd Ed.1988, p.298-305.

7.   Dixieland Ensemble Paks - Hal Leonard, 1986.

8.   “Al Hinna”, Simon Shaheen - The Music of Mohamed Abdel Wahab, Mango Records, 1990.

 

 

Activity #2

 

Title:   Musical Textures

 

Time: 300 minutes

 

Description

 

Through the examination of various listening examples of music representing the Renaissance, Baroque and Classical Musical Eras, students will gain an understanding of monophonic, homophonic and polyphonic styles of music.

 

Strands and Expectations

 

Ontario Catholic School Graduate Expectations:

The graduate :

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

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

 

Strands: Analysis, Creation, Theory

 

Overall Expectations:

At the end of Grade 9, students will:

•       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. (MAV.05X) <

•       make artistic decisions that affect the stylistic accuracy of their playing or singing (MCV.02X)

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

 

Specific Expectations:

Students will:

•       identify and describe, orally and in writing, how the elements of music work together to establish historical style and cultural context in a variety of music, dealt with chronologically, conceptually, thematically, and/or by genre. (e.g., chronologically: Baroque, Classical, Romantic, contemporary, development of jazz, evolution of popular music, etc.; conceptually: rhythmically-oriented music, melodically-oriented music, loud or quiet music, music of a specific texture, etc.; thematically: music for celebration, music for dance, music for film, music for rituals, music that tells stories, patriotic music, etc.; by genre; impressionism, ragtime, big band, jazz, rock' n' roll, Kodo, Ghanian drumming, aboriginal songs, Canadian maritime music, etc.). (MAI.02X) <

•       play or sing with accurate intonation both melodically and harmonically (MCI.08X)

•       define and describe musical textures (MTI.09X)

 

Planning Notes

 

•    Three main recordings representing the Renaissance, Baroque and Classical will be studied: “Gaudeamus Omnes”, “Fugue in G”, and “Marriage of Figaro”. Particular emphasis will be given to Gregorian Chant, the Fugue, and the Orchestra to help students understand the contrasting musical textures, the characteristics of each musical style and forms that predominated each era.

•    Display a timeline exhibiting composers, musicians and main musical eras.

•    Three separate columns will be drawn on chart paper to represent era, form and textural characteristics.

•    Students will be invited to submit information after each listening example is played.

•    Teacher will review the meaning of such words as texture, theme, counter melody, exposition, development, recapitulation, opera, fugue, Gregorian Chant or plainsong and voicing.

•    Plainchant styles will be discussed referring to syllabic and melismatic styles.

•    Examples of the 17th century modal system that gave way to our scale system today will be exhibited.

 

Prior Knowledge Required

 

1.   Musical eras and general characteristics.

2.   Elements of music.

3.   Definition of Texture.

4.   Conducting patterns.

 

Teaching/Learning Strategies

 

The teacher will play “Gaudeamus Omnes”, “Little Fugue in G Minor” and the “Marriage of Figaro”.

1.   Students graph the voicing in blank boxes using coloured pencils to represent the different voices, then sing or play music to represent monophonic, polyphonic and homophonic textural styles e.g., “Pange-lingua” CBW II, “Cast Thy Burden Upon The Lord” - Benjamin Harlem, “Agnus Dei” - Sherry Porterfield, rounds, fugues.

2.   By brainstorming, teacher lists the characteristics of each of the recordings in separate columns on the blackboard. Students identify voicing, instrumentation, texture, texts, dynamics, rhythm, sacred or secular. Students record in journals.

3.   Teacher discusses the difference between syllabic and melismatic voicing found in plainsong. Students are given a line of poetry and are to make up their own short phrases representing both styles (project).

4.   Teacher introduces the term “mode” and discusses the relation of Church modes to our scale system. Students create their own short examples of plainsong using different modal keys.

5.   Teacher shows excerpts from the video, “Marriage of Figaro”. Students analyze according to initial reaction, description, interpretation and judgement. A comparison may also be drawn between an opera and an oratorio.

6.   Teacher plays a recording of “Marriage of Figaro”. Students sing using a variety of nonsense syllables in the style of scat singing.

7.   Teacher demonstrates conducting patterns. On second playing of “Marriage of Figaro” students try their hand at conducting.

8.   Students will create their own listening logs representing the three styles and present to the class anecdotal summaries of their findings.

 

Accommodations for the Activity

 

1.    Provide glossary of terms.

2.    Provide visual and audio aids.

3.    Pair or group students for presentations.

4.    Modify format for presentations.

 

Assessment/Evaluation

 

1.    Projects - (MAV.01X)

2.    Teacher Observation - (MAV.02X)

3.    Self Assessment - (MAV.04X)      

4.    Presentations - (MAV.05X)

5.    Demonstrations - (MAV.03X)

6.    Rubrics - (MAI.02X) (See Appendix A)

 

Resources

 

1.    Experiencing Music - Recordings, Wingell - Alfred Publishing.

2.    Music: The Art of Listening - Jean Ferris - Wm. Brown Publishers.

3.    The Enjoyment of Music, “Gaudeamus Omnes” - Joseph Machlis - Norton and Company, 1984.

4.    An Overview of Gregorian Chant - Dom Eugene Cardone - Abbaye Saint - Pierre de Solesmes.

5.    Gregorian Chant - The Monks and Their Music -Multi Media Communicators.

6.    Musical Growth - A Process of Involvement - Natalie Kuzmich.

7.    For Young Musicians - Bray, Snell, Peters,Waterloo.

8.    Catholic Book of Worship Book II - Canadian Conference of Catholic Bishops and Gordon V. Thompson, 1980.

9.    “Cast Thy Burden Upon The Lord” - Harold Flammer - 1989.

10.  “Agnus Dei” - Sherri Porterfield - Alfred Publications.

11.  “The Marriage of Figaro” - W. A. Mozart.

12.  “Little Fugue in G Minor” - J. S. Bach - The Norton Recordings, Volume I, 1995, 7th ed.

 

 

 

 

 

Appendix:

Appendix A: Achievement Chart - Activity #2 - Musical Textures

 

CATEGORIES

 

Theory (Knowledge/

Understanding

50 - 59 %

(Level 1)

The student:

60 - 69%

(Level 2)

70 - 79%

(Level 3)

80 - 100%

(Level 4)

-knowledge of facts and terms

-demonstrates limited knowledge of textural styles

-demonstrates some knowledge of textural styles

-demonstrates considerable knowledge of textural styles

-demonstrates thorough knowledge of textural styles

-understanding of concepts, elements, principles and theories

-demonstrates limited understanding of syllabic and melismatic voicing found in plainsong

-demonstrates some understanding of syllabic and melismatic voicing found in plainsong

-demonstrates considerable understanding of syllabic and melismatic voicing found in plainsong

-demonstrates thorough and insightful understanding of syllabic and melismatic voicing found in plainsong