Course Profile Music, Grade 9 open, Public

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.

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Acknowledgments

Public District School Board Writing Team - Music

Lead Board

Upper Canada District School Board

Management Team: Eleanor Newman

Brenda King

Dorothy Stewart

Course Profile Writing Team Co-ordinating Partners

John Love, Toronto DSB Andy Ringlet, Renfrew County DSB

Chris Arthurs, Peel DSB Marg Stewart, Limestone DSB

Jessica Kun, Toronto DSB Helen Beck, Hastings & Prince Edward DSB

Mark Girard, Upper Canada DSB Kit Rankin, Halton DSB

Jill Pensa, Upper Canada DSB Anne Clifton, Halton DSB

Contributors

Vivian Hingsberg, Jim Lawlis, Beth MacRae, Paul Marshall,Theresa Mathers, Robin Vaughan

Unit #1: Performance in Music

Time: 75 Hours

Unit Developers

Jessica V. Kun, Toronto DSB

Chris Arthurs, Peel DSB

John Love, Toronto DSB

Development Date: April, 1999

Unit Description

In this unit students will engage in activities that involve the performance of music. The unit will focus on concepts that include warming up, the building of technique, making artistic choices, listening, examining and understanding repertoire, and ensemble performance. Activities involving warm-up, technique, artistic choices and ensemble performance are intended to be ongoing throughout the duration of the course.

Strands & Expectations:

Strands: Theory, Creation, Analysis

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

Specific Expectations: MCI.01X, 02X, 03X, 04X, 05X, 06X, 07X, 08X, 09X, 10X, 12X, 13X; MC2.03X, 04X; MA1.01X, 03X, 04X, 06X; MA2.01X, 02X, 03X, 04X, 05X, 06X; MTI.01X, 02X, 03X, 04X, 05X, 06X, 07X, 09X, 10X, 11X, 12X, 16X

Activity Titles (Time and Sequence)

Activity 1	Warming-Up For Tuning, Tone, and Internal Rhythm	10 min. per class
Activity 2	Building Technique	20 min. per class
Activity 3	Making Artistic Choices	10 min. per class
Activity 4	Listening For Performance Through Exemplars	200 min.
Activity 5	Examining and Understanding Repertoire	160 min
Activity 6	Ensemble Performance	35 min. per class

Unit Planning Notes

The teaching of this unit requires a facility with enough space to accommodate large groups of students, secure storage space, instruments, chairs, music stands, stereo system, adequate lighting, metronome, an accurate tuning device, chalkboards, and resources consistent with the delivery of an instrumental or vocal music program (e.g. music folders, method books, supplementary resources on technique, and an appropriate part of each selection of music currently being rehearsed for performance or competency purposes).

When this unit is being applied, Activities 1, 2, 3, and 6 are designed to be delivered throughout the duration of the course as a daily routine that focuses upon the development of tone quality, intonation, rhythm and pitch accuracy, articulation, and musicality. The consistent application of such a routine will enhance the student’s ability to apply musicianship and artistic decision making into the creative process through performance skills.

Activity 4 is designed to be delivered in five 40 minute sessions to enrich performance skills from an analytical and aural perspective. Although Activity 5 is designed to be delivered in four 40 minute sessions to enrich performance skills from an analytical perspective, it describes a process that can be used on a continual basis, concurrent with the preparation of repertoire throughout the course.

Prior Knowledge Required

Successful completion of Grade 8 music as prescribed by The Ontario Curriculum, Grades 1 - 8, 1998.

Teaching/Learning Strategies

Strategies include: teacher-directed, student-centred, investigative, application of previously learned concepts to new situations, research, review, problem solving, collaborative learning, drill, modeling, expanded opportunity, and enrichment.

Assessment/Evaluation

Strategies include: assessment of the development of cognitive and psychomotor skills, the affective domain, rubrics, portfolio, peer evaluation, self-evaluation, taped evaluation, reflective journal writing, formative assessment, and summative evaluation.

Resources (from Bibliography)

1, 2, 3, 4, 5, 7, 8, 9, 10, 11,12, 13, 14,15, 17, 18, 19, 20, 21, 22, 23, 24, 28, 29, 31

Activity #1: Warming-Up for Tuning, Tone, and Internal Rhythm

Time: 10 minutes per class for the duration of the course

Description

Through participating in carefully designed daily warm-up exercises, students will develop the skills necessary to play or sing with good posture, playing position, tone production, phonation, breath support, range, intonation, dynamic control, rhythm and pitch accuracy, blend and balance, articulation, vowel formation and internal rhythm. The development of these skills in isolation will facilitate the integration of these skills in the performance of musical repertoire.

Strands and Expectations

Strands: Theory, Creation, Analysis

Overall Expectations:

At the end of Grade 9, students will:

• play or sing technical exercise and diverse repertoire (including their own creations when appropriate) that reflect the theory expectations

• 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)

• demonstrate an understanding of music literacy, at a level appropriate for the grade, using the creative process (perception, production and reflection)

• 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)

• demonstrate the ability to read and understand music notation

Specific Expectations: MC1.01X, 03X, 04X, 06X, 07X, 08X, 09X, 10X; MA2.01X, 02X, 03X; MT1.01X, 03X, 05X, 06X, 07X, 10X

Planning Notes

• using a wide variety of resources and approaches, the teacher teaches the concepts of posture, playing position, tone production, breath support, intonation, dynamic control, rhythm and pitch accuracy, blend and balance, articulation/diction/bowing.

• while they progress through the following exercises, teachers and students listen to, analyze, discuss, and correct their performance to ensure that the selected concepts are being correctly understood.

• the technical demands of these exercises should be increased as students demonstrate mastery of the expectations.

Prior Knowledge Required

• embouchure formation, posture and playing position (where applicable)

• breath support (where applicable)

• aural concept of the characteristic tone, initiation and release of the tone

• knowledge of issues addressing safety in regard to proper breathing, embouchure development, and physical demands of playing an instrument or singing

• how instruments or voices are adjusted for tuning

Teaching/Learning Strategies

1. Upon entering the music room, students immediately engage in pre-established routines.

2. The teacher or a student then leads the class in a series of exercises designed to develop the skills of posture, playing position, tone production, breath support, intonation, dynamic control, rhythm and pitch accuracy, blend and balance, and articulation/diction/bowing.

3. Initial Tuning (for instrumentalists): Using any available means, the teacher produces an accurate pitch which is most appropriate for tuning purposes (for at least 3 seconds in order to engage students’ aural sensitivity). Students match the tuning pitch by singing or humming for approximately 5 seconds, or until the teacher is satisfied that students have internalized the tuning pitch.

4. Students tune their instruments to match the internalized tuning pitch. This procedure should be repeated for instruments which need to tune more than one note.

Exercise 1: Using a major scale that is most appropriate for tuning and warm-up purposes, students play or sing an exercise similar to the following example, designed to improve tuning and tone quality:

While performing this exercise, students concentrate on tuning each note and on producing good tone. Each new section of the exercise must be articulated clearly and together (when participating with a group), while maintaining consistent tempo. (Students will achieve the best results if this exercise is performed with their eyes closed).

Exercise 2: Using a note that is suitable for tuning and warm-up purposes, students play or sing an exercise designed to build tone production, breath support, intonation, dynamic control, and pitch accuracy. For example: Students play or sing a sustained pitch for at least 10 seconds while performing a gradual change in dynamics from pianissimo to fortissimo and back to pianissimo.

Exercise 3: Using a major scale that is most appropriate for tuning and warm-up purposes, students perform an exercise similar to the following example, (for other examples see Resources) designed to improve tuning, tone quality, and internal rhythm:

Students continue the pattern adding an eighth note and rest to each repetition of the exercise up to 8 eighth notes and rests. While performing this exercise, students concentrate on tuning each note and playing or singing with good tone. Each new section of the exercise must be articulated clearly and together (when participating with a group), while maintaining consistent tempo. (Students will achieve the best results if this exercise is performed with their eyes closed).

Assessment/Evaluation

1. Students track their progress using a checklist of the concepts being studied.

2. Students use the process of reflection and journal writing to evaluate their own progress, identifying areas of strength, and addressing areas in need of improvement. The teacher is encouraged to provide a specific framework and/or questions for students to use to focus their writing. For example: “One thing I am thinking about after today’s class is ...”; “Some areas I feel successful in are ...”.

Resources (see Bibliography)

1, 7, 8, 10, 15, 16, 18, 21, 22, 26

Appendices

Appendix A: Tuning and Tone Quality Building Checklist

Activity #2: Building Technique

Time: 20 minutes per class for the duration of the course

Description

Through the playing or singing of carefully designed daily technical exercises, students will develop the skills necessary to build the technical aspects of musical performance. While specifically addressing the development of articulation, pitch and rhythm accuracy, improved technical speed, and expanded range, this activity also supports further development of good posture, playing position, tone production, breath support, intonation, dynamic control, and internal rhythm. The development of these skills in isolation will facilitate the integration of these skills in the performance of musical repertoire.

Strands and Expectations

Strands: Creation, Analysis, Theory

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

Specific Expectations: MC1.02X, 04X, 05X, 07X, 08X, 09X; MA1.06X; MA2.01X, 02X, 03X; MT1.01X, 03X, 04X

Planning Notes

• using varied approaches and selected resources (scale cycle sheets, method books, fingering charts, vocalizes, etc.) the teacher illustrates the concepts of scales and arpeggios as they are applied to repertoire.

• while they progress through the following exercises, teachers and students listen to, analyze, discuss, and correct their performances to ensure that the selected concepts are being correctly understood.

• provide blank manuscript sheets for the purpose of notating scale cycles.

• the technical demands of these exercises should be increased as students demonstrate mastery of the expectations.

Prior Knowledge Required

• embouchure formation, posture and playing position (where applicable)

• breath support

• aural concept of the characteristic tone

• initiation and release of the tone

• articulation

• concepts of ascending and descending note movement

• the difference between written and sounding pitches (for transposing instruments)

• basic understanding of music notation

Teaching/Learning Strategies

1. Once students have completed a guided warm-up activity, the teacher leads the class in a series of exercises designed to develop technical skills. Exercises 1, 2, and 3 are repeated throughout the course systematically introducing major and minor keys (suggested up to 4 sharps and 4 flats).

Exercise 1: Using whole notes in a major key that is most appropriate for the initial development of technical skill (i.e. Concert B flat for band, C or D for strings, E for guitar, etc.), students notate scales and arpeggios in an established scale cycle. This cycle can be prescribed by the teacher, in an order similar to the following example: Major, Major Arpeggio, Relative Harmonic Minor, Relative Melodic Minor (Natural Minor optional), Relative Minor Arpeggio, Major Chromatic scale. The teacher prescribes the range to be covered by each instrument, bearing in mind issues of safety, and pedagogical issues of embouchure development, consideration for changing voices, fingering, and limitations of instruments.

• Having completed the above exercise, students spend a few minutes individually playing and refining their notation.

Exercise 2: Using the major scale from Exercise 1, the teacher checks the students’ work with an exercise similar to the following example (for other examples see Resources):

This exercise also addresses skill development in the areas of breath support, pitch accuracy, tone production, intonation, and the concept of intervals within a major scale (i.e. P1, +2, +3, P4, P5, +6, +7, P8).

Exercise 3: The teacher or a student leads the class through the playing of the scale cycle. While playing this exercise, the students concentrate on pitch accuracy, articulation/diction/bowing, tuning, and playing with good tone quality, while maintaining consistent tempo. The effectiveness of this exercise is enhanced with the use of varied tempos, articulations, dynamics, rhythms, meters, and note values (i.e. sixteenth through whole notes and rests, including dotted values, simple and compound meters 4/4, 3/4, 2/4, and 6/8). A suggested ideal tempo to achieve best results of technical speed is to play scales in eighth notes at a metronome marking of quarter note equals 120.

2. Using the same key signature from Exercise 1 the teacher or student leads continued drill and study for the development of technical skill to be selected from a class method book.

Assessment/Evaluation

1. Students use a practice record sheet to record time spent practicing technical exercises.

2. Formal assessment using a variety of modes (e.g. peer evaluation, self-evaluation, rubrics).

3. Students will perform regular tests to evaluate achievement.

Resources (see Bibliography)

1, 4, 9, 11, 14, 15, 19, 20 ,23, 24, 28, 29 and blank Scale Cycle sheets, selected class method book(s)

Appendices

Appendix B: Rubric for Assessing Progress

Activity #3: Making Artistic Choices

Time: 10 minutes per class for the duration of the course

Description

Through practicing the creativity with existing melodic and harmonic material, students will develop the skills necessary to make the artistic choices essential in order to experience an aesthetically rich sense of satisfaction while performing musical repertoire. This activity is designed to enhance students’ ability to make artistic decisions regarding dynamics, balance and blend, articulation, stylistic accuracy, and the understanding of musical structure. The development of these skills in isolation will facilitate the integration of these skills in the performance of musical repertoire and all music making processes.

Strands and Expectations

Strands: Theory, Creation, Analysis

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

Specific Expectations: MC1.01X, 02X, 03X, 04X, 05X, 06X, 07X, 08X, 09X, 10X, 12X,
13X; MC2.03X, 04X; MA1.04X; MT1.02X, 06X, 07X 09X, 10X