Course Profile Comprehensive
Arts, Grade 9 open, Catholic
Unit 3
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
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Permission is given to reproduce these materials for any purpose except profit.
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Profile, and do not reflect any official endorsement by the Ministry of
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©Queen’s Printer for
Ontario
Comprehensive Arts Writing
Team – Catholic
Darcey M. French
(LEAD WRITER), St. Theresa Catholic Secondary School
John Burns, St. Theresa
Catholic Secondary School
Linda Girard, St.
Mark Catholic High School
Mary Kay
Eckert-Fernandes, Notre Dame Catholic High School, Carleton Place
Paula Kolodzie
Moffat, St. John Catholic High School
Bronek Korczynski,
Algonquin and Lakeshore C.D.S.B.
Joanne Holmes, Notre
Dame Catholic High School, Carleton Place
Virginia Winfield,
Notre Dame Catholic High School, Ottawa
Francine Yasko,
Stirling School of Dance
The Comprehensive Arts writing team would like to
thank the following people and institutions for their varied contributions to
our document. The time, effort, and creative suggestions are appreciated by the
writers and will benefit everyone who utilizes this document.
Mrs.
Barbara Day -Wills- Superintendent, Algonquin and Lakeshore Catholic District
School Board
Sandy
Bender - Co-ordinator, Sencodary Programs Ottawa-Carleton C.S.B.
Alec
Aklwenzie - Ministry of Northern Affairs
Alex
Zikakis (Director), Claire Grazette, Deborah Wallace, and the staff at the
Donald Gordon Centre (Queen’s University) for their generosity and hospitality
Ann
Perron - Toronto District Catholic School Board
Ann
Kubasta - McMichael Art Gallery
Anne
Collins - Algonquin and Lakeshore Catholic District School Board
Bill
Kilfoyle - Indian Affairs (ret.), Kemptville, Ontario
Bob
Hilderley - Quarry Music Books
Central
Ontario Catholic Curriculum Co-operative
Charles
Burke - Educator (ret.), Peterborough
David
Booth - Ontario Institute for Studies in Education, University of Toronto
Denyse
Latour - Algonquin and Lakeshore Catholic District School Board
Eastern
Ontario Catholic Curriculum Co-operative
Glenys
McQueen - Fuentes- Brock University
International
Tele-Film Enterprises Limited, Etobicoke
Jonas
Ambromatis - Canadian Conference of Catholic Bishops
Norma
More - St. Theresa Catholic Secondary School
Professor
Michael Wilson, Phd. - University of Ottawa
Roger
Clark - Althouse College, University of Western Ontario
TV
Ontario - Toronto
Vince Kicknosway - Odawa Native Friendship Centre,
Ottawa
We would like to specially thank our families for their patience, support and love during our harried writing experiences, we love you.
Unit 3: Music
Activity 1½Activity 2½Activity 3½Activity 4½Activity 5½Activity 6
Unit Developer(s)
Joanne Holmes, Notre Dame Catholic High School, Carleton Place
Darcey French, St. Theresa Secondary School
Development Date: July 5, 1999
This unit is intended to function as an introduction to the secondary school music program. Emphasis is given to the theory, practice, and enjoyment of music at a simple and experiential level. Through vocal, electronic, and instrumental study, presentation skills of technique and performance are enhanced. Music presented in this course is rooted in a contemporary Canadian historical and religious context. It incorporates sources including our own Catholic faith journey/story which emphasizes issues of care for the environment, the human experience, and social justice.
Ontario Catholic School Graduate Expectations: OCGE 1d, 1h, 1i, 2b, 2c, 2e, 3b, 3c, 4a, 4f, 5a, 5g, 7a, 7e, 7j.
Strand(s): Creation, Analysis, Theory
Overall Expectations: LTV.01, LTV.02, LTV.03, LCV.01, LCV.02, LCV.03, LCV.04, LAV.01, LAV.02, LAV.03, LAV.04.
Specific Expectations: LTI.01, LTI.02, LTI.03, LTI.04, LTI.05, LTI.06, LTI.07, LTI.08, LTI.09, LCI.01, LCI.03, LCI.04, LCI.05, LCI.07, LAV.01, LAV.02, LAV.03, LAV.04, LAV.0, LAV.06, LAV.07, LAV.08, LAV.09, LAV.10, LAV.11, LAV.13.
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Activity 1 |
Liturgy Through Musical Exploration |
185 minutes |
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Activity 2 |
Canadian Aboriginal Rhythms |
410 minutes |
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Activity 3 |
Music of the Baroque Era |
185 minutes |
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Activity 4 |
Canadian Folk Music |
305 minutes |
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Activity 5 |
Careers In Music |
185 minutes |
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Activity 6 |
Children’s Musical Theatre |
380 minutes |
· If instruments are available, teachers are strongly encouraged to provide access to them and integrate into units at all possible times.
· If the teacher is not qualified to teach concert band instruments, the use of simple percussion instruments (such as triangle, tambourine, wooden blocks, home-made shakers) is strongly encouraged for use in the activities.
· This course requires planning with community members and colleagues in other curriculum areas to provide an inclusive learning experience for students.
· Technological resources, such as video cameras, lights, and musical software programs, are utilized and integrated into units where appropriate and available.
· Health and safety issues must be addressed, and safe music room practices should be adhered to during all creative processes.
· Throughout the activities, emphasis on Canadian identity and awareness must be fostered to depict a cultural diversity in Canadian society, by including resources and material that reflect various cultural contributions to music.
Students are able to:
· demonstrate an understanding of the basic elements of music specified for this grade through listening to, performing, and creating music;
· sing and play instruments to express and develop proper technique;
· use the correct musical terminology associated with the specific expectations for this grade;
· read, write, and perform from musical notation accurately and fluently;
· communicate their understanding and knowledge of music in appropriate ways;
· identify and perform music of a variety of cultures and historical periods.
· Teachers should employ a variety of teaching strategies and techniques (teacher demonstrations, lecture, video presentation, listening exercises) to ensure that all students are able to succeed.
· The teacher facilitates practices for both groups and individuals.
· Guest presentations, teacher mini-lectures, and workshops given by priest/chaplain offer variety to presentation of new material.
· Instrumental and/or vocal performances enhance musical skill as well as offering the class valuable listening experiences.
· Teaching delivery should be infused with the Catholic Graduate Expectations whenever and wherever possible, by using the Catholic “lens” to help students explore and critique pertinent issues regarding their faith journeys.
The teacher assesses and tracks students based on the areas of diagnostic, formative, and summative evaluation.
Diagnostic: At the beginning of the unit: introductory questionnaire where students question each other on general music knowledge in a ‘game’ format. Diagnostic evaluation does not necessarily require an assigned mark as it is a research tool for the teacher. For issues of fairness to the student, it is strongly recommended that a mark not be assigned.
Formative: Journals (formal and informal), teacher
observation, peer conferences, co-operative small group presentations,
individual and group research, student/teacher conferences. Formative
assessment should be ongoing throughout the course.
Summative: Summative evaluation occurs throughout the course, generating a mark based on four units.
· All communication disabilities need the consultation of the school resource teacher.
· Organize a learning team including the student, parent, and resource teacher to devise a working plan, and set-up a regular communication up-dater.
· Students’ needs must be frequently monitored on an ongoing basis.
· Modify movement exercises where necessary, ensuring that all students are given the opportunity to take part within their abilities.
· Minimize clutter for students.
· Ensure a clear view of the instruction area for students.
· Establish a structured classroom routine.
· Provide a multi-model of instructional delivery based on IEP in consultation with school resource teacher and Board consultant.
· Have a learning buddy available for support of academic and social integration.
· In particular situations, teacher assistants may be necessary.
· Provide hearing impaired students with strong and consistent visual exemplars, written script, and notes whenever possible.
Adair, Audrey J. Basic Music Theory: 50 Ready-to-use Activities For Grades 3 to 9. West Nyack: Parker Pub. Company, 1987
Canadian Music Educators Association. Canadian Artists Series (sound recordings). Toronto, 1987.
Chosksy, Lois. The Kodaly Method (3rd ed.). New York: Prentice Hall, 1998.
Jackson, Rick. Encyclopedia of Canadian Rock Pop & Folk Music. Kingston: Quarry Press, 1994.
Time: 185 minutes
Students create and participate actively by integrating our Catholic faith traditions in a liturgy that they design. Students explore the various parts of a mass, and work co-operatively to fulfill these expectations using musical performance, planning, and research skills.
Ontario Catholic
School Graduate Expectations:
The graduate is expected to:
· listen actively and critically to understand and learn in light of gospel values (CGE2a);
· present information and ideas clearly and honestly and with sensitivity to others (CGE2c);
· use and integrate the Catholic faith tradition, in the critical analysis of the arts, media technology, and information systems to enhance the quality of life (CGE2e);
· adopts a holistic approach to life by integrating learning from various subject areas and experience.(CGE3e).
Strand(s): Creation, Analysis, Theory
Overall Expectations:
· create a work by applying concepts common to all arts areas ( LCV.01x);
· use the creative process to produce artworks that demonstrate innovative connections among the arts (LCV.04x);
· explain the historical context and style of particular art forms (LTV.02x);
· demonstrate an understanding of cultural characteristics that distinguish an individual’s and/or community’s artistic identity ( LAV.02x).
Specific
Expectations:
· create works in one art by applying elements and principles found in all of the arts (LCI.01x);
· modify elements of a work to change its effect (LCI.03x);
· create an artistic/production that combines materials and techniques from various art forms (LCI.04x);
· communicate a specific message using appropriate materials, techniques, and technologies (LCI.05x);
· explain how chosen techniques used in works and productions communicate mood and message (LTI.07x);
· demonstrate an understanding of the traditions and values reflected in personal art works (LAI.05x);
· identify cultural symbols within musical works (LAI.06x);
· explain how a culture expresses its identity through the arts (LAI.08X).
· Contact school priest and/or chaplain to arrange for a classroom visit, to plan activities, and to discuss elements that should be covered in the class liturgy.
· Teacher and students provide various liturgical and non-liturgical music.
· Students should be made aware of the school’s liturgical calendar so as not to duplicate the work of the priest/chaplain or mass planning group.
Students are able to:
· demonstrate knowledge of the Catholic faith and various parts of the mass;
· exhibit knowledge of either singing or musical playing.
· The school priest/chaplain presents to the students, through a workshop on the different functions and parts of the Catholic mass, how it is integral to our faith culture.
· Specific emphasis must be dedicated to the selection of readings, songs, prayers of the faithful, decorations, and music to be chosen for a mass that takes place at the end of the given time period.
· The class as a whole chooses a common liturgical theme that affects the choice of materials to be incorporated into the mass.
· The teacher arranges students into small groups to begin selection of materials for presentation.
· Each group presents their selections to the class as a whole, in order to gain feedback, input, and possible direction for further exploration.
· Students place their research findings into individual course portfolios for presentation to the teacher.
· The students practise selected music and readings, and create their decorations.
· Students should be encouraged to invite other members of the school community to their celebration.
· Led by the priest/chaplain, the class celebrates mass as a sacred liturgical community.
· Students present their journals through a teacher/student conference for assessment based upon depiction of their faith culture, completion, thought process, creativity, and selection of musical information. (LAI.08x)
· Students provide a self-evaluation based on their assessment of personal participation, identifying their faith community, and completion of the activity. (LAV.02x)
· Students complete evaluations based on their peers’ participation in contributing to the common good, creativity, and their ability to adapt. (LCI.03x)
· Students are assessed as a group on their contribution to the depiction of our faith culture based upon the input/information given by the liturgical leader (priest/chaplain), using a checklist. (LAI.08x)
· Consult the board policy guidelines concerning health and safety issues in the classroom (WIMIS).
· Students should be discouraged from using open flames, as it could pose a possible fire hazard.
· Strong scents should be avoided as some people are extremely allergic or sensitive to strong odors.
· Noise levels should not be excessive in order to prevent permanent hearing damage (see board decibel levels), e.g., recorded music playing, amplified guitars, etc.
· The teacher is strongly encouraged to have First Aid and C.P.R. training.
· Encourage students to use renewable materials for decorations at every opportunity.
· Incorporate the theme of “Stewardship For The Earth” into the liturgy.
· Use materials and make decorations that could have other applications for the school and be stored for further use - not just thrown out at the end of the liturgy.
· Students with visual learning disabilities should be either paired with a learning buddy, or provided with the opportunity to partake in more hands-on activities.
· Students with assistive devices should be encouraged to fully participate utilizing their gifts to the best of their ability.
· Enriched students could compose original music, art, and poems/literature for use in this depiction of our faith community.
· Encourage ESL students to utilize images, stories, and songs from their country of origin, with the possibility of cross-referencing existing North American traditions.
Mazar, Peter. To Crown The Year. Chicago: Archdiocese of Chicago: Liturgy Training Publications, 1995.
Neuberger, Anne. Advent Stories and Activities: Meeting Jesus.
Through the Jesse Tree. Connecticut: 23rd Publications, 1997.
Liturgy Checklist
Group:_________________________________________ Date:______________________
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Level One (50-59%) Rarely |
Level Two (60-69%) Sometimes |
Level Three (70-79%) Always |
Level Four (80-100%) Exceptional |
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Items the group demonstrates: |
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1. Was there creativity in the presentation of information? |
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2. Flow of the liturgy. Are the segments in order? |
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3. Does the mass fit the class theme? |
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4. Was there group co-operation during the mass? |
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5. Was the material selected for presentation complete? |
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6. Was there a fusion of the personal life history/story to the selection of the materials presented? |
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Student Level: 1 2 3 4
Comments:
Time: 410 minutes
This activity encourages students to demonstrate their appreciation of the spiritual aspect of Canadian aboriginal music. Students design and make their own drum. They also compose a song using their instruments incorporating form, line, style, and the elements of aboriginal Canadian drumming music. The students use standard notation to perform the song for their class and possibly members of the aboriginal community.
Ontario Catholic
School Graduate Expectations:
The graduate is expected to be:
· creates, adapts, and evaluates new ideas in light of the common good; CGE3b)
· witness Catholic social teaching by promoting equality, democracy, and solidarity for a just, peaceful, and compassionate society. (CGE7e)
Strand(s): Creation, Analysis, Theory
Overall
Expectations:
· describe orally, and in writing the elements and principles of the arts found in their own work, and that of others. (LTV. 01x)
· explain the historical context and style of particular artworks/art forms; (LTV.02x)
· create a work by applying concepts common to all arts areas; (LCV.01x)
· create works in all arts areas by applying techniques specific to each; (LCV.02x)
· use the creative process to produce artworks that demonstrate innovative connections among the arts; (LCV.04x)
· demonstrate an understanding of cultural characteristics that distinguish an individual’s and/or community’s artistic identity; (LAV.02x)
· demonstrate the ability to conduct a step-by-step critical analysis of their own work and that of others.
Specific
Expectations:
· identify the elements and principles common to all the arts; (LTI.01x)
· explain how chosen techniques used in works and productions communicate mood and message; (LTI.07x)
· demonstrate an understanding of the traditions and values reflected in personal artworks; (LAI.05x)
· identify cultural symbols within artworks; (LAI.06x)
· explain how a culture expresses its identity through the arts; (LAI.08x)
· apply the process of critical analysis (initial reaction, description, analysis, interpretation, and judgement) to selected works and productions; (LAI.01x)
· document perceptual differences within a group of students when applying critical analysis. (LAI.02x)
· Research the diverse cultural perspectives within the Canadian aboriginal culture.
· Ensure that the various cultures that are examined are done so without trivialization.
· Utilize and invite members of the local native community for input and participation, where available.
· Use diagnostic assessment to evaluate notation comprehension through the use of a game like Musical Jeopardy.
· If a guest speaker is not available, the teacher needs to assume the responsibility for gathering recordings of Canadian aboriginal drumming and other necessary resources.
Students are able to:
· improvise a solo melody line;
· read, write, and perform from musical notation accurately and fluently;
· communicate their thoughts and feelings about the music they hear, using language and a variety of art forms and media;
· describe their response to a musical performance in their community;
· recognize theme-and-variations in music they perform and hear;
· identify meters and the corresponding time signatures in the pieces they play or sing.
· Invite a guest speaker from the native community to lead a discussion using examples of Canadian aboriginal music. If a guest speaker is not available the teacher leads the class.
· Live or recorded aboriginal music may be used to introduce the theme.
· Students should discuss symbolism, spiritualism, and various musical elements/principles such as form, style, expressions, dynamics, and tempo, identifying the qualities that are unique to this music.
· The students research, design, and create their own drum that reflects aboriginal cultural influences.
· In small groups the students create their own drumming composition containing rhythmic patterns using proper notation, a minimum 16 bars, and ostinato with the four parts lined up evenly under one another.
· There should be special performance instructions including tempo, dynamics, and instrumentation.
· Students perform compositions in front of classmates, as well as members of the aboriginal community, if possible.
· As an extension to this activity, students may integrate other disciplines into the performance e.g., Dance, Visual Arts.
· Students submit to the teacher their personal reflections on Aboriginal spiritual music in course journal. (LTV.01x)
· Group and self-evaluation on performance by students is based on musical elements and principles based on score and performance skills. (LTI.01x)
· The guest is asked to submit an anecdotal response for the group performances. (LAI.05x)
· The teacher completes a checklist on drum construction and design. (LCI.04x)
· Students provide written critiques of selected works. (LAI.01x)
· Modify the length of the composition, notation style, and musical elements to fit the needs of the student.
· Students with special needs should be given the opportunity to work with a learning buddy in the construction of their instrument.
· Students with mobility needs could be aided using the hand-over-hand method of assistance in the construction and playing of their drum.
Blacking, John. How Musical is Man. London: University of Washington Press, 1973.
Luboff, Pat and Pete. 88 Song Writing Wrongs and How to Rite Them. United States: Writer’s Digest Books, 1992.
Stevens, J. Drumming at the Edge of Music. San Francisco: Grateful Dead Books, 1990.
For further information we suggest contacting the following groups:
Assembly Of First Nations National Office
Inuit Centre National Office
Congress of Aboriginal People
Native Women’s Association of Canada
Ontario Federation Of Indian Friendship Centres
Reflective Journal Entry
Student:___________________________ Date:____________________________
1. What is the name of the speaker? Does the speaker’s name have a special meaning? If so, describe it.
2. What did you learn about Aboriginal music that was unique in style or performance practice?
3. Name some traditional aboriginal instruments.
4. What contemporary instruments today are based on Aboriginal tradition?
5. What function does a musical instrument have in aboriginal society?
6. What is the role of the music maker in their society?
7. How does music relate to spiritualism in aboriginal culture?
8. If you had an opportunity to speak further to the guest, what question(s) would you ask?
9. In what other ways does the aboriginal express spirituality?
10. What are the materials used in the making of the instruments?
Time: 185 minutes
The main focus of this unit is to demonstrate an awareness and appreciation of stylistic elements of music of the Baroque era. The impact of Baroque music to the contemporary listener/performer, and the connection to other art forms are addressed. Students have the opportunity to create mind maps based on an artistic element of that time period.
Ontario Catholic
School Graduate Expectations:
The graduate is expected to:
· respect the faith traditions, world religions and the life-journeys of all people of good will; (CGE1h)
· read, understand, and use written materials effectively; (CGE2b)
· present information and ideas clearly and honestly with sensitivity to others; (CGE2c)
· use and integrate the Catholic faith tradition, in the critical analysis of the arts, media technology, and information systems to enhance the quality of life; (CGE2e)
Strand(s): Creation, Analysis, Theory
Overall
Expectations:
· explain the historical context and style of particular artworks/art forms; (LTV.02x)
· use the creative process to produce artworks that demonstrate innovative connections among the arts; (LCV.04x)
· demonstrate an understanding of cultural characteristics that distinguish an individual’s and/or community’s artistic identity. (LAV.04x)
Specific
Expectations:
· identify how historical, theoretical, and technical change have contributed to the arts; (LTI.04x)
· identify, research, and describe historical and stylistic links within the arts; (LTI.06x)
· create works in one art by applying elements and principles found in all the arts; (LCI.01x)
· demonstrate an understanding of the traditions and values reflected in personal artworks; (LAI.05)
· identify cultural symbols within artworks (LAI.06x)
· explain how a culture’s social and economic priorities influence the arts and arts productions; (LAI.07x)
· explain how a culture expresses its identity through the arts; (LAI.08x)
· analyse artworks in one arts area to identify connections with other art forms. (LAI.13x)
· Become familiar with Baroque elements of music and art.
· Research preparation is essential in gathering items on the Baroque era from the library: music examples, architecture, theatrical examples, philosophy, and art.
Students are able to:
· describe some aspects of the historical context of music that they listen to;
· communicate their thoughts and feelings about the music they hear, using language and a variety of art forms and media;
· identify music of a variety of cultures and historical periods.
· Guide students through directed listening using musical selections from the Baroque period (e.g., Vivaldi, Handel).
· Students create pen and ink drawings, using felt tipped pens, emphasizing the patterns occurring in the music while listening to this music.
· The teacher leads a mini-lecture on the Baroque period detailing key musical features, focusing on imitative counterpoint as well as: composers, contributions, philosophies, and artistic styles of that era.
· Provide examples of Baroque (e.g., painting, sculpture, architecture).
· In groups, students conduct research through the library and select a topic related to the arts in the Baroque period.
· Students place their findings into their sketch book/journal.
· With this information, students create their own mind maps using key elements such as colour and symbols, to be placed in their course portfolio.
· In their groups, students unitize key words from their mind maps, to create their own imitative counterpoint, to be presented to the class.
· In their groups, students perform a class fugue, using different groups to verbalize different parts.
· Students submit their sketchbook/journals for assessment of research findings by the teacher using anecdotal comments, based upon the Baroque Era. (LTI.06x)
· Students submit pen and ink drawings and their completed mind maps for formative assessment by the teacher through the use of rating scale, to be included in their course portfolio. (LCI.01x)
· The students perform a group fugue for the teacher, who provides anecdotal feedback. (LCI.04x)
· Students with learning difficulties should create co-operative mind maps.
· During presentations to the class, students with special needs should be encouraged to present using symbols and words.
Ages of Evolution of Art & Music (CD-ROM). ZCI Publishing, 1995.
Hutchinson Encyclopedia of Music (CD-ROM). Helicon Publishing Ltd, 1996.
The Life, Times and Music of Antonio Vivaldi, 1650's-1741 (compact disc and video). Neponsit: Phoenix International Inc.
The Life, Times and Music of Johann Sebastián Bach, 1685-1750 (compact disc and video). Neponsit: Phoenix International Inc.
Revolutions in Art & Music (CD-ROM). Zane Home Library, 1996
Time: 305 minutes
Students have the opportunity to examine historic and contemporary Canadian folk music. An emphasis is placed on the final creative production of a folk song that incorporates composition, dance, and movement. Utilizing their Catholic faith traditions, students become mentors for younger children by teaching a song and dance/game.
Ontario Catholic School Graduate Expectations:
The graduate is expected to:
· think reflectively and creatively to evaluate situations and solve problems; (CGE 3c)
· witness Catholic social teachings by promoting equity, democracy, and solidarity for a just, peaceful, and compassionate society. (CGE 7e)
Strand(s): Creation, Analysis, Theory
Overall
Expectations:
· describe orally, and in writing, the elements and principles of the arts found in their own work and that of others; (LTV.01x)
· explain the historical context and style of a particular artworks/art forms; (LTV.02x)
· create a work by applying concepts common to all arts areas; (LCV.01x)
· create works in all art areas by applying technologies specific to each; (LCV.02x)
· use the creative process to produce artworks that demonstrate innovative connections among the arts; (LCV.04x)
· demonstrate an understanding of cultural characteristics that distinguish an individual’s and/or community’s artistic identity. (LAV.04x)
Specific
Expectations:
· demonstrate an understanding of arts elements that are specific to each of the arts; (LTI.02x)
· demonstrate an understanding of the use of elements and principles in various artworks of their own and others; (LTI.03x)
· explain how chosen techniques used in works and productions communicate mood and message; (LTI.07x)
· identify moral and legal ramifications in arts productions; (LTI.08x)
· create an artwork/production that combines materials and techniques form various art forms; (LCI.04x)
· explain how a culture’s social and economic priorities influence the arts and arts productions; (LAI.07x)
· explain how a culture expresses its identity through the arts. (LAI.08)
· Use a wide variety of folk music, i.e., Leahy, Neil Young, Great Big Sea and Buffy Saint-Marie, incorporating a variety of Canadian regions.
· Begin collecting and selecting appropriate music as soon as possible.
· Teachers should familiarize themselves with Canadian songs and dances for children.
Students are able to:
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