Course Profile Music,
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 these resources was funded by the Ontario Ministry of Education. 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 reference in this document to particular commercial resources, learning materials, equipment, or technology reflect only the opinion of the writers of this sample Course Profile, and do not reflect any official endorsement by the Ministry of Education or by the Partnership of School Boards that supported the production of the document.
© Queen’s Printer for Ontario
Project Manager
Barry Elliott
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 3: Performance
Activity 1½Activity 2½Activity 3½Activity 4½Activity 5½Activity 6½Activity 7
Unit Developer(s)
Michael Seguin, Windsor-Essex Catholic District School Board
Rose Jobin
Gabe Gagnon
Beth Dykeman
Luigi Di Fazio
Ann Wilkie
Development Date: June 23, 1999
This unit involves the practical application of performance skills and knowledge of theory as they relate to the performance medium. Students sing or play, individually and in ensembles (e.g., using voice, band instruments, string instruments, guitar, keyboards, or other performance media).
Ontario Catholic School Graduate Expectations: 2a, b, 3c, 4b, h, 5b, g, h, 7g.
Strand(s): Analysis, Creation, Theory
Overall Expectations: MAV.01X, .02X, .03X, .04X, .05X, MTV.01X, .02X, .03X, MCV.01X, .02X, .04X, MTV.01X, .02X, .03X, .04X.
Specific Expectations: MA1.01X, .03X, .04X, .05X, .07X, MA2.01X, .02X, .03X, .04X, .05X, .06X, .07X, MC1.02X, .03X, .04X, .05X, .07X, .09X, .13X, MC2.01X, .04X, MT1.04X, .05X, .06X, 10X, .13X, .14X.
|
Activity 1 |
Breathing and Posture |
120 minutes |
|
Activity 2 |
Music in Various Cultures |
300 minutes |
|
Activity 3 |
Developing Performance Skills in Small Ensembles |
240 minutes |
|
Activity 4 |
Live Performance Analysis |
300 minutes |
|
Activity 5 |
Technique Lessons - Scales and Intervals |
180 minutes |
|
Activity 6 |
Testing 1, 2, 3! |
180 minutes |
|
Activity 7 |
An Introduction to Early Canadian Folk Music |
480 minutes |
A sound system, television, and VCR in the classroom are vital audio-visual aids. Texts such as theory and sight-reading books, ear-training materials, and examples of appropriate repertoire are necessary. Equipment such as computers, MIDI, and Internet access involves students in the changing advancements and requirements in modern technology.
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 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. Successful completion of Grade 8 music as prescribed by The Ontario Curriculum, Grades 1-8, 1998 is recommended.
The teaching and learning strategies consist of researching, conferencing, discussion, brainstorming, interpreting, critiquing, listening activities, and cross-curricular approaches. Performing and composing activities (singing, playing) are combined with the teaching and learning strategies. Music technology (computers, MIDI) and the use of media such as sound recordings, film, and television are incorporated in the teaching concepts and creating of music. Students engage in critical analysis and reflective learning activities. Students apply their learning through performance at community activities, field trips, class visits by artists, and attendance at live concerts.
Students are assessed using both formative and summative formats in order to ensure that overall, specific, and Catholic expectations are met. Assessment strategies consist of the following methods: projects, presentations, demonstrations, teacher/student observations, performances, self/peer assessment, checklists, rubrics, charts, student/teacher/peer conferencing, formal written assignments, response journals, probe questions, paper/pencil tests, and multiple choice tests. Students are assessed through performance and theoretical applications.
The use of periodicals, books, newspapers, magazines, videotapes, audio tapes, compact disc recordings, CD-ROMs, computer software, Internet, radio, television, newsletters, studio guest artists, and business partnerships can enhance the teacher’s preparation for the activities outlined in this document. Other valuable resources include universities, colleges, workshops, libraries, the school resource centre, provincial subject associations, The Ontario Music Educator’s Association, the Canadian Music Centre, The Ontario Arts Council and various arts associations. Specific resources are outlined within each activity.
Time: 120 minutes
The concepts of correct breathing and posture are two very important aspects of being an efficient musician. The basics of good breath support and proper posture while playing and singing are essential elements in tone production. By focusing on breathing techniques and posture, students develop proper habits in the development of performance skills.
Ontario Catholic School Graduate Expectations:
The graduate:
· demonstrates flexibility and adaptability; (4b)
· achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others. (5g)
Strand(s): Creation, Analysis
Overall 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). (MCV.02X)
Specific Expectations:
· demonstrate consistently correct body posture; (MC1.03X)
· play or sing with tone quality appropriate to the repertoire being performed; (MC1.05X)
· explain the effects of physical fitness and health habits on music performance skills; (MA2.01X) ;
· identify and describe their own strengths and needs at various points in the course work towards improving themselves in identified areas; (MA2.02X)
· reflect on learning by maintaining a journal and/or practice log to record progress. (MA2.03X) ;
· It is preferable to have a carpeted floor where students may lie down.
· A CD/Tape player is required.
· Charts/diagrams of correct posture and pictures of a larynx are required.
· Students should be able to demonstrate an understanding of the basic elements of music specified for Grade 8 through listening to, performing, and creating music.
· Students should be able to sing and play instruments with expression and proper technique (e.g., with correct breathing or fingering).
· Students should be able to use correctly the musical terminology associated with the specific expectations for Grade 8.
1. The teacher demonstrates proper posture while standing and sitting. The teacher emphasizes the direct link between posture and fitness.
1. Students are expected to use proper breathing techniques and posture when practicing or performing.
2. Students put their instruments on their chairs or in a safe position on the floor. The students lie down, face up, on the carpeted floor. The lights are turned down (or off) with relaxing music on the CD/Tape player. Explain to the students that they are to close their eyes and relax. In this relaxed state, explain that they are now breathing properly for singing and playing. Students place a textbook on their abdomen. Students then breathe, moving the book as they inhale and exhale. Also, have student take a breath, hold it, sip in more air, hold it, take another sip, and exhale on cue. (You will no doubt experience much laughter through all of this but be patient. They will respond once they settle down.) Try exhaling very slowly. It is important to make sure that the setting is very relaxed so that students can focus on their breathing.
3. Once students are back in their seats, show them pictures of the human body, in particular the abdominal area. Explain how the abdomen moves in and out during the breathing process. Mention that their belt or pant/skirt waistline should move when they take a breath. If students raise their shoulders, then correct them using the milk bottle analogy - the bottom part fills up first.
4. Divide the class into groups of two or three. Practise the textbook breathing exercise while peers evaluate each other. Take small pieces of paper and attempt to keep them on the wall by blowing on the paper. Have students time each other in a friendly competition.
5. Various breathing exercises can be used in small portions at the beginning of each performance class in warm ups. Daily reminders are a must.
· If students have prohibitive physical disabilities determine instrumental or vocal suitability on a one-to-one basis.
1. Students keep track of their progress in their personal journals/logs. (MA2.03X)
2. Demonstration/Observation - use Rubric (Appendix H). (MA2.01X)
3. Peer Conferencing - students assess each other during group work. (MCV.02X)
Kenney, James. Becoming a Singer Performer. Dubuque: William C. Brown Publishers, 1987.
Randel, Don, ed. The New Harvard Dictionary of Music. London: The Belknap Press, 1986.
Schmidt, Jan. Basics of Singing. New York: Schirmer Books, 1984.
|
RUBRIC FOR
ASSESSING BREATHING AND POSTURE |
|||
|
Level 1 (50-59%) |
Level 2 (60-69%) |
Level 3 (70-79%) |
Level 4 (80-100%) |
|
Student shows limited knowledge of standing posture for correct playing/singing position. |
Student shows some knowledge of standing posture for correct playing/singing position. |
Student shows more extensive knowledge of standing posture for correct playing/singing position. |
Student shows thorough knowledge of standing posture for correct playing/singing position. |
|
Student possesses limited knowledge of sitting posture for correct playing/singing position. |
Student possesses some knowledge of sitting posture for correct playing/singing position. |
Student possesses more extensive knowledge of sitting posture for correct playing/singing position. |
Student possesses thorough knowledge of sitting posture for correct playing/singing position. |
|
Student demonstrates limited knowledge of diaphragmatic breathing for playing/singing. |
Student demonstrates some knowledge of diaphragmatic breathing for playing/singing. |
Student demonstrates more extensive knowledge of diaphragmatic breathing for playing/singing. |
Student demonstrates thorough knowledge of diaphragmatic breathing for playing/singing. |
Time: 300 minutes
Through the examination of historical events and the study of music from different historical periods, students demonstrate their understanding and insight into the significance of the cultural context of music. By listening to recorded examples and through the insight gained in other activities, students define and critique, with skill, the music of their performance medium.
Ontario Catholic School Graduate Expectations:
The graduate:
· reads, understands, and uses written materials effectively; (2b)
· thinks critically about the meaning and purpose of work. (5b)
Strand(s): Theory, Creation, Analysis
Overall Expectations:
· identify and define in simple terms the elements of music (i.e., rhythm, melody, timbre, dynamics, harmony, texture, and form); (MTV.01X) ;
· demonstrate the ability to read and understand music notation; (MTV.02X) ;
· demonstrate an understanding of a broad overview of the historical and stylistic context of music; (MTV.03X) ;
· demonstrate an understanding of music history and its cultural context; (MAV.01X) ;
· demonstrate an understanding of the function of music in society. (MAV.04X) ;
Specific Expectations:
· explain the influence of music in a variety of historical and cultural contexts (e.g., Indonesian gamelon, 2500 B.C.E. Turkish war cymbals); (MTI.13X) ;
· explain the evolution of their performance medium; (MTI.14X) ;
· control notated or stylistically correct dynamics while maintaining good tone quality; (MC1.04X) ;
· play or sing with tone quality appropriate to the repertoire being performed. (MC1.05X) ;
· Provide Recordings of music (e.g., 1812 Overture) to enhance the effectiveness of the lesson.
· Provide music and history texts for lesson planning, pictures.
· Provide appropriate music history software.
· Provide published music for performance-oriented lessons.
· Students require a basic knowledge of the history of music.
· Students should have become acquainted with some aspects of the historical context of music by being able to identify some major political events, social or philosophical movements, and architectural or painting styles.
· Students require knowledge of the elements of music.
1. Play live or recorded examples of bugle/trumpet calls.
2. Ask students to identify the meaning that is associated with them (e.g., Reveille, Taps, The Last Post, William Tell trumpet fanfare excerpt, call of the horses at a raceway, etc.).
3. Have students draw up a list of music for various other instruments that contain a special meaning similar to that of the bugle calls.
4. Generate a discussion about how music has historically been an influence on culture. Some examples could include national anthems (people respond by standing), nationalistic symphonic music (Rule Britannia and the rituals associated with it), the use of music in movies and television to influence certain desired effects (Star Wars/The Ring Cycle - the use of motif).
5. Students provide similar examples (Part I, strategy 3) from their heritage.
6. Students perform or demonstrate the new sounds on their instruments.
7. The class discusses how the examples have had an influence on different cultures.
8. In a performance-based course, repertoire could be chosen to highlight the topics discussed in this activity (e.g., 1812 Overture - French-Russian history, national themes, the overlaying of these themes to imitate battle).
9. The teacher may use examples for the class considering their demographic make-up to discuss how the particular performance medium (e.g., steel drums course) has evolved in our country. (Use Appendix I for assessment.)
10. Students write in journals about their favourite music using Appendix J - Music Around The World Research Guideline as a guide. Themes for the writing could include their impressions of:
A. Who are the artists and where did they originate?
B. Describe the instrumentation and style of the music.
C. How has the music influenced the culture it originated from?
D. How has the music influenced our/their own culture?
E. Analyse and describe the cultural connections of that particular style of music.
11. Use the elements of music as a focal point for a discussion of the music being analysed.
· Arrange for peer assistance for journaling.
· Use tape recorder as a journal in Part III.
1. Projects/seminars - for Part II of Activity (use Appendix I - Rubrics, for assessment); (MT1.13X)
2. Performance tests; (MTV.02X, 03X) (MC1.04X, 05X)
3. Journals - Part III of Activity (Appendix J - Music Around The World Research Guideline); (MT1.13X, 14X) (MTV.01X)
4. Observation/conferencing/informal discussion. (MAV.01X, 04X)
Apel, Willi. Harvard Dictionary of Music. Cambridge, Massachusetts: The Belknap Press of Harvard University Press, 1972.
Bray, Kenneth I., D. Bruch Snell, and Ralph M Peters. For Young Musicians Volume I, II. Waterloo: Waterloo Music Company Limited, 1967.
Cooper, Martin, ed. The Concise Encyclopedia of Music and Musicians. New York: Sony Music Entertainment Inc., 1968.
Grout, Donald J. and Claude V. Palisca. A History of Western Music. New York: W.W. Norton and Company Inc., 1988.
Hancock, Herbie (host). Rock School, Volume III, “Funk, Reggae and New Music.” Oakville: Lorimar Home Video Canada, Ltd., 1987. 80 min.
Hughes, David H. A History of European Music. New York: McGraw-Hill Book Company, 1974.
Lent, Chris, ed. Rock School, Volume I, II. Port Chester, NY: Cherry Lane Music Co., 1984. (Text for Herbie Hancock Video listed above)
Machlis, Joseph. The Enjoyment of Music. New York: W.W. Norton and Company Inc., 1984.
Marsalis, Wynton. Marsalis on Music: Sousa To Satchmo. New York: Sony Music Entertainment Inc., 1995. 55 min.
Marsalis, Wynton. Marsalis on Music: Why Toes Tap. New York: Sony Music Entertainment Inc., 1955. 53 min.
|
MUSIC AND
CULTURE RUBRICS |
||||
|
Categories |
Level 1 (50-59%) |
Level 2 (60-69%) |
Level 3 (70-79%) |
Level 4 (80-100%) |
|
Thinking/Inquiry |
The student: |
|||
|
· critical analysis (e.g., analysing aesthetic components) |
· analyses music of cultures with limited clarity and effectiveness |
· analyses music of cultures with moderate clarity and effectiveness |
· analyses music of cultures with considerable clarity and effectiveness |
· analyses music of cultures with a high degree of clarity and effectiveness |
|
· creative thinking skills (e.g., fluency, flexibility, divergent thinking) |
· uses creative thinking skills with limited effectiveness |
· uses creative thinking skills with moderate effectiveness |
· uses creative thinking skills with considerable effectiveness |
· uses creative thinking skills with a high degree of effectiveness |
|
· making connections (e.g., between the arts and personal experiences, among the arts, and between the arts and the world outside the school) |
· demonstrates limited understanding of connections between music and culture |
· demonstrates some understanding of connections between music and culture |
· demonstrates considerable understanding of connections between music and culture |
· demonstrates thorough and insightful understanding of connections between music and culture |
|
1. Choose a country that interests you. |
|
2. Research background information (location, climate, culture, geography, industries). |
|
3. Listen to music from that country and describe the style. |
|
4. What accompaniment instruments are used and what do they look like |
|
5. What role does music play in everyday life here? |
|
6. For what occasions do people use music? |
|
7. What is the national anthem? |
|
8. How do people keep their culture alive? |
|
9. What is the cultural dress? |
|
10. In your opinion, what is the most valued heritage factor in this country? |
Time: 240 Minutes
Using the voice or traditional western instruments, students develop performance skills useful in small ensemble performances. Teacher and peers listen, describe, judge, interpret and analyse the performance in both orally and written form. Evaluation criteria are based upon pre-determined checklists and guidelines.
Ontario Catholic School Graduate Expectations:
The graduate:
· demonstrates flexibility and adaptability; (4b)
· thinks critically about the meaning and purpose of work; (5b)
· achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others. (5g)
Strand(s): Theory, Analysis, Creation
Overall Expectations:
· 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) ;
· identify and define in simple terms the elements of music (i.e., rhythm, melody, timbre, dynamics, harmony, texture and form); (MTV.01X) ;
· demonstrate the ability to read and understand musical notation; (MTV.02X) ;
· play or sing technical exercises and diverse repertoire (including their own creations when appropriate) that reflect the theory expectations; (MCV.01X) ;
· 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). (MCV.02X) ;
Specific Expectations:
· 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; (MA1.04X) ;
· analyse orally and in writing, the quality and impact of a variety of live and/or recorded performances, using appropriate music vocabulary; (MA1.03X)
· make artistic decisions about aspects of performance in individual and group situations; (MC2.04X) ;
· create a simple composition using the elements of melody, rhythm, and form and a variety of media (e.g., pencil and paper, acoustic instruments, recording equipment , MIDI technology, music software). (MC2.01X)
· Prepare listening examples of music performed by large ensembles (orchestra/chorus) and small ensembles (instrumental/vocal chamber groups).
· Prepare overheads of a vocal and band conductor score. Design a chart to catagorize instruments/voices according to Soprano/Alto/Tenor and Bass ranges.
· Design a chart to catagorize classroom instruments/voices according to Soprano/Alto/Tenor/Bass ranges.
· Prepare copies of Chorale #2 from Belwin “Warm-ups” For Symphonic Band or Jubilate Deo by Jerry Estes, for distribution purposes.
· Purchase commercial chamber music for performance purposes suitable to the level of the class.
· Manuscript paper for transposition purposes.
· Definition of orchestra, concert band, chamber music, combo, quintet, quartet, trio, duet
· Names and performance ranges of the instruments of the orchestra
· Possible voice groupings of a choir: S, SA, SSA, SAB, SATB
· Grouping of the instruments of the orchestra: woodwinds, brass, percussion and strings
· Performance evaluation criteria (style, tone quality, articulation, rhythm, balance/blend, and overall effect)
· Ability to interpret/compare/classify/describe and evaluate
1. Teacher presents listening examples of large ensembles. One of the following examples may be useful in this exercise. (For example, Africa, Ceremony, Song and Ritual by Robert W. Smith; Britannia by Elliot Del Borgo; Fantasia on Greensleeves by Vaughan Williams; Tales of the Vienna Woods by Johann Strauss; Roumania, On Popular Roumanian Themes by Jean Absil; Indian Suite by Edward Mac Dowell; Divertissement by Peter Tchaikovsky; Song of Good News, #561, (CBW); “Sabbath Prayer” from Fiddler on the Roof; “Hallelujah Chorus” from Messiah). Students listen and catagorize instruments/voices according to the correct range classification column on the prepared chart (e.g., Soprano, Alto, Tenor or Bass Range) and identify/relate instruments to the melodic or harmonic function.
2. Teacher presents listening examples of small ensemble styles. These include: the combo, chamber music, quintets, quartets or trios. All You Need Is Love by the Canadian Brass and any jazz choir recording by the Magnetics from Mayfield Secondary School, Brampton, Ontario, would demonstrate small ensemble and combo styles. Students listen and catagorize instruments/voices according to the correct voice classification on the prepared chart (e.g., Soprano, Alto, Tenor or Bass Range) and identify/relate instruments/voices to the melodic or harmonic function. Teacher and students discuss difference between large and small ensembles.
3. Each student identifies his/her instrument/voice according to Soprano, Alto, Tenor or Bass voicing and recognizes the melodic or harmonic function.
4. Teacher distributes copies of Chorale #2 by J.S. Bach or Kyrie by Jerry Estes. Students select the voice that best represents their instrument/voice and transposes the music on manuscript paper using the correct key signature. Students play together as a large ensemble and experiment with a variety of chamber group combinations. Performance criteria are based on Appendix K - Chamber Performance Evaluation. Students participate in the evaluation process by filling out Appendix L - Peer Evaluation of Chamber Performance.
5. From the class, students make up their own chamber groups, decide on the melodic and harmonic roles, compose a 16-measure song, and perform using the Performance Evaluation Criteria (style, tone quality, articulation, rhythm, balance/blend, and overall effect).
6. Students choose their own chamber groups and arrange a song of their choice. Evaluation is based on Appendix L - Peer Evaluation of Chamber Performance.
· Provide alternative to ensemble performance, such as solo/duet performance.
1. Chamber Performance Assessment - Appendix K; (MCV.01X) (MA1.03X, .04X)(MTV.02X)
2. Peer Assessment - Appendix L; (MC2.04X) (MCV.02X) (MAV.02X) (MA2.02X)
3. Projects; (MAV.01X) (MC2.01X)
4. Teacher Observation; (MAV.02X)
5. Presentations/demonstrations (Appendix K); (MTV.01X) (MA1.03X)
6. Checklist (Appendix L); (MAV.02X)
7. Discussion/conference; (MAV.01X) (MAV.04X) (MAV.03X) (MCV.02X)
8. Writing folder/notebooks; (MA2.03X)
9. Composition. (MCV.01X)
Barnes, Walter H. Book of Beginning Quintets. Toronto: Gordon V. Thompson Music, 1984.
The Best of Strauss. Holland: Point Productions, 1988.
The Canadian Brass. All You Need Is Love. Toronto: RCA Victor, 1997.
Estes, Jerry. Three Contemporary Latin Settings. Delaware Water Gap: Shawnee Press. 1993.
Ferris, Jean. Music: The Art of Listening. New York: William C. Brown Publishers, 1988.
James, O.J. Twenty-One Christmas Carols for Woodwind Trio. Pennsylvania: Shawnee Press, 1991.
Kuzmich, Natalie. Musical Growth. A Process of Involvement. Toronto: Gordon V. Thompson Publ., 1986.
Laszlo, Csupor. Konnyu fuvolatriok: Easy Trios for Flutes: Leichte Florentrios. Budapest: Editio Musica, 1983.
MacDowell, Edward. Smart Ready-To-Use Listening Tapes “Indian Suite” by Gwen Hotchkiss. New York: Parker Publishing Co., 1990.
Machlis, William. The Enjoyment of Music. New York: W.W. Norton and Company Inc., 1984.
Miles, R. Teaching Music Through Performance in Band, Vol. 1 & 2. Chicago: GIA Publications, 1998.
Rice, Tim and Andrew Lloyd Webber. Fiddler On The Roof, “Sabbath Prayer”. New York: Times Square Music Publications, 1967.
Smith, Leonard B. and Jack Bullock. Belwin “Warm-ups” For Symphonic Band. Miami: Belwin Mills, 1990.
Tchaikovsky, Peter. “Divertissement.” The Nutcracker Highlights. Los Angeles: Delta Music Inc., 1989.
Voxman, H. and R.P. Block. First Book of Saxophone Quartets. San Antonio: Southern Music Co., 1986.
|
CHAMBER
PERFORMANCE EVALUATION |
|
|
Student Name: ___________________________ |
Date: __________________________________ |
|
Instrument/Voices: __________________________________________________________________ |
|
|
Title of Piece: ______________________________________________________________________ |
|
|
Arranger/Composer: ________________________________________________________________ |
|
|
Performance
Criteria |