MADISON PUBLIC SCHOOLS
Music Appreciation
Authored by: Adriana Marallo
Reviewed by: Lee Nittel,
Director of Curriculum and Instruction
Stacy Snider,
Supervisor of Visual and Performing Arts
Adopted by the Board: January, 2013
Members of the Board of Education:
Lisa Ellis, President
Patrick Rowe, Vice-President
David Arthur
Kevin Blair
Shade Grahling
Linda Gilbert
Thomas Haralampoudis
James Novotny
Superintendent: Dr. Michael Rossi
Madison Public Schools
359 Woodland Road, Madison, NJ 07940
www.madisonpublicschools.org
I.
OVERVIEW
Music Appreciation is a full-year course that meets two times per week. It is designed for students
not currently participating in a performing ensemble (band, chorus, orchestra). The primary
objective of this course is to engage students in making music through singing, composition, creating
their own instruments, and exploring how music affects their daily lives. A broad range of musical
styles, from Dixieland jazz to television and movie soundtracks, to African drumming and Classical
orchestral music and musical theatre will be studied. Music’s role in history and how it has shaped
the development of cultures around the world will also be explored. Performance opportunities on
classroom instruments such as drums and recorders will be ample throughout the course. The
relationship of music to other disciplines will also be covered.
II.
RATIONALE
“Performing musically…engages a person’s entire system of conscious powers: attention, awareness,
cognition, emotion, intention and memory.”1 Music appreciation is a course that provides students
with the opportunity to engage actively in music-making and discovering important connections to
other cultures, disciplines and ways of life. Students will participate in the creative processes of
composing music, constructing instruments, building on prior knowledge of basic music theory,
rhythm and melody. Students will research contemporary and classical composers and musicians
who have made an impact on popular culture. Specific goals of this course include active student
involvement and support of music in their school, but also to become more aware of the pervasive
and powerful effects of music outside of school. Individual and group projects throughout the cycle
will encompass a variety of learning styles such as kinesthetic, inter and intra-personal. Musical
learning develops emotional intelligence as well as rational and logical thinking skills. Collaborative,
public speaking and presentation techniques will also be strengthened in this course, as well as
making vital connections between music and other subject areas.
III.
STUDENT OUTCOMES (Linked to New Jersey Core Curriculum Standards)
1.1
1.2
1.3
1.4
1.
2.
3.
4.
5.
6.
7.
8.
9.
1
Creative Process
History of Arts and Culture
Performance
Aesthetic Response and Critique Methodologies
SWBAT sing, perform music on instruments in groups and individually (Standard 1.2)
SWBAT construct and create musical instruments (Standard 1.4).
SWBAT demonstrate an understanding of the importance and relevance of music in their everyday
lives, and identify the various media outlets that provide music (Standards 1.1, 1.4).
SWBAT listen to and identify major works from various musical time periods and their composers.
SWBAT will compose and improvise music in groups and individually (Standard 1.2).
SWBAT demonstrate an understanding of basic music reading and theory through reading and
performing brief pieces on the treble, bass and percussion clefs. (Standards 1.2, 1.3)
SWBAT evaluate and analyze their own performances, as well as performances of classmates and
other musicians via CD, DVD/video and live performances. (Standard 1.4)
SWBAT identify and cite specific examples of how music relates to history, culture and society.
(Standard 1.5)
SWBAT understand and appreciate various career opportunities in the field of music (Standard 1.2)
Elliott, David. Music Matters. New York, NY: Oxford University Press, 1995. p. 60.
2 ESSENTIAL QUESTIONS AND CONTENT
UNIT 1: BASIC MUSICAL SKILLS AND CONCEPTS
Objective 1: SWBAT identify visually and aurally the instruments included in a full orchestra and concert
band, and their roles in their respective ensembles.
Question: What are the traditional instruments of the orchestra and concert band, and the skills required to
successfully master these instruments?
Suggested Activities:
A. Students interview a friend involved in the school band or orchestra with guided teacher and studentgenerated questions, and share findings with class.
B. Students create a chart/poster of the full orchestra or traditional concert band including brief
descriptions of each instrument and their function in the ensemble. Students may also conduct the
interview during class time, introducing their guests in a “Meet the Musician” talk show.
C. Students observe a band, orchestra, or choir rehearsal and answer specific questions relating to how the
ensemble works together to achieve musical success.
Objective 2: SWBAT demonstrate basic knowledge of the roles of melody and rhythm in the creation and
performance of music through movement, singing, playing on instruments and class discussion.
Question: What do the lines and spaces of the music staff tell us about the music?
Suggested Activities:
A. Students create a mnemonic device for memorizing the lines and spaces on the treble clef staff and share
their ideas with the class.
B. Students will perform basic three note songs on pitched percussion instruments such as the xylophone or
recorder and create their own melodies with the same three notes.
Question: Why is music arranged in patterns of strong and weak beats?
Suggested Activities:
A. Teacher discusses with students that strong beats are called “downbeats” and weak beats are “upbeats.”
This is demonstrated by conducting patterns in various meters and having students clap on strong beats
(beat one) and snap or pat legs on weak beats. Students then take turns conducting and leading class in
body percussion rhythm patterns.
B. Play recordings of pieces with 2/4 , ¾ or 4/4 time signatures. Students identify meters of songs based on
when they hear downbeats and upbeats.
C. Students experiment rewriting familiar songs in 4-4 meter into 3-4 by changing rhythmic values, editing
the melodic line, and modifying the lyrics or text to fit into the new meter. Class discusses process of
arranging and challenges that arose during the task.
Objective 3: SWBAT describe different vocal and instrumental timbres.
Question: What is vocal timbre, and how does it differ in various cultures and styles of music?
Suggested Activities:
A. Students explore the definition of timbre in their Making Music book glossary, as “the tone color (sound)
of an instrument or voice.” Class brainstorm a list of adjectives that might describe a musical tone quality
(e.g. raspy, clear, dark, mellow, etc.)
B. Students listen to Montage: Vocal Styles from Around the World (CD 2-11) and choose words from their
list of adjectives that describe the timbres they hear.
C. Students learn the Cantonese words to “Yu guang guang,” using the pronunciation guide provided in the
Making Music text. Students listen to recording once, then sing along with recording and describe the
the vocal timbre of the Cantonese soloist featured.
Question: What is the difference in timbre between a big band and a concert band?
Suggested Activities:
A. Review instrumentation of traditional concert band. Students create a list of types of bands (brass bands,
rock bands, marching bands, big band, etc.)
B. Students listen to a recording of “It Don’t Mean a Thing If It Ain’t Got That Swing” recorded by the
Count Basie Band, and discuss the instruments they hear, the style and the timbre of various instruments.
Students also discuss the same elements after listening to a recording of Frank Ticheli’s “Blue Shades,”
performed by the Eastman Wind Ensemble.
C. Create a Venn diagram comparing and contrasting Big Bands with traditional Concert Bands.
UNIT 2: THE LANGUAGE, STRUCTURE AND TEXTURE OF MUSIC
Objective 1: SWBAT exhibit an understanding of musical structure and tools of expression, such as meter
changes, dynamics, texture and form.
Question: How do dynamics serve to express emotion in music?
Suggested Activities:
A. Students listen to and sing the song “A Brand New Day” from the musical, The Wiz. As they listen,
students are advised to think about why the music is exciting, and how the singers express themselves
through the song.
B. Teacher reads the poem “Youth” by Langston Hughes in a monotone voice. Students take turns reading
poem aloud, experimenting with various vocal inflections and dynamic ranges, then compare and
contrast various styles of reading to determine which best expressed the intent of the poem.
Question: What is the difference between simple and compound meters?
Suggested Activities:
A. Students will listen to recordings of “Greensleeves” (orchestral, arranged by Ralph Vaughan Williams)
and “Blue Mountain Lake” (American folk song), and feel the heavy and light beats (strong and weak),
both in compound meter. Teacher will then play an example of simple meter, such as “The Black Horse
March” by Sousa. Class will compare and contrast the two meters, and discover how the beats are
subdivided into duple and compound meters.
B. Students will be divided into small groups. One member of each group will serve as the “metronome,”
or “beat keeper”, responsible for maintaining the steady beat. Groups will compose a short piece in
either simple or compound meter using voice, body and non-melodic percussion. Other groups guess
which meter was featured and explain why.
Objective 2: SWBAT sing and perform on instruments major, minor and pentatonic scales, and compare and
contrast various scale modes.
Question: What is the difference between major and minor scales?
Suggested Activities:
A. Teacher plays a major scale on the piano, students echo by singing with teacher. This is repeated several
times until students can sing alone or play on a xylophone. Teacher then plays a minor scale, and asks
students to raise their hands when they hear notes that have been altered from the major scale.
Discussion will ensue on how major and minor scales differ, and how they function in musical contexts.
B. Class generates a list of similarities and differences between major and minor scales, which is posted in
the classroom. This is used as a listening guide when determining which mode is employed in a specific
piece. Recordings are listened to of several examples each of pieces in major and minor keys; students
are divided into teams and awarded points for each correct guess.
Question: What is the pentatonic scale, and how does it compare to the major and minor scales?
Suggested Activities:
A. Review format and functions of both major and minor scales. Scales are drawn on the chalkboard and
played for the students; students should also be able to sing pitches or play along with teacher on piano
or xylophone.
B. Students listen to the pentatonic scale played in several keys, and discuss differences in sound, number of
notes in each scale, etc.
C. Students play 5 – note major pentatonic scale on the black keys of a piano, and improvise short melodies
using exclusively pentatonic notes.
D. Recordings are played of several Asian songs, some of which use the pentatonic scale, and others written
in major or minor keys. Students identify the scale used in each selection.
Objective 3: SWBAT identify several simple musical forms such as ABA, verse-refrain (ballad), rounds and
fugues, through listening, improvisation and composing.
Question: What is a round, and how does a round compare to a canon and fugue?
Suggested Activities:
A. Students perform a simple round such as “Row, Row, Row Your Boat,” or “Hotaru Koi” and discuss
rondo and canon forms in music. Cite other popular rounds.
B. Using body percussion, class is divided into three sections and performs a simple, eight measure
rhythmic round.
C. Students learn to hum or sing on neutral syllables the first four measures of the theme of J.S. Bach’s
“Little” Organ Fugue in G Minor. Listen to the performance on the Making Music CD, counting the
number of times the main theme or subject enters.
Question: What are the most common forms used in American folk and popular music?
Suggested Activities:
A. Students will explore “verse-refrain” (ballad) form by identifying common songs with verses and refrains.
Listen to “Mr. Tambourine Man” composed by Bob Dylan, performed by the Byrds; identify how many
verses they hear and how the verses compare to the refrain or chorus.
B. Students will create a chart or poster identifying various sections of popular songs: verse, refrain, bridge,
coda, etc. Students will listen to examples of variations on the familiar construction of songs.
C. Students will assemble in groups and compose a short song in verse-refrain form, with lyrics preapproved by the teacher. They may choose to incorporate a guitar, piano, or percussion accompaniment.
They may also choose to invite students from the band or orchestra to participate in performing the
accompaniment.
Materials: xylophone or other pitched percussion instruments, Making Music CD (recording of Bach’s
“Little” Fugue in G Minor and The Byrds’ “Mr. Tambourine Man”), stereo, recording equipment
UNIT 3: CREATING MUSIC AND MUSICAL INSTRUMENTS
Objective 1: SWBAT describe and participate in the process of organizing sound and silence into music, and
identify several major works in the category of “chance” or aleatoric music.
Question: What is the difference between noise, sound and music?
Suggested Activities:
A. Students will examine how some music is organized into distinct forms and sections, (such as the last
movement of Beethoven’s Symphony No. Five) and other music is less definitive.
B. Students will listen to John Cage’s piece 4’ 33”, or Concert for Piano and Orchestra, as well as other
pieces of chance music, electronic and non-standard use of traditional musical instruments.
C. Class divides into two teams to debate whether Cage’s piece qualifies as “music” or “organized
noise.”
Question: How has the process of music composition evolved to include non-traditional instruments?
Suggested Activities:
A. Teacher displays several traditional percussion instruments such as bass drum, piano, xylophone,
and asks students to take turns individually and come up with one unique way to “play” the
instrument they choose, encouraging them to be as creative as possible (such as, tapping on the leg of
the piano with a drumstick, playing with fingers only on the metal rim of the bass drum). Class will
vote on the most creative “performances” and create a piece incorporating their choices.
B. Students will each be assigned an instrument, both traditional and non-traditional, such as snare
drum or recorder, paper bag, PVC pipe, spoons. They will have time to work in small groups to
create a short piece and will perform their selections for the class.
C. Students will take turns individually conducting the class in an improvised performances on various
traditional and non-traditional instruments. Teacher will model proper conducting cueing
techniques, and will record the performances for later evaluation. Students will write a brief journal
entry documenting their experience with chance music.
Objective 2: SWBAT identify how modern instruments are constructed, what materials are used, and the role
of acoustics and science in the process.
Question: What factors determine the timbre, range and sound quality of a particular instrument?
Suggested Activities:
A. Teacher will present and play one instrument from each instrument family. Class will discuss the
differences and similarities in sound, appearance and construction of each instrument.
B. Examples of instruments in various stages of construction or repair will be obtained from a local
music store, students will experiment (with teacher guidance) how to assemble and repair each
instrument.
C. A local instrument-maker or instrument repair technician will speak to the class and guide them
through the process of creating traditional instruments.
Question: What is the role of acoustics and science in instrument construction and performance, and the
design of music performance spaces?
Suggested Activities:
A. Students will discover basic principles of acoustics and sound waves through a brief presentation
given by an MJS or MHS science teacher, and individual research of local concert venues, such as
the PNC Arts Center, The Young Center Recital Hall at Drew University.
B. Students will visit the Dorothy Young Center for the Performing Arts at Drew University, the
Morristown Theatre, local churches in which concerts and recitals are held. Performances or
rehearsals may be observed; students take notes on the features of the buildings, and what factors
contribute to the acoustics.
C. Students will design their own “Dream Performance Space”, based on research of renowned concert
halls and visits to local music venues, their acoustic properties and construction. Work can be done
in small groups to brainstorm ideas, draw the plans for their space, or construct a model. Inspiration
can be drawn from the Walt Disney Concert Hall in Los Angeles, CA, designed by Frank Gehry,
The Eugene McDermott Concert Hall in Dallas, TX, designed by I.M. Pei, etc.
Objective 3: SWBAT construct their own instruments and compose brief individual and group works using
previously discovered knowledge of basic form and sound organization.
Question: How does one create music with non-traditional instruments?
Suggested Activities:
A. Students will create a group composition using only body and vocal percussion, demonstrating a
basic understanding of musical form, beat and cooperation as an ensemble.
B. Students will create their own percussion instruments using “found objects” such as pots, pans,
paper, plastic bags, buckets, etc.. Activity will culminate in individual and group performance with
these instruments, and viewing and assessment of the video “STOMP.”
Objective 4: SWBAT demonstrate an understanding of how modern technology has influenced the creation
and composition of music.
Question: What types of technological resources are available to modern
for student use?
composers, and are they available
Suggested Activities:
A. Research music notation software programs Sibelius and Finale, and music mixing software such as
Garage Band.
B. Teacher will assist students by demonstrating how to create a simple composition using a computer
and optional MIDI keyboard, and provide students with the opportunities to experiment with the
software in class.
Materials: Computer, electronic MIDI-compatible piano keyboard, manuscript paper, overhead projector
or SmartBoard, STOMP DVD, “found objects,” student-constructed instruments, boomwhackers,
cassette or digital recording equipment, staff paper for notation, flute, guitar, trumpet, and other
orchestra and band instruments that may be available, instrument repair and construction tools.
PowerPoint projector, white/chalk board, pencils, Making Music Grade 6 textbook and CD
UNIT 4: WESTERN CLASSICAL MUSIC : HISTORY, COMPOSERS AND BRIDGES TO MODERN
MUSIC
Objective 1: Students will develop an understanding of the techniques and process of composing music, and
how these have evolved.
Question: What is a melodic motive, and how did classical composers use motives in their writing?
Suggested Activities:
A. Students play or sing the opening motive from Beethoven’s Fifth Symphony and will listen to an excerpt
of the opening movement from this work. Students count how many times they hear the opening motive
in the three minute of the piece
B. Students listen to “Movement 1 from Beethoven’s Fifth Symphony” with commentary by Peter Schickele
and Robert Dennis. Students discuss why they think the “narrators” described the music as if they were
announcing a sporting event.
C. Students listen to New Horizons in Music Appreication (Making Music CD 4-28) and discuss humorous
treatment of motives and themes.
D. Students compare melodic and rhythmic motives by researching definitions and examples of each in their
class text, Making Music.
Question: What is a sequence, and how is this technique employed in music composition?
Suggested Activities:
A. Students listen to and read the excerpts of Mozart’s “Alleluia”, a three-part canon. Students analyze the
examples of melodic sequence in the excerpts and how they change throughout the piece.
B. Teacher cites examples of sequence in other pieces, and common folk songs, such “She’ll Be Coming
‘Round the Mountain,” and “Frere Jacques.” Students generate other examples and speculate why
phrases and sequences may be repeated and altered in these examples.
C. Students analyze how composer George Gershwin employed sequence in his song “Strike Up the Band”
through circling motives and sequences as they appear in the printed music, and listed several examples
of how the motives were altered to create sequences. Students discover that sequences can be exact
repetitions of material on the same pitch, or variations on pitch.
Objective 2: Students will demonstrate an understanding of the development of the modern orchestra and how
string instruments are utilized in modern rock and pop music.
Question: How is the modern orchestra different than in the baroque and classical periods?
Suggested Activities:
A. Students will research baroque string instruments (such as viola d’amore and lute) and compare them to
the modern strings (such as violin, cello, guitar). Students create a poster or other art project comparing
and contrasting a modern string instrument and its predecessor(s).
B. Students will listen to a recording of Haydn’s String Quartet performed on authentic period instruments
and compare it to a performance on modern string instruments.
Question: What are the conventional and extended string techniques, and how have composers incorporated
them into orchestral music?
Suggested Activities:
A. Teacher and guest students from the school orchestra will demonstrate the traditional bowed style of played
the violin, and pizzicato, a plucked style without the bow. Students will practice holding string instruments
and experimenting with basic bowing and pizzicato techniques.
B. Students will listentwic to Movement 3, “La Tempesta,” from Antonio Vivaldi’s The Four Seasons. The
first time, students are guided to listen to how Vivaldi depicted a summer rainstorm through various
compositional techniques (e.g. dynamic changes, pizzicato-style). The second time, students are instructed
specifically to raise their hands when they hear pizzicato playing and determine which instruments utilize
the effect.
C. Students view the video String Instruments: Bowed, and discuss performances on the Chinese erhu, country
fiddle, classical violin, viola, cello and bass.
Objective 3: Students will explore the development of music through the Baroque and Classical Styles.
Question: Who were the prominent composers of the Baroque era and what characterized their music?
Suggested Activities:
A. Students will research the term “baroque,” discovering that it originally had a negative connotation derived
from jewelers, meaning large, irregularly-shaped, or bizarre. Class will discuss musical definition of
“baroque.”
B. Students will examine traditional instruments of baroque ensembles, and the improvements of such
instruments as recorder, harpsichord and baroque trumpet.
C. Students will explore how the philosophical, artistic, and scientific developments of the late baroque period
influenced the development of music, with particular focus on the Age of Science (Sir Isaac Newton,
discoveries of Galileo, astronomy, etc.) Students will create a chart connecting these and other historical
elements occurring simultaneously.
D. Students research the lives of musicians and composers in the early 18th century and why so much of their
music sounded similar (composers were often servants to masters or patrons, and copied each other , and
many of them worked for royal courts or the church, which had very specific guidelines and purposes for
the music.
E. Students will examine the primary traits of Baroque music ( logical harmonies, regularity in rhythmic
patterns, prominent use of sequence, specific key signatures and tonal centers as representative of particular
emotions, etc.) through guided listening, using worksheets and teacher direction as needed in class.
Examples of Baroque music to be played in class:
J.S. Bach – Little Fugue in G Minor, selections from The Well-Tempered Clavier, Wachet Auf cantata,
“Toccata and Fugue in D Minor” for organ
Telemann – Flute concerti, Tafelmusik
Vivaldi – The Four Seasons
Question: How does Baroque music differ from Classical music?
Suggested Activities:
A. Students will create a chart for their own study and reference listing traits of Baroque music on one side,
and Classical on the other. As the unit progresses, students will add what they consider to be the most
defining characteristics of each era. At the end of the unit, the class compares their charts and creates a
master study guide based on the collective charts.
B. Students will work in pairs and select a composer to research from choices provided by instructor:
Haydn, Mozart, Beethoven, Schubert, Mahler, etc. and present a project documenting the composer’s
music, as well as a personal biography.
C. Students will watch a video performance of excerpts twice from Mozart’s opera Die Zauberflote (The
Magic Flute), first without a translation or subtitles, and generate class debate or discussion about what
they believe is happening in the various scenes, and how Mozart’s music and the acting of the characters
portrays emotion and tells a story. For the second viewing, students will be given a translation of the text
or watch the version with subtitles.
Question: Who was Ludwig van Beethoven, and what influence did he have upon Classical music?
Suggested Activities:
A. Students will divide into three groups; each group will focus on a different area of Beethoven’s life:
personal biography, the historical and cultural events of his time, the prominent features and innovations
of his music. Each group will present a project combining listening examples, charts, posters, a written
report and other creative, group generated elements.
B. Each group will create their own “quiz” for the other groups in the class. The quiz will consist of ten
multiple choice questions encapsulating the essence of their research.
C. Students will discuss why Beethoven continues to be one of the most beloved and popular classical
composers of all time, and listen to many examples of his music, including Symphonies no. 3, 5, ad 7,
excerpts from his only opera, Fidelio, piano sonatas opus 57 in F minor (“Appasionata”), opus 27 (“The
Moonlight”) and other works as indicated by student interest.
Materials: Recordings of classical and baroque music, school orchestra and band instruments suitable for
classroom playing and exploration, Making Music text and CDs, video/DVD of Die Zauberflote
UNIT 5: WORLD MUSIC DRUMMING
Objective 1: SWBAT demonstrate an understanding of the cultures, history, geography and how they impact
the music of Western African nations.
Question: What is the role of music in everyday life for the people of Western Africa?
Suggested Activities:
A. Students will select a sub-Saharan, west African nation such as Ghana, Libera, or Nigeria, research
and present to the class a list of three “non-music” facts and three “music” facts. Class notes any
overriding themes or characteristics common among the countries research and discuss how the
“non-music” and “music” facts may have influenced each other.
B. Students attend a local drum circle or drumming presentation and note the role of dance in the
musical celebration.
C. Students will learn a simple Nigerian song and dance, “Bobo waro fero Sato deh” (“Everybody
Loves Saturday Night”), and discuss how the dance and music together create the celebratory feeling
of the song.
Objective 2: SWBAT identify a variety of African percussion instruments and note the regions/tribes that are
associated with each instrument.
Question: What are the traditional instruments of West Africa, and what are their respective roles in musical
ensembles?
Suggested Activities:
A. Students will study map of Africa and diagrams and pictures of African instruments featured in World
Music Drumming, and be assessed by a written quiz.
B. Students will explore various African instruments displayed in various “centers” located throughout the
classroom and classify the instruments by name and type of instrument (e.g. tube zither, in mebranophone
family) and complete accompanying worksheet.
Objective 3: SWBAT demonstrate proper playing technique of a variety of world percussion instruments.
Question: How do the construction and the performance of percussion instruments in other regions of the
world compare to those of western Africa?
Suggested Activities:
A. Frame drums will be introduced to the class through the World Music Drumming video, demonstrating
playing techniques and how the drums was invented and constructed (e.g. the tambourine (western),
Egyptian Riq, Brazilian Pandeiro). Tambourines will be distributed to the class to practice techniques
demonstrated in the video. Students will be individually and in small groups for evaluation.
C. Students will conduct independent research on a percussion instrument of their choice, excluding familiar
Western instruments such as the snare and bass drums. Students present findings to class, and
demonstrate rhythm patterns common to particular drums (djembe, bongo, timbales, etc.)through
clapping, or on the instrument itself (if available).
D. Students will perform a short group of drumming rhythms as modeled by the teacher, arranged in a
“complementary layered pattern”. Class will discover how the instruments work together and evaluate
individual and group performances.
Objective 4: SWBAT distinguish between African and Caribbean styles of drumming, and compare common
elements.
Question: How has African drumming influenced Caribbean music and culture?
Suggested Activities:
A. Students will study a map and “fact sheet” about Latin America and the Caribbean culture, noting
especially the European nations that originally colonized various islands.
B. Class discusses the blend of European and African influences in the Caribbean, and listens to the
recording of a Cuban song, “Ma Teodora.” Students list elements of European music that they hear
(harmony, “wordy” style, use of band and orchestral instruments, major scale tonality) and African
elements (drums, bells, call and response, layered rhythms).
C. Class is divided in half; one group is assigned as representing European style, and the other group
represents African style. Groups must work together to create a class composition using the lyrics of the
poem, combining both influences to create their own Caribbean – inspired piece. Performance is
recorded for later group assessment.
Materials: frame drums, variety of African and Caribbean percussion instruments, World Music Drumming
book, video and CD, AfroCelts CD – Pod, recording device
UNIT 6: 20TH AND 21ST CENTURY AMERICAN MUSIC HISTORY AND PERFORMANCE
Objective 1: SWBAT appreciate and understand the importance of classical European music and how it has
influenced the development of modern music in America.
Question: Who were some of the great classical composers, and how is their music relevant today?
Suggested Activities:
A. Students research a topic of their choice on United States history from 1685 to 1750, and present findings
to the class. The reports will be used to construct a timeline of important events occurring during the
lifetime of composer Johann Sebastian Bach. This activity can also be modified for the life of any
classical composer and period in American history (such as Brahms, 1833-1897).
B. Students listen to an excerpt from Beethoven’s Symphony No. 5 in C Minor, Movement 1, and are
asked to identify the composer of this famous opening theme. Students sing or play opening motive with
teacher, and then listen to the first 20 seconds of the theme again and are asked to write a “1” on a sheet
of paper every time they hear this motive.
C. Class discusses what the term “motive” means and how many times Beethoven used this particular
motive, and how the motive was varied in the selected excerpt. Teacher explains that the use of motives
is a common compositional technique in many musical genres, from symphonies to country western
songs.
D. Students work in small groups to create their own melodic and/or rhythmic motive, and explore three
ways to vary their motives. Groups play or sing their original and permutated motives for the class.
Class experiments with incorporating the motives into a larger work, and compare this process to the art
of composition.
Objective 2: SWBAT demonstrate an understanding of the history, importance and broad influence of
American jazz and blues music.
Question: What is the role of jazz music in the development of contemporary pop and rock and roll music?
Suggested Activities:
A. Students listen to Miles Davis’ “Kind of Blue.” Compare the original recording to other popular
versions, including Chet Baker, Wayne Shorter, etc. Discuss the variations in each of these
performances, and segue into the topic of “cover songs” in pop music.
B. Create a poster documenting a famous jazz musician and his or her musical influence.
Question: Where was Jazz originally developed, and what styles of jazz evolved as it become popular across
America? How was the development of jazz linked with the Great Depression and the impact of the
segregation laws of the time?
Suggested Activities:
A. Students will research the cities of New Orleans and Kansas City, and their musical roots, and the lives
of the musicians living and creating art in the 1930s. Portions of the Ken Burns’ film series Jazz will be
viewed and discussed in class.
B. Students will listen to examples of Dixieland Jazz recorded in the 1930s and compare the same song
recorded in another style, such as Bebop, Big Band Swing, or Jazz Rock. Flash cards depicting various
instruments are distributed among the class. When students hear their particular instrument being
played in a listening example, they will stand. Class compiles a list of which instruments were
predominant in each style, which were unique and only used occasionally, and which were the most
pervasive.
Question: What has been the role of women jazz musicians, and how has that changed through the years?
Suggested Activities:
A. Students evaluate how the role of female jazz musicians has evolved from the 1930’s onward. Class
discusses some of the challenges they have faced, who the most influential female jazz musicians have
been in America.
B. Students watch excerpts of
C. Students will select a female jazz musician as a subject of a short biography and present it to the class.
Students may also choose to write a short skit, performed with members of the class, or to play or
perform music recorded by their selected artist.
Question: Who are the leaders in the jazz industry now, and how have they been influenced by the jazz
greats of the past?
Suggested Activities:
A. Students will research a contemporary jazz musician currently living in the tri-state area and discover
their primary influences in musical development.
B. Class will create as a group a “Jazz Family Tree” and timeline.
C. Students will create a comprehensive “Jazz Mix” CD by selecting what they believe to be the essential,
most influential jazz pieces, representing an array of styles and musicians.
Objective 3: SWBAT understand the essential elements of minimalist music, name several minimalist
composers, and create and perform simple minimalist pieces.
Question: What is minimalist music?
Suggested Activities:
A. Listen to Terry Riley’s In C. Have students form small groups, and create their own short musical
motive using voice, body percussion and/or percussion instruments and construct a “class composition”
using Riley’s piece as a model. Teacher collects written motives or records the performance. This class
piece may be used in a performance setting at an MJS concert.
B. Compare minimalist music to “chance” or aleatoric music. Have students create a poster or diagram
contrasting these two distinct styles.
Objective 4: SWBAT identify various genres and performers of musical theatre, and delineate its influence on
American music and drama.
Question: What is a musical, and how was this art form developed in America in the 20th century?
Suggested Activities:
Question: How does opera compare with the typical Broadway musical? What are some similarities and
differences?
Suggested Activities:
Materials: staff paper, recording of Terry Riley’s “In C,” as well as examples of other minimalist music,
written scores for student analysis, large poster board, various art materials, Ken Burns’ Jazz documentary,
About 80 Years of Jazz in 80 Minutes, CD and activity cards, by Cathy Blair, PBS video: Broadway – The
American Musical, Making Music book and CD, MusicAlive! magazine
UNIT 7: CAREERS IN MUSIC
Objective 1: SWBAT understand the various careers in music and what is required to be successful in these
fields.
Question: What are the career opportunities available to those interested in music?
Suggested Activities:
A. Students will research specific career opportunities in music and present a brief report to the class.
B. Guest speaker visits the class for a presentation, question and answer period. Speaker will be someone
who is pursuing a career in music such as music and sound recording and engineering, management, music
therapy, composer, etc.
Objective 2: SWBAT identify necessary means of training and education required for those desiring to enter
a music position, particularly in the areas of management and production.
Question: How does one prepare for a career in music?
Suggested Activities:
A. Students will research colleges and universities and comprise a list of the available careers in music and
how many years of study are required to complete the program
B. Students will play “Music Career Charades”. Student will act out for class which career they have
chosen, from a list previously generated by the class. Class will discuss which careers were easy to
identify during the game, which were more difficult and why.
C. Students will research a contemporary pop, rock, country or rap performer (or other style of music of
their choice) and research how they prepared for their career, what training they received and other
biographical information. Students will generate a list of questions and answers for their character to
answer on a “Music Star Talk Show.” One student will be the host, while the other will answer the
questions as they feel their character would. Students will be encouraged to be creative by dressing in
costume (if they choose) and bringing in music by their selected artist (pre-approved by the instructor) to
play for the class.
Objective 2: SWBAT identify ways in which music is part of lives outside of school and the various musical
media outlets such as television, film and the internet.
Question: How does music affect our daily lives?
Suggested Activities:
A. Analyze music in commercials: discuss why certain music is used and what emotions or responses it
evokes. Students can then create their own advertising jingles.
B. Students listen to movie soundtracks and watch brief film excerpts (such as the Star Wars theme), and
discuss how the music supports the plot, characters or mood of the scene.
C. Students study the lyrics to “The Star-Spangled Banner”. Various recordings are played for the class, both
instrumental and vocal. Students are asked to listen actively and identify which recording they enjoyed the
most, and why, and discuss the meaning of the lyrics, and when and why the national anthem is played.
D. Students research the composition of “The Star-Spangled Banner,” guided by the following questions:
brief biography of the composer, when it was written, and what was occurring in American history at the
time, various artists who have recorded and performed the anthem, and other pertinent information.
E. Students generate a list of patriotic holidays and songs on the board and discuss history associated with
each. Students conduct individual research on a patriotic song of their choice.
Materials: Star Wars film (and other films demonstrating an effective soundtrack for analyzing), TV, CD
player, relevant Music Alive! Magazine issues
UNIT 8: MUSIC IN OUR SCHOOL, COMMUNITY AND SOCIETY
Objective 1: SWBAT demonstrate an understanding of the importance of music and the arts in our society
and what each person can do to participate in the arts in the local community.
Question: Why should we support the arts and attend local music performances?
Suggested Activities:
A. Students attend an MJS concert and write a one-paragraph review of the performance, noting their
favorite piece and why, who the performers were and what styles and types of music were featured.
B. A local musician performs for the class and discusses concert etiquette and the various community outlets
for music participation in Madison and the surrounding area.
C. Students perform their version of STOMP (see Unit 2) for other classes, as a separate assembly or as part
of the band, orchestra or choral evening concert for parents.
D. Students are divided into pairs and asked to brainstorm answers to questions such as:
Why do you think people give money to support the arts? and “If you were to donate funds to support the
arts, which type of program would you select and why? Students share their group discussions with the class.
The activity could culminate by researching a particular fund or program that accepts donations, and
choosing one based on their decisions made in class discussions. Students can present information about
their chosen organization to the class.
Objective 2: SWBAT demonstrate knowledge of how music is connected to other disciplines, particularly the
arts, and cite specific examples.
Question: How does music relate to the visual and other performing arts?
Suggested Activities:
A. View scenes from Walt Disney’s film Fantasia 2000, and discuss how the music and animation
intertwine to create a work of art. Have students listen to “The Waltz of the Flowers” from
Tchaikovsky’s Nutcracker ballet, and draw their own picture influenced by the music.
B. Students explore music works inspired by works of art such as Mussorgsky’s Pictures at an Exhibition.
As they listen to excerpts of the music, they will match them with the correct paintings that inspired the
composer. Students present and defend their findings to the class.
C. View paintings qualified as “action paintings,” such as works by Jackson Pollack’s Reflections of the Big
Dipper, (Making Music, p. 202), and compare the creative process to “chance” music composition.
Question: How is music related to mathematics and science?
Suggested Activities:
A. Entire class will brainstorm as teacher records on board the ways that music and math may be related:
counting, use of numbers and time, patterns, dividing beats and measures, meter, etc.
B. Teacher will review the Chromatic Scale with the class, and explain the concept of Serial Music to the
class, involving the creation of a chart, and non-repition of notes until all 12 tones of the series are used
in a particular order. Students will then listen to examples of serial music, while reading the score, or
chart. Shoenberg, Berg, etc.
C. Students will create their own serial composition on xylophone, or other melodic instrument. Teacher
will guide students through the process of creating tone rows, variations on tone rows such as
retrograde, and will define specific parameters for the compositions.
Materials: STOMP DVD, TV/DVD player, sample concert programs which include concert etiquette,
internet/web sites relating to arts patronage, recordings of Mussorgsky’s “Pictures at an Exhibition”
(orchestral and original piano recordings), slides or posters of paintings that inspired the composition,
photographs of graffiti art, Making Music textbook, Fantasia 2000 film, recording of The Nutcracker.
3 STRATEGIES
1.
2.
3.
4.
5.
6.
7.
8.
9.
Teacher and professional musician guest demonstration/modeling
Multi-media presentation
Creation, improvisation and notation of music
Frequent class performances
Attending and evaluating performances outside of the classroom, at school and local venues
Researching and presenting group projects of performers, composers, and other musicians
Guest speakers and performers
Collaborative projects and performances
Consistent teacher, peer and self-evaluation of students integrated into class structure
4 EVALUATION
Inherent in the performance of music is critique. It is imperative for optimal musical learning that
students understand how to listen to performances and assess their own progress throughout the course.
Teacher evaluation, the opinion and critique of fellow class members, and self-reflection are also essential
components of evaluation. According to the instructor’s discretion, written quizzes may be appropriate to
test mastery of specific musical concepts, such as note-reading and simple rhythmic dictation. Occasional
written reports, posters, group projects and individual presentations will also serve as assessment tools.
However, the primary method of evaluating musical learning is through active performance. Throughout the
course, students will engage in group and solo performance, and build their skills and confidence in
performing with their peers and in front of an audience.
1.
2.
3.
4.
5.
For this course, students will be evaluated through the following means:
Self-evaluation of performance (singing or with instruments) through journal or written reflection,
and oral reflection
Written reports on composers and/or prominent modern musicians
Improved and refined musical performance skills on percussion and classroom instruments
Written and improvised musical compositions
Demonstrate knowledge of the various career opportunities in music
Grades in Music Appreciation will be based on effort, originality, collaborative skills, attention to detail,
participation and improvement of musical skills.
5 REQUIRED RESOURCES
Making Music Resource Book
A subscription to InTune Magazine will provide student with individual copies to take home.
Additional Teacher Resources:
World Drumming Music Drumming: A Cross-Cultural Curriculum – Dr. William Schmid, pub. Hal
Leonard
Meet the Great Composers books 1 and 2 and CD – June Montgomery and Maurice Hinson, pub. Alfred
Now’s the Time for Jazz , Teaching Jazz to All Ages– Doug Goodkin, book and 2 CD set, pub. Pentatonic
Press
Classics at the Movies CD, produced by RCA
Music!: Its Role and Importance in Our Lives, pub. McGraw-Hill
STOMP OUT LOUD! (1997) DVD, directed by Steve McNicholas
PULSE: A STOMP ODYSSEY (2006), DVD
BLAST! An Explosive Musical Celebration (2001), DVD
Body Rondo, Jim Solomon, pub. Memphis Musicraft
Introduction to Music, pub. Usborne
Magazine subscription: Music Alive!
P.B.S. Video Documentary: Jazz - Ken Burns
Afrocelts Sound System CD: Pod
Worksheets and Instrument Identification Cards - About 80 Years of Jazz in About 80 Minutes – Cathy Blair
Book and CD – Making Music, grade 6 – pub. Silver Burdett
6
SCOPE AND SEQUENCE
While the sequence of presentation of the material in this course is flexible, it is designed to build on skills
previously learned in the elementary general music and performing ensemble courses. The units are
organized to guide the student from basic music reading and performing skills to the creation of their own
music and musical instruments, to identifying with professional as well as amateur and student musicians, to
connecting music actively to the world around them by attending and participating in performances.
Culminating in the study of various careers in music and understanding of the history of music and how it
affects our lives today, the course presents many opportunities for musical learning and development. The
hope is that students will gain not only an appreciation for music and the arts, but will become active
participants in the many musical opportunities available to them in the Madison School District and
community.
The instructor should bear in mind that most of these students have minimal experience with performing
music, and should challenge students to develop their confidence in this area by creating an exciting,
comfortable and fun atmosphere. This will ideally facilitate maximum musical learning and exploration.
Projects that focus on drawing on students’ creativity and natural energy to create and participate in music
will be most effective.
UNIT 1: Basic Musical Skills and Concepts (4 weeks)
UNIT 2: The Language, Structure and Textures of Music (4 weeks)
UNIT 3: Creating Music and Musical Instruments (4 weeks)
UNIT 4: Western Classical Music: History, Composers, and Bridges to Modern Music (5-6 weeks)
UNIT 5: World Music Drumming (4 weeks)
UNIT 6: 20th and 21st Century American Music History and Performance (6 weeks)
UNIT 7: Careers in Music (4 weeks)
UNIT 8: Music in Our School, Community and Society (4 weeks)