WOODLAND HILLS HIGH SCHOOL LESSON PLAN Name: Mrs. Rachel Godfrey Date: September 16, 2013 Length of Lesson: One week Content Area: Music Class: Orchestra Strings I have updated my Edline and Class Website. STAGE I – DESIRED RESULTS LESSON TOPIC: BIG IDEAS: Tuning G scale study Sonatina Individual Playing tests (Content standards, assessment anchors, eligible content) objectives, and skill focus) UNDERSTANDING GOALS (CONCEPTS): ESSENTIAL QUESTIONS: The skills, techniques, elements, and principles of the arts can be learned, studied, refined, and practiced. Artists use tools and resources, as well as their own experiences and skills, to create art. The arts provide a medium to understand and exchange ideas. People use aesthetic and critical processes to assess quality, interpret meaning, and determine value. Students will understand: that people make music throughout their lives. that there are similarities between works in different arts disciplines from different time periods and different cultures that musicians use both aesthetic and critical processes to assess their own work and compare it to the work of others that musicians use rehearsal as a productive time to perfect skills and music for performance How do an artists’ skills and experiences affect his or her art-making? In what ways do the arts both define and express beauty? In what ways do consumers of art change the meaning of a work in the arts? How do artists use rehearsals to improve or revise their work? How are the arts a medium for expressing, challenging or preserving what a culture questions, traditions, and/or believes? How do artists question reveal and question stereotypes, self-awareness, and what is means to be an artist? VOCABULARY: STUDENT OBJECTIVES (COMPETENCIES/OUTCOMES): rhythmic structures (beat, meter, pattern, polyrhythms) melodic structures (contour/patterns, modes/scales, melodic sequence) harmonic structures and textures standard music forms, genres, composers, stylistic features terms and symbols used in music improvisation, composition, listening skills, sight reading, performance skills Students will be able to: demonstrate the ability to independently (& together) create, recreate and perform musical works. explain similarities between works in dance, music, theatre, and visual arts in various cultural and historical contexts. analyze the ways in which a musician’s use of rhythm, melody, harmony, form, texture, and expressive qualities influence an audience’s personal response to the music. identify post-graduation opportunities to be part of the musical community as audience members, amateur musicians, or professional musicians. STAGE II – ASSESSMENT EVIDENCE PERFORMANCE TASK: Students are ultimately expected to demonstrate their knowledge and skills at the end-of the semester concert(s). Attendance and participation in the performances is required. OTHER EVIDENCE: Students will continually be evaluated based on their participation and behavior in daily rehearsals and on written assignments. STAGE III: LEARNING PLAN INSTRUCTIONAL PROCEDURES: (Active Engagement, Explicit Instruction, Metacognition, Modeling, Scaffolding) Students are presented with opportunities to interpret, evaluate, refine, and present music accurately and artistically/ Students are provided with opportunities to apply aural skills, music theory, and understanding of music concepts to independently communicate about music. MINI LESSON: Students will review individual parts as deemed necessary during the rehearsal process. Students will sing with their own voice part as well as in various combinations with other voice parts in order to accurately learn their own part. Students will be introduced to necessary/appropriate music-reading skills and vocabulary pertaining to each specific piece of music. MATERIALS AND RESOURCES: Music/piano/instrument Buchanan, H. and Mehaffey, M., ed. (2005). Teaching music through performance in choir, volume 1. Chicago: GIA Publications, Inc. Buchanan, H. and Mehaffey, M., ed. (2007). Teaching music through performance in choir, volume 2. Chicago: GIA Publications, Inc. Robinson, R. and Althouse, J. (1995). The complete choral warm-up book. Alfred Publishing Co., Inc. Hansen, D. (2002). Handbook for music supervision. Reston, Virginia: MENC-The National Association for Music Education. Mark, M. (1996). Contemporary music education. (3rd ed.). Belmont, California: Schirmer. Endorse, K. (2003). Aspiring to excel: Leadership initiatives for music educators, volume 1. Chicago: GIA Publications, Inc. INTERVENTIONS: Identify music performance problems (i.e. intonation, phrasing, blend, balance, tone quality, notation/performance discrepancies) and methods for correcting problems. Use teaching strategies that motivate and promote students’ music growth, independence and creativity. Evaluate the effectiveness of music instruction in terms of content, process, and teacher self-evaluation. Identify problems of individual vocal/sound production and determine methods of correction. Identify practices in the care and maintenance of the vocal mechanism/instrument to promote lifelong performance. Identify musical problems in an ensemble performance and determine methods of correction. Instructional adjustments will be made to address the learning needs of specific students. ASSIGNMENTS: Students are expected to independently practice music and refine their skills. As a supplement to class participation, students will, at times, be required to complete written assignments including writing prompts, article reading, and performance reflections. WHY THE ARTS: The arts encompass skills, techniques, elements and principles that can be learned, studied, refined and practiced. Learning about and through the arts develops citizens who can make meaning from their experiences, analyze their choices, identify and creatively respond to problems, take risks, and tolerate ambiguity. A comprehensive, sequential arts education develops lifelong learners by offering students the chance to learn and practice as performers, creators, critical thinkers, informed audience members and stewards of their cultural heritage.