HERRING, MICHELLE L.
CULTURALLY RELEVANT PEDAGOGY IN THE MIDDLE SCHOOL CHORAL CLASSROOM
FLORIDA MUSIC EDUCATORS ASSOCIATION CONFERENCE
JANUARY, 2015
Listening/Improvisation/Composition Sample Lesson
CRP Lesson Series Lesson #1
Objective: Students will listen to and watch Walk Off the Earth’s “Somebody I Used to Know,” and apply ostinati using body
percussion to accompany “Somebody I Used to Know.”
National Standards applied in this lesson:
Standard 2: Performing on instruments, alone and with others, a varied repertoire of music
Standard 3: Improvising melodies, variations, and accompaniments
Standard 4: Composing and arranging music within specified guidelines
Standard 6: Listening to, analyzing, and describing music
Standard 7: Evaluating music and music performances
NEW CORE STANDARDS:
CREATING STRAND:
Imagine: Generate musical ideas for various purposes and contexts
Plan and Make: Select and develop musical ideas for defined purposes and contexts.
Evaluate and Refine: Evaluate and refine selected musical ideas to create musical work(s) that meet appropriate
criteria.
Present: Share creative musical work that conveys intent, demonstrates craftsmanship, and exhibits originality.
CONNECTING STRAND:
Connect #10: Synthesize and relate knowledge and personal experiences to make music.
Connect #11: Relate musical ideas and works with varied context to deepen understanding.
Materials:

Authentic video of “Somebody I Used to Know” https://www.youtube.com/watch?v=d9NF2edxy-M&feature=relmfu

Handout containing the text to the song. (see Attachment A)

Listening guide (see Attachment B)
Procedures: Students will:
1.
Receive text handout (Attachment A) and Listening Guide (Attachment B).
2.
Listen to recording of “Somebody I Used to Know,” while following along with the text (Cultural Competence, Academic
Success). Note: It is important that students hear the video prior to watching so the quality of improvised instruments can be
heard.
3.
Complete the Listening Guide and discuss answers with the class (Academic Success).
4.
Watch the YouTube video so students can check their answers on the Listening Guide (Academic Success).
5.
Answer the following questions: (Cultural Competence, Academic Success)
a.
In what ways did the musicians utilize the guitar?
a.
What are some of the different patterns you heard played on the guitar? Did some repeat throughout the entire
song? (Teacher: “Rhythmic or melodic patterns that repeat in a cycle during a song are called ostinato(i).”)
b.
6.
What are some different ways you can use your bodies to create and ostinato (body percussion)?
Watch the body percussion video by THUD.
http://www.youtube.com/watch?v=LQTol51C4oU&list=FLXJeTjPrpDjTQuJeEzOf54A&index=1&feature=plpp_video
HERRING, MICHELLE L.
CULTURALLY RELEVANT PEDAGOGY IN THE MIDDLE SCHOOL CHORAL CLASSROOM
FLORIDA MUSIC EDUCATORS ASSOCIATION CONFERENCE
JANUARY, 2015
7.
Practice creating ostinati with a metronome (♩=100 for 30 seconds).
8.
Practice ostinati while listening to “Somebody I Used to Know.” Note: Have small groups play ostinato and stop ostinato at
different times, so students can listen to student examples.
9.
Complete Assignment
a.
Create an ostinato pattern to accompany “Somebody I Used to Know” using body percussion and teach it to the
class (Cultural Competence, Academic Success).
10. Homework (in preparation for lesson 2)
a.
Bring an item(s) from your house that you could use as an instrument. This instrument could be percussive or
pitched. (Sociopolitical Consciousness, Cultural Competence, Academic Success)
HERRING, MICHELLE L.
CULTURALLY RELEVANT PEDAGOGY IN THE MIDDLE SCHOOL CHORAL CLASSROOM
FLORIDA MUSIC EDUCATORS ASSOCIATION CONFERENCE
JANUARY, 2015
Attachment A
Listening/Performance Sample Lesson
CRP Lesson Series #1
Now and then I think of when we were together
But had me believing it was always something that I'd done
Like when you said you felt so happy you could die
But I don't wanna live that way
I told myself that you were right for me
Reading into every word you say
But felt so lonely in your company
You said that you could let it go
But that was love and it's an ache I still remember
And I wouldn't catch you hung up on somebody that you used
to know
You can get addicted to a certain kind of sadness
But you didn't have to cut me off
Like resignation to the end
Make out like it never happened
Always the end
And that we were nothing
So when we found that we could not make sense
And I don't even need your love
Well you said that we would still be friends
But you treat me like a stranger
But I'll admit that I was glad that it was over
And that feels so rough
No you didn't have to stoop so low
But you didn't have to cut me off
Have your friends collect your records
Make out like it never happened
And then change your number
And that we were nothing
I guess that I don't need that though
And I don't even need your love
Now you're just somebody that I used to know
But you treat me like a stranger
And that feels so rough
Somebody
No you didn't have to stoop so low
I used to know
Have your friends collect your records
Now you're just somebody that I used to know
And then change your number
Somebody
I guess that I don't need that though
I used to know
Now you're just somebody that I used to know
Now you're just somebody that I used to know
Now you're just somebody that I used to know
I used to know
Now you're just somebody that I used to know
That I used to know
I used to know
Now and then I think of all the times you screwed me over
Somebody
HERRING, MICHELLE L.
CULTURALLY RELEVANT PEDAGOGY IN THE MIDDLE SCHOOL CHORAL CLASSROOM
FLORIDA MUSIC EDUCATORS ASSOCIATION CONFERENCE
JANUARY, 2015
Attachment B
Listening/Performance Lesson
CRP Lesson Series Lesson #1
1.
How would you describe this piece?
2.
What is this song about?
3.
How many voice/instrument parts do you hear?
4.
In what setting do you think you would hear this piece?
5.
Did you like this piece? Why or why not?
HERRING, MICHELLE L.
CULTURALLY RELEVANT PEDAGOGY IN THE MIDDLE SCHOOL CHORAL CLASSROOM
FLORIDA MUSIC EDUCATORS ASSOCIATION CONFERENCE
JANUARY, 2015
Improvisation/Composition/Performance Sample Lesson
CRP Lesson Series Lesson #2
Objective: Students will create and apply ostinati on improvised instruments to the traditional South African song, “Siyahamba.”
National Standards applied in this lesson:
Standard 2: Performing on instruments, alone and with others, a varied repertoire of music
Standard 3: Improvising melodies, variations, and accompaniments
Standard 4: Composing and arranging music within specified guidelines
Standard 5: Reading and notating music
NEW CORE STANDARDS:
CREATING STRAND:
Imagine: Generate musical ideas for various purposes and contexts
Plan and Make: Select and develop musical ideas for defined purposes and contexts.
Evaluate and Refine: Evaluate and refine selected musical ideas to create musical work(s) that meet appropriate
criteria.
Present: Share creative musical work that conveys intent, demonstrates craftsmanship, and exhibits originality.
PERFORMING STRAND:
Analyze: Analyze the structure and context of varied musical works and their implications for performance.
Interpret: Develop personal interpretations that consider creators’ intent
Rehearse, Evaluate, and Refine: Evaluate and refine personal and ensemble performances, individually or in
collaboration with others.
Present: Perform expressively, with appropriate interpretation and technical accuracy, and in a manner appropriate
to the audience and context
RESPONDING STRAND:
Analyze: Analyze how the structure and context of varied musical works inform the response.
Interpret: Support interpretations of musical works that reflect creators’/performers’ expressive intent.
Evaluate: Support evaluations of musical works and performances based on analysis, interpretation, and established
criteria.
CONNECTING STRAND:
Connect #10: Synthesize and relate knowledge and personal experiences to make music.
Connect #11: Relate musical ideas and works with varied context to deepen understanding.
Materials:

Handout containing background information on “Siyahamba” (see Attachment A)

Authentic recording of “Siyahamba” Choral Concert: Tapiola Choir - Tormis, V. /Asheim, N.H. / Busto, J. / Debussy, C. /
Mellnas, A. / Kortekangas, O. / Kostiainen, P. (Rainbow Sounds), Ondine Records, 1996

Handout containing the sheet music to the song. (see Attachment B)

Video of improvised instrument performance by THUD http://www.youtube.com/watch?v=gq6H5GBNKP0

Video of how to make homemade instruments
http://www.youtube.com/watch?v=SK52EVv9xew&list=FLXJeTjPrpDjTQuJeEzOf54A&feature=mh_lolz
HERRING, MICHELLE L.
CULTURALLY RELEVANT PEDAGOGY IN THE MIDDLE SCHOOL CHORAL CLASSROOM
FLORIDA MUSIC EDUCATORS ASSOCIATION CONFERENCE
JANUARY, 2015
Procedures: Students will:
1.
Watch video of improvisational instrument performance by THUD and answer the following questions (Academic Success):
a.
What improvised instruments were being used?
b.
In what ways were these instruments being played to create the desired sound?
c.
In what ways was body percussion being utilized to create the desired sound?
c.
Receive background information handout (see Attachment A), text translation, and sheet music (see Attachment B).
2.
Listen to recording of “Siyahamba,” while following along with the sheet music (Cultural Competence, Academic Success).
3.
Answer the following questions: (Sociopolitical Awareness, Cultural Competence)
a.
What ostinati do you think would be culturally appropriate for “Siyahamba?”
b.
Are there different types of instruments or beats that are associated with music from other cultures?
4.
Create ostinato with improvised instruments while listening to “Siyahamba” (Academic Success, Cultural Competence).
5.
Watch homemade instrument demonstration video and answer the following questions (Cultural Competence, Sociopolitical
Awareness):
a.
6.
In what situations would playing improvised instruments be a viable option?
Complete Assignment
a.
Bring a recording of a song from a culture from which you identify for the class to create ostinati using body
percussion or improvised instruments (Cultural Competence, Sociopolitical Awareness).
b.
Be prepared to answer the following (Academic Success, Cultural Competence):
i. Why was this song chosen?
ii. What ostinato do you think would be most culturally appropriate for this song?
HERRING, MICHELLE L.
CULTURALLY RELEVANT PEDAGOGY IN THE MIDDLE SCHOOL CHORAL CLASSROOM
FLORIDA MUSIC EDUCATORS ASSOCIATION CONFERENCE
JANUARY, 2015
Attachment A
Improvisation/Composition/Performance Sample Lesson
CRP Lesson Series Lesson #2
HERRING, MICHELLE L.
CULTURALLY RELEVANT PEDAGOGY IN THE MIDDLE SCHOOL CHORAL CLASSROOM
FLORIDA MUSIC EDUCATORS ASSOCIATION CONFERENCE
JANUARY, 2015
Attachment A
Improvisation/Composition/Performance Sample Lesson
CRP Lesson Series Lesson #2
HERRING, MICHELLE L.
CULTURALLY RELEVANT PEDAGOGY IN THE MIDDLE SCHOOL CHORAL CLASSROOM
FLORIDA MUSIC EDUCATORS ASSOCIATION CONFERENCE
JANUARY, 2015
HERRING, MICHELLE L.
CULTURALLY RELEVANT PEDAGOGY IN THE MIDDLE SCHOOL CHORAL CLASSROOM
FLORIDA MUSIC EDUCATORS ASSOCIATION CONFERENCE
JANUARY, 2015
HERRING, MICHELLE L.
CULTURALLY RELEVANT PEDAGOGY IN THE MIDDLE SCHOOL CHORAL CLASSROOM
FLORIDA MUSIC EDUCATORS ASSOCIATION CONFERENCE
JANUARY, 2015
Resources:
1.
Bond, J. (Ed.). (1995). Share the Music. New York, NY, Macmillian/McGraw-Hill School Publishing Company, 308-311.
2.
National Core Arts Standards (June, 2014). National Coalition for Core Arts Standards. Retrieved from:
http://musiced.nafme.org/files/2014/05/Core-Music-Standards-PreK-81.pdf.
HERRING, MICHELLE L.
CULTURALLY RELEVANT PEDAGOGY IN THE MIDDLE SCHOOL CHORAL CLASSROOM
FLORIDA MUSIC EDUCATORS ASSOCIATION CONFERENCE
JANUARY, 2015
Composition/Performance Sample Lesson
CRP Lesson Series Lesson #3
Objective: Students will create an ostinato composition using improvised instruments or body percussion based on a photo to perform
in a community concert.
National Standards applied in this lesson:
Standard 1: Singing, alone and with others, a varied repertoire of music
Standard 2: Performing on instruments, alone and with others, a varied repertoire of
music
Standard 3: Improvising melodies, variations, and accompaniments
Standard 4: Composing and arranging music within specified guidelines
Standard 9: Understanding music in relation to history and culture
NEW CORE STANDARDS:
CREATING STRAND:
Imagine: Generate musical ideas for various purposes and contexts
Plan and Make: Select and develop musical ideas for defined purposes and contexts.
Evaluate and Refine: Evaluate and refine selected musical ideas to create musical work(s) that meet appropriate
criteria.
Present: Share creative musical work that conveys intent, demonstrates craftsmanship, and exhibits originality.
PERFORMING STRAND:
Select: Select varied musical works to present based on interest, knowledge, technical skill, and context.
Analyze: Analyze the structure and context of varied musical works and their implications for performance.
Interpret: Develop personal interpretations that consider creators’ intent
Rehearse, Evaluate, and Refine: Evaluate and refine personal and ensemble performances, individually or in
collaboration with others.
Present: Perform expressively, with appropriate interpretation and technical accuracy, and in a manner appropriate
to the audience and context
RESPONDING STRAND:
Select: Choose music appropriate for a specific purpose or context.
Analyze: Analyze how the structure and context of varied musical works inform the response.
Interpret: Support interpretations of musical works that reflect creators’/performers’ expressive intent.
Evaluate: Support evaluations of musical works and performances based on analysis, interpretation, and established
criteria.
CONNECTING STRAND:
Connect #10: Synthesize and relate knowledge and personal experiences to make music.
Connect #11: Relate musical ideas and works with varied context to deepen understanding.
HERRING, MICHELLE L.
CULTURALLY RELEVANT PEDAGOGY IN THE MIDDLE SCHOOL CHORAL CLASSROOM
FLORIDA MUSIC EDUCATORS ASSOCIATION CONFERENCE
JANUARY, 2015
Materials:

Photo of urban street singers (see Attachment A)

Description of photo (see Attachment B)

Improvised instruments (i.e., spoons, pots, zippers if not using body percussion)

Paper

Writing utensil
Procedures: Students will:
1.
Receive photo of urban street singers
2.
Write interpretations of the photo using prompts of Who, What, When, Where, and Why (Academic Success, Cultural
Competence, Sociopolitical Consciousness).
3.
Discuss photo interpretations as a class. Use the following as discussion topics: (Academic Success, Cultural Competence,
Sociopolitical Consciousness)
c.
Describe the musical role of each person performing in the photo
d.
What is each performer using as an instrument? (i.e. body percussion, traditional instruments, or singing)
e.
Why type of music do you think the urban street performers were performing? Why?
4.
Read description of photo (see Attachment B)
5.
Complete Assignment (Cultural Competence, Academic Success)
a.
Form a group of five students
b.
Ask each group member to take on the role of one of the performers. Create an ostinato for that person using body
percussion or an improvised instrument.
c.
Arrange the group’s ostinati into a 2-minute composition with a beginning, middle and end. Layering ostinato, a
verse/chorus structure, or using a form similar to ABA can be ways to design compositions.
d.
6.
Perform compositions for class.
Perform compositions as a community recital
a.
Project or provide copies of the urban street singers photo to the audience.
b.
Nominate one person from each group to discuss interpretations of the photo.
c.
Perform each group’s interpretation of the assignment.
HERRING, MICHELLE L.
CULTURALLY RELEVANT PEDAGOGY IN THE MIDDLE SCHOOL CHORAL CLASSROOM
FLORIDA MUSIC EDUCATORS ASSOCIATION CONFERENCE
JANUARY, 2015
Attachment A
Composition/Performance Sample Lesson
CRP Lesson Series Lesson #3
HERRING, MICHELLE L.
CULTURALLY RELEVANT PEDAGOGY IN THE MIDDLE SCHOOL CHORAL CLASSROOM
FLORIDA MUSIC EDUCATORS ASSOCIATION CONFERENCE
JANUARY, 2015
Attachment B
Composition/Performance Sample Lesson
CRP Lesson Series Lesson #3
HERRING, MICHELLE L.
CULTURALLY RELEVANT PEDAGOGY IN THE MIDDLE SCHOOL CHORAL CLASSROOM
FLORIDA MUSIC EDUCATORS ASSOCIATION CONFERENCE
JANUARY, 2015
Internet Resources:
1.
http://nyportraits.blogspot.com/2010/07/singing-for-supper-in-washington-square.html
2.
National Core Arts Standards (June, 2014). National Coalition for Core Arts Standards. Retrieved from:
http://musiced.nafme.org/files/2014/05/Core-Music-Standards-PreK-81.pdf.
HERRING, MICHELLE L.
CULTURALLY RELEVANT PEDAGOGY IN THE MIDDLE SCHOOL CHORAL CLASSROOM
FLORIDA MUSIC EDUCATORS ASSOCIATION CONFERENCE
JANUARY, 2015
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Michelle L. Herring
University of North Texas
michelleherring@my.unt.edu
mlherring13@gmail.com