Common Core Curriculum Maps
Music Sources
Grade 12 Unit 1 European Literature
In this six-week unit, students explore the tension between the
divine and the human in the literature of the Middle Ages.
"O frondens virga" From the Ordo Virtutum
Gregorian Chant
Renaissance:
Missa prolationum is a musical setting of the Ordinary of the Mass, by Johannes
Ockeghem
Missa de Beata Virgine is a musical setting of the Ordinary of the Mass, by Renaissance
composer Josquin des Prez
Missa Papae Marcelli, or Pope Marcellus Mass, is a mass by Giovanni Pierluigi da
Palestrina. It is his most well-known and most often-performed mass, and is frequently
taught in university courses on music.
Mass for Four Voices William Byrd –
Sonata pian'e forte was written by Giovanni Gabrieli, an Italian composer and organist
in 1597
SEVENTEENTH CENTURY MUSIC
“Cruda Amarilli”, Monteverdi madrigal --composed around 1600)
“Le Bourgeois gentilhomme “-- Lully
“The Four Seasons” -- Antonio Vivaldi (Italian: Le quattro stagioni)
“Brandenburg Concerto No. 6 in B flat major” -- J.S. Bach
Eighteenth and Early Nineteenth Century
Essential Question: What role does nature play in eighteenth and early
nineteenth century literature?
(also could include Vivaldi’s Four Seasons here)
Pastorale Symphony -- L. Beethoven
Motet in F for Soprano, "Exsultate, jubilate" (K. 165) -- W.A. Mozart
Mass in C minor, K. 427 (Benedictus) – W.A. Mozart
“Lacrimosa” -- Mozart Requiem
Prelude Op 28 No 15 'Raindrop' Frederic Chopin
-
“Caprice No. 24 in A minor, Op.1 (Tema con variazioni)” -- Nicolo Paganini
GRADE 12 UNIT 5
EUROPEAN LITERATURE
NINETEENTH CENTURY
ESSENTIAL QUESTION
How do Romantic and Victorian literature embody the tension
between art for art’s sake and art as a response to social and cultural
conflict?
Symphonie Fantastique: Épisode de la vie d'un Artiste...en cinq parties (Fantastic
Symphony: An Episode in the Life of an Artist, in Five Parts), Op. 14, is a Program
symphony written by the French composer Hector Berlioz in 1830.
A Faust Symphony in three character pictures (German: Eine Faust-Symphonie in
drei Charakterbildern), S.108, or simply the "Faust Symphony", was written by
Hungarian composer Franz Liszt and was inspired by Johann von Goethe's drama, Faust.
The symphony was premiered in Weimar on September 5, 1857, for the inauguration of a
monument to Goethe and Schiller.
The Manfred Symphony in B minor, Op. 58, is a programmatic symphony composed
by Pyotr Ilyich Tchaikovsky between May and September 1885. It is based on the poem
"Manfred" written by Lord Byron in 1817.
“Death and Transfiguration” (Tod und Verklärung), Op. 24, is a tone poem for large
orchestra by Richard Strauss. Strauss began composition in the late summer of 1888 and
completed the work on November 18, 1889
"Si, mi chiamano Mimi" La Boheme -- Puccini
“Un bel di” Madama Butterfly -- Puccini
Grade 12 ► Unit 6
European Literature: Twentieth Century
Using Auden’s term “Age of Anxiety” as a focal idea,
students consider both the breakdown and affirmation of
meaning in twentieth-century literature in this final sixweek unit.
Essential question:
Why might the twentieth century be regarded as the Age of Anxiety?
The War Requiem, Op. 66 is a large-scale, non-liturgical setting of the Requiem Mass
composed by Benjamin Britten mostly in 1961 and completed January 1962
“Symphony No. 2 The Age of Anxiety” Leonard Bernstein -- composed from 1948 to
1949 in the US and Israel. It is titled after W. H. Auden's poem of the same name. It was
dedicated to Serge Koussevitzky. The symphony was revised in 1965.
YOUTUBE link: Joyce Yang on Bernstein’s “The Age of Anxiety”
http://www.youtube.com/watch?v=y3js60mAzoI
“Brave New World” -- Iron Maiden -- link:
http://www.youtube.com/watch?v=NOyiaVezOm4
lyrics:
Dying swans twisted wings, beauty not needed here
Lost my love, lost my life, in this garden of fear
I have seen many things, in a lifetime alone
Mother love is no more, bring this savage back home
Wilderness house of pain, makes no sense of it all
Close this mind dull this brain, Messiah before his fall
What you see is not real, those who know will not tell
All is lost sold your souls to this brave new world
A brave new world, in a brave new world
A brave new world, in a brave new world
In a brave new world, a brave new world
In a brave new world, a brave new world
Dragon kings dying queens, where is salvation now
Lost my life lost my dreams, rip the bones from my flesh
Silent screams laughing here, dying to tell you the truth
You are planned and you are damned in this brave new world
A brave new world, in a brave new world
A brave new world, in a brave new world
In a brave new world, a brave new world
In a brave new world, a brave new world
A brave new world, in a brave new world
A brave new world, in a brave new world
In a brave new world, a brave new world
In a brave new world, a brave new world
Dying swans twisted wings, bring this savage back home
…………………………………………………………………
WEST SIDE STORY
The most famous musical theatre adaptation of Romeo and Juliet is West Side Story with
music by Leonard Bernstein and lyrics by Stephen Sondheim. It débuted on Broadway
in 1957 and in the West End in 1958, and became a popular film in 1961.
Nancy White link:
http://www.myspace.com/nancywhitemusic/music
ELEVENTH GRADE
Grade 11 ► Unit 1
The New World
This four-week unit, the first of six, allows students to
experience the earliest American literature.
ESSENTIAL QUESTION
Why do people explore new worlds?
The Lakes of Ponchartrain – folk song
T'was on one bright March morning I bid New Orleans adieu
And I took the rode to Jackson town, me fortune to renew
I cursed all foreign money, no credit could I gain
Which filled me heart with longin' for the Lakes of Pontchartain.
I stepped on board of a railroad car beneath the morning sun
And I rode the roads 'til evening and I laid me down again
All strangers here, no friends to me 'til a dark girl towards me came
And I fell in love with a Creole girl from the Lakes of Pontchartrain.
I said my pretty Creole girl, me money here's no good
If it weren't for the alligators I'd sleep out in the wood
You're welcome here kind stranger, our house it's very plain
But we never turn a stranger out at the Lakes of Pontchartrain.
She took me to her mummy's house and she treated me quite well
The hair upon her shoulders in jet black ringlets fell
To try and paint her beauty I'm sure t'would be in vain
So handsome was my Creole girl from the Lakes of Pontchartrain.
I asked her if she'd marry me, she'd said it could never be
For she had got another and he was far at sea
She said that she would wait for him and true she would remain
'Til he returned for his Creole girl from the Lakes of Pontchartrain.
So fair thee well me bonny o' girl I never see no more
But I'll ne'er forget your kindness and the cottage by the shore
And at each social gathering a flowin' glass I'll raise
And drink a health to me Creole girl from the Lakes of Pontchartrain.
……………………………………………………………………………………………….
“Chester” ----William Billings
Let tyrants shake their iron rod,
And Slav'ry clank her galling chains,
We fear them not, we trust in God,
New England's God forever reigns.
Howe and Burgoyne and Clinton too,
With Prescot and Cornwallis join'd,
Together plot our Overthrow,
In one Infernal league combin'd.
When God inspir'd us for the fight,
Their ranks were broke, their lines were forc'd,
Their ships were Shatter'd in our sight,
Or swiftly driven from our Coast.
The Foe comes on with haughty Stride;
Our troops advance with martial noise,
Their Vet'rans flee before our Youth,
And Gen'rals yield to beardless Boys.
What grateful Off'ring shall we bring?
What shall we render to the Lord?
Loud Halleluiahs let us Sing,
And praise his name on ev'ry Chord.
Let tyrants shake their iron rod,
And Slav'ry clank her galling chains,
We fear them not, we trust in God,
New England's God forever reigns.
Howe and Burgoyne and Clinton too,
With Prescot and Cornwallis join'd,
Together plot our Overthrow,
In one Infernal league combin'd.
When God inspir'd us for the fight,
Their ranks were broke, their lines were forc'd,
Their ships were Shatter'd in our sight,
Or swiftly driven from our Coast.
The Foe comes on with haughty Stride;
Our troops advance with martial noise,
Their Vet'rans flee before our Youth,
And Gen'rals yield to beardless Boys.
What grateful Off'ring shall we bring?
What shall we render to the Lord?
Loud Halleluiahs let us Sing,
And praise his name on ev'ry Chord.
‘’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’
“Simple Gifts”—Shaker Tune
……………………………..
“Go Down Moses”
Grade 11 ► Unit 2
A New Nation
This six-week unit, the second of six, examines the writers
and documents associated with the founding of the new
American nation, as well as some of the poetry and other
prose of the time.
ESSENTIAL QUESTION
What is unique about the founding of America?
“God Save the Thirteen States” sung to the tune of “God Save the King”
God Save the Thirteen States
1
God save the Thirteen States!
Long rule the United States!
God save our States!
Make us victorious,
Happy and glorious;
No tyrants over us;
God save our States!
2
To our famed Washington,
Brave Stark at Bennington,
Glory is due.
Peace to Montgomery's shade,
Who as he fought and bled,
Drew honors round his head,
Num'rous as true.
3
Oft did America
Foresee with sad dismay
Her slav'ry near.
Oft did her grievance state,
But Britain, falsely great,
Urging her desp'rate fate,
Turned a deaf ear.
4
We'll fear no tyrant's nod
Nor stern oppression's rod,
Till time's no more.
Thus Liberty, when driv'n
From Europe's states, is giv'n
A safe retreat and hav'n
On our free shore.
5
O Lord! Thy gifts in store,
We pray on Congress pour,
To guide our States.
May union bless our land,
While we, with heart and hand,
Our mutual rights defend;
God save our States!
Words: unknown
Music: God Save the King
Source:
http://musicanet.org/robokopp/usa/godsavet.htm
For audio file see:
http://www.nationalanthems.us/forum/YaBB.pl?num=1190883828
“The World Turned Upside Down”
http://www.youtube.com/watch?v=54CKjoaragE&feature=related
Listen to me and you shall hear, news hath not been this thousand year:
Since Herod, Caesar, and many more, you never heard the like before.
Holy-dayes are despis'd, new fashions are devis'd.
Old Christmas is kicked out of Tow
Yet let's be content, and the times lament, you see the world turn'd upside down.
The wise men did rejoyce to see our Savior Christs Nativity:
The Angels did good tidings bring, the Sheepheards did rejoyce and sing.
Let all honest men, take example by them.
Why should we from good Laws be bound?
Yet let's be content, and the times lament, you see the world turn'd upside down.
Command is given, we must obey, and quite forget old Christmas day:
Kill a thousand men, or a Town regain, we will give thanks and praise amain.
The wine pot shall clinke, we will feast and drinke.
And then strange motions will abound.
Yet let's be content, and the times lament, you see the world turn'd upside down.
Our Lords and Knights, and Gentry too, doe mean old fashions to forgoe:
They set a porter at the gate, that none must enter in thereat.
They count it a sin, when poor people come in.
Hospitality it selfe is drown'd.
Yet let's be content, and the times lament, you see the world turn'd upside down.
The serving men doe sit and whine, and thinke it long ere dinner time:
The Butler's still out of the way, or else my Lady keeps the key,
The poor old cook, in the larder doth look,
Where is no goodnesse to be found,
Yet let's be content, and the times lament, you see the world turn'd upside down.
To conclude, I'le tell you news that's right, Christmas was kil'd at Naseby fight:
Charity was slain at that same time, Jack Tell troth too, a friend of mine,
Likewise then did die, rost beef and shred pie,
Pig, Goose and Capon no quarter found.
Yet let's be content, and the times lament, you see the world turn'd upside down.
[3]
“No More Auction Block”
Anonymous
No more auction block for me,
No more, no more.
No more auction block for me,
Many thousand gone.
No more driver's lash for me ...
No more pint of salt for me ...
No more peck of corn for me ...
No more hundred lash for me ...
/////////////////////////////
“The Abolitionist Hymn”
To the tune of "Old Hundred"
We ask not that the slave should lie
As lies his master, at his ease,
Beneath a silken canopy
Or in the shade of blooming trees.
We ask not "eye for eye," that all
Who forge the chain and ply the whip
Should feel their torture, while the thrall
Should wield the scourge of mastership.
We mourn not that the man should toil;
'Tis nature's need, 'tis God's decree;
But let the hand that tills the soil
Be, like the wind that fans it, free.
‘’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’
Grade 11 ► Unit 3
American Romanticism
This six-week unit, the third of six, focuses on the
emerging movement of American Romanticism in the
early nineteenth century and the period leading up to the
Civil War.
ESSENTIAL QUESTION
What is American individualism ?
…………………………………
In 1848, blackface minstrel shows were the national art of the time, translating formal
art such as opera into popular terms for a general audience.[
Thomas Dartmouth Rice as "Jim Crow" 1832
………………………………………………………………..
Stephen Foster—“Hard Times Come Again No More”
(Stephen Collins Foster)
Let us pause in life's pleasures and count its many tears
While we all sup sorrow with the poor
There's a song that will linger forever in our ears;
Oh, hard times come again no more
Chorus
'Tis the song, the sigh of the weary
Hard times, hard times come again no more
Many days you have lingered
Around my cabin door
Oh hard times come again no more
While we seek mirth and beauty and music light and gay
There are frail forms fainting at the door
Though their voices are silent, their pleading looks will say;
Oh, hard times come again no more
http://www.youtube.com/watch?v=GMTv44FHG3Y
……………………………………………
JEANIE WITH THE LIGHT BROWN HAIR – S. Foster
In works like
“NELLY WAS A LADY” (1849)
and
“OLD BLACK JOE (POOR OLD JOE” 1860)
Foster endowed his African-American protagonists with a color-blind dignity and
humanity, just as in
“MY OLD KENTUCKY HOME” (1853)
………………………………………………………………………………………..
Grade 11 ► Unit 4
A Troubled Young Nation
This eight-week unit, the fourth of six, examines the
literature of the late nineteenth century in America,
exploring in particular the themes related to the evolving
young nation, such as the challenges of westward
expansion, slavery, the changing role of women,
regionalism, the displacement of Native Americans, the
growth of cities, and immigration.
ESSENTIAL QUESTION
What is an American?
“Maple Leaf Rag” -- Scott Joplin
“I’ve Been Workin’ on the Railroad”
“Green Grow the Lilacs”
“The Streets of Laredo”
“It Is Well With My Soul” – H. Spafford
…………………………………………..
Symphony No. 2 in B flat, Op. 21 by George W. Chadwick
http://www.youtube.com/watch?v=8NxqNBKqJ0k
………………………………………..
Orchestral Suite No. 1 in D minor, Op. 42 (1/2) - MacDowell http://www.youtube.com/watch?v=4PoiS3QKIg&feature=related
Grade 11 ► Unit 5
Emerging Modernism
This six-week unit, the fifth of six, addresses early
twentieth century American literature, including the
Harlem Renaissance and “The Lost Generation.”
ESSENTIAL QUESTION
How did modernization result in isolation and disillusionment in
the early American twentieth century?
“Ain't We Got Fun?”
Bill collectors gather
'Round and rather
Haunt the cottage next door
Men the grocer and butcher sent
Men who call for the rent
But with in a happy chappy
And his bride of only a year
Seem to be so cheerful
Here's an earful
Of the chatter you hear
Just to make their trouble nearly double
Something happen'd last night
To their chimney a gray bird came
Mister Stork is his name
And I'll bet two pins
A pair of twins
Just happen'd in with the bird
Still they're very gay and merry
Just at dawning I heard
Every morning
Every evening
Ain't we got fun
Not much money
Oh but honey
Ain't we got fun
The rent's unpaid dear
We haven't a bus
But smiles were made dear
For people like us
In the winter in the Summer
Don't we have fun
Times are bum and getting bummer
Still we have fun
There's nothing surer
The rich get rich and the poor get children
In the meantime
In the between time
Ain't we got fun.
Every morning
Every evening
Don't we have fun
Twins and cares dear come in pairs dear
Don't we have fun
We've only started
As mommer and pop
Are we downhearted
I'll say that we're not
Landlords mad and getting madder
Ain't we got fun
Times are so bad and getting badder
Still we have fun
There's nothing surer
The rich get rich and the poor get laid off
In the meantime
In between time
Ain't we got fun.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
“I’m Just Wild About Harry” -- from Shuffle Along
Loften Mitchell, author of Black Drama: The Story of the American Negro in the Theatre,
credits Shuffle Along with launching the Harlem Renaissance.
………………………………
“All By Myself” 1921, Irving Berlin
http://www.youtube.com/watch?v=0nlYtxLZEWU&feature=related
……………………………………..
“Ain't Misbehavin'”
No one to talk with
All by myself
No one to walk with
But I'm happy on the shelf
Ain't misbehavin'
I'm savin' my love for you
I know for certain
The one I love
I'm through with flirtin'
It's just you I'm thinkin' of
Ain't misbehavin'
I'm savin' my love for you
Like Jack Horner
In the corner
Don't go nowhere
What do I care?
Your kisses are worth waitin' for
Believe me
I don't stay out late
Don't care to go
I'm home about eight
Just me and my radio
Ain't misbehavin'
Savin' my love for you
Like Jack Horner
In the corner
Don't go nowhere
What do I care?
Your kisses are worth waitin' for
Believe me
I don't stay out late
Don't care to go
I'm home about eight
Just me and my radio
Ain't misbehavin'
Savin' my love for you
Ain't misbehavin'
Savin' my love for you
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
“Rhapsody In Blue”—George Gershwin
<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<
Grade 11 ► Unit 6
Challenges and Successes of the Twentieth Century
This six-week unit, the sixth of six, concludes the
exploration of the American experience by addressing
literary and nonfiction texts that reflect the challenges
and successes of America in the latter half of the
twentieth century.
ESSENTIAL QUESTION
Does twentieth-century American literature represent a
fulfillment of America’s promise, as discussed in unit four?
Composers in the New World often sought a distinctly ‘American accent’ within a
cultural milieu that was indebted to the traditions of the Old World. The symphonies of
Barber, Bernstein, Carter, Copland, Glass, Harris, Ives, Rochberg and Schuman represent
highly individual responses to this situation, each finding a uniquely personal approach to
this situation.
Whether drawing upon, or reinventing European models, finding musical expression for
American energy and enterprise, celebrating the nation’s extraordinary cultural mix or
beating new paths through unexplored frontiers, these symphonies ultimately achieve a
collective goal that could be regarded as a musical ‘American dream’.
Symphony No. 4, "Heroes": Philip Glass
“America” from West Side Story – Leonard
Bernstein
“The Times They Are A’Changin’” -- bob Dylan
“Eve of Destruction “– (P.F. Sloan) recorded by Barry McGuire
“A Change is Gonna Come” -- Sam Cooke
“Say it Loud—I’m Black and Proud” – James Brown
“Alice’s Restaurant Massacre” – Arol Guthrie
“Ballad of the Green Berets” -- Sgt. Barry Sadler
“Okie from Muskogee “– Merle Haggard
“Let’s Impeach the President” – Neil Young
“The Day After Tomorrow” – Tom Waits
“Two-Car Garage” – B.J. Thomas
Bells for Stokowski – Michael Daugherty ( concert band )