Course Profiles
Catholic District School Board Writing Partnership
Course Profile
Music
Grade 10
Open
 for teachers by teachers
This sample course of study was prepared for teachers to use in meeting local classroom
needs, as appropriate. This is not a mandated approach to the teaching of the course.
It may be used in its entirety, in part, or adapted.
April 2000
Course Profiles are professional development materials designed to help teachers implement the new
Grade 10 secondary school curriculum. These materials were created by writing partnerships of school
boards and subject associations. The development of these resources was funded by the Ontario Ministry
of Education. This document reflects the views of the developers and not necessarily those of the
Ministry. Permission is given to reproduce these materials for any purpose except profit. Teachers are
also encouraged to amend, revise, edit, cut, paste, and otherwise adapt this material for educational
purposes.
Any references in this document to particular commercial resources, learning materials, equipment, or
technology reflect only the opinions of the writers of this sample Course Profile, and do not reflect any
official endorsement by the Ministry of Education or by the Partnership of School Boards that supported
the production of the document.
© Queen’s Printer for Ontario, 2000
Acknowledgments
Catholic District School Board Writing Teams – Music
Project Manager
Jennifer Perkin, Catholic District School Board of Eastern Ontario
Lead Writer
Patricia McRae, Notre Dame Catholic High School (CDSBEO)
Writers
Leela Kowlessar Dawber, St. Michael Catholic High School (CDSBEO)
Catherine Shirley, St. Paul Catholic High School (OCCDSB)
Matt Dawber, Sacred Heart Catholic High School (OCCDSB)
Special Thanks to: Joe Distefano and Jan Hoepner
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Course Overview
Music, Grade 10, Open
Identifying Information
Department: Arts – Music
District: Catholic District School Board of Eastern Ontario
Course Title: Music, Grade 10, Open
Grade: 10
Ministry Course Code: AMU2O
Secondary Policy Document: The Ontario Curriculum, Grades 9 and 10, The Arts, 1999
Credit Value: One
Publication Date: April 2000
Course Developers: Patricia McRae, Leela Kowlessar Dawber, Catherine Shirley, Matt Dawber
Development Date: October 1999 to February 2000
Description/Rationale
This course emphasizes the necessary balance between performance, creation, and analysis. Students will
participate in activities that will reinforce and develop musical skills and techniques. Theory will be
connected to practical use. Repertoire will take on historical and social significance. By emphasizing
critical thinking skills, students will perform, create, and analyse with sensitivity and a deeper
understanding of music.
How This Course Supports the Ontario Catholic School Graduate Expectations
Music can touch the soul in a powerful way. The music student has a unique opportunity to enhance
his/her personal life, bring joy to others, and give glory to God through musical study and performance.
Celebrations involving music are more meaningful, more life-giving, and more spiritual. The music
student becomes aware of the awesome responsibilities and rewards in sharing this gift of music with
others. The student will look at the function and impact of music in both sacred and secular cultures.
Unit Titles (Time + Sequence)
Unit 1
Unit 2
Unit 3
Unit 4
Unit 5
Unit 6
Unit 7
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In the Beginning...
Bach to Basics
Classically Minded
Get with the Program
Everything Goes
Groovy
The State of the Art
14 hours
14 hours
20 hours
20 hours
14 hours
14 hours
14 hours
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Unit Organization
Unit 1: In the Beginning...
Time: 14 hours
Description
This unit involves a review of basic theory, notation, performance technique, and performance etiquette.
Overall course requirements, in the form of listening journals and practice logs, are outlined and
initiated. The impact of Pope Gregory and plainsong on musical history is addressed. Students create and
perform an original, sacred piece of music. This unit is intended to provide a solid foundation for theory
and performance.
Ontario Catholic Graduate Expectations: CGE1e, CGE2a, CGE2b, CGE2c, CGE3c, CGE4a, CGE4b,
CGE4c, CGE4e, CGE4f, CGE4h, CGE5a, CGE5b, CGE5e, CGE5f, CGE6a, CGE7b, CGE7i.
Strand(s): Analysis, Creation, Theory
Overall Expectations: THV.01X, THV.02X, THV.04X, CRV.01X, CRV.02X, CRV.03X, CRV.04X,
ANV.02X, ANV.03X.
Specific Expectations: TH1.01X, TH1.02X, TH1.03X, TH1.07X, TH1.11X, TH1.13X, TH1.15X,
CR1.01X, CR1.02X, CR1.04X, CR1.06X, CR1.07X, CR1.08X,CR1.09X, CR1.10X, CR1.11X,
AN1.01X, AN2.01X, AN2.02X, AN2.03X, AN2.07X, AN3.05X, AN3.08X.
Unit 2: Bach to Basics
Time: 14 hours
Description
This unit involves an introduction to the Baroque era, including the study of the music of J.S. Bach and
his contemporaries. Students explore major and minor tonality through listening, written activities, and
performance activities. Simple musical forms, including the canon, rondo, and fugue, are studied. The
form of the Mass is addressed as an expression of personal faith through music.
Ontario Catholic Graduate Expectations: CGE1e, CGE3a, CGE3e, CGE4a, CGE4f, CGE4h, CGE5a,
CGE5d, CGE5e.
Strand(s): Analysis, Creation, Theory
Overall Expectations: THV.01X, THV.02X, THV.03X, THV.04X, CRV.01X, CRV.02X, CRV.03X,
CRV.04X, ANV.01X, ANV.02X, ANV.04X.
Specific Expectations: TH1.03X, TH1.04X, TH1.05X, TH1.10X, TH1.11X, TH1.12X, TH1.13X,
TH1.15X, CR1.01X, CR1.03X, AN1.03X, AN2.02X.
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Unit 3: Classically Minded
Time: 20 hours
Description
The Classical period is introduced through a juxtaposition of the life of Mozart on the strong formal
conventions of the period. The study of intervals and triads form the foundation for the analysis and
composition of theme and variations. This unit concludes with a look at Beethoven and his music and the
transition between Classical and Romantic eras. Students are introduced to sonata allegro form.
Ontario Catholic School Graduate Expectations: CGE1a, CGE1e, CGE2a, CGE4a, CGE4f, CGE4h,
CGE5a, CGE5e, CGE5g.
Strand(s): Analysis, Creation, Theory
Overall Expectations: THV.01X, THV.02X, THV.03X, CRV.01X, CRV.02X, CRV.04X, ANV.01X,
ANV.02X, ANV.04X.
Specific Expectations: TH1.06X, TH1.08X, TH1.09X, TH1.11X, TH1.12X, TH1.13X, CR1.02X,
CR1.07X, CR1.09X, CR1.12X, AN1.02X.
Unit 4: Get with the Program
Time: 20 hours
Description
Program music of the Romantic era provides a framework for students to create their own musical story.
Emphasis will be placed on the telling of our story as a Christian community through music. The unit
culminates in the celebration of a liturgy. This unit is intended to provide the students with a deeper
understanding of the significance of music within the liturgy.
Ontario Catholic School Graduate Expectations: CGE1b, CGE1c, CGE1e, CGE1f, CGE3a, CGE3c,
CGE3e, CGE3f, CGE4a, CGE4d, CGE4c, CGE4f, CGE4h, CGE5a, CGE5b, CGE5c, CGE5e, CGE7d,
CGE7e, CGE7h.
Strand(s): Analysis, Creation, Theory
Overall Expectations: THV.01X, THV.02X, THV.03X, THV.04X, CRV.01X, CRV.02X, CRV.03X,
CRV.04X, ANV.01X, ANV.02X, ANV.03X, ANV.03, ANV.04X.
Specific Expectations: TH1.11X, TH1.12X, TH1.14X, TH1.15X, CR1.05X, CR1.11X, CR2.01X,
CR2.02X, CR2.03X, CR2.05X, AN2.02X, AN2.07X.
Unit 5: Everything Goes
Time: 14 hours
Description
This unit introduces students to the concepts of twentieth century art music with a focus on Canadian
composers. Students will create and perform a soundscape including natural, artificial, and found sounds.
Ontario Catholic School Graduate Expectations: CGE1e, CGE1i, CGE4a, CGE4b, CGE4f, CGE4h,
CGE5a, CGE5c, CGE5e, CGE6e, CGE7g, CGE7i.
Strand(s): Analysis, Creation, Theory
Overall Expectations: THV.01X, THV.02X, THV.03X, THV.04X, CRV.01X, CRV.02X, CRV.03X,
CRV.04X, ANV.01X, ANV.02X, ANV.04X.
Specific Expectations: TH1.07X, TH1.11X, TH1.12X, CR1.04X, AN1.04X.
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Unit 6: Groovy
Time: 14 hours
Description
Students will be introduced to twentieth century commercial music through a review of the musical
contributions of Duke Ellington, John Lennon and Paul McCartney, and David Foster. Topics included
are the evolution of jazz, the impact of technology on music, and live versus recorded music. This unit
will bring students to the musical present, which will then be developed and extended in the subsequent
and final unit. Students will complete and submit an independent study on a Canadian musical artist.
Ontario Catholic School Graduate Expectations: CGE1d, CGE1e, CGE1h, CGE1i, CGE2d, CGE2e,
CGE3f, CGE4a, CGE4b, CGE4d, CGE4f, CGE4g, CGE4h, CGE5a, CGE5c, CGE5e, CGE5g, CGE6b,
CGE6e, CGE7f, CGE7h, CGE7j.
Strand(s): Analysis, Creation, Theory
Overall Expectations: THV.01X, THV.02X, THV.03X, THV.04X, CRV.01X, CRV.02X, CRV.03X,
ANV.01X, ANV.02X, ANV.04X.
Specific Expectations: TH1.11X, TH1.12X, CR2.03X, CR2.04X, AN1.04X, AN2.02X, AN2.06X.
Unit 7: The State of the Art
Time: 14 hours
Description
This unit focusses on music in society. There is a dual emphasis on music as a career opportunity and the
employability of the music student in the world of work. Students will look at the use of music and
related technology in advertising, and marketing as well as music’s function as a commodity. The intent
of this unit is to provide the students with the opportunity to demonstrate their accumulated knowledge
and skills in the planning, performing, managing, and marketing of a musical event.
Ontario Catholic School Graduate Expectations: CGE1d, CGE1g, CGE1i, CGE2c, CGE2e, CGE3b,
CGE3d, CGE3f, CGE4a, CGE4f, CGE4g, CGE5a, CGE5b, CGE5e, CGE5h, CGE7a, CGE7h, CGE7j.
Strand(s): Analysis, Creation, Theory
Overall Expectations: THV.01X, THV.02X, THV.03X, CRV.01X, CRV.02X, CRV.03X, ANV.01X,
ANV.02X, ANV.03X, ANV.04X, ANV.05X, ANV.06X.
Specific Expectations: TH1.11X, TH1.12X, CR2.06X, AN1.04X, AN2.03X, AN2.04X, AN2.05X,
AN2.07X.
Course Notes
It is intended that the units be studied in order. The teacher should present each unit's theory and
performance techniques in such a way as to build on the experience from the previous unit and follow a
definite timeline of musical history. The teacher should implement and monitor the listening journal and
practice log in the first unit. These will be very important tools for the student musician. The listening
journal will serve for reflection, commentary, and reference purposes. The practice log will help the
student develop solid practice habits and provide a place to record accomplishments and difficulties.
Students will design a Personal Performance Development Plan which will assist them in working on
specific areas.
The teacher should outline the independent study in Unit 6 and the culminating activity in Unit 7 early in
the course so that students may begin planning.
Classroom organization and routines are essential to a successful music program. The teacher should
structure daily lessons to include listening, theory/history, and performance.
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Safety and the appropriate use of materials and cleaning agents must be addressed by the teacher.
Responsibility, respect for materials and each other are part of what we envision for the Ontario Catholic
School Graduate.
An extensive list of resources has been included. The Enjoyment of Music text and compact disc
collection, as well as Music! It’s Role And Importance In Our Lives by Charles Fowler, are strongly
recommended and will benefit all students.
To fulfill The Ontario Curriculum, The Arts expectations, all programs will require a basic MIDI setup
including keyboard, computer, and supporting software. It is recommended that schools also provide the
music department with a non-portable stereo system in addition to portable units. Programs will be
greatly enhanced through the use of digital audio technology.
A performance repertoire list is included within each unit. These pieces serve to provide the teacher with
a framework of suggested repertoire that will support the theme of each unit. The repertoire list will
provide a number of choices for the teacher and the students. The list is not intended to be the only
source for performance repertoire. The teacher is encouraged to seek out the resources which best suit his
or her specific needs and interests.
It is essential that the teacher engage the support of the school and larger community when planning
performance venues and co-operative learning opportunities. Research opportunities can be facilitated in
collaboration with teacher-librarian and local public library staff.
Teaching/Learning Strategies
Teaching/Learning Strategies will include the following:
 Performance: instrumental/vocal (solo or ensemble), oral, written
 Conferencing
 Group Work
 Listening and Reflection: directed or open, personal and group
 Independent Learning: projects and logs, research
 Brainstorming: group generation of ideas expressed without criticism or analysis
Assessment and Evaluation
The assessment plan will include the following:
 Personal Communication: journals/conferencing logs, self/peer assessment, student-teacher
conferences
 Written Work: paper and pencil tests (unit tests on knowledge, mid-term and final exams), written
assignments (composing, arranging, reflection/response, question/answer, essay)
 Observation: formal/informal
 Performance Assessment: solo/ensemble performance, role playing
Assessment tools will include:
 Formative Assessment: checklist, anecdotal, tracking chart, rubric
 Summative Assessment: checklist, anecdotal, rubric
Seventy per cent of the grade will be based on assessments and evaluations conducted throughout the
course. Thirty per cent of the grade will be based on a final evaluation in the form of an examination,
performance, essay, and/or other method of evaluation suitable to the course content and administered
towards the end of the course.
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Accommodations

Activities within each unit allow for accommodations for exceptional students. Effort has been made
to provide a variety of teaching and learning strategies to address specific needs and capabilities of
individual students. Teachers will refer to the Individual Educational Profile for their students.
Main Resources
The following resources are suggested to support teaching and learning:
Batastini, R. and M. Cymbala, eds. Gather. Chicago: GIA Publications, 1994.
Canadian Conference of Catholic Bishops. Catholic Book of Worship II, III. Toronto: Gordon V.
Thompson Ltd. 1995.
Forney, Kristine and Joseph Machlis. The Enjoyment of Music Eighth Edition. New York: W.W. Norton
& Company, 1995.
Forney, Kristine and Joseph Machlis. CD series The Enjoyment of Music Eighth Edition. New York:
W.W. Norton & Company, 1995.
Fowler, Charles. Music! Its Role and Importance in Our Lives. New York: McMillan McGraw-Hill,
1994.
Kallman, Potvin, Winters, eds. Encyclopaedia of Music in Canada. Toronto: University of Toronto
Press, 1981.
Kuzmich, Natalie. Musical Growth: A Process of Involvement. Toronto: Gordon V. Thompson Music,
1986.
Meyer R.F. Band Directors Guide to Instrument Repair. New York: Alfred Publishing Co., 1973.
North American Liturgy Resources. Glory and Praise. Phoenix, Arizona: Parish Music Program, 1984.
Rhodes, Tom C., Donald, Bierschenk and Tim, Lautzenheisen. Essential Elements A Comprehensive
Band Method Books 1 and 2. Hal Leonard Publishing Corporation, 1991.
Salzer and Schacter. Counterpoint in Composition. New York: Columbia University Press, 1989.
Taruskin, Richard, and Piero Weiss. Music in the Western World. New York: Schirmer Books, a Division
of Macmillan Inc., 1984.
Telfer, Nancy. Successful Warmups. US: KJOS, 1995.
Wharram, Barbara. Theory for Beginners. Canada: Frederick Harris Music Co., 1974.
Music software: Cubase, Finale, Band-in-a-box, Music Lessons
Repertoire lists are included with all units
OSS Policy Applications
The program is designed to equip students with the knowledge and skills they will need to lead
productive lives in the twenty-first century. The program will prepare students for further education and
employment and will lead them to become independent, productive, and responsible members of society.
The course will promote the acquisition of essential knowledge and skills by all students and at the same
time allow students to begin to focus on their areas of strength and interest.
Course Evaluation
The effectiveness of the course may be measured by observing the student expanding personal
knowledge by accepting greater challenges for personal growth (e.g., joining church/community
bands/choirs, auditioning for music theatre, accepting personal leadership opportunities) and continuing
further music studies at the secondary school/university/college level. Students should complete a general
questionnaire containing questions directing them to discuss their likes/dislikes and suggestions for
improvement regarding the activities, workload, and content of the course.
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Coded Expectations, Music, AMU2O
Theory
Overall Expectations
THV.01
– explain in detail, both orally and in writing, the elements of music (i.e., rhythm, melody, timbre,
dynamics, harmony, texture, and form);
THV.02
– read and understand musical notation;
THV.03
– analyse the influence of certain composers on the musical language of their period;
THV.04
– explain the use of various applications of MIDI technology (e.g., sequencing, notation).
Specific Expectations
TH1.01
– identify and describe a greater variety of musical indicators of speed and changes in speed (e.g.,
prestissimo, molto, più mosso, sempre, stringendo, and terms related to the performance medium);
TH1.02
– identify and define musical indicators of metre, including compound, asymmetrical, and alternating
metres;
TH1.03
– identify and notate double sharps and double flats;
TH1.04
– identify and notate major and relative minor (natural, harmonic, and melodic) key signatures and
scales up to and including a minimum of four sharps and four flats;
TH1.05
– identify and define the degrees of a scale (i.e., tonic, supertonic, mediant, subdominant, dominant,
submediant, leading-note);
TH1.06
– solve and notate all intervals from a diminished unison to an augmented octave;
TH1.07
– compare and contrast detailed characteristics of sound (e.g., voice types and variations, guitar
versus harp, electronic effects on digital sounds);
TH1.08
– solve and notate major and minor triads in a major scale (I, ii, iii, IV, V, vi);
TH1.09
– use appropriate terminology to describe how repetition and contrast of musical elements are used to
organize sound (e.g., phrase structure, motif and theme, imitation, verse and chorus, bridge);
TH1.10
– describe the following musical forms: rondo, theme and variations, canon, fugue, and two others
related to the performance medium;
TH1.11
– situate composers in a historic continuum;
TH1.12
– explain the influence of certain composers on the evolution of musical form (e.g., Haydn on
Western classical music, Robert Johnson on North American blues);
TH1.13
– use music software to improve aural and theoretical skills;
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TH1.14
– demonstrate an understanding of the function of the menus of a MIDI sequencer;
TH1.15
– demonstrate an understanding of the function of the menus of notation software.
Creation
Overall Expectations
CRV.01
– play or sing technical exercises and diverse repertoire that reflect the theory expectations at this
grade level (including improvisation and their own creations when appropriate);
CRV.02
– make complex artistic decisions that affect the stylistic accuracy of their playing or singing (e.g.,
articulation, phrasing, posture, dynamics, tone quality, intonation, rhythm, balance, blend);
CRV.03
– demonstrate the effective use of digital technology in music applications;
CRV.04
– apply the elements and principles of composition at an intermediate level, using the creative
process (i.e., perception, production, and reflection).
Specific Expectations
Performing
CR1.01
– accurately play or sing complex notated or stylistically correct articulation (e.g., variety of accents,
col legno, hammeron, glissando);
CR1.02
– play or sing with an understanding of complex musical phrase structures (e.g., notated, improvised,
or stylistically correct);
CR1.03
– control detailed and subtle notated or stylistically correct dynamics while maintaining good tone
quality;
CR1.04
– play or sing with tone quality appropriate to the exercises and repertoire being performed;
CR1.05
– play or sing, with control and within an expanded range, the exercises and repertoire being
performed;
CR1.06
– play or sing with accurate pitch;
CR1.07
– play or sing with accurate intonation, both melodically and harmonically;
CR1.08
– maintain a consistent tempo and accurately change tempi as found in the exercises and repertoire
being performed;
CR1.09
– play or sing in various metres and accurately change metres as found in the exercises and repertoire
being performed;
CR1.10
– accurately play or sing rhythms as found in the exercises and repertoire being performed;
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CR1.11
– play or sing with detailed attention to the subtleties of balance and blend;
CR1.12
– play intermediate repertoire on the keyboard, right or left hand separately, using appropriate
fingerings.
Composing and Arranging
CR2.01
– demonstrate an understanding of simple homophonic composition (e.g., compose a melody with a
simple triad accompaniment) with a variety of media;
CR2.02
– demonstrate an understanding of arranging and transposing by adapting an existing polyphonic
work of at least three parts for a small ensemble (e.g., four-part chorale for brass, woodwinds, or
strings; two voices and MIDI);
CR2.03
– make effective creative choices in performance within musical parameters (e.g., call and response;
ornamentation of existing melodies; improvisation of a melody; addition of dynamics, articulation,
and tempi to existing music);
CR2.04
– make artistic decisions about interpretive aspects of performance in individual and group situations
(e.g., articulation, staccato in different styles, straight versus swing eighths, dynamics, solo versus
accompaniment);
CR2.05
– demonstrate an understanding of sequencing by recording a multitimbral sequence, using MIDI
technology;
CR2.06
– use analog or digital recording technology to demonstrate an understanding of the processes
involved in producing a cassette or CD.
Analysis
Overall Expectations
ANV.01
– demonstrate a detailed understanding of music history and its cultural context to interpret
repertoire;
ANV.02
– use aural discrimination skills to identify complex aspects of music (e.g., major and minor triads,
diminished and augmented intervals);
ANV.03
– evaluate the effects of music education on themselves and their peers;
ANV.04
– evaluate the function of music in society;
ANV.05
– identify, research, and describe connections between music education and their future careers and
postsecondary education.
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Specific Expectations
Listening
AN1.01
– demonstrate their mastery of rhythms by clapping back, aurally identifying, and notating given
rhythms up to four measures in simple and compound metres, using sixteenth through whole notes
and rests, including dotted values and triplets;
AN1.02
– demonstrate an understanding of intervals and triads by reproducing, aurally identifying, and
notating all given intervals from a diminished unison to an augmented octave, and major and minor
triads;
AN1.03
– confirm their understanding of aural dictation by reproducing and notating simple melodies up to
four measures in simple and compound metres using sixteenth through whole notes and rests,
including dotted values, within an octave;
AN1.04
– analyse, orally and in writing, the quality and impact of a variety of live and/or recorded
performances and performances by themselves and their peers, using appropriate music vocabulary to
suggest ways of improving those performances (e.g., style/groove, intonation, tone quality, dynamics,
articulation, phrasing, rhythm, balance and blend, overall effect ).
Self and Community
AN2.01
– identify and correct improper postures and/or performance practices that may have negative
musical effects and/or cause physical injuries;
AN2.02
– analyse and describe their own strengths and needs at various points in the course and work
towards improving themselves in identified areas;
AN2.03
– reflect on learning by maintaining a journal and/or practice log that records progress;
AN2.04
– demonstrate leadership in rehearsal, performance, and audience etiquette (appropriate to the
cultural context);
AN2.05
– describe the distinctive nature of participating in individual and group musical performances for a
variety of audiences (e.g., peers, community, teacher);
AN2.06
– demonstrate an understanding of the creative process by attending a live performance and
responding to it orally or in writing, using terminology appropriate to the grade level;
AN2.07
– explain the function of certain musical forms in daily life (e.g., anthems, marches).
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Ontario Catholic School Graduate Expectations
The graduate is expected to be:
A Discerning Believer Formed in the Catholic Faith Community who
CGE1a
-illustrates a basic understanding of the saving story of our Christian faith;
CGE1b
-participates in the sacramental life of the church and demonstrates an understanding of the
centrality of the Eucharist to our Catholic story;
CGE1c
-actively reflects on God’s Word as communicated through the Hebrew and Christian
scriptures;
CGE1d
-develops attitudes and values founded on Catholic social teaching and acts to promote social
responsibility, human solidarity and the common good;
CGE1e
-speaks the language of life... “recognizing that life is an unearned gift and that a person
entrusted with life does not own it but that one is called to protect and cherish it.” (Witnesses
to Faith)
CGE1f
-seeks intimacy with God and celebrates communion with God, others and creation through
prayer and worship;
CGE1g
-understands that one’s purpose or call in life comes from God and strives to discern and live
out this call throughout life’s journey;
CGE1h
-respects the faith traditions, world religions and the life-journeys of all people of good will;
CGE1i
-integrates faith with life;
CGE1j
-recognizes that “sin, human weakness, conflict and forgiveness are part of the human
journey” and that the cross, the ultimate sign of forgiveness is at the heart of redemption.
(Witnesses to Faith)
An Effective Communicator who
CGE2a
-listens actively and critically to understand and learn in light of gospel values;
CGE2b
-reads, understands and uses written materials effectively;
CGE2c
-presents information and ideas clearly and honestly and with sensitivity to others;
CGE2d
-writes and speaks fluently one or both of Canada’s official languages;
CGE2e
-uses and integrates the Catholic faith tradition, in the critical analysis of the arts, media,
technology and information systems to enhance the quality of life.
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A Reflective and Creative Thinker who
CGE3a
-recognizes there is more grace in our world than sin and that hope is essential in facing all
challenges;
CGE3b
-creates, adapts, evaluates new ideas in light of the common good;
CGE3c
-thinks reflectively and creatively to evaluate situations and solve problems;
CGE3d
-makes decisions in light of gospel values with an informed moral conscience;
CGE3e
-adopts a holistic approach to life by integrating learning from various subject areas and
experience;
CGE3f
-examines, evaluates and applies knowledge of interdependent systems (physical, political,
ethical, socio-economic and ecological) for the development of a just and compassionate
society.
A Self-Directed, Responsible, Life Long Learner who
CGE4a
-demonstrates a confident and positive sense of self and respect for the dignity and welfare of
others;
CGE4b
-demonstrates flexibility and adaptability;
CGE4c
-takes initiative and demonstrates Christian leadership;
CGE4d
-responds to, manages and constructively influences change in a discerning manner;
CGE4e
-sets appropriate goals and priorities in school, work and personal life;
CGE4f
-applies effective communication, decision-making, problem-solving, time and resource
management skills;
CGE4g
-examines and reflects on one’s personal values, abilities and aspirations influencing life’s
choices and opportunities;
CGE4h
-participates in leisure and fitness activities for a balanced and healthy lifestyle.
A Collaborative Contributor who
CGE5a
-works effectively as an interdependent team member;
CGE5b
-thinks critically about the meaning and purpose of work;
CGE5c
-develops one’s God-given potential and makes a meaningful contribution to society;
CGE5d
-finds meaning, dignity, fulfillment and vocation in work which contributes to the common
good;
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 Music - Open
CGE5e
-respects the rights, responsibilities and contributions of self and others;
CGE5f
-exercises Christian leadership in the achievement of individual and group goals;
CGE5g
-achieves excellence, originality, and integrity in one’s own work and supports these qualities
in the work of others;
CGE5h
-applies skills for employability, self-employment and entrepreneurship relative to Christian
vocation.
A Caring Family Member who
CGE6a
-relates to family members in a loving, compassionate and respectful manner;
CGE6b
-recognizes human intimacy and sexuality as God given gifts, to be used as the creator
intended;
CGE6c
-values and honours the important role of the family in society;
CGE6d
-values and nurtures opportunities for family prayer;
CGE6e
-ministers to the family, school, parish, and wider community through service.
A Responsible Citizen who
CGE7a
-acts morally and legally as a person formed in Catholic traditions;
CGE7b
-accepts accountability for one’s own actions;
CGE7c
-seeks and grants forgiveness;
CGE7d
-promotes the sacredness of life;
CGE7e
-witnesses Catholic social teaching by promoting equality, democracy, and solidarity for a
just, peaceful and compassionate society;
CGE7f
-respects and affirms the diversity and interdependence of the world’s peoples and cultures;
CGE7g
-respects and understands the history, cultural heritage and pluralism of today’s contemporary
society;
CGE7h
-exercises the rights and responsibilities of Canadian citizenship;
CGE7i
-respects the environment and uses resources wisely;
CGE7j
-contributes to the common good
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Unit 1: In the Beginning…
Time: 14 hours
Unit Description
This unit involves a review of basic theory, notation, performance technique, and performance etiquette.
Overall course requirements, in the form of listening journals and practice logs, are outlined and
initiated. The impact of Pope Gregory and plainsong on musical history is addressed. Students create and
perform an original, sacred piece of music. This unit is intended to provide a solid foundation for theory
and performance.
Strand(s) and Expectations
Ontario Catholic Graduate Expectations: CGE1e, CGE2a, CGE2b, CGE2c,CGE3c, CGE4a,
CGE4b, CGE4c, CGE4e, CGE4f, CGE4h, CGE5a, CGE5b, CGE5e, CGE5f, CGE6a, CGE7b, CGE7i.
Strand(s): Analysis, Creation, Theory
Overall Expectations: THV.01X, THV.02X, THV.04X, CRV.01X, CRV.02X, CRV.03X, CRV.04X,
ANV.02X, ANV.03X.
Specific Expectations: TH1.01X, TH1.02X, TH1.03X, TH1.07X, TH1.11X, TH1.13X, TH1.15X,
CR1.01X, CR1.02X, CR1.04X, CR1.05X, CR1.06X, CR1.07X, CR1.08X, CR1.09X, CR1.10X,
CR1.11X, CR2.01X, CR2.04X, CR2.06X, AN1.01X, AN2.01X, AN2.02X, AN2.03X, AN2.07X,
AN3.05X, AN3.08X.
Activity Titles (Time + Sequence)
Activity 1
Activity 2
Activity 3
Activity 4
Activity 5
Activity 6
Activity 7
Performance Requirements for the Unit
Listening Requirements for the Unit
Getting Started
The Way It Works
An Enchanting Moment
The Pope and Mr. d’Arezzo
Write Away
340 minutes
65 minutes
75 minutes
30 minutes
90 minutes
90 minutes
150 minutes
Prior Knowledge Required
It is expected that students will have some prior exposure to formal musical study. Foundational
knowledge and performance skills will be briefly reviewed.
Unit Planning Notes



Appendices contain samples of all required forms.
The teacher must have access to information supporting the use of basic MIDI functions, the teaching
of chant and music of the medieval period. This must include information on Pope Gregory and
Guido d’Arezzo.
The teacher must have access to written examples of Kyries.
Unit 1 - Page 1
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Teaching/Learning Strategies



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
Performance: formal, informal, oral, written
Conferencing
Group Work
Listening and Reflection: directed and open, personal and group
Independent Learning: project and logs
Brainstorming: group generation of ideas expressed without criticism or analysis
Assessment and Evaluation
Strategies will include:
 Personal Communication: journals/conferencing logs, self-/peer assessment, student-teacher
conferences
 Written Work: composing, reflection/response, question/answer, short assignment
 Observation: formal/informal
 Performance Assessment: solo/ensemble performance, role playing
Assessment tools will include:
 Formative Assessment: checklist, anecdotal, rubric, marking scheme
 Summative Assessment: marking scheme, anecdotal
Resources
Course Outline
Review Sheet (Appendix to Unit 1)
Letter Home (Appendix to Unit 1)
Canadian Conference of Catholic Bishops. Catholic Book of Worship III. Canada: Best Gagne Book
Manufacturers Inc., 1994.
Forney, Kristine and Joseph Machlis. The Enjoyment of Music, Eighth Edition. New York: W.W. Norton
& Company, 1995.
Forney, Kristine and Joseph Machlis. CD series The Enjoyment of Music, Eighth Edition. New York:
W.W. Norton & Company, 1995.
Meyer R.F. Band Director’s Guide to Instrument Repair. New York, Alfred Publishing Co., 1973.
Rhodes, Tom C., D. Bierschenk, and T. Lautzenheisen. Essential Elements A Comprehensive Band
Method Books 1 and 2. US: Hal Leonard Publishing Corporation, 1991.
Salzer and Schacter. Counterpoint in Composition. New York: Columbia University Press, 1989.
Taruskin, Richard and Piero Weiss. Music in the Western World. New York: Schirmer Books, a Division
of Macmillan Inc., 1984.
Wharram, Barbara. Theory for Beginners. Canada: Frederick Harris Music Co., 1974.
MIDI equipment and software
Senior students or professionals to demonstrate concepts discussed in the unit.
Student Practice Chart and Personal Performance Development Plan Chart (see Appendix)
Unit 1 - Page 2
 Music - Open
Activity 1: Performance Requirements for the Unit
Time: 340 minutes
Description
This activity is expected to be ongoing throughout the unit and should not be completed all at one time.
The performance expectations listed below have been selected due to their ability to complement this
unit. Skills and repertoire chosen will both reinforce and reflect other activities within the unit. Several
method books are suggested to provide the student with the opportunity to review, learn new techniques
and demonstrate previously learned knowledge and skills. It is suggested that the method book be used
along with solo and ensemble repertoire for the duration of the course. A Personal Performance
Development Plan is established for each student.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE4e - sets appropriate goals and priorities in school, work, and personal life.
Strand(s): Creation
Overall Expectations
CRV.01 - play or sing technical exercises and diverse repertoire that reflect the theory expectations at
this grade level (including improvisation and their own creations when appropriate).
Specific Expectations
CR1.01 - accurately play or sing complex notated or stylistically correct articulation;
CR1.02 - play or sing with an understanding of complex musical phrase structures;
CR1.04 - play or sing with tone quality appropriate to the exercises and repertoire being performed;
CR1.05 - play or sing, with control and within an expanded range, the exercises and repertoire being
performed;
CR1.06 - play or sing with accurate pitch;
CR1.07 - play or sing with accurate intonation, both melodically and harmonically;
CR1.08 - maintain a consistent tempo and accurately change tempi as found in the exercises and
repertoire being performed;
CR1.09 - play or sing in various metres and accurately change metres as found in the exercises and
repertoire being performed;
CR1.10 - accurately play or sing rhythms as found in the exercises and repertoire being performed;
CR1.11 - play or sing with detailed attention to the subtleties of balance and blend;
AN2.01 - identify and correct improper postures and/or performance practices that may have negative
musical effects and/or cause physical injuries.
Planning Notes
 The teacher chooses appropriate method books to give to the class.
 The teacher selects various excerpts for study from the chosen repertoire. The student should have a
choice of excerpts focussing on different skills so that they may begin to choose those that agree with
their Personal Performance Development Plan (an example is included in the Appendix 1.2 –
Personal Performance Development Plan).
 Daily performance time is structured according to the following criteria:
Warm-up (tuning, tone, breathing, posture, etc.)
5-10 minutes
Technique building (range, dexterity, endurance, articulation/diction, phrasing)
5-15 minutes
Analysing and interpreting repertoire (solo, small group or ensemble: style,
20-40 minutes
balance/blend, dynamics, form, performance etiquette, etc.)
Unit 1 - Page 3
 Music - Open
Prior Knowledge Required
 Students have some knowledge or prior exposure to musical studies.
 Students have experience with singing and/or performing on an instrument.
Teaching/Learning Strategies
1. Students create a personal performance development plan for the unit in conjunction with the
teacher. Students select appropriate excerpts from solo, small group, and full ensemble repertoire to
support their personal program. The teacher distributes all selected excerpts and ensemble repertoire
at the beginning of the unit.
2. While rehearsing complete works, the teacher identifies suitable areas that can support review and
reinforcement of basic musical ideas as presented throughout the unit.
Assessment/Evaluation Techniques
 The teacher will evaluate student performance using a checklist and rubric. As music is a skill that is
constantly under development, anecdotal comments should also be provided as formative assessment.
 The student rehearsal plan is assessed with anecdotal comments in conference with the teacher to
help guide students in developing and revising their personal development plans.
Accommodations
 The nature of this activity lends great scope for accommodation. Excerpts and solo repertoire could
easily be tailored to fit the student.
 Students could receive a greater length of rehearsal time to prepare for tests or assignments.
 Peer and teacher aid could be extended to students requiring more frequent attention.
Resources
Method Books
Band
Erickson, Frank (arr.). Festive & Famous Chorales for Band. USA: Alfred Publishing, 1981.
O’Reilly, John and M. Williams. Accent On Achievement Book 1, 2. USA: Alfred Publishing, 1988.
Pearson, Bruce. Standard of Excellence Book 1, 2. USA: Neil A. Kjos Music Company, 1993.
Ployhar, James and D.G. Zepp. 3D Band Book. USA: Belwin-Mills Publishing Corp., 1983.
Rhodes, Tom, D. Biershenk, T. Lautzenheiser, and J. Higgins (arr.). Essential Elements Book 1, 2. USA:
Hal Leonard Publishing Corporation, 1991.
Williams, Richard and Jeff King. Foundations For Superior Performance. USA: Neil A. Kjos Music
Company, 1997.
Guitar
Dauberge, Alfred and Morton Manus. Alfred's Basic Guitar Method. USA: Alfred Publishing, 1990.
Kraft, Norbert. Royal Conservatory of Music Guitar Series (2nd edition.). Canada: Frederick Harris.
Leavitt, William. Phase 1 Guitar. USA: Berklee Publications.
Leavitt, William. Phase 2 Guitar. USA: Berklee Publications.
Leavitt, William. Classical Studies for Pick Style Guitar. USA: Berklee Publications.
Noad, Frederick. Solo Guitar Playing (2 volumes). USA: Shirmer Books.
Shearer, Aaron. Classic Guitar Technique (2 volumes). USA: Belwin Books.
Shearer, Aaron. Basic Elements of Music Theory for the Guitar (Supplement 2). USA: Belwin Books.
Piano/Keyboard
Alfred's Basic Piano Library (The Later Beginner: Levels 1,2,3). USA: Alfred Publishing, 1992.
Royal Conservatory of Music (various selections). Canada: Frederick Harris Music Publishing.
Unit 1 - Page 4
 Music - Open
Voice
Crocker, Emily and John Leavitt. Essential Musicianship. USA: Leonard and Hal Co., 1995.
Rao, Doreen et al. Fowler, Charles. Sing! USA: Hinshaw Music, 1988.
Robinson, R. and J. Althouse. The Complete Choral Warm-Up Book. USA: Alfred Publishing, 1995.
Sutherland, Susan. Teach Yourself Singing. London: Hodder and Stoughton, 1995.
Telfer, Nancy. Successful Sight Singing (book 1). USA: Kjos Music Co. Inc., 1992, 1993.
Telfer, Nancy. Successful Warm-ups. Canada: Kjos Music Co. Inc., 1995.
Strings
Allen, M. Daily Warm-Ups for String Orchestra. USA: Hal Leonard Publishing, 1993.
Creston, P. Gregorian Chant Op8-SC/PTS Orchestra. USA: Shawnee Press.
Lamb, N. Guide to Teaching Strings. USA: Wm. C. Brown Publishers, 1990.
Repertoire
Choral
Rutter, John. Gems for Gregorian Chant, Choral SATB. USA: Collegium Records.
Werner, J. Gregorian Chant, Choral unison. USA: Lorenz Corporation.
Gregorian Chant Selections, Vocal. USA: Hal Leonard Corporation.
Band Instrument
Bracco. Three Gregorian Chant Settings - FLD Solo and Ensemble Flute Grade 2. Warner Brothers
Music Publisher.
Activity 2: Listening Requirements for the Unit
Time: 65 minutes
Description
This activity is expected to be ongoing throughout the unit and should not be completed all at one time.
The listening activities listed below have been selected due to their ability to either review or introduce
the concept of ear-training. Skills chosen both reinforce and reflect other theory activities within the unit.
This unit focusses on students’ ability to listen critically, identify, and link various notation symbols with
the rhythms that are heard.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE2a - listens actively and critically to understand and learn in light of gospel values.
Strand(s): Analysis, Theory
Overall Expectations
ANV.02 - use aural discrimination skills to identify complex aspects of music.
Specific Expectations
TH1.13 - use music software to improve aural and theoretical skills;
AN1.01 - demonstrate their mastery of rhythms by clapping back, aurally identifying, and notating given
rhythms up to four measures in simple and compound metres, using sixteenth through whole notes and
rests, including dotted values and triplets;
AN1.03 - confirm their understanding of aural dictations by reproducing and notating simple melodies up
to four measures in simple and compound metres using sixteenth through whole notes and rests,
including dotted values, within an octave.
Unit 1 - Page 5
 Music - Open
Planning Notes
 The teacher prepares simple one-to-four-bar rhythmic dictations, using a variety of note and rest
values, gradually increasing the complexity of each dictation.
 MIDI, a piano, or other instrument may aid teachers in accurate pitch production.
Prior Knowledge Required
 No prior knowledge is required.
Teaching/Learning Strategies
The following Teaching/Learning strategies are to be used on a daily basis:
Students are introduced to the set-up of a rhythmic dictation exercise (time
signature, single and double bar lines). The teacher dictates several one-bar
rhythmic dictations in 4/4, 3/4, and 2/4 time, using only whole, quarter, and half
notes, while identifying various methods used by students to successfully notate
the correct rhythms. Gradually increase the length of the dictations each day,
incorporating eighth, sixteenth, and dotted notes, culminating with four-bar
dictations. The teacher chooses students to clap and sing back the rhythms that
they have notated, as well as place the correct notation on the board. As students
become more comfortable with this activity, the teacher encourages students to
create and dictate their own one-to-four-bar rhythms for the class.
The teacher then plays or sings high and low pitches as students identify each pitch
to be in the high range or low range.
5-10 minutes
5 minutes
Assessment/Evaluation Techniques
 Student progress will be assessed using informal conferencing and a checklist.
Accommodations
 The teacher can adjust the level of difficulty of the dictations, depending on the needs of the class.
 The students may practise dictating and notating rhythms in pairs or small groups.
 The teacher can organize a “Rhythmic Dictation Challenge and Clap-Off” to address the needs of an
advanced group of students.
Resources
Staff paper or music dictation books
Unit 1 - Page 6
 Music - Open
Activity 3: Getting Started
Time: 75 minutes
Description
This activity is designed to familiarize students with the course expectations and to establish some of the
ongoing activities. Topics include course and classroom expectations and the establishment of a musical
timeline, practice log, and listening journal, which will be used and added to throughout the course. The
goal of this initial activity is to have students leave the first lesson with a very clear conception of the
expectations, requirements, and rewards of the course.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE2b - reads, understands, and uses written materials effectively;
CGE4a - demonstrates a confident and positive sense of self and respect for the dignity and welfare of
others;
CGE4e - sets appropriate goals and priorities in school, work, and personal life;
CGE4f - applies effective communication, decision-making, problem-solving, time, and resource
management skills;
CGE5e - respects the rights, responsibilities, and contributions of self and others;
CGE6a - relates to family members in a loving, compassionate, and respectful manner;
CGE7b - accepts accountability for one’s own actions.
Strand(s): Theory
Overall Expectations
THV.01 - explain in detail, both orally and in writing, the elements of music;
THV.02 - read and understand musical notation.
Specific Expectations
TH1.01 - identify and describe a greater variety of musical indicators of speed and changes in speed;
TH1.02 - identify and define musical indicators of metre, including compound, asymmetrical, and
alternating metres;
TH1.03 - identify and notate double sharps and double flats;
TH1.13 - use music software to improve aural and theoretical skills; use to accommodate exceptionality.
Planning Notes
 Create and make copies of the course outline
 Create and make copies of a letter to go home (Appendix 1.5 - Music and Instrument Procedure)
 Make copies of the review sheet (Appendix 1.3 – Beginning Review)
 Plan a set of classroom rules and expectations
Prior Knowledge Required
 Students should have a general familiarity with instruments or voice.
Teaching/Learning Strategies
1. Present the students with an overview of expected behaviour, classroom routines, and required
materials for the course. Students will brainstorm on the subject of classroom rules to set up
strategies that meet the overall requirements of a clean, organized, and efficient workspace. The
strategies can be written down and posted in the room. A letter should be sent home that outlines
some of the behaviours and routines mentioned above. (See Appendix 1.5 – Music and Instrument
Procedure.)
Unit 1 - Page 7
 Music - Open
2. Students receive a course overview that includes dates of major assignments, field trips, and a
general outline of the course of study. Students should take this opportunity to note important dates
and assignments.
3. The teacher gives students a copy of the review sheets found in the Appendix 1.3 – Beginning
Review. By submitting the completed checklist (Appendix 1.4 – Knowledge Checklist), at the end of
the review, students will be able to quickly identify areas of weakness to themselves and to the
teacher for remedial study.
4. The student organizes their notebook as follows:
(a) A page should be identified and left blank for students to complete a timeline. As the course
progresses through the musical periods, students should fill in this timeline so that by the end of
the course, it will be completed and ready for submission as a formal assessment.
(b) Students keep a section of their notebook to use as a practice log. It is recommended that students
track date, duration, and content of their practice.
(c) Students should also reserve space in their notebook for a listening journal. Students track date,
details of the selection, and duration of listening activities. Activities requiring written reflection
will be contained in the student notebook.
5. Students are assigned an instrument or voice part at this time.
Assessment/Evaluation Techniques
 The teacher informally observes students to ensure that journals and logs have been correctly
initiated. A checklist is recommended for this assessment.
Accommodations
 Appoint a peer to help set up the notebook as indicated.
 Have the review sheet completed during the class to answer questions.
 Assist in decisions regarding instrument choice to accommodate exceptionalities.
Resources
Course outline
Review sheet (Appendix 1.3 – Beginning Review)
Letter home (Appendix 1.5 – Music and Instrument Procedures)
Activity 4: The Way It Works
Time: 30 minutes
Description
This activity is intended to make students aware of the need for proper instrument care, maintenance, and
the importance of physical practice techniques for musical performance. By the end of the activity,
students are able to demonstrate proper techniques and have learned a greater respect for the equipment
that they are using in class.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE2a - listens actively and critically to understand and learn in light of gospel values;
CGE4a - demonstrates a confident and positive sense of self and respect for the dignity and welfare of
others;
CGE4f - applies effective communication, decision-making, problem-solving, time, and resource
management skills;
Unit 1 - Page 8
 Music - Open
CGE5a - works effectively as an interdependent team member;
CGE5b - thinks critically about the meaning and purpose of work;
CGE5e - respects the rights, responsibilities, and contributions of self and others;
CGE7i - respects the environment and uses resources wisely.
Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.01 - explain in detail, both orally and in writing, the elements of music (i.e., rhythm, melody, timbre
dynamics, harmony texture and form.);
THV.02 - read and understand musical notation;
CRV.02 - make complex artistic decisions that affect the stylistic accuracy of their playing or singing
(e.g., articulation, phrasing posture, dynamics, tone quality, intonation, rhythm balance, blend);
CRV.03 - demonstrate the effective use of digital technology in music applications;
ANV.02 - use aural discrimination skills to identify complex aspects of music;
ANV.03 - evaluate the effects of music education on themselves and their peers.
Specific Expectations
TH1.13 - use music software to improve aural and theoretical skills;
CR2.04 - play or sing with tone quality appropriate to the exercises and repertoire being performed;
CR2.06 - play or sing with accurate pitch;
AN2.02 - demonstrate an understanding of intervals and triads by reproducing, aurally identifying and
notating all given intervals from a diminished unison to an augmented octave and major and minor triads;
AN3.05 - identify and correct improper postures and/or performance practices that may have negative
musical effects and/or cause physical injuries;
AN3.08 - demonstrate leadership in rehearsal, performance and audience etiquette appropriate to the
cultural context.
Planning Notes
 A piano or other instrument is useful for aural dictation purposes.
 Set up demonstration instruments ahead of time in order to facilitate the lesson on proper care and
maintenance of class instruments.
 Make a display of different tools and cleaning supplies available to the class.
 Choose a method book, beginning repertoire and a textbook to distribute to students.
 Provide MIDI/digital equipment and software to demonstrate the elements of music.
Prior Knowledge Required
 Students should have a general familiarity with the instruments of the band.
Teaching/Learning Strategies
1. The teacher presents the daily routines of music class. Everyday activities will include ear training, a
history/theory lesson, and performance.
2. As a class, review the steps of proper instrument assembly. It may be beneficial for students to label
a diagram of their instrument and record the steps to proper assembly in their notebooks. Through
demonstration, identify in greater detail more specific parts of the instrument that students may not
be aware of (tuning slides, springs, pads, cork) and how to care for them. Present proper cleaning and
maintenance techniques to the students and indicate the location of cleaning supplies and tools.
Students take out their instruments and demonstrate proper assembly.
3. As a class, review the aspects of proper physical practice for musical performance. Students
demonstrate proper posture, breathing techniques, embouchure, positioning, and good tone
production.
Unit 1 - Page 9
 Music - Open
4. Using the technical equipment available in class (MIDI/digital programs), the teacher reviews and
demonstrates melody, harmony, tempo, timbre.
5. Students rehearse a short study or piece and demonstrate correct performance practice.
6. Students comment, in writing, on the importance of respecting and caring for the class environment.
Assessment/Evaluation Techniques
 Use a checklist for instrument assembly and maintenance for formative assessment.
 Teacher/student or student/student informal conferencing will be used throughout the activity for
formative assessment.
 The teacher will provide anecdotal comments on the student’s commentary.
Accommodations
 Provide labelled diagrams of instruments to students.
 Provide guiding questions that will help students to write a meaningful reflection.
 Work in sections or pairs to demonstrate proper assembly of instruments.
Resources
Meyer, R.F. Band Director’s Guide to Instrument Repair. New York: Alfred Publishing Co., 1973.
Computer/MIDI software
Rhodes, Tom, C.D. Bierschenk, and T. Lautzenheisen. Essential Elements A Comprehensive Band
Method Books 1 and 2. USA: Hal Leonard Publishing Corporation, 1991.
Senior students or professionals to demonstrate instrument repair/maintenance
Activity 5: An Enchanting Moment
Time: 90 minutes
Description
Students define and create Gregorian style or plainsong chant through listening to and performing
published music of the Middle Ages. Student compositions use unconventional notation, resulting in a
reflection based on the need for common music notation.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE4a - demonstrates a confident and positive sense of self and respect for the dignity and welfare of
others;
CGE4e - sets appropriate goals and priorities in school, work, and personal life;
CGE4f - applies effective communication, decision-making, problem-solving, time, and resource
management skills;
CGE5a - works effectively as an interdependent team member;
CGE5e - respects the rights, responsibilities, and contributions of self and others;
CGE7b - accepts accountability for one’s own actions.
Strand(s): Theory, Creation
Unit 1 - Page 10
 Music - Open
Overall Expectations
THV.02 - read and understand musical notation;
CRV.02 - make complex artistic decisions that affect the stylistic accuracy of their playing or singing
(e.g., articulation, phrasing, posture, dynamics, tone quality, intonation, rhythm, balance, blend);
CRV.04 - apply the elements and principles of composition at an intermediate level, using the creative
process (i.e., perception, production, and reflection).
Specific Expectations
TH1.11 - situate composers in a historic continuum;
TH1.15 - demonstrate an understanding of the function of the menus of notation software;
CR1.06 - play or sing with accurate pitch;
CR1.08 - maintain a consistent tempo and accurately change tempi as found in the exercises and
repertoire being performed;
CR1.10 - accurately play or sing rhythms as found in the exercises and repertoire being performed;
AN2.02 - analyse and describe their own strengths and needs at various points in the course and work
towards improving themselves in identified areas.
Planning Notes
 The teacher obtains a stereo and recording(s) of Gregorian Chant.
 It would be beneficial to have the “Our Father” written out for presentation to the class (chart paper
or overhead, etc.).
Prior Knowledge Required
 No prior knowledge is required.
Teaching/Learning Strategies
1. The teacher presents examples of chant/plainsong to the class for listening purposes. Brainstorm
initial definitions on the board.
2. As a class, chant to a few phrases of a poem or prayer (e.g., “Our Father”). The teacher attempts to
direct the rise and fall of pitch, variations of tempo and rhythm.
3. As a class, discuss performance problems. Create written symbols and a legend that will accompany
the text of the prayer to facilitate class performance. Chant again.
4. In small groups, students write a chant using original text and plainsong notation. When complete,
good copies of chants are exchanged with, and performed by, other groups without contact from the
composer group. Class discussion will follow, highlighting discrepancies between the notated
composition and the actual performance. The class now compares their notation to actual chant text.
5. In a written commentary, students use critical thinking to express positive feedback and constructive
criticism on the creative process and success of the activities.
6. Brainstorm, discuss, and demonstrate universal signs and symbols of communication. The discussion
should culminate in student awareness of the need for a form of universal musical communication
and music notation.
Assessment/Evaluation Techniques
 Students complete a checklist to assess self and peers with regard to group work skills following the
group activity. (See Appendix to Unit 1.)
 The teacher assesses the composition using a rubric. (See Appendix 1.6 – Rubric to Assess Student
Composition.)
 The teacher generates anecdotal comments in response to student written commentary.
 The teacher uses a checklist to assess student performance.
Unit 1 - Page 11
 Music - Open
Accommodations
 Provide a handout of the prayer and other possible texts for the composition.
 Provide guiding questions to direct or enrich student commentary.
Resources
Forney, Kristine and Joseph Machlis. The Enjoyment of Music, Eighth Edition. New York: W.W. Norton
& Company, 1995.
Forney, Kristine and Joseph Machlis. CD series: The Enjoyment of Music, Eighth Edition. New York:
W.W. Norton & Company, 1995.
Taruskin, Richard and Piero Weiss. Music in the Western World. New York: Schirmer Books, a Division
of Macmillan Inc., 1984.
Canadian Conference of Catholic Bishops. Catholic Book of Worship III. Canada: Best Gagne Book
Manufacturers Inc., 1994.
Activity 6: Pope Gregory and Mr. d’Arezzo
Time: 90 minutes
Description
The focus of this activity is to highlight the impact that the standardization of notation had on music in
the Western world. Students are introduced to the historical figures of Pope Gregory, Charlemagne, and
Guido d’Arezzo and the roles these figures had in the spread of conventional notation. Students perform
a Kyrie and learn the basic form and function of this music.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE2b - reads, understands and uses written materials effectively;
CGE5e - respects the rights, responsibilities and contributions of self and others.
Strand(s): Analysis, Creation, Theory
Overall Expectations
THV.01 - explain in detail, both orally and in writing, the elements of music (i.e., rhythm, melody,
timbre, dynamics, harmony, texture, and form);
THV.02 - read and understand musical notation.
Specific Expectations
TH1.11 - situate composers in a historic continuum;
CR1.06 - play or sing with accurate pitch;
CR1.08 - maintain a consistent tempo and accurately change tempi as found in the exercises and
repertoire being performed;
CR1.10 - accurately play or sing rhythms as found in the exercises and repertoire being performed;
AN2.07 - explain the function of certain musical forms in daily life (e.g., anthems, marches).
Planning Notes
 The teacher obtains information regarding the Gregorian reform of Roman Chant through the use of
travelling cantors, Charlemagne’s attempt to unify Europe, and Guido d’Arezzo’s method of music
instruction.
 The teacher chooses a Kyrie of appropriate difficulty for students to perform and analyse.
Unit 1 - Page 12
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Prior Knowledge Required
 Students are expected to have a basic musical ability for the performance of a simple piece of music.
Teaching/Learning Strategies
1. The teacher outlines the political relationship between Charlemagne and Pope Gregory and the
shared goal of a unified Europe. Guido d’Arezzo is highlighted as the figure who made the greatest
impact on the standardization of the use of neumes through his close relationship with Pope Gregory.
Students write a descriptive paragraph on music’s role as a principal commonality that helped unify
Europe and pull it out of the Dark Ages.
2. Students perform a Kyrie chosen from one of the mentioned resources. Students are encouraged to
perform it vocally and, if possible, in the Latin text. The use of Latin in church services should be
highlighted as one of the other unifying forces in the story. The concept of melisma is introduced.
3. Students identify the ABA form, stepwise melodic contour, melisma and treatment of text, and
musical factors that contribute to the overall mood of the music (number of performers,
accompaniment choices, timbre of voices, quiet volume, simplistic rhythm, absence of beat).
4. Students analyse the Kyrie. The form, modality, text, and purpose of this music is studied. Students
construct a working definition of a Kyrie for use in the next activity.
5. Students add the historical information discussed in the activity to the timeline established in activity
one.
Assessment/Evaluation Techniques
 A rubric is used to assess the descriptive paragraph
 The teacher completes an anecdotal assessment of the Kyrie performance.
 The teacher assesses the analysis of the Kyrie with a checklist.
Accommodations
 Have students re-enact the story.
 Students may be given the definition of Kyrie and use it to perform basic analysis.
 Students may be given a handout detailing the information on the characters to be discussed.
Resources
Taruskin, Richard and Piero Weiss. Music in the Western World. New York: Schirmer Books, a Division
of Macmillan, Inc., 1984.
Canadian Conference of Catholic Bishops. Catholic Book of Worship III. Canada: Best Gagne Book
Manufacturers Inc., 1994.
Unit 1 - Page 13
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Activity 7: Write Away
Time: 150 minutes
Description
This activity involves the writing of an original Kyrie by the student. Each student composer leads the
class in the performance of his/her piece. Detailed performance notes will be included.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE2c - presents information and ideas clearly and honestly and with sensitivity to others;
CGE3c - thinks reflectively and creatively to evaluate situations and solve problems;
CGE4b - demonstrates flexibility and adaptability;
CGE4c - takes initiative and demonstrates Christian leadership;
CGE4f - applies effective communication, decision-making, problem-solving, time, and resource
management skills;
CGE5a - works effectively as an interdependent team member;
CGE5e - respects the rights, responsibilities, and contributions of self and others;
CGE5f - exercises Christian leadership in the achievement of individual and group goals.
Strand(s): Theory
Overall Expectations
THV.01 - explain in detail, both orally and in writing, the elements of music (i.e., rhythm, melody,
timbre, dynamics, harmony, texture, and form);
THV.02 - read and understand musical notation;
THV.04 - explain the use of various applications of MIDI technology (e.g., sequencing, notation).
Specific Expectations
TH1.07 - compare and contrast detailed characteristics of sound (e.g., voice types and variations, guitar
versus harp, electronic effects on digital sounds).
Planning Notes
 Students require staff paper.
 Keyboard(s) should be available to facilitate the composition process and to aid in the learning of
student compositions.
Prior Knowledge Required
 Students need an understanding of basic theory and notation.
 Experience in performance technique and audience etiquette are necessary.
 It is expected that students are familiar with transcription of conventional notation.
Teaching/Learning Strategies
1. Students brainstorm their ideas regarding the composition process (perception, production, and
reflection) and form an outline of this process.
2. Individual students compose a Kyrie, including performance notes, following the process outlined in
Activity 5.
3. The class performs the compositions under the direction of the composer.
4. Students submit their score, including performance notes, for summative evaluation.
Unit 1 - Page 14
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Assessment/Evaluation Techniques
 Student compositions are initially assessed with anecdotal comments to help students complete
revisions and make improvements.
 The final score submission will be evaluated with a rubric. (See Appendix 1.6 – Rubric to Assess
Student Compositions.)
Accommodations
 Performance of the Kyries may be large group, small ensemble, or solo.
 Notation software may be used for the assignment.
 Composition may be recorded for submission.
 Additional voices may be added to the composition.
Resources
Canadian Conference of Catholic Bishops. Catholic Book of Worship III. Canada: Best Gagne Book
Manufacturers Inc., 1994.
Salzer, Felix and Carl Schacter. Counterpoint in Composition. New York: Columbia University Press,
1969.
Unit 1 - Page 15
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Appendix 1.1
Practice Log
Name:
Date
Practice time
Content
Parent/Supervisor
Appendix 1.2
Personal Performance Development Plan
Date: ______________ Unit: ________________
Focus areas for performance in this unit:
Teacher Comments:
Parent Comments:
Did I meet my goal?
Unit 1 - Page 16
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Appendix 1.3
Beginning Review
It is expected that the information presented below, is already known and understood. Please review this
sheet and take note of information you are unfamiliar with. Further study in this course will assume a
familiarity with this information.
The Staff: the five lines and four spaces that music is written on; also, the Grand Staff referring to the
combination of two staves with differing clefs that piano music is written on.
The Staff
The Grand Staff
Measure: a means of organizing rhythm by grouping together a specified number of beats. Also called
bar.
Measure Lines: There are several common measure lines.
Double bar line: used to indicate Double bar line (final): used to
Repeat Sign: used in pairs to
a division between formal
indicate the end of a piece of
indicate a section of music that is
sections of the music.
music.
to be repeated once.
Melody: an arrangement of pitches in a musically expressive succession.
Melodic contour: the shape of the melody in terms of high and low pitch; often represented by a line.
Texture: a pattern of musical sound created by notes or lines of music played or sung together.
Tone colour (Timbre): the characteristic quality of the sound produced by a particular voice or
instrument, sometimes called the “tone of the sound.”
Harmony: the combination of simultaneous notes (chords) and their composition and progression.
Beat: the pulse of the music.
Rhythm: musical sounds organized according to duration.
Notes: the name given to a sign that is used to represent a period of sound in music.
Rests: the name given to a sign that is used to represent a period of silence in music.
Unit 1 - Page 17
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Appendix 1.3 (Continued)
Beginning Review
Whole Note
Whole Rest
Half Note
Half Rest
Quarter Note
Quarter Rest
Eighth Note
Eighth Rest
Sixteenth Note
Sixteenth Rest
Dotted notes: a dot placed beside a note, increases the rhythmic value of that note by half.
Triplets: Three notes which are played in the time of two and designated by a bracket over the notes
with the number 3.
E.g., Eighth-note triplets
Tempo: The speed of the beat.
Related Markings and Terms:
Prestissimo: as fast as possible.
Presto: very fast.
Allegro: fast.
Andante: moderate (walking speed).
Moderato: moderate.
Adagio: moderately slow.
Lento: slow.
Largo: very slow.
Accelerando: gradually getting faster.
Ritardando: gradually getting slower.
Unit 1 - Page 18
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Appendix 1.3 (Continued)
Beginning Review
Clef: a sign at the beginning of a musical staff to show the pitch of the notes.
Treble Clef: indicates that bottom line of the staff is E above middle C.
Bass Clef: indicates that bottom line of the staff is G below middle C.
Articulations: a set of symbols that alter the way in which notes are performed.
Staccato: indicates that the note is to be played shortly (approximately half the written value).
Accent: indicates that the note is to be played strongly and with emphasis.
Legato: indicates that the note is to be played for full value and without accent.
Dynamics: the degree of loudness or softness of a sound and the set of symbols that indicates these
degrees:
fortissimo
forte
mezzo-forte mezzo-piano
piano
pianissimo
very loud
loud moderately
loud
moderately-quiet
quiet
very quiet
Unit 1 - Page 19
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Appendix 1.3 (Continued)
Beginning Review
Accidentals: the set of symbols that modify the pitch of a note.
Sharp: raises a note by one semitone.
Flat: lowers a note by one semitone.
Double sharp: raises a note by two semitones.
Double flat: lowers a note by two semitones.
Style:
dolce: softly
cantabile: in a singing style
marcato: marked or accented
Form: the shape or structure of a piece of music.
Related terms: da capo - to the beginning, dal segno (d.s.) - to the sign, al fine - until the end, coda - an
ending section not previously played.
Time signature: Two numbers written, one above another, on the staff which indicate the number of
beats between measure lines and the type of note that is valued as one beat, e.g.,
Four/four time (common time): indicates four quarter notes (or the equivalent) per bar
Six/eight time: indicates six eighth notes (or the equivalent) per bar
Key signature: a series of accidentals written immediately after the clef that indicates the scale or key in
which the piece has been composed. The accidentals are the same as those found in the scale that has
been used to create the composition and apply to the entire piece.
Unit 1 - Page 20
 Music - Open
Appendix 1.4
Knowledge Checklist
Subject
My Level of Understanding
Check the appropriate box
(1 - little understanding... 4 - complete understanding)
1
2
3
4
Staff
Measures
Melody
Harmony
Texture
Timbre
Beat
Rhythm
Note/Rest Values
Dotted Notes
Triplets
Tempo Markings
Clefs
Articulations
Dynamics
Accidentals
Style Markings
Form
Time Signatures
Key Signatures
Unit 1 - Page 21
 Music - Open
Appendix 1.5
Music Department
Music And Instrument Procedure
An essential part of your child’s growth as a musician stems from their daily practice. It is my request
that all parents/guardians get involved in their child’s learning process by implementing the daily
Practice Log at home for your child to rehearse. Please keep in mind that continual encouragement and
support is necessary in everyone’s learning process.
Students shall be given the opportunity to borrow music and an instrument from the school; however, I
encourage students to rent/purchase their own instrument so they will have an instrument to themselves,
thus eliminating any problems associated with the sharing of instruments. If this is not possible they will
share their instrument with other musicians.
Instruments that are signed out must be returned the next weekday before 8:45 A.M. If your child is ill
that day please have someone drop the instrument off at the school as other musicians will need it.
Proper care and maintenance of the instruments is of utmost importance. Any lost or stolen instrument or
music must be reported to the music teacher immediately. Please do not try to fix any damaged
instrument at home. Willful or irresponsible destruction of instruments and music will not be tolerated
and will be followed up with appropriate action, including payment for damages or replacement of the
music or instrument.
Your child has indicated an agreement to uphold these conditions. Please sign below to indicate your
awareness of these policies. If you have any questions regarding these conditions please call me at the
school ( ) - . Thank you for your co-operation.
Sincerely,
Parent/Guardian Signature_______________________________________________
Student Signature_______________________________________________________
Unit 1 - Page 22
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Appendix 1.6
Rubric To Assess Student Composition
Categories
Criteria
C
The score
Level 1
(50-59%)
- creates a visual
score with limited
accuracy and
effectiveness
T/K/U
Ability to
manipulate
musical elements
T/I
Creative thinking
skills used to
create an original
piece
- limited ability to
manipulate
musical elements
Level 2
(60-69%)
- creates a visual
score with
moderate
accuracy and
effectiveness
- some ability to
manipulate
musical elements
- uses creative
thinking skills
with limited
effectiveness
- uses creative
thinking skills
with some degree
of effectiveness
C/A
Application of the
creative process
- applies the
creative process
with limited
effectiveness
- applies the
creative process
with some
effectiveness
Level 3
(70-79%)
- creates a visual
score with
considerable
accuracy and
effectiveness
- considerable
ability to
manipulate
musical elements
- uses creative
thinking skills
with a
considerable
degree of
effectiveness
- applies the
creative process
with considerable
effectiveness
Level 4
(80-100%)
- creates a visual
score with a high
degree of
accuracy and
effectiveness
- excellent ability
to manipulate
musical elements
- uses creative
thinking skills
with a high degree
of effectiveness
- applies the
creative process
with a high degree
of effectiveness
and confidence
Note: A student whose achievement is below level 1 (50%) has not met the expectations for this
assignment or activity.
Unit 1 - Page 23
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Appendix 1.7
Performance Rubric
Categories
Level 1
Theory (Knowledge/
Understanding)
- understanding of
- demonstrates
concepts of music
limited
notation
understanding of
concepts of
music notation
- understanding of
- demonstrates
relationships between limited
musical concepts
understanding of
relationships
between musical
concepts
Thinking/Inquiry
- critical analysis
- uses critical
(e.g., analyses
analysis with
repertoire for stylistic limited clarity
and historical
and effectiveness
accuracy)
- creative thinking
- uses creative
skills (e.g., divergent thinking skills
thinking, musical
with limited
interpretation)
effectiveness
- making connections - makes
(e.g., between the
connections with
repertoire and
limited
personal experiences) effectiveness
Communication
- communication and - communicates
expression of musical and expresses
ideas for different
musical ideas for
audiences and
different
purposes
audiences and
purposes with
limited clarity
- use of music
indicators as music
language
Unit 1 - Page 24
- uses music
indicators as
music language
with limited
accuracy and
effectiveness
Level 2
Level 3
Level 4
- demonstrates
some
understanding of
concepts of
music notation
- demonstrates
some
understanding of
relationships
between musical
concepts
- demonstrates
considerable
understanding of
concepts of
music notation
- demonstrates
considerable
understanding of
relationships
between musical
concepts
- demonstrates
thorough
understanding of
concepts of
music notation
- demonstrates
thorough
understanding of
relationships
between musical
concepts
- uses critical
analysis with
some clarity and
effectiveness
- uses critical
analysis with
considerable
clarity and
effectiveness
- uses creative
thinking skills
with considerable
effectiveness
- makes
connections with
considerable
effectiveness
- uses critical
analysis with
thorough clarity
and effectiveness
- communicates
and expresses
musical ideas for
different
audiences and
purposes with
considerable
clarity
- uses music
indicators as
music language
with considerable
accuracy and
effectiveness
- communicates
and expresses
musical ideas for
different
audiences and
purposes with
thorough clarity
- uses creative
thinking skills
with some
effectiveness
- makes
connections with
some
effectiveness
- communicates
and expresses
musical ideas for
different
audiences and
purposes with
some clarity
- uses music
indicators as
music language
with some
accuracy and
effectiveness
- uses creative
thinking skills
with thorough
effectiveness
- makes
connections with
thorough
effectiveness
- uses music
indicators as
music language
with thorough
accuracy and
effectiveness
 Music - Open
Categories
Creation
- application of
knowledge and skills
in familiar contexts
- transfer of
knowledge and skills
to new contexts (e.g.,
sight reading)
Level 1
Level 2
Level 3
Level 4
- uses knowledge
and skills in
familiar contexts
with limited
effectiveness
- transfers
knowledge and
skills to new
contexts with
limited
effectiveness
- applies the
creative process
with limited
effectiveness
- uses knowledge
and skills in
familiar contexts
with some
effectiveness
- transfers
knowledge and
skills to new
contexts with
some
effectiveness
- applies the
creative process
with some
effectiveness
- uses knowledge
and skills in
familiar contexts
with considerable
effectiveness
- transfers
knowledge and
skills to new
contexts with
considerable
effectiveness
- applies the
creative process
with considerable
effectiveness
- uses knowledge
and skills in
familiar contexts
with thorough
effectiveness
- transfers
knowledge and
skills to new
contexts with
thorough
effectiveness
- applies the
creative process
with thorough
effectiveness
- application of the
creative process (e.g.,
striving for
originality, exploring
alternative
approaches)
Note: A student whose achievement is below level 1 (50%) has not met the expectations for this
assignment or activity.
Unit 1 - Page 25
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Appendix 1.8
Checklist for Assessing Group Participation
(For Teacher or Peer/Self-Assessment)
Name: __________________________
Areas for Assessment of
Group Participation
Respects the ideas and
contributions of others
Uses time effectively and
stays on task
Contributes ideas to group
discussion/activity
Uses effective communication
skills (oral and/or written)
Needs Improvement
Satisfactory
Very Good
Comments:
Unit 1 - Page 26
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Unit 2: Bach to Basics
Time: 14 hours
Description
This unit involves an introduction to the baroque era, including the study of the music of J.S. Bach and
his contemporaries. Students explore major and minor tonality through listening, written activities, and
performance activities. Simple musical forms, including the canon, rondo, and fugue, are studied. The
form of the Mass is addressed as an expression of personal faith through music.
Strand(s) and Expectations
Ontario Catholic Graduate Expectations: CGE1e, CGE3a, CGE3e, CGE4a, CGE4f, CGE4h,
CGE5a, CGE5d, CGE5e.
Strand(s): Analysis, Creation, Theory
Overall Expectations: THV.01X, THV.02X, THV.03X, THV.04X, CRV.01X, CRV.02X, CRV.03X,
CRV.04X, ANV.01X, ANV.02X, ANV.04X.
Specific Expectations: TH1.03X, TH1.04X, TH1.05X, TH1.10X, TH1.11X, TH1.12X, TH1.13X,
TH1.15X, CR1.01X, CR1.03X, AN1.03X, AN2.02X.
Activity Titles (Time + Sequence)
Activity 1
Activity 2
Activity 3
Activity 4
Activity 5
Activity 6
Activity 7
Performance Requirements for the Unit
Listening Requirements for the Unit
Step By Step
Go for Baroque
The World of J.S. Bach
The Formative Years
The Music of the Mass
300 minutes
150 minutes
60 minutes
60 minutes
40 minutes
90 minutes
50 minutes
Prior Knowledge Required



Students should be able to notate major key signatures and scales, up to and including a minimum of
four sharps and flats.
Students should have an understanding of how basic musical elements are manipulated to create
various moods, emotions, or images.
Students are familiar with the various parts of the Mass, the activity or intent associated with each
part, and the order in which they occur.
Unit Planning Notes



The teacher works with the students to make appropriate selection of performance repertoire.
The teacher requires scores and recordings for Bach “Prelude 21 in Bb”, Vol.1; Bach, “Minuet in G
major”, Pachelbel, “Canon in D”, Beethoven, “Piano Sonata in C minor (Pathetique) Op. 13 3rd
movement (Rondo)”, Bach “Prelude and Fugue in C minor”; or appropriate substitutions. (Ensure
that students understand that Beethoven's rondo movement does not represent the baroque period, but
is included as a sample of the rondo form). Teachers are encouraged to make appropriate
substitutions.
Activity 6 requires materials for visual representation. (Cupcakes, icing tubes and decorations are
suggested but the teacher should use discretion with regard to allergies and substitute accordingly.)
Unit 2 - Page 1
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

Provide three listening centres for Activity 6.
The teacher generates a Mass planning sheet to direct the listening in Activity 7.
Teaching/Learning Strategies




Performance: solo and ensemble, oral performance and written
Group work
Listening and Reflection: directed and open
Brainstorming
Assessment and Evaluation
 Logs and journals
 Written assignments: composing, reflection/response
 Performance assessments: solo/ensemble
Assessment Tools will include:
 Summative Evaluation: checklist, rubric, anecdotal
 Formative Evaluation: performance rubric
Resources
Berkowitz, Fontrier, and Kraft. A New Approach to Sight Singing, Third Edition. New York: W.W.
Norton & Company, 1986.
Lethco, Amanda Vick, Morton Manus, and Williard Palmer. Alfred’s Basic Adult Theory Piano Book
Levels One and Two. Van Nuys, California: Alfred Publishing Co., Inc., 1994.
Peters, Charles S. and Paul Yoder. Master Theory Book Two. Illinois: Neil A. Kjos Music Co.
Wharram, Barbara. Theory for Beginners. New York: The Frederick Harris Music Co. Limited, 1974.
Wharram, Barbara. Elementary Rudiments of Music. New York: The Frederick Harris Music Co., 1969.
Activity 1: Performance Requirements for the Unit
Time: 300 minutes
Description
This activity is expected to be ongoing throughout the unit and should not be completed all at one time.
The performance criteria, listed below has been selected due to its ability to compliment this unit. Skills
and repertoire chosen will both reinforce and reflect other activities within the unit. The students focus
on how composers use major and minor tonalities, as well as scalar passages, to create and develop their
compositions. Students also practise the use of terraced dynamics and other such appropriate musical
markings as highlighted in the introduction to baroque composition during class and individual
performance.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE2b - reads, understands, and uses written materials effectively;
CGE4b - demonstrates flexibility and adaptability;
CGE4c - takes initiative and demonstrates Christian leadership;
CGE4e - sets appropriate goals and priorities in school, work and personal life;
CGE4f - applies effective communication, decision-making, problem-solving, time and resource
management skills;
Unit 2 - Page 2
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CGE5a - works effectively as an interdependent team member;
CGE5e - respects the rights, responsibilities, and contributions of self and others;
CGE5f - exercises Christian leadership in the achievement of individual and group goals;
CGE5g - achieves excellence, originality and integrity in one's own work and supports these qualities in
the work of others.
Strand(s): Creation
Overall Expectations
CRV.01 - play or sing technical exercises and diverse repertoire that reflect the theory expectations at
this grade level (including improvisation and their own creations when appropriate).
Specific Expectations
CR1.01 - accurately play or sing complex notated or stylistically correct articulation (e.g., variety of
accents, col legno, hammer-on, glissando);
CR1.02 - play or sing with an understanding of complex musical phrase structures (e.g., notated,
improvised, or stylistically correct);
CR1.04 - play or sing with tone quality appropriate to the exercises and repertoire being performed;
CR1.05 - play or sing, with control and within an expanded range, the exercises and repertoire being
performed;
CR1.06 - play or sing with accurate pitch;
CR1.07 - play or sing with accurate intonation, both melodically and harmonically;
CR1.08 - maintain a consistent tempo and accurately change tempi as found in the exercises and
repertoire being performed;
CR1.09 - play or sing in various metres and accurately change metres as found in the exercises and
repertoire being performed;
CR1.10 - accurately play or sing rhythms as found in the exercises and repertoire being performed;
CR1.11 - play or sing with detailed attention to the subtleties of balance and blend.
Planning Notes
 The teacher must acquire a variety of large and small ensemble repertoire from the baroque period
(see Resources for this activity).
 The teacher must be able to provide several locations for small ensembles to practise chosen
repertoire.
 Daily performance time is structured according to the following criteria:
Warm-up (tuning, tone, breathing, posture, etc.)
5-10 minutes
Technique building (range, dexterity, endurance, articulation/diction, phrasing) 5-15 minutes
Analyzing and interpreting repertoire (solo, small group or ensemble: style,
20-40 minutes
balance/blend, dynamics, form, performance etiquette, etc.)
Prior Knowledge Required
 Students should understand the use and implementation of key signatures.
 Students must be able to perform a minimum of level 1 repertoire.
Teaching/Learning Strategies
1. Daily warm-ups focus on a variety of major and minor (natural, harmonic, and melodic) scales, up to,
and including, four sharps and four flats. Rhythm patterns for scale practice should be drawn from
the class repertoire for this unit.
2. The teacher highlights the main performance practices of the baroque period, including terraced
dynamics, control of sound quality and volume, the importance of vigorous rhythms, and so on.
Unit 2 - Page 3
 Music - Open
Students are encouraged to identify, aurally and visually, major and minor tonalities in the chosen
repertoire.
3. The teacher chooses a variety of large and small ensemble compositions, highlighting the fact that
much of the music in the baroque time period was written for small ensembles. Students are
encouraged to practise appropriate group work skills during small ensemble rehearsals.
4. Students prepare small ensemble repertoire for a culminating playing test.
Assessment/Evaluation Techniques
 Individual scale playing tests are assessed using the performance rubric found in the Appendix 1.7 –
Performance Rubric.
 Small ensemble playing tests are assessed using the performance rubric.
 Self- and peer assessments are used to evaluate group work skills.
Accommodations
 Students are encouraged to choose the number of octaves for playing tests, according to their
individual abilities.
 Students are encouraged to memorize and/or publicly perform small ensemble repertoire for peers,
parents, administration, etc.
Resources
Band Method Books
Cacavas, John. Trios for Clarinets. USA: Alfred Publishing Co., 1994.
Cacavas, John. Trios for Flutes. USA: Alfred Publishing Co., 1994.
Cacavas, John. Trios for Saxophones. USA: Alfred Publishing Co., 1994.
Cacavas, John. Trios for Trumpets. USA: Alfred Publishing Co., 1994.
Erickson, Frank. Festive and Famous Chorales for Band. USA: Alfred Publishing Co., 1991.
Ryden, William. Classical Duets for All. USA: Belwin-Mills Publishing Corp., 1996.
Ryden, William. Classical Quartets for All. USA: Belwin-Mills Publishing Corp., 1996.
Ryden, William. Classical Trios for All. USA: Belwin-Mills Publishing Corp., 1996.
Ryden, William. Sacred Duets for All. USA: Belwin-Mills Publishing Corp., 1997.
Ryden, William. Sacred Quartets for All. USA: Belwin-Mills Publishing Corp., 1997.
Ryden, William. Sacred Trios for All. USA: Belwin-Mills Publishing Corp., 1997.
Small Ensemble Pieces
Marlatt, Craig I.W. “The Easy Collection of Instrumental Quartets.” Canada: Eighth Note Publications.
www.enpmusic.com available for flute, clarinet, E saxophone, B trumpet, F horn, trombone, low brass
(baritones, tubas).
Flute Ensemble
Bach, J.S. and David Marlatt (arr.). “Jesu Joy of Man’s Desiring” (2 flutes and keyboard). Canada:
Eighth Note Publications.
Handel, G.F. and David Marlatt (arr.). “Where’er You Walk” (quartet). Canada: Eighth Note
Publications.
Mozart, W.A. and David Marlatt (arr.). “Ave Verum Corpus” (2 flutes and keyboard). Canada: Eighth
Note Publications.
Rossini, G. and David Marlatt (arr.). “William Tell Overture” (quartet). Canada: Eighth Note
Publications.
Unit 2 - Page 4
 Music - Open
Clarinet Choir
Bach, J.S. and David Marlatt (arr.). "Duet from Cantata No. 78" (2 clarinets and keyboard). Canada:
Eighth Note Publications.
Bach, J.S. and F.H. McKay (trans.). “Fugue No. 4” (clarinet quartet). USA: Barnhouse.
Bach, J.S. and David Marlatt (arr.). “Jesu Joy of Man’s Desiring” (2 clarinets and keyboard). Canada:
Eighth Note Publications.
Bach, J.S. and David Marlatt (arr.). "Wachet Auf" (6 clarinets). Canada: Eighth Note Publications.
Delibes, L. and David Marlatt (arr.). "Flower Duet" (2 clarinets and keyboard). Canada: Eighth Note
Publications.
Galuppi, B. and David Marlatt (arr.). “Adagio” (3 clarinets, 1 bass clarinet). Canada: Eighth Note
Publications.
Mozart, W.A. and David Marlatt (arr.). “Ave Verum Corpus” (2 clarinets and keyboard). Canada: Eighth
Note Publications.
Purcell, H. and David Marlatt (arr.). “Sonata” [7 clarinets (two choirs of 3 and 1 bass)]. Canada: Eighth
Note Publications.
Sweelinck, J.P. and David Marlatt (arr.). "Hodie Christus Natus Est" (6 clarinets). Canada: Eighth Note
Publications.
Saxophone Ensemble
Bach, J.S. and J. Carlsten. “Prelude and Fugue No.2” (quartet). USA: Barnhouse.
Trumpet Ensemble
Bach, J.S. and David Marlatt (arr.). “Jesu Joy of Man’s Desiring” (2 trumpets and keyboard). Canada:
Eighth Note Publications.
Clarke, J. and David Marlatt (arr.). “Trumpet Voluntary” (two trumpets and keyboard). Canada: Eighth
Note Publications.
Delibes, L. and David Marlatt (arr.) “Flower Duet” (2 clarinets and keyboard). Canada: Eighth Note
Publications.
De Victoria, T.L. and Don Sweete (arr.). “Tenebrae Factae Sunt” (four trumpets). Canada: Eighth Note
Publications.
Handel, G. and David Marlatt (arr.). “Water Music” (six trumpets). Canada: Eighth Note Publications.
Mozart, W.A. and David Marlatt (arr.). “Ave Verum Corpus” (2 trumpets and keyboard). Canada: Eighth
Note Publications.
Vivaldi, A. and David Marlatt (arr.). “Concerto For Two Trumpets” (two trumpets and keyboard).
Canada: Eighth Note Publications.
Mixed Ensembles
Bach, J.S. and F.H. McKay (trans.). "Fugue No. 4" (fl., ob., cl., bsn. or bs. cl.). USA: Barnhouse.
Gabrieli, G. and David Marlatt (arr.). "Canzon Per Sonare No.2" (6 trumpets). Canada: Eighth Note
Publications.
Gabrieli, G. and David Marlatt (arr.). “Canzon VI” (6 trumpets 1 baritone). Canada: Eighth Note
Publications.
Pachelbel, Johann, Siekmann (arr.). “Canon in D,” (fl., ob., cl., bsn. or bs. cl.). USA: Barnhouse.
Purcell, H. and David Marlatt (arr.). “Sonata” [6 trumpets 1 baritone (two choirs of 3 and 1 bass)].
Canada: Eighth Note Publications.
Unit 2 - Page 5
 Music - Open
Choral
Bach, J.S. (composer) and Henry Leck (arr.). “Jesu, Joy of Man's Desiring” (from Cantata 147). Unison.
USA: Hal Leonard Publications
Bach, J.S. “Kyrie Eleison from Mass in B Minor” (Latin). USA: G. Schirmer Publications.
Also on Kalmus Publications.
Artman. Back-a-rock. 2part. USA: Hal Leonard Publications
Cherubini, Luigi. “Requiem Mass in C Minor.” USA: Kalmus Publications.
Cherubini, Luigi. “Requiem Mass in D Minor.” USA: Kalmus Publications.
Pachelbel. “Sing Songs of Jubilation.” (SSA). Gentry Publications. USA: Hal Leonard Publications.
*Kalmus Publications Lists the Following Masses as available with Latin text, a cappella:
Ave Regina Coelorum with Veni Sponsa Christi and Vestiva I Colli
Beatus Laurentius with Sacerdotes Domini and O Sacrum Convivium
De Feria with Missa Brevis and L’Homme Arme
Guitar
Bock, J. (arr.). Bach for Guitar. USA: Hal Leonard Publications.
Bock, J. (arr.). Bach Again for Guitar. USA: Hal Leonard Publications.
Bach, J.S. "Jesu, Joy of Man's Desiring". (sheet arranged for guitar). USA: Hal Leonard Publications.
Noad, F. Two Baroque Favourites Guitar Minuet by Handel Ballet. (Guitar solo). USA: Hal Leonard
Keyboard
Bach, J. S. “Prelude and Fugue 21 in Bb” Vol.1., Urtext Edition. Germany: G. Henle Verlag, Munchen,
1978.
Royal Conservatory of Music (selected volumes Grades 1-8). Canada: Frederick Harris Music
Publishing.
Royal Conservatory of Music Studies (selected volumes Grades 1-8). Canada: Frederick Harris Music
Publishing.
Strings
Powell, M. “Miniatures for Baroque Ensemble Op 8” (Study Score). USA: Hal Leonard Publications.
Activity 2: Listening Requirements for the Unit
Time: 150 minutes
Description
This activity is expected to be ongoing throughout the unit and should not be completed all at one time.
The listening activities listed below have been selected due to their ability to build upon ear training
activities introduced in Unit 1, as well as complement the theory expectations in this unit. The students
learn to identify major and minor (natural, harmonic, and melodic) tonalities as found in scales and
repertoire, as well as notate short melodic dictations.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE2a - listens actively and critically to understand and learn in light of gospel values.
Strand(s): Analysis, Theory
Overall Expectations
ANV.02 - use aural discrimination skills to identify complex aspects of music (e.g., major and minor
triads, diminished and augmented intervals).
Unit 2 - Page 6
 Music - Open
Specific Expectations
TH1.13 - use music software to improve aural and theoretical skills;
AN1.01 - demonstrate their mastery of rhythms by clapping back, aurally identifying, and notating given
rhythms up to four measures in simple and compound metres, using sixteenth through whole notes and
rests, including dotted values and triplets;
AN1.03 - confirm their understanding of aural dictations by reproducing and notating simple melodies up
to four measures in simple and compound metres using sixteenth through whole notes and rests,
including dotted values, within an octave.
Planning Notes
 Students require staff paper or dictation booklets for the melodic dictation.
 The teacher should have accessible a piano or other instrument for accurate melodic dictation.
Prior Knowledge Required
 Students must comprehend key signatures and their implementation, as introduced in the following
activities.
 Students must have acquired strong rhythmic dictation skills as introduced in Unit 1.
Teaching/Learning Strategies
The following Teaching/Learning Strategies are to be used on a daily basis:
The teacher dictates a simple four bar rhythmic dictation. The teacher then establishes
a chosen tonality and tells the students the key and starting note for the following
melodic dictation, based on the rhythm they have already notated. The class is
encouraged to sing back the melodies as one student notates the melodies on the
board.
The teacher chooses two-to-four-bars of melodies from students’ Kyrie compositions,
to be used as melodic dictations.
The teacher plays or sings scales in different keys, while students identify the form
and tonality (major, harmonic minor, natural minor, melodic minor).
5-10 minutes
5 minutes
5 minutes
Assessment/Evaluation Techniques
 Aural/oral dictations are assessed using informal conferencing and anecdotal comments.
 A rubric will be used to summatively assess the students’ abilities to notate and reproduce rhythmic
and melodic dictations.
Accommodations
 The teacher provides students with a guided listening handout, which may contain the rhythm for the
melodic dictation, or the melodic dictation already partially completed.
 The teacher provides multiple choice handouts for aural dictations of major and minor scales.
 Students work in pairs or small groups to practise aural dictation.
Resources
Student Kyries from Unit 1
Unit 2 - Page 7
 Music - Open
Activity 3: Step by Step
Time: 60 minutes
Description
This activity begins with a brief introduction to melodic dictation. Students begin the process of
identifying, performing, and notating major and relative minor scales up to and including a minimum of
four sharps and flats.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE3c - thinks reflectively and creatively to evaluate situations and solve problems;
CGE3e - adopts a holistic approach to life by integrating learning from various subject areas and
experience;
CGE4f - applies effective communication, decision-making, problem-solving, time and resource
management skills;
CGE5a - works effectively as an interdependent team member;
CGE5e - respects the rights, responsibilities and contributions of self and others.
Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.02 - read and understand musical notation;
CRV.01 - play or sing technical exercises and diverse repertoire that reflect the theory expectations at
this grade level (including improvisation and their own creations when appropriate);
ANV.02 - use aural discrimination skills to identify complex aspects of music (e.g., major and minor
scales and scale degrees).
Specific Expectations
TH1.04 - identify and notate major and relative minor (natural, harmonic, and melodic) key signatures
and scales up to and including a minimum of four sharps and four flats;
TH1.05 - identify and define the degrees of a scale (e.g., tonic, supertonic, mediant, subdominant,
dominant, submediant, leading note);
CR1.04 - play or sing with tone quality appropriate to the exercises and repertoire being performed;
CR1.06 - play or sing with accurate pitch;
AN1.03 - confirm their understanding of aural dictations by reproducing and notating simple melodies up
to four measures in simple and compound metres using sixteenth through whole notes and rests,
including dotted values within an octave.
Planning Notes
 Students require staff paper and the Kyries composed in Unit 1, Activity 8 for melodic dictation.
 Students require a handout/class notes that define major and minor scales. This handout should
include how the notes of the scale are numbered, the special pattern of whole tones and semi-tones,
as well as the steps to finding the relative minor of any major key. Staff paper should also be
provided for scale notation.
 Keyboard(s) are required for melodic dictation, demonstration, and student practice of major and
minor scales.
Prior Knowledge Required
 Students are able to notate major key signatures and scales.
Unit 2 - Page 8
 Music - Open
Teaching/Learning Strategies
1. Briefly review the tone/semitone pattern used in creating major scales. Students write a two octave C
major scale (ascending and descending). They name the scale degrees and identify the semitones.
2. Briefly review key signatures for the major scales. Students choose any note in the C major scale and
write a second major scale following the prescribed patterns of tones and semitones. This second
scale should be labelled in the same way as step 2.
3. Introduce the procedure for identifying the relative minor. Students identify the relative minor of C
major. Once the class has identified the relative minor as A, they write three separate one octave
groups of notes on staff paper (ascending and descending) beginning and ending on A.
4. Introduce, define, and demonstrate the natural, harmonic, and melodic minor scales. As the class
listens, they highlight the sound/mood differences between major and minor scales. Students then
add the necessary accidentals in order to create the natural, harmonic, and melodic scales of A minor.
5. Students repeat steps 3 and 4 by identifying the relative minor of G major and notating the three
forms of the relative minor scale.
6. Upon completion, students play the scales in Activity 3 on their band instrument in sections or on the
keyboard. They focus on tone production with their instrument and proper fingering on the keyboard.
The two octave major scales have been introduced to encourage students to extend their range on
their instrument.
7. Reinforce major and minor scales creation with teacher-generated worksheets or activities from
theory work books.
Assessment/Evaluation Techniques
 Scale sheets will be assessed using a checklist.
 Informal observation and teacher feedback will be used to assess scale performance.
Accommodations
 Provide the forms of the major and minor scale on a handout to be labelled.
 Provide a handout of a keyboard to simplify or aid in the visualization of the tone and semitone
relationship.
 As a class, perform specific major and minor scales from the band method as prescribed by the
teacher.
 Increase or decrease the number of octaves for performance according to the level of the student.
 Vary the rhythms or tempi of the scales according to ability.
 Refer the students to fingering charts for new notes.
 Scales could be performed as a class vocally using solfa and hand signals.
Resources
Berkowitz, Fontrier, and Kraft. A New Approach to Sight Singing. Third Edition. New York: W.W.
Norton & Company, 1986.
Lethco, Amanda Vick, Morton Manus, and Willard A. Palmer. Alfred’s Basic Adult Theory Piano Book
Levels One and Two. Van Nuys, California: Alfred Publishing Co., Inc., 1994.
Peters, Charles S. and Paul Yoder. Master Theory Book Two. Illinois: Neil A. Kjos Music Co; Publisher.
Student Kyrie compositions from Unit 2.
Wharram, Barbara. Elementary Rudiments of Music. Mississauga, Ontario: The Frederick Harris Music
Co. Limited, 1969.
Wharram, Barbara. Theory for Beginners. Mississauga, Ontario: The Frederick Harris Music Co.
Limited, 1974.
Unit 2 - Page 9
 Music - Open
Activity 4: Go for Baroque
Time: 60 minutes
Description
This activity provides the student with an introduction to music of the baroque era. The students explore
the history, art, and culture of the time through significant historical figures.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE2c - presents information and ideas clearly and honestly and with sensitivity to others;
CGE3c - thinks reflectively and creatively to evaluate situations and solve problems;
CGE3e - adopts a holistic approach to life by integrating learning from various subject areas and
experience;
CGE4b - demonstrates flexibility and adaptability;
CGE4f - applies effective communication, decision-making, problem-solving, time and resource
management skills;
CGE5a - works effectively as an interdependent team member;
CGE5e - respects the rights, responsibilities and contributions of self and others.
Strand(s): Theory, Analysis
Overall Expectations
THV.03 - analyse the influence of certain composers on the musical language of their period;
ANV.04 - evaluate the function of music in society.
Specific Expectations
TH1.11 - situate composers in a historic continuum.
Planning Notes
 The teacher explores the cross-curricular connections with the art and religious education
departments so as to prepare a more complete overview of the baroque era.
 Arrange for Library/Resource Centre instructional and research time and Internet access in order to
acquire relevant information and possible extensions for individual students.
 Prepare brief synopsis of the suggested topics for group work.
Prior Knowledge Required
 No prior knowledge is required.
Teaching/Learning Strategies
1. Students are divided into small groups and given a brief synopsis of the following topics: the
increasing opportunities for musicians, the role of the church as patron, the role of the state as patron,
the performance practices of the day, the use of terrace dynamics, the expansion of the musical
ensemble, the appearance the virtuoso, and the relationship between art and music of the period.
2. Using the information provided to them, student groups prepare a brief dramatization of the people,
places, and social situations described in their topic.
3. Performance of these skits serves to provide the class with a more detailed look at the baroque
period.
4. Students are presented with a summary of the baroque time period.
5. Students fill in their timeline with necessary information.
Unit 2 - Page 10
 Music - Open
Assessment/Evaluation Techniques
 The teacher informally observes group work skills and oral communication.
 The teacher designs a checklist with the class to evaluate the dramatizations.
Accommodations
 Students may further explore in depth the connection between art, music, and religion during the
baroque period.
 Provide scripts for the groups to dramatize.
 Have students create a short story of the baroque era.
 Extend dramatic activities (costumes, props, etc.).
 Initiate a joint music/art field trip to an art museum.
Resources
Bokenkotter, Thomas. A Concise History of the Catholic Church. New York: Doubleday, 1990.
Canadian Conference of Catholic Bishops. Dreams, Dilemmas, Decisions. Ottawa: Concacan, 1994.
Dwyer, J. Church History: Twenty Centuries of Catholic Christianity. New York: Paulist Press, 1985.
Forney, Kristine and Joseph Machlis. The Enjoyment of Music. New York: W.W. Norton & Company,
1995.
Fowler, Charles. Music! Its Role and Importance in Our Lives. New York: McMillan McGraw-Hill,
1994.
Human Resources include: art, drama and religion teachers chaplain
Kuzmich, Natalie. Musical Growth: A Process of Involvement. Toronto: Gordon V. Thompson Music,
1986.
Ontario Conference of Catholic Bishops. Reaching Out: Readings in Family Life. Toronto: Maxwell
MacMillan, 1994.
Ontario Conference of Catholic Bishops. Turning Points: Readings in Family Life. Toronto: Maxwell
MacMillan, 1994.
Activity 5: The World of J.S. Bach
Time: 40 minutes
Description
This activity is designed to explore the history and musical contributions of J.S. Bach in order to
reinforce the theory concepts of major and minor scales as introduced in Activity 3. Through listening
examples, students become aware of how Bach and his contemporaries developed elements of musical
theory into compositions.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE3e - adopts a holistic approach to life by integrating learning from various subject areas and
experience;
CGE4a - demonstrates a confident and positive sense of self and respect for the dignity and welfare of
others;
CGE5d - finds meaning, dignity, fulfillment and vocation in work which contributes to the common
good.
Strand(s): Theory
Unit 2 - Page 11
 Music - Open
Overall Expectations
THV.03 - analyse the influence of certain composers on the musical language of their period.
Specific Expectations
TH1.11 - situate composers in a historic continuum;
TH1.12 - explain the influence of certain composers on the evolution of musical form (e.g., Haydn on
Western classical music, Robert Johnson on North American Blues).
Planning Notes
 The teacher gathers recordings of “Prelude 21 in B, Vol. 1” and “Minuet in G major” by J. S. Bach.
 The teacher prepares notes/overhead transparencies that briefly introduce the history of the
composer.
 A score of the minuet/prelude for student analysis will be required.
 Students require access to keyboards in the class.
Prior Knowledge Required
 Students must be able to recognize scale patterns aurally or visually.
Teaching/Learning Strategies
1. Give a brief overview of the history of Bach’s musical contribution to this time period. Students
record this information on their timelines. Timelines are then be submitted for assessment.
2. Introduce The Well Tempered Clavier outlining the way it validates the use of major and minor
scales. Play excerpts from “Prelude 21 in B” from The Well Tempered Clavier, Vol. 1, focussing on
measures 8 - 20. Students listen for partial scale patterns that are contained in this passage.
3. Compare and contrast Bach’s use of scales with Vivaldi’s (Four Seasons), or Handel’s (Water
Music), stressing the importance of the use of scales in baroque compositions. Comment on the
difference in moods created by scalar passages, as used by these three composers, or composers of
your choice. Students take point-form notes comparing and contrasting the highlighted composers'
compositions.
4. Students play Bach’s “Minuet in G” on the keyboard, hands separately or together. If the class needs
to rotate through a keyboard lab, the remainder of the students rehearse unit repertoire.
Assessment/Evaluation Techniques
 The teacher uses anecdotal comments to assess accuracy and completion of the comparison/contrast
of the three composers.
 The teacher uses anecdotal comments to assess listening journal entries and the recording of
historical facts on student timeline sheets.
Accommodations
 Students may wish to perform similar works by Bach vocally or on their choice of instrument.
 Performance of the minuet could be a class vocal activity.
 Make recordings available for review or extension at a listening centre.
 The teacher or an advanced instrumentalist may play the “Prelude and Fugue 21 in B,” Vol.1 for the
students in lieu of the recording.
Unit 2 - Page 12
 Music - Open
Resources
Recordings of Bach’s “Prelude 21 in B,” Vivaldi’s “Four Seasons,” Handel’s “Water Music”.
Grout, Donald J., and Claude V. Palisca. A History of Western Music, Fourth Edition. New York: W.W.
Norton & Company, 1988.
Forney, Kristine and Joseph Machlis. The Enjoyment of Music, Eighth Edition. New York: W.W. Norton
& Company, 1995.
Activity 6: The Formative Years
Time: 90 minutes
Description
By listening to recordings of canons, rondos, and fugues, students define, create, and perform original, as
well as published works, with an emphasis on the element of form. Students demonstrate an
understanding of the creative process by submitting a composition based on one of the studied forms.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE3e - adopts a holistic approach to life by integrating learning from various subject areas and
experience;
CGE4f - applies effective communication, decision-making, problem-solving, time and resource
management skills;
CGE5e - respects the rights, responsibilities, and contributions of self and others.
Strand(s): Theory, Analysis
Overall Expectations
THV.02 - read and understand musical notation;
ANV.01 - demonstrate a detailed understanding of music history and its cultural context to interpret
repertoire.
Specific Expectations
TH1.10 - describe the following musical forms; rondo, theme and variations, canon, fugue, and two
others related to the performance medium.
Planning Notes
 Have three listening stations set up with a portable stereo, recording of a canon, rondo, or fugue,
accompanying score, and guided-listening worksheets.
 One of the classes during this activity uses a visual tool to present the form of the fugue. (Cupcakes,
icing tubes, and decorations are suggested.) An alternative to this assignment would be to use paperplate-pizzas with construction paper, hats, etc.
 Ensure that students understand that rondo is not considered to be a form of the baroque period, but
is included here so that students note the development of more complex forms, from canon to rondo
to fugue.
Prior Knowledge Required
 Students have a general understanding of major/minor tonalities, and of Bach’s role in the
standardizing their usage.
Unit 2 - Page 13
 Music - Open
Teaching/Learning Strategies
1. The class brainstorms on the meaning of the prefix “poly” and makes a list of words that begin with
this prefix (polyhedron, polynomial, polygon...). Define polyphony as many sounds happening at
once. Introduce a canon as a form of music where one musical line imitates another at a fixed
distance throughout. Create an illustration to depict the form of a canon. Divide the class into three
groups and sing “Row, Row, Row Your Boat” several times as a round, varying the entry points (e.g.,
first time at “Merrily...” second time at “Gently...” third time at “Life...”. Students create a verbal as
well as visual definition of a canon.
2. Discuss with the students the importance of a refrain in any song. Highlight similarities and
differences between the verses and the refrain. Lead students to recognize that most people will know
the refrain of a song even if they don't know all the verses. Introduce the original purpose of a rondo
as being music for dancing. Emphasize the importance of a returning theme, between contrasting
sections resulting in a symmetrical form: ABABA, ABACA, ABACABA. Illustrate this concept by
building an imaginary club sandwich: bread - turkey meat - bread - cheese - bread - ham meat - bread.
Have students create a verbal as well as visual definition of rondo.
3. Place a tray of un-iced cupcakes at the front. Ask students to imagine the sensory experience of
eating a cupcake (taste, appearance, texture, smell, etc.). Leave one cupcake at the front and then
distribute cupcakes, icing, and decorations. Each student customizes their cupcake and then returns
them to the tray at the front. Students describe similarities and differences in the cupcakes. Lead the
students to realize that cupcakes are the common thread, but that differences appear in the
decorations. Relate this to the fugue. Discuss the form of the fugue as having a single theme as a
common thread that is presented in various voices and then developed. Include the following
elements: subject, answer, counter subject, episodes, stretto. Also highlight the tonic-dominant
relationship between subject and answer statements. Students should create a visual as well as verbal
representation of the fugue. (Note: this concept can be expressed using paper-plate pizzas, a variety
of hats, etc., if cupcakes are not suitable.)
4. Establish a listening station for each musical form with worksheets containing guided listening
activities, and a score. Divide the class into three groups and have them rotate through the stations,
completing the worksheets as they go.
Assessment/Evaluation Techniques
 Worksheets are to be assessed using a checklist.
Accommodations
 Provide a handout of the three forms.
 Students perform a canon, rondo, or fugue for the class on their own instrument or keyboard.
 Students notate the theme or subject of a piece as an ear-training exercise.
 Perform instrumental ensemble or vocal arrangements of these forms of music as a class.
Resources
Bach, J.S. “Prelude and Fugue in C-,” from the Well-Tempered Clavier.
Beethoven, L. “Piano Sonata in C, (Pathetique).” Op.13, third movement rondo.
Forney, Kristine and Joseph Machlis. The Enjoyment of Music, Eighth Edition. New York: W.W. Norton
& Company, 1995.
Forney, Kristine and Joseph Machlis. CD series The Enjoyment of Music, Eighth Edition. New York:
W.W. Norton & Company, 1995.
Pachelbel, “Canon in D.”
Unit 2 - Page 14
 Music - Open
Activity 7: The Music of the Mass
Time: 50 minutes
Description
Students study the musical form of the Catholic Mass. The various parts of the Mass are examined to
determine the role they play in creating the atmosphere of the service. Students explore the method of
manipulating basic musical elements to achieve a specific mood or atmosphere.
Strand(s) and Expectations
Ontario Catholic Graduate Expectations
CGE3e - adopts a holistic approach to life by integrating learning from various subject areas and
experience;
CGE4f - applies effective communication, decision-making, problem-solving, time and resource
management skills;
CGE5a - works effectively as an interdependent team member;
CGE5d - finds meaning, dignity, fulfilment, and vocation in work which contributes to the common
good;
CGE5e - respects the rights, responsibilities and contributions of self and others.
Strand(s): Analysis, Theory
Overall Expectations
THV.01X - explain in detail, both orally and in writing, the elements of music (i.e., rhythm, melody,
timbre, dynamics, harmony, texture, and form);
ANV.01X - demonstrate a detailed understanding of music history and its cultural context to interpret
repertoire;
ANV.02X - use aural discrimination skills to identify complex aspects of music (e.g., major and minor
triads, diminished and augmented intervals);
ANV.04X - evaluate the function of music in society.
Specific Expectations
TH1.10X - describe the following musical forms; rondo, theme and variations, canon, fugue, and two
others related to the performance medium;
AN1.04X - analyse, orally and in writing, the quality and impact of a variety of live and/or recorded
performances and performances by themselves and their peers, using appropriate music vocabulary to
suggest ways of improving those performances (e.g., style/groove, intonation, tone quality, dynamics,
articulation, phrasing, rhythm, balance and blend, overall effect);
AN2.05X - describe the distinctive nature of participating in individual and group musical performances
for a variety of audiences (e.g., peers, community, teacher);
AN2.07X - explain the function of certain musical forms in daily life (e.g., anthems, marches).
Planning Notes
 Students require a music planning sheet for the Mass. The various parts should be listed with space
provided to make comments. The planning sheet serves both as a formative assessment tool and a
required component of the next unit. (See sample in Appendix 2.1 – Music Planner for Liturgy.)
 A musical recording of a mass will be required.
Unit 2 - Page 15
 Music - Open
Prior Knowledge Required
 Students should have an understanding of how basic musical elements are manipulated to create
various moods, emotions, or images.
 Students should be familiar with the various parts of the Mass, the activity or intent associated with
each part, and the order in which they occur.
Teaching/Learning Strategies
1. Students brainstorm to generate a list of the musical parts of the Mass and then place these parts in
chronological order.
2. The class divides into pairs or threes for the following activity: The teacher assigns each pair a part
of the Mass. The students will then describe the music associated with their assigned part, focussing
on the character, mood, or atmosphere of the music. Students consider how the music reflects the part
of the Mass it is associated with.
3. The class regroups in a circle or a line so that the pairs are seated according to their assigned part of
the Mass. The teacher distributes a planning sheet that lists the parts of the Mass in chronological
order with space to make comments about each part. The pairs should then present their ideas on the
type of music that accompanies each part while the class takes notes.
4. The class listens to a pre-recorded mass using the planning sheet as a listening guide.
5. Students discuss how the basic elements of music are manipulated to create atmosphere as required
by the parts of the mass.
Assessment/Evaluation Techniques
 The teacher creates anecdotal comments on the group presentations. Presentation skills as well as
content are assessed informally and the teacher will provide feedback for the student.
 The students’ planning sheets are assessed through the use of a checklist on the topics of content,
accuracy, and thoroughness. It is important for the next unit that students complete this sheet in a
complete and thorough manner.
Accommodations
 Students may be given pre-written descriptions of the musical parts of the Mass.
 Students could complete musical sketches of the parts of the Mass detailing how the basic elements
of music are to be manipulated to create the desired effect.
 Students could listen to more than one recorded Mass and compare the treatments of the various
sections by the different composers.
Resources
Liturgy Planning Sheet (See Appendix 2.1 – Music Planner for Liturgy)
Pre-recorded performance of a complete Mass (by Bach, Palestrina, Haydn, etc.)
Unit 2 - Page 16
 Music - Open
Appendix 2.1
Music Planner Liturgy
Date: _______________ Theme: ___________________
Outline for Liturgy
Gathering Song
Lord, Have Mercy
Gloria
Psalm
Gospel Acclamation
Preparation of Gifts
Holy, Holy
Memorial Acclamation
Great Amen
Lamb of God
Communion
Musical Selection
Source
1.
2.
Closing Song
Notes
Unit 2 - Page 17
 Music - Open
Appendix 2.2
Summative Ear-Training Rubric for Rhythmic and Melodic Dictations
Categories
Level 1
Level 2
Level 3
Level 4
Theory (Knowledge
and Understanding)
- knowledge of
- demonstrates
- demonstrates
- demonstrates
- demonstrates
music symbols
limited
some knowledge
considerable
thorough
needed for
knowledge of
of music symbols
knowledge of
knowledge of
dictations (time/key music symbols
music symbols
music symbols
signatures, single
and double bar lines,
notation, and so on)
- understanding of
- demonstrates
- demonstrates
- demonstrates
- demonstrates
the differences
limited
some
considerable
thorough
between music
understanding of understanding of
understanding of
understanding of
symbols (note/rest
differences
differences
differences
differences
values, pitches,
between music
between music
between music
between music
time/key signatures, symbols
symbols
symbols
symbols
and so on)
Thinking/Inquiry
- uses creative
- uses creative
- uses creative
- uses creative
- creative thinking
thinking skills
thinking skills
thinking skills
thinking skills
skills (divergent
with limited
with some
with considerable
with thorough
thinking when
effectiveness
effectiveness
effectiveness
effectiveness
grouping eighth
notes, and so on)
Communication
- uses music
- uses music
- uses music
- uses music
- use of music
language and
language and
language and
language and
language and
symbols with
symbols with
symbols with
symbols with
symbols, orally and
limited accuracy some accuracy
considerable
thorough accuracy
in written form
and
and effectiveness
accuracy and
and effectiveness
effectiveness
effectiveness
Creation
- transfers
- transfers
- transfers
- transfers
- transfer of
knowledge and
knowledge and
knowledge and
knowledge and
knowledge and
skills of aurally
skills of aurally
skills of aurally
skills of aurally
skills to new
identifying and
identifying and
identifying and
identifying and
contexts
vocally
vocally
vocally
vocally
reproducing
reproducing
reproducing
reproducing
rhythmic and
rhythmic and
rhythmic and
rhythmic and
melodic
melodic dictations melodic dictations melodic dictations
dictations to new to new contexts
to new contexts
to new contexts
contexts with
with some
with considerable
with thorough
limited
effectiveness
effectiveness
effectiveness
effectiveness
Note: A student whose achievement is below level 1 (50%) has not met the expectations for this
assignment or activity.
Unit 2 - Page 18
 Music - Open
Unit 3: Classically Minded
Time: 20 hours
Unit Description
The Classical period is introduced through a juxtaposition of the life of Mozart with the strong formal
conventions of the period. The study of intervals and triads form the foundation for the analysis and
composition of Theme and Variations. This unit concludes with a look at Beethoven and his music and
the transition between Classical and Romantic eras.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations: CGE1a, CGE1e, CGE2a, CGE4a, CGE4f,
CGE4h, CGE5a, CGE5e, CGE5g.
Strand(s): Analysis, Creation, Theory
Overall Expectations: THV.01X, THV.02X, THV.03X, CRV.01X, CRV.02X, CRV.04X,
ANV.01X, ANV.02X, ANV.04X.
Specific Expectations: TH1.06X, TH1.08X, TH1.09X, TH1.11X, TH1.12X, TH1.13X, CR1.02X,
CR1.07X, CR1.09X, CR1.12X, AN1.02X.
Activity Titles (Sequence + Times)
Activity 1
Activity 2
Activity 3
Activity 4
Activity 5
Activity 6
Activity 7
Activity 8
Performance Requirements for the Unit
Listening Requirements for the Unit
Hop, Skip, and a Leap
Square Peg in a Round Hole
A Variegated Space
Make the Arrangements
Gathering Around Our Table
Moonlight and Beethoven
525 minutes
150 minutes
120 minutes
120 minutes
60 minutes
75 minutes
60 minutes
90 minutes
Prior Knowledge Required



Students must have a clear ability to notate and aurally identify intervals found in a major scale.
Students should be familiar with basic musical elements and the possibilities presented by these
elements for manipulation.
Students should have a general familiarity with the composition process.
Unit Planning Notes




The teacher obtains a concise understanding of the political, social, and artistic aspects of the
Classical period.
The teacher provides access to the various resources recommended for this unit or provide
appropriate alternatives.
Several activities in the unit require special equipment. The teacher should arrange for access to
keyboard(s), listening centres, A/V equipment.
The teacher provides access to a basic MIDI setup and is familiar with its use.
Unit 3 - Page 1
 Music - Open
Teaching/Learning Strategies






Performance: instrumental/vocal, solo and ensemble, oral and written performance
Group Work
Listening and Reflection: directed, personal and group
Independent Learning
Projects and Logs are ongoing
Brainstorming
Assessment and Evaluation
 Personal Communication: journals/conferencing logs (ongoing)
 Written Work: Written assignments (composing, arranging, reflection/response, question/answer)
 Observation: formal/informal
 Performance Assessment: solo/ensemble performance
Assessment tools will include:
 Formative Assessment: checklist, anecdotal, rubric
Accommodations



The amount of time required to complete activities can be extended or shortened to accommodate
various exceptionalities.
The complexity of activities should be adjusted according to interest or skill level.
Individual help should be provided where appropriate.
Resources
Batastini, R., M. Cymbala (eds.). Gather. Chicago: GIA Publications, 1994. GIA publications.
Beethoven, Ludwig, Maurice Hinson (ed.). Selected Easiest Sonata Movements for Piano Volume I. US:
Alfred Publishing Company, Inc.
Canadian Conference of Catholic Bishops. Catholic Book of Worship III. Canada: Best Gagne Book
Manufacturers Inc., 1994.
Canadian Conference of Catholic Bishops. Dreams, Dilemmas, Decisions. New York: Image Books –
Doubleday, 1990.
Forney, Kristine and Joseph Machlis. The Enjoyment of Music Eighth Edition. New York: W.W. Norton
& Company, 1999.
Grout, Donald J. and C. Palisca. A History of Western Music, Fourth Edition. New York: W.W. Norton &
Company, 1988.
Hammond, Susan. Classical Kids Teacher’s Notes: Beethoven Lives Upstairs. Ontario: The Children’s
Group Inc., 1988.
Kuzmich, Natalie. Musical Growth A Process of Involvement. Toronto: Gordon V. Thompson Music,
1986.
“Moonlight Sonata.” Beethoven. (recording)
“Music Lessons” (MIDI software) MiBac Co.
North American Liturgy Resources. Glory and Praise. Phoenix, Arizona: Parish Music Program, 1984.
Ontario Conference of Catholic Bishops. Turning Points: Readings in Family Life. Toronto: Maxwell
MacMillan, 1994.
Plantinga, Leon. Romantic Music: A History of Musical Style in Nineteenth Century Europe. New York:
W. W. Norton & Company, 1984.
Unit 3 - Page 2
 Music - Open
Recording of a theme and variations.
Sheridan, Ed, ed. Do Justice: The Social Teaching of the Canadian Catholic Bishops. Sherbrooke,
Quebec: Jesuit Centre for Social Faith and Justice, 1987.
Wharram, Barbara. Elementary Rudiments of Music. Mississauga, Ontario: Frederick Harris Music Co.
Ltd., 1969.
Activity 1: Performance Requirements for the Unit
Time: 525 minutes
Description
This activity is expected to be ongoing throughout the unit and should not be completed all at one time.
The performance expectations listed below have been selected due to their ability to complement this
unit. Skills and repertoire chosen will both reinforce and reflect other activities within the unit.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE2b - reads, understands and uses written materials effectively;
CGE4b - demonstrates flexibility and adaptability;
CGE4c - takes initiative and demonstrates Christian leadership;
CGE4e - sets appropriate goals and priorities in school, work, and personal life;
CGE4f - applies effective communication, decision-making, problem-solving, time, and resource
management skills;
CGE5a - works effectively as an interdependent team member;
CGE5e - respects the rights, responsibilities, and contributions of self and others;
CGE5f - exercises Christian leadership in the achievement of individual and group goals;
CGE5g - achieves excellence, originality, and integrity in one’s own work and supports these qualities in
the work of others.
Strand(s): Creation
Overall Expectations
CRV.01 - play or sing technical exercises and diverse repertoire that reflect the theory expectations at
this grade level (including improvisation and their own creations when appropriate).
Specific Expectations
CR1.01 - accurately play or sing complex notated or stylistically correct articulation (e.g., variety of
accents, col legno, hammer-on, glissando);
CR1.02 - play or sing with an understanding of complex musical phrase structures (e.g., notated,
improvised, or stylistically correct);
CR1.04 - play or sing with tone quality appropriate to the exercises and repertoire being performed;
CR1.05 - play or sing, with control and within an expanded range, the exercises and repertoire being
performed;
CR1.06 - play or sing with accurate pitch;
CR1.07 - play or sing with accurate intonation, both melodically and harmonically;
CR1.08 - maintain a consistent tempo and accurately change tempi as found in the exercises and
repertoire being performed;
CR1.09 - play or sing in various metres and accurately change metres as found in the exercises and
repertoire being performed;
CR1.10 - accurately play or sing rhythms as found in the exercises and repertoire being performed;
CR1.11 - play or sing with detailed attention to the subtleties of balance and blend.
Unit 3 - Page 3
 Music - Open
Planning Notes
 The teacher selects appropriate excerpts from the chosen repertoire to support student personal
performance programs.
 The teacher selects complete works that will be used to assess student performance within the
ensemble.
 Daily performance time is structured according to the following criteria:
Warm-up (tuning, tone, breathing, posture, etc.)
5-10 minutes
Technique building (range, dexterity, endurance, articulation/diction, phrasing)
5-15 minutes
Analysing and interpreting repertoire (solo, small group or ensemble: style,
20-40 minutes
balance/blend, dynamics, form, performance etiquette, etc.)
Prior Knowledge Required
 Students demonstrate the performance skills studied to this point.
Teaching/Learning Strategies
1. Students create a personal performance development plan for the unit in conjunction with the
teacher. Students select appropriate excerpts from solo, small group, and full ensemble repertoire to
support their personal program. The teacher distributes all selected excerpts and ensemble repertoire
at the beginning of the unit.
2. While rehearsing complete works, the teacher identifies suitable areas that can support review and
reinforcement of theme and variations, concepts of melodic contour, and compositional irregularities
such as inconsistent form, unconventional modulations, and erratic rhythms.
Assessment/Evaluation Techniques
 A rubric is used for assessing performance (see Appendix 1.6 – Rubric to Assess Student
Composition).
 Students complete self-evaluations to determine their success at achieving goals identified in their
personal performance program.
Accommodations
 The amount of time required to complete performance activities is extended or shortened to
accommodate various exceptionalities.
 Students choose appropriate excerpts according to their personal needs.
 The teacher or student partner provides individual help where appropriate.
Resources
Band
Beethoven, Ludwig, Kinyon (arr.). “The Heavens Resound.” Alfred. 2
Beethoven, Ludwig, Williams (arr.). “Joyful, Joyful (from Symphony #9).” Alfred. 1.5
Beethoven, Ludwig, Lavoer (arr.). “Little Rondo.” Alfred. 1.5
Beethoven, Ludwig, Cacavas (arr.). “Symphony #7 (second movement).” Alfred. 3
Beethoven, Ludwig, Hunsberger (arr.). “Symphony #5 (second movement).” Alfred 2.5
Beethoven, Ludwig, Cacavas (arr.). “Symphony #5 (first movement).” Alfred. 2.5
Beethoven, Ludwig, Kinyon (arr.). “Theme From Beethoven’s 7th Symphony.” Alfred. 1.5
Beethoven, Ludwig, Tyler (arr.). “Theme From Beethoven’s 9th Symphony.” Alfred 1.5
Beethoven, Ludwig, Kinyon (arr.). “Theme From Beethoven’s 5th Symphony.” Alfred 1.5
Beethoven, Ludwig, Kinyon (arr.). “Turkish March.” Alfred. 1.5
Unit 3 - Page 4
 Music - Open
Mozart, W.A., O’Reilly (arr.). “Alleluia.” Alfred. 1.5
Mozart, W.A., Jennings (arr.). “Eine Kliene Nachtmusik.” Hal Leonard. 3
Mozart, W.A., Rizzo (arr.). “Divertimento.” Carl Fischer. 2.5
Mozart, W.A., Court (arr.). “Magical Mozart (Variations on a Theme”).” Curnow. 2.5
Mozart, W.A., Kinyon (arr.). “Minuet and March.” Alfred. 1.5
Mozart, W.A., O’Reilly (arr.). “Minuet and Rondo.” Alfred. 1.5
Mozart, W.A., O’Reilly (arr.). “Serenade and Dance.” Alfred. 1.5
Mozart, W.A., Williams (arr.). “Theme From Symphony #40.” Alfred. 2
Choral
Beethoven, L. and P. Lutkin (arr.). “Joyful, Joyful We Adore Thee,” SA, USA: H.T. Fitzsimons Co.
Haydn, F.J. and Ruth Artman (arr.). “The Heavens Are Telling” (From The Creation), USA: Hal Leonard
Publications.
Beethoven, L. and P. Lutkin (arr.). “The Heavens Declare The Glory of God.” SAB, USA:
H.T. Fitzsimons Co.
Mozart, W.A. and S. Loughton (arr.), “Music By Mr. Mozart”, 2 part, USA: Gentry Publications.
Mozart, W.A. and E. Milkey (arr.) “Gloria In Excelsis” (SAB), (from the 12th Mass), USA: Hal Leonard
Publications.
Mozart, W.A. and P. Liebergen. “Sanctus,” Discovery Choral, USA: Hal Leonard Publications.
Guitar
Bock, J. Mozart for Guitar. USA: Hal Leonard Publications.
Royal Conservatory of Music (selected volumes)
Keyboard
Royal Conservatory of Music (selected volumes). Mississauga, Ontario: Frederick Harris Music
Publishing.
Royal Conservatory of Music Studies (selected volumes). Mississauga, Ontario: Frederick Harris Music
Publishing.
Strings
Beethoven, L. Classical String Quartets Op 18 No 1-6. USA: Hal Leonard Publications.
Unit 3 - Page 5
 Music - Open
Activity 2: Listening Requirements for the Unit
Time: 150 minutes
Description
This activity is expected to be ongoing throughout the unit and should not be completed all at one time.
The chosen listening skills both reinforce and reflect other activities within the unit. Students begin eartraining exercises on the aural identification, vocal reproduction, and notation of all perfect, major and
minor intervals, and triads. Students should begin to develop an awareness of the aural quality of chords.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE2a - listens actively and critically to understand and learn in light of gospel values.
Strand(s): Analysis, Theory
Overall Expectations
ANV.02 - use aural discrimination skills to identify complex aspects of music (e.g., major and minor
triads, diminished and augmented intervals).
Specific Expectations
TH1.13 - use music software to improve aural and theoretical skills;
AN1.02 - demonstrate an understanding of intervals and triads by reproducing, aurally identifying, and
notating all given intervals from a diminished unison to an augmented octave, and major and minor
triads;
AN1.03 - confirm their understanding of aural dictations by reproducing and notating simple melodies up
to four measures in simple and compound metres using sixteenth through whole notes and rests,
including dotted values, within an octave.
Planning Notes
 Intervals and triads are addressed in Activities 3 and 5 and listening activities should coincide
accordingly.
 Keyboards and/or MIDI technology greatly enhance student learning.
 Four-bar excerpts should be taken from performance repertoire, to be used for practise of intervals in
melodic dictations.
Prior Knowledge Required
 Major and minor tonality was a component of Unit 2.
 Students should have a keen sense of how to accurately complete melodic dictations as addressed in
Unit 2.
Unit 3 - Page 6
 Music - Open
Teaching/Learning Strategies
The following Teaching/Learning Strategies should be used on a daily basis.
The teacher introduces students to perfect, major, and minor intervals using a piano or
keyboard. Students reproduce the sound vocally. If several keyboards are available,
the students may find and play these intervals to reinforce the sounds both aurally and
visually. The students brainstorm a list of familiar songs which contain these
intervals. The students notate these intervals on staff paper as well as vocally
reproducing any given interval as directed by the teacher.
The teacher demonstrates major and minor triads on the piano or keyboard. Students
are asked to aurally identify the tonality as well as notate and vocally reproduce the
triad using the starting note given by the teacher.
The teacher chooses excerpts from performance repertoire to be used as melodic
dictations, which contain various intervals being studied.
5-10 minutes
5 minutes
5 minutes
Assessment/Evaluation Techniques
 A paper and pencil test is used to formatively assess the students' understanding of intervals and
triads.
 Informal conferencing is used to provide feedback on individual students’ achievement.
Accommodations
 The complexity of ear training exercises must be adjusted by the teacher to suit student needs.
 The teacher provides multiple choice answers as to the interval or triad in question.
Resources
Music Lessons (MIDI software) MiBac Co.
Wharram, Barbara. Elementary Rudiments of Music. Mississauga, Ontario: Frederick Harris Music Co.
Ltd., 1969.
Activity 3: Hop, Skip, and a Leap
Time: 120 minutes
Description
Students learn to identify, solve, and notate intervals and triads through visual and aural activities. Use of
MIDI technology provides students with the opportunity to practise and improve their skills on an
individual as well as large group basis.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE2a - listens actively and critically to understand and learn in light of gospel values;
CGE4a - demonstrates a confident and positive sense of self and respect for the dignity and welfare of
others;
CGE4f - applies effective communication, decision-making, problem-solving, time, and resource
management skills;
CGE5e - respects the rights, responsibilities, and contributions of self and others.
Strand(s): Theory, Creation, Analysis
Unit 3 - Page 7
 Music - Open
Overall Expectations
THV.02 - read and understand musical notation;
CRV.01 - play or sing technical exercises and diverse repertoire that reflect the theory expectations at
this grade level (including improvisation and their own creations when appropriate);
ANV.02 - use aural discrimination skills to identify complex aspects of music (e.g., major and minor
triads, diminished and augmented intervals).
Specific Expectations
TH1.06 - solve and notate all intervals from a diminished unison to an augmented octave;
TH1.08 - solve and notate major and minor triads in a major scale (I, ii, iii, IV, V, vi);
TH1.13 - use music software to improve aural and theoretical skills;
CR1.07 - play or sing with accurate intonation, both melodically and harmonically;
AN1.02 - demonstrate an understanding of intervals and triads by reproducing, aurally identifying, and
notating all given intervals from a diminished unison to an augmented octave, and major and minor
triads.
Planning Notes
 The teacher prepares a pre-test to assess current level of student knowledge and skill with intervals
and triads.
 Prepare worksheets with a marking scheme based on all intervals, major and minor triads.
Prior Knowledge Required
 Students must have a clear ability to notate and aurally identify intervals found in a major scale.
Teaching/Learning Strategies
1. The pre-test is administered and assessed. Following activities are adjusted to suit student level of
knowledge and skill.
2. Write C+ scale on the board, identifying a variety of ways to label each scale degree: I, II, III, IV¼ or
Tonic, supertonic¼. Review visually and aurally the intervals found in the major scale. Review
perfect, major, and minor intervals, creating a chart as you go. The teacher completes the chart by
adding augmented and diminished intervals.
Raise top note of interval 1 semitone =
Raise top note interval 1 semitone =
Augmented
Augmented
Perfect I, IV, V, VIII
Major II, III, VI, VII
Lower upper note of interval 1 semitone =
Lower upper note of interval 1 semitone =
Diminished
Minor
Lower upper note of interval 2 semitones =
Diminished
Provide teacher-generated worksheets for practising intervals. Using MIDI stations, finish this
activity with ear-training exercises, starting with students listening to and identifying perfect, major
and minor intervals, then singing intervals back, then notating what they hear. Gradually introduce
diminished and augmented intervals. Highlight that an augmented fourth is the same as a diminished
fifth.
3. Take up homework problems from the previous teaching/learning strategy before introducing triads.
Build triads on each scale degree of the C major scale. Have students solve the three intervals found
in each triad, using their notes. Determine that triads built on scale degrees I, IV, V, VII consist of a
+3rd and a P5th, and triads built on II, III, VIII consist of a -3rd and a P5th (omit the 7th triad).
Introduce root position triads as snowmen. Each note in the chord is represented by a ball of the
snowman. 1st inversion has its head cut off, 2nd inversion has its bottom cut off. Have students solve
the intervals found in 1st and 2nd inversion triads, leading to six, and six-four labels. Students aurally
Unit 3 - Page 8
 Music - Open
identify major and minor triads, as well as sing the arpeggio as part of their ear-training exercises.
Continue using MIDI for ear-training exercises from previous day. Provide teacher-generated
worksheets practising identifying, solving, and notating triads.
4. Take up worksheet problems, and review ear-training exercises. Introduce the tonic chord as the
"rest" chord and the dominant chord as “active.” Play piano excerpts (i.e., cadences) to demonstrate
the need for chord V to resolve to chord I.
Assessment/Evaluation Techniques
 Interval worksheets are assessed using a checklist. Assess student accuracy in identifying and
notating and solving intervals.
 Ear training is assessed using student-teacher conferencing. Aid students in developing strategies for
aurally identifying intervals and triads.
Accommodations
 Provide a handout containing a summary of intervals and triads.
 Challenge students visually identify intervals and triads in choral or condensed scores in classroom.
 Provide multiple choice questions for aural dictation.
Resources
Music Lessons (MIDI software) MiBac Co.
Wharram, Barbara. Elementary Rudiments of Music. Mississauga, Ontario: Frederick Harris Music Co.
Ltd., 1969.
Activity 4: Square Peg in a Round Hole
Time: 120 minutes
Description
Through the study of Mozart’s life, students relate his personality traits to his music and define musical
concepts used to portray mood and situation. Students reflect upon Mozart’s lifestyle in light of social
consequences of the day. Connections are made to today’s Catholic social teachings.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE1a - illustrates a basic understanding of the saving story of our Christian faith;
CGE1d - develops attitudes and values founded on Catholic social teaching and acts to promote social
responsibility, human solidarity, and the common good;
CGE1e - speaks the language of life... “recognizing that life is an unearned gift and that a person
entrusted with life does not own it but that one is called to protect and cherish it.” (Witnesses to Faith);
CGE1I - integrates faith with life;
CGE2a - listens actively and critically to understand and learn in light of gospel values.
Strand(s): Theory, Analysis
Overall Expectations
THV.03 - analyse the influence of certain composers on the musical language of their period;
ANV.04 - evaluate the function of music in society.
Unit 3 - Page 9
 Music - Open
Specific Expectations
TH1.11 - situate composers in a historic continuum;
TH1.12 - explain the influence of certain composers on the evolution of musical form (e.g., Haydn on
Western classical music, Robert Johnson on North American blues).
Planning Notes
 The teacher must be knowledgeable about the classical era. The teacher should feel comfortable in
presenting an overview of art, religion, architecture, societal attitudes, and music of this period.
Consultation with teachers of related subjects is suggested.
 The teacher prepares notes on the life of Mozart. Listening examples of Mozart’s operas and his
requiem Mass should be readily available.
 The teacher understands the social teaching of the Catholic church. Meet with a religious education
teacher or the school chaplain for current information.
Prior Knowledge Required
 No prior knowledge is required.
Teaching/Learning Strategies
1. The teacher outlines the history of the classical period. Students record pertinent information onto
their timeline sheet.
2. Provide guiding questions and categories on the life of Mozart. Students make point-form notes
throughout the lesson and add relevant information to the timeline.
a) Give a brief history of Mozart and his life. Link his personality to his music (e.g., happy, playful,
light, serious, inspired). Highlight the fact that Mozart did not always conform to the
composition, performance, or social practices of the time.
b) Use Marriage of Figaro to show how Mozart’s interpretation of this famous story shows: a
rebellion against the social class of the time (i.e., his hero character is a commoner who mocks
his patron by outwitting him), his personal style of playing with the absurd (e.g., songs with
several characters singing about something different at the same time), etc.
c) Link the story line of Mozart’s opera with common day examples of soap operas, TV shows, etc.
Discuss the purpose of Mozart’s use of vulgarity as a method of poking fun at the aristocracy of
his day. Students consider then discuss following questions: What is the purpose of the extensive
use of violence and vulgarity in today’s TV, movies, and recorded music? Does entertainment
today devalue our humanity? How does this relate to the Christian vision of life?
d) Students respond to the following questions in writing: “How does this relate to the Catholic
social teaching about the dignity of the human person? Is our entertainment world just? What
responsibility do we have as Christians to critique the ethical practices of the entertainment
industry? What would you do to make a difference?”
3. Compare Mozart to present-day celebrities. Highlight similarities and discuss differences. Students
should reflect on a topic such as, “Mozart the victim versus. Mozart the victimizer.”
Assessment/Evaluation Techniques
 Anecdotal comments are used to assess the students’ written reflections. Provide students with
comments that spur further reflection and growth.
Accommodations
 Host debate on the topic “Mozart the victim versus Mozart the victimizer.”
 Provide point-form notes on Mozart’s life.
Unit 3 - Page 10
 Music - Open
Resources
Forney, Kristine and Joseph Machlis. The Enjoyment of Music, Eighth Edition. New York: W.W. Norton
& Company, 1999. (and support materials)
Canadian Conference of Catholic Bishops. Dreams, Dilemmas, Decisions. New York: Image Books –
Doubleday, 1990.
Mozart, W.A. “Requiem Mass.” (recording)
Ontario Conference of Catholic Bishops. Turning Points: Readings in Family Life. Toronto: Maxwell
MacMillan, 1994.
Sheridan, Ed., ed. Do Justice: The Social Teaching of the Canadian Catholic Bishops. Sherbrooke,
Quebec: Jesuit Centre for Social Faith and Justice, 1987.
Activity 5: A Variegated Space
Time: 60 minutes
Description
Students explore the form of theme and variations through listening, performance and composition.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE5a - works effectively as an interdependent team member;
CGE5e - respects the rights, responsibilities, and contributions of self and others;
CGE5g - achieves excellence, originality, and integrity in one's own work and supports these qualities in
the work of others.
Strand(s): Creativity, Theory
Overall Expectations
THV.01 - explain in detail, both orally and in writing, the elements of music (i.e., rhythm, melody,
timbre, dynamics, harmony, texture, and form);
THV.02 - read and understand musical notation;
CRV.04 - apply the elements and principles of composition at an intermediate level, using the creative
process (i.e., perception, production, and reflection).
Specific Expectations
TH1.09 - use appropriate terminology to describe how repetition and contrast of musical elements are
used to organize sound (e.g., phrase structure, motif and theme, imitation, verse and chorus, bridge);
TH1.13 - use music software to improve aural and theoretical skills.
Planning Notes
 The teacher requires at least one recording of a theme and variations.
Prior Knowledge Required
 Students should be familiar with the basic musical elements (rhythm, beat, melodic contour,
dynamics, meter, texture, tone colour, and tempo) and how these elements may be manipulated.
 Students should be comfortable with the composition process.
Teaching/Learning Strategies
1. The teacher plays a theme from a theme and variations. Students are to take note of the theme’s
musical elements and properties. A discussion follows in which students choose the various basic
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2.
3.
4.
5.
musical elements and describe how making changes in these elements would create different effects
in the theme.
Students create a chart with as many rows as there are variations in the chosen piece. For each
variation, students fill in the chart making notes about the relationship of the variation to the theme.
After listening to the theme and variations and completing the chart, students discuss how this
particular piece manipulated musical variables to create effect.
Students create a short melody which they are able to perform on their instrument. The class should
be formed into small groups. In the groups, each member performs their composed melody for the
other group members. The group must decide on a melody they will use for creating variations.
Each group creates a plan for composing variations on the chosen melody. For each variation,
students should identify how the variables will be altered to create the variation. Students are
encouraged to strive toward maintaining musicality in the variations.
When the groups have finished the variations, each composition is performed for the class and
accompanied by discussion of the effectiveness of the musical choices made by the composers.
Assessment/Evaluation Techniques
 The teacher formatively assesses the completeness and appropriateness of comments on student
listening charts with a rubric.
 The teacher assesses the individual melodies informally with anecdotal comments on melodic
contour and complexity.
 The group composition is formally assessed with a checklist and rubric for appropriate manipulation
of musical elements, creativity in choices, and general musicality.
Accommodations
 The teacher provides a completed listening guide for the variations to lead students toward aural
recognition.
 Each student completes their own theme and variations.
 A plan is provided for completing the variations detailing the musical elements to be manipulated
and/or how to perform the manipulations.
 A theme is provided to replace the original composition.
Resources
Mozart, W.A. “Variations on a Theme.” (Twinkle) – a recorded example
Activity 6: Make the Arrangements
Time: 75 minutes
Description
Students create basic arrangements of a pre-existing psalm melody by adding chords in preparation for an
upcoming liturgy in Unit 4. Students review triad formation and gain in their ability to use major and
minor triads in musically appropriate places. Students are introduced to the basic harmonic function of
the various chords. The students are exposed to an example of the Mass settings from the Classical era.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE4f - applies effective communication, decision-making, problem-solving, time and resource
management skills.
Unit 3 - Page 12
 Music - Open
Strand(s): Creation, Theory
Overall Expectations
CRV.01 - play or sing technical exercises and diverse repertoire that reflect the theory expectations at
this grade level (including improvisation and their own creations when appropriate);
CRV.04 - apply the elements and principles of composition at an intermediate level, using the creative
process (i.e., perception, production, and reflection).
Specific Expectations
CR1.12 - play intermediate repertoire on the keyboard, right or left hand separately, using appropriate
fingerings;
TH1.08 - solve and notate major and minor triads in a major scale (I, ii, iii, IV, V, vi);
TH1.13 - use music software to improve aural and theoretical skills.
Planning Notes
 The teacher requires at least one melody from a psalm that can be performed, either vocally or
instrumentally, by the students. It is necessary that the students are able to view the melody written
out for basic analysis.
 As this activity teaches a process for arranging, it is important that students make careful note of the
process so that they can replicate it accurately.
 Keyboards should be available to students.
Prior Knowledge Required
 Students require a basic knowledge of triad construction.
 Students should be able to identify the aspects of melodic contour.
Teaching/Learning Strategies
1. Students are introduced to basic harmonic function: tonic moves to subdominant which moves to
dominant and then back to tonic. The three types of cadence, perfect, imperfect, and plagal should be
introduced but students are not expected to solve these at this time. Students should be aware that
dominant usually resolves to tonic and is usually preceded by subdominant. The chords contained in
the major scale should be placed in these categories as follows: tonic function; I (and vi in minor),
subdominant; ii, iii, iv, vi, and dominant; V (and sometimes vii).
2. The teacher introduces the melody of a psalm for performance. It is recommended that students sing
the melody. When students are comfortable with the melody they should perform a basic rhythmic
analysis to identify possible harmonic rhythm and cadences. Students should circle all strong
cadences.
3. All of the pitches contained in the melody are collected and written together so that students might
more easily identify the key of the piece. They should be reminded of the similarity between major
and relative minor tonality. Special note should be taken of accidentals so that they do not unduly
affect the choice of key.
4. After choosing a key, the class proceeds to assign chords to the melody. The cadences previously
identified should be assigned as required, and then chords should be filled in between. The notes of
the melody should be used to direct the choice of supporting chord. Harmonic rhythm should also
guide the chord selection. The initial chord should, as a general rule, be the tonic chord as should be
the final chord. The final chord should usually be the conclusion of a perfect cadence.
5. Following the assignment of chords, the piece is performed again while the chosen chords are played
on guitar, piano or, if possible, on a MIDI device. Students discuss the effectiveness of their
compositional choices and make revisions.
6. Students should choose their own psalm, or use the theme from the previous activity to create their
own arrangement. The same process is followed and the final product includes a written score,
Unit 3 - Page 13
 Music - Open
composer commentary, and a performance. As students work through the process, they keep track of
revisions and submit them with the final draft. These will provide evidence of the process for
assessment.
7. Students will play the psalm and accompaniment on the keyboard hands separately or together.
Assessment/Evaluation Techniques
 Student contributions to the first four steps should be formatively assessed with anecdotal comments
to aid them in modifying their composition process and the accuracy of their chord choices.
 The composition should be formally assessed with a rubric to determine accuracy of chord
assignment, musicality, and adherence to the composition process. (See sample in Appendix 1.6 –
Rubric to Assess Student Composition.)
 Student keyboard performances should be formatively assessed using anecdotal comments to
improve student keyboard skills.
Accommodations
 The teacher may choose to simplify the composition process by choosing the chords at cadence
points ahead of time, or by writing in parts of the progression, leaving blanks for students to fill in.
The key may be chosen ahead of time by the teacher.
Resources
Batastini, R. and M. Cymbala, eds. Gather. Chicago: GIA Publications, 1994.
Canadian Conference of Catholic Bishops. Catholic Book of Worship III. Canada: Best Gagne Book
Manufacturers Inc., 1994.
North American Liturgy Resources. Glory and Praise. Phoenix, Arizona: Parish Music Program, 1984.
Haydn. “Lord Nelson Mass.” (recording) for listening excerpts
Activity 7: Gathering Around Our Table
Time: 60 minutes
Description
Students plan a liturgy which will be celebrated within the school or parish community. Emphasis will be
placed on selecting appropriate music to enhance the celebration. Students make historical connections
with musical traditions of the Catholic church. The music selected will be incorporated into the liturgy
developed in Unit 4, Activity 7.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE1a - illustrates a basic understanding of the saving story of our Christian faith;
CGE1b - participates in the sacramental life of the church and demonstrates an understanding of the
centrality of the Eucharist to our Catholic story;
CGE1f - seeks intimacy with God and celebrates communion with God, others and creation through
prayer and worship;
CGE2c - presents information and ideas clearly and honestly and with sensitivity to others;
CGE3c - thinks reflectively and creatively to evaluate situations and solve problems;
CGE4b - demonstrates flexibility and adaptability;
CGE4c - takes initiative and demonstrates Christian leadership;
CGE4f - applies effective communication, decision-making, problem-solving, time, and resource
management skills;
Unit 3 - Page 14
 Music - Open
CGE5a - works effectively as an interdependent team member;
CGE5f - exercises Christian leadership in the achievement of individual and group goals;
CGE6e - ministers to the family, school, parish, and wider community through service.
Strand(s): Theory, Creation, Analysis
Overall Expectations
ANV.03 - evaluate the effects of music education on themselves and their peers;
ANV.04 - evaluate the function of music in society.
Specific Expectations
TH1.07 - compare and contrast detailed characteristics of sound (e.g., voice types and variations, guitar
versus harp, electronic effects on digital sounds);
CR2.03 - make effective creative choices in performance within musical parameters (e.g., call and
response; ornamentation of existing melodies; improvisation of a melody; addition of dynamics,
articulation, and tempi to existing music);
CR2.04 - make artistic decisions about interpretive aspects of performance in individual and group
situations (e.g., articulation, staccato in different styles, straight versus swing eighths, dynamics, solo
versus accompaniment);
AN2.03 - reflect on learning by maintaining a journal and/or practice log that records progress;
AN2.04 - demonstrate leadership in rehearsal, performance, and audience etiquette (appropriate to the
cultural context);
AN2.05 - describe the distinctive nature of participating in individual and group musical performances
for a variety of audiences (e.g., peers, community, teacher);
AN2.07 - explain the function of certain musical forms in daily life (e.g., anthems, marches).
Planning Notes
 Prepare an outline for liturgy planning for display during the activity. Each group requires a copy. A
sample form is included in Appendix 2.1 – Music Planner for Liturgy.
 Arrange for a time and location for the liturgy with the chaplain, principal, and school liturgy
committee.
 Locate suitable musical resources such as Catholic Book of Worship 3, Gather, Glory and Praise,
etc.
Prior Knowledge Required
 No prior learning is required.
Teaching/Learning Strategies
1. Begin with a discussion on the importance of music in celebrations, such as birthdays, Christmas,
graduations, weddings, and funerals. Brainstorm some songs associated with these special events.
What would these celebrations be like without music? Why is some music more appropriate than
other types of music for these occasions? How do people go about making musical decisions? What
steps do they follow?
2. Students break into small groups. Assign each group a specific part of the liturgy to plan (parts of the
Mass, psalm, opening/closing, communion, etc.). Emphasize that the role of the musician is to lead
the congregation and to make the service more meaningful.
3. The teacher briefly outlines the musical traditions held for many years within the Catholic church.
Students are made aware of the continuing importance of music in Christian celebrations. The
teacher provides samples of Masses created by composers of the classical era, such as Mozart's
“Coronation Mass,” or Haydn’s “Lord Nelson Mass.”
Unit 3 - Page 15
 Music - Open
4. Discuss the context of each part of the celebration, including the liturgical significance and desired
atmosphere. Within the small groups, the students plan how music will be used to enhance their part
of the celebration.
5. Students begin selecting music from published sources or of their own creation.
6. Provide students with their own copy of a liturgy planning outline. Each group enters their selections
and explain to the class the reason for their choices. Guide the students into making appropriate
choices both musically and liturgically.
Assessment/Evaluation Techniques
 Use a checklist to assess group presentations of liturgy outlines.
 The teacher generates anecdotal comments on communication skills as demonstrated in student
presentation of musical choices related to the liturgy.
Accommodations
 Provide a succinct list of musical choices for planning the liturgy.
Resources
Batastini, R. and M. Cymbala,eds. Gather. Chicago: GIA Publications, 1994.
Canadian Conference of Catholic Bishops. Catholic Book of Worship III. Canada: Best Gagne Book
Manufacturers Inc., 1994.
Canadian Conference of Catholic Bishops. Directory For Masses With Children. Ottawa: Concacan,
1996.
Living With Christ Missal
North American Liturgy Resources. Glory and Praise. Phoenix, Arizona: Parish Music Program, 1984.
Reid, Heather. Preparing Music for a Celebration. Ottawa: Novalis, 1996.
Whitty, Gerard, J. Mercer and E. Wells. Preparing to Celebrate With Children. Ottawa: Novalis, 1997.
Activity 8: Moonlight and Beethoven
Time: 90 minutes
Description
Students are introduced to Beethoven and his music as a transition between the classical and romantic
periods. Students will be able to identify and define all of the basic elements of composition and theory
studied thus far (e.g., triads, arpeggios, and major minor tonality) as demonstrated in Beethoven’s “Piano
Sonata in C Sharp minor.” Sonata allegro form will be introduced as the key form of the classical era.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE4a - demonstrates a confident and positive sense of self and respect for the dignity and welfare of
others;
CGE4f - applies effective communication, decision-making, problem-solving, time, and resource
management skills;
CGE5e - respects the rights, responsibilities, and contributions of self and others;
CGE5g - achieves excellence, originality, and integrity in ones own work and supports these qualities in
the work of others.
Unit 3 - Page 16
 Music - Open
Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.02 - read and understand musical notation;
THV.03 - analyse the influence of certain composers on the musical language of their period;
CRV.01 - play or sing technical exercises and diverse repertoire that reflect the theory expectations at
this grade level (including improvisation and their own creations when appropriate);
ANV.01 - demonstrate a detailed understanding of music history and its cultural context to interpret
repertoire.
Specific Expectations
TH1.04 - identify and notate major and relative minor (natural, harmonic, and melodic) key signatures
and scaled up to and including a minimum of four sharps and four flats;
TH1.06 - solve and notate all intervals from a diminished unison to an augmented octave;
TH1.08 - solve and notate major and minor triads in a major scale (I, ii, iii, IV, V, vi);
TH1.11 - situate composers in a historic continuum;
TH1.12 - explain the influence of certain composers on the evolution of musical form (e.g., Haydn on
Western classical music, Robert Johnson on North American blues);
AN1.02 - demonstrate an understanding of intervals and triads by reproducing, aurally identifying, and
notating all given intervals from a diminished unison to an augmented octave, and major and minor
triads.
Planning Notes
 The teacher must obtain a recording of “Sonata in C-sharp Minor Op. 27, No. 2,” first movement by
L. Beethoven.
 Notes/overhead transparencies that briefly introduce Beethoven’s influence on music are required by
students.
 Scores of the first movement of the “Sonata in C-sharp Minor” for student analysis (one per group).
Prior Knowledge Required
 Students are able to recognize and notate the elements of theory covered in Units 1, 2, and 3 (up to
this point).
Teaching/Learning Strategies
1. Give a brief overview of Beethoven’s influence on music and explain why he is a transitional
composer between the classical and romantic periods. (Students will add this to their timeline
handout.)
2. Students will listen to a recording of the sonata. Do not give them the title initially. Have the class
record their impressions of the first movement in their listening journals. They will listen for
elements of theory, describe the mood/feeling of the piece and sketch the shape of the phrases.
Students will decide upon their own title for the piece. Discuss the results as a class.
3. The class will form small groups of two or three. The teacher will introduce the “Sonata in C-sharp
Minor” and have each group follow the score of the first movement as they listen to the recording for
a second time. Students are to label anything on the score that they are familiar with (e.g., triads,
major/minor tonality, arpeggios, scales key signatures, time signatures, phrasing, dynamics) in pencil.
4. Each group will complete their analysis of the first movement (each group submits one score).
5. Briefly outline sonata allegro form as the principal form of the classical era. The teacher focusses on
the idea of balance and symmetry and less on the detailed analysis of the form. See Appendix 3.1 –
Sonata – Allegro Form for an outline.
Unit 3 - Page 17
 Music - Open
Assessment/Evaluation Techniques
 Informal observation (group work)
 Anecdotal comments are used to assess listening journal entries and historical facts on student
timeline sheets.
 A checklist will be used to assess student understanding of the triads, arpeggios, and other theory
elements of the sonata.
Accommodations
 Provide a list of guiding questions for the group.
 Students can discuss, perform, and listen to other well-known piano works by Beethoven on various
instruments.
 A listening station could be set up for future reference.
 Show a video about the composer’s life.
 Plan to attend a local concert as a class.
 Extend the activity with a detailed analysis of sonata allegro form.
Resources
Beethoven, Ludwig; Maurice Hinson (ed.). Selected Easiest Sonata Movements for Piano Volume I. US:
Alfred Publishing Company, Inc.
Beethoven. “Moonlight Sonata.” (recording)
Forney, Kristine and Joseph Machlis. The Enjoyment of Music, 8th Edition. New York: W.W. Norton &
Company, 1999.
Grout, Donald J. and C. Palisca. A History of Western Music, Fourth Edition. New York: W.W. Norton &
Company, 1988.
Hammond, Susan. Classical Kids Teacher’s Notes: Beethoven Lives Upstairs. Ontario: The Children’s
Group Inc., 1988.
Kuzmich, Natalie. Musical Growth A Process of Involvement. Toronto: Gordon V. Thompson Music,
1986.
Plantinga, Leon. Romantic Music: A History of Musical Style in Nineteenth Century Europe. New York:
W.W. Norton & Company, 1984.
Unit 3 - Page 18
 Music - Open
Appendix 3.1
Sonata-Allegro Form
Exposition (Statement)
(optional slow introduction)
First theme (or theme group)
and its expansion in tonic key
Bridge - modulates to a
contrasting key
Second theme (or theme group)
and its expansion in contrasting
key
Closing, cadence in the above
contrasting key
Exposition repeated
Unit 3 - Page 19
Development
Builds up tension against the
return to tonic by:
1. Frequent modulation to
foreign keys
2. Fragmentation and
manipulation of themes and
motives
Transition back to tonic key
Recapitulation (Restatement)
First theme (or theme group)
and its expansion in tonic key
Bridge (rarely modulates to a
different key)
Second theme (or theme group)
and its expansion transposed to
tonic key
Coda, with cadence in tonic key
 Music - Open
Appendix 3.2
Outline for Liturgy Preparation
Date and Time:
Presider:
Class/Grade:
Gathering Song:
Introductory Rite
Presider: Greeting
Penetential Rite
Opening Prayer
Liturgy of the Word
First Reading: _____________________ Proclaimed by: _____________________
Responsorial Psalm: ________________ Sung/Spoken by: ____________________
Second Reading: ___________________ Proclaimed by: _____________________
Gospel Acclamation: Alleluia or Other (Lent) Sung: _________________________
Gospel: _____________________ Proclaimed by: ____________________
Homily given by: _______________________________
Prayers of Intercession:
Read by:______________________________________________________________
Liturgy of the Eucharist
Preparation of the Gifts, Song ____________________________________________
Gift Bearers: ___________________________________________________________
Musical Setting: ________________________________________________________
Holy, Holy: ____________________________________________________________
Memorial Acclamation: _________________________________________________
Great Amen: ___________________________________________________________
Communion Rite:
Lord's Prayer
Lamb of God: __________________________________________________________
Communion Song: ______________________________________________________
Ministers of the Eucharist: _______________________________________________
Concluding Rite:
Concluding Prayer: Presider
Blessing: Presider
Closing Song: ___________________________________________________________
Unit 3 - Page 20
 Music - Open
Unit 4: Get with the Program
Time: 20 hours
Unit Description
Program music of the romantic era provides a framework for students to create their own musical story.
Emphasis will be placed on the telling of our story as a Christian community through music. The unit
culminates in the celebration of a liturgy. This unit is intended to provide the students with a deeper
understanding of the significance of music within the liturgy.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations: CGE1a, CGE1b, CGE1e, CGE1f, CGE1i,
CGE2a, CGE2b, CGE2c, CGE2d, CGE3a, CGE3c, CGE3e, CGE3f, CGE4a, CGE4b, CGE4c, CGE4d,
CGE4e, CGE4f, CGE4h, CGE5a, CGE5b, CGE5e, CGE5f, CGE5g, CGE7d, CGE7e, CGE7h.
Strand(s): Analysis, Creation, Theory
Overall Expectations: THV.01X, THV.02X, THV.03X, THV.04X, CRV.01X, CRV.02X, CRV.03X,
CRV.04X, ANV.01X, ANV.02X, ANV.03X, ANV.04X.
Specific Expectations: TH1.01X, TH1.02X, THI.04X, TH1.07X, TH1.09X, TH1.11X, TH1.12X,
TH1.13X, TH1.14X, TH1.15X, CRI.01X, CR1.02X, CR1.04X, CR1.05X, CR1.06X, CR1.07X,
CR1.08X, CR1.09X, CR1.10X, CR1.11X, CR2.01X, CR2.02X, CR2.03X, CR2.05X, AN1.01X,
AN1.03X, AN2.02X, AN2.03X, AN2.04X, AN2.05X, AN2.07X.
Activity Titles (Time + Sequence)
Activity 1
Activity 2
Activity 3
Activity 4
Activity 5
Activity 6
Activity 7
Performance Requirements for the Unit
Listening Requirements for the Unit
The Meaning of Romance
What’s the Story
L’après-MIDI d’un étudiant
In a Different Key
Our Christian Story
590 minutes
180 minutes
60 minutes
90 minutes
90 minutes
100 minutes
90 minutes
Prior Knowledge Required


The students should have a general knowledge of the history of the Baroque era.
Students should have a general familiarity with the keyboard and with basic MIDI note entry and the
use of basic menu functions to establish and modify fundamental musical parameters.
Unit Planning Notes





The teacher should have a good understanding of the concepts of program music.
The teacher locates recorded examples of program music.
The teacher provides access to the stories associated with the recorded examples of program music.
Students require access to MIDI equipment.
Students should have prior knowledge of basic MIDI.
Unit 4 - Page 1
 Music - Open
Teaching/Learning Strategies





Performance: instrumental/vocal (solo or ensemble), oral, written
Group Work
Listening and Reflection: directed or open, personal and group
Independent Learning: projects and logs
Brainstorming: group generation of ideas expressed without criticism or analysis
Assessment and Evaluation
 Personal Communication: journals, self-/peer assessment
 Written Assignments: composing, arranging, reflection/response
 Observation: formal/informal
 Performance Assessment: solo/ensemble performance
Assessment tools will include:
 Formative Assessment: checklist, anecdotal, rubric, marking scheme
Accommodations



The amount of time required to complete activities can be extended or shortened to accommodate
various exceptionalities.
The complexity of activities should be adjusted according interest or skill level.
Individual help should be provided where appropriate.
Resources
Batastini, R. and M. Cymbala, eds. Gather. Chicago: GIA Publications, 1994.
Canadian Conference of Catholic Bishops. Catholic Book of Worship II, III. Canada: Canadian
Conference of Catholic Bishops and Gordon V. Thompson Ltd., 1980, 1995.
CD - The Enjoyment of Music, Eighth Edition. New York: W.W. Norton & Company, 1995.
Forney, Kristine and Joseph, Machlis. The Enjoyment of Music, Eighth Edition. New York: W.W. Norton
& Company, 1995.
Human Resources: French, History, English, and Art teachers or members of the community.
Microsoft Encarta 96 Encyclopaedia, 1993 1996, Microsoft Corporation.
Plantinga, Leon. Romantic Music: A History of Musical Style in Nineteenth Century Europe. New York:
W.W. Norton & Company, 1984.
Taruskin, Richard and Piero Weiss. Music in the Western World. New York: Schirmer Books, 1984.
North American Liturgy Resources. Glory and Praise. Phoenix, Arizona: Parish Music Program, 1984.
Music Software suggested titles: Cubase, Finale, Band-in-a-box, Music Lessons
School chaplain and liturgy committee
Unit 4 - Page 2
 Music - Open
Activity 1: Performance Requirements for the Unit
Time: 590 minutes
Description
This activity is expected to be ongoing throughout the unit and should not be completed all at one time.
The performance expectations listed below have been selected due to their ability to complement this
unit. Skills and repertoire chosen will both reinforce and reflect other activities within the unit. The
students focus on how dynamics, pitch, rhythm patterns, key changes, texture, register, tempo.
Instruments are used to depict a story. As well, students focus on how to create these effects on their own
instruments.
Strand(s) and Expectations
Catholic Graduate Expectations
CGE2b - reads, understands, and uses written materials effectively;
CGE4b - demonstrates flexibility and adaptability;
CGE4c - takes initiative and demonstrates Christian leadership;
CGE4e - sets appropriate goals and priorities in school, work, and personal life;
CGE4f - applies effective communication, decision-making, problem-solving, time, and resource
management skills;
CGE5a - works effectively as an interdependent team member;
CGE5e - respects the rights, responsibilities, and contributions of self and others;
CGE5f - exercises Christian leadership in the achievement of individual and group goals;
CGE5g - achieves excellence, originality, and integrity in one’s own work and supports these qualities in
the work of others.
Strand(s): Creation
Overall Expectations
CRV.01 - play or sing technical exercises and diverse repertoire that reflect the theory expectations at
this grade level (including improvisation and their own creations when appropriate).
Specific Expectations
CR1.01 - accurately play or sing complex notated or stylistically correct articulation (e.g., variety of
accents, col legno, hammer-on, glissando);
CR1.02 - play or sing with an understanding of complex musical phrase structures (e.g., notated,
improvised, or stylistically correct);
CR1.04 - play or sing with tone quality appropriate to the exercises and repertoire being performed;
CR1.05 - play or sing, with control and within an expanded range, the exercises and repertoire being
performed;
CR1.06 - play or sing with accurate pitch;
CR1.07 - play or sing with accurate intonation, both melodically and harmonically;
CR1.08 - maintain a consistent tempo and accurately change tempi as found in the exercises and
repertoire being performed;
CR1.09 - play or sing in various metres and accurately change metres as found in the exercises and
repertoire being performed;
CR1.10 - accurately play or sing rhythms as found in the exercises and repertoire being performed;
CR1.11 - play or sing with detailed attention to the subtleties of balance and blend.
Unit 4 - Page 3
 Music - Open
Planning Notes
 The teacher acquires several pieces of program music, in a variety of performance difficulty levels
and familiarize themselves with story that the composition is based on.
 The teacher should have a firm understanding of how to create effects specific to each instrument, as
required by the chosen repertoire.
 Daily performance time is structured according to the following criteria:
warm-up (tuning, tone, breathing, posture, etc.)
5-10 minutes
Technique building (range, dexterity, endurance, articulation/diction, phrasing)
5-15 minutes
Analysing and interpreting repertoire (solo, small group or ensemble: style,
20-40 minutes
balance/blend, dynamics, form, performance etiquette, etc.)
Prior Knowledge Required
 Students have skills required to perform repertoire at a level 1.5 or higher.
Teaching/Learning Strategies
1. During instrument assembly, the teacher encourages students to experiment with producing and
controlling the variety of tone colours and articulations on their instrument.
2. The teacher bases warm-up scales and rhythm patterns on the chosen repertoire.
3. The teacher reads or explains the story behind the first repertoire selection before rehearsal. Students
are encouraged to analyse the music, looking for elements of the story in their own parts, indicated
by dynamics, range, articulation, and so on.
4. The teacher does not introduce the story of the second selection of music, allowing the students to
brainstorm ideas about the focus of the composition.
5. The teacher reinforces the importance of playing exactly what is written, in order to accurately
present the images desired by the composer.
Assessment/Evaluation Techniques
 Ongoing playing tests and anecdotal comments formatively assess accuracy, interpretation, fluency
of reading, and skills developed by repertoire. Evaluation should be completed with a performance
rubric.
Accommodations
 The amount of time required to complete performance activities is extended or shortened to
accommodate various exceptionalities.
 Students choose appropriate excerpts according to their personal needs.
 The teacher provides individual help where appropriate.
Resources
Music From The Romantic Period
Band
Bizet, Georges, Williams (arr.). “Highlights From Carmen.” Alfred. 2
Brahms, Johannes, Kinyon (arr.). “Hungarian Dance #5.” Alfred. 2
Brahms, Johannes, Kinyon (arr.). “Theme From Brahms Symphony #1.” Alfred. 1.5
Dvorak, Antonin, O’Reilly (arr.). “Largo and Finale From The New World Symphony.” Alfred. 2
Dvorak, Antonin, Bocook (arr.). “From The New World Symphony (1st Movement).” Hal Leonard. 3
Dvorak, Antonin, Tyler (arr.). “Theme From Dvorak’s New World Symphony.” Alfred 1.5
Dvorak, Antonin, Balent (arr.). “Slavonic Dance Op.46 #6.” Carl Fischer. 1.5
Schubert, Franz, Kinyon (arr.). “March Militare.” Alfred. 1.5
Unit 4 - Page 4
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Schubert, Franz, Bender (arr.). “Rosamunde Overture.” Alfred 2
Schubert, Franz, Faloone (arr.). “Schubert Serenade.” KJOS. 3
Schumann, Robert, Conley (arr.). “Harvest Hymn.” Carl Fischer. 1.5
Schumann, Robert, Cacavas (arr.). “Two Schumann Marches (Two Grenadiers and Soldier’s March).”
Alfred. 2
Program Music
Gliere, Reinhold, Kinyon (arr.). “Russian Sailor’s Dance.” Alfred 1.5
Grieg, Edvard, Wassoon (arr.). “In The Hall of the Mountain King.” Warner Bros. 2
Grieg, Edvard, Curnow (arr.). “Peer Gynt Suite #1.” Curnow. 2.5
Holst, Gustav, Williams (arr.). “Jupiter from the Planets.” Alfred. 2
Holst, Gustav, Story (arr.). “Mars from the Planets.” Warner Bros.. 3
Moussorgsky, Modest, Schafer (arr.). “Night on Bald Mountain.” Alfred. 3
Offenbach, Jacques, O’Reilly (arr.). “Can Can.” Alfred. 2
Prokofiev, Sergey, Bocook (arr.). “Procession of the Nobles.” Hal Leonard. 3
Rossini, Giachino, Griffin (arr.). “William Tell Overture.” Hal Leonard 1.5
Rossinni, Giachino, Williams (arr.). “William Tell Overture.” Alfred 3
Tchaikowsky, Piotr, Higgins (arr.). “1812 Overture.” Hal Leonard. 1.5
Tchaikowsky, Piotr, Williams (arr.). “1812 Overture.” Alfred. 3
Tchaikowsky, Piotr, Williams (arr.). “March Slav.” Alfred. 2
Tchaikowsky, Piotr, Williams (arr.). “Two Scenes from the Nutcracker.” Alfred. 2
Wagner, Robert, Milford (arr.). “Die Meistersinger.” Alfred. 3
Von Suppe, Franz, Williams (arr.). “Light Cavalry Overture.” Alfred 2.5
Von Suppe, Franz, Williams (arr.). “Poet and Peasant Overture.” Alfred. 2.5
Choral
Chopin, F., B. Trinkley (arr.). Seven Songs Choral Collection (SATB Songs 1 4 7). USA: Hal Leonard
Publications.
Guitar
Bock, J., Chopin For Guitar. USA: Hal Leonard Publications.
Royal Conservatory of Music. (selected volumes). Mississauga, Ontario: Frederick Harris Music
Publishing.
Keyboard
Royal Conservatory of Music (selected volumes), Mississauga, Ontario: Frederick Harris Music
Publishing
Unit 4 - Page 5
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Activity 2: Listening Requirements for the Unit
Time: 180 minutes
Description
This activity is expected to be ongoing throughout the unit and should not be completed all at one time.
The chosen listening skills will both reinforce and reflect other activities within the unit. Students will
focus on identifying tonality through the continued practice of notating, aurally and vocally reproducing
major and minor triads. Students will be introduced to augmented and diminished intervals.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE2a - listens actively and critically to understand and learn in light of gospel values.
Strand(s): Analysis, Theory
Overall Expectations
ANV.02 - use aural discrimination skills to identify complex aspects of music (e.g., major and minor
triads, diminished and augmented intervals).
Specific Expectations
TH1.13 - use music software to improve aural and theoretical skills;
AN1.02 - demonstrate an understanding of intervals and triads by reproducing, aurally identifying, and
notating all given intervals from a diminished unison to an augmented octave, and major and minor
triads;
AN1.03 - confirm their understanding of aural dictations by reproducing and notating simple melodies up
to four measures in simple and compound metres using sixteenth through whole notes and rests,
including dotted values, within an octave.
Planning Notes
 The teacher provides access to a piano keyboard and MIDI technology.
Prior Knowledge Required
 Students should be able to aurally identify, vocally reproduce, and notate perfect, major and minor
intervals, and major/minor triads
Teaching/Learning Strategies
The following Teaching/Learning Strategies should be used on a daily basis:
The teacher continues working with students on notating, aurally identifying, and
vocally reproducing major and minor triads, in arpeggiated as well as block-chord
form, as well as perfect, major, and minor intervals. The teacher then introduces
augmented and diminished intervals to be notated as well as aurally identified and
vocally reproduced. Students brainstorm familiar songs that contain augmented and
diminished intervals.
The teacher chooses four bar phrases from performance repertoire to be used for aural
dictations.
5-10 minutes
5 minutes
Assessment/Evaluation Techniques
 Aural/Oral dictations are informally assessed using a paper and pencil test, accompanied by
anecdotal comments.
 Informal conferencing is used to provide immediate feedback during ear training exercises.
Unit 4 - Page 6
 Music - Open
Resources
See repertoire list from Activity 1.
Wharram, Barbara. Elementary Rudiments of Music. New York: The Frederick Harris Music Co.
Limited, 1969.
Activity 3: The Meaning of Romance
Time: 60 minutes
Description
Through the introduction of the romantic time period, students revisit the impact of societal change as a
major influence on the development of music.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE3c - thinks reflectively and creatively to evaluate situations and solve problems;
CGE3e - adopts a holistic approach to life by integrating learning from various subject areas and
experience;
CGE3f - examines, evaluates, and applies knowledge of interdependent systems (physical, political,
ethical, socio-economic);
CGE4a - demonstrates a confident and positive sense of self and respect for the dignity and welfare of
others;
CGE4f - applies effective communication, decision-making, problem-solving, time, and resource
management skills;
CGE5b - thinks critically about the meaning and purpose of work;
CGE5e - respects the rights, responsibilities, and contributions of self and others.
Strand(s): Theory, Analysis
Overall Expectations
ANV.01 - demonstrate a detailed understanding of music history and its cultural context to interpret
repertoire;
ANV.03 - evaluate the effects of music education on themselves and their peers;
ANV.04 - evaluate the function of music in society.
Specific Expectations
TH1.11 - situate composers in a historic continuum;
AN2.07 - explain the function of certain musical forms in daily life (e.g., anthems, marches).
Planning Notes
 The teacher prepares a summary of the romantic time period prepared in point form. The teacher
should also develop worksheets to enforce transposition concepts. An example is included in the
Appendix 4.1 – Transposition.
Prior Knowledge Required
 Students must have a firm grasp of the general history of the baroque and classical time periods.
Unit 4 - Page 7
 Music - Open
Teaching/Learning Strategies
1. Draw a chart on the board, with the following titles, and fill in point-form information:
Politics (French Revolution, Industrial Revolution)
Arts (fanciful, passionate, picturesque, exotic)
Instruments (cheaper, improved quality, valves for brass, new tuba and saxophone)
Performing Venues (public concert halls, conservatories)
Music (for larger orchestras, all dynamics and crescendos/decrescendos, *need for direct
communication through music, new style markings, e.g., dolce, cantabile etc., folklore, singable
melody, expressive harmony, expanded forms)
The Musician (soloists, conductors, composers and performers for a paying public, music in the
home, music educators, critics, acceptance of women as professional musicians, prominent
musicians of the time)
2. Instruct students to create several “chain-reaction flow charts” that demonstrate the effects of each
historical change on the rest of society of the time. For example: Industrial Revolution  massproduced, affordable instruments  demand for music teachers  more well developed musicians
 larger orchestras  need for larger performing venues  the creation of public concert halls.
Encourage students to use as many different links as possible.
3. Hand out a worksheet on transposing instruments (see Appendix 4.1 – Transposition), introducing
the concept that all instruments are not built to play in concert pitch. Link this concept with the 19th
century development of new instruments which added colour, texture, mood, etc., as well as enabling
further communication and expression by composers.
4. Students are to write a brief reflection (to be shared with the class), based on how the growing
importance of music education in the 19th century developed the music opportunities we have today.
Ensure that students are aware of the checklist of key points that must be included in the reflection.
5. Students update their timeline with appropriate information.
Assessment/Evaluation Techniques
 Chain-reaction flow charts are assessed using a checklist.
 Transposition worksheets are assessed using a checklist.
 Use a checklist of key points discussed and anecdotal comments to assess reflections.
Accommodations
 The teacher provides a detailed handout to reinforce the history chart.
 Have students use pictorial diagrams to represent the chain-reaction flow charts.
 Initiate the transposition of performance repertoire for various instruments.
Resources
The Enjoyment of Music, CD, Eighth Edition. New York: W.W. Norton & Company, 1995.
Forney, Kristine and Joseph, Machlis. The Enjoyment of Music, Eighth Edition. New York: W.W. Norton
& Company, 1995.
Human Resources: French, History, English and Art teachers or members of the community.
Taruskin, Richard and Piero Weiss. Music in the Western World. New York: Schirmer Books, 1984.
Unit 4 - Page 8
 Music - Open
Activity 4: What’s the Story?
Time: 90 minutes
Description
This activity is designed to introduce students to program music of the romantic era. Students use
creative thinking skills to interpret and appreciate music of this genre.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE2c - presents information and ideas clearly and honestly and with sensitivity to others;
CGE2d - writes and speaks fluently one or both of Canada’s official languages;
CGE3c - thinks reflectively and creatively to evaluate situations and solve problems;
CGE4f - applies effective communication, decision-making, problem-solving, time, and resource
management skills.
Strand(s): Theory, Analysis
Overall Expectations
THV.01 - explain in detail, both orally and in writing, the elements of music (i.e., rhythm, melody,
timbre, dynamics, harmony, texture, and form);
THV.03 - analyse the influence of certain composers on the musical language of their period;
ANV.01 - demonstrate a detailed understanding of music history and its cultural context to interpret
repertoire.
Specific Expectations
TH1.01 - identify and describe a greater variety of musical indicators of speed and changes in speed (e.g.,
prestissimo, molto, piu mosso, sempre, stringendo, and terms related to the performance medium);
TH1.02 - identify and define musical indicators of metre, including compound, asymmetrical, and
alternating metres;
TH1.04 - identify and notate major and relative minor (natural, harmonic, and melodic) key signatures
and scales up to and including a minimum of four sharps and four flats;
TH1.07 - compare and contrast detailed characteristics of sound (e.g., voice types and variations, guitar
versus harp, electronic effects on digital sounds);
TH1.09 - use appropriate terminology to describe how repetition and contrast of musical elements are
used to organize sound (e.g., phrase structure, motif and theme, imitation, verse and chorus, bridge);
TH1.11 - situate composers in a historic continuum;
AN2.07 - explain the function of certain musical forms in daily life (e.g., anthems, marches).
Planning Notes
 Locate various recordings of program music (e.g., “Symphonie Fantastique,” “1812 Overture,”
“Pictures at an Exhibition,” “The Nutcracker,” “The Erlking”).
 A listening centre is needed for extension and reinforcement.
 This activity is easily extended through a cross-curricular approach. Links to English, History, Art, or
other subjects reinforce student learning. Romeo and Juliet, for example, can be studied musically, in
literature, in history, etc.
Prior Knowledge Required
 Students must complete Activity 3 prior to proceeding through this activity.
Unit 4 - Page 9
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Teaching/Learning Strategies
1. The teacher chooses an appropriate program piece and presents its composer and story to the class.
2. The teacher plays the recording while students actively listen for and document the following:
dynamics, pitch, rhythm patterns, key changes, texture, register, tempo, and instruments. The student
is directed to perceive how these musical ideas are used to represent the story. A chart is used to
organize information.
Concept
Excerpt 1
Excerpt 2
Excerpt 3
rhythm
triplets exemplify horses
hooves
dynamics
sudden changes in volume
depict clashes
tone colour
harsh tone colours create
aggressive mood
etc.
3. The class will compile this information on the board and discuss the validity of the various
suggestions.
4. Listen to the piece again and isolate the most accurate representations.
5. This information will be recorded into the students’ notebooks.
6. The teacher will present a second piece of music and have the students follow steps one to three as an
individual assignment to be submitted at the end of the period.
Assessment/Evaluation Techniques
 The teacher assesses the listening activity using anecdotal comments to help students improve their
ability to perform aural analysis with more accuracy.
 The teacher will complete informal observation of student participation.
Accommodations
 Additional time and support from the teacher or student partner, accompanied by specific guiding
questions may be provided for analysis.
 Students study an assigned program piece at a listening centre and dramatize the existing story.
 Students incorporate pictorial representations of the music analysed in the activity.
Resources
Forney, Kristine and Joseph, Machlis. The Enjoyment of Music, Eighth Edition. New York: W.W. Norton
& Company, 1995.
The Enjoyment Music, CD, Eighth Edition. New York: W. W. Norton & Company, 1995.
Microsoft Encarta 96 Encyclopedia, 1993-1996, Microsoft Corporation.
Plantinga, Leon. Romantic Music: A History of Musical Style in Nineteenth Century Europe. New York:
W.W. Norton & Company, 1984.
Unit 4 - Page 10
 Music - Open
Activity 5: L’après-MIDI d’un étudiant
Time: 90 minutes
Description
Through the process of composition, students gain first-hand experience in the art of composing program
music. The study of MIDI technology creates an awareness of how artificial sounds are used to create
specific effects in the media around us.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE3c - thinks reflectively and creatively to evaluate situations and solve problems;
CGE3e - adopts a holistic approach to life by integrating learning from various subject areas and
experience;
CGE4a - demonstrates a confident and positive sense of self and respect for the dignity and welfare of
others;
CGE4f - applies effective communication, decision-making, problem-solving, time, and resource
management skills;
CGE5b - thinks critically about the meaning and purpose of work;
CGE5e - respects the rights, responsibilities, and contributions of self and others;
Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.01 - explain in detail, both orally and in writing, the elements of music (i.e., rhythm, melody,
timbre, dynamics, harmony, texture, and form);
THV.02 - read and understand musical notation;
THV.04 - explain the use of various applications of MIDI technology (e.g., sequencing, notation);
CRV.02 - make complex artistic decisions that affect the stylistic accuracy of their playing or singing
(e.g., articulation, phrasing, posture, dynamics, tone quality, intonation, rhythm, balance, blend);
CRV.03 - demonstrate the effective use of digital technology in music applications;
CRV.04 - apply the elements and principles of composition at an intermediate level, using the creative
process (i.e., perception, production, and reflection);
ANV.02 - use aural discrimination skills to identify complex aspects of music (e.g., major and minor
triads, diminished and augmented intervals).
Specific Expectations
TH1.14 - demonstrate an understanding of the function of the menus of a MIDI sequencer;
TH1.15 - demonstrate an understanding of the function of the menus of notation software;
CR1.05 - play or sing, with control and within an expanded range, the exercises and repertoire being
performed;
CR1.11 - play or sing with detailed attention to the subtleties of balance and blend;
CR2.03 - make effective creative choices in performance within musical parameters (e.g., call and
response; ornamentation of existing melodies; improvisation of a melody; addition of dynamics,
articulation, and tempi to existing music);
CR2.05 - demonstrate an understanding of sequencing by recording a multitimbral sequence, using MIDI
technology.
Planning Notes
 Students require access to MIDI software.
 Students will set requirements for assessment of written work and performance in this activity.
Unit 4 - Page 11
 Music - Open
Prior Knowledge Required
 Students should have a firm understanding of the concept of program music.
 Students should have some knowledge of the basic functions of MIDI software.
Teaching/Learning Strategies
1. Instruct students to write a single line of poetry or descriptive text. Students are to compose a 12 bar
piece of program music to depict the line of text through the use of pitch, dynamics, articulation, key,
tempo, and other musical parameters.
2. Students are encouraged to record their composition with MIDI software or on a sequencer and to
discover the various types of artificial sounds available, where possible. If MIDI access is not
available, students should perform their compositions on their own instruments or vocally.
3. Students submit a manuscript of their piece as well as prepare for a class performance. The class is to
sit with their eyes closed while the performer reads the line of text, followed by the performance.
Initiate a class discussion after each performance, identifying the musical techniques used to portray
the message of the text. Initiate a class discussion on the statement “The art of the virtuoso performer
is being replaced by a computer manipulator.”
Assessment/Evaluation Techniques
 The manuscript is assessed by the teacher using student-generated criteria.
 Performance is assessed by peers using student-generated criteria.
Accommodations
 Students experiment by performing their composition on a band instrument, then using MIDI
technology. Conclude by having students write a reflection based on the comparison of the two
performances, in light of the use of technology in today’s society.
 Provide lines of text for student compositions.
 Students present pictorial, dramatic, or other artistic representations of the text.
 Students will work in pairs/small groups at MIDI terminals.
Resources
MIDI software and hardware
Activity 6: In a Different Key
Time: 100 minutes
Description
Through the exploration of basic MIDI record and edit functions on available MIDI software, students
arrange and transpose a pre-existing amen or alleluia melody that will be used in the upcoming liturgical
celebration. Students perform individual lines from their arrangement while other parts are supplied
through MIDI.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE3c - thinks reflectively and creatively to evaluate situations and solve problems;
CGE3e - adopts a holistic approach to life by integrating learning from various subject areas and
experience;
CGE4a - demonstrates a confident and positive sense of self and respect for the dignity and welfare of
others;
Unit 4 - Page 12
 Music - Open
CGE4f - applies effective communication, decision-making, problem-solving, time, and resource
management skills;
CGE5a - works effectively as an interdependent team member;
CGE5b - thinks critically about the meaning and purpose of work;
CGE5e - respects the rights, responsibilities, and contributions of self and others.
Strand(s): Creation, Theory
Overall Expectations
THV.01X - explain in detail, both orally and in writing, the elements of music (i.e., rhythm, melody,
timbre, dynamics, harmony, texture, and form);
THV.02X - read and understand musical notation;
THV.04X - explain the use of various applications of MIDI technology (e.g., sequencing, notation);
CRV.04X - apply the elements and principles of composition at an intermediate level, using the creative
process (i.e., perception, production, and reflection).
Specific Expectations
TH1.14X - demonstrate an understanding of the function of the menus of a MIDI sequencer;
TH1.15X - demonstrate an understanding of the function of the menus of notation software;
CR2.01X - demonstrate an understanding of simple homophonic composition (e.g., compose a melody
with a simple triad accompaniment) with a variety of media;
CR2.02X - demonstrate an understanding of arranging and transposing by adapting an existing
polyphonic work of at least three parts for a small ensemble (e.g., four-part chorale for brass, woodwinds,
or strings; two voices and MIDI);
CR2.05X - demonstrate an understanding of sequencing by recording a multitimbral sequence, using
MIDI technology.
Planning Notes
 The teacher will require a MIDI-capable keyboard, connecting cables, a computer with MIDI-record
capability and software that will allow for multi-part MIDI recording.
 The teacher should have a familiarity with the basic recording and editing functions of the software
program. As every program is different, instructions given below may not apply directly to the
software in every school. Most software will be capable of performing the basic functions outlined in
the activities although the process for completing these functions may differ. A computer-screen
video projector would be extremely helpful for this activity.
 The teacher supplies a pre-existing amen or alleluia melody. The melody should be transcribed onto
an overhead transparency or otherwise be made available for display.
Prior Knowledge Required
 Students should be comfortable creating and identifying major and minor chords.
 Students should have some familiarity with the keyboard and be confident in using the keyboard to
enter music into the computer – even if only a single line at a very slow tempo.
 Students should be capable of performing the melody line to the chosen amen or alleluia whether it
be on their instrument or vocally.
Teaching/Learning Strategies
1. The teacher will introduce the chosen melody to the students by playing it on the keyboard or singing
it. Students should analyse the melodic contour, key signature, tonality, and range of the melody.
2. The teacher will lead students through the process of entering the melody into the computer using the
keyboard. Students should learn how to slow down the tempo for note entry and then speed it back
up for performance, how to correct mistakes made during note entry, and how to transpose the
melody up or down. Students should also learn to set basic musical parameters for notation if the
Unit 4 - Page 13
 Music - Open
3.
4.
5.
6.
7.
software is capable. Key signature, time signature, initial clef, and instrument for playback are some
of the simplest parameters to manipulate and must be set if students are to print out their
arrangements or to play along with the MIDI recording.
Students are to set the chosen melody to chordal accompaniment. After analysing the melody,
students should group into pairs or threes and co-operatively decide what chords best support the
melodic line. They should take note of points of rest or motion and choose chords appropriately. It
may help to have students circle non-chord tones to ensure that the chords fit with the melody. If the
analysis has been done correctly, students should not need to use the keyboard to create the chordal
accompaniment. Initially, students should only create block-chord accompaniment. This should be
submitted for assessment before proceeding.
When students have an accurate accompaniment, the teacher should demonstrate arpeggiation, block
chord, counter melody, and simple rhythmic accompaniments on the keyboard. Again in their groups,
students will decide on appropriate arrangement strategies for the chosen melody. This should be
worked out as a plan by simply designating areas of the melody for the various strategies. Students
should use at least two different accompaniment ideas.
Using the block-chord accompaniment as a guide, students will write out their accompaniment
choices and then enter this information into the computer. Students may choose to enter the
accompaniment by playing it on the keyboard at a slower tempo or by entering notes directly from
the computer keypad.
Students will perform the chosen melody as a group, along with the MIDI accompaniment. It is
suggested that students create their own parts by transposing the melody within the software and
printing out the part for B, E, F, or C instrument.
After hearing each arrangement, students should discuss its effectiveness and offer constructive
suggestions for improvement.
Assessment/Evaluation Techniques
 Students are evaluated with a rubric on the accuracy and appropriateness of their block-chord
accompaniment. The teacher also generates anecdotal comments to aid students in improving this
work before proceeding to the next step.
 Students are assessed with a checklist on group work skills. (See Appendix 1.8 – Checklist for
Assessing Group Participation.)
 Students are assessed with anecdotal comments and a checklist on their performance.
 Students generate self-evaluation checklist on their skill at working within the music software
environment.
Accommodations
 The teacher may choose to vary the expected level of complication for the accompaniment.
 Students may be kept together rather than work in small groups or students may complete the activity
individually.
 If a computer and software are not available, many keyboards offer the same options in sequencing
(MIDI recording) and transposition but will not offer notation capabilities. The teacher may choose
to have students record their accompaniments in this manner.
 If no sequencer is available, a competent accompanist should be secured to perform the student’s
arrangements.
 Students could be asked to arrange for a variety of instruments.
Unit 4 - Page 14
 Music - Open
Resources
Batastini, R. and M. Cymbala, eds. Gather. Chicago: GIA Publications, 1994.
Canadian Conference of Catholic Bishops. Catholic Book of Worship II, III. Canada: Canadian
Conference of Catholic Bishops and Gordon V. Thompson Ltd., 1980, 1995.
North American Liturgy Resources. Glory and Praise. Phoenix, Arizona: Parish Music Program, 1984.
Music software suggested titles: Cubase, Finale, Band-in-a-box, Music Lessons
School Chaplain and Liturgy Committee
Activity 7: Our Christian Story
Time: 90 minutes
Description
This activity involves the preparation and participation in a school liturgy. Students perform the music
selected in Unit 3, Activity 7.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE1a - illustrates a basic understanding of the saving story of our Christian faith;
CGE1b - participates in the sacramental life of the church and demonstrates an understanding of the
centrality of the Eucharist to our Catholic story;
CGE1f - seeks intimacy with God and celebrates communion with God, others and creation through
prayer and worship;
CGE1i - integrates faith with life;
CGE3c - thinks reflectively and creatively to evaluate situations and solve problems;
CGE4c - takes initiative and demonstrates Christian leadership;
CGE4f - applies effective communication, decision-making, problem-solving, time, and resource
management skills;
CGE5a - works effectively as an interdependent team member.
Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.02 - read and understand musical notation;
CRV.02 - make complex artistic decisions that affect the stylistic accuracy of their playing or singing
(e.g., articulation, phrasing, posture, dynamics, tone quality, intonation, rhythm, balance, blend);
ANV.04 - evaluate the function.
Specific Expectations
CR2.03 - make effective creative choices in performance within musical parameters (e.g., call and
response; ornamentation of existing melodies; improvisation of a melody; addition of dynamics,
articulation, and tempi to existing music);
AN2.03 - reflect on learning by maintaining a journal and/or practice log that records progress;
AN2.04 - demonstrate leadership in rehearsal, performance, and audience etiquette (appropriate to the
cultural context);
AN2.05 - describe the distinctive nature of participating in individual and group musical performances
for a variety of audiences (e.g., peers, community, teacher).
Unit 4 - Page 15
 Music - Open
Planning Notes
 Arrange time and location for setting up for the liturgy.
 Meet with the liturgy committee and chaplain to go over the student plan from Unit 3, Activity 6.
 Assemble all necessary equipment including music stands, microphones, overhead
projector/transparencies, chairs, etc.
 Gather resources for rehearsal.
 Post the liturgy plan in the classroom and make copies to place on music stands.
 Locate lyrics for the congregation.
Prior Knowledge Required
 Students should be capable of performing selected repertoire for the liturgy.
 Students should be familiar with the outline of the form of liturgy.
Teaching/Learning Strategies
1. Students review their plan from Unit 3 to prepare and rehearse the music selections.
2. Students develop a rubric for self-assessment, as well as questions reflecting on the correlation
between the impact of personal music participation and the sense of community in the congregation.
3. Students lead the congregation in musical performance.
4. Following the celebration, students discuss the effectiveness of their musical choices in conveying
the intended mood or theme.
Assessment/Evaluation Techniques
 Students will complete the self-assessment including a paragraph to describe the distinctive nature of
developing community through musical participation.
Accommodations
 A soloist may act as a cantor.
 Use peer coaching for performance.
 Musical selections may be rearranged to be performed in parts.
 Excerpts from Jesus Christ Superstar, Godspell, or other popular settings of Christian stories can be
analysed for programmatic concepts. How successfully do these excerpts represent their stories?
Resources
Batastini, R. and M. Cymbala, eds. Gather. Chicago: GIA Publications, 1994.
Canadian Conference of Catholic Bishops. Catholic Book of Worship II, III. Canada: Canadian
Conference of Catholic Bishops and Gordon V. Thompson Ltd., 1980, 1995.
North American Liturgy Resources. Glory and Praise. Phoenix, Arizona: Parish Music Program, 1984.
Music software suggested titles: Cubase, Finale, Band-in-a-box, Music Lessons
School Chaplain and Liturgy Committee
Unit 4 - Page 16
 Music - Open
Appendix 4.1
Transposition
* When you play C, you sound the name of your instrument.
When a flute, trombone, tuba, baritone plays C, it sounds as a C.
When a clarinet, trumpet, and tenor sax plays C, it sounds as a B.
When an alto sax plays C, it sounds as an E.
When a French horn plays C, it sounds as an F.
1. As a C instrument, if you play C, how many semitones up ______ and/or down ______ is the sound
(and name) of your instrument?
2. As a B instrument, if you play C, how many semitones up ______ and/or down ______ is the sound
(and name) of your instrument?
3. As an E instrument, if you play C, how many semitones up ______ and/or down ______ is the
sound (and name) of your instrument?
4. As an F instrument, if you play C, how many semitones up ______ and/or down ______ is the sound
(and name) of your instrument?
* When you move the correct number of semitones, you are faced with choosing the correct letter name
of the new pitch. Memorize the following rules and you will be fine!
C instruments: same name
B instruments: choose the next letter name in sequence e.g., play C, sound B (not A)
E instruments: choose the letter name two away, e.g., play C, sound E (not D)
F instruments: choose the letter name three away, e.g., play C, sound F (not E)
Exercise A
1. If a C instrument wants to sound concert C, what note must be played? ______
2. If a B instrument wants to sound concert C, what note must be played?______
3. If an E instrument wants to sound concert C, what note must be played?_____
4. If an F instrument wants to sound concert C, what note must be played? ______
Exercise B
1. Flute plays E, sounds ___________ 2. Flute sounds A, plays ___________
3. Clarinet plays G, sounds _________
4. Clarinet sounds F, plays _________
5. Alto sax plays D, sounds ________
6. Alto sax sounds B, plays _________
7. French horn plays A, sounds ______ 8. French horn sounds C, plays _____
Unit 4 - Page 17
 Music - Open
Unit 5: Everything Goes
Time: 14 hours
Unit Description
This unit introduces students to the concepts of 20th century art music with a focus on Canadian
composers. Students will create and perform a soundscape including natural, artificial, and found sounds.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations: CGE1e, CGE1i, CGE4a, CGE4b, CGE4f,
CGE4h, CGE5a, CGE5c, CGE5e, CGE6e, CGE7g, CGE7i.
Strand(s): Analysis, Creation, Theory
Overall Expectations: THV.01X, THV.02X, THV.03X, THV.04X, CRV.01X, CRV.02X, CRV.03X,
CRV.04X, ANV.01X, ANV.02X, ANV.04X.
Specific Expectations: TH1.07X, TH1.11X, TH1.12X, CR1.04X, AN1.04X.
Activity Titles (Time + Sequence)
Activity 1
Activity 2
Activity 3
Activity 4
Activity 5
Activity 6
Activity 7
Performance Requirements for the Unit
Listening Requirements for the Unit
The New Frontier
Violets Are Green
Silence Is Goulden
What’s That Sound?
Sound Escapes
445 minutes
60 minutes
60 minutes
60 minutes
60 minutes
60 minutes
90 minutes
Prior Knowledge Required


Students must have a firm understanding of MIDI software and its basic capabilities.
Students should have a familiarity with the compositional process.
Unit Planning Notes





Teacher provides access to information about society and music in the 20th century.
MIDI centre(s) should be accessible for individual or group composition.
The teacher should have access to biographical information, musical contributions and recordings of
Violet Archer and Glenn Gould.
The teacher obtains recordings of music composed by R. Murray Schafer.
The teacher obtains a collection of pre-recorded sound effects.
Teaching Learning Strategies






Performance: instrumental/vocal (ensemble), oral, written
Conferencing
Group Work
Listening and Reflection: directed or open, personal and group
Independent Learning: projects and logs
Brainstorming: group generation of ideas expressed without criticism or analysis
Unit 5 - Page 1
 Music - Open
Assessment and Evaluation

Personal Communication: journals/conferencing logs, self-/peer assessment, student-teacher
conferences
 Written Work: written assignments (composing, arranging, reflection/response)
 Observation: formal/informal
 Performance Assessment: solo/ensemble performance
Assessment tools will include:
 Formative Assessment: checklist, anecdotal, rubric, marking scheme
Accommodations



The amount of time required to complete activities can be extended or shortened to accommodate
various exceptionalities.
The complexity of activities should be adjusted according interest or skill level.
Individual help should be provided where appropriate.
Resources
Forney, Kristine and Joseph Machlis. The Enjoyment of Music, Eighth Edition. New York: W.W. Norton
& Company, 1995.
The Enjoyment of Music, CD, Eighth Edition. New York: W. W. Norton & Company, 1995.
(Violet Archer) www.culturenet.ca/cmc/dac_rca/eng/a_/Archer.html
Kallmann, Helmut, G. Potvin, and K. Winters. Encyclopedia of Music in Canada. Toronto: University of
Toronto Press 1992.
Cope, David. New Directions in Music. USA: Wm. C. Brown Publishers, 1989.
Canadian Music Center Web Site
www.culturenet.ca
Human resources include the design and technology teacher(s) in the school.
Queen’s University Resource Site
http://sunsite.queensu.ca/memorypalace/parlour/Schafer01/
Schafer, R. Murray. Ear Cleaning. Toronto: Berandol Music Limited, 1967.
Activity 1: Performance Requirements for the Unit
Time: 445 minutes
Description
This activity is expected to be ongoing throughout the unit and should not be completed all at one time.
Skills and repertoire chosen will both reinforce and reflect other activities within the unit. Students will
explore the new sounds and sound effects associated with 20th century art music.
Strand(s) and Expectations
Ontario Catholic School Graduate expectations
CGE2b - reads, understands, and uses written materials effectively;
CGE3c - thinks reflectively and creatively to evaluate situations and solve problems;
CGE4a - demonstrates a confident and positive sense of self and respect for the dignity and welfare of
others;
CGE4b - demonstrates flexibility and adaptability;
CGE4e - sets appropriate goals and priorities in school, work, and personal life;
Unit 5 - Page 2
 Music - Open
CGE4f - applies effective communication, decision-making, problem-solving, time, and resource
management skills;
CGE5a - works effectively as an interdependent team member;
CGE5c - develops one’s God-given potential and makes a meaningful contribution to society;
CGE5e - respects the rights, responsibilities, and contributions of self and others;
CGE5f - exercises Christian leadership in the achievement of individual and group goals;
CGE5g - achieves excellence, originality, and integrity in one’s own work and supports these qualities in
the work of others;
CGE6e - ministers to the family, school, parish, and wider community through service;
CGE7g - respects and understands the history, cultural heritage, and pluralism of today’s contemporary
society.
Strand(s): Creation
Overall Expectations
CRV.01 - play or sing technical exercises and diverse repertoire that reflect the theory expectations at
this grade level (including improvisation and their own creations when appropriate);
THV.02 - read and understand musical notation.
Specific Expectations
CR1.01 - accurately play or sing complex notated or stylistically correct articulation (e.g., variety of
accents, col legno, hammer-on, glissando);
CR1.02 - play or sing with an understanding of complex musical phrase structures (e.g., notated,
improvised, or stylistically correct);
CR1.04 - play or sing with tone quality appropriate to the exercises and repertoire being performed;
CR1.05 - play or sing, with control and within an expanded range, the exercises and repertoire being
performed;
CR1.06 - play or sing with accurate pitch;
CR1.07 - play or sing with accurate intonation, both melodically and harmonically;
CR1.08 - maintain a consistent tempo and accurately change tempi as found in the exercises and
repertoire being performed;
CR1.09 - play or sing in various metres and accurately change metres as found in the exercises and
repertoire being performed;
CR1.10 - accurately play or sing rhythms as found in the exercises and repertoire being performed;
CR1.11 - play or sing with detailed attention to the subtleties of balance and blend.
Planning Notes
 The students and teacher select various excerpts for study from the chosen repertoire. The student
chooses excerpts focussing on different skills that agree with their personal development program.
 The teacher selects complete works that will be used to assess student performance within the
ensemble. Passages that introduce or reinforce 20th century techniques should be the focus.
 Daily performance time is structured according to the following criteria:
Warm-up (tuning, tone, breathing, posture etc.)
5-10 minutes
Technique building (range, dexterity, endurance, articulation/diction, phrasing) 5-15 minutes
Analysing and interpreting repertoire (solo, small group or ensemble: style,
20-40 minutes
balance/blend, dynamics, form, performance etiquette etc.)
Prior Knowledge Required
 Students will be expected to demonstrate the performance skills studied thus far.
Unit 5 - Page 3
 Music - Open
Teaching/Learning Strategies
1. The teacher and student conference to create a personal development plan. Students identify areas of
interest and need. The personal development plan clearly states the method of addressing these
interests and needs and the goals that will be achieved by the end of the unit.
2. Students receive all selected repertoire at the beginning of the unit. Where students have a choice of
excerpts or solo repertoire, they are be given all materials in order to choose. In choosing from the
materials, students are encouraged to refer to their personal development plan. Repertoire that
supports the students’ identified needs is given priority. Students also create a rehearsal plan for solo
repertoire and excerpts.
3. While rehearsing complete works, the teacher identifies suitable areas that can support review and
reinforcement of previously studied concepts.
4. Excerpts are rehearsed in sections. The teacher circulates within the group and provides feedback on
the techniques used.
5. Students expand their range as the teacher provides appropriate practical exercises that will aid the
students.
Assessment/Evaluation Techniques
 The teacher will evaluate student performance using a rubric. As music is a skill that is constantly
under development, anecdotal comments should also be provided as formative assessment.
 The student rehearsal plan should be assessed using a checklist.
Accommodations
 The nature of this activity lends great scope for accommodation. Excerpts and solo repertoire could
easily be tailored to fit the student.
 Students could receive a greater length of rehearsal time to prepare for performance.
 Peer and teacher aid could be extended to students requiring more frequent attention.
Resources
Band
Anderson, Leroy. “The Typewriter.” US: Warner Brothers. (2 versions graded 2 and 3)
Anderson, Leroy. “Syncopated Clock.” US: Warner Brothers. (2 versions graded 1 and 3)
Anderson, Leroy. “Syncopated Clock.” US: Warner Brothers. 2
Balent, Andrew. “Count Trickula.” US: Carl Fischer Publications. 2
Balent, Andrew. “County Hoedown Medley.” US: Carl Fischer Publications. 2
Bray, Kenneth. “A Ceremonial Occasion.” Markham: Eighth Note Publications. 3
Coakley, Donald. “Celebration.” Markham: Eighth Note Publications. 3
Coakley, Donald. “Donkey Riding.” Markham: Eighth Note Publications. 2
Coakley, Donald. “The Twentieth Century Band.” Markham: Eighth Note Publications. 2.5
Del Borgo, Elliot. “Chant and Jubilee.” US: Warner Brothers. 2
Del Borgo, Elliot. “Shaker Variants.” US: Warner Brothers. 2
Elgar, Edward, Alfred Reed (arr.). “Nimrod.” US: Irving Mills. 2
Erikson, Frank. “Sonatina For Band.” US: Warner Brothers. 3
Forsblad, Leland. “Appalachian Hymn.” US: Barnhouse Publications. 1
Grundman, Claire. “Kentucky 1800.” England: Boosey and Hawkes. 3
Higgins, John. “Regenesis.” Music Works. 3
Hilliard, Quincy. “Warriors of Prey.” US: Carl Fischer Publications. 3
Unit 5 - Page 4
 Music - Open
Holst, G., Andrew Balent (arr.). “Jupiter.” US: Carl Fischer Publications. 3
Huckeby, Ed. “Abington Ridge.” US: Barnhouse Publications. 2.5
Huckeby, Ed. “Acclamations.” US: Barnhouse Publications. 3
Huckeby, Ed. “Brandon Bay.” US: Barnhouse Publications. 2.5
Jennings, Paul. “Winter Fiesta.” US: Hal Leonard. 1
Jennings, Paul. “Rainforest Rhapsody.” US: Hal Leonard. 2
Jutras, Andre. “Three Movement Suite.”
MacPherson, Cassidy and Charles. “The Newfoundland Volunteers’ Band March and Quickstep.”
Canada: MacPherson, Cassidy and Charles Educational Services. 2
Margolis, Bob. “Battle Pavane.” US: Manhattan Beach. 2
Margolis, Bob. “Soldier’s Procession.” US: Manhattan Beach. 2
Margolis, Bob. “Sword Dance.” US: Manhattan Beach.
Niehaus, Lennie. “Maritime March.” US: Kendor Publications.
Osterling, Erik. “Bandology.” US: Carl Fischer Publications. 2
Osterling, Erik. “Calvin Custer.”
Selsesky, Gerald. “Close Encounters For Clarinet.” US: Barnhouse Publications. 1
Shaffer, David. “Chapala Chapala.” US: Barnhouse Publications. 1
Shaffer, David. “Thumbs Up (with tape accompaniment).” US: Barnhouse Publications. 2
Smallman, Jeff. “Coming Home.” Markham: Eighth Note Publications. 1.5
Smith, R. “The Tempest.” US: Warner Brothers. 1
Smith, R. “Herndon Exaltations.” US: Warner Brothers. 1
Sousa, John. “El Capitaine.” US: Barnhouse Publications. 1.5
Sousa, J., Andrew Balent (arr.). “Thunderer.” US: Carl Fischer Publications. 1.5
Choral
Schaffer, R. Murray. "Epitaph for Moonlight."
Guitar
Royal Conservatory of Music (selected volumes), Canada: Frederick Harris Publishing
Keyboard
Royal Conservatory of Music (selected volumes), Canada: Frederick Harris Publishing
Unit 5 - Page 5
 Music - Open
Activity 2: Listening Requirements for the Unit
Time: 60 minutes
Description
This activity is expected to be ongoing throughout the unit and should not be completed all at one time.
The chosen listening skills will both reinforce and reflect other activities within the unit. Students will be
challenged to accept new sounds and concepts of sound. Students will be introduced to some of the aural
concepts of the 20th century.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE2a - listens actively and critically to understand and learn in light of gospel values;
CGE4f - applies effective communication, decision-making, problem-solving, time, and resource
management skills;
CGE5e - respects the rights, responsibilities, and contributions of self and others.
Strand(s): Analysis, Theory
Overall Expectations
ANV.02 - use aural discrimination skills to identify complex aspects of music (e.g., major and minor
triads, diminished and augmented intervals);
TH1.07 - compare and contrast detailed characteristics of sound (e.g., voice types and variations, guitar
versus harp, electronic effects on digital sounds).
Specific Expectations
TH1.07 - compare and contrast detailed characteristics of sound (e.g., voice types and variations, guitar
versus harp, electronic effects on digital sounds);
AN1.01 - demonstrate their mastery of rhythms by clapping back, aurally identifying, and notating given
rhythms up to four measures in simple and compound metres, using sixteenth through whole notes and
rests, including dotted values and triplets;
AN1.02 - demonstrate an understanding of intervals and triads by reproducing, aurally identifying, and
notating all given intervals from a diminished unison to an augmented octave, and major and minor
triads;
AN1.03 - confirm their understanding of aural dictations by reproducing and notating simple melodies up
to four measures in simple and compound metres using sixteenth through whole notes and rests,
including dotted values, within an octave.
Planning Notes
 The teacher should locate and prepare selected listening excerpts of 20th-century Canadian composers
(Violet Archer, Clifford Crawley, Alexander Brott, John Burge, Donald Coakley, Victor Davies,
etc.).
Prior Knowledge Required
 Because this activity will focus on extending and challenging aural concepts, it is important that
students have a strong foundation in more traditional aural concepts. Students should be confident in
using appropriate terminology to discuss aural ideas.
Unit 5 - Page 6
 Music - Open
Teaching/Learning Strategies
The following teaching/learning strategies should be used daily.
The teacher dictates four-bar melodies taken from 20th-century performance repertoire,
for students to notate, aurally identify, and vocally reproduce.
Students are introduced to various Canadian composers aurally. Students will listen to
excerpts and discuss them using the appropriate terminology (dissonant, chromatic,
rhythmic, electronic, and so on.). Students record point-form notes based on class
discussions, to be submitted for assessment.
5 minutes
10 minutes
Assessment/Evaluation Techniques
 The teacher will informally conference with students to provide individual feedback on success of
dictations.
 The teacher will provide anecdotal comments on students’ analysis of listening excerpts.
Accommodations
 Students could be provided with guiding questions for analysis of listening excerpts.
 The teacher may choose to shorten or lengthen excerpts and repeat them more or less frequently.
 The teacher should vary the obscurity of melodic dictations depending in the individual needs of the
students.
Resources
www.culturenet.ca/cmc/dac_rca/eng/a_/Archer.html
Kallmann, Helmut, G. Potvin, and K. Winters. Encyclopedia of Music in Canada. Toronto: University of
Toronto Press 1992.
http://www.glenngould.com/gg/bio1.html
Queen’s University Resource Site
http://sunsite.queensu.ca/memorypalace/parlour/Schafer01/
www.jwpepper (search for Violet Archer)
Activity 3: The New Frontier
Time: 60 minutes
Description
Students will be introduced to 20th-century art music and discuss the changing purpose of music in
society.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE4a - demonstrates a confident and positive sense of self and respect for the dignity and welfare of
others;
CGE4b - demonstrates flexibility and adaptability;
CGE4f - applies effective communication, decision-making, problem-solving, time, and resource
management skills;
CGE5e - respects the rights, responsibilities, and contributions of self and others;
CGE7g - respects and understands the history, cultural heritage, and pluralism of today’s contemporary
society.
Unit 5 - Page 7
 Music - Open
Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.01 - explain in detail, both orally and in writing, the elements of music (i.e., rhythm, melody,
timbre, dynamics, harmony, texture, and form);
THV.04 - explain the use of various applications of MIDI technology (e.g., sequencing, notation);
CRV.02 - make complex artistic decisions that affect the stylistic accuracy of their playing or singing
(e.g., articulation, phrasing, posture, dynamics, tone quality, intonation, rhythm, balance, blend);
CRV.03 - demonstrate the effective use of digital technology in music applications;
CRV.04 - apply the elements and principles of composition at an intermediate level, using the creative
process (i.e., perception, production, and reflection);
ANV.01 - demonstrate a detailed understanding of music history and its cultural context to interpret
repertoire;
ANV.02 - use aural discrimination skills to identify complex aspects of music (e.g., major and minor
triads, diminished and augmented intervals);
ANV.04 - evaluate the function of music in society.
Specific Expectations
TH1.07 - compare and contrast detailed characteristics of sound (e.g., voice types and variations, guitar
versus harp, electronic effects on digital sounds);
CR1.04 - play or sing with tone quality appropriate to the exercises and repertoire being performed;
AN1.04 - analyse, orally and in writing, the quality and impact of a variety of live and/or recorded
performances and performances by themselves and their peers, using appropriate music vocabulary to
suggest ways of improving those performances (e.g., style/groove, intonation, tone quality, dynamics,
articulation, phrasing, rhythm, balance and blend, overall effect).
Planning Notes
 The teacher prepares point-form notes on appropriate information about the 20th century.
 Make MIDI centres accessible for individual or group compositions.
Prior Knowledge Required
 Students must have a firm understanding of MIDI software and capabilities.
Teaching/Learning Strategies
1. Draw a chart on the board with the following titles, and fill in point-form information:
Politics (just before WWI)
The Church (hierarchy of the church, role of the
lay person, etc.)
Art (desire for spontaneity, non-western
influences, fresh rhythmic concepts)
Expressionism (psychological impulses and lack
of discernable form expressed through music)
New Classicism (rejection of romantic period,
through the return to classical, using music to
create order and form, not always to elicit
human emotion)
Absolute Music (rejection of program music,
focus on technique and the art of composition
rather than content)
Unit 5 - Page 8
 Music - Open
Rhythm (writing music for ballet, complexity of
rhythms, non-symmetrical patterns,
polyrhythmic)
Melody (driving, dissonant intervals, wide
leaps, lack of melody)
Harmony (moving from triads to chords with six
or more tones to create tension, polyharmony)
Tonality (widespread use of chromatic harmony,
lacking semblance of one home key)
2. Students explore cross-curricular connections to extend their learning.
Assessment/Evaluation Techniques
 Student timelines for all previous units will be assessed for completeness using a checklist.
Accommodations
 The teacher may provide a handout of the history chart.
Resources
Forney, Kristine and Joseph Machlis. The Enjoyment of Music, Eighth Edition. New York: W.W. Norton
& Company, 1995.
The Enjoyment of Music CD series, Eighth Edition. New York: W. W. Norton & Company, 1995.
Activity 4: Violets Are Green
Time: 60 minutes
Description
A brief introduction to Violet Archer’s music will provide an example of 20th-century Canadian
composers. Listening examples will be used in order to encourage and develop students aural
discrimination skills.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE4a - demonstrates a confident and positive sense of self and respect for the dignity and welfare of
others;
CGE4b - demonstrates flexibility and adaptability;
CGE5a - works effectively as an interdependent team member;
CGE5e - respects the rights, responsibilities, and contributions of self and others.
Strand(s): Theory, Analysis
Overall Expectations
THV.01 - explain in detail, both orally and in writing, the elements of music (i.e., rhythm, melody,
timbre, dynamics, harmony, texture, and form);
THV.03 - analyse the influence of certain composers on the musical language of their period;
THV.04 - explain the use of various applications of MIDI technology (e.g., sequencing, notation);
ANV.01 - demonstrate a detailed understanding of music history and its cultural context to interpret
repertoire;
ANV.02 - use aural discrimination skills to identify complex aspects of music (e.g., major and minor
triads, diminished and augmented intervals).
Unit 5 - Page 9
 Music - Open
Specific Expectations
TH1.07 - compare and contrast detailed characteristics of sound (e.g., voice types and variations, guitar
versus harp, electronic effects on digital sounds);
TH1.11 - situate composers in a historic continuum;
AN1.04 - analyse, orally and in writing, the quality and impact of a variety of live and/or recorded
performances and performances by themselves and their peers, using appropriate music vocabulary to
suggest ways of improving those performances (e.g., style/groove, intonation, tone quality, dynamics,
articulation, phrasing, rhythm, balance and blend, overall effect).
Planning Notes
 The teacher should have an overview of Violet Archer’s contribution to Canadian music, as well as
information on her composition style. A recording of any of her music should be attained for class
listening.
Prior Knowledge Required
 Students must have a firm understanding of the composition techniques used in the 20th century.
Teaching/Learning Strategies
1. Introduce Violet Archer as a Canadian 20th-century female composer. Discuss the following elements
that can be found in her music, as seen in 20th-century composition technique: serialism,
chromaticism, sparse texture in orchestral works, rhythmic freedom, electronic sounds.
2. Provide a listening example of Archer's music. (See Resources.) Instruct students to listen for and
note any composition techniques used from their list from the previous lesson on 20th-century music.
Information discovered in these activities should be entered appropriately on the students’ timelines.
3. The teacher leads the class through a discussion on the subject, “What is the purpose of this music?”
4. Do a listening comparison with other 20th-century composers to compare similarities and differences
in composition technique.
Assessment/Evaluation Techniques
 The teacher will assess student understanding of elements of 20th-century art music using a checklist.
 Students will submit their timeline to be assessed by the teacher using a checklist.
Accommodations
 Provide a handout of information on Violet Archer.
Resources
www.culturenet.ca/cmc/dac_rca/eng/a_/Archer.html
Kallmann, Helmut, G. Potvin, and K. Winters. Encyclopedia of Music in Canada. Toronto: University of
Toronto Press 1992.
Archer, Violet. Ten Folk Songs for Four Hands: Volume 1 and 2. 8 minutes Piano solo. Toronto:
Berando, 1955.
Archer. Violet. Three Essays. (11 min. 1 saxophonist playing soprano and alto
saxophone). Premiere: March 5, 1989, Westchester College, Philadelphia; Paul Brodie, saxophone.
Archer, Violet. Primeval. (12 minutes tenor and piano), (text from North American Indian Songs,
translated by Frances Densmore and John A. Neihardt). Canada: 1980.
www.jwpepper.com
Unit 5 - Page 10
 Music - Open
Activity 5: Silence Is Goulden
Time: 60 minutes
Description
This activity presents an introduction to the life and work of Glenn Gould. His significant contributions
to music in Canada and beyond will be highlighted.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE2c - presents information and ideas clearly and honestly and with sensitivity to others;
CGE5e - respects the rights, responsibilities, and contributions of self and others.
Strand(s): Theory, Analysis
Overall Expectations
THV.01 - explain in detail, both orally and in writing, the elements of music (i.e., rhythm, melody,
timbre, dynamics, harmony, texture, and form);
THV.03 - analyse the influence of certain composers on the musical language of their period;
ANV.01 - demonstrate a detailed understanding of music history and its cultural context to interpret
repertoire.
Specific Expectations
TH1.07 - compare and contrast detailed characteristics of sound (e.g., voice types and variations, guitar
versus harp, electronic effects on digital sounds);
TH1.11 - situate composers in a historic continuum;
AN1.04 - analyse, orally and in writing, the quality and impact of a variety of live and/or recorded
performances and performances by themselves and their peers, using appropriate music vocabulary to
suggest ways of improving those performances (e.g., style/groove, intonation, tone quality, dynamics,
articulation, phrasing, rhythm, balance and blend, overall effect).
Planning Notes
 The teacher should prepare a brief overview of Glenn Gould’s life as an unusual interpreter of piano
music and an innovator of recording techniques. Collect samples of his work for a listening exercise.
Prepare a listening chart to be used with the whole class. If possible arrange for a video presentation
of his performances.
Prior Knowledge Required
 Students should have an understanding of the composition techniques of 20th-century classical music.
Teaching/Learning Strategies
1. Introduce Glenn Gould as a key figure in Canada’s musical life in the 20th century. Include
information about his talent as a performer.
2. The teacher will introduce the relationship between giftedness and isolation for a class discussion.
The discussion should focus on acceptance and inclusion for all people.
3. As a large group, listen to some samples of Gould’s work and complete a listening chart collectively.
4. The students will brainstorm ideas regarding a comparison between Mozart and Gould. Discuss the
similarities/differences in their contributions, lifestyles, and their impact on the world of their time.
What is the value of their music?
5. The students will add relevant information to their timelines.
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Assessment/Evaluation Techniques
 Following the class discussion, the teacher will assess student understanding of Gould’s musical
contributions using a checklist.
Accommodations
 Provide a handout with pertinent information.
 As an extension, students may choose to prepare a comparison between Gould and another pianist of
his time.
Resources
http://www.glenngould.com/gg/bio1.html
Kallmann, Helmut, G. Potvin, and K. Winters. Encyclopedia of Music in Canada. Toronto: University of
Toronto Press, 1992.
www.jwpepper (search for Glenn Gould)
Activity 6: What’s That Sound?
Time: 60 minutes
Description
Students will learn the fundamentals of acoustics and sound production through the exploration of the
various unconventional sounds that can be produced by their instruments or with their voice.
Strand(s) and Expectations
Ontario Catholic Graduate Expectations
CGE4b - demonstrates flexibility and adaptability;
CGE7g - respects and understands the history, cultural heritage, and pluralism of today’s contemporary
society.
Strand(s): Theory, Creation, Analysis
Overall Expectations
CRV.01 - play or sing technical exercises and diverse repertoire that reflect the theory expectations at
this grade level (including improvisation and their own creations when appropriate);
CRV.02 - make complex artistic decisions that affect the stylistic accuracy of their playing or singing
(e.g., articulation, phrasing, posture, dynamics, tone quality, intonation, rhythm, balance, blend);
CRV.04 - apply the elements and principles of composition at an intermediate level, using the creative
process (i.e., perception, production, and reflection).
Specific Expectations
TH1.07 - compare and contrast detailed characteristics of sound (e.g., voice types and variations, guitar
versus harp, electronic effects on digital sounds);
CR1.04 - play or sing with tone quality appropriate to the exercises and repertoire being performed;
AN1.04 - analyse, orally and in writing, the quality and impact of a variety of live and/or recorded
performances and performances by themselves and their peers, using appropriate music vocabulary to
suggest ways of improving those performances (e.g., style/groove, intonation, tone quality, dynamics,
articulation, phrasing, rhythm, balance and blend, overall effect).
Unit 5 - Page 12
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Planning Notes
 Students will be using their instrument/voice in unconventional ways during this activity. The teacher
must take care that instruments are not misused. The teacher must be prepared to stop actions or
performance ideas that will damage or permanently affect the instruments/voice.
 Access to software that can perform digital recording and perform wave analysis and editing would
be extremely useful. (See Accommodations.)
 The teacher must have a rudimentary understanding of the acoustics of the instruments and be able to
explain how the sound is produced and amplified, as well as how the various keys, valves or slides
function in changing the sound produced.
Prior Knowledge Required
 Students should have a rudimentary ability to perform on their instrument or sing. Students should
feel free to explore their instrument/voice and discover new, unconventional sounds that it can
produce.
 Students should be familiar with the basic process of composition.
Teaching/Learning Strategies
1. The teacher reviews the various families of instruments and voicings and the basic methods of sound
production. Students remove mouthpieces and play to rediscover the unaltered sound that the
mouthpiece or “tone-generator” produces. Students should be encouraged to compare and contrast
the tone-generators discussing benefits or limitations of the designs.
2. While examining the “body” of the instruments the teacher describes the function of the keys, valves,
or slides in altering the pitch as well as the shape of the body as it functions to amplify or alter the
sound of the tone generator. Particular interest might be generated through comparisons of similar
instruments such as the coronet, trumpet, and flugelhorn. The various saxophones are compared to
examine the effect of tube size. The bell of the French horn is compared to other brass instruments in
relation to tone colour. The strings of a violin are compared to those of a cello. Students are
introduced to the anatomy of the human "voice box" and explore the effects of the length of vocal
chords on the sound produced. The vocal chords of males and females may be compared. Students
become particularly aware of the construction of their own instrument and unique properties of their
own voice.
3. The class divides into mixed-instrument/voice groups. Before proceeding, the teacher must instruct
the groups that during the following activity, instrument safety should be kept foremost. In the
groups, students explore the instruments and experiment with different possibilities for producing
sound. Brass instruments try half-valves; clarinets, only partially covering the holes; saxophones,
alternate fingerings, and so on. Students compile a list of three or four unconventional sounds that
they discover.
4. Still in groups, students compile their list of sounds and create a composition. Students are
encouraged to use non-conventional notation to create a score. (Non-conventional notation was used
in Unit 1). The work is given a title and performed for the class. It is recommended that the groups
have a chance to rehearse the piece to work out any potential difficulties.
Assessment/Evaluation Techniques
 A rubric will be used to assess creativity, critical thinking, and musicality of the composition. (See
sample in Appendix 1.6 – Rubric to Assess Student Composition.)
 Anecdotal comments will be used to assess the composition process.
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Accommodations
 Students could visually analyse sounds if wave analysis software is available. Students could
compare basic differences in waveform between different tone generators.
 Students may create a drawing of an original instrument including various parts of the instruments
available in the classroom. They should include the design (drawn manually or using a computer
design program), an invented name, and predict what it would sound like. Students describe the
timbre using appropriate adjectives.
Resources
Cope, David. New Directions in Music. U.S.: WM. C. Brown Publishers, 1989.
Canadian Music Centre web site
www.culturenet.ca
Activity 7: Sound Escapes
Time: 90 minutes
Description
The teacher will discuss the works of Canadian composer R. Murray Schafer and how he transformed the
listener’s experience of his compositions. After listening to excerpts of his compositions, students will
create and perform their own soundscapes using their choice of various media, instruments, found
sounds, vocal sounds, and sound effects using non-conventional notation.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE4a - demonstrates a confident and positive sense of self and respect for the dignity and welfare
of others;
CGE4e - sets appropriate goals and priorities in school, work, and personal life;
CGE4f - applies effective communication, decision-making, problem-solving, time, and resource
management skills;
CGE5a - works effectively as an interdependent team member;
CGE5e - respects the rights, responsibilities, and contributions of self and others;
CGE7b - accepts accountability for one’s own actions.
Strand(s): Creation, Analysis
Overall Expectations
CRV.02 - make complex artistic decisions that affect the stylistic accuracy of their playing or singing
(e.g., articulation, phrasing, posture, dynamics, tone quality, intonation, rhythm, balance, blend);
CRV.04 - apply the elements and principles of composition at an intermediate level, using the creative
process (i.e., perception, production, and reflection);
ANV.01 - demonstrate a detailed understanding of music history and its cultural context to interpret
repertoire.
Specific Expectations
CR1.06 - play or sing with accurate pitch;
CR1.10 - accurately play or sing rhythms as found in the exercises and repertoire being performed;
AN2.02 - analyse and describe their own strengths and needs at various points in the course and work
towards improving themselves in identified areas;
AN2.05 - describe the distinctive nature of participating in individual and group musical performances
for a variety of audiences (e.g., peers, community, teacher).
Unit 5 - Page 14
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Planning Notes
 The teacher will need some listening examples of pieces by R. Murray Schafer (e.g., “Music Behind
Walls,” 3:24) to play for the class.
 The teacher may bring in, or have the students bring in, different sound effect recordings and
noisemakers to be used for the soundscape performance.
Prior Knowledge Required
 Students should have a general familiarity with acoustics as learned in previous activities.
Teaching/Learning Strategies
1. The teacher begins with a brief introduction of composer R. Murray Schafer and soundscapes as a
musical genre.
2. After listening to brief excerpts of the composer’s recordings, students compose and perform their
own soundscapes in small groups. Students may choose to use their own instrument, vocal sounds,
sound effects on keyboard, CD, or cassette and found sounds in their performances. Students also
hand in a non-conventional score containing performance notes.
3. Compositions should be thirty seconds to one minute in length.
Assessment/Evaluation Techniques
 Students will be assessed on their ability to meet the criteria for the composition using a checklist.
Accommodations
 The length of the composition could vary depending upon student ability and interest.
 Teachers could provide a more structured/guided outline for students to follow.
 The performance could be extended to include various ideas of performance art including
dramatization and props.
Resources
Queen’s University Resource Site
http://sunsite.queensu.ca/memorypalace/parlour/Schafer01/
Schafer, R. Murray. Ear Cleaning. Toronto: Berandol Music Limited, 1967.
Unit 5 - Page 15
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Unit 6: Groovy
Time: 14 hours
Unit Description
Students will be introduced to 20th century commercial music through a review of the musical
contributions of Duke Ellington, John Lennon and Paul McCartney, and David Foster. Topics included
are the evolution of jazz, the impact of technology on music, rock and roll, and live versus recorded
music. This unit will bring students to the musical present. It will then be developed and extended in the
subsequent and final unit. Students will complete and submit an independent study on a Canadian
performer or composer.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations: CGE1d, CGE1e, CGE1h, CGE1i, CGE2d,
CGE2e, CGE3f, CGE4a, CGE4b, CGE4d, CGE4f, CGE4g, CGE4h, CGE5a, CGE5c, CGE5e, CGE5g,
CGE6b, CGE6e, CGE7f, CGE7h, CGE7j.
Strand(s): Analysis, Creation, Theory
Overall Expectations: THV.01X, THV.02X, THV.03X, THV.04X, CRV.01X, CRV.02X, CRV.03X,
ANV.01X, ANV.02X, ANV.04X.
Specific Expectations: TH1.11X, TH1.12X, CR2.03X, CR2.04X, AN1.04X, AN2.02X, AN2.06X.
Activity Titles (Time + Sequence)
Activity 1
Activity 2
Activity 3
Activity 4
Activity 5
Activity 6
Activity 7
Performance Requirements for the Unit
Listening Requirements for the Unit
Supply and Demand
Jazzer, Grab Your Axe
John and Paul
“Foster”ing a Love of Music
One of Our Own
360 minutes
30 minutes
60 minutes
90 minutes
60 minutes
60 minutes
180 minutes
Prior Knowledge Required





Students should have a basic understanding of the musical history topics studied thus far in order to
facilitate comparison learning.
Students should be able to perform repertoire at a grade 1.5 or higher level as graded by music
publishers.
Students must have basic aural and visual identification skills related to the analysis of music.
Students should be comfortable with the critical listening process to facilitate the critiquing of music
with which they are already familiar.
Students will require basic independent research and presentation skills.
Unit 6 - Page 1
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Unit Planning Notes
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


Students will require access to music research materials both written and electronic to complete their
independent study project.
The teacher should prepare the recommended audio/visual materials and equipment detailed in the
activities and make appropriate substitutions where necessary.
The time devoted for Activities 1, 2, and 7 should be spread throughout the unit so that students have
appropriate time for skill acquisition, independent research, and assimilation of knowledge, skills,
and values.
Teachers may adjust activity times to accommodate guest speakers where appropriate.
Teaching/Learning Strategies






Performance: formal, informal, oral, written
Conferencing
Group Work
Listening and Reflection: directed and open, personal and group
Independent Learning: project and logs
Brainstorming: group generation of ideas expressed without criticism or analysis
Assessment and Evaluation
 Personal Communication: journals/conferencing logs, student-teacher conferences
 Written Work: reflection/response, question/answer
 Observation: formal/informal
 Performance Assessment: solo/ensemble performance, role playing
Assessment tools will include:
 Formative Assessment: checklist, anecdotal, rubric
 Summative Assessment: anecdotal
Resources
Forney, Kristine and Joseph Machlis. The Enjoyment of Music, Eighth Edition. New York: W. W. Norton
& Company, 1995.
Forney, Kristine and Joseph Machlis. The Enjoyment of Music, Eighth Edition CD series. New York:
W.W. Norton & Company, 1995.
Fowler, Charles. Music! It’s Role And Importance In Our Lives. New York: McMillan McGraw-Hill,
1994.
Taruskin, Richard and Piero Weiss. Music in the Western World. New York: Schirmer Books, 1984.
Tucker, Mark (ed.). The Duke Ellington Reader. New York: Oxford University Press, 1993.
Gioia, Ted. The History Of Jazz. New York: Oxford University Press, 1997.
Glassman, Bruce. John Lennon and Paul McCartney. US: Blackbirch Marketing, 1995.
Giuliano, Geoffrey. Two of Us. US: Penguin, 1999.
Jackson, Rick. Encyclopedia of Canadian Rock Pop and Folk Music. Kingston: Quarry Press, Inc., 1994.
Kallmann, Helmut, G. Potvin, and K. Winters. Encyclopedia of Music in Canada. Toronto: University of
Toronto Press, 1992.
Human resources as outlined in the activities.
Unit 6 - Page 2
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There are numerous anthologies of recorded music available for Duke Ellington. Specific pieces
mentioned are widely available.
The “American Masters” video on Duke Ellington is highly recommended as a primary resource and
contains all the suggested excerpts with video footage. The video is only available through American
Public Broadcasting Stations.
Internet links for David Foster
www.davidfoster.com
www.olografix.org/krees/foster.html
www.intrepident.com/foster.html
Activity 1: Performance Requirements for the Unit
Time: 360 minutes
Description
This activity is expected to be ongoing throughout the unit and should not be completed all at one time.
The performance expectations listed below have been selected due to their ability to complement this
unit. Skills and repertoire chosen will both reinforce and reflect other activities within the unit. Students
will quickly become aware of the difficulties that occur in transcribing popular music for the wind band.
Students must develop stronger rhythmic sensitivity, a more fluent ability to interpret melody, and a more
sensitive ear for tone colour.
Strand(s) and Expectations
Ontario Catholic School Graduate expectations
CGE2b - reads, understands, and uses written materials effectively;
CGE4b - demonstrates flexibility and adaptability;
CGE4c - takes initiative and demonstrates Christian leadership;
CGE4e - sets appropriate goals and priorities in school, work, and personal life;
CGE4f - applies effective communication, decision-making, problem-solving, time, and resource
management skills;
CGE5a - works effectively as an interdependent team member;
CGE5e - respects the rights, responsibilities, and contributions of self and others;
CGE5f - exercises Christian leadership in the achievement of individual and group goals;
CGE5g - achieves excellence, originality, and integrity in one’s own work and supports these qualities in
the work of others.
Strand(s): Creation
Overall Expectations
CRV.01 - play or sing technical exercises and diverse repertoire that reflect the theory expectations at
this grade level (including improvisation and their own creations when appropriate).
Specific Expectations
CR1.01 - accurately play or sing complex notated or stylistically correct articulation (e.g., variety of
accents, col legno, hammer-on, glissando);
CR1.02 - play or sing with an understanding of complex musical phrase structures (e.g., notated,
improvised, or stylistically correct);
CR1.04 - play or sing with tone quality appropriate to the exercises and repertoire being performed;
CR1.05 - play or sing, with control and within an expanded range, the exercises and repertoire being
performed;
CR1.06 - play or sing with accurate pitch;
Unit 6 - Page 3
 Music - Open
CR1.07 - play or sing with accurate intonation, both melodically and harmonically;
CR1.08 - maintain a consistent tempo and accurately change tempi as found in the exercises and
repertoire being performed;
CR1.09 - play or sing in various metres and accurately change metres as found in the exercises and
repertoire being performed;
CR1.10 - accurately play or sing rhythms as found in the exercises and repertoire being performed;
CR1.11 - play or sing with detailed attention to the subtleties of balance and blend.
Planning Notes
 The teacher will organize the repertoire for this unit according to solo, ensemble, and large group
performance pieces.
 The teacher will review the personal performance goals for each student so as to choose appropriate
music from the suggested repertoire.
 Daily performance time is structured according to the following criteria:
Warm-up (tuning, tone, breathing, posture, etc.)
5-10 minutes
Technique building (range, dexterity, endurance, articulation/diction, phrasing)
5-15 minutes
Analysing and interpreting repertoire (solo, small group or ensemble: style,
20-40 minutes
balance/blend, dynamics, form, performance etiquette, etc.)
Prior Knowledge Required
 Students are expected to have developed their performance skills to at least a grade 1.5 level.
Teaching/Learning Strategies
1. The students will select appropriate pieces to work on during the unit according to their personal goal
plan for the unit.
2. The teacher will assist students with the selection process and conference with them to decide on the
focus for each student.
3. Students will be directed to work on the specific skills outlined in their personal performance goals.
Assessment/Evaluation Techniques
 Performance of solo and ensemble pieces will be assessed using a checklist and performance rubric.
Accommodations
 Allow more time for skill development.
 Students may play excerpts of the pieces.
 Adjust the number of performance skills for the students.
Resources
Jazz
Band
Balent (arr.).“Salute to the Big Bands.” Carl Fischer.2.5
Cook (arr.).“In The Mood.” Warner Bros. 2.5
Custer (arr.). “Take Five.” Warner Bros. 3
Story (arr.). “Sing, Sing, Sing.” Warner Bros. 2
Moss (arr.). “Zoot Suit Riot.” Hal Leonard. 3
Osterling, Eric (arr.). “It Don’t Mean a Thing (If It Ain’t Got That Swing).” Hal Leonard. 1.5
Osterling, Eric (arr.). “Alley Cat.” Hal Leonard. 1.5
Unit 6 - Page 4
 Music - Open
Osterling, Eric (arr.). “Satin Doll.” Hal Leonard. 1.5
Osterling, Eric (arr.). “Night Train.” Hal Leonard. 2
Osterling, Eric (arr.). “Instant Swing Concert.” Hal Leonard. 2.5
Sweeney (arr.). “Gershwin Classics.” Hal Leonard. 2.5
Sweeney (arr.). “Salute To The Duke.” Hal Leonard. 2.5
Sweeney (arr.). “Zoot Suit Riot.” Hal Leonard. 1.5
Tyler (arr.). “Little Brown Jug and All That Jazz.” Alfred 1.5
Vinson (arr.). “Jump Jive An ’Wail.” Hal Leonard. 2
Pop And Rock
Bocook (arr.). “Queen in Concert.” Hal Leonard. 3
Lavender (arr.). “Mission Impossible Theme.” Hal Leonard. 1.5
Lavender (arr.). “My Heart Will Go On.” Hal Leonard. 1.5
Lopez (arr.). “Hawaii Five-0.” Warner Bros. 2.5
Moss (arr.). “John Williams Trilogy.” Hal Leonard 2
Moss (arr.). “Star Trek - Through the Years.” Hal Leonard. 3
Osterling, Eric (arr.). “Beatles Forever.” Hal Leonard. 2
Osterling, Eric (arr.). “Yellow Submarine.” Hal Leonard. 1.5
Savcedo (arr.). “Lord of the Dance.” Hal Leonard. 3
Sebesky (arr.). “Eye Of The Tiger.” Warner Bros. 1.5
Sebesky (arr.). “Rock Around the Clock.” Warner Bros. 1.5
Sebesky (arr.). “Rockin’ Robin.” Warner Bros. 1.5
Sebesky (arr.). “What a Wonderful World.” Warner Bros. 1
Story (arr.). “Star Wars: Episode 1 - The Phantom Menace.” Warner Bros. 2.5
Story (arr.). “Tequila.” Warner Bros. 1.5
Strommen (arr.). “Star Wars (main theme).” Warner Bros. 1
Sweeney (arr.). “Broadway Favorites.” USA: Hal Leonard, 1998.
Sweeney (arr.). “I Will Follow Him.” Hal Leonard. 1
Sweeney (arr.). “Joseph and the Amazing Technicolour Dreamcoat.” Hal Leonard. 3
Sweeney (arr.). “Les Miserables.” Hal Leonard. 2.5
Sweeney (arr.). “Movie Favorites.” USA: Hal Leonard, 1996.
Tatgenhorst (arr.). “I Saw Her Standing There/She Loves You.” Warner Bros. 2.5
Vinson (arr.). “Music from Grease.” Hal Leonard. 2
Vinson (arr.). “King of Rock ‘N’ Roll.” Hal Leonard. 2.5
Choral
Althouse, J. “I Can’t Give You Anything But Love.”
Artman, R. (arr.). “Blue Moon.”
Averre, D. (arr.). “Route 66.”
Bray, K., N. Telfer, and G. Wuensch. Reflections of Canada (arrangements of Canadian folk songs).
Canada: The Frederick Harris Music Co. Ltd., 1986.
Besig, D., “Flying Free.”
Billingsley, A. (arr.). “On the Sunny Side of the Street.”
Bryner, M. (arr.). “What a Wonderful World.”
Childs, J., “O Praise the Lord.” Canada: Kelman Hall.
Unit 6 - Page 5
 Music - Open
Ellington, D. and M. Brymer (arr.). “Don’t Get Around Much Anymore.”
Ellington, D. and M. Taylor (arr.). “Don’t Get Around Much Anymore.” Vocal Solo/Jazz Ensemble
Series, USA: Hal Leonard.
Ellington, D. and J. Nowak (arr.). “Ellingtonia - The Music of Edward ‘Duke’ Ellington (medley).” - Jazz
Chorals, USA: Hal Leonard.
Huff, M. (arr.). “Fascinatin’ Rhythm.”
Huff, M. (arr.). “I Hear Music.”
Kaufmann, R. (arr.). “Go Tell It on the Mountain.”
Nowak, J. (arr.). “Tuxedo Junction.”
Shaw, K. (arr.). “Celebrate.”
Shaw, K. (arr.). “I Love Ragtime.”
Shaw, K. (arr.) “This Day.”
Snyder, A. (arr.). “Bless the Beasts and the Children.”
Tilley, L. “In Flanders Fields.” Canada.
Wagner, D. “On Eagles’ Wings.”
Zegree, S. (arr.). “The Boy from New York City.”
Zegree, S. (arr.). “It Had to Be You.”
Beatles, Averre (arr.). “In My Life.” Jazz Chorals SATB Acapella.
Lennon, McCartney, and R. Emerson (arr.). “Song Kit #20 Best of the Beatles.” Unison/2part. USA: Hal
Leonard.
Guitar
Jazz Standards for Easy Guitar. USA: Hal Leonard.
Best Jazz Standards Ever. USA: Hal Leonard.
Lennon and McCartney Hits Beatles Greatest Hits, Easy Guitar. USA: Hal Leonard.
Beatles For Classical Guitar. USA: Hal Leonard.
Strings
Beatles, Cluster (arr.). “The Best of the Beatles.” Full Orchestra. USA: Hal Leonard.
Activity 2: Listening Requirements for the Unit
Time: 30 minutes
Description
This activity is a summative assessment of ear-training knowledge and skills acquired to date, including
the aural identification and vocal reproduction of all intervals and major/minor triads.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE2a - listens actively and critically to understand and learn in light of gospel values.
Strand(s): Analysis, Theory
Overall Expectations
ANV.02 - use aural discrimination skills to identify complex aspects of music (e.g., major and minor
triads, diminished and augmented intervals).
Unit 6 - Page 6
 Music - Open
Specific Expectations
AN1.01 - demonstrate their mastery of rhythms by clapping back, aurally identifying, and notating given
rhythms up to four measures in simple and compound metres, using sixteenth through whole notes and
rests, including dotted values and triplets;
AN1.02 - demonstrate an understanding of intervals and triads by reproducing, aurally identifying, and
notating all given intervals from a diminished unison to an augmented octave, and major and minor
triads;
AN1.03 - confirm their understanding of aural dictations by reproducing and notating simple melodies up
to four measures in simple and compound metres using sixteenth through whole notes and rests,
including dotted values, within an octave.
Planning Notes
 The teacher should prepare a summative evaluation format of his/her choice for intervals and triads.
Prior Knowledge Required
 Students must be confident in their listening skills and have a strong ability to notate, vocally
reproduce, and aurally discriminate all intervals and major and minor triads.
Teaching/Learning Strategies
 The teacher should conduct a summative evaluation of students’ knowledge of the identification and
reproduction of perfect, major, minor, augmented and diminished intervals, and triads, as well as
melodies containing these intervals and triads. This evaluation may contain several intervals, triads,
melodic dictations, followed by each student singing two or three intervals and triads.
Assessment/Evaluation Techniques
 The teacher uses a rubric to summatively evaluate intervals and triads.
Accommodations
 Students could be given a very narrow focus for listening requiring single, specific observations or
the focus could be broadened requiring more general comments.
 Excerpts can be replayed allowing more time for the student to make the intended observation.
Resources
Wharram, Barbara. Elementary Rudiments of Music. New York: The Frederick Harris Music Co.
Limited, 1969.
Unit 6 - Page 7
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Activity 3: Supply and Demand
Time: 60 minutes
Description
This activity will explore the diversification and changing purpose of music at the turn of the century due
to social influence. Students will discover how the musical preferences of the listener influence the
availability of musical styles.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE3c - thinks reflectively and creatively to evaluate situations and solve problems;
CGE4f - applies effective communication, decision-making, problem-solving, time, and resource
management skills;
CGE5a - works effectively as an interdependent team member;
CGE5e - respects the rights, responsibilities, and contributions of self and others;
CGE7f - respects and affirms the diversity and interdependence of the world’s peoples and cultures;
CGE7g - respects and understands the history, cultural heritage, and pluralism of today’s contemporary
society.
Strand(s): Analysis
Overall Expectations
ANV.01 - demonstrate a detailed understanding of music history and its cultural context to interpret
repertoire;
ANV.04 - evaluate the function of music in society.
Specific Expectations
TH1.07 - compare and contrast detailed characteristics of sound (e.g., voice types and variations, guitar
versus harp, electronic effects on digital sounds);
Planning Notes
 The teacher provides access to information on the key historical developments of the early 20 th
century and their influence on music.
 The teacher provides access to a functional AM/FM radio.
Prior Knowledge Required
 Students should have a good understanding of the developments in music history studied thus far.
Teaching/Learning Strategies
1. The teacher will slowly scan through the available AM and FM radio stations. Students will chart the
following information: station ID, time of day, style of music, dialogue, or advertising. Students
should also hypothesize about the intended audience.
2. Students will complete a reflection detailing how their musical preferences are represented in this
radio survey.
3. The teacher will present a very brief overview of the key historical events that influenced musical
diversification at the turn of the century. Discussion should focus on the changing purpose of music
resulting from social demand. Topics should include the social response to war (World War I), the
dissolution of the European class system, the industrial revolution, and the creation of the working
class, and how these events created a demand for a more diverse and accessible musical culture.
Students should record these events on their timeline.
4. A guest speaker is recommended to enhance student learning. See Resources for suggested speakers.
Unit 6 - Page 8
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Assessment/Evaluation Techniques
 Student reflections will be assessed using anecdotal comments.
 Student timelines will be assessed using a checklist.
Accommodations
 Allow for extended reflection time and provide guiding questions.
 Limit or expand the number of radio stations included in the scan.
Resources
Human resources may include: History teacher, teacher-librarian, radio personalities, and elderly citizens.
Activity 4: Jazzer, Grab Your Axe
Time: 90 minutes
Description
The teacher will introduce students to the ideas and concepts of jazz. The initial impact of electronics in
music and the establishment of the recording industry will be covered through brief discussion but will
not be studied in depth until the following unit.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE2e - uses and integrates the Catholic faith tradition, in the critical analysis of the arts, media,
technology, and information systems to enhance the quality of life.
Strand(s): Theory, Analysis, Creativity
Overall Expectations
THV.01 - explain in detail, both orally and in writing, the elements of music (i.e., rhythm, melody,
timbre, dynamics, harmony, texture, and form);
THV.03 - analyse the influence of certain composers on the musical language of their period;
ANV.04 - evaluate the function of music in society.
Specific Expectations
TH1.11 - situate composers in a historic continuum;
TH1.12 - explain the influence of certain composers on the evolution of musical form (e.g., Haydn on
Western classical music, Robert Johnson on North American blues).
Planning Notes
 A rudimentary knowledge of jazz concepts will be required by the teacher.
 The teacher provides access to biographical information on Duke Ellington.
 Recordings created from the Cotton Club broadcasts by Duke Ellington are suggested.
Prior Knowledge Required
 Students should be familiar with the basic theoretical elements of music and should be able to
identify these elements aurally.
Unit 6 - Page 9
 Music - Open
Teaching/Learning Strategies
1. Students should brainstorm the differences between music of the Western European tradition and the
American style of music called jazz. The teacher will create a Venn diagram on the board containing,
at least, the following differences/similarities: instrumentation, rhythm, strictness of composition,
language, and subject of lyrics. The teacher will use this list to lead a discussion to discover the
reasons for the differences. Points to cover are as follows: instrumentation was different due, in part,
to the large availability of cheap, used military instruments (saxophones, trumpets, drums) that were
available in America during the early part of the 20th century; rhythms and improvisational style were
adapted from musical traditions of the First Nations and later from African musical traditions;
initially compositions were simple in nature due to the lack of formal schooling of the composers;
lyrics become almost exclusively English and, more specifically, American, and are based on simple
secular themes. This information should be copied into student timelines.
2. Students should listen to excerpts of the recorded broadcasts from the Cotton Club made by Duke
Ellington. The teacher should introduce these as some of the first public recordings ever made and
then lead the class in a brief discussion of the impact that recording technology had on music. The
teacher should outline a biography of Duke Ellington making particular mention of his relationship
with the Mills brothers of the Irving Mills music publishing company and how the invention of
royalties helped Ellington finance his musical explorations. This should be contrasted with the
previous system of patronage. Duke Ellington’s ability to respond to racial discrimination and other
adversity with dignity should be highlighted (successful in the face of adversity).
3. Through listening, students will explore some of the unique contributions Duke Ellington made to
musical history through the medium of jazz. Tone colour inventions can be heard in “Mood Indigo.”
Rhythmic inventions can be heard in “Afro-Eurasian Eclipse.” Concepts of melody can be heard in
“Take the A-Train.” Compositional concepts of form could be studied in “Black, Brown, and Beige.”
Extended works such as the ballet “Night Creature” reveal Ellington’s mastery of more traditional
compositional concepts. The teacher is encouraged to choose from this list or to explore other
elements in other Ellington compositions. The focus is for the student to listen to jazz music with the
same critical, discerning ear that is used for music of the Western European tradition.
4 Students will listen to another composition in the jazz style by a composer other than Duke Ellington
and identify the elements discussed above. They are to compare the treatment of these elements to
Duke Ellington’s compositions and write down their responses.
Assessment/Evaluation Techniques
 Student short-answer questions will be assessed for critical thinking skills and knowledge of
elements using a rubric.
 Student timelines will be assessed using a checklist.
Accommodations
 The assessment may be simplified by providing descriptions of the various treatment of musical
elements in two pieces and asking for the student to identify differences or similarities.
 Students could extend the depth of analysis by studying the score for chosen pieces and identifying
the differences visually.
 The number of elements addressed could be minimized.
 Biographical information could be delivered on a handout.
Unit 6 - Page 10
 Music - Open
Resources
There are numerous anthologies of recorded music available for Duke Ellington. Specific pieces
mentioned are widely available.
The “American Masters” video on Duke Ellington is highly recommended as a primary resource and
contains all the suggested excerpts with video footage. This video may be obtained by contacting PBS
television stations or the American Masters web site (www.american-masters.com). Although the video
is two hours in length, excerpts are easily derived for classroom use once copyright is secured.
Fowler, Charles. Music! Its Role And Importance in Our Lives. New York: McMillan McGraw-Hill,
1994.
Gioia, Ted. The History Of Jazz. New York: Oxford University Press, 1997.
Tucker, Mark, ed. The Duke Ellington Reader. New York: Oxford University Press, 1993.
Activity 5: John and Paul
Time: 60 minutes
Description
The teacher will introduce students to the compositions of John Lennon and Paul McCartney. Through
various listening examples, students will observe the influential style of these two contemporary
composers. The focus of this activity will be placed more on the transformational nature of the
composers’ music rather than their commercial image.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE3b - creates, adapts, and, evaluates new ideas in light of the common good;
CGE4b - demonstrates flexibility and adaptability;
CGE4f - applies effective communication, decision-making, problem-solving, time, and resource
management skills;
CGE5e - respects the rights, responsibilities, and contributions of self and others.
Strand(s): Theory. Analysis
Overall Expectations
THV.01 - explain in detail, both orally and in writing, the elements of music (i.e., rhythm, melody,
timbre, dynamics, harmony, texture, and form);
THV.03 - analyse the influence of certain composers on the musical language of their period;
ANV.01 - demonstrate a detailed understanding of music history and its cultural context to interpret
repertoire;
ANV.02 - use aural discrimination skills to identify complex aspects of music (e.g., major and minor
triads, diminished and augmented intervals).
Specific Expectations
TH1.07 - compare and contrast detailed characteristics of sound (e.g., voice types and variations, guitar
versus harp, electronic effects on digital sounds);
TH1.09 - use appropriate terminology to describe how repetition and contrast of musical elements are
used to organize sound (e.g., phrase structure, motif and theme, imitation, verse and chorus, bridge);
TH1.11 - situate composers in a historic continuum;
AN1.04 - analyse, orally and in writing, the quality and impact of a variety of live and/or recorded
performances and performances by themselves and their peers, using appropriate music vocabulary to
suggest ways of improving those performances (e.g., style/groove, intonation, tone quality, dynamics,
articulation, phrasing, rhythm, balance and blend, overall effect).
Unit 6 - Page 11
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Planning Notes
 Prepare biographical notes on each composer for inclusion on the student timeline sheet.
 The teacher should preview recordings of “Yesterday,” “Strawberry Fields Forever,” “Penny Lane,”
and “A Day In The Life” and create listening notes as required.
 The teacher will arrange for the proper audio-visual equipment necessary for the activity.
Prior Knowledge Required
 Students should be comfortable with listening to music for analysis purposes.
Teaching/Learning Strategies
1. The teacher will provide students with biographical information on John Lennon and Paul
McCartney. An effort should be made to place these composers in the context of the strong social
reforms that typified their period of popularity. Students will record important information onto their
timeline sheets.
2. Students participate in discussion of the social concept of “Beatlemania.” Discuss the significance of
this phenomenon on the success of Lennon and McCartney and vice versa.
3. Students will listen critically to “Yesterday,” by the Beatles. Students should be encouraged to
critique the piece in terms of melodic contour and accompaniment. The piece has been chosen due to
its ability to represent the melodic freedom of Lennon and McCartney and because the underlying
chord structure demonstrates an awareness of traditional chord structure. The simple instrumentation,
homophonic texture, soft tone colours, and lyrics (including phrase structure) should all be discussed
as they contribute to the overall atmosphere or mood of the piece.
4. Students critique “Strawberry Fields Forever” in terms of its more discordant nature. Tone colours
are harsh, traditional form is abandoned, instrumentation is very complex and non-traditional, the use
of “noise.” and the use of “nonsense” lyrics interspersed with more traditional, harmonious lyrical
sections creates a recognizable style that is identified with these composers. This piece is more
strongly associated with the musical tradition of John Lennon than with Paul McCartney in that it has
a compositional roughness and a feel of spontaneity.
5. “Penny Lane,” was chosen for student listening because of its strong association with the musical
tradition of Paul McCartney. Students should be directed to observe the strong, simple rhythms; more
traditional approach toward the use of major and minor tonality; developed melodic line; lyrical
freedom; and instrumental extensions.
6. Students should listen to “A Day In The Life,” without prior introduction by the teacher. As the piece
progresses, students should write a paragraph describing the compositional techniques that are
evident in the piece. Students should focus on the various sections as they represent either Lennon,
McCartney, or both. The opening section is fairly typical of the combination of the two, this
progresses into a less organized soundscape and results in an upbeat “silly” song typical of
McCartney followed immediately by a “free” song typical of Lennon and so on. Students should be
encouraged to follow the composition through its various sections noting how the music displays the
compositional traditions of either composer.
Assessment/Evaluation Techniques
 Student writing will be assessed using anecdotal comments.
Accommodations
 A guest musician/expert could be invited in to perform different compositions for the class.
 A video of interviews/old television performances could be used to make students more familiar with
the persons behind the music.
Unit 6 - Page 12
 Music - Open
Resources
Giuliano, Geoffrey. Two of Us. US: Penguin, 1999.
Glassman, Bruce. John Lennon and Paul McCartney. US: Blackbirch Marketing, 1995.
Activity 6: “Foster”ing a Love of Music
Time: 60 minutes
Description
This activity is intended to introduce students to the current state of the composer in Canada through the
figure of David Foster. Students will compare David Foster with J.S. Bach to explore the changes and
similarities that define the modern musician.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE2e - uses and integrates the Catholic faith tradition, in the critical analysis of the arts, media,
technology, and information systems to enhance the quality of life.
Strand(s): Theory, Analysis, Creativity
Overall Expectations
THV.01 - explain in detail, both orally and in writing, the elements of music (i.e., rhythm, melody,
timbre, dynamics, harmony, texture, and form);
THV.03 - analyse the influence of certain composers on the musical language of their period;
ANV.04 - evaluate the function of music in society.
Specific Expectations
TH1.11 - situate composers in a historic continuum;
TH1.12 - explain the influence of certain composers on the evolution of musical form (e.g., Haydn on
Western classical music, Robert Johnson on North American blues).
Planning Notes
 The teacher will require access to biographical information on David Foster and his role in the
Canadian music industry.
 The teacher should create some basic scripting and suggested guidelines for the role-playing
exercise.
Prior Knowledge Required
 Students should be comfortable hypothesizing about the daily life J.S. Bach and the activities that a
composer of his time period would be required to perform.
Teaching/Learning Strategies
1. Students will be introduced to the figure of David Foster. After delivering a brief biographical sketch
as students take notes, the teacher should invite discussion about the types of activities that David
Foster is engaged in on a daily basis: recording projects, contract negotiations, arranging, live
performances, compositional projects for specific performers (e.g., Celine Dion) or events (1984
Winter Olympics). The David Foster Foundation and music advocacy should be included. If possible,
students should view a recording of David Foster’s speech on music advocacy delivered at the 1999
Canadian Music Awards.
2. The teacher will divide the class into two groups. One group should create an imaginary “day in the
life” of David Foster detailing both musical and non-musical activities. The other group should
Unit 6 - Page 13
 Music - Open
perform the same activity substituting J.S. Bach as the focus. Each group should create a
dramatization of the day using a few students as actors while the other students direct. Run the
dramatizations in steps, side by side, at the front of the class. Draw an imaginary clock on the board
and have students move through the dramatization as the clock advances. When the “day” is over, the
teacher should lead students into discussion of the positive and negative aspects of each lifestyle.
Students should be directed to search for similarities and discuss differences.
3. Following the discussion, students should create a job description for a Canadian composer. They
should be specific about required skills and resources. Students should try to describe the financial,
creative, and personal aspects of the composer. Have students list both positive and negative aspects
of the job.
Assessment/Evaluation Techniques
 Student dramatizations will be assessed on detail and creativity using a rubric.
 Student job descriptions should be assessed using a checklist.
Accommodations
 Student dramatizations could be reduced in scope or replaced with a written submission.
 Peer help or teacher direction could be increased to facilitate the creation of job descriptions.
Resources
Jackson, Rick. Encyclopedia of Canadian Rock Pop and Folk Music. Kingston: Quarry Press, Inc. 1994.
Kallmann, Helmut, G. Potvin, and K. Winters. Encyclopedia of Music in Canada. Toronto: University of
Toronto Press, 1992.
Transcription or video clip of David Foster’s acceptance speech from the 1999 Canadian Music Awards.
Internet links for David Foster
www.davidfoster.com
www.olografix.org/krees/foster.html
www.intrepident.com/foster.html
Activity 7: One of Our Own
Time: 180 minutes
Description
This culminating activity will serve as an in-class independent study of a Canadian artist. Each student
will complete an essay, a music analysis, and an oral, aural, and visual presentation, all of which
demonstrate the student's understanding of theory and analysis skills developed in previous units. This
independent study project also serves to improve students' ability to manipulate information in order to
prepare an effective presentation.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE2d - writes and speaks fluently one or both of Canada's official languages;
CGE4b - demonstrates flexibility and adaptability;
CGE4f - applies effective communication, decision-making, problem-solving, time, and resource
management skills;
CGE5e - respects the rights, responsibilities, and contributions of self and others;
Unit 6 - Page 14
 Music - Open
CGE5g - achieves excellence, originality, and integrity in one’s own work and supports these qualities in
the work of others;
CGE7f - respects and affirms the diversity and interdependence of the world’s peoples and cultures.
Strand(s): Theory, Analysis
Overall Expectations
THV.01 - explain in detail, both orally and in writing, the elements of music (i.e., rhythm, melody,
timbre, dynamics, harmony, texture, and form);
THV.03 - analyse the influence of certain composers on the musical language of their period;
ANV.01 - demonstrate a detailed understanding of music history and its cultural context to interpret
repertoire;
ANV.02 - use aural discrimination skills to identify complex aspects of music (e.g., major and minor
triads, diminished and augmented intervals);
ANV.04 - evaluate the function of music in society.
Specific Expectations
TH1.11 - situate composers in a historic continuum;
TH1.12 - explain the influence of certain composers on the evolution of musical form (e.g., Haydn on
Western classical music, Robert Johnson on North American blues);
AN1.04 - analyse, orally and in writing, the quality and impact of a variety of live and/or recorded
performances and performances by themselves and their peers, using appropriate music vocabulary to
suggest ways of improving those performances (e.g., style/groove, intonation, tone quality, dynamics,
articulation, phrasing, rhythm, balance and blend, overall effect);
AN2.02 - analyse and describe their own strengths and needs at various points in the course and work
towards improving themselves in identified areas.
Planning Notes
 Book a period for the students to use the Internet lab and/or Library/Resource Centre.
Prior Knowledge Required
 Students must have a firm concept of how to analyse music.
 Students must have a working knowledge of the Internet, as well as strong research skills.
Teaching/Learning Strategies
1. Students are to compile information that they have been collecting on various Canadian artists. Give
students a detailed outline and rubric, listing criteria for each aspect of the independent study project,
e.g., Canadian artist (composer, performer, and arranger).
a) Essay length and content: artist's birth/death, history, province, style of music, famous works,
performing venues, contemporaries, influence of others
b) Presentation (approximately five minutes): interesting facts, music analysis, listening
c) Listening examples required: brief excerpt to be heard during presentation,
d) Music analysis: form, tonality, metre, and other musical elements used to elicit specific
responses. This musical analysis should be included at the end of the essay, and highlighted
during the oral presentation
e) Visual display: photo of artist, instrument used, performing venues
2. Students use the Internet lab and/or library to do individual research.
3. Final presentations include submission of rough and good copies of the essay and analysis.
Unit 6 - Page 15
 Music - Open
Assessment/Evaluation Techniques
 A rubric will be used to assess the oral and written presentation, as well as the analysis.
 Anecdotal comments will be used to assess work skills and study habits.
 A checklist will be used to assess organization skills.
Accommodations
 Adjust the length and detail of the project depending on the abilities of the students.
 Encourage the use of PowerPoint and/or interactive media presentations.
 Have students compare and contrast two different Canadian artists.
 Have students work in pairs or small groups.
Resources
Jackson, Rick. Encyclopedia of Canadian Rock Pop and Folk Music. Kingston: Quarry Press, Inc. 1994.
Kallmann, Helmut, G. Potvin, and K. Winters. Encyclopedia of Music in Canada. Toronto: University of
Toronto Press 1992.
Canadian Music Centre
Unit 6 - Page 16
 Music - Open
Appendix 6.1
Summative Ear-Training Rubric for Intervals and Triads
Categories
Theory
(Knowledge and
Understanding)
- understanding of
the differences
between all
intervals;
major/minor triads
Thinking/Inquiry
- making
connections
between
intervals/triads
and music in
society
Communication
- use of music
language and
symbols, orally
and in written
form
Level 1
Level 2
Level 3
Level 4
- demonstrates
limited
understanding of
differences
between intervals
and triads
- demonstrates
some
understanding of
differences
between intervals
and triads
- demonstrates
considerable
understanding of
differences
between intervals
and triads
- demonstrates
thorough
understanding of
differences
between intervals
and triads
- makes
connections with
limited
effectiveness
- makes
connections with
some
effectiveness
- makes
connections with
considerable
effectiveness
- makes
connections with
thorough
effectiveness
- uses music
language and
symbols with
limited accuracy
and effectiveness
- uses music
language and
symbols with
some accuracy
and effectiveness
- uses music
language and
symbols with
considerable
accuracy and
effectiveness
- uses music
language and
symbols with
thorough accuracy
and effectiveness
Creation
- transfer of
knowledge and
skills to new
contexts
- transfers
- transfers
- transfers
- transfers
knowledge and
knowledge and
knowledge and
knowledge and
skills of aurally
skills of aurally
skills of aurally
skills of aurally
identifying and
identifying and
identifying and
identifying and
vocally
vocally
vocally
vocally
reproducing
reproducing
reproducing
reproducing
intervals/triads to intervals/triads to intervals/triads to intervals/triads to
new contexts with new contexts with new contexts with new contexts with
limited
some
considerable
thorough
effectiveness
effectiveness
effectiveness
effectiveness
Note: A student whose achievement is below level 1 (50%) has not met the expectations for this
assignment or activity.
Unit 6 - Page 17
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Unit 7: State of the Art
Time: 14 hours
Unit Description
This unit focusses on music in society. There is a dual emphasis on music as a career opportunity and the
employability of the music student in the world of work. Students will look at the use of music and
related technology in advertising and marketing, as well as music’s function as a commodity. The intent
of this unit is to provide the students with the opportunity to demonstrate their accumulated knowledge
and skills in the planning, performing, managing, and marketing of a musical event.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations: CGE1d, CGE1g, CGE1i, CGE2c, CGE2e,
CGE3b, CGE3d, CGE3f, CGE4a, CGE4f, CGE4g, CGE5a, CGE5b, CGE5e, CGE5h, CGE7a, CGE7h,
CGE7j.
Strand(s): Analysis, Creation, Theory
Overall Expectations: THV.01X, THV.02X, THV.03X, CRV.01X, CRV.02X, CRV.03X,
ANV.01X, ANV.02X, ANV.03X, ANV.04X, ANV.05X, ANV.06X.
Specific Expectations: TH1.11X, TH1.12X, CR2.06X, AN1.04X, AN2.03X, AN2.04X, AN2.05X,
AN2.07X.
Activity Titles (Times + Sequence)
Activity 1
Activity 2
Activity 3
Activity 4
Activity 5
Activity 6
Activity 7
Activity 8
Performance Requirements for the Unit
Listening Requirements for the Unit
The Music of Life
The Fall of the Vinyl Empire
Musical “Ad”dition
What’s in It for Me?
music_debate.com
The Show Business
375 minutes
30 minutes
60 minutes
60 minutes
60 minutes
90 minutes
75 minutes
90 minutes
Prior Knowledge Required





Students must have a good knowledge of all performance skills and repertoire covered to date.
Students must be able to perform analysis of music for form, key, rhythm, and melody.
Students must have some knowledge of technology and the role that it plays in modern music.
Students must be aware of some of the careers in the music field.
Students should be aware of the debating process.
Unit Planning Notes




The teacher will locate an accompanist to accommodate an increased amount of solo performances in
the unit.
Modification of the rehearsal routine is necessary to allow for increased solo performance.
Commercials that use music to sell a product should be reviewed prior to the beginning of the unit.
Caution: The teacher should have an understanding of current copyright laws and adapt viewing and
listening accordingly.
The teacher should have access to articles and other written materials that deal with the subject of
technology and music.
Unit 7 - Page 1
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




The teacher will need to make arrangements for any field trips or guest speakers that could
potentially visit the school during Unit 7.
The teacher provides VCR, tape, and CD players for this unit.
The teacher locates ads for companies that use music to sell products.
The teacher books a time, date, and venue for a class performance in the school community.
Make sure that all sound equipment is booked and operational for the class performance
(microphones, speakers, soundboards, etc.).
Teaching/Learning Strategies






Performance: formal, informal, oral, written
Conferencing
Group Work
Listening and Reflection: directed and open, personal and group
Independent Learning: project and logs
Brainstorming: group generation of ideas expressed without criticism or analysis
Assessment and Evaluation

Personal Communication – journals/conferencing logs, self-/peer assessment, student-teacher
conferences
 Written Work – composing, reflection/response, question/answer, short assignment
 Observation – formal/informal
 Performance Assessment – solo/ensemble performance, role playing
Assessment tools will include:
 Formative Assessment: checklist, anecdotal, rubric, marking scheme
 Summative Assessment
Accommodations



The amount of time required to complete activities can be extended or shortened to accommodate
various exceptionalities.
Adjust the complexity of activities according to interest or skill level.
Provide individual help where appropriate.
Unit 7 - Page 2
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Activity 1: Performance Requirements for the Unit
Time: 395 minutes
Description
This activity is expected to be ongoing throughout the unit and should not be completed all at once. The
performance expectations listed below have been selected to complement this unit. Skills and repertoire
chosen will both reinforce and reflect other activities within the unit. Repertoire has been selected for
this unit to facilitate summative evaluation. Pieces have been chosen from standard contest lists and
should be used to provide excerpts for performance evaluation. In addition, solo repertoire has been
suggested to provide the student with the opportunity to adequately demonstrate their knowledge and
skills.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE4e - sets appropriate goals and priorities in school, work, and personal life.
Strand(s): Creation
Overall Expectations
CRV.01 - play or sing technical exercises and diverse repertoire that reflect the theory expectations at
this grade level (including improvisation and their own creations when appropriate).
Specific Expectations
CR1.01 - accurately play or sing complex notated or stylistically correct articulation (e.g., variety of
accents, col legno, hammer-on, glissando);
CR1.02 - play or sing with an understanding of complex musical phrase structures (e.g., notated,
improvised, or stylistically correct);
CR1.04 - play or sing with tone quality appropriate to the exercises and repertoire being performed;
CR1.05 - play or sing, with control and within an expanded range, the exercises and repertoire being
performed;
CR1.06 - play or sing with accurate pitch;
CR1.07 - play or sing with accurate intonation, both melodically and harmonically;
CR1.08 - maintain a consistent tempo and accurately change tempi as found in the exercises and
repertoire being performed;
CR1.09 - play or sing in various metres and accurately change metres as found in the exercises and
repertoire being performed;
CR1.10 - accurately play or sing rhythms as found in the exercises and repertoire being performed;
CR1.11 - play or sing with detailed attention to the subtleties of balance and blend.
Planning Notes
 The teacher locates an accompanist to rehearse and eventually perform with the students.
 The teacher may modify the rehearsal routine for this unit due to the emphasis on solo repertoire. It is
recommended that students be given the opportunity to rehearse with accompaniment where possible.
 The teacher selects various excerpts for study from the chosen repertoire. The teacher will guide the
students to select excerpts focussing on the skills set out in their personal development plan.
 The teacher selects complete works that will be used to assess student performance within the
ensemble.
Unit 7 - Page 3
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
Daily performance time is structured according to the following criteria:
Warm-up (tuning, tone, breathing, posture, etc.)
Technique building (range, dexterity, endurance, articulation/diction, phrasing)
Analysing and interpreting repertoire (solo, small group or ensemble: style,
balance/blend, dynamics, form, performance etiquette, etc.)
5-10 minutes
5-15 minutes
20-40 minutes
Prior Knowledge Required
 As this unit will contain a summative evaluation, students will be expected to demonstrate all
performance skills addressed to date.
Teaching/Learning Strategies
1. Students should receive all selected repertoire at the beginning of the unit. Where students have a
choice of excerpts or solo repertoire, they should be given all materials in order to choose. Students
examine the solos and excerpts as independent study materials. In choosing from the materials,
students are encouraged to refer to their personal development plan. Repertoire that supports the
students’ identified needs should be given priority. Students create a rehearsal plan for solo
repertoire and excerpts.
2. While rehearsing complete works, the teacher should identify suitable areas that can support review
and reinforcement of previously studied concepts. Students are encouraged to lead these review
sessions.
3. Excerpts may be rehearsed in sections or, if appropriate, each section can rehearse their excerpts
while the rest of the band provides accompaniment. This is particularly suggested for excerpts that
emphasise ensemble skills such as balance and blend.
4. Students book performance times for solo repertoire close to the end of the unit. Students are
encouraged to perform analysis and provide performance notes for the solo performance. It is
recommended that an audience be found outside of the classroom in order for students to have a more
realistic performance experience.
Assessment/Evaluation Techniques
 The teacher will evaluate student performance using a rubric. As music is a skill that is constantly
under development, anecdotal comments should also be provided as formative assessment.
 The teacher will assess the student rehearsal plan by informally conferencing.
Accommodations
 The nature of this activity lends great scope for accommodation. Excerpts and solo repertoire could
easily be tailored to fit the student.
 Students could receive a greater length of rehearsal time to prepare for performance.
 Peer and teacher aid could be extended to students requiring more frequent attention.
Resources
Band
Akey, Douglas. “Lake Zurich Celebration.” 3.5
Akey, Douglas. “Spirit.” 3
Balent (arr.). “The Thunderer.” 2.5
Barker, Warren. “Irish Ayre For Winds.” 3.5
Brubaker (arr.). “Barnum and Bailey’s Favorite.” 2
Bulla, Stephen. “Chapel Forge Overture.” 3
Bulla. “Mid-West 50.” 3
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Bulla. “Tournament.” 3
Bullock (arr.). “In the Bleak Midwinter.” 1.5
Clark, Larry (arr.). “Activity.” 1.5
Clark, Larry. “Clarion Call.” 1
Clark, Larry. “Clash and Roar.” 1.5
Clark, Larry. “Contredanse.” 1.5
Clark, Larry. “Declaration and Dance.” 1.5
Clark, Larry. “Engines of Resistance.” 1.5
Clark, Larry (arr.). “Military Escort.” 2
Clark, Larry. “Mystic Legacy.” 1
Chisham, Daniel. “Across The Plains.” 3
Cook (arr.). “Irish Tune From County Derry.” 1.5
Curnow (arr.). “March Majestic.” 1
Curnow. James. “Chant and Capriccio.” 3
Curnow. James. “Festivo Fantastico.” 1.5
Curnow. Paul. “Intrepid.” 1.5
Curnow. Paul. “Springfield Regiment.” 2
Curnow. Paul. “Windstar.” 1.5
Custer (arr.). “National Emblem.” 3
Del Borgo, Elliot. “Chester Variations.” 1.5
Del Borgo, Elliot. “Sailing Songs.” 3.5
Del Borgo, Elliot. “Seascape Overture.” 1.5
Del Borgo, Elliot. “Stonehenge.” 1.5
Edmondson, John. “Mount Rushmore March.” 1
Edmondson, John. “Omega March.” 1
Fillmore, Balent (arr.). “Orange Bowl March.” 2.5
Foster, Robert. “Dylansong.” 3
Goldman. “Chimes of Liberty.” 2.5
Haan, Jan de. “Spanish Triptych.” 3
Haan, Jacob de. “Yellow Mountain.” 2.5
Hines, William. “Voyages on a Rowing Song.” 2.5
Hodges, Steve. “Alder Creek Tribute.” 2.5
Hodges, Steve. “Astrogate.” 2.5
Hodges. “Carolina Tribute.” 2.5
Hodges, Steve. “March to Castle Rock.” 2
Hosay, James. “First Light on Chesapeake.” 3
Hosay, James. “How Can I Keep From Singing.” 1.5
Hosay, James. “New Alliance.” 1.5
Huckeby. “King Mountain Adventure.” 2.5
Huckeby, Ed. “Pastorale.” 3.5
Kidd, Bryan (arr.). “Be Thou My Vision.” 2
Kimball, Zdechlik (arr.). “Meyer March.” 3
King, Swearingen (arr.). “Our Heritage.” 2.5
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Kinyon, John (arr.). “Loch Lommond.” 1.5
Lavender (arr.). “Two Celtic Folksongs.” 2
Lithgow, Custer (arr.). “Invercargill.” 3
McGinty, Anne. “Canterbury Overture.”1
McGinty, Anne. “Morningstar Overture.” 1
Meyer, Richard. “Coronado.” 2.5
Meyer, Richard. “In a French Garden.” 2.5
O’Reilly. “Dana Point Overture.” 1.5
O’Reilly, John. “Newcastle Overture.” 1
O’Reilly, John. “Port Royal Overture.” 2
O’Reilly, John. “Windstar Overture.” 1.5
O’Reilly, John. “Woodland Overture.”1
Pearson, Bruce. “Joyance.” 2.5
Schissel (arr.). “Men of Ohio.” 3
Schubert (arr.). “Dona Nobis Pacem.” 1.5
Scott. “Gently Flows the Amber Grain.” 3
Shaffer, David. “Into the Light.” 2
Shaffer, David. “Last to Defend.” 3
Shaffer, David. “Windward Passage.” 3
Sheldon, Robert. “Lantern in the Window.” 2.5
Sheldon, Robert. “Northwest Rising.” 3
Smith, Robert. “At the Crossroads.” 2.5
Smith. “By Loch and Mountain.” 3
Smith. “Glorioso.” 1.5
Smith. “Herndon Exaltations.” 2.5
Smith, Robert. “Hoosier Suite.” 3
Smith, Robert. “Hymnsong Variants.” 2.5
Smith, Robert. “On the Rising Winds.” 2.5
Smith, Robert. “Provenance.” 3
Smith, Robert. “Quintillian.” 1.5
Smith, Robert. “Rites of Tamburo.” 2.5
Smith, Robert. “Sound and the Fury.” 1.5
Smith, Robert. “Tanoan Echoes.” 1.5
Smith, Robert. “The Tempest.” 1.5
Smith, Robert. “To Dance in the Secret Garden.” 3
Smith, Robert. “Where the Black Hawk Soars.” 3
Story (arr.). “Finlandia.” 1
Story (arr.). “Manhattan Beach.” 1
Story (arr.). “Song Without Words.” 2
Strommen, Carl. “Cross-Creek.” 3
Strommen, Carl. “On the Village Green.” 3.5
Strommen. “To a Distant Place.” 3
Swearingen, James. “All Glory Told.” 3
Unit 7 - Page 6
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Swearingen. “Freedom’s Light.” 2
Swearingen, James. “Legacy.” 3
Swearingen, James. “Light of Dawn.” 2.5
Swearingen, James. “Prelude and Energico.” 2.5
Swearingen (arr.). “Torch of Liberty.” 2.5
Van Beringen, Robert. “Barocco.” 3
Van Ragsdale. “Walk with McCarley.” 2.5
Wagner, Douglas (arr.). “Brother James Air.” 1.5
Wagner, Douglas. “Dover Patrol March.” 1
Wagner, Douglas. “Jubilant Bells.” 1
Wagner, Douglas. “Music When Soft Voices Die.” 2.5
Williams, Bryce. “Canyon Overture.” 1.5
Williams, Jerry. “Copper Mountain Legend.” 2.5
Williams, Mark. “March to the Big Top.” 1.5
Williams, Mark. “Panorama Festival Overture.” 3
Williams, Mark. “Southgate Fantasy.” 1.5
Wilson, Patrick. “Overture Petite.” 1.5
Various. “First Division Band Course Time For Solos.” USA, Belwin Mills, 1999.
Various. “Master Solos Intermediate Level.” USA, Hal Leonard, 1975-6.
Various. “Rubank Solo Books Intermediate Level.” USA, Rubank.
Voxman. H. “Concert and Contest Collection (various instruments).” USA: Rubank, 1962.
Jones, Mason. “First Solos for the Horn Player.” USA: G. Schirmer, 1971.
Guitar
Royal Conservatory of Music (selected volumes). Canada: Frederick Harris Music Publishing.
Keyboard
Royal Conservatory of Music (selected volumes). Canada: Frederick Harris Music Publishing.
Activity 2: Listening Requirements for the Unit
Time: 30 minutes
Description
This activity is expected to be ongoing throughout the unit and should not be completed all at one time.
The listening skills chosen will both reinforce and reflect other activities within the unit. This activity
will focus on students’ ability to listen critically to and decode musical selections used in advertising and
other economically driven venues.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE2a - listens actively and critically to understand and learn in light of gospel values.
Strand(s): Analysis, Theory
Overall Expectations
ANV.02 - use aural discrimination skills to identify complex aspects of music (e.g., major and minor
triads, diminished and augmented intervals).
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Specific Expectations
TH1.07 - compare and contrast detailed characteristics of sound (e.g., voice types and variations, guitar
versus harp, electronic effects on digital sounds);
TH1.13 - use music software to improve aural and theoretical skills;
AN1.01 - demonstrate their mastery of rhythms by clapping back, aurally identifying, and notating given
rhythms up to four measures in simple and compound metres, using sixteenth through whole notes and
rests, including dotted values and triplets;
AN1.02 - demonstrate an understanding of intervals and triads by reproducing, aurally identifying, and
notating all given intervals from a diminished unison to an augmented octave, and major and minor
triads;
AN1.03 - confirm their understanding of aural dictations by reproducing and notating simple melodies up
to four measures in simple and compound metres using sixteenth through whole notes and rests,
including dotted values, within an octave.
Planning Notes
 The teacher should locate and preview music used in commercial venues. Radio and television ads,
movie previews, and sporting events are some suggested sources. The sources should be current and
reflect the musical tastes of the students. The teacher is expected to use his/her discretion with regard
to student musical selections.
 The teacher should have an understanding of current copyright laws and adapt viewing and listening
accordingly.
Prior Knowledge Required
 Students will employ skills accumulated throughout the course to critically examine music used for
commercial purposes.
Teaching/Learning Strategies
1. Students listen to music from various media including radio, television, and movies. Students
critically examine the music aurally to determine how the music reinforces the mood or atmosphere
of the situation it accompanies.
2. Students complete a written summary of their ideas about the function of music in commercial
venues.
Assessment/Evaluation Techniques
 The teacher will provide anecdotal comments in assessing student summaries.
Accommodations
 The teacher can adjust the level of guidance given to students in analysing the music.
 Students might complete this activity in groups or with a partner.
 Students can collect examples on their own and present them to the class.
Resources
The teacher collects resources as detailed in Planning Notes.
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Activity 3: The Music of Life
Time: 60 minutes
Description
This activity is intended to make students aware that music surrounds us constantly in our everyday lives.
Students will examine the manipulative effects of music on the person, creating links between the use of
music and the success of selling a product. Students will become aware of their rights and responsibilities
as Canadian citizens to critically examine the relationship between the advertised image and the actual
product.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE2c - presents information and ideas clearly and honestly and with sensitivity to others;
CGE3b - creates, adapts, and, evaluates new ideas in light of the common good;
CGE3f - examines, evaluates, and applies knowledge of interdependent systems (physical, political,
ethical, socio-economic);
CGE4b - demonstrates flexibility and adaptability;
CGE4f - applies effective communication, decision-making, problem-solving, time, and resource
management skills;
CGE7h - exercises the rights and responsibilities of Canadian citizenship.
Strand(s): Theory, Analysis
Overall Expectations
THV.01 - explain in detail, both orally and in writing, the elements of music (i.e., rhythm, melody,
timbre, dynamics, harmony, texture, and form);
ANV.01 - demonstrate a detailed understanding of music history and its cultural context to interpret
repertoire;
ANV.02 - use aural discrimination skills to identify complex aspects of music (e.g., major and minor
triads, diminished and augmented intervals);
ANV.04 - evaluate the function of music in society.
Specific Expectations
AN1.04 - analyse, orally and in writing, the quality and impact of a variety of live and/or recorded
performances and performances by themselves and their peers, using appropriate music vocabulary to
suggest ways of improving those performances (e.g., style/groove, intonation, tone quality, dynamics,
articulation, phrasing, rhythm, balance and blend, overall effect);
AN2.07 - explain the function of certain musical forms in daily life (e.g., anthems, marches).
Planning Notes
 The teacher should have a knowledge of a variety of video or audio recordings of commercials that
use music to sell a product.
 The teacher should generate a chart that indicates specific aspects of commercial music to be
documented during a standard day in the life of the student.
 The teacher should have an understanding of current copyright laws and adapt viewing and listening
accordingly.
Prior Knowledge Required
 Students must know how to briefly analyse music for form, key, distinctive rhythms and melodies,
and so on.
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Teaching/Learning Strategies
1. The teacher leads the class in a brainstorming activity to identify as many uses of music in life as
possible, (in elevators, grocery store, while on hold on the phone, waiting room in doctor's office, TV
and radio advertisement, etc.). Discuss the purpose of music in each of these situations, concluding
that music affects human disposition and comfort level.
2. Choose a TV advertisement that uses “Golden Oldies” music and discuss how the song used is
intergenerational, therefore attracting customers of all ages to one universal product.
3. In groups, students are to choose any commercial product and decide upon two contrasting music
selections, both of which would sell this product equally well. Students must determine how the
music will appeal to or attract specific age groups in customers. For example, eye glasses: Brahm’s
“Lullaby” will demonstrate that these glasses are so comfortable and virtually weightless, you can
even fall asleep in them = middle to older aged customers; eye glasses: “Jeepers, Creepers” (jazz
style) will demonstrate that these glasses are so cool, even the hippest young adults of today would
wear them dancing = teenagers to young adult customers. Students will present their advertisement
campaign to the class, followed by a discussion of the validity of the choices in music.
4. Assign the following research project to be completed after school or on the weekend. Using the
chart provided, students are to record every location where music is heard, the type of music, the
volume of the music, the mood it is creating, the characteristics of the listener (age, gender, socioeconomic status), and so on. Ideally, this project would start when the student arose Saturday
morning and end when the student went to bed that evening. Students submit the good copy for
evaluation.
Time
Location
Music
Volume
Mood
Listeners
5. Initiate a class discussion, based on the question: does the music accurately reflect the quality of the
product being sold? Are we, as consumers, being seduced into purchasing products based on a fancy
advertisement campaign with a catchy tune? What is our responsibility as Canadians to ensure that
accurate information is being presented to the customer?
Assessment/Evaluation Techniques
 The teacher will provide anecdotal comments after the presentation of the ad proposals.
 A checklist will be used to assess the accuracy and completeness of the chart.
Accommodations
 Provide students with the music examples and have them choose appropriate products to sell.
 Have students prepare a full ad campaign, with posters, slogans, original jingles, etc.
 Adjust the length of time expected for chart project, based on the level of students.
 Request a reflective analysis of the effects of music on the brain of the human person, based on the
chart project.
Resources
Human resources may include teachers of Art and Business and advertising personnel.
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Activity 4: The Fall of the Vinyl Empire
Time: 60 minutes
Description
This activity provides students the opportunity to reflect on the role technology plays in the process of
composition, performance and appreciation of music.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE1g - understands that one’s purpose or call in life comes from God and strives to discern and live out
this call throughout life’s journey;
CGE1i - integrates faith with life;
CGE2e - uses and integrates the Catholic faith tradition, in the critical analysis of the arts, media,
technology, and information systems to enhance the quality of life;
CGE3f - examines, evaluates, and applies knowledge of interdependent systems (physical, political,
ethical, socio-economic);
CGE4g - examines and reflects on one’s personal values, abilities, and aspirations influencing life’s
choices and opportunities;
CGE5b - thinks critically about the meaning and purpose of work;
CGE5h - applies skills for employability, self-employment, and entrepreneurship relative to Christian
vocation.
Strand(s): Theory, Analysis
Overall Expectations
THV.03 - analyse the influence of certain composers on the musical language of their period;
ANV.03 - evaluate the effects of music education on themselves and their peers;
ANV.05 - identify, research, and describe connections between music education and their future careers
and post-secondary education.
Specific Expectations
TH1.11 - situate composers in a historic continuum;
TH1.12 - explain the influence of certain composers on the evolution of musical form (e.g., Haydn on
Western classical music, Robert Johnson on North American blues).
Planning Notes
 The teacher should generate a list of topics for discussion on the subject of technology in music.
Some examples of topics are as follows: (a) the role of the Internet in distributing new music (MP3)
and the problem of copyright violations that this causes; (b) the role of sampling technology in
performance and the replacement of live musicians with pre-recorded samples.
Prior Knowledge Required
 Students are expected to have some knowledge of technology and the role that it plays in modern
music.
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Teaching/Learning Strategies
1. The teacher divides the class into three groups. Each group brainstorms on one of the following
topics:
Technology and Composition – What electronic technologies are used in the process of composition?
Technology and Performance – What electronic technologies are now used in live performance?
Technology and Appreciation – What electronic technologies impact on the transmission of music,
the availability of music or the enjoyment of music?
Each group creates a list of the various technologies and a brief description of their impact on the art
of music.
2. Of the various technologies generated in the previous activity, a poll should be taken to determine
how many of these are accessible by the students. Discuss the availability of technology for the
common person. The teacher leads student discussion toward a questioning of the necessity of
technology in music. Discuss the availability of music technology to persons who have no formal
musical training. What impact will this have on music of the future? This discussion will be mostly
directed by student interest and awareness. Debate should be encouraged and a list of topics for
further exploration should be developed.
3. Students note ideas generated from these discussions to create an opinion piece on one of the topics
chosen for further exploration.
Assessment/Evaluation Techniques
 The teacher will assess student communication skills evident in their written opinion piece using
anecdotal comments.
 Student contribution to classroom discussion will be assessed with a checklist.
Accommodations
 The teacher could provide strong guidance in discussions by providing articles or other written
materials on the subject of technology and music.
 Rather than discuss a variety of subjects, the teacher could set strict limits on discussion and review
only one type of technology.
 The written work could be assigned as short-answer questions, cloze activities, or other types of
simple written tasks.
 The activity may be extended into a full debate.
Resources
Human resources include: studio engineers, media personalities, acoustic instrumentalists.
Periodicals related to music technology
Unit 7 - Page 12
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Activity 5: Musical “Ad”dition
Time: 60 minutes
Description
Music as an industry will be examined. Students will learn about the real cost of a compact disc as seen
by the artist, the agent, the producer, the manufacturer, the retailer, and the consumer. This unit provides
the students with the opportunity to participate in a field trip or a presentation by a guest speaker.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE1d - develops attitudes and values founded on Catholic social teaching and acts to promote social
responsibility, human solidarity, and the common good;
CGE1i - integrates faith with life;
CGE2a - listens actively and critically to understand and learn in light of gospel values;
CGE2e - uses and integrates the Catholic faith tradition, in the critical analysis of the arts, media,
technology, and information systems to enhance the quality of life;
CGE3c - thinks reflectively and creatively to evaluate situations and solve problems;
CGE3e - adopts a holistic approach to life by integrating learning from various subject areas and
experience;
CGE4f - applies effective communication, decision-making, problem-solving, time, and resource
management skills;
CGE4g - examines and reflects on one’s personal values, abilities, and aspirations influencing life’s
choices and opportunities.
CGE5a - works effectively as an interdependent team member;
CGE5e - respects the rights, responsibilities, and contributions of self and others.
Strand(s): Analysis, Creation
Overall Expectations
ANV.03 - evaluate the effects of music education on themselves and their peers;
ANV.04 - evaluate the function of music in society;
ANV.05 - identify, research, and describe connections between music education and their future careers
and post-secondary education.
Specific Expectations
CR2.06 - use analog or digital recording technology to demonstrate an understanding of the processes
involved in producing a cassette or CD.
Planning Notes
 Arrange for a field trip to a local recording studio or for a guest from the music industry to come in
(DJ, music retailer, recording artist, advertiser, etc.)
 Research the current cost of producing a CD and provide the appropriate cost breakdown for the
students on a chart in the form of a pie or wheel.
Prior Knowledge Required
 No prior knowledge is required
Teaching/Learning Strategies
1. Students brainstorm a list of the people involved in producing a compact disc from the cover designer
to the cashier at the music store.
2. How is the cost of a CD broken down? Ask the students to make guesses before telling them the
actual numbers.
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3. Students attend a field trip to a recording studio, radio station, music retailer, etc., or you may invite
another industry representative to visit the class.
4. Students prepare a written summary of their experience of the field trip or the presentation by the
guest.
Assessment/Evaluation Techniques
 The advertisement will be assessed with a checklist.
 The written summary will be assessed using anecdotal comments.
Accommodations
 Written summary may be completed with a partner or delivered orally.
 Students may wish to extend this activity by preparing a musical ad/jingle using MIDI.
Resources
Canadian Recording Industry web site
Human resources include: music industry representatives, advertisers, store owners
Making a Recording (video)
Activity 6: What’s in It for Me?
Time: 90 minutes
Description
In this activity, students will explore the many possibilities that a career in music can offer. Through
guest speakers from the school and the community or the organization of a job-shadowing day, students
will be given the chance to discover where their interest in music could possibly benefit them in the
future and what education they will need to reach their goal.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE1g - understands that one’s purpose or call in life comes from God and strives to discern and live out
this call throughout life’s journey;
CGE3b - creates, adapts, and, evaluates new ideas in light of the common good;
CGE4b - demonstrates flexibility and adaptability;
CGE4e - sets appropriate goals and priorities in school, work, and personal life;
CGE4g - examines and reflects on one’s personal values, abilities, and aspirations influencing life’s
choices and opportunities;
CGE5b - thinks critically about the meaning and purpose of work;
CGE5h - applies skills for employability, self-employment, and entrepreneurship relative to Christian
vocation.
Strand(s): Analysis
Overall Expectations
ANV.03 - evaluate the effects of music education on themselves and their peers;
ANV.04 - evaluate the function of music in society;
ANV.05 - identify, research, and describe connections between music education and their future careers
and post-secondary education.
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Specific Expectations
AN2.03 - reflect on learning by maintaining a journal and/or practice log that records progress;
AN2.04 - demonstrate leadership in rehearsal, performance, and audience etiquette (appropriate to the
cultural context).
Planning Notes
 The teacher will contact different professionals who would be willing to give a brief presentation to
the class about their musically related career (e.g., music therapist, composer, performance
artist/group, recording and sound technicians, conductor, private instructor, music school
administrator, instrument repair and repertoire shop representatives, etc.).
 The school career counsellor should be contacted to present educational requirements for different
careers in music.
 The teacher could organize a job-shadowing day and send students into the community to spend a
day with a professional in their field of interest. If a job-shadowing day is planned, the teacher
arranges placements for all students in the class prior to the date of the activity.
 The teacher will prepare a set of guiding questions based on the presentations for small group
discussion.
Prior Knowledge Required
 Throughout the historic continuum of the course, students should have some knowledge of various
musical careers.
Teaching/Learning Strategies
1. The teacher arranges a schedule for the presentations. (One presenter per day is suggested.)
2. In small groups, students discuss their impressions of the various careers already presented in class.
3. The teacher prepares a list of guiding questions to help lead the group discussions.
4. Students will record their own personal discoveries/impressions about musical careers in their
journals.
Assessment/Evaluation Techniques
 Based on the students' journal entries, anecdotal comments will be used to assess how the student
makes connections between the arts and the world beyond the school
Accommodations
 Students could research careers of interest to them and organize their own career day presentations.
Resources
The school career counsellor
Musical professionals/organizations in the community
Unit 7 - Page 15
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Activity 7: music_debate.com
Time: 75 minutes
Description
This activity focusses on current issues in music. Students will actively debate selected topics, include:
censorship, copyright, professional ethics in light of Christian values, and Canadian content regulations.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE1d - develops attitudes and values founded on Catholic social teaching and acts to promote social
responsibility, human solidarity, and the common good;
CGE2a - listens actively and critically to understand and learn in light of gospel values;
CGE2e - uses and integrates the Catholic faith tradition in the critical analysis of the arts, media,
technology, and information systems to enhance the quality of life;
CGE3c - thinks reflectively and creatively to evaluate situations and solve problems;
CGE3d - makes decisions in light of gospel values with an informed moral conscience;
CGE4a - demonstrates a confident and positive sense of self and respect for the dignity and welfare of
others;
CGE4b - demonstrates flexibility and adaptability;
CGE4c - takes initiative and demonstrates Christian leadership;
CGE4f - applies effective communication, decision-making, problem-solving, time, and resource
management skills;
CGE4g - examines and reflects on one’s personal values, abilities, and aspirations influencing life’s
choices and opportunities;
CGE5a - works effectively as an interdependent team member;
CGE5e - respects the rights, responsibilities, and contributions of self and others.
Strand(s): Analysis
Overall Expectations
ANV.04 - evaluate the function of music in society.
Specific Expectations
AN2.03 - reflect on learning by maintaining a journal and/or practice log that records progress.
Planning Notes
 The teacher will prepare relevant questions for each topic.
Prior Knowledge Required
 Students should be aware of the debating process.
Teaching/Learning Strategies
1. Students research their topics (in the school Library/Resource Centre), stressing the critical use of
current print and electronic resources.
2. Students break into four groups to debate one of the issues. One group at a time debates the issue
with the other groups actively listening.
3. The teacher presents each group with several questions to consider before the debate begins. Allow
several minutes for each “team” to brainstorm their thoughts and organize their statements.
4. Students complete a short written reflection on how their personal values support or oppose the
questions being debated. Have their initial feelings about the issue changed or been strengthened?
Did they feel that they compromised their values in arguing a side they did not personally support?
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Assessment/Evaluation Techniques
 A checklist will be used by the students to assess their participation in the debate.
 Anecdotal comments based on student reflections will be used to assess the understanding of the
topics debated.
Accommodations
 Allow more time to prepare for the debate.
 Provide the students with the opportunity to present their feelings one on one either orally or in
writing.
Resources
Human resources may include: a lawyer familiar with copyright laws, personnel from the CRTC,
professional musicians, etc.
Web sites (CRTC, Canadian Recording Industry Association, etc.)
Activity 8: The Show Business
Time: 90 minutes
Description
This culminating activity will provide the students with the opportunity to use the knowledge and skills
they have developed in a practical application. Using the teacher as a guide, students will organize,
prepare, and perform a concert in their school community. Each student will be assigned an
organizational and a performance task for the event.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
CGE1d - develops attitudes and values founded on Catholic social teaching and acts to promote social
responsibility, human solidarity, and the common good;
CGE2b - reads, understands, and uses written materials effectively;
CGE2c - presents information and ideas clearly and honestly and with sensitivity to others;
CGE3b - creates, adapts, and, evaluates new ideas in light of the common good;
CGE3c - thinks reflectively and creatively to evaluate situations and solve problems;
CGE3e - adopts a holistic approach to life by integrating learning from various subject areas and
experience;
CGE4a - demonstrates a confident and positive sense of self and respect for the dignity and welfare of
others;
CGE4b - demonstrates flexibility and adaptability;
CGE4c - takes initiative and demonstrates Christian leadership;
CGE4d - responds to, manages, and constructively influences change in a discerning manner;
CGE4e - sets appropriate goals and priorities in school, work, and personal life;
CGE4f - applies effective communication, decision-making, problem-solving, time, and resource
management skills;
CGE5a - works effectively as an interdependent team member;
CGE5b - thinks critically about the meaning and purpose of work;
CGE5d - finds meaning, dignity, fulfilment, and vocation in work which contributes to the common
good;
CGE5e - respects the rights, responsibilities, and contributions of self and others;
CGE5f - exercises Christian leadership in the achievement of individual and group goals;
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CGE7i - respects the environment and uses resources wisely;
CGE7j - contributes to the common good.
Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.02 - read and understand musical notation;
CRV.02 - make complex artistic decisions that affect the stylistic accuracy of their playing or singing
(e.g., articulation, phrasing, posture, dynamics, tone quality, intonation, rhythm, balance, blend);
ANV.03 - evaluate the effects of music education on themselves and their peers.
Specific Expectations
TH1.09 - use appropriate terminology to describe how repetition and contrast of musical elements are
used to organize sound (e.g., phrase structure, motif and theme, imitation, verse and chorus, bridge);
CR1.02 - play or sing with an understanding of complex musical phrase structures (e.g., notated,
improvised, or stylistically correct);
CR1.03 - control detailed and subtle notated or stylistically correct dynamics while maintaining good
tone quality;
CR1.04 - play or sing with tone quality appropriate to the exercises and repertoire being performed;
CR1.05 - play or sing, with control and within an expanded range, the exercises and repertoire being
performed;
CR1.06 - play or sing with accurate pitch;
CR1.07 - play or sing with accurate intonation, both melodically and harmonically;
CR1.08 - maintain a consistent tempo and accurately change tempi as found in the exercises and
repertoire being performed;
CR1.09 - play or sing in various metres and accurately change metres as found in the exercises and
repertoire being performed;
CR1.10 - accurately play or sing rhythms as found in the exercises and repertoire being performed;
CR1.11 - play or sing with detailed attention to the subtleties of balance and blend;
CR2.04 - make artistic decisions about interpretive aspects of performance in individual and group
situations (e.g., articulation, staccato in different styles, straight versus swing eighths, dynamics, solo
versus accompaniment);
AN1.04 - analyse, orally and in writing, the quality and impact of a variety of live and/or recorded
performances and performances by themselves and their peers, using appropriate music vocabulary to
suggest ways of improving those performances (e.g., style/groove, intonation, tone quality, dynamics,
articulation, phrasing, rhythm, balance and blend, overall effect);
AN2.01 - identify and correct improper postures and/or performance practices that may have negative
musical effects and/or cause physical injuries;
AN2.04 - demonstrate leadership in rehearsal, performance, and audience etiquette (appropriate to the
cultural context);
AN2.05 - describe the distinctive nature of participating in individual and group musical performances
for a variety of audiences (e.g., peers, community, teacher).
Planning Notes
 The teacher will choose a date time and book a place for the class concert.
 The teacher will make sure that any technical equipment (e.g., microphones, speakers, sound
equipment, risers, piano, etc.) is operational and available to the class on the day of the show.
 The teacher will provide the class with a list of necessary tasks to be covered in order to ensure a
successful performance.
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Prior Knowledge Required
 Students should have strong knowledge of proper performance etiquette.
 Students should be able to choose varied performance repertoire that will appeal to their audience.
 Students will work as a team and demonstrate respect for all class members' ideas when planning the
concert.
Teaching/Learning Strategies
1. The teacher reviews the list of necessary tasks for successful concert organization with the class.
2. The teacher provides the time, date, and location of the concert.
3. The teacher discusses large group performance repertoire with the class and students vote on the
pieces that they wish to perform (vocal/instrumental).
4. Students volunteer to provide solo/small group vocal, instrumental, dance, or arts related
performances to vary the program.
5. Students decide on a program list that will accommodate the time allowed for the concert.
6. Students divide into groups and decide which task they will cover (e.g., programs, advertising, master
of ceremonies, equipment set up, distribution of programs/master of ceremonies, sound technicians
musical director, tickets/admission, etc.).
7. Students complete their tasks and present their concert.
8. Upon completion of the concert, students discuss the successes and the difficulties that are involved
in the organization and performance of a musical event
9. Students complete a self- and group evaluation based on the performance and organization of the
concert.
Assessment/Evaluation Techniques
 The teacher will evaluate the overall class performance and group performances using a rubric.
 Students will use a rubric to evaluate their own and peer performances.
 A checklist will be used by the teacher to assess organizational and proper performance skills.
 The teacher will provide an oral evaluation to the class detailing his/her impressions of the concert.
Accommodations
 Rather than having a small concert, students may wish to involve other classes, clubs, or groups in
the school community to aid with the organization of a larger performance.
 Depending on the size of the class, and the amount of time left in the semester, students may wish to
organize a small performance at a team game, pep rally, or in the cafeteria at lunch.
 Tasks should be modified according to class size and ability.
Resources
The teacher acts as the primary consultant/resource for the students.
Other departments in the school may be enlisted to aid with advertising/providing students with the
necessary materials for the concert (e.g., graphics for the programs and tickets, art supplies, and paper for
programs and posters, classes to volunteer with set up of chairs, etc.).
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 Music - Open