Music: Visions and Emotions—Grade Nine
Ohio Standards
Connection
Fine Arts: Music
Valuing Music/Aesthetic
Reflection
Benchmark A
Articulate and justify
personal philosophies
regarding music in their
lives and cite examples that
contributed to this
thinking.
Indicator 1
Assess how elements of
music are used in a work to
create images or evoke
emotions.
Analyzing and
Responding
Benchmark D
Apply appropriate,
established criteria to
evaluate a variety of music
performances.
Indicator 6
Develop and apply criteria
for evaluating quality and
effectiveness of their
performances and
compositions and those of
others.
Lesson Summary:
This lesson will provide students with opportunities to
develop the ability to assess how elements of music are used
in a work to create images or evoke emotions. Students will
listen to examples of program music. Program music is
composed with the intent to elicit an emotion, a vision or an
idea. Students also will practice critical listening skills and
develop further understanding of the elements of music and
how these elements are manipulated to elicit emotional or
perceptual responses in the listener.
Estimated Duration: One and one-half to two hours total
divided over several class sessions. The class sessions
need not be consecutive.
Commentary:
The focus of this lesson is to help students develop their
own listening skills and to become proficient at expressing
their music perceptions verbally or in writing using clear,
cogent musical terminology. It is not important that the
student hear the exact emotion or image intended by the
composer. A wide variety of recorded program music
examples and live performances can be used for this lesson.
Instructional Tips:
 There is a wide selection of program music from which
to choose. These works range from those with program
topics which may be easily recognized to those which
may be very subtle.

Music representing a variety of cultures, performance
groupings, eras and genres can be used. Vocal and
choral works should be included. In vocal and choral
works, the text can be considered to be the “program.”
Students should be reminded to concentrate on
analyzing how the music elements are manipulated to
enhance and illuminate the meaning of the text.
Translations for foreign language texts (lyrics) are
necessary. Contemporary music can and should be
included.
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Music: Visions and Emotions—Grade Nine
Instructional Tip:
The teacher may choose to conduct this lesson as a whole-class project initially. Written
answers can be compiled on an overhead projection sheet or chart paper to be saved for
reference as the lesson progresses. This method would be helpful if students have
difficulty with reading or writing.
Pre-Assessment:
 The Pre-Assessment can be administered orally or in writing.
 Ask students to recall a piece of music they have heard that reminds them of a place,
picture or thought.
 Describe how or why the music reminds them of that image or idea.
 Play a recorded example of program music and instruct students to write their
impressions of the example in regards to the instruments used, the melody, rhythm and
harmony employed, and the mood, picture or thought the music elicited.
 Answers need not be complete sentences or paragraphs.
Scoring Guidelines:
Student responses will vary significantly depending on verbal and written skills, aural
skills and vocabulary. The assessment of student achievement focuses on the individual
student’s expression of his or her impressions about a particular piece of music and the
extent to which the student used clear, cogent musical terminology. It is not important
that the student “hears” the emotion or image intended by the composer. See Attachment
A, Music—Visions and Emotions Scoring Rubric.
Post-Assessment:
 Allow students to choose two contrasting listening examples to assess.
 The teacher may choose to have students answer individually or as a small group
working collaboratively.
 Each example should be about two minutes in duration. See Instructional Tips under
Commentary for guidelines regarding the music examples. See “Resource List” for
possible music to choose.
 Have students answer according to Attachment B, Music—Visions and Emotions
Student Response Sheet.
 Return the student papers from the pre-assessment, including Attachment C, Music –
Visions and Emotions Vocabulary Sheet. Refer to the student paper to complete
Attachment B, Music—Visions and Emotions Student Response Sheet.
 Allow students to choose to respond verbally or in writing.
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Music: Visions and Emotions—Grade Nine
Scoring Guidelines:
The scoring focuses on the student’s ability to express his or her perceptions of the music
examples in clear, cogent music terminology. Each point should have one or more
supporting statements or examples referring to the piece. See Attachment A, Music—
Vision and Emotion Scoring Rubric.
Instructional Procedures:
Day One
Day Two
Day Three
Day Four
Day Five
Define program music; conduct pre-assessment
Listening example focusing on instruments
Listening example focusing on melody, rhythm and harmony
Listening example focusing on mood, picture, thought
Closure; post-assessment
Instructional Tips:
 In this lesson, the term instrument includes the human voice.
 The same listening example can be used for the pre-assessment and Days Two
through Day Four. Different listening examples should be used for the postassessment activity. It is very important for the teacher to choose carefully which
portion of the music to feature.
Day One
1. Put these terms on the board: program music and absolute music.
 Ask students to describe the difference between these two terms. [Program music
is meant to elicit an emotion, a vision, an idea; absolute music is written for the
sake of the beauty of the music, without any extra-musical meaning or intent.]
 Ask students to cite an example of a piece of music that is program music. The
teacher provides an example, if necessary, or clarifies student responses.
 Ask students to cite an example of a piece of music that is absolute music. The
teacher provides example or clarifies student responses.
2. Conduct the pre-assessment.
 Ask students to write the following:
The title (or some other descriptor) of a particular piece of music that
reminds them of places, pictures or thoughts;
Describe how or why the music reminds them of those images or ideas;
Approximately how many times have they heard this music?
Do others have the same reaction to this music? Why or why not?
 Ask for volunteers who are willing to share their answers with the class. The
teacher may wish to model by answering the four questions for the class.
 Write the following on the board: instruments; melody, rhythm and harmony; and
mood, picture and thought.
 Play a brief, one to two-minute, music example. Repeat once or twice, as needed.
See Commentary for guidelines regarding the music examples.
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Music: Visions and Emotions—Grade Nine
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Ask students to write their impressions of the example in reference to instruments
used, the use of melody, rhythm, harmony and the mood, picture and thought the
music elicited. This can be done individually or in small groups by consensus.
Allow four to eight minutes for responses to be framed.
If time permits, the teacher may ask again for volunteers who are willing to share
answers with the class.
The teacher distributes Attachment C, Music—Visions and Emotions Vocabulary
Sheet, and asks students to rate their familiarity with each term. Students can
keep their vocabulary sheets.
Evaluate student paperwork and assess with Attachment A, Music—Visions and
Emotions” Scoring Rubric.
Instructional Tips:
 For students who choose to respond verbally, have copies of Attachment A, Music—
Visions and Emotions Scoring Rubric, available to make brief written notes about the
students’ responses and to indicate rubric scores at the time. This will be an
important reference for the post-assessment at the end of the lesson.

Class discussion of student responses will be valuable in assessing student progress in
listening, analyzing and discussing the music example being studied.
Day Two
3. Put these terms on the board: program music and instruments.
 Ask for volunteers to define program music and cite examples of program music.
 Have students write their names, date and the name of the listening piece and
composer on paper.
 The teacher instructs students to listen to the example and assess in the area of
instruments only. The teacher asks for suggestions of the kinds of things that
could be listened for and creates list on the board as offered by class. Possible
items to include might be family (woodwinds, brass, percussion, strings,
electronic); texture (thick, thin, which instruments used) and specific instruments
(what instruments are solo or predominate). These could be included on a teachermade handout as well.
 The teacher plays the recorded example; students listen.
 The teacher may choose to play the example a second time and allow students to
begin writing their responses. Encourage use of music terminology.
 The teacher can ask students to share response with the whole class.
 Assess written or oral responses informally or with Attachment A, Music—Vision
and Emotion Scoring Rubric.
Day Three
4. Put these terms on the board: program music and melody, rhythm, harmony.
 Ask for a volunteer to review the definition of program music and cite examples
of program music.
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Music: Visions and Emotions—Grade Nine
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The teacher may choose to do a brief review of the previous listening example
exercise that focused on instruments and may choose to have students refer to
their written responses from the earlier listening example.
Have students write their names, date, the name of the listening piece and
composer on paper. The teacher instructs students to listen to the example and
assess in the areas of melody, rhythm and harmony only. The teacher asks for
suggestions of elements of music that could be listened for and creates list on the
board as offered by class. Possible items to include are melody (stepwise or
skipwise and range); rhythm (meter, syncopation, style); harmony (tonality or key
center, consonance, dissonance). These could be included on a teacher-made
handout as well.
The teacher plays the recorded example; students listen.
The teacher may choose to play the example a second or third time and allow
students to begin writing their responses. Encourage use of music terminology.
The teacher can ask students to share responses with the whole class.
Assess written or oral responses informally or with Attachment A, Music—Vision
and Emotion Scoring Rubric.
Day Four
5. Put these terms on the board: program music and mood, picture and thought.
 Ask for a volunteer to review the definition of program music and cite examples
of program music.
 The teacher may choose to do a brief review of the previous listening example
exercises and have students refer to their written responses from the earlier
listening example.
 Have students write their names, date, the name of the listening piece and
composer on paper.
 The teacher should provide a brief commentary on the composer and the program
of the listening example being used.
 The teacher instructs students to listen to the example and assess how melody,
rhythm and harmony are used to create the mood, picture or thought. The teacher
asks for suggestions of the kinds of things that could be listened for and creates a
list on the board as offered by class. Possible items should relate closely to the
composer’s program for the piece. These could be included on a teacher-made
handout as well.
 The teacher plays the recorded example; students listen.
 The teacher may choose to play the example a second or third time and allow
students to begin writing their responses. Encourage use of music terminology.
 The teacher can ask students to share rezones with the whole class.
 Collect written responses to be assessed, Attachment A, Music—Vision and
Emotion Scoring Rubric, and return to students after assessment.
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Music: Visions and Emotions—Grade Nine
Day Five
6. Review student response sheets from Day One through Day Four. This may be done
orally, in writing or by responding to a teacher-made handout or poster or overhead
projection.
 Ask students to assess their response sheets from the pre-assessment through Day
Four.
 What part of the listening task was most comfortable to perform?
What part of the listening task was the most uncomfortable to perform?
In what part of the listening task did you show the most improvement?
In what part of the listening task do you need to continue to improve?
 Have students reassess their Attachment C, Music—Visions and Emotions
Vocabulary List, from the pre-assessment.
 Ask students to discuss why it is valuable to be an active listener.
 Ask students to discuss why it is valuable to express personal perceptions of
musical selections.
7. Conduct post-assessment activity.
 Allow students to choose two from a set of three or more diverse listening
examples to assess.
 Teacher may choose to have students answer individually or as a small group
working collaboratively.
 Each example should be about two minutes in duration. See Commentary for
guidelines regarding the music examples. See Resource List for possible music to
choose.
 Have students answer according to Attachment B, Music—Visions and Emotions
Student Response Sheet.
 Return the student papers from the pre-assessment, including Attachment C,
Music and Emotions Vocabulary Sheet. Refer to the student papers to complete
Attachment B, Music—Visions and Emotions Student Response Sheet.
 Allow students to choose to respond verbally or in writing.
Differentiated Instructional Support:
Instruction is differentiated according to learner needs, to help all learners either meet the
intent of the specified indicator(s) or, if the indicator is already met, to advance beyond
the specified indicator(s).
 Students may meet the indicator by oral or written responses.
 A variety of program music listening examples can be used from simple to
sophisticated to tailor the examples to the skills of the students in the classroom.
 Students or the teacher may create a “listening map” to assist others in following the
progress of the piece as they listen to it. The listening map also assist hearingimpaired students. Use of icons to represent various music elements can be used for
students who have difficulty with reading or writing.
Extensions:
 Students could write music reviews for the school newspaper or news program.
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Music: Visions and Emotions—Grade Nine
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Students could visit elementary classrooms to share a piece of program music with
younger students.
Members of a performing ensemble could write the program notes for an upcoming
concert or present a brief talk before the performance of a work that is a program
piece.
Students could compare and contrast two or more works whose subjects are similar
(e.g., heroism, sorrow, a pastoral scene, the Civil War).
Many program pieces would be conducive to creating a puppet show or pantomime of
the story for students interested in storytelling or dance.
Students whose listening and analyzing skills are advanced may be encouraged to:
Choose their own program music listening examples to analyze;
Prepare brief analyses to present as special reports to the class;
Analyze two pieces by comparing and contrasting;
Function as leaders in small group listening teams with less-advanced peers.
Students who are interested in visual art may choose to create illustrations for a
certain piece of program music.
Students who are interested in creative writing may choose to write a story,
monologue or skit that would accompany the music.
Students interested in composition may compose an overture or postlude to a piece
that was heard or a complementary or contrasting piece.
Home Connections:
 Have students investigate their families’ CD and tape collections to see if their
families have any program music at home.
 Ask relatives and acquaintances about their favorite program music and why they are
favorites.
 Keep a simple logbook of program music heard away from home. List the title of the
piece (if known), where it was heard and in what context. Was the piece used in
reference to the original program or was it being used in a different manner?
 Keep track of program music that has been used as television or movie theme music.
For example, Flight of the Bumblebee was used for “The Green Hornet” television
show in the 1960s, William Tell Overture was used for “The Lone Ranger” television
show, Funeral March of a Marionette was used as the theme song for the “Alfred
Hitchcock Mysteries.”
Interdisciplinary Connections:
Content Area/Discipline: English Language Arts Grade 8 through Ten
Standard: Communications: Oral and Visual Standard
Benchmark F: Provide persuasive presentations that use varied speaking techniques and
strategies and include a clear controlling idea or thesis.
Benchmark G: Give presentations using a variety of delivery methods, visual displays
and technology.
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Music: Visions and Emotions—Grade Nine
Students learn to communicate effectively through exposure to good models and
opportunities for practice. By speaking, listening, providing and interpreting visual
images, they learn to apply their communication skills in increasingly sophisticated ways.
Students learn to deliver presentations that convey information effectively and persuade
or entertain audiences. Proficient speakers control language and choose vocabulary
deliberately to clarify points and adjust presentations according to audience and purpose.
This standard and benchmark is integral to this lesson in two ways: First, music students
will use the skills of oral communication to express their perceptions and opinions about
the listening examples in effective and persuasive way. Second, students will apply some
of the same criteria in judging effective verbal communications when judging the
effectiveness of a composer’s use of the language (elements) of music to convey
information and to entertain.
Materials and Resources:
The inclusion of specific resources and references to particular artists or works of art in
any lesson developed by the Ohio Department of Education should not be interpreted as
an endorsement of the particular resource, artist or artwork. The Ohio Department of
Education does not endorse any particular resource, artist or artwork.
The Web addresses listed are for a given site’s main page, therefore, it may be necessary
to search within the site to find the specific information required for the lesson. Please
note that information published on the Internet changes over time and the links provided
may no longer contain the information related to a given lesson. Teachers are advised to
preview all sites before using them with students.
For the teacher:
chart paper or white board, markers, recordings of program music,
stereo unit to play recordings, copies of Attachment A, Music –
Visions and Emotions, Attachment B, Music – Visions and
Emotions Student Response Form, Attachment C, Music – Visions
and Emotions Vocabulary List for each student; overhead projector
or chart paper if conducting the lesson as a whole-class lesson.
Information on each listening example including composer data
and a brief synopsis of the piece
For the student:
notebook paper, pen and pencil
There are hundreds of potential program music listening examples from which to choose.
This list is meant to be a sample only; it is in no way to be considered exhaustive.
Teachers are encouraged to seek music representative of various music groupings,
historical periods, styles and genres. When looking for pieces based on composer names,
be aware that many first or last names may be spelled in various ways.
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Music: Visions and Emotions—Grade Nine
Instrumental Examples
The Flight of the Bumblebee by Rimsky-Korsakov
The Carnival of Animals by Camille Saint-Saëns
Grand Canyon Suite by Ferde Grofe
Pictures at an Exhibition by Modest Mussorgsky
1812 Overture by P. I. Tchaikovsky
The Planets by Gustav Holst
March to the Scaffold by Hector Berlioz
Symphonie Fantastique by Hector Berlioz
Little Train of the Caipira by Hector Villa-Lobos
Danse Macabre by Camille Saint-Saëns
The Pines of Rome by Ottorino Respighi
Powerhouse by Raymond Scott
The Four Seasons by Antonio Vivaldi
Morning from the Peer Gynt Suite by Edvard Grieg
The Banshee by John Cage
Old Home Days by Charles Ives
Vocal/Choral Examples
The Erlking by Franz Schubert
The Peaceable Kingdom by Randall Thompson
The Creation by Franz Josef Haydn
Messiah by George Frederic Handel
T’was the Night Before Christmas arr. Fred Waring
Finale of Beethoven’s Ninth Symphony
Franz Schubert songs (lieder)
Robert Schumann songs
Any work for ballet or opera; instrumental or vocal music from musicals.
Teacher Resources for Program Music This list is only a sample of a very few
Web sites and publications that may have helpful information. Always preview before
guiding students to these, or any, Web sites.
General Classical composers and music information
www.classical.net/music/welcome.html
www.goodmusic-brighterchildren.cc
Pines of Rome program notes
www.barbwired.com/barbweb/programs/respighi_pines.html
Grand Canyon Suite composer information
www.sbgmusic.com/html/teacher/reference/composers/grofe.html
Carnival of Animals composer/program notes
library.thinkquest.org/C005400/musi/saintsaensca.html
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Music: Visions and Emotions—Grade Nine
Carnival of Animals art activities
www.fastq.com/~jbpratt/education/mypages/saensmoussorgsky.html
Pictures at an Exhibition art activities
www.fastq.com/~jbpratt/education/mypages/saensmoussorgsky.html
The Erlking composer information
www.wwnorton.com/enjoy/lessons/lesson42.html
The Erlking composer information
www.ptloma.edu/music/MUH/composers/schubert.htm
Symphonie Fantastique composer information
www.bbc.co.uk/music/profiles/berlioz.shtml
Vocabulary:
* Term found in the Fine Arts Academic Content Standards Music Glossary.
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accompaniment*
analyze*
chromatic*
choral*
consonance: sounds that are in agreement in terms of physical generation of sound;
i.e., sounds found in the harmonic series of a pitch being harmonized, in contrast to
dissonance.
counterpoint: the combination of two or more melodic lines played against one
another. A horizontal structure built upon competing melodic lines, rather than a
chordal setting.
criteria*
critique*
dissonance: notes that conflict or sound outside of a chord in which they occur. Such
notes usually fall outside the overtones which are being produced by the note or chord
that is sounding.
dynamics: degrees of loudness or softness in a music work and the symbols that
represent them.
expressive qualities*
Technology Connections:
 The use of audio recording and playback equipment is necessary for this lesson.
 The use of computers, electronic MIDI keyboards, music notation/composition
software may be helpful with extensions of this lesson.
 Student research of composers, specific pieces or supportive information can be done
on the Internet.
 Student use of slide-show type software (e.g., Power Point) can be used to illustrate
pieces of program music.
Research Connections:
Gordon, Edwin. “Teaching Procedure Characteristics.” Gordon Institute for Music
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Music: Visions and Emotions—Grade Nine
Learning. www.giml.org/frames.html
Walker, Robert. “A Worthy Function for Music in Education.” International Society for
Music Education, July 10, 2003. www.isme.org/articleprint/91/-1/261/
General Tips:
 The teacher should consider setting the stage for the series of guided listening
sessions included in this lesson by sharing some informal, trial-listening examples
beforehand.
 The teacher should collect a broad range of program music selections representing a
variety of cultures, performance groupings, eras and genres, including contemporary
music and world music to have readily on hand for class and individual student
access.
Attachments:
Attachment A, Music—Visions and Emotions Scoring Rubric
Attachment B, Music—Visions and Emotions Student Response Form
Attachment C, Music—Visions and Emotions Vocabulary List
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Music: Visions and Emotions—Grade Nine
Attachment A
Music—Visions and Emotions Scoring Rubric
Exceptional
Score 4
Accomplished
Score 3
Progressing
Score 2
Novice
Score 1
Not Scorable
Ability to discuss
melodic content
and significance
Ability to discuss
rhythmic content
and significance
Ability to
determine the
instruments that
solo and support
Ability to
synthesize all
music elements and
how they are
manipulated
Ability to discuss
how music
elements depict the
program or his/her
perceptions
Uses exceptional
vocabulary to
present convincing
analysis of melodic
content and
significance
Uses exceptional
vocabulary to
present convincing
analysis of rhythmic
content and
significance
Able to identify
specific instrument
timbres in all
combinations and
textures
Uses exceptional
terminology and
analysis in
discussing music
elements and their
use
Is able to discuss in
great detail the
interplay of music
elements and how
they elicit a
perceptual response
Uses developed
music vocabulary to
discuss melodic
content and
significance.
Uses developed
music vocabulary to
discuss rhythmic
content and
significance.
Accurately identifies
the instruments that
solo and those that
support the melodic
line
Confidently uses
music terminology
to accurately
describe the use of
music elements by
the composer
Uses detailed music
terminology to
explain how music
elements elicit a
perceptual response
Uses only basic
music terms to
discuss melodic
content and limited
significance
Uses only basic
music terms to
discuss rhythmic
content and limited
significance
Usually accurately
identifies
instruments that solo
or support the
melodic line
Able to discuss the
use of music
elements in basic
terminology and
depth
Uses limited music
terminology to
discuss melodic
content
Uses limited music
terminology to
discuss rhythmic
content
Limited ability to
accurately identify
instruments that solo
or support
Limited use of
terminology in
discussing music
elements and how
they are used
Able to discuss how
music elements
create a perceptual
response in basic
terminology and in
some detail
Limited ability to
discuss how music
elements create a
perceptual response
NS
NS
NS
NS
NS
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Music: Visions and Emotions—Grade Nine
Attachment B
Music: Visions and Emotions Student Response Form
Assignment:________________Name:________________________Date:____________
Title of listening example:_________________________________________________
Composer:______________________ Dates:_________b. _________d.
Brief description of the piece and its program:___________________________________
________________________________________________________________________
Write your analysis of how the following music elements are manipulated by the
composer to create the intended mood, picture, or thought.
Helpful Terms
Woodwinds
Strings
Brass
flute
piccolo
clarinet
bass clarinet
oboe
English horn
bassoon
alto sax
tenor sax
baritone sax
violin
viola
cello
bass
guitar
mandolin
banjo
trumpet
cornet
F horn
trombone
baritone
euphonium
tuba
Sousaphone
Percussion
Keyboards
Vocal
snare drum
piano
soprano
bass drum
harpsichord
alto
timpani
organ
tenor
cymbals
synthesizer
bass
triangle
solo
bells
chorus
tambourine
xylophone
castanets
marimba
temple blocks
wood block
Instruments:______________________________________________________________
vibraphone
chimes
Instruments:
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Music: Visions and Emotions—Grade Nine
Helpful Terms
Melody
stepwise
skipwise
Harmony
consonant
dissonant
major
minor
pentatonic
Rhythm
meter
steady beat
syncopation
ostinato
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Music: Visions & Emotions—Grade Nine
Melody:______________________________________________________________
Harmony:_______________________________________________________________
Rhythm:_______________________________________________________________
Analysis:_______________________________________________________________
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Music: Visions & Emotions—Grade Nine
Attachment C
Music—Visions and Emotions Vocabulary List
Name_________________________
Date:_______________
Indicate your familiarity with the following music terms by circling a 1 if no idea, 2 if
not sure, 3 if somewhat familiar, 4 if very familiar.
Pre-Test
Vocabulary List
Post-Test
1
2
3
4
accompaniment
1
2
3
4
1
2
3
4
analyze
1
2
3
4
1
2
3
4
chromatic
1
2
3
4
1
2
3
4
choral
1
2
3
4
1
2
3
4
consonance
1
2
3
4
1
2
3
4
counterpoint
1
2
3
4
1
2
3
4
criteria
1
2
3
4
1
2
3
4
critique
1
2
3
4
1
2
3
4
dissonance
1
2
3
4
1
2
3
4
dynamics
1
2
3
4
1
2
3
4
expressive qualities
1
2
3
4
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