NEWARK PUBLIC SCHOOLS
Curriculum Guide:
BAND
Grades 4-8
Newark Public Schools 2010-2011
Band 4-8
NEWARK PUBLIC SCHOOLS
SCHOOL ADVISORY BOARD MEMBERS
2013-2014
Ms. Antoinette Baskerville-Richardson, Chairperson
Mr. Marques-Aquil Lewis, Vice Chairperson
Mr. Rashon K. Hasan
Mr. Alturrick Kenney
Ms. Eliana Pintor Marin
Ms. DeNiqua Matias
Dr. Rashied McCreary
Ms. Ariagna Perello
Mr. Khalil Sabu Rashidi
Mr. Jordan Thomas, Student Representative
Office of Academic Services©2010
2-2011
Newark Public Schools 2010-2011
Band 4-8
NEWARK PUBLIC SCHOOLS ADMINISTRATION
2013-2014
Cami Anderson, State District Superintendent
Chief of Staff & General Counsel: Charlotte Hitchcock
Assistant Superintendent: Mitchell Center
Assistant Superintendent: Brad Haggerty
Assistant Superintendent: Tiffany Hardrick
Assistant Superintendent: Roger Leon
Assistant Superintendent: Aqua Stovall
Assistant Superintendent: Peter Turnamian
Special Assistant, Office of Curriculum and Instruction: Caleb Perkins
School Business Administrator: Valerie Wilson
Office of Academic Services©2010
3-2011
Newark Public Schools 2010-2011
Band 4-8
TABLE OF CONTENTS
Title Page .......................................................................................................................................................................................................................1
Board Members ..............................................................................................................................................................................................................2
Administration ...............................................................................................................................................................................................................3
Table of Contents ...........................................................................................................................................................................................................4
District Mission Statement .............................................................................................................................................................................................5
District Goals and Guiding Principles ...........................................................................................................................................................................6
Curriculum Committee ..................................................................................................................................................................................................8
Course Philosophy .........................................................................................................................................................................................................9
Course Description.......................................................................................................................................................................................................10
Recommended Textbooks ............................................................................................................................................................................................13
Course Proficiencies ....................................................................................................................................................................................................14
Curriculum Units .........................................................................................................................................................................................................17
Course Pacing ..............................................................................................................................................................................................................18
Standards, Goals, and Objectives.................................................................................................................................................................................25
Appendix ......................................................................................................................................................................................................................45
Office of Academic Services©2010
4-2011
Newark Public Schools 2010-2011
Band 4-8
THE NEWARK PUBLIC SCHOOLS DISTRICT
MISSION STATEMENT
The Newark Public Schools District’s mission is to develop a productive citizen who is distinguished in all aspects of
academic endeavors and willing to challenge the status quo in our society. We are committed to ensuring that our policies and
practices will prepare our students for a world that is increasingly diverse and knowledge driven. We expect our schools and
classroom environments to be emotionally safe and intellectually challenging. We pledge to partner with parents, groups, and
organizations that add support to the mission by changing hearts and minds to value education.
Office of Academic Services©2010
5-2011
Newark Public Schools 2010-2011
Band 4-8
GOALS AND PRIORITIES
Great Expectations: 2009-13 Strategic Plan
OUR SHARED GOAL: PREPARING ALL STUDENTS FOR COLLEGE, WORK, AND CITIZENSHIP
Our youth need to be able to compete in an increasingly complex, competitive, and diverse world. Many of the best new jobs require not just a
high school diploma but at least two years of college. We need to raise the bar, and we are. Our goals for 2013 are very challenging. Students
need to be:

Ready to learn by kindergarten. 80 percent of our students will be ready to learn by kindergarten, up from 64 percent
in 2008–09.

Reading and writing at grade level by the end of 3rd grade. 80 percent will be reading and writing by the end of
3rd grade, up from 40 percent in 2008–09.

Ready for the middle grades. 80 percent of 5th graders will be proficient or above in language arts literacy and
85 proficient or above in math, up from 40 percent and 59 percent, respectively, in 2008–09.

Ready for high school. 80 percent will be “on track for graduation,” up from 38 percent of freshmen who are on track
to begin the 2009–10 school year.

Ready for college or work. 80 percent will graduate, and 80 percent of graduates will enroll in college, up from 54 percent and 38 percent,
respectively, in 2008–09.
Office of Academic Services©2010
6-2011
Newark Public Schools 2010-2011
Band 4-8
GOALS AND PRIORITIES
Great Expectations: 2009-13 Strategic Plan
PRIORITIES
PRIORITY 1. Ensure highly effective teachers and principals deliver strong curriculum, instruction, and assessment
 Strengthen and align curriculum with rigorous standards, ensuring that it is engaging, challenging, and consistently implemented.
 Create a highly effective professional development system for teachers and administrators that is more focused on delivering quality
instruction and aligned to the learning needs of each student.
 Ensure there is a highly effective teacher in every classroom and a highly effective principal in every school by strengthening the preparation,
recruitment, induction, evaluation, recognition, and compensation of effective teachers and principals.
PRIORITY 2. Build a system of great schools that serve students, their families, and the community
 Build an aligned, supportive Pre-K–grade 3 pipeline that ensures students are ready for kindergarten, reading by grade 3, and prepared to
move forward.
 Transform the middle grades experience to ensure students are prepared for high school — academically, socially, and emotionally.
 Dramatically transform our high schools, building a system of themed, college and
career-oriented schools that ensure all students graduate prepared for college, work, and citizenship.
 Implement an aggressive strategy for turning around low-performing schools that includes reconstitution, external partnerships, full-service
“community schools,” and other effective strategies.
PRIORITY 3. Ensure that schools are safe, welcoming, and working collaboratively with parents, families, and community partners to
support student success
 Ensure that all students, parents, families, and community members are respected and all schools are safe and “family-friendly.”
 Actively work to help parents and families become more informed and involved.
 Expand and strengthen quality partnerships, including the “full-service community school” model to provide services,
PRIORITY 4. Improve our educational practice by creating an accountability system that promotes data-informed, effective, and efficient
management and operations
 Reorganize central and regional offices, and streamline operations to strengthen support to schools and students.
 Create a culture of accountability that uses data to inform decision-making at every level in support of the district’s strategic priorities.
 Increase the transparency of how we make decisions and report on outcomes of our work together.
Office of Academic Services©2010
7-2011
Newark Public Schools 2010-2011
Band 4-8
NEWARK PUBLIC SCHOOLS
SCHOOL ADVISORY BOARD
Program and Instruction Committee
Ms. DeNiqua Matias
Dr. Rashied McCreary
Ms. Ariagna Perello
Mr. Khalil Rashidi
Dr. Caleb Perkins, NPS Special Assistant of Curriculum
Valerie Merritt, NPS Director of Board Relations
Office of Academic Services©2010
8-2011
Newark Public Schools 2010-2011
Band 4-8
Newark Public Schools
Band – Grades 4-8
Course Philosophy
Music Education is an essential part of each student’s development and growth. Each child enters the world in which sound and its more organized form,
music surrounds their daily existence. Whether through hearing or feeling, sound makes is presence known to each of us. It is from sound that our
languages were first born. The ideas of man were first expressed by sound then signs and symbols associated with those sounds.
Music is a language that is expressed through symbols and signs. Through a planned stratagem each child will develop literacy in music according to
their ability. Upon completion of this curriculum, students will be able to convert the symbols of music into musical expression, so each student will
develop sufficient literacy in music to be able to intelligently follow and understand a selection of music.
Further, it is hoped that each student will come to see music as a major means utilized by all people to express their emotions and feelings. Music has
been used by all cultures to exalt man’s highest ideals and aspirations. Through its communicative nature music has the ability to transcend the
restrictions of language and convey thoughts and feelings to all people.
Music is an expression of culture and it is through the sequential study of the music of various cultures that students will not only experience and
understand a part of these cultures, but also be able to see the music of their own culture with greater appreciation.
Music education can provide positive and successful experiences for all students. The success-oriented experiences can be realized by students who may
otherwise encounter learning difficulties in the realms of purely academics subjects. Music not only enhances the learning of all students, but through the
opportunities it provides for individual and group performance, it can be utilized to identify and develop those students with special abilities and talents. It
is hoped that some students who may possess exceptional ability and talent will be able to develop their talents and knowledge in order to make a
contribution to world culture in the area of musical arts.
Office of Academic Services©2010
9-2011
Newark Public Schools 2010-2011
Band 4-8
Band – Grades 4-8
Course Description
Band – Grade 4
Fourth Grade students electing to play and study a band instrument will have classes during school in Band. Students will use the
skills they acquire in playing an instrument to work on Grade Level 1/2 to 1 music for performance. An emphasis on mastery and playing
music to perfection will be stressed. During this class, students will learn the following:

How to read music

The concepts of melody, rhythm, and beat

How to be competent with rhythm reading and counting

How music relates to history and culture

How music makes connections to other core subject areas

How music connects to the real world
In addition, students will integrate the above skills and concepts as learn how to play their instruments in a group setting,
concentrating on:

Following the cues of a conductor

Playing in sections

The initial concepts of balance, blend, and timbre

Developing early musical listening skills

Beginning improvisation
Office of Academic Services©2010
10-2011
Newark Public Schools 2010-2011
Band 4-8
Band – Grades 4-8
Course Description
Band – Grade 5
Fifth Grade students electing to play and study a band instrument will have classes during school in Band. Students who have previously
played an instrument in Grade 4 who wish to continue in Grade 5 as well as those students who wish to begin an instrument for the first time
are included in this class. Students will use the skills they acquire in playing an instrument to work on Grade Level 1/2 to 1-1/2 music for
performance. An emphasis on mastery and playing music to perfection will be stressed. During this class, students will learn the following:

How to read music

The concepts of melody, rhythm, and beat

How to be competent with rhythm reading and counting

How music relates to history and culture

How music makes connections to other core subject areas

How music connects to the real world
In addition, students will integrate the above skills and concepts as they learn how to play their instruments in a group setting,
concentrating on:

Following the cues of a conductor

Playing in sections

The initial concepts of balance, blend, and timbre

Developing early musical listening skills

Beginning improvisation
Office of Academic Services©2010
11-2011
Newark Public Schools 2010-2011
Band 4-8
Band – Grades 4-8
Course Description
Band – Grades 6 - 8
Sixth Grade students will start to explore their band music in more depth, from a variety of different angles. Students will receive
small group instruction, full band instruction (ensemble skills), the added challenge of bringing their performance skills to the
community. In addition to the traditional sit-down performance skills they will learn to play standing, while marching, and learn about
traditional parade formations and appropriate community repertoire.
In addition, students will integrate the above skills and concepts as learn how to play their instruments in a group setting,
concentrating on:

Perform on an instrument, alone and with others, a varied repertoire of music

Improvise

Compose or arrange music within specified guidelines

Read and notate music

Listen to, analyze, and describe music (in terms of the elements of music)

Evaluate music and music performances (using specific criteria)

Understand relationships between music, the other arts, and disciplines outside the arts

Understand music in relation to history and culture
Office of Academic Services©2010
12-2011
Newark Public Schools 2010-2011
Band 4-8
Recommended Textbooks/Resources
Essential Elements 2000 was written by the outstanding educational team of Dr. Tim Lautzenheiser, John Higgins, Dr. Charles Menghini, Paul
Lavender, Tom Rhodes and Don Bierschenk. EE 2000 combines the very best aspects of the already successful Essential Elements band method
with incredible new features that will motivate every band student like never before.
Dr. Tim Lautzenheiser, John Higgins, Dr. Charles Menghini, Paul Lavender, Tom Rhodes and Don Bierschenk, (2000), Essential Elements 2000,
Milwaukee, WI, Hal Leonard Corporation: ISBN: 0634003119
Office of Academic Services©2010
13-2011
Newark Public Schools 2010-2011
Band 4-8
Course Proficiencies
Band – Grade 4
Students will be able to:
Demonstrate proper procedures for the care and handling of the instrument.
Demonstrate proper procedures for the maintenance of the instrument.
Demonstrate proper breath control and mouth placement/stick and mallet grip, posture, tonguing, and hand position on an
instrument.
Keep a steady pulse while reading and playing melodies containing notes and rests of varying length.
Identify the names of the line and space notes in the treble and bass clef, including basic extension of the music staff by use
of ledger lines.
Recognize and perform in two key signatures and three meter signatures.
Recognize and perform with contrasting volume and speed as indicated by the music.
Perform accurately and independently in two part ensembles.
Improvise, read, and play simple rhythmic and melodic patterns.
Compose simple rhythmic and melodic patterns using traditional notation.
Analyze and describe their performance using musical vocabulary.
Listen to and recognize a variety of music styles and forms from different cultures and historical periods.
Office of Academic Services©2010
14-2011
Newark Public Schools 2010-2011
Band 4-8
Course Proficiencies
Band – Grade 5
In addition to Grade 4 Course Proficiencies, second year students will be able to:
Keep a steady pulse while reading and playing melodies and accompanying patterns with music containing whole, half,
dotted half, quarter, eighth, dotted quarter/eighth notes and rests.
Identify the names of the line and space notes in the treble and bass clef, including further extension of the music staff by
use of ledger lines (building and expanding on Grade 4 skills).
Recognize and perform in various key signatures (Bb, Eb, F) and meter signatures (2/4, 3/4, 4/4) and accidentals within the
repertoire.
Recognize and perform various dynamic markings (p, mf, f) and tempo markings (largo, andante, moderato, allegro).
Perform accurately and independently in two or three part ensembles or instrument sections.
Office of Academic Services©2010
15-2011
Newark Public Schools 2010-2011
Band 4-8
Course Proficiencies
Band – Grades 6-8
Students will be able to:
Perform on an instrument, alone and with others, a varied repertoire of music
Improvise (melodies, variations, and accompaniments on their primary instrument).
Compose or arrange music within specified guidelines
Read and notate music (accurately and expressively, with a difficulty level of 1.5-2 on a scale of 1 to 6).
Listen to, analyze, and describe music (in terms of the elements of music).
Evaluate music and music performances
Understand relationships between music, the other arts, and disciplines outside the arts.
Understand music in relation to history and culture.
Office of Academic Services©2010
16-2011
Newark Public Schools 2010-2011
Band 4-8
Curriculum Units
The Band Grades 4-8 curriculum comprises four strands:

Instrument Care, Handling and Maintenance

Tone Production

Musicianship

Performance
Instrument Care, Handling and Maintenance
Students will demonstrate a working knowledge of the various parts of their instrument; how to assemble and disassemble their instrument;
the use of oils, creams, and/or greases; cleaning/swabbing their instrument and maintenance of instrument cases.
Tone Production
Students will demonstrate a working knowledge of the techniques and methods of proper tone production on their instrument. This will
include, but not be limited to: a knowledge of the breathing mechanism; embouchure and aperture; fundamentals of good posture; hand
and finger positions; chin/jaw placements; correct mouth and tongue placements for articulations; understanding of the qualities of musical
tone and intonation; evaluate and assess their individual tone production.
Musicianship
Students will demonstrate musicianship skills in solo and ensemble settings by: reading and performing exercises, scales and repertoire; by
creating music; by listening to and analyzing musical samples; and through performance critique.
Performance
Students will demonstrate maturity and expressiveness in performance practices by reading and performing solo and ensemble repertoire of
various genres, styles and graded levels, with accurate pitch, rhythm, articulation, balance/blend, technical proficiency and musicianship.
Office of Academic Services©2010
17-2011
Newark Public Schools 2010-2011
Band 4-8
Suggested Course Pacing
TOPICS
THEME
Introduction of
Technique
BLOCK
FULL CLASS
1 Day
1 Day
1 Day
1 Day
1 Day
1 Day
1 Day
1 Day
Continuous
Continuous
Embouchure
Continuous
Continuous
Fingering
Continuous
Continuous
Air
Continuous
Continuous
Posture
Embouchure
Fingering
Air/breath
Refinement of
Technique
Office of Academic Services©2010
Posture
18-2011
Newark Public Schools 2010-2011
TOPICS
Band 4-8
THEME
Rhythm
Refinement of
Rhythm
Scales
BLOCK
FULL CLASS
1 Day
1 Day
Continuous
Continuous
1 Day
1 Day
Continuous
Continuous
Introduction of Dynamics
1 Day
1 Day
Refinement of Dynamics
Continuous
Continuous
Introduction To Notation
1 Day
1 Day
Continuous
Continuous
1 Day
1 Day
Continuous
Continuous
Introduction of Basic Rhythm
Refinement of Basic Rhythm
Introduction of Scales
Refinement of Scales
Dynamics
Notation
Refinement of Notation
Ear Training/Aural
Skills
Introduction to Ear Training
Refinement of Ear Training
Office of Academic Services©2010
19-2011
Newark Public Schools 2010-2011
TOPICS
Band 4-8
THEME
BLOCK
FULL CLASS
Aesthetics
Introduction of Aesthetics
1 Day
1 Day
Aesthetics
Refinement of Aesthetics
Continuous
Continuous
1 Day
1 Day
Individual Practice
Strategies
Introduction of Primary Practice
Strategies
Refinement of Practice Strategies
Continuous
Continuous
Articulation
Ensemble
Performance
Introduction of Articulation
1 Day
1 Day
Refinement of Articulations
Continuous
Continuous
Introduction of Performance
1 Day
1 Day
Continuous
Continuous
Refinement of Solo/Ensemble
Performance
Office of Academic Services©2010
20-2011
Newark Public Schools 2010-2011
Band 4-8
Suggested Course Pacing
Band – Grades 4-5
Cycle 1
Identify the parts of the instrument
Posture
Breathing Techniques
Hand/Stick Position
Embouchure/Aperture
Introduction to Music Reading
Beat
Long Tones
First Five Notes
Quarter Notes and Rests
Repeat Signs and Double Bar Lines
Cycle 2
Natural
Flat
Sharp
Treble Clef
Bass Clef
Key Signature
Time Signature – 4/4
Half Notes and Rests
Whole Notes and Rests
Breath Marks
Major Scale
Concert C, F and Bb
Office of Academic Services©2010
21-2011
Newark Public Schools 2010-2011
Band 4-8
Cycle 3
Dynamics
Time Signature – 2/4
Tempo
Eighth Notes and Rests
Ties and Slurs
Dotted Notes and Rests
Concert Eb, Ab
Cycle 4
Accent
Time Signature – 3/4
1st and 2nd Endings
Da Capo and Del Segno
Fine and Coda
Phrase
Multiple Measure Rests
Concert G and D
Office of Academic Services©2010
22-2011
Newark Public Schools 2010-2011
Band 4-8
Band – Grades 6-8
Cycle 1
Review Concepts of Band Grades 4-5
Staccato
Legato
Crescendo
Decrescendo
Ritardando
Accelerando
Sight Reading
Cycle 2
Concert Db and Gb
Staccato
Legato
Tenuto
Cut Time – Alla Breve
Syncopation
Cycle 3
Sixteenth Notes and Rests
Concert E and B
Balance
Blend
Natural Minor Scale
Key Changes
Time Changes
Office of Academic Services©2010
23-2011
Newark Public Schools 2010-2011
Band 4-8
Cycle 4
Concert Cb, B, F# and C#
Rallantando
Compound Meter – 6/8
Enharmonics
Chromatic Scale
Following the Conductor
Office of Academic Services©2010
24-2011
Newark Public Schools 2010-2011
Band 4-8
Standard 1.1
All students will demonstrate an understanding of the elements and principles that govern the creation of works of
art in dance, music, theatre, and visual art.
Strand B: Music
Essential
Questions
Why should I care about
music?
What is the purpose and
value of music in our
society?
What’s the difference
between a thoughtful and a
thoughtless artistic
judgment?
What are the specific
qualities that cause you to be
drawn to or disinterested in
a certain piece of music?
What role does the audience
play in a performance?
Instructional Objectives / Skills
and Benchmarks (CPIs)
1. 1.1.5.B.1 Identify the elements of music
in response to aural prompts and printed
music notational systems.
2. 1.1.5.B.2 Demonstrate the basic concepts
of meter, rhythm, tonality, intervals,
chords, and melodic and harmonic
progressions, and differentiate basic
structures.
Types of Research
Suggested Resources
Based Activities and
Assessments that could illustrate
Objectives
Discuss the various definitions of music
and the functions of music in society.
http://www.researchbuzz.org/aesthetics
music/
Define and discuss the elements of
music.
http://www.carnegiehall.org/SiteCode/In
tro.aspx
Use audio/visual resources to discuss
and write about musical performances.
http://www.apassion4jazz.net/
Attend live performances.
http://www.jamesfrankel.com/tempomar
ch2006.htm
3. 1.1.8.B.2 Compare and contrast the use
of structural forms and the manipulation
of the elements of music in diverse styles
and genres of musical compositions.
Perform for classmates, peers and other
audience groups.
http://www.kidsource.com/kidsource/co
ntent/diff_instruction.html
Intro to School Band Instruments
http://www.menc.org/v/general_music/d
ifferentiating-instruction
4. NAT 2. Performing on instruments,
alone and with others, a varied repertoire
of music
Rhythm Bingo
5.
http://www.jstor.org/pss/3399721
Repeat Signs
NPS 6a. Perform diverse solo selections from
classical to contemporary repertory with
reasonable accuracy of pitch, rhythm,
harmony and balance.
Office of Academic Services©2010
25-2011
Newark Public Schools 2010-2011
Band 4-8
Standard 1.2
All students will understand the role, development, and influence of the arts throughout history and across
cultures.
Strand A: History of the Arts and Culture
Essential
Questions
Does art define culture or does
culture define art?
What social, historical and
economic factors affected the
‘staying power’ of certain
musical styles?
Does knowledge of historical
periods impact a musician’s
ability to perform a musical
selection?
What correlations can be found
among all the arts in a given
historical period?
Instructional Objectives / Skills
and Benchmarks (CPIs)
6. 1.2.5.A.1 Recognize works of dance,
music, theatre, and visual art as a
reflection of societal values and beliefs.
7. 1.2.5.A.3 Determine the impact of
significant contributions of individual
artists in dance, music, theatre, and
visual art from diverse cultures
throughout history.
8. 1.2.8.A.1 Map historical innovations in
dance, music, theatre, and visual art that
were caused by the creation of new
technologies.
9. 1.2.8.A.3 Analyze the social, historical,
and political impact of artists on culture
and the impact of culture on the arts.
10. NAT 9. Understanding music in relation
to history and culture.
Types of Research
Suggested Resources
Based Activities and
Assessments that could illustrate
Objectives
Listen to recordings of various historical
and cultural styles and compare and
contrast these samples.
Attend local music performances that
include a variety of instrumental
combinations and write a reflective
journal
Research the major time periods in
musical history and prepare an oral
presentation for the class.
Create a radio log of music listened to
over a period of several days.
http://www.radiorow.com/
http://performingarts.net/Links/centers.h
tml
http://www.symphony.org/
http://bandsinamerica.tripod.com/http:
http://www.apassion4jazz.net/
http://www.jamesfrankel.com/tempomar
ch2006.htm
http://www.kidsource.com/kidsource/co
ntent/diff_instruction.html
Students Act As TV Reporters
Name That Style
http://www.menc.org/v/general_music/d
ifferentiating-instruction
History of African American Music
http://www.jstor.org/pss/3399721
11. NPS 6b. Perform diverse ensemble
selections from classical to contemporary
repertory using variety of styles, cultures
and languages.
Office of Academic Services©2010
26-2011
Newark Public Schools 2010-2011
Band 4-8
Standard 1.3
All students will synthesize skills, media, methods, and technologies that are appropriate to creating, performing,
and/or presenting works of art in dance, music, theatre, and visual art.
Strand B: Music
Essential
Questions
How do underlying structures
unconsciously guide the
creation of arts works?
Does art have boundaries?
How does the knowledge and
understanding of the elements
of music relate to all aspects of
an instrumental performance?
What are the traditional
fundamental principles of a
musical composition?
What is involved in the process
of composition?
Instructional Objectives / Skills
and Benchmarks (CPIs)
12. 1.3.2.B.2 Use a variety of musical
instruments to create music, alone and/or
with others, using different beats,
tempos, dynamics, and interpretations.
13. 1.3.2.B.7 Blend unison and harmonic
parts and vocal or instrumental timbres
while matching dynamic levels in
response to a conductor’s cues.
14. NAT 4. Composing and arranging music
within specified guidelines.
15. NPS 5a. Demonstrate appropriate
performance practices
Types of Research
Suggested Resources
Based Activities and
Assessments that could illustrate
Objectives
Have students create a fingering chart
for their instrument.
http://www.menc.org
http://www.emusictheory.com
Have students perform proper
performance technique.
http://www.wfg.woodwind.org
Develop a list of proper practice habits.
http://www.musictechnology.com
Develop an action plan of relaxation
strategies for use before and during a
performance.
http://www.lessontutor.com
Perform for classmates, peers and other
audience groups.
http://www.apassion4jazz.net
Creating a Sound Map
Instrument Making
http://www.classicalarchives.com
http://www.jamesfrankel.com/tempomar
ch2006.htm
http://www.kidsource.com/kidsource/co
ntent/diff_instruction.html
Composing - Rhythm Charts
http://www.menc.org/v/general_music/d
ifferentiating-instruction
http://www.jstor.org/pss/3399721
Office of Academic Services©2010
27-2011
Newark Public Schools 2010-2011
Band 4-8
Standard 1.4
All students will demonstrate and apply an understanding of arts philosophies, judgment, and analysis to works of
art in dance, music, theatre, and visual art.
Strand A: Aesthetic Responses
Essential
Questions
When is art criticism vital and
when is it beside the point?
How will knowledge of the
elements of music assist in
discussing and critiquing a
performance?
Why is critique, both self and
peer, effective and necessary in
the development of a musician
as a performer?
How does tradition and past
experience influence our
expectations of a musical
performance?
How do we describe a musical
performance?
Instructional Objectives / Skills
and Benchmarks (CPIs)
16. 1.4.5.A.1 Employ basic, disciplinespecific arts terminology to categorize
works of dance, music, theatre, and
visual art according to established
classifications.
17. 1.4.8.A.1 Generate observational and
emotional responses to diverse culturally
and historically specific works of dance,
music, theatre, and visual art.
18. NAT 6. Listening to, analyzing, and
describing music.
19. NPS 7a Listens to and/or views
recordings of professional performances,
using relevant listening guides and
scores for enrichment and critique
Types of Research
Suggested Resources
Based Activities and
Assessments that could illustrate
Objectives
List the criteria used to critique a
musical performance.
Have small group discussions to
formulate a performance rubric.
Attend performances of various
ensembles and soloists, applying the
evolved criteria for critique.
http://www.chrisproctor.com/critiques.ht
ml
http://rubistar.4teachers.org/index.php
http://musicquotes.anarchyblogs.com/cat
egory/critique/
http://www.fromthetop.org/
Students will read and analyze music
reviews in print and online publications
regarding the elements of performance.
http://www.newspapers.com/
Students perform pieces in class and
evaluate each other’s performances
using the rubric and share comments.
http://www.jamesfrankel.com/tempomar
ch2006.htm
The Function of Music
http://music.toptenreviews.com/
http://www.kidsource.com/kidsource/co
ntent/diff_instruction.html
http://www.menc.org/v/general_music/d
ifferentiating-instruction
http://www.jstor.org/pss/3399721
Office of Academic Services©2010
28-2011
Newark Public Schools 2010-2011
Band 4-8
Standard 1.4
All students will demonstrate and apply an understanding of arts philosophies, judgment, and analysis to works of
art in dance, music, theatre, and visual art.
Strand B: Critique Methodologies
Essential
Questions
When is art criticism vital and
when is it beside the point?
How will knowledge of the
elements of music assist in
discussing and critiquing a
performance?
Why is critique, both self and
peer, effective and necessary in
the development of a musician
as a performer?
How does tradition and past
experience influence our
expectations of a musical
performance?
How do we describe a musical
performance?
Instructional Objectives / Skills
and Benchmarks (CPIs)
20. 1.4.5.B.2 Use evaluative tools, such as
rubrics, for self-assessment and to
appraise the objectivity of critiques by
peers.
21. 1.4.8.B.1 Evaluate the effectiveness of a
work of art by differentiating between
the artist’s technical proficiency and the
work’s content or form.
22. NAT 7. Evaluating music and music
performances.
23. NPS 7b. Listens to and/or views
recordings of own and/or peer
performances, using relevant listening
guides and scores for enrichment and
critique
Types of Research
Suggested Resources
Based Activities and
Assessments that could illustrate
Objectives
List the criteria used to critique a
musical performance.
Have small group discussions to
formulate a performance rubric.
Attend performances of various
ensembles and soloists, applying the
evolved criteria for critique.
http://www.chrisproctor.com/critiques.ht
ml
http://rubistar.4teachers.org/index.php
http://musicquotes.anarchyblogs.com/cat
egory/critique/
http://www.fromthetop.org/
Students will read and analyze music
reviews in print and online publications
regarding the elements of performance.
http://www.newspapers.com/
Students perform pieces in class and
evaluate each other’s performances
using the rubric and share comments.
http://www.jamesfrankel.com/tempomar
ch2006.htm
Found Music Unit Dress, Success!
Found Music Unit, The Concert
http://music.toptenreviews.com/
http://www.kidsource.com/kidsource/co
ntent/diff_instruction.html
http://www.menc.org/v/general_music/d
ifferentiating-instruction
http://www.jstor.org/pss/3399721
Office of Academic Services©2010
29-2011
Newark Public Schools 2010-2011
Band 4-8
Intro to School Band Instruments
Applies to Standards: Standard 1.1 - All students will demonstrate an understanding of the elements and principles that govern the creation of
works of art in dance, music, theatre, and visual art.
Brief Description: Students will learn about various instruments in a school band.
How to Teach It: Materials: Piccolo, Flute, Soprano Clarinet, Alto Clarinet, Alto Sax, Tenor Sax, Baritone Sax, Trumpet, Trombone, Tuba, Oboe,
French Horn, Snare Drum, etc.
Do Now: Make a list of all the instruments in a school band.
Procedure:
1. Teacher will first give a brief overview on the many roles of a school band.
2. Teacher will then explain the three different instrument families in a band (Woodwind, Brass, Percussion).
3. Starting with the Woodwinds, the teacher will introduce each instrument explaining its purpose, sound and
construction. A sound demonstration will be given.
4. For Brass, see step 3.
5. For Percussion, see step 3.
Evaluation: The students will be able to answer different questions about the instruments they have witnessed.
Office of Academic Services©2010
30-2011
Newark Public Schools 2010-2011
Band 4-8
Rhythm Bingo
Applies to Standards: Standard 1.1 - All students will demonstrate an understanding of the elements and principles that govern the creation of
works of art in dance, music, theatre, and visual art.
Brief Description: Identify types of notes and rests; treble and bass clefs through the use of the game Bingo.
How to Teach It: Preparation: Make up bingo cards using the word "music" across the top instead of "bingo." Make the center a free square and
the rest of the squares (bingo card should be 5x5) should contain different notes and rests and clefs and anything you
want to review.
Process: Pass out bingo cards and a small piece of paper (to rip up for game pieces.) Play bingo as usual.
Office of Academic Services©2010
31-2011
Newark Public Schools 2010-2011
Band 4-8
Repeat Signs
Applies to Standards: Standard 1.1 - All students will demonstrate an understanding of the elements and principles that govern the creation of
works of art in dance, music, theatre, and visual art.
Brief Description: Introduce music notation Work on reading skills - Repeat Sign, D.S. al Coda, D.C. al Coda, repeat measure
How to Teach It: Materials: Worksheet for all the students in the class that has a verse that has many repeated words
Procedures:
1. Talk about how composers are so busy that they do not have enough time to keep writing the same material over and over.
2. Draw on the board a repeat sign and ask the class if anyone knows what this is? (Any kids that are in band will probably know but give the other
students a chance to guess).
3. "Musicians like to use shortcuts when they write music. If a portion of a song is going to be sung twice the composer will use these repeat signs or
repeat signs and multiple endings." Maybe you have seen those boxes with one and two over them, well those are for repeating.
4. Show the kids a copy of music with either repeat signs or repeat signs and multiple endings. (In our book the star spangled banner has two verses)
Did these shortcuts help you get lost in the music rather than help you get to the end?
5. Pass out the hand out with the poem on it (and write it on the board so you can refer to it).
6. "Say the verse together with me and find its meter where the strong pulses are. The pulses are grouped together is sets of?
7. Since they said two we will put a two next to the first line to remind us of the meter.
8. Now place vertical lines in the verse to separate the words into two beat units - measures. (Then show them what you mean by putting the bar lines in
the first line of roses are red).
9. Draw a circle around all the words that repeat.
10. Ask the students if they know how to write a shortcut so we won't have to write all these repeated words twice? Draw on the board what it would
look like in a piece of music using repeat sign.
11. Point to each repeat sign and explain why there has to be two (one at the end of the line and one back at the beginning).
12. Now have the students add a third line on their papers Roses are red, Violets are Blue, Skunks really stink, and teachers too (Most students will add
a third ending, but some will forget to add a repeat sign at the end of the second).
13. Why is this repeat sign required after the second ending??
14. Another short cut that people use is the D.C. al Coda which is then followed by a Coda (Draw a coda and tell them what is does).
15. Show them a piece in their music book and then have them read the text using the short cut.
16. Show them a repeat measure sign and tell them what it does.
17. Finally show them the D.S. al Coda sign and show them what it does (Find a piece of music in their books that uses these and have them read the
text using this short cut)
Office of Academic Services©2010
32-2011
Newark Public Schools 2010-2011
Band 4-8
Students Act As TV Reporters
Applies to Standards: Standard 1.2 - All students will understand the role, development, and influence of the arts throughout history and across
cultures.
Brief Description: Students act as TV reporters and interview their favorite composer.
How to Teach It: Materials Needed: Biographies and music of several composers, video camera (optional) art supplies to help children create
microphones and costumes of the composer.
Lesson: Have groups of students choose a composer to study. Provide biographies for the children to study and pieces of music
for the children to listen to. Have them gather pertinent information about important pieces their composer composed,
when they were born, where they lived, etc. Write your own script and demonstrate so the students can model. Give
them time to create scripts and rehearse. Make sure the children incorporate a section of the music from their composer.
They can include the music just like a Hollywood star and talk show host watch a piece of their upcoming films and then
discuss it afterwards. Students become very creative and you could have a production crew and camera crew to make it
really interesting. Videotape the students and watch it later. Ask them to write a little paragraph explaining the whole
process and what they learned from it.
Office of Academic Services©2010
33-2011
Newark Public Schools 2010-2011
Band 4-8
Name That Style
Applies to Standards: Standard 1.2 - All students will understand the role, development, and influence of the arts throughout history and across
cultures.
Brief Description: This lessons reinforces the elements of music within a variety of music styles
How to Teach It: Materials: A collection of a wide variety of music recordings.
1.
2.
3.
4.
5.
6.
7.
8.
Procedures:
List or post the elements--melody, form, harmony, rhythm, dynamics, timbre--and brief definitions of each.
See if students can come up with a good definition of style. Discuss briefly that what makes a style unique is the way the elements of music are utilized in the music.
Have students brainstorm as many styles as they can, including styles they like and styles they don't like. Have them try to think of at least 10.
Get a volunteer to make a master list on the board. Give each student the chance to name one from his/her list. After each student has had a turn, get other styles that
have not yet been named. Finally, add any that you have thought of that were left out.
Have students choose from the list to describe a particular style. Encourage the use of musical terms to describe the styles, not opinions about the styles.
Explain that you will be playing excerpts of several styles that are listed. Their task is to list the style. Have them number 1-10 (or however many selections you have)
and be ready to guess the style. If they are unsure, the task is to describe the music (using music terms).
Play excerpts. After the game, and as time permits, offer to let them listen to full pieces of their favorite excerpts. *
Close by reviewing the elements of music, and the definition of style.
Assessment: Check the papers.
Office of Academic Services©2010
34-2011
Newark Public Schools 2010-2011
Band 4-8
History of African-American Music
Applies to Standards: Standard 1.2 - All students will understand the role, development, and influence of the arts throughout history and across
cultures.
Brief Description: African-American music history awareness
How to Teach It: Students will be made aware of African-American music history from the slave work song through modern rap and hip-hop.
Students will also be made aware of significant musical figures from several styles. Dates range from c.1619 through 2005.
Selections:
1. Work Song - "Pickin' Cotton All Day Long"
2. Spiritual - "Come By Here"
3. Blues - "Nobody Loves Me, But My Mother" (B. B. King)
4. Jazz - "Don't Worry 'Bout Me"
5. Rhythm and Blues - "Let the Good Times Roll (Ray Charles)
6. Funk/Soul - "Papa's Got a Brand New Bag" (James Brown)
7. Hip Hop (early) - "Hip Hop Be Bop"
8. Rap/Hip Hop (contemporary) - "God Gave Me Style" (50 Cent)
Assessment: Students will be asked questions with each selection. Questions will be in regard to personal preferences of students and their ability to
recognize the common threads in African-American music history.
Office of Academic Services©2010
35-2011
Newark Public Schools 2010-2011
Band 4-8
Creating a Sound Map
Applies to Standards: Standard 1.3 - All students will synthesize skills, media, methods, and technologies that are appropriate to creating,
performing, and/or presenting works of art in dance, music, theatre, and visual art.
Brief Description: This lesson will reinforce the reading of notated rhythms and the correct use classroom instruments.
How to Teach It: Materials: Recording of chosen song
Classroom instruments
Classroom chalkboard or dry erase board
Procedure:
1. Choose a song that the class has been working on (I used "In the Hall of the Mountain King" by Grieg). Have the students list all instruments that they
hear playing throughout the piece. List all correct instruments on the board.
2. Show the students each instrument you have laying out (choose appropriate, non-pitched ones beforehand) and ask them how to play each one. Put
out enough instruments so that there are at least two students per instrument type, preferably more depending on class size.
3. Lead the class in composing a sound map on the board by choosing one instrument and playing along with the song recording. As a class, decide
whether that instrument sounds good with the recording, or if another one should be chosen. Write each chosen instrument in order on the board as
you go. (Each instrument you have out will be used, but here you are deciding in what order they should play.)
4. Next decide how many measures you want each instrument to play and write the number next to the instrument name on the board (so for example
drum = x3 and so forth). Practice without the recording and have students perform on instruments when indicated.
5. Now decide on a rhythm for each instrument to play. (I usually keep it simple to start with, mostly quarter and eighth notes and quarter rests.) A
suggestion would be to have high-pitched instruments play faster rhythms with more eighth note patterns, and low-pitched instruments play slower
rhythms with more quarter notes and rests. That way the low-pitched instruments serve as a bass line for everyone else.
6. Practice playing the sound map without the recording to make sure everyone knows when, where and what to play. Go over any trouble spots and
take suggestions for changes as you go.
7. Try the sound map with the recording, pointing to each rhythm as it appears. On the first run-through, it may be helpful to call out each instrument
name to keep them on track.
8. Try it a few more times, then switch instruments.
Office of Academic Services©2010
36-2011
Newark Public Schools 2010-2011
Band 4-8
Instrument Making
Applies to Standards: Standard 1.3 - All students will synthesize skills, media, methods, and technologies that are appropriate to creating,
performing, and/or presenting works of art in dance, music, theatre, and visual art.
Brief Description: You can have fun making simple instruments with children.
How to Teach It:
1. Cut the ends of straws in a "V" shape, flattening them and then blowing hard will produce interesting sounds. Experiment with the length of straws.
Discuss relationship between length and pitch.
Discuss how length of air columns affect sound in things like recorders etc.
2. Try rubber band guitars. Use a sturdy box with a lid. Cut a circle in the top for the sound hole. Stretch rubber bands, or elastic (eg hat elastic)
around the box and lift elastic up off the box with pencils each end to avoid buzzing.
Discuss the effect of different lengths of elastic, different thickness, and different tensions and how it affects pitch. Explain similarities with guitars and
violins and other string instruments.
3. Try a prayer drum or ape drum: Cut the ends off 2 balloons. Stretch them over 2 large coffee lids. Tape a pencil to the back of one, to act as a handle.
Attach a string to the pencil and on each end of the string, place a small bead. (Make sure the bead is placed in the right spot, so that when it swings
around, it will hit the balloon).
Attach the 2 coffee lids together with tape, enclosing the pencil.
Put pencil between palms and rub together. The string and beads should swing around to hit the balloons on either side, producing a great sound.
Discuss effect of tightness of balloons on the pitch and volume of sound. Discuss applications to other instruments eg) tambours, drums etc.
4. Water jars. Find a collection of jars and experiment until you can create the notes d r m f s l and then paint the water level on the outside so you will
know next time.
Get the kids to arrange the jars in order from lowest to highest pitch. Tap jars and play "Mary had a little lamb" or "Twinkle little star" etc. Discuss
the effect of depth of water, container size and shape, glass thickness, etc. How do they affect the pitch?
Experiment with identical containers too.
5. Try some bottle maracas. Fill drink bottles with different objects, pens and pencils, buttons, rice, etc. Try ping pong balls - cut a drink container in
half, put the balls in and retape, decorating the container. It's amazing how many kids can't work out how the balls got in there. Talk about volume and
texture of sound.
Office of Academic Services©2010
37-2011
Newark Public Schools 2010-2011
Band 4-8
Composing Rhythm Charts
Applies to Standards: Standard 1.3 - All students will synthesize skills, media, methods, and technologies that are appropriate to creating,
performing, and/or presenting works of art in dance, music, theatre, and visual art.
Brief Description: In this lesson students will create original rhythm charts.
How to Teach It: Materials - 1) a variety of rhythm instruments
2) copies of blank rhythm charts
3) a baton for the students to conduct with
Students are shown a copy of a sample rhythm chart. (an X means you play) Students volunteer to perform this chart for the class.
Beat
Instrument 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
Hand drum x x
x x xxx x x
Triangle
x x
x x
x x x
Tambourine x x
xx
xx
xx
Hand out blank rhythm charts. Discuss with students strong beats (1/3) vs. weak beats (2/4). Have them select 2 or 3 instruments to write a rhythm chart
for. In pencil, students write a rhythm chart, experimenting with the instruments.
Have students perform their rhythm charts for the class. Let each individual "composer" select the musicians. The composer should also act as conductor,
keeping a steady beat with the baton.
Have the students briefly analyze (verbally) what they heard.
You can expand this lesson plan to 6/8 and/or 3/4 meter.
The next step is to have the students compose a rhythm chart to an existing song. Well known folk songs work well (Skip to My Lou, Oh, When the Saints,
Go Tell Aunt Rhodie, Yankee Doodle, etc.) In order to perform the rhythm chart for the class, the teacher will need to perform the melody while the
"rhythm band" performs the rhythm chart. Students can also devise their own evaluation sheet to "grade" each rhythm chart. This will keep the students
who are not currently performing on task and attentive to the students who are performing.
A more complex rhythm chart can include eighth notes. Some students will naturally want to create more complex rhythms. Teacher should encourage this.
Office of Academic Services©2010
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Newark Public Schools 2010-2011
Band 4-8
The Function of Music
Applies to Standards: Standard 1.4 A - All students will demonstrate and apply an understanding of arts philosophies, judgment, and analysis to
works of art in dance, music, theatre, and visual art.
Brief Description:
This lesson examines how music reflects and influences societies and is a metaphor for ideas and experiences. Students begin by brainstorming the functions
or purposes of music and by discussing music's power as a mirror and a symbol. A special focus will be made on the use of music to sell - how
advertisers use the power of music to create bonds between consumers and products. As a group activity, students will create and present multi-media,
musical collages, based on the functions of music that they have brainstormed.
How to Teach It: Preparation and Materials:
 Books on Music History
 Samples of music that reflect some of the categories of music listed below
 Tape some ads that use jingles or accompanying music
Note: If you have access to a computer, many songs and musical compositions can be listened to online. It's worth conducting an online search prior to class.
Procedure:
Class Discussion
Ask students to list as many functions or purposes of music that they can think of and record their suggestions on the board.
Some functions would be, for example:
 as personal expression
 as communication
 to uplift human spirit
 for religious purposes
 for group identity
 as a way to pass on traditions
 to sell a product
 to enhance film
 to increase nationalism
 as propaganda
 for dance
 as a form of protest
 as an agent of social change
 to tell a story
Office of Academic Services©2010
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Newark Public Schools 2010-2011
Band 4-8
Play the musical samples that you have brought to class and discuss how each selection might be used for a specific purpose. (For example, using a
National Anthem to instill patriotism, using David Foster's theme for the Olympics to create enthusiasm and identity for the Olympics, or using a song
like "Tears Are Not Enough" to raise money for African relief.)
Music as a Mirror
Music suggests much about the society in which it is created. Whether it is a traditional song of an Indigenous people, a Strauss waltz, a gospel song or a
rock video, music reflects a culture. It expresses experience and also affects experience, creating feelings and responses in the listener. Like many art
forms, music mirrors society, sometimes raises questions about society's norms and values, and sometimes has the power to bring about change.
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When this happens, music can serve a purpose that it was not necessarily intended for. For example, popular music has been known to create an
identity for groups of people. Songs that were popular during World War II helped unify soldiers and those at home - for example, songs by Vera Lynn,
such as "We'll meet again." "The Moldau" by Smetana was used as a resistance song during the Nazi occupation and Verdi's "Aida" was also used as
an unofficial protest.
Discuss how and why groups of people, including the students themselves, sometimes tend to be identified with certain types of music. (Categories might include heavy
metal, punk, hip hop, new wave, rap, alternative music, etc.)
Ask students to evaluate some of the positive and negative results of this type of categorization.
Does this kind of identification stereotype students? If so, what are the stereotypes associated with specific music genres?
Music and Symbolism
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Songs and music may eventually become symbols for a particular group of people, a place or historical event. (A few examples from popular culture
might include popular television show and movie scores and signature tunes used by show business personalities.)
Have students think of melodies that have become symbols. Try to determine how this happens.
Specifically, can students think of musical symbols that have become associated with modern historical events?
Some music is considered a symbol for a whole generation. For the parents of students, artists such as Bob Dylan, The Beatles, The Rolling Stones created much of the
music that embodied what it was like to be a teen in the 1960s. Ask students to imagine themselves looking back twenty years from now on the handful of artists whose
music will represent their generation. Who do they think those artists will be? Which songs will become the anthems that symbolize their generation?
Music and Advertising
One function of music is to sell products. This is most often done through advertising jingles, although popular music may also be co-opted for this
purpose.
According to Ad Age, the top ten advertising jingles of all time are:
1. You deserve a break today (McDonalds)
2. Be all that you can be (U.S. Army).
3. Pepsi Cola Hits the Spot (Pepsi Cola).
4. M'm, M'm good (Campbell's).
5. See the USA in your Chevrolet (GM).
6. I wish I were an Oscar Meyer Wiener (Oscar Meyer).
7. Double your pleasure, double your fun (Wrigley's Doublemint gum).
Office of Academic Services©2010
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Newark Public Schools 2010-2011
8. Winston tastes good like a cigarette should (Winston).
9. It's the Real Thing (Coca Cola).
10. Brylcreem -- A little dab'll do ya
(Ask students if they can sing along with any of them!)
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Band 4-8
Listen to, or view, the musical ads that have been brought to class and discuss the following with students.
How does the music in a particular advertisement help to sell the product? (If using a TV commercial, teachers might want to play the ad first without music, and then
with music, to gauge their students' impressions.)
Ask students to determine if there are any similarities between the product being sold and the music; for example, toy racing cars and fast tempo music.
For ads that use jingles or original music, discuss how the elements of music and principles of composition have been used by the composer to achieve the desired
purpose.
If there isn't anything obviously similar between the product being sold and the music, what are the producers trying to accomplish with the music? (Beer commercials
are examples of these sorts of ads.)
In ads like beer ads, what kind of image are advertisers trying to create?
How does the accompanying music support this image?
What are some examples of ads that use hit music?
How do you feel when advertisers use popular music to sell products? (Especially music that has symbolic meaning to a particular generation, like when Michael
Jackson - who owns the rights to the song - sold John Lennon singing "Revolution" to Nike, or when Bob Dylan sold the rights to "The Times They Are A-Changin'" to
an accounting firm.)
What do advertisers hope to achieve when they use music in this manner?
Activity:
In groups, students will select a function of music theme from the board. Each group will create a ten-minute musical collage based on this theme,
which will be presented to class. Groups will integrate visuals (such as pictures or slides) and other audio effects (such as a poetry reading or
accompanying dialogue) into their presentations.
Extension Activity:
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Pop Music Critiques the Media
This extension activity - which is intended to encourage students to think about the way music is produced and consumed - is well suited to media
education classes.
Ask students to find three songs from different musicians who have critiqued the media.
Once this is done, ask students to copy out the lyrics.
Identify and explain the media issues that are raised by each song.
Compare the songs in terms of how effective the song medium is in addressing these issues.
Are there any lyrics in pop music which take a positive view of the mass media and popular culture?
Here's a few ideas to get things started:
Disposable Heroes of Hypocrisy: "Television, Drug of a Nation"
Bruce Springsteen: "57 Channels (And Nothing On)"
Public Enemy: "She Watch Channel Zero?"
Don Henley: "Dirty Laundry"
Office of Academic Services©2010
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Newark Public Schools 2010-2011
The Police: "Too Much Information" (About media overload.)
The Buggles: "Video Killed the Radio Star" (This was the first video that MTV ever played.)
Gil Scot-Heron: "The Revolution Will Not Be Televised"
Public Enemy: "Politics of the Sneaker Pimps" (Addresses sports licensing.)
Public Enemy: "How to Kill A Radio Consultant"
The Clash: "This is Radio Clash" (A concept for a pirate radio station featuring alternative media.)
Public Enemy: "Burn Hollywood Burn" (Explores portrayals of black people in Hollywood movies.)
Band 4-8
Evaluation
 Group presentations
 Pop Music Critiques the Media Assignment (optional)
Office of Academic Services©2010
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Newark Public Schools 2010-2011
Band 4-8
Found Music Unit Dress Success
Applies to Standards: Standard 1.4 B - All students will demonstrate and apply an understanding of arts philosophies, judgment, and analysis to
works of art in dance, music, theatre, and visual art.
Brief Description: The purpose of this lesson is to have students think critically about peer compositions.
When the students are finished this lesson, they will have:
1. Participated in a dress rehearsal situation.
2. Taken part in a class critique, where they will assess both positive and negative attributes of peers' work.
How to Teach It: Resources: Class compositions and instruments.
Have the students practice their compositions for the first few minutes of class.
Arrange an informal concert where each group can play their pieces for one another. Have a suggestion period after each piece.
Ask for three positive things first, then have the students suggest things that the group could have improved upon.
Make sure the suggestions get written down. Perhaps establish one person in the group as the recorder.
Assessment:
Concert and class discussion (assess piece and suggestions). Note participation and diplomacy. By watching the dress rehearsal,
I will be able to assess who has a grasp on the concept of the dress rehearsal. The class will then get a chance to participate in
peer evaluation. The students will be evaluated on the relevance and sensitivity of their comments.
Office of Academic Services©2010
43-2011
Newark Public Schools 2010-2011
Band 4-8
Found Music Unit The Concert
Applies to Standards: Standard 1.4 B - All students will demonstrate and apply an understanding of arts philosophies, judgment, and analysis to
works of art in dance, music, theatre, and visual art.
Brief Description: The purpose of the lesson is to give the students a satisfying experience in performing pieces that they composed.
When the students are finished this lesson, they will have:
1. Attended a concert displaying proper concert etiquette.
2. Performed original pieces in a formal concert setting.
3. Had their original work recorded for later analysis.
How to Teach It: Resources: Instruments, compositions, reception refreshments (juice & cookies & fruit), concert programs.
Tasks:
1. Before the students arrive, arrange the classroom (or auditorium, if you can get in there) into a stage area and audience area.
2. Pass out a program when the students arrive.
3. Have the concert. Record it, offer to make copies for anyone who wants them.
4. Have a mini-reception.
5. Have the students pass in their compositions.
Assessment:
Written compositions (rough and good copies), concert performance, and audience attitude. Students will write a reflection to be
handed in to me; this will include a KWL chart so I can assess students' opinions of their learning. I will record their concert and
they will listen to it when writing their reflections, in order to better appraise their progress. By taking attendance I will know
who was present at the concert.
Homework: Have the students write down their thoughts detailing what they thought about this process.
Office of Academic Services©2010
44-2011
Newark Public Schools 2010-2011
Band 4-8
NPS Band Repertoire Library
TITLE
COMPOSER/ARRANGER
CATEGORY
GRADE
A Festival Prelude
Reed
Band
Grade 5
A Jubilant Overture
Reed
Band
Grade 2
A Percy Grainger Suite
Erickson/Grainger
Band
Acclamations
Huckeby
Band
Grade 3
Africa:Ceremony, Song and Ritual
Smith
Band
Grade 4
African road
Jennings
Band
Grade 3
Ain't No Mountain High Enough
Ashford/Simpson/Emerson
Band
Edmondson
Band
Beginning
Kinyon
Band
Grade 1
Erickson
Band
Grade 2
Band
Beginning
Air and Allegro
Air and Dance
Air for Band
Allegro
Amazing Grace
Edmonson
Band
Grade 2
America Henry Carey
Feldstein
Band
Grade 1
America the Beautiful
Smith-Jenson
Band
Grade 3
American Folk Rhapsody
Grundman
Band
Grade 1-2-3-4
American Folk Trilogy
McGinty
Band
Beginning
American Holiday
Werle-Ludwig
Band
Grade 3
An American Portrait
Swearingen
Band
Grade 3
Anasazi
Edmonson
Band
Grade 1
Anniversary March
Feldstein
Band
Beginning
Antares
Saucedo
Band
Grade 3
Apotheosis of This Earth
Husa
Band
Grade 5
Office of Academic Services©2010
45-2011
Newark Public Schools 2010-2011
TITLE
Band 4-8
COMPOSER/ARRANGER
CATEGORY
GRADE
Appalachian Overture
Smith
Band
Beginning
April in Paris
Hest
Jazz Band
M
Arioso
Williams
Band
Grade 2
Armenian Dances 1
Reed
Band
Grade 4
Armenian Dances 2
Reed
Band
Grade 4
Artec
Story
Band
Beginning
Astro Overture
Kinyon
Band
Grade 1
Australian Rhapsody
Osterling
Band
Grade 1
Ayre and Dance
Pearson
Band
Beginning
Balladair
Erickson
Band
Grade 1
Bandology
Osterling
Band
Grade 3
Basie Straight Ahead
Nestico
Jazz Band
A
Battaglia
McBeth
Band
Grade 2
Beethoven's Ninth Symphony
Beethoven
Band
Grade 1
Beryl Bay-Barker
Kendor
Band
Grade 3
Bicycle Built for Two
Niehaus/Leidig
Band
Grade 2
Jazz Band
M
Birdland
Birdland
Zawinul
Jazz Band
Grade 3
Black Watch-Smith
Jenson
Band
Grade 3
Blue Ridge Overture
Erickson
Band
Grade 2
Blue Ridge Overture
Erickson
Band
Grade 3
Bluesette
Thielemans
Jazz Band
Grade 2
Bluesette
Wolpe
Jazz Band
Grade 2
Brookpark Overture
Swearingen
Band
Grade 1
Cajun Cookin
DiBlasio
Jazz Band
A
Jazz Band
M
Jazz Band
Grade 4
Caliente
Caliente
Office of Academic Services©2010
Phillippe
46-2011
Newark Public Schools 2010-2011
TITLE
Band 4-8
COMPOSER/ARRANGER
CATEGORY
GRADE
Candide
Bernstein
Band
Grade 4
Canterbury Overture
McGinty
Band
Beginning
Canticle
Pearson
Band
Grade 3
Canticum
Curnow
Band
Grade 2
Canto
McBeth
Band
Grade 2
Canzona-Peter
Menin
Band
Grade 3
Capathian Sketches
Jager
Band
Grade 3
Carnival
Chattaway
Band
Grade 1
Castles in Spain
Erickson
Band
Grade 1
Celebration for Winds
Edmonson
Band
Beginning
Celebration Overture
Creston
Band
Grade 4
Centurion
Williams
Band
Beginning
Chamber Music for Three
Voxman
Band
Channel One Suite
Reddie
Jazz Band
M
Chant and Jubilio
Mc Beth
Band
Grade 3
Chant and Jubilo
McBeth
Band
Grade 4
Chester
Billings/Osterling
Band
Grade 1
Chester Overture for Band
Schuman
Band
Grade 4
Chorale and Alleluia
Hanson
Band
Grade 6
Chorale and Canon
McGinty
Band
Grade 1
Chorale and Shaker Dance #1
Zdechik
Band
Grade 3
Chorale and Variation
Kinyon
Band
Grade 1
Christmas Carols
Holmes
Band
Grade 2
C-Jam Blues
Cook
Jazz Band
M
Clouds
McGinty
Band
Beginning
Colonial Song
Grainger
Band
Grade 3
Concerto for Percussion and Winds
Husa
Band
Grade 5
Office of Academic Services©2010
47-2011
Newark Public Schools 2010-2011
TITLE
Band 4-8
COMPOSER/ARRANGER
CATEGORY
GRADE
Conductus
Ptaszynska-Marks Music
Band
Grade 3
Courage March
Clark
Band
Beginning
Court Festival William
Latham
Band
Grade 6
Covington Square
Swearingen
Band
Grade 3
Crater Lake Overture
O'Reilly
Band
Beginning
Dana Point Overture
O'Reilly
Band
Beginning
Dance of the Inner Spirits
Steinberg-Alleen
Band
Grade 3
Dance of the Tumblers
Rimsky-Korsakov
Band
Grade 3
Dedicatory Overture
Williams
Band
Grade 3
Denbridge Way
Swearingen
Band
Grade 3
Denbridge Way
Swearingen
Band
Grade 3
Designs, Images and Textures
Bassett
Band
Grade 5
Distant Voices
DelBorgo
Band
Grade 1
Divertimento for Band
Persichetti
Band
Grade 4
Down To The River To Pray
Curry
Band
Grade 2
Dream Lover
Davis
Jazz Band
Grade 2
Driftwood Patterns
Julian Work-Center for Black Music
Band
Grade 4
Eagle Mountain Overture
Sheldon
Band
Grade 3
Echoes of Kyoto
O'Reilly
Band
Beginning
Elsa's Processional to the Cathedral
Wagner/Callieh
Band
Grade 5
Emblems
Copland
Band
Grade 5
Emerald Point Overture
McGinty
Band
Grade 1
Emmanuel Variants
Foster
Band
Grade 4
Emperata Overture
Smith
Band
Grade 3
Emperata Overture
Smith
Band
Grade 4
Emperata Overture
Smith
Band
Grade 4
Ethan Allen Overture
Forsblad-kjos
Band
Grade 2
Office of Academic Services©2010
48-2011
Newark Public Schools 2010-2011
TITLE
Band 4-8
COMPOSER/ARRANGER
CATEGORY
GRADE
Fanfare and Allegro
Williams
Band
Grade 4
Fanfare, Ballad and Jubilee
Smith-Jenson
Band
Grade 4
Fantasia in G-Mahr
Kjos
Band
Grade 4
Fantasies on a Theme By
Haydn-Dello Joio
Band
Grade 4
Fantasy for Band
Erickson
Band
Grade 3
Fantasy on A French Folksong
Edmondson
Band
Grade 5
Fantasy on American Sailing Songs
Grundman
Band
Grade 3
Preuninger
Band
Grade 5
Festival Prelude
Reed
Band
Grade 6
Festive Overture
Shostakovich/Hunsberger
Band
Grade 5
Festive Overture
Shostakovich/Hunsberger
Band
Grade 5
Fields of Glory
DelBorgo
Band
Beginning
Filthy McNasty
Silver
Jazz Band
A
Folk Song Suite
Vaughn Williams
Band
Grade 4
Folk Suite
Still
Band
Grade 4
Kay
Band
Grade 4
Four Brothers
Blair
Jazz Band
A
Foxfire March
Barnes
Band
Grade 6
Freedom Overture
Edmonson
Band
Grade 2
From the Delta
Still
Band
Grade 4
George Washington Bridge
Schuman
Band
Grade 5
Granada Smoothie
Taylor
Jazz Band
A
Graysondance
Holsinger
Band
Grade 5
Groove Merchant
Barduhn
Jazz Band
A
Havendance
Holsinger
Band
Grade 5
Fantasy On An African American
Spiritual
Forever Free-A Lincoln ChronicleUlysses
Office of Academic Services©2010
49-2011
Newark Public Schools 2010-2011
TITLE
Band 4-8
COMPOSER/ARRANGER
CATEGORY
GRADE
Hebrides Suite
Grundman
Band
Grade 3
High Adventure
Lavender
Band
Beginning
His Honor
Fillmore
Band
Grade 4
Homage-White
Barnhouse
Band
Grade 3
Honor Roll March
Harris
Band
Grade 2
Hudson River Suite
O'Reilly
Band
Grade 2
I Remember Clifford
Golson
Jazz Band
Grade 3
Incantation and Dance
Chance
Band
Grade 4
Intrepid
Curnow
Band
Grade 6
Introduction and Festivia
Shaffer-Barnhouse
Band
Grade 4
Inverrary Overture
Barker-Barnhouse
Band
Grade 3
Invicta
Swearingen
Band
Grade 3
Irish The Shepherd's Hey
Grainger
Band
Grade 4
It's a Great Day for the Irish
Jones
Band
Grade 3
Jefferson County Overture
O'Reilly
Band
Grade 2
Jesu Joy of Mans Desiring
Bach/Custer
Band
Grade 4
Jesu, Joy of Man's Desiring
Bach/Reed
Band
Jubilaeum
Barker-Kjos
Band
Grade 3
Kachina, Chant and Spirit Dance
McGinty
Band
Grade 2
Kentucky 1800
Grundman
Band
Grade 2
Killer Joe
Golson
Jazz Band
A
King Cotton March
Sousa
Band
Grade 4
Kingsridge
Hilliard
Band
Beginning
Korean Folksong Medley
Plyhar
Band
Grade 1
Kum Bay Yah
McGinty
Band
Beginning
La Fiesta Mexicana
Reed
Band
Grade 5
Lake Washington Suite
Zdechlik-Kjos
Band
Grade 4
Office of Academic Services©2010
50-2011
Newark Public Schools 2010-2011
TITLE
Band 4-8
COMPOSER/ARRANGER
CATEGORY
GRADE
Lamentation and Dance
Clark-Southern
Band
Grade 5
Legendary Air
Erickson
Band
Grade 1
Light Calvary Overture
Von Suppe/Conley
Band
Light Cavalry Overture
Von Suppe/Conley
Band
Grade 3
Lincolnshire Posy
Grainger
Band
Grade 5
Little Red School House
Still
Band
Grade 4
Little Suite for Band
Erickson
Band
Grade 1
MacArthur Park
Webb/Nowak
Band
Manhattan Beach March
Sousa
Band
March Slav
Tschaikowsky/Carlin
Band
Marches of the Armed Forces
Hosay
Band
Grade 6
Masquerade for Band
Persichetti
Band
Grade 5
Mega Force
Curnow
Band
Beginning
Mercy, Mercy, Mercy
Zawinul
Jazz Band
Grade 2
Military Songs of the British Isles
Ployhar
Band
Grade 4
Miniature Chorale and Fugue
Carter
Band
Grade 6
Majestia
Swearingen
Band
Grade 2
Moanin
Timmens/Tyaylor
Jazz Band
A
Music for Prague 1986
Husa
Band
Grade 5
Mystic Legend
McGinty
Band
Grade 1
National Emblem
Bagley
Band
Grade 4
North Star Overture
O'Reilly
Band
Grade 2
Northpointe Fantasy
Swearingen
Band
Grade 1
Of Kindred Spirit
Sheldon
Band
Grade 1
Oh Happy Day
Hawkins/Chinn
Band
Grade 2
Outdoor Overture
Copland
Band
Grade 5
Overture for Band
Mendelssohn/Boyd
Band
Grade 5
Office of Academic Services©2010
Grade 5
51-2011
Newark Public Schools 2010-2011
TITLE
Band 4-8
COMPOSER/ARRANGER
CATEGORY
GRADE
Overture for Winds
Carter
Band
Grade 3
Overture in Bb
Giovanninni
Band
Grade 3
Overture to Candide
Bernstein/Beeler
Band
Grade 5
Oye La Musica
Althouse
Band
Grade 2
Pachelbel's Canon
Custer
Band
Grade 4
Pageantry Overture
Edmonson
Band
Grade 2
Pageantry Overture
Vincent Persichetti
Band
Grade 6
Pangaea
Story
Band
Grade 1
Parade of the Tall Ships
Chattaway
Band
Grade 3
Patriotic Jam
Itkor
Band
Grade 1
Perdido
Lewis
Jazz Band
A
Poet and Peasant Overture
Von Suppe/Conley
Band
Grade 2
Prelude & Scherzo
Hammersmith/Holst
Band
Grade 5
Prometheus Overture
McGinty
Band
Grade 1
Pulsar
Osterling
Band
Grade 6
Reflections on Ice
Rhoads-Kjos
Band
Grade 3
Rhythm of the Winds
Erickson
Band
Grade 3
Rondo for Winds and Percussion
Edmonson
Band
Grade 3
Russian Christmas Music
Reed
Band
Grade 4
Russian Easter Overture
Arlen
Band
Grade 3
Russian Sailors Dance
Reinhold
Band
Grade 4
Salt Peanuts
Taylor
Jazz Band
A
Scenario
Spears
Band
Grade 2
Scenes from the "Louvre"
Dello Joio
Band
Grade 4
Sea Song Trilogy
McGinty
Band
Grade 1
Sea Songs
Vaughan Williams
Band
Grade 3
Second American Folk Rhapsody
Grundman
Band
Grade 3
Office of Academic Services©2010
52-2011
Newark Public Schools 2010-2011
TITLE
Band 4-8
COMPOSER/ARRANGER
CATEGORY
GRADE
Serengeti
Higgins
Band
Grade 1
Shenandoah
Ployhar
Band
Grade 1
Shenandoah Valley
Kinyon
Band
Grade 1
Shenandoah
Bullock
Band
Beginning
Sinfonia Six
Broege
Band
Grade 3
Sing, Sing, Sing
Cook
Jazz Band
M
Sister Sadie
Silver
Jazz Band
A
Sketches on Tudor Psalm
Tull
Band
Grade 5
Slavonic Folk Songsuite
Reed
Band
Grade 2
Song for Winds
Edmondson
Band
Grade 1
Songs for Winds
Edmonson
Band
Grade 2
Spinning Wheel
Dvorak
Jazz Band
M
Spiritual
Spears
Band
Grade 2
Splanky
Custer
Jazz Band
M
St. Louis Blues
Denton
Jazz Band
Grade 3
Stompin' At The Savoy
Berry
Jazz Band
Grade 3
Suite for Winds and Percussion
Broege
Band
Grade 2
Suite Francais
Milhaud
Band
Grade 5
Suite Modale
McGinty
Band
Grade 2
Suite No 1 in Eb
Holst
Band
Grade 4
Suite No 2 in F
Holst
Band
Grade 4
Suite of Old American Dances
Bennett
Band
Grade 5
Symphonette for Band
Erickson
Band
Grade 2
Symphonic Overture
Carter
Band
Grade 2
Symphonic Overture
Carter
Band
Grade 3
Symphony for Band
Gould
Band
Grade 5
Symphony in Bb
Hindemith
Band
Grade 5
Office of Academic Services©2010
53-2011
Newark Public Schools 2010-2011
TITLE
Band 4-8
COMPOSER/ARRANGER
CATEGORY
GRADE
Symphony VI
Persichetti
Band
Grade 5
Tall Cedars
Osterling
Band
Grade 6
Tall Cedars
Osterling
Band
Grade 1
Tango for Two or More
Kinyon
Band
Grade 2
T-Bone
Olsen
Band
Grade 2
Ten Chorales for Beginning Band
Band
Grade 6
Ten Chorales for Beginning Band
Band
Grade 1
Testimonium
McGinty
Band
Grade 3
The Ascension
Smith
Band
Grade 5
The Ascension
Smith
Band
Grade 3
The Ash Grove
Griffin
Band
Grade 2
The Blue & the Gray
Grundman
Band
Grade 4
The Flintstones
Sweeney
Band
Grade 2
The Gift to be Simple
Brisman
Band
Grade 2
The Great Gate of Kiev
Story
Band
Grade 2
The Lone Wild Bird
Root-Kjos
Band
Grade 3
The North Face
Bocook
Band
Grade 1
The Pink Panther
Custer
Band
Grade 2
The Preacher
Silver
Jazz Band
M
The Saints
Eda
Band
Grade 1
The Saints
Eda
Band
Grade 1
The Sinfonians
Williams
Band
Grade 3
The Star Spangled Banner
Kinyon
Band
Grade 2
Theme and variations Op43A
Schoenberg
Band
Grade 5
Three Ayres From Gloucester
Stuart
Band
Grade 2
Three Chorale Preludes
Latham
Band
Grade 3
Three Irish Folksongs
McGinty
Band
Grade 2
Office of Academic Services©2010
54-2011
Newark Public Schools 2010-2011
TITLE
Band 4-8
COMPOSER/ARRANGER
CATEGORY
GRADE
Thunderstorms
Story
Band
Grade 1
Toccata for Band
Erickson
Band
Grade 3
Toccata Marziale
Vaughn Williams
Band
Grade 4
Trausinfonie
Wagner/Callieh
Band
Grade 4
Tribal Drums
Shatter
Band
Grade 1
Tryptich-DelBorgo
Kjos
Band
Grade 3
Two Moods
Grundman
Band
Grade 2
Two Sketches of Paris
Smith-Bourne
Band
Grade 1
Unknown Soldier
Ployar
Band
Grade 4
Valley Forge March
King
Band
Grade 4
Variants on a Medieval Tune
Della Joio
Band
Grade 5
Variations On "America"
Ives
Band
Grade 5
Variations on A Korean Folk Song
Chance
Band
Grade 4
Variations on a Korean Folksong
Chance
Band
Grade 5
West Wind Overture
McGinty
Band
Grade 6
When Jesus Wept
Schuman
Band
Grade 3
William Byrd Suite
Jacob
Band
Grade 5
Windsong
Chattaway
Band
Grade 2
Ye Bank and Braes O'Bonnie Doon
Grainger
Band
Grade 6
Zydeco Party
Shaw
Band
Grade 2
Office of Academic Services©2010
55-2011
Newark Public Schools 2010-2011
Band 4-8
Office of Visual, Performing and Living Arts
Assessment Model for Music Performance
UNSATISFACTORY
(1-5)
CRITERIA
SATISFACTORY
(6-7)
SCALES

Unable to perform requested
scale(s)

PREPARED
SOLO

Unable to perform solo

PREPARED
ENSEMBLE
PART

Unable to perform ensemble
part(s)

SIGHT-READING

Unable to perform requested
sight-reading musical selection

PREPAREDNESS

Reported to 50% or less of
scheduled classes and/or
performances with music,
instrument and appropriate attire

LESSON
ATTENDANCE

PERFORMANCE
ATTENDANCE

Attended and participated in less
than 50% of the scheduled
lessons
Attended and participated in less
than 50% of scheduled
performances
VERY GOOD
(8)
Only able to perform some
requested scales with reasonable
accuracy of pitch, time and/or
rhythm with reasonable technical
proficiency
Only able to perform part of the
solo with reasonable accuracy of
pitch, time and/or rhythm with
reasonable technical proficiency
Only able to perform a portion of
the ensemble part(s) with
reasonable accuracy of pitch,
time and/or rhythm with
reasonable technical proficiency
Only able to sight-read a musical
selection with reasonable
accuracy of pitch, time and/or
rhythm with reasonable technical
proficiency
Reported to 60-70% of scheduled
classes and/or performances with
music, instrument and
appropriate attire


Attended and participated in 6070% of the scheduled lessons

Attended and participated in
60-70% of scheduled
performances
EXCELLENT
(9-10)
Able to perform all the
requested scales with
reasonable accuracy of pitch,
time and/or rhythm with
technical proficiency
Able to perform the entire solo
with reasonable accuracy of
pitch, time and/or rhythm with
technical proficiency
Able to perform all ensemble
parts with reasonable accuracy
of pitch, time and/or rhythm
with technical proficiency

Able to perform all the
requested scales with accuracy
of pitch, time and/or rhythm
with technical proficiency

Able to perform entire solo
with accuracy of pitch, time,
and/or rhythm with technical
proficiency
Able to perform all ensemble
parts with accuracy of pitch,
time and/or rhythm with
technical proficiency
Able to sight-read a musical
selection with reasonable
accuracy of pitch, time and/or
rhythm with technical
proficiency
Reported to 80% of scheduled
classes and/or performances
with music, instrument and
appropriate attire

Able to sight-read a musical
selection with accuracy of
pitch, time and/or rhythm with
technical proficiency


Attended and participated in
80% of scheduled lessons

Reported to 90-100% of
scheduled classes and/or
performances with music,
instrument and appropriate
attire
Attended and participated in
90-100% of scheduled lessons

Attended and participated in at
least 80% of scheduled
performances






SCORE
Attended and participated in
90-100% of scheduled
performances
TOTAL POINTS
Office of Academic Services©2010
56-2011
Newark Public Schools 2010-2011
Band 4-8
COMMENTS: _____________________________________________________________________________________________________________________________
Music Standards for Newark Public Schools
1.
Perform major and minor scales with reasonable accuracy of pitch using:
a.
b.
c.
d.
e.
2.
Perform diverse solo selections from classical to contemporary repertory:
a.
b.
c.
d.
e.
f.
g.
h.
3.
Notes of varying length and value
A variety of rhythmic patterns
Ascending and descending with various rhythmic patterns
More than one octave when appropriate
Indigenous vocabulary
Individually
In unison
In a variety of styles, cultures and languages
With written music parts, no copies of lyrics only
From memory
With reasonable accuracy of pitch and rhythm
With appropriate performance practices
Using indigenous vocabulary
Students perform appropriate standard warm-up exercises at the beginning of the class/lesson in preparation for lesson by:
a.
b.
c.
d.
e.
f.
g.
Using vocalizes
Using etudes/technical exercises
Using long tones
Playing arpeggios
Using finger exercises
Indigenous vocabulary
Using correct breathing patterns
Office of Academic Services©2010
57-2011
Newark Public Schools 2010-2011
Band 4-8
Music Standards for Newark Public Schools
4.
Perform written music without total or major reliance on:
a. Written-in letter names of notes
b. Written-in fingerings for notes
c. Copies of lyrics only
5.
Demonstrate:
a. Appropriate performance practices
b. Use of indigenous vocabulary
6.
Perform diverse ensemble selections from classical to contemporary repertory:
a.
b.
c.
d.
e.
7.
With reasonable accuracy of pitch, rhythm, harmony and balance
Using variety of styles, cultures and languages
With written music parts; no copies of lyrics only
With appropriate performance practices
Using indigenous vocabulary
Listening and ear training:
a.
b.
c.
d.
e.
Listens to and/or views recordings of professional performances, using relevant listening guides and scores for enrichment and critique
Listens to and/or views recordings of own and/or peer performances, using relevant listening guides and scores for enrichment and critique
Provides appropriate and balanced keyboard and/or electronic accompaniment for student solo and/or ensemble practice or performance
Uses indigenous vocabulary
Participates in music careers discussion
Office of Academic Services©2010
58-2011
Newark Public Schools 2010-2011
Band 4-8
National Standards for Music Education
1. Singing, alone and with others, a varied repertoire of music.
2. Performing on instruments, alone and with others, a varied repertoire of music.
3. Improvising melodies, variations, and accompaniments.
4. Composing and arranging music within specified guidelines.
5. Reading and notating music.
6. Listening to, analyzing, and describing music.
7. Evaluating music and music performances.
8. Understanding relationships between music, the other arts, and disciplines outside the arts.
9. Understanding music in relation to history and culture.
Office of Academic Services©2010
59-2011
Newark Public Schools 2010-2011
Band 4-8
NATIONAL MUSIC STANDARDS
GRADES K-12
The study of music contributes in important ways to the quality of every student’s life. Every musical work is a product of its time and place,
although some works transcend their original settings and continue to appeal to humans through their timeless and universal attraction. Through singing,
playing instruments and composing, students can express themselves creatively, while knowledge of notation and performance traditions enables them to
learn new music independently throughout their lives. Skills in analysis, evaluation and synthesis are important because they enable students to recognize
and pursue excellence in their musical experiences and to understand and enrich their environments. Because music is an integral part of human history, the
ability to listen with understanding is essential if students are to gain a broad cultural and historical perspective. The adult life of every student is enriched
by the skills, knowledge, and habits acquired in the study of music.
Three levels of achievement, ”basic”, “proficient” and “advanced,” have been established for each grade K-12. The basic level is intended for
students who have acquired fundamental skills and knowledge at their grade level. The proficient level is intended for students who have acquired additional
skills and knowledge relevant to their grade level. The advanced level is intended for students who have acquired relevant skills and knowledge at a level or
levels above their grade level. Students at the advanced level are expected to achieve the standards established for the proficient as well as the advanced
levels. Every student is expected to achieve the proficient level in at least one arts discipline (that is, music, dance, theatre, visual arts) by the time he or she
graduates from high school.
The standards in this section describe the cumulative skills and knowledge expected of students exiting grade 12 who have enrolled in relevant
music courses. They presume that the students have achieved the standards specified for grades 5-8; they assume that the students will demonstrate higher
levels of the expected skills and knowledge will deal with increasingly complex music and will provide more sophisticated responses to works of music.
Every course in music, including performance courses, should provide instruction in creating, performing, listening to and analyzing music, in addition to
focusing on its specific subject matter. Determining the curriculum and the specific instructional activities necessary to achieve the standards is the
responsibility of states, local school districts and individual teachers.
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CONTENT STANDARD
Band 4-8
ACHIEVEMENT STANDARD
e.
sing with expression and technical accuracy a large and varied repertoire of vocal literature with a level of difficulty
of 4, on a scale of 1 to 6, including some songs performed from memory
sing music written in four parts, with and without accompaniment
demonstrate well-developed ensemble skills
sing with expression and technical accuracy a large and varied repertoire of vocal literature with a level of difficulty of
5, on a scale of 1 to 6.
sing music written in more than four parts
f.
sing in small ensembles with one student on a part
Performing on instruments,
alone and with others, a varied
repertoire of music.
a.
Perform with expression and technical accuracy a large and varied repertoire of instrumental literature with a level of
difficulty of 4, on a scale of 1 to 6.
perform an appropriate part in an ensemble, demonstrating well-developed ensemble skills
perform in small ensembles with one student on a part
perform with expression and technical accuracy a large and varied repertoire of instrumental literature with a level of
difficulty of 5, on a scale of 1 to 6
3.
Improvising melodies,
variations and
accompaniments.
a.
b.
c.
d.
e.
improvise stylistically appropriate harmonizing parts
improvise rhythmic and melodic variations on given pentatonic melodies and melodies in major and minor keys
improvise original melodies over given chord progressions, each in a consistent style, meter and tonality
improvise stylistically appropriate harmonizing parts in a variety of styles
improvise original melodies in a variety of styles, over given chord progressions, each in a consistent style, meter and
tonality
4.
Composing and arranging
music within specified
guidelines.
a.
b.
compose music in several distinct styles, demonstrating creativity in using the elements of music for expressive effect
arrange pieces for voices or instruments other than those for which the pieces were written in ways that preserve or
enhance the expressive effect of the music
compose and arrange music for voices and various acoustic and electronic instruments, demonstrating knowledge of
ranges and traditional usages of the sound sources
1.
Singing, alone and with others,
a varied repertoire of music.
a.
b.
c.
d.
2.
b.
c.
d.
c.
d. compose music, demonstrating imagination and technical skill in applying the principles of
composition
5.
Reading and notating music.
a.
b.
6.
Listening to, analyzing and
describing music.
a.
b.
c.
demonstrate the ability to read and instrumental or vocal score of up to four staves by describing how the elements of
music are used (students who participate in a choral or instrumental ensemble or class)
sight-read, accurately and expressively, music with a level of difficulty of 3, on a scale of 1 to 6
analyze aural examples of a varied repertoire of music, representing diverse genres and cultures, by describing the
uses of elements of music and expressive devices 1
demonstrate extensive knowledge of the technical vocabulary of music
identify and explain compositional devices and techniques used to provide unity and variety and tension and release in
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CONTENT STANDARD
ACHIEVEMENT STANDARD
d.
e.
f.
7.
Evaluating music and music
performances.
a.
b.
c.
8.
Understanding relationships
between music, the other arts,
and disciplines outside the arts.
a.
b.
c.
d.
e.
9.
Understanding music in
relations to history and culture.
Band 4-8
a.
b.
c.
d.
e.
a musical work, and give examples of other works that make similar uses of these devices and techniques
demonstrate the ability to perceive and remember music events by describing in detail significant events occurring in a
given aural example
compare ways in which musical materials are used in a given example relative to ways in which they are used in other
works of the same genre or style
analyze and describe uses of the elements of music in a given work that make it unique, interesting and expressive
evolve specific criteria for making informed, critical evaluations of the quality and effectiveness of performances,
compositions, arrangements, and improvisations and apply the criteria in their personal participation in
music
evaluate a performance, composition, arrangement or improvisation by comparing it to similar or exemplary models
evaluate a given musical work in terms of its aesthetic qualities and explain the musical means it uses to evoke
feelings and emotions
explain how elements, artistic processes3 and organizational principles4 are used in similar and distinctive ways in the
various arts and cite examples
compare characteristics of two or more arts within a particular historical period or style and cite examples from
various cultures
explain ways in which the principles and subject matter of various disciplines outside the arts are interrelated with
those of music
compare the uses of characteristic elements, artistic processes and organizational principles among the arts in different
historical periods and different cultures
explain how the roles of creators, performers, and others involved in the production and presentation of the arts are
similar to and different from one another in the various arts 7
classify by genre or style and by historical period or culture unfamiliar but representative aural examples of music and
explain the reasoning behind their classifications
identify sources of American music genres8, trace the evolution of those genres and cite well known musicians
associated with them
identify various roles9 that musicians perform, cite representative individuals who have functioned in each role and
describe their activities and achievements
identify and explain the stylistic features of a given musical work that serve to define its aesthetic tradition and its
historical or cultural context
identify and describe music genres or styles that show the influence of two or more cultural traditions; identify the
cultural source of each influence; and trace the historical conditions that produced the synthesis of influences
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NOTES
1.
2.
3.
4.
5.
6.
7.
8.
9.
E.g., rubato, dynamics
E.g., fugal entrances, chromatic modulations, developmental devices
E.g. imagination, craftsmanship
E.g., unity and variety, repetition and contrast
E.g., Baroque, sub-Saharan African, Korean
E.g., language arts: compare the ability of music and literature to convey images, feelings, and meanings; physics: describe the physical basis of tone production in string, wind,
percussion and electronic instruments and the human voice and of the transmission and perception of sound
E.g., creators: painters, composers, choreographers, playwrights; performers: instrumentalists, singers, dancers, actors; others: conductors, costumers, directors , lighting designers
E.g., swing, Broadway musical blues
E.g., entertainment, teacher, transmitter of cultural traditions
END NOTES
Classroom instruments: Instruments typically used in the general and instrumental music classrooms.
Level of difficulty: For purposes of these standards, music is classified into six levels of difficulty:
 Level 1 – Very easy. Easy keys, meters and rhythms; limited ranges.
 Level 2 – Easy. May include changes of tempo, key and meter; modest ranges.
 Level 3 – Moderately easy. Contains moderate technical demands, expanded ranges, and varied interpretive requirements.
 Level 4 – Moderately difficult. Requires well-developed technical skills, attention to phrasing and interpretation and ability to perform various meters and rhythms in a variety of keys.
 Level 5 – Difficult. Requires advanced technical and interpretative skills; contains key signatures with numerous sharps or flats, unusual meters, complex rhythms, subtle dynamic
requirements.
 Level 6- Very difficult. Suitable for musically mature students of exceptional competence. (Adapted with permission from NYSSMA Manual, Edition XXIII, published by the New
York State School Music Association, 1991.)
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STANDARDS PUBLICATIONS
The Arts
National Standards for Arts Education: What Every Young American Should Know and Be Able to Do in the Arts. Content and achievement standards for dance, music,
theatre and visual arts; grades K-12. Reston, VA: Music Educators National Conference, 1994.
Perspectives on Implementation: Arts Education Standards for America’s Students. A discussion of the issues related to implementation of the standards and of strategies for
key constituencies that need to be involved in the process. Reston, VA: Music Educators National Conference, 1994.
The Vision for Arts Education in the 21st Century. The ideas and ideals behind the development of the National Standards for Arts Education. Reston, VA. Music Educators
National Conference, 1994.
Music
Music for a Sound Education: A Tool Kit for Implementing the Standards. Resources for everyone interested in providing all children with a rigorous, standards-influenced
curriculum in music. Reston, VA: Music Educators National Conference, 1994.
The School Music Program: A New Vision. The K-12 National Standards, Pre-K Standards and What They Mean to Music Educators. Opportunity –to-Learn Standards for
Music Instruction: Grades PreK-12. Information on what schools should provide in terms of curriculum and scheduling, staffing, materials and equipment, and facilities. Reston, VA:
Music Educators National Conference, 1994.
Teaching Examples: Ideas for Music Educators. Instructional strategies to help teachers design and implement a curriculum leading to achievement of the standards. Reston,
VA: Music Educators National Conference, 1994.
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Band 4-8
CONCERT ETIQUETTE
Turn off cell phones, pagers and beepers!
Report to the performance and to your seat at least five minutes prior to the start of the performance.
Arrive early enough to read and familiarize yourself with the program prior to the performance.
Wait outside the concert hall if you arrive late for a performance until given a cue to enter. Normally, the cue will occur between movements or at the end of a musical
selection. This same formality is observed for musicals and plays.
Discard gum, drinks and food before entering the concert hall. Unwrap cough drops and mints prior to the start of the performance.
Refrain from talking, rustling papers or unwrapping candy or mints during the performance.
If possible, familiarize yourself with the format of the musical performance. Normally there is no applause between movements/sections. Listed below are some of the most
common formats. Always check the program.
A. Symphony (3-4 movements)
B. Sonata (3-4 movements)
C. Concerto (3-4 movements)
D. Song cycle (Usually a set of vocal pieces by a single composer.)
E. Oratorios (Multiple selections)
F. Ballet
At most non-classical concerts, audience members are expected to participate audibly (singing along) and physically (handclapping, foot tapping and/or dancing) without any
prompting from the performers. With certain genres, e.g. jazz, rock, gospel, etc. audience members are expected to show appreciation for individual solos during the
performance.
Applaud and show your appreciation for the performance by applauding, and possibly giving a standing ovation to the performers.
If possible, remain in your seat until the end of the selection or between movements. At non-classical concerts, audience members are encouraged to stand, or otherwise get
out of their seats.
Refrain from wearing large hats and/or broad hairstyles that block the view of others.
Be mindful of other concert attendees by refraining from humming and /or whistling along with the music unless asked to do so by the conductor or performer(s). At nonclassical concerts audience members are expected, and often encouraged to sing or otherwise participate.
Respect other concert attendees, as well as the performers on stage, by refraining from calling out or giving a “shout-out” to performers on stage who may be friends and/or
family members. At non-classical performances, audience participation is expected and encouraged.
Follow the rules of the concert hall relative to no flash photography, video, or audio recording of an event.
When it is permissible to take photographs, video or audio record a performance, keep the aisles clear and avoid blocking the view of other performance attendees.
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CAREERS IN MUSIC
MUSIC
TEACHER
MUSIC
THERAPIST
PERFORMER
CHURCH/
TEMPLE
MUSICIAN
MUSIC
INDUSTRY
TV/RADIO
MUSIC
LIBRARIAN
OTHER
CAREERS
1.
1.
1.
1.
2.
1.
1.
1.
1.
2.
2.
3.
4.
5.
6.
7.
Elementary
school (public,
private and
parochial)
Middle school
(public, private
and parochial)
Secondary
school (public,
private &
parochial)
Post-secondary
(College/
University)
Private/studio
Consultant
Administrator
2.
3.
4.
5.
6.
7.
Hospitals:
general and
psychiatric
Schools
Outpatient
clinics
Mental health
centers
Nursing homes
Correctional
facilities
Private practice
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
Office of Academic Services©2010
Armed forces:
bands and
orchestras
Symphony
orchestra
Dance band,
nightclub
National TV
Small ensemble
Concert soloist
Rock or jazz
group
Clinician
Church choir
soloist
Community
choral group
Radio, TV
shows
Concert choral
group
Opera chorus
Opera soloist
Conductor
Freelance
musician
3.
4.
5.
Choir director
Minister of
music
Liturgist
Choir soloist
Organist, pianist
Publisher or
editor
2. Manufacturer,
importer,
wholesaler
3. Music software
programmer
4. Manager,
booking agent
5. Music dealer,
management,
sales
6. Newspaper critic
or reporter
7. Conductor
8. Arranger,
Orchestrator
9. Composer
10. Publicist
2.
3.
4.
5.
6.
7.
8.
9.
Copyright,
clearance
administrator
Music license
administrator
Music editor,
producer,
composer
Sound mixer
Post production,
scoring
Disc jockey,
video jockey
Program director
Music advisor,
music researcher
Publicist
2.
3.
4.
College,
university,
conservatory
Public library
Orchestra, band,
chorus
Radio, TV
station music
coordinator
3.
4.
5.
6.
Musicologist
Architectural
acoustic
consultant
Music historian
Biographer
Lyricist
Composer
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Special Education
The New Jersey Administrative Code for special education (N.J.A.C. 6A:14) and the federal Individuals with Disabilities Act of 2004 (IDEA 2004) are laws that ensure
children with disabilities a free, appropriate public education in the least restrictive environment. An important part of these laws is the development and implementation of an Individual
Educational Program, also known as an IEP.
Special education students may be placed in the Band Program, with little or no knowledge to the Band teacher. In light of this dilemma, it would be in the best interest of the
student and teacher, to seek the advice of the CST (Child Study Team) as to what students are classified. Additionally, the classroom teacher has the right to view the student’s IEP. The
information, however, detailed in the IEP has been written for the interpretation and implementation of the special education teacher, not the Band teacher.
To support the Band teacher who does not hold a Teacher of the Handicapped certificate and in an effort to empower them, in servicing the special education students in their
charge, this document has been created.
Special Education Placement Description
General Terms found in IEPs









Auditory or visual Impairments
Autism
Behavioral Disabilities
Cognitive Impairment – Mild
Cognitive Impairment – Moderate
Cognitive Impairment – Severe
Learning/Language Disabilities – Mild/Moderate
Learning/Language Disabilities – Severe
Multiple Disabilities
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Glossary
Special Education Terms and Definitions
Asperger’s Syndrome: Asperger's syndrome is a developmental disorder that affects a child's ability to socialize and communicate effectively with
others. Children with Asperger's syndrome typically exhibit social awkwardness and an all-absorbing interest in specific topics. Doctors group
Asperger's syndrome with other conditions that are called autistic spectrum disorders or pervasive developmental disorders. These disorders all
involve problems with social skills and communication. Asperger's syndrome is generally thought to be at the milder end of this spectrum.
Attention Deficit and Hyperactivity Disorders (ADHD)/ (ADD): Attention-deficit/hyperactivity disorder (ADHD) is a chronic condition that
affects millions of children and often persists into adulthood. Problems associated with ADHD include inattention and hyperactive, impulsive
behavior. Children with ADHD may struggle with low self-esteem, troubled relationships and poor performance in school.
Autism: (a/k/a Fragile X Syndrome): is one of a group of serious developmental problems called autism spectrum disorders (ASD) that appear in early childhood —
usually before age 3. Though symptoms and severity vary, all autism disorders affect a child's ability to communicate and interact with others.
Behavioral Disorders:
Conduct Disorder - Conduct disorder is a disorder of childhood and adolescence that involves chronic behavior problems, such as: defiant, impulsive, or
antisocial behavior, drug use, criminal activity.
Oppositional defiant disorder - This disorder is more common in boys than in girls. Some studies have shown that it affects 20% of school-age children.
However, most experts believe this figure is high due to changing definitions of normal childhood behavior, and possible racial, cultural, and gender
biases.

This behavior typically starts by age 8, but it may start as early as the preschool years. This disorder is thought to be caused by a
combination of biological, psychological, and social factors. Actively does not follow adults' requests

Angry and resentful of others

Argues with adults

Blames others for own mistakes

Has few or no friends or has lost friends

Is in constant trouble in school

Loses temper

Spiteful or seeks revenge

Touchy or easily annoyed

To fit this diagnosis, the pattern must last for at least 6 months and must be more than normal childhood misbehavior.
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
Band 4-8
The pattern of behaviors must be different from those of other children around the same age and developmental level. The behavior
must lead to significant problems in school or social activities.
Trichotillomania - is hair loss from compulsive pulling or twisting of the hair until it breaks.
Cerebral Palsy: is a general term for a group of disorders that appear during the first few years of life and affect a child's ability to coordinate body
movements. Cerebral palsy can cause muscles to be weak and floppy, or rigid and stiff.
In Europe and the United States, cerebral palsy occurs in about two to four out of every 1,000 births. Babies born prematurely or at low birth weights
are at higher risk. The disorder is usually caused by brain injuries that occur early in the course of development.
Downs Syndrome: is a genetic disorder that causes lifelong mental retardation, developmental delays and other problems. Down syndrome varies in
severity, so developmental problems range from moderate to serious. Down syndrome is the most common genetic cause of severe learning
disabilities in children, occurring in one in every 700 to 800 infants.
Dyslexia: is impairment in the brain's ability to translate written images received from your eyes into meaningful language. Also called specific
reading disability, dyslexia is the most common learning disability in children. Dyslexia usually occurs in children with normal vision and normal
intelligence. Children with dyslexia usually have normal speech, but may have difficulty interpreting spoken language and writing. Children with
dyslexia need individualized tutoring, and treatment for dyslexia often involves a multisensory education program. Emotional support of your child on
your part also plays an important role.
Epilepsy: is a disorder that result from the generation of electrical signals inside the brain, causing recurring seizures. Seizure symptoms vary. Some
people with epilepsy simply stare blankly for a few seconds during a seizure, while others have full-fledged convulsions. About one in 100 people in
the United States will experience an unprovoked seizure in their lifetime. However, a solitary seizure doesn't mean you have epilepsy. At least two
unprovoked seizures are required for an epilepsy diagnosis. Even mild seizures may require treatment, because they can be dangerous during
activities like driving or swimming. Treatment — which generally includes medications and sometimes surgery — usually eliminates or reduces the
frequency and intensity of seizures. Many children with epilepsy even outgrow the condition with age.
Hyperlexia: Have characteristics similar to autism, pervasive developmental disorder, and Asperger’s. Perhaps, Hyperlexia may be a separate subgroup of children
with Pervasive Developmental Disorder or could it be a separate developmental disorder, of its own? These questions remain to be a mystery, as is the autism spectrum in whole.
Hyperlexia is a precocious ability to read words, far beyond what would be expected at an early age and /or a fascination with letters or numbers. These children have barriers in
language acquisition and communication. Children with this feature have a simultaneous connection in their social interactions and behavior, they have difficulty socializing and
interacting appropriately with people. Hyperlexia is a feature skill, of premature reading abilities, which emerges in preschool years. Most children with Hyperlexia are diagnosed
as pdd or Asperger’s; it is commonly found in children who are considered high functioning. The feature may also be found in low functioning autistic children but due to the lack
of language and communication skills are unable to express their abilities. Most children with this syndrome read or have pre- reading skills before the age of 5. Some children
are reciting the alphabet at a very early age. Others begin as sight readers and later beginning understanding the phonics of a word. Some begin reading only single words, and go
on to read sentences, and paragraphs.
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Learning Disabilities (LD): are problems that affect the brain's ability to receive process, analyze, or store information. These problems can make it difficult for a
student to learn as quickly as someone who isn't affected by learning disabilities. There are many kinds of learning disabilities. Most students affected by learning disabilities have
more than one kind. Certain kinds of learning disabilities can interfere with a person's ability to concentrate or focus and can cause someone's mind to wander too much. Other
learning disabilities can make it difficult for a student to read, write, spell, or solve math problems.
Mental Retardation: is a condition diagnosed before age 18 that includes below-average general intellectual function, and a lack of the skills
necessary for daily living.
Phenylketonuria: (fen-ul-ke-toe-NU-re-uh) is a birth defect in which a mutation occurs in a gene containing instructions for making the enzyme
needed to break down the amino acid phenylalanine. Amino acids are the building blocks for protein, but too much phenylalanine can cause a variety
of health problems. People with phenylketonuria (PKU) — babies, children and adults — need to follow a diet that limits phenylalanine, which is
found mostly in high-protein foods. Babies in the United States and many other countries are screened for phenylketonuria soon after birth. Although
phenylketonuria is rare, recognizing phenylketonuria right away can help prevent serious health problems.
Spina Bifida: is part of a group of birth defects called neural tube defects. The neural tube is the embryonic structure that eventually develops into the
baby's brain and spinal cord and the tissues that enclose them. With Spina bifida, a portion of the neural tube fails to develop or close properly,
causing defects in the spinal cord and in the bones of the backbone. Spina bifida occurs in various forms of severity.
Tourette’s Syndrome: (too-RET) syndrome is a neurological disorder in which you display unusual movements or make sounds over which you may
have little or no control (tics). For instance, you may repeatedly blink your eyes, shrug your shoulders or jerk your head. In some cases, you might
blurt obscenities. Signs and symptoms of Tourette’s syndrome usually begin in childhood, typically showing up between ages 7 and 10. Males are
about three to four times more likely than females to develop Tourette’s syndrome.
Although there's no cure, you can live a normal life span with Tourette’s syndrome, and many people with Tourette’s don't need treatment when
symptoms aren't troublesome. Children often outgrow Tourette’s syndrome after adolescence.
Turner’s Syndrome: a condition that affects only girls and women, results from a missing or incomplete sex chromosome. Turner syndrome can
cause a variety of medical and developmental problems, including short stature, failure to begin puberty, infertility, heart defects and certain learning
disabilities. Although Turner syndrome is usually diagnosed during infancy or early childhood, a diagnosis may be delayed for adolescent girls or
young women with mild signs and symptoms. Nearly all girls and women with Turner syndrome need ongoing medical care from a variety of
specialists. Regular checkups and appropriate care can help most girls and women lead relatively healthy, independent lives.
Visual Impairments/Blindness:
Trachoma (truh-KO-muh): is a bacterial infection that affects the eyes. The bacterium that causes trachoma spreads through direct contact with the
eyes, eyelids, and nose or throat secretions of infected people. Trachoma is very contagious and almost always affects both eyes. Signs and symptoms
of trachoma begin with mild itching and irritation of the eyes and eyelids and lead to blurred vision and eye pain. Untreated trachoma can lead to
blindness. Trachoma is the leading preventable cause of blindness worldwide. The World Health Organization (WHO) estimates that 8 million people
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worldwide have been visually impaired by trachoma. In Western countries, few people know about the disease, but in the poorest countries in Africa,
prevalence among children can reach 40 percent.
Diabetic retinopathy: is a complication of diabetes that results from damage to the blood vessels of the light-sensitive tissue at the back of the eye
(retina). At first, diabetic retinopathy may cause no symptoms or only mild vision problems. Eventually, however, diabetic retinopathy can result in
blindness. Diabetic retinopathy can develop in anyone who has type 1 diabetes or type 2 diabetes. The longer you have diabetes, and the less
controlled your blood sugar is, the more likely you are to develop diabetic retinopathy.
Poor color vision: is an inability to distinguish among certain shades of color. Although many people call it colorblindness, true colorblindness
describes a total lack of color vision. The ability to see only shades of gray is rare. Most people with poor color vision can't distinguish between
certain shades of red and green. Less commonly, people with poor color vision can't distinguish between shades of blue and yellow. Poor color vision
is an inherited condition in most cases. Men are more likely to be born with poor color vision. Certain eye diseases and some medications also can
cause color deficiency.
Giant cell arteritis (GCA): is an inflammation of the lining of your arteries — the blood vessels that carry oxygen-rich blood from your heart to the
rest of your body. Most often, it affects the arteries in your head, especially those in your temples. For this reason, giant cell arteritis is sometimes
called temporal arteritis or cranial arteritis. Giant cell arteritis frequently causes headaches, jaw pain, and blurred or double vision. Blindness and, less
often, stroke are the most serious complications of giant cell arteritis.
Glaucoma: is not just one eye disease, but a group of eye conditions resulting in optic nerve damage, which causes loss of vision. Abnormally high
pressure inside your eye (intraocular pressure) usually, but not always, causes this damage. Glaucoma is the second leading cause of blindness.
Sometimes called the silent thief of sight, glaucoma can damage your vision so gradually you may not notice any loss of vision until the disease is at
an advanced stage. The most common type of glaucoma, primary open-angle glaucoma, has no noticeable signs or symptoms except gradual vision
loss.
Type 1 Diabetes: in children is a condition in which your child's pancreas no longer produces the insulin your child needs to survive, and you'll need
to replace the missing insulin using shots or an insulin pump. This type of diabetes used to be known as juvenile diabetes or insulin-dependent
diabetes. Although type 1 diabetes requires consistent care, advances in blood sugar monitoring and insulin delivery have improved the daily
management of type 1 diabetes in children. With proper treatment, children with type 1 diabetes can expect to live long, healthy lives.
William’s Syndrome: also known as Williams-Beuren syndrome is a rare genetic disorder characterized by growth delays before and after birth
(prenatal and postnatal growth retardation), short stature, a varying degree of mental deficiency, and distinctive facial features that typically become
more pronounced with age. Such characteristic facial features may include a round face, full cheeks, thick lips, a large mouth that is usually held open,
and a broad nasal bridge with nostrils that flare forward (anteverted nares). Affected individuals may also have unusually short eyelid folds (palpebral
fissures), flared eyebrows, a small lower jaw (mandible), and prominent ears. Dental abnormalities may also occur including abnormally small,
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underdeveloped teeth (hypodontia) with small, slender roots. Williams’s syndrome may also be associated with heart (cardiac) defects, abnormally
increased levels of calcium in the blood during infancy (infantile hypocalcaemia), musculoskeletal defects, and/or other abnormalities. Cardiac defects
may include obstruction of proper blood flow from the lower right chamber (ventricle) of the heart to the lungs (pulmonary stenosis) or abnormal
narrowing above the valve in the heart between the left ventricle and the main artery of the body (supravalvular aortic stenosis). Musculoskeletal
abnormalities associated with Williams syndrome may include depression of the breastbone (pectus excavatum), abnormal side-to-side or front-toback curvature of the spine (scoliosis or kyphosis), or an awkward gait. In addition, most affected individuals have mild to moderate mental
retardation; poor visual-motor integration skills; a friendly, outgoing, talkative manner of speech; a short attention span; and are easily distracted. In
most individuals with Williams’s syndrome, the disorder appears to occur spontaneously for unknown reasons (sporadically). However, familial cases
have also been reported. Sporadic and familial cases are thought to result from deletion of genetic material from adjacent genes (contiguous genes)
within a specific region of chromosome 7.
Modifications for Inclusion
Modifications, Accommodations or Interventions
Here's a checklist of strategies to help with the inclusion classroom which will assist in meeting the needs of all students. Remember, you are not ‘watering down’ instruction
for the special needs student, but are implementing “differentiated instruction” at its best, which can benefit the regular ed student as well.
___ Be sure special needs students are within close proximity to the teacher or the teacher's assistant.
___ Have procedures that are well understood by students to keep noise levels at an acceptable level. The Yacker Tracker is a worthwhile investment.
___ Have a special carrel or private location for test-taking and or seatwork for those requiring 'free of distractions' to enable success.
___ Eliminate as much clutter as you can and keep distractions to a minimum.
___ Never present instructions/directions orally alone. Always provide graphic organizers, written or graphical instructions also.
___ Clarifications and reminders should be given regularly as needed.
___ Special need students have or should have agendas, which they should use and your should refer to regularly. The agenda can be used as a home/school communication
tool.
___ Have student’s work organized into workable 'chunks'.
___ Classroom expectations should be clearly understood as are the consequences for inappropriate behaviors.
___ Extra assistance should be provided when needed through a peer or the teacher or teacher’s assistant.
___ Praise the students for 'catching them doing it right' regularly.
___ Make use of behavior contracts to target specific behaviors are in place.
___ Make students aware of teacher’s cueing and prompting system, this will help the student stay on task.
___ Never begin instructions/directions until you have the entire class’s undivided attention.
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___ Allow additional 'wait' time for the special needs students.
Band 4-8
___ Provide the special needs students with regular, ongoing feedback and always promote their self-esteem.
Questions to always consider:
___ Do you provide activities that are multi-sensory and take into consideration differentiated learning styles?
___ Do you let your special needs students repeat instructions/directions?
___ Do you modify and or shorten assignments to ensure success?
___ Do you have methods to enable the student to have text written to him/her and can they dictate their answers?
___ Do you provide opportunities for cooperative learning? Working together in groups often helps to clarify misconceptions for learning delayed students.
Web Resources
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




Understanding Special Education www.understandingspecialeducation.com
National Association of Special Education Teachers (NASET) www.naset.org
Special Education Resources on the Internet (SERI) www.seriweb.com
Special Education Resources www.specialednet.com
New Horizons for Learning www.education.jhu.edu/newhorizons
Special Education Terms & Definitions www.dynamagraphics.com
Mayo Clinic www.mayoclinic.com
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Band 4-8
MUSIC GLOSSARY
TERM
DEFINITION
a cappella
a tempo
absolute music
accelerando
accent
accidentals
accompaniment
acoustic
acoustics
adagio
air
al fine
alla breve
allargando
allegretto
allegro
allemande
alto
amplifier, amp
analysis
andante
andantino
animato, animoso
answer
apoyando
arco
aria
arpeggio
arrangement
art song
articulation
atonal
attacca
attack
Without instrumental accompaniment
Return to the original tempo.
Music without associations outside itself.
Becoming faster
To emphasize or stress a note.
Sharps, flats or natural signs used to raise, lower or return a note to its normal pitch.
A vocal or instrumental part that supports or is background for a solo part.
Any instrument that produces sound by means of physical vibrations.
The science of sound; the physical properties of an instrument or a room as they relate to sound.
A low tempo falling between largo (slower) and andante (faster)
A song or melody.
To the end.
A duple time signature, usually 2/2.
Growing broader and, therefore, slower.
A light, cheerful, fast tempo.
A lively fast tempo.
A stately 16th-century German dance, initially in moderate duple meter
The lowest female singing voice and highest male singing voice
An electronic device that controls the intensity (power) or strength of a signal.
The study of the form and structure of music.
A moderate, graceful tempo, between allegretto and adagio.
A tempo a little slower than andante.
Animated, energetic or spirited.
In the fugue, the second entry of the subject.
Resting the finger on the adjacent lower string when plucking a string.
For string instruments, indicates to use the bow.
An air or song for solo voice within an opera or oratorio.
The notes of a chord played in succession; a broken chord.
An adaptation of a composition.
A serious vocal composition, generally for voice and piano.
The degree to which notes are separated or connected, such as staccato or legato.
Music lacking a tonal or key center.
Go on, proceed immediately to next section.
The beginning of a note or phrase.
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TERM
DEFINITION
audition
axe
baby grand
back beat
backup group
balance
ballad
ballet
band
bar
bar line
baritone
bass
bass clef
baton
beats
bebop
A trial performance in order to obtain a performing position or an award.
Bebop slang for a musical instrument.
A small grand piano.
In drumming, emphasizing the second and fourth beats.
A vocal group that sings background behind a singer.
The harmonious adjustment of volume and timbre between instruments or voices.
1. A song that tells a story. 2. In popular music, usually a love song in a slow tempo.
A theatrical dance form with a story, sets and music.
An instrumental ensemble usually made up of wind and percussion instruments and no string instruments.
A measure; the space between two bar lines.
A vertical line that divides the musical staff into measures or bars.
A low male singing voice (between tenor and bass).
The lowest male singing voice.
The F clef falling on the fourth line of the staff.
Conductor’s stick.
A pulsation caused by two sound waves of slightly different frequency.
A form of jazz originating in the 1940’s, characterized by solo improvisations, complex rhythms and extended
harmonies.
A lullaby.
Jazz band specializing in music for dancing.
A compositional form in which an initial section is followed by a contrasting section (AB)
Notes sung or played below their intended pitch creating the “blues” sound.
Afro-American music form for solo voice, derived from spirituals and work songs.
A dance popular in the 1960’s and early 1970’s
A dance popular in the 1940s and 1950s.
The inner curve of the guitar body. The lower bout is the curve used to hold the guitar on the leg when sitting in
proper classical posture.
The device used in the string instrument family composed of a wooden stick with a pointed end, strung with
berceuse
big band
binary form
blue notes
blues
boogaloo
bop
bout
bow
Band 4-8
horsehair.
Wind instruments made out of metal with either a cup-or funnel-shaped mouthpiece. Family includes: trumpet;
trombone; trombone; tuba; and sousaphone.
Good. An expression of approval at a theatre performance.
A marking indicating when to take a breath
On string instruments, a piece of wood that supports the strings, holding them away from the body of the
brass family
bravo
breath mark
bridge
instrument.
cacophony
cadence
cadenza
call and response
cancan
Discordant sound; dissonance.
The melodic or harmonic ending of a piece or the sections or phrases therein.
A solo passage, often virtuosic, usually near the end of a piece, either written by the composer or improvised by the
performer.
A vocal form in which a singer asks a melodic question or makes a statement and an ensemble responds.
A late-19th-century French dance in quick 2/4 time; an offshoot of the quadrille,
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TERM
DEFINITION
canon
In counterpoint, a melody that is repeated exactly by a different voice, entering a short interval of time after the
original voice.
A multi-movement vocal work for concert or church performance by chorus and/or soloists and an accompanying
instrumental ensemble.
An adult male singer with an alto or soprano voice; a eunuch.
Compact disc.
Music for small ensemble.
Chord changes. The chords in a progression.
Unaccompanied sacred vocal music.
A work song sung by English and American sailors.
1. Scores or parts written for an instrumental ensemble; in pop music often just the melody line and chords. 2. In
music trade magazines, the sequential lists of the most popular songs or albums.
The lower register of the voice.
A musician’s playing technique or ability.
Three or more notes sounded simultaneously.
1. A group of singers of secular music. 2. The refrain of a song.
Moving by half steps; notes foreign to a scale.
A key change that utilizes a series of half steps.
cantata
castrato
CD
chamber music
changes
chant
chantey, chanty
chart(s)
chest voice
chops
chord
chorus
chromatic
chromatic
modulation
chromatic scale
classical
classroom
instruments
clef
coda
common time
composer
compound meter
concert b-flat
concertmaster
concerto
conductor
consonance
contralto
contrapuntal
corrente
counterpoint
crescendo
cue
cut time
Band 4-8
A scale composed of twelve half steps.
The time period ranging from the late 18th to the early 19th centuries.
Instruments typically used in the general music classroom. (E.g. recorders, mallet instruments, autoharp, simple
percussion instruments, guitar, keyboard and electronic instruments.
The symbol at the beginning of a staff that indicates which lines and spaces represent which notes.
In musical form, a section at the end of a piece, which brings the piece to a close.
4/4 meter.
A person who creates (composes) music.
A time signature in which the basic pulse is divisible by three.
Tuning pitch for band instruments.
First-chair violinist in an orchestra.
A piece for a soloist and orchestra.
The person who directs a group of musicians.
Sounds that are pleasing to the ear.
The lowest female voice.
See polyphony and polyphonic.
Courante, an early French dance in triple meter.
The combination of two or more melodic lines played simultaneously.
Getting louder
1. Indication by the conductor or a spoken word or gesture for a performer to make an entry. 2. Small notes that
indicate another performer’s part.
2/2 meter
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TERM
DEFINITION
D. C. al fine (Da
Capo al fine)
D.C. (Da Capo)
D.S. (Dal Segno)
decrescendo
development
diatonic
diminuendo
dirge
dissonance
DJ
dolce
doo wop
Back to the beginning and play to the end.
Band 4-8
Back to the beginning.
Back to the sign.
Gradually growing softer
The elaboration of thematic, melodic, harmonic, or rhythmic material.
The notes indigenous to a key in a major or minor scale.
Gradually getting softer.
A piece that is performed at a funeral or memorial service.
Sounds that are unpleasant to the ear.
One who plays recordings at a disco or on the radio.
Sweet.
A type of close harmony singing developed in pop music of the late ‘50s that incorporates the use of nonsense
syllables as rhythmic background or punctuation.
Two lines on a staff that indicate the end of a section or the entire piece.
The first beat given by the conductor with a downward stroke.
A piece for two performers.
Duet.
A time signature with two beats to a measure.
The length of a note or a rest.
The symbols indicating the varying degrees of loudness or softness (volume).
double bar
downbeat
duet
duo
duple meter
duration
dynamic
markings
dynamics
elements of music
embouchure
encore
enharmonic
ensemble
entrance
ethnomusicology
etude
exercise
exposition
The degrees of loudness or softness; their symbols.
Pitch, rhythm, harmony, dynamics, timbre, texture, form
On wind and brass instruments, 1. The shape of the mouth and lips. 2. The mouthpiece.
To repeat a piece or play an additional piece at the end of a performance.
Two notes that are the same pitch but “spelled” differently, e.g., F-sharp and G-flat.
A group of instrumentalists or singers.
The place where a musical voice, vocalist and/or instrumentalist, begins after a rest.
The study of various types of music in relation to their racial and cultural context.
A study or exercise piece written to improve technique.
A short study written to improve technique.
1. In the sonata form, the first section that contains the statement of the themes. 2. In the fugue, the introduction of
the
expression marks
falsetto
fanfare
fantasia
fermata
finale
subject in all parts.
Symbols or explanations for musical interpretation such as dynamics, tempi, mood, articulation
A high artificial voice used for notes that lie above the normal register.
A prelude or opening, a flourish, usually played by brass instruments.
A piece of instrumental music in free form or style. Also fantaisie or fantasy.
A hold or pause.
The last movement of a symphony or sonata or the last section of an opera.
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TERM
DEFINITION
fine
flamenco
flat
folk music
End.
A Spanish dance and song form often performed on guitar.
Indicating to lower a note one half step or below normal pitch.
Originally songs and music passed down through oral tradition. Traditional music that reflects a locale or a national
feeling.
The shape, order and overall structure of a piece of music.
“Strong.” Loud (f)
Very loud
1. On guitars, banjoes, mandolins and electric basses, a thin strip of wood, ivory, gut or metal that is placed across
form
forte (f)
fortissimo (ff)
fret
Band 4-8
the
fingerboard to indicate a specific position of a note. 2. To press the strings again the fretboard with the finger or
fingers.
On certain stringed instruments, a fingerboard with frets.
In the style of a fugue. See fugue.
A contrapuntal piece in which two or more parts are built (layered) on a recurring subject (theme) that is introduced
alone and followed by an answer (which is the subject at a different pitch).
An instrumental score in which all the parts for the instruments appear on their own staves in standard instrumental
family order.
A rhythm and blues sound, usually lowdown, rhythmic and rough
A clef usually centered on the second line of the staff (treble clef), designating that line as the note G above middle
fret board
fugal
Fugue
full score
Funk
g clef
C.
A lively 16th century dance in triple meter.
An Indonesian orchestra consisting of pitched gongs, drums and various xylophone-type instruments.
A type, style or category of music.
A job for a musician
Usually a group of male singers that performs spirited, a cappella songs.
A rapid scale produced by sliding the fingers or hand from one note to another.
Christian music in a popular style
Opera on a large scale, usually entirely sung, in contrast to comic opera.
The combination of the treble and bass staves
Grand.
A slow tempo.
When music comes together for the players or listeners.
Ornamental group of notes such as a turn, shake or trill.
A note/rest equal to two quarter notes/rests or one half the length of a whole note/rest.
The smallest interval in common use.
Movement from one chord to another chord.
galliard
gamelan
genre
gig
glee club
glissando
gospel
grand opera
grand staff
grandioso
grave
groove
gruppetto
half note/rest
half step
harmonic
progression
harmonics
1. The individual, pure tones that make up a complex tone. 2. On string instruments, sound produced by touching
the
string lightly at certain points. Natural harmonics are on open strings, artificial harmonics are played on a fingered
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Newark Public Schools 2010-2011
TERM
Band 4-8
DEFINITION
(stopped) string.
1. The study of the structure, progression and relationships of chords. 2. When pitches are in agreement or
consonance.
The upper register of the voice.
Rap music
Music in which one voice has the melody with a chordal accompaniment.
Music in which all parts move in the same rhythm.
A style of piano playing related to stride and ragtime.
An agent, manager or promoter of performers, orchestras or opera companies.
A stylistic period in music that coincides with the period of impressionistic painting, from the 1870s to early 1900s.
Spontaneous composition.
Short pieces that accompany a play.
The art of composing, orchestrating or arranging for an instrumental ensemble.
An expression of one’s own character and style in a work.
The distance between two notes.
The preparatory section, movement or phase of a piece.
A loose gathering of musicians to play, improvise, or rehearse.
A style of music of Afro-American roots characterized by a strong rhythmic understructure, blue notes and
improvisation on melody and chord structure.
Music composed for a commercial.
1. The tonal center based on the tonic note of the scale. 2. On keyboard instruments, a lever that controls the sound
mechanism
3. On woodwind instruments, a metal lever that opens or closes a tone hole.
The sharps or flats written on the staff at the beginning of a piece to indicate the key.
A set of keys on a piano, organ, harpsichord or synthesizer.
A slow tempo, a little faster than largo.
Slow and broad.
The melody line, lyrics and chords for a song.
Short lines written above or below the staff for notes pitched outside the staff.
Smooth and connected.
Slow.
The text of an opera, oratorio or musical.
Short melodic musical phrases that sometimes can become musical “signatures” for jazz and pop artists.
A plucked string instrument with a half-pear-shaped body, fretboard and pegbox are set at an angle.
Majestically, stately.
Master, teacher, conductor.
A diatonic scale in which the half-steps occur between the third and fourth, and seventh and eighth degrees.
Music for marching, such as in a parade or procession, in duple or quadruple time.
A band that plays while marching in parades or performing in choreographed field shows.
A Mexican folk group, usually consisting of two violins, guitar, guitaroon (acoustic bass guitar), trumpet and
harmony
head voice
hip hop
homophony
homorhythmic
honky-tonk
impresario
impressionism
improvisation
incidental music
instrumentation
interpretation
interval
introduction
jam
jazz
jingle
key
key signature
keyboard
larghetto
largo
lead sheet
ledger lines
legato
lento
libretto
licks
lute
maestoso
maestro
major scale
march
marching band
Mariachi
rhythm
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TERM
DEFINITION
measure
medley
melisma
melody
meno
meter
instruments.
A bar; the space between two bar lines.
A group of songs linked together musically.
Several notes sung to one syllable.
An organized sequence of single notes.
Less.
1. A framework for rhythm determined by the number of beats, the time value of those beats and the accents
Band 4-8
thereof.
2. The division of music into measures, bars, or phrases. 3. In verse (lyrics), the pattern of long and short syllables.
Half, medium.
Moderately loud.
Moderately soft.
“Musical Instrument Digital Interface.” The means by which musical performance and other information is
transmitted and received by electronic instruments using a common serial interface.
A diatonic scale in which the half steps occur between the second and third, and fifth and sixth degrees (natural
minor).
To combine and balance several tracks of a recording.
A type of scale with a specific arrangement of intervals.
Moderate tempo.
To change keys; the transition from one key to another within a piece.
mezzo (m)
mezzo forte (mf)
mezzo piano (mp)
MIDI
minor scale
mix
mode
moderato
modulate,
modulation
molto
monophonic,
monophony
monotone
mordent
mosso
motif, motive
Motown sound
mouthpiece
movement
music
music theory
music therapy
musical drama
musicology
mute
Very.
Music with a single melody line only.
A single, unvaried pitch. Reciting words on one pitch.
Ornamentation of a written note.
Moved, lively.
A short melodic pattern or musical idea that runs throughout a piece.
Music of the Black musicians of the 1960s and 1970s emanating from the Detroit-based Motown Record Corp.
On brass and wind instruments, the part of the instrument placed to a players lips.
A self-contained section of a composition, such as a symphony, suite, concerto, sonata, etc.
The organization of sounds with some degree of rhythm, melody and harmony.
The study of how music is put together.
The use of music as part of a medical or psychological and social treatment.
Opera, especially that of Richard Wagner.
The study of musical composition and history.
1. A device that softens or muffles an instrument’s sound 2. Brass instrument mutes: cup-conical with a donut on
the
natural
new jack swing
end
The music symbol that indicates that a note is neither sharp nor flat.
A type of funk dance, often with rap.
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TERM
DEFINITION
nonet
notation
notes
obbligato
octave
octavo
octet
odd meters
ode
opera
1. A piece for nine instruments or voices. 2. Nine performers.
Written music indicating pitch and rhythm.
The written symbols of music.
Originally meant an obligatory (essential) part; now means a solo or contrasting melody that is optional.
The interval between the first and eighth degrees of the diatonic scale.
Individual copy of choral music or band music, roughly 6” x 9”.
1. A piece for eight instruments or voices. 2. Eight performers.
Meters that are groupings of an odd number and an even number of beats, such as 5/4 (3+2) or 7/8 (3+4)
A lyrical poem set to music in honor of a person or occasion.
1. A dramatic work set to music in which all or most of the text is sung with instrumental accompaniment, costumes
and sets.
2. The plural of opus.
opera bouffe,
opera buffa,
opera comique
operetta
opus
oratorio
Comic opera
orchestra
orchestration
ornamentation
ornaments
ostinato
overdub,
overdubbing
overture
pantomime
passacaglia
passage
passion
pause
pavane
Peghead or
pegbox
pentatonic scale
percussion family
period
Band 4-8
Light opera.
With a number, used to show the order in which pieces were written or published.
A musical setting for voices and orchestra of a text based on the Scriptures or an epic theme. Essentially an opera
without staging, scenery or costumes.
A large group of musicians, made up of string, brass, woodwind, and percussion instruments.
The art of writing, arranging or scoring for the orchestra.
To add ornaments to a melody.
Melodic embellishments, either written or improvised.
A repeated musical figure, rhythmic pattern or motive, most often occurring in the bass.
To record a track on top of another track.
The introductory music for an opera, oratorio or ballet. A concert overture is an independent work.
A play in which the story is conveyed only by gestures and movement with musical accompaniment.
A slow stately dance in triple meter, often with a repetitive theme or bass line.
A section of a piece.
An oratorio on the suffering and death of Jesus Christ.
1. A rest of indefinite length. 2. A hold, fermata.
A slow dance in duple meter dating back to the 16 th century.
On string instruments the mechanism around which a string is wound, that tightens or loosens the string.
1. Any scale made up of five notes 2. The scale corresponding to a major scale without the fourth and seventh
degrees, which can be played on the black keys of the piano.
Instruments made of sonorous material that produce sounds of definite or indefinite pitch when shaken or struck,
including drums, rattles, bells, gongs, xylophones.
A musical statement, made up of two or more phrases and a cadence.
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TERM
DEFINITION
phrase
phrasing
A musical idea; a natural unit of a melodic line.
1. In classical music, “punctuating” a melodic line. Often used as a synonym for articulation. 2. In popular music “
delivering” a melodic line, including all facets of nuance, as well as departures from the original melody.
Very soft
Piano (soft) 2. A keyboard musical instrument
pianissimo (pp)
piano (p)
Band 4-8
“Soft-loud.” A keyboard instrument, the full name for the piano, on which sound is produced by hammers striking
strings when keys are pressed.
A score arranged for playing on piano.
The highness or lowness of a note, as determined by its frequency.
On string instruments, plucking the string.
Little by little.
See polyphony.
Music that combines two or more melodic lines simultaneously.
A smooth glide from one note to another.
An introductory movement or piece.
Fast.
The most important female singer in an opera. Also implies a vain or difficult person.
Music performed for an entrance.
1. Instructions given to a computer to perform a certain task. 2. Agenda of musical performance.
A piece that conveys a picture or story. In contrast to absolute music.
Movement from one chord to another chord.
Jazz from the 1950s, smooth and cool in contrast to bebop.
An introductory piece that presents the background for an opera.
A beat.
A time signature with four beats to a measure.
A note/rest one half the length of a half note and one quarter the length of a whole note.
A piece for four instruments or voices.
A piece for five instruments or voices.
A time signature with five beats to a measure; e.g.,5/4
The earliest form of jazz, from the early 1900s. Features “ragged” syncopated rhythms against a regular rhythmic
background of 2/4 or 4/4.
Becoming gradually slower.
The notes, from the lowest to the highest, that a voice or instrument may be capable of producing.
In pop music, a rhyming half-sung, half-spoken style, often enhanced by electronic effects.
1. The final section in sonata form, in which the themes are restated. 2. Return to, or repetition of, a theme or
piano (pianoforte)
piano score
pitch
pizzicato
poco a poco
polyphonic
polyphony
portamento
prelude
presto
prima donna
processional
program
program music
progression
progressive jazz
prologue
pulse
quadruple meter
quarter note/rest
quartet
quintet
quintuple meter
ragtime
rallentando
range
rap
recapitulation
passage.
recessional
recital
recitative
refrain
A hymn or music played at the close of a church service or event.
A performance by one or more performers.
A vocal number that mimics the inflections of speech, found primarily in operas and oratorios.
The chorus of a song usually repeated.
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TERM
DEFINITION
reggae
A Jamaican pop music style, a combination of West Indian and Afro-American music styles with a hypnotic, heavy
bass sound.
“Rebirth.” The era from the mid 15th century to the end of the 16th century.
The restatement of a passage.
A sign meaning to repeat a section of music.
Repeat
The progression of chords or notes from the dissonant to the consonant or point of rest.
1. In the fugue, the answer. 2. An answer by a group to a musical call or question, such as in gospel music.
A period of musical silence.
Playing a melodic line backwards.
The pattern of long and short note values in music.
A form of pop music that evolved in the 1940’s, characterized by heavily syncopated dance rhythms and blues
renaissance
repeat
repeat sign
reprise
resolution
response
rest
retrograde
rhythm
rhythm and blues
Band 4-8
scales.
rhythm section
riff
ritardando
rock, rock ‘n’ roll
rococo
romantic
rondo
root
round
rubato
run
SA
SAB
sacred music
salsa
SATB
scale
scat singing
scherzo
score
scoring
secular music
segue
semitone
sforzando (sfz)
In jazz and pop music, the instruments—piano, guitar, bass and drums--that play rhythm and harmony in
accompaniment to a soloist.
A repeated melodic pattern.
Becoming gradually slower.
A form of pop music that evolved in the mid 1950s from rhythm & blues.
A highly ornamented style of music and decorative arts in the mid 18 th century.
The era roughly from 1820 to 1900, in which music progressed to a freer, more subjective form with increasing
chromatics, the use of folk themes, the introduction of more virtuosity solo music, and larger orchestras.
A musical form characterized by a recurring theme in alternation with contrasting themes; often the form is
ABACADA or ABACABA.
The fundamental note of a chord or a scale.
A vocal canon for two or more voices, sung in unison or octaves.
Freely slowing down and speeding up the tempo without changing the basic pulse.
A rapid scale passage.
In choral music—soprano, alto.
In choral music—soprano, alto, baritone.
Music for worship, religious concerts, or devotional use.
A Latin American pop music and dance style combining Latin rhythms with rock.
In choral music—soprano, alto, tenor, bass.
A progression of notes in a specific order.
A form of improvisational jazz singing using nonsense syllables.
A piece in a lively tempo.
The written depiction of all the parts of a musical ensemble.
1. Organizing the various instrumental parts of a piece into a score form. 2. The art of composing music for a film.
Any music that is not sacred music.
1. Continue to the next movement or section without a break. 2. Continue in the same fashion.
A half step.
A strong accent on a note.
Office of Academic Services©2010
83-2011
Newark Public Schools 2010-2011
TERM
DEFINITION
sharp
sheet music
1. Symbol indicating to raise a note one half step. 2. Above normal pitch.
1. An individually printed song, most often for voice, piano, guitar, or a combination of the three. 2. Any printed
music.
A musician who is part of a group or combo, but not the leader or soloing musician.
Signs, symbols or numbers placed at the beginning of a staff or piece.
A time signature in which the basic pulse is divisible by two.
A note/rest half the length of an eighth note and a sixteenth the length of a whole note.
A curved line connecting two or more notes, indicating that they are to be played legato.
To perform alone or as the predominant part.
An instrumental piece, often in several movements.
The form used in the first movement of sonatas (symphonies, concerti, and quartets). Exposition, development,
recapitulation.
A piece for voice.
The highest female voice.
Quietly; in a soft voice.
In the music business, the name for Afro-American music of rhythm and blues origin.
The interval between two lines of a staff or between ledger lines.
An Afro-American religious song.
In choral music—soprano, soprano, alto
In choral music --soprano, soprano, alto, alto
Short, separated notes indicated by this symbol.
The horizontal lines upon which music is written.
Jazz ensemble.
In the music business, a long-lasting song.
A section of a song, two or more lines long, characterized by a common meter, rhyme, and number of lines.
The vertical line extending from a note head.
Melodic movement of one or two semitones.
Instruments with strings that produce sound when plucked, bowed. Family includes: violin; viola; violoncello;
sideman
signature
simple meter
sixteenth note/rest
slur
solo
sonata
sonata allegro
form
song
soprano
sotto voce
soul
space
spiritual
SSA
SSAA
staccato
staff, staves
stage band
standard
stanza
stem
step
string instrument
family
string quartet
strophic
studio musician
style
subject
suite
swing
swing time
symphonic band
symphonic poem
Band 4-8
double
bass; guitar and ukulele.
Two violins, viola and cello.
A song in which all the verses are sung to the same melody.
In the music business, a free-lance musician who works primarily in recording studios.
The distinctive or characteristic manner in which the elements of music are treated. The term may also be used to
describe the works of a composer, a music period, performance media, nations, culture, composition or genre.
A theme or motif that is the basis for a musical form, as in the fugue or sonata.
A group of short instrumental movements, usually in the same key and in dance forms.
1. Jazz-flavored big band music of the 1930s. 2. The essence of jazz, denoting its improvisational, rhythmic feel.
In jazz, when eighth notes are given a long-short rhythmic emphasis.
Concert band/
An orchestral piece based on an extra-musical idea—a tone picture.
Office of Academic Services©2010
84-2011
Newark Public Schools 2010-2011
TERM
DEFINITION
symphony
1. A piece for large orchestra, usually in four movements, in which the first movement often is in sonata form. 2. A
large orchestra.
The placement of rhythmic accents on weak beats or weak portions of beats.
An instrument that can produce and manipulate sound electronically.
Two or more staves connected together.
In instrumental or choral parts, a direction to refrain from playing or singing.
The pace of a piece of music.
The indications of the pace of the music, such as largo.
1. A high male voice between alto and baritone. 2. Instruments in the tenor range.
A compositional form in which an initial section is followed by a contrasting section, which is followed by a return
syncopation
synthesizer
system
tacet
tempo
tempo markings
tenor
ternary form
Band 4-8
of
tessitura
texture
theme
theme and
variations
theory
three-part-form
tie
timbre
time
time signature
tirando
tone
tone color
tone poem
treble
treble clef
tremolo
triad
trill
trio
triple meter
triplet
TTB
TTBB
tune
tuning
the initial section.
The average highness or lowness in pitch of a vocal piece.
The number of parts (voices) in a piece and their relation to one another.
The musical subject of a piece (usually a melody), as in sonata form or a fugue.
A statement of a musical subject followed by restatements in different guises.
The study of how music is put together.
Ternary form.
A curved line connecting two notes of the same pitch indicating they are to be played as one note.
Tone color or quality.
Meter – the number of beats in a measure.
The numbers at the beginning of a piece.
When a string is plucked with a right-hand finger without resting or touching the next lower string.
A note.
The quality of sound of an instrument or voice.
An orchestral work, usually in one continuous movement.
The highest voice, instrument or part.
The G clef falling on the second line of the staff.
1. Usually the rapid alternation between two adjacent notes. 2. On string instruments it can be the rapid back and
forth motion of the bow on a single note.
A chord of three notes: root, third, fifth.
An ornament consisting of the rapid alternation of two adjacent notes.
1. A piece for three instruments or voices. 2. Three performers. 3. The middle section in minuets, scherzos, and
marches, often written in three-part harmony.
Time signatures with three beats to a measure.
Three notes that are played in the time of two notes of equal value.
In choral music –tenor, tenor, bass.
In choral music –tenor, tenor, bass (or baritone), bass.
1. A melody 2. The correct pitch (in tune).
Adjusting the intonation of an instrument to its desired pitch(es).
Office of Academic Services©2010
85-2011
Newark Public Schools 2010-2011
TERM
DEFINITION
tutti
twelve-bar blues
All; or, in instrumental music, the term used for entrance of the full ensemble.
An African-American music form using three chords—tonic, subdominant, and dominant—and the blues scale in
specific order within twelve bars. The basis for rock music.
Binary form.
One part form.
Two or more notes or parts sounding at the same pitch.
A short introduction or accompaniment to a song that is repeated until the singer is ready to continue.
The modification of a theme, figure or passage by means of melodic, rhythmic, contrapuntal, or harmonic changes.
1. The solo portion of an anthem. 2. In popular music, the stanza which tells the story of the song, changing with
two-part form
unipartite
unison
vamp
variation
verse
Band 4-8
each
repeat.
A general term used in Spain from the 13th to the 18th centuries to signify any stringed instrument with a neck
vihuela
played
with a bow, a plectrum (pick) or with the fingers.
A generic term for a wide range of light vocal music popular in Italy in the 16 th and 17th centuries. Also called
villanella.
A brilliant, skillful performer.
In large vocal works (especially musicals and operettas), a collection of selected vocal numbers, with the
villanesca
virtuoso
vocal selections
instrumental
parts arranged for keyboard.
Practicing singing with exercises
A vocal exercise sung to vowels.
1. The sound produced by human and some animal vocal chords. 2. In contrapuntal music, an instrumental or vocal
part.
Loudness and softness.
A bass line of steady quarter or eighth notes, usually moving stepwise.
A note/rest equal to two half notes or four quarter notes.
Two half steps; a major second.
vocalization
vocalise
voice
volume
walking bass
whole note/rest
whole step or
whole tone
whole-tone scale
wind instrument
family
woodwind family
A scale made up solely of whole tones.
Instruments in which sound is produced by the vibration of air, including brass and woodwind instruments.
Instruments, originally made of wood, in which sound is produced by the vibration of air, including recorders,
flutes,
clarinets, saxophones, oboes and bassoons.
An Afro-American rhythmic song used to accompany any type of work that required specific rhythms such as
work song
picking
world music
Zydeco
cotton or laying railroad ties.
In the music business, a chart term for recordings featuring foreign music of a folk character.
A style of popular music that mixes Cajun and Afro-Caribbean with rhythm and blues.
Office of Academic Services©2010
86-2011
Newark Public Schools 2010-2011
Band 4-8
Suggested Websites
Aesthetics
THEME
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

WEBSITE
http://www.musicmotion.com/searchm.htm
http://www.researchbuzz.org/aestheticsmusic/
http://www.mnstate.edu/gracyk/courses/aesthetics%20of%20music/honors.htm
http://www.carnegiehall.org/SiteCode/Intro.aspx
http://www.apassion4jazz.net/
Arpeggios









http://www.cybermusicacademy.org/lesson5.htm
http://www.enchantedlearning.com/music/
http://www.lessontutor.com/musicgenhome.html
http://www.cybermusicacademy.org/lessons2.htm
http://au.geocities.com/drbobsmithau/notation.htm
http://www.finalemusic.com/finale/home.aspx
http://www.numbera.com/musictheory/theory/scalesandkeys.aspx
http://www.musictechteacher.com/worksheet_arpeggio_activity001.htm
http://www.classicalarchives.com/learning/stu_8.html
Audio/Visual
Resources






http://www.ambrosevideo.com/
http://www.libraryvideo.com/
http://homevideo.about.com/od/educationalvideosdvds/Educational_Videos_DVDs.htm
http://www.chalktalkonline.com/
www.arabicmusicvideos1.com/instrumentals.htm
www.sheetmusicinstock.com
Career and Technical
Education



www.ed.gov/about/offices/list/ovae/pi/cte/weblinks/index.html
www.acteonline.org/resource_center/lpl/index.cfm
www.khake.com/
Office of Academic Services©2010
87-2011
Newark Public Schools
THEME

Careers







2010-2011
WEBSITE
www.lessonplanspage.com/MusicJH.htm
http://www.menc.org/guides/etiquette/quiz.html
http://musicappreciation.suite101.com/article.cfm/concertetiquette
www.orpheusacademy.com/resources/Performance%20Etiquette.pdf
http://www.menc.org/guides/etiquette/quiz.html
http://musicappreciation.suite101.com/article.cfm/concertetiquette
www.orpheusacademy.com/resources/Performance%20Etiquette.pdf
http://www.musiccareers.net/articles/
Computer and
Information Literacy





http://www.ala.org/ala/acrlbucket/nashville1997pap/pauschpopp.cfm
http://www.edstandards.org/StSu/InfoLit.html
www.libraryinstruction.com/infolit.html
http://academic.uofs.edu/faculty/beidler/CILit/default.html
http://www.musictechnology.com
Critique


http://www.und.nodak.edu/instruct/knorman/521/criteria.html
http://rubistar.4teachers.org/index.php
Dynamics


http://ezinearticles.com/?How-To-Play-The-Piano-With-Expression---Part-1&id=640802
http://ezinearticles.com/?How-To-Play-The-Piano-With-Expression-Part-2&id=645343
Ear Training


http://www.musicalintervalstutor.com/
http://library.thinkquest.org/15413/theory/intervals.htm
Harmonic Movement







http://www.musictheory.halifax.ns.ca/15tdt.html
http://www.musictheory.net/lessons/html/id23_en.html
http://trumpet.sdsu.edu/M151/Elements_of_Music4h.html
http://www.musictheory.halifax.ns.ca/15tdt.html
http://www.musictheory.net/lessons/html/id23_en.html
http://www.principlesofnature.net/musical_scale_structures/triads_in_music_and_math.htm
http://www.users.globalnet.co.uk/~leonid/finger_patterns.htm
Office of Academic Services©2010
Band 4-8
88-2011
Newark Public Schools
THEME
History






Instructional DVDs
and Videos
Listening Examples
Music Theory
Notation
2010-2011
WEBSITE
https://secure.classicalarchives.com/login.html
http://www.apassion4jazz.net/
http://bandsinamerica.tripod.com/http:
http://www.symphony.org/http://en.wikipedia.org/wiki/Music_history_of_the_United_States_(1940s_and_50s)
http://www.radiorow.com/

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












www.violinmastery.com/
www.activemusician.com
www.musicridge.com
www.wwbw.com/Suzuki-Instructional-Video-i103100.music
www.music123.com
www.expertvillage.com
www.learnbassnow.com
www.thedrumworks.com
www.descarga.com
www.rolandus.com
www.musicexpert.com/band
www.jwpepper.com/Marching_Band_Directors
http://www.outsideshore.com/school/music/almanac/html/Jazz_Styles/Classic_Jazz/Piano_Jazz.htm
http://www.kaublepianostudio.com/history/
http://www.enjoythemusic.com/history.htm
http://www.geocities.com/Vienna/Studio/6917/history.html














http://musictheoryresources.com/members/FA_intervals.htm
http://www.musictheory.net/
http://www.musictheory.net/lessons/html/id31_en.html
http://www.emusictheory.com/
Band 4-8
http://www.cybermusicacademy.org/lesson5.htm
http://www.enchantedlearning.com/music/
http://www.lessontutor.com/musicgenhome.html
http://www.cybermusicacademy.org/lessons2.htm
http://au.geocities.com/drbobsmithau/notation.htm
http://www.finalemusic.com/finale/home.aspx
http://www.numbera.com/musictheory/theory/scalesandkeys.aspx
http://dspace.dial.pipex.com/andymilne/Scales.shtml
http://www.ultimate-guitar.com/lessons/scales/major_scales_explained.html
Office of Academic Services©2010
89-2011
Newark Public Schools 2010-2011
THEME
WEBSITE
Performance







http://www.balancedpianist.com/bpseatingguide.htm
http://www.geocities.com/vienna/studio/6917/perform2.html
http://www.irenejackson.com/perftips.html
http://cnvi.com/applause/
http://www.musicbizacademy.com/knab/front4_performance.htm
http://iwritethemusic.com/performance_skills.html
http://www.hsc.csu.edu.au/music/performance/preparation/performance_tips/performance_tips_owens.htm
Rhythm






http://www.standards.dfes.gov.uk/schemes2/music/mus10/?view=get
http://mathforum.org/workshops/sum96/paths/rhythm.html
http://www.answers.com/topic/rhythm?cat=health
http://pianoeducation.org/pnonb1.html
http://www.rhythm-patterns.narod.ru/
http://www.serve.com/marbeth/staccatovslegato.html
Scales







http://www.oake.org/
http://www.dalcrozeusa.org/home.html
http://www.menc.org/
http://www.macgamut.com/
http://musictheoryresources.com/members/FA_intervals.htm
http://www.musictheory.net/
http://www.musictheory.net/lessons/html/id31_en.html
Technique








http://www.cybermusicacademy.org/lesson5.htm
http://www.enchantedlearning.com/music/
http://www.cybermusicacademy.org/lessons2.htm
http://au.geocities.com/drbobsmithau/notation.htm
http://www.finalemusic.com/finale/home.aspx
http://www.numbera.com/musictheory/theory/scalesandkeys.aspx
http://cnx.org/content/m11884/latest/
http://www.serve.com/marbeth/staccatovslegato.html
Office of Academic Services©2010
Band 4-8
90-2011
Newark Public Schools
THEME
Technique and

Articulation







2010-2011
WEBSITE
http://www.cybermusicacademy.org/lesson5.htm
http://www.enchantedlearning.com/music/
http://www.lessontutor.com/musicgenhome.html
http://au.geocities.com/drbobsmithau/notation.htm
http://www.finalemusic.com/finale/home.aspx
http://www.numbera.com/musictheory/theory/scalesandkeys.aspx
http://cnx.org/content/m11884/latest/
http://www.serve.com/marbeth/staccatovslegato.html
Triads


http://www.musicalintervalstutor.com/
http://library.thinkquest.org/15413/theory/intervals.ht
World Music






www.worldmusic.org/
http://www.putumayo.com/
http://www.worldmusicstore.com/
http://worldmusiccentral.org/
http://worldmusic.about.com/
http://www.rootsworld.com/rw/
Office of Academic Services©2010
Band 4-8
91-2011