Bayonne School District
Elementary Music
Curriculum
BHS Elementary Music Curriculum Grades Pre-K through 8 – Table of Contents
Introduction ...................................................................................................................................................................................... 3
Pre Kindergarten ............................................................................................................................................................................... 4
Strand 1: Singing & Playing Music .......................................................................................................................................... 4
Strand 2: Listening to Music ................................................................................................................................................... 5
Kindergarten ..................................................................................................................................................................................... 8
Strand 1: Singing & Playing Music .......................................................................................................................................... 8
Strand 2: Listening to Music ................................................................................................................................................. 10
1st Grade .......................................................................................................................................................................................... 12
Strand 1: Singing, Playing & Improvising Music ................................................................................................................... 12
Strand 2: Composing & Reading Music ................................................................................................................................ 14
Strand 3: Listening to Music ................................................................................................................................................. 16
2nd Grade ......................................................................................................................................................................................... 19
Strand 1: Singing, Playing & Improvising Music ................................................................................................................... 19
Strand 2: Composing & Reading Music ................................................................................................................................ 21
Strand 3: Listening to & Understanding Music .................................................................................................................... 23
Strand 4: Exploring History, Culture & Connections ............................................................................................................ 25
3rd Grade ........................................................................................................................................................................................ 27
Strand 1: Singing, Playing & Improvising Music ................................................................................................................... 27
Strand 2: Composing & Reading Music ................................................................................................................................ 28
Strand 3: Listening to & Understanding Music .................................................................................................................... 31
Strand 4: Exploring History, Culture & Connections ............................................................................................................ 33
4th Grade ........................................................................................................................................................................................ 35
Strand 1: Singing, Playing & Improvising Music ................................................................................................................... 35
Strand 2: Composing & Reading Music ................................................................................................................................ 37
Strand 3: Listening to & Understanding Music .................................................................................................................... 39
Strand 4: Exploring History, Culture & Connections ............................................................................................................ 41
5th Grade ........................................................................................................................................................................................ 43
Strand 1: Singing, Playing & Improvising Music ................................................................................................................... 43
Strand 2: Composing & Reading Music ................................................................................................................................ 45
Strand 3: Listening to & Understanding Music .................................................................................................................... 47
Strand 4: Exploring History, Culture & Connections ............................................................................................................ 49
6th Grade ........................................................................................................................................................................................ 51
Strand 1: Singing, Playing & Improvising Music ................................................................................................................... 51
Strand 2: Composing & Reading Music ................................................................................................................................ 53
Strand 3: Listening to & Understanding Music .................................................................................................................... 55
Strand 4: Exploring History, Culture & Connections ............................................................................................................ 57
2014 – Bayonne School District
1
7th & 8th Grade ................................................................................................................................................................................. 59
Strand 1: Singing, Playing & Improvising Music ................................................................................................................... 59
Strand 2: Composing & Reading Music ................................................................................................................................ 61
Strand 3: Listening to & Understanding Music .................................................................................................................... 63
Strand 4: Exploring History, Culture & Connections ............................................................................................................ 65
Beginning Band & Choir Curriculum ................................................................................................................................................ 67
Strand 1 & 2: Performing & Reading Music ......................................................................................................................... 67
Strand 3 & 4: Listening to & Understanding Music .............................................................................................................. 70
Advanced Band & Choir Curriculum ................................................................................................................................................ 72
Strand 1 & 2: Performing & Reading Music ......................................................................................................................... 72
Strand 3 & 4: Listening to & Understanding Music .............................................................................................................. 75
Appendix ........................................................................................................................................................................................ 77
Vocabulary Lists by Grade .................................................................................................................................................... 77
The Creative Process ............................................................................................................................................................ 79
Critique Process ................................................................................................................................................................... 81
Acknowledgements .............................................................................................................................................................. 84
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Edited, designed, and produced by Bayonne Public Schools
Timothy Craig, Administrative Coordinator; Serge R. Puchinsky, Writer/Editor, web site: talkaboutmusiced.edublogs.org
Bayonne Board of Education
669 Avenue A, Bayonne, New Jersey 07002
Web site: www.bboed.org
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2014 – Bayonne School District
Introduction
The Bayonne Elementary Music Curriculum for 2014 reflects the intent of the New Jersey Core Content Curriculum Standards and
draws upon several other sources and curriculum guides including The Ontario Curriculum, Grades 1-8: The Arts, 2009; Music
Standards of Learning: Instructional Strategies and Correlations, grades 1 through 8 from the Commonwealth of Virginia; the Core
Knowledge Sequence for Grades K-8; as well as several other state music standards and curriculum guidelines.
This curriculum identifies specific expectations for each grade and describes the content knowledge and skills that students are
expected to acquire, demonstrate, and apply at each grade level. Each grade is divided into two to four strands including Singing,
Performing and Improvising, Composing & Reading Music, Listening and Understanding Music and finally, Historical and
Interdisciplinary Connections in Music. Each of these Strands is then broken into several sub-topics as follows:
Singing, Performing & Improvising Music
 Singing – vocal technique and skills, singing, solfege, etc.
 Performing – with available instruments and/or body percussion.
 Improvising – either through singing or playing instruments/body percussion.
Composing & Reading Music
 Composing & Creating Music – composing and creating music with formal and informal or graphic/symbolic notation
 Reading & Notating Music – reading and notating rhythms and pitch, reading basic markings and understanding basic music
theory and music literacy.
Listening to & Understanding Music
 Listening to Music – music appreciation, aesthetics, the elements of music, etc.
 Moving to Music – circle dances, keeping a steady beat, responding to music with motion.
 Evaluating & Critiquing Music – developing criteria for self-assessment, critiquing performances, critiquing performance
elements.
Historical, Cultural & Interdisciplinary Connections
 Interdisciplinary Connections – connecting music to other academic areas of study, careers in music, music copyright and
social issues reflected in music.
 Historical & Cultural Connections – connections to music history, composers, as well as styles and genres of music
throughout the world.
Each grade level also has suggested vocabulary, songs for performance, as well as suggested listening examples. This is a living
document and should be treated as such. As a department, the music teachers of Bayonne will utilize this document to create units
of study and lessons as we share and collaborate best practices and ideas for lessons, performance tasks, resources, and
assessments.
2014 – Bayonne School District
3
Pre-K, Strand 1-2: Singing & Playing Music
Strand 1: Singing & Playing Music
Creation Date: 12/28/13
Grade Level: Pre-K
Revision Date: 5/1/14
Stage 1 – Desired Results
Established Goals: NJ Standards

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


1.3.P.B.1 - Sing a variety of songs with expression, independently and with others.
1.3.P.B.2 - Use a variety of musical instruments to create music, alone and/or with others, using different beats, tempos, dynamics, and
interpretations.
1.3.P.B.3 - Clap or sing songs with repetitive phrases and rhythmic patterns.
1.3.P.B.4 - Listen to, imitate, and improvise sounds, patterns, or songs.
1.3.P.B.5 – Participate in and listen to music from a variety of cultures and times.
1.3.P.B.6 - Recognize and name a variety of music elements using appropriate music vocabulary.
Understandings
Essential Questions
Students will understand that…



Creating and performing music provides a means of selfexpression for very young learners.
Keeping the beat helps singers stay together - the beat is the glue
that keeps the music and musicians together.
Singing voice and speaking voice are different and use different
“vocal muscles” that we need to train in order to sing together.
Students will know…
 Through participation become familiar with basic elements of




music (rhythm, melody, form, timbre)
Steady beat, long/short, sound/silence.
Speaking vs. singing voice.
Fast/slow, loud/soft.
So-mi patterns




How to we measure time in music?
What are the different ways in which we can use our voices?
How do we create quality music?
What does music look like?
Students will be able to…
Apply the creative process to create and perform music for a variety of
purposes, using the elements and techniques of music.
Singing
 Sing, alone or with others, a simple song on pitch.
 Sing unaccompanied, accompanied, and in unison.
 Demonstrate, vocally, singing and speaking voices.
 Demonstrate, vocally, high and low pitches.
 Sing a round for two or more groups.
 Create vocal sounds that move upward and downward in
response to visual and movement cues.
Playing Instruments
 Recognize a steady beat; moving to a beat; play a steady beat;
recognize accents.
 Imitate clapping patterns of at least four claps per pattern that
vary in tempo, number, length of pause between claps, etc.
 Use musical instruments or other objects to imitate a sequence of
three or more sounds made by more than one instrument.
 Echo short rhythms and melodic patterns.
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2014 – Bayonne School District
Stage 2 – Assessment Evidence


Teacher observations
 Written or improvised compositions, either performed live or
recorded
Teacher created rubrics that focus on student performance
and/or creativity.
 Warm-up and exit tasks
 Simple teacher created quizzes, tests, response forms.
 Question-and-answer (large group, small group, or partner)
 Small-group assessment using verbal and/or written rubrics
 Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
 Student self-assessment rubrics, either written (e.g., checklists) or
with manipulatives, or computer-generated
spoken (to teacher or other students)
 Interviews
Key Criteria: Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills - Singing, Playing and Moving – In time
with beat, In tune with pitch.
Stage 3 – Learning Plan & Resources
Songs
A Tisket, A Tasket
Are You Sleeping?
Do Your Ears Hang Low?
Did You Ever See a Lassie?
Eensy, Weensy Spider
Five
Little Ducks That I Once Knew
Five Little Monkeys Jumping On the Bed
Happy Birthday to You
2014 – Bayonne School District
Head and Shoulders, Knees and Toes
Here is the Beehive
I Know an Old Lady
I’m a Little Teapot
Kookaburra
Lazy Mary
Looby Loo
Oats, Peas, Beans and Barley Grow
Oh, Do You Know the Muffin Man?
Oh Where, Oh Where, Has My Little Dog Gone?
One Potato, Two Potato
Open, Shut Them
Pop Goes the Weasel
Teddy Bear, Teddy Bear, Turn Around
Teddy Bears Picnic
Where is Thumbkin?
Who Stole the Cookie from the Cookie Jar?
You Are My Sunshine
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Pre-K, Strand 3: Listening To & Understanding Music
Strand 2: Listening To & understanding Music
Creation Date: 12/28/13
Grade Level: Pre-K
Revision Date: 5/1/14
Stage 1 – Desired Results
Established Goals: NJ Standards
 1.4.P.A.1 - Describe feelings and reactions in response to a creative movement/dance performance.
 1.4.P.A.2 - Describe feelings and reactions in response to diverse musical genres and styles.
 1.4.P.A.3 - Describe feelings and reactions and respond in an increasingly informed manner to stories and dramatic performances.
 1.4.P.A.4 - Describe feelings and reactions and make increasingly thoughtful observations in response to a variety of culturally diverse works
of art and objects in the everyday world.
 1.4.P.A.5 - Begin to demonstrate appropriate audience skills during creative movement and dance performances.
 1.4.P.A.6 - Begin to demonstrate appropriate audience skills during recordings and music performances.
 1.4.P.A.7 - Begin to demonstrate appropriate audience skills during storytelling and performances.
Understandings
Essential Questions
Students will understand that…



Music offers distinct opportunities to observe, experience,
interpret, appreciate, and respond to musical and non-musical
sounds in the everyday world.
Music allows people to express and communicate ideas and
feelings through sound.
All people respond differently to music depending upon their
culture, family, and knowledge of music.
Students will know…
 Elements – melody & rhythm
 Melodic contour – high/low, up/down.
 Folk & traditional song repertoire (refer to song lists/listening list


in appendix)
Fast/slow, loud/soft
Timbre – vocal singing, speaking, whispering; instrumental strings,
brass, winds, percussion, male/female voices, child/adult voices.




Students will be able to…
Apply the critical analysis process to communicate their feelings, ideas,
and understandings in response to a variety of music and musical
experiences.
 Express initial reactions and personal responses to musical









6
How to we measure time in music?
What are the different ways in which we can use our voices?
How do we create quality music?
What does music look like?
performances in a variety of ways (drawing picture, talking about
their feelings, etc.)
Recognize same and different sections in familiar pieces of music.
Recognize the difference between voices and instruments.
Recognize differences between the voices of men, women, and
children.
Recognize selected instruments by sight and/or sound.
Identify a selection as fast or slow and loud or soft.
Discriminate between obvious differences in pitch: high and low.
Hum the melody while listening to music.
Recognize that music has timbre or tone color.
Interpret iconic representations of a steady beat and melodic
direction.
2014 – Bayonne School District
Stage 2 – Assessment Evidence






Teacher observations
Teacher created rubrics that focus on student performance
and/or creativity.
Simple teacher created quizzes, tests, response forms.
Small-group assessment using verbal and/or written rubrics
Student self-assessment rubrics, either written (e.g., checklists) or
spoken (to teacher or other students)
Interviews




Written or improvised compositions, either performed live or
recorded
Warm-up and exit tasks
Question-and-answer (large group, small group, or partner)
Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
with manipulatives, or computer-generated
Key Criteria - Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills - Reading, Matching and Recognizing –
musical concepts (melody, rhythm, steady beat, tone); instruments; vocal tone.
Stage 3 – Learning Plan & Resources
Concepts & Vocabulary
accent
beat
clap
echo
fast
high
instrument
loud
2014 – Bayonne School District
low
music
pat
silence
sing
singing voice
slow
soft
sound
speak
speaking voice
speed
steady beat
stomp
voice
whisper
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Kindergarten, Strand 1-2: Singing, Playing & Creating Music
Strand 1: Singing, Playing & Creating Music
Creation Date: 2/9/12
Grade Level: Kindergarten
Revision Date: 5/1/14
Stage 1 – Desired Results
Established Goals: NJ Standards

1.1.2.B.1 - Explore the elements of music through verbal and written responses to diverse aural prompts and printed scores.

1.3.2.B.1 - Clap, sing, or play on pitch from basic notation in the treble clef, with consideration of pitch, rhythm, dynamics, and tempo.

1.3.2.B.2 - Demonstrate developmentally appropriate vocal production/vocal placement and breathing technique.

1.3.2.B.3 - Demonstrate correct playing techniques for Orff instruments or equivalent homemade instruments.

1.3.2.B.4 - Vocalize the home tone of familiar and unfamiliar songs, and demonstrate appropriate posture and breathing technique while
performing songs, rounds, or canons in unison and with a partner.

1.3.2.B.5 - Improvise short tonal and rhythmic patterns over ostinatos, and modify mel odic or rhythmic patterns using selected notes
and/or scales to create expressive ideas.

1.3.2.B.6 - Sing or play simple melodies or rhythmic accompaniments in AB and ABA forms independently and in groups, and sight-read
rhythmic and music notation up to and including eighth notes and rests in a major scale.

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.
Understandings
Essential Questions
Students will understand that…



Keeping the beat helps singers stay together - the beat is the glue
that keeps the music and musicians together.
Singing voice and speaking voice are different and use different
“vocal muscles” that we need to train in order to sing in tune.
To create music we can sing or play instruments. We can also
show how music works by moving to music in different ways.
Students will know…
 Basic elements of music (rhythm, melody, harmony, form, timbre,










8
etc.).
The four different ways of using their voices: speaking, singing,
shouting, and whispering.
The correct body position & breathing technique.
Steady beat with movement and body percussion, beat vs.
rhythm
Simple rhythms in groups of 2 and 4 beats and simple patterns to
accompany songs using quarter notes, quarter rests, and eighth
note sets.
Short/long sounds.
Fast/slow beat.
Loud/soft sounds.
Classroom instruments by name.
Traditional & non-traditional examples of written rhythmic
notation.
All vocabulary.




How to we measure time in music?
What are the different ways in which we can use our voices?
How do we create quality music?
What does music look like?
Students will be able to…
Apply the creative process to create and perform music for a variety of
purposes, using the elements and techniques of music
Singing
 Sing individually and in groups a variety of songs with a limited
range.
 Sing two-pitch (sol-mi) songs by echo and ensemble singing.
 Demonstrate the difference between singing voice and speaking
voice.
 Demonstrate expressive qualities of music, including loud/soft
and fast/slow, using the voice.
Playing Instruments
 Imitate & demonstrate a steady beat using body percussion or
instruments.
 Maintain a steady beat independently.
 Imitate long/short and fast/slow sounds.
 Choose and play long/short and/or fast/slow sounds appropriate
for song, story, poem, or recorded selection.
 Choose and play high or low sounds appropriate for song, story,
poem, or recorded selection.
 Accompany songs and chants with body percussion and
instruments.
 Demonstrate expressive qualities of music, including loud/soft
and fast/slow, using body percussion and instruments.
Improvising
 Explore playing sounds non-rhythmically using body percussion &
percussion instruments
 Improvise vocal sounds appropriate to the teacher-selected song,
poem, or story.
2014 – Bayonne School District
Composing & Creating
 Explore a variety of sounds.
 Create a composition using a variety of sounds.
 Create and demonstrate a composition using a variety of sounds.
 Dramatize songs, stories, and poems.
Reading & Notating Music
 Recognize iconic notation for steady beat.
 Recognize iconic notation for melodic direction.
 Perform rhythmic patterns that include sounds and silences, using
voice, body percussion, and instruments.
 Read high and low pitches represented by traditional and
nontraditional notation (e.g., icons).
 Read rhythms represented by traditional and nontraditional
notation (e.g., icons, syllabic phrases).
Stage 2 – Assessment Evidence


Teacher observations
 Written or improvised compositions, either performed live or
recorded
Teacher created rubrics that focus on student performance
and/or creativity.
 Warm-up and exit tasks
 Simple teacher created quizzes, tests, response forms.
 Question-and-answer (large group, small group, or partner)
 Small-group assessment using verbal and/or written rubrics
 Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
 Student self-assessment rubrics, either written (e.g., checklists) or
with manipulatives, or computer-generated
spoken (to teacher or other students)
 Interviews
Key Criteria: Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills - Singing, Playing and Improvising – In
time with beat, In tune with pitch, etc.
Stage 3 – Learning Plan & Resources
Songs
The Bear Went Over the Mountain
Bingo
The Farmer in the Dell
Go In and Out the Window
Go Tell Aunt Rhody
Here We Go Round the Mulberry Bush
2014 – Bayonne School District
The Hokey Pokey
Hush Little Baby
If You’re Happy and You Know It
Jingle Bells
John Jacob Jingleheimer Schmidt
Kumbaya (also Kum Ba Ya)
London Bridge
Old MacDonald Had a Farm
Row, Row, Row Your Boat
This Old Man
Twinkle Twinkle Little Star
The Wheels on the Bus
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Kindergarten, Strand 3-4: Listening To & Understanding Music
Strand: Listening To & Understanding Music
Creation Date: 2/25/12
Grade Level: Kindergarten
Revision Date: 5/1/14
Stage 1 – Desired Results
Established Goals: NJ Standards
 1.1.2.B.1 - Explore the elements of music through verbal and written responses to diverse aural prompts and printed scores.
 1.1.2.B.4 - Categorize families of instruments and identify their associated musical properties.
 1.4.2.A.3 - Use imagination to create a story based on an arts experience that communicated an emotion or feeling, and tell the story through
each of the four arts disciplines (dance, music, theatre, and visual art).
Understandings
 Music allows people to express and communicate ideas and





feelings through sound and people can have different or similar
reactions to music.
Different cultures have different ideas and ways of making music,
but they all use the same notes, words, sounds, etc.
Music can reflect a culture’s beliefs, traditions, and style by using
different and special musical techniques, instruments, melodies,
and rhythms.
The more a person knows about music, the better they can
understand and describe how music makes them feel and
understand how music works.
People listen to music for different reasons – for inspiration,
dancing, focus, emotions, entertain, etc.
Music can connect us to the past and to each other.
Students will know…
 Through participation, become familiar with some basic elements










10
of music (rhythm, melody, harmony, form, timbre, etc.).
Terms high/low, soft/loud, fast/slow, short/long
Melodic contour, up/down; pitch: high/low
Tonality - Major and minor songs (happy/sad)
Phrasing – same/different; AB form
Instruments by sight and sound including the guitar, piano,
trumpet, flute, violin and drum.
Appropriate audience behaviors (being quiet, listening, applause,
no shouting, no eating, etc.)
Feelings and stories inspired and evoked by musical examples.
Common elements between music and other arts (beat, rhythm,
feelings, etc.)
Patriotic and seasonal song titles and themes.
All vocabulary words.
Essential Questions
 Does music change when it comes from different parts of the
world?
 What makes one kind of music different from another kind of
music?
 Why do we listen to music?
 Why do we like the music we like? How can we
 be open to liking music we do not understand?
 How does familiarity with a piece of music affect
 how we respond?
 How does my artistic work connect to other
 subjects I study?
 How does music connect us? How does it make us remember our
history & culture?
 How does music make you feel?
 Can music communicate a message or tell a story?
Students will be able to…
Apply the critical analysis process to communicate their feelings, ideas,
and understandings in response to a variety of music and musical
experiences.
Listening
 Recognize same and different sections within a two-section
musical selection.
 Recognize the following instruments by sight and sound: guitar,
piano, trumpet, flute, violin, drum.
 Recognize a steady beat; begin to play a steady beat.
 Recognize that some beats have accents (stress).
 Discriminate between short and long sounds, fast & slow, high &
low, loud & soft.
 Recognize that some phrases are the same, some different.
Moving
 Move at the appropriate time following a vocal or instrumental
introduction.
 Match movements to rhythmic patterns in response to music.
 Demonstrate a steady beat, using movement.
 Demonstrate expressive qualities of music, including loud/soft
and fast/slow, using movement.
 Exhibit respect for personal space of self and others when moving
to music.
 Explore & improvise movement in response to a given song,
poem, story, or listening example.
 Illustrate rhythmic patterns that include sounds and silences,
using movement.
Evaluating Music
 Discuss a musical performance using teacher-given criteria and
grade-appropriate music vocabulary.
2014 – Bayonne School District
 Discuss & demonstrate appropriate audience behaviors during a
performance.
 Describe the personal feelings evoked by musical experience.
Demonstrate an understanding of a variety of musical genres and styles
from the past and present, and their sociocultural and historical
contexts.
Interdisciplinary Connections
 Explore & identify common elements between music and dance,
theatre, and/or visual art.
 Identify people who make music as “musicians” (e.g., singers,
instrumentalists, conductors, composers).
Historical & Cultural Connections
 Explore musical examples, songs and singing games from various
historical periods and cultures.
 Listen to and recognize patriotic and seasonal songs.
Stage 2 – Assessment Evidence






Teacher observations
Teacher created rubrics that focus on student performance
and/or creativity.
Simple teacher created quizzes, tests, response forms.
Small-group assessment using verbal and/or written rubrics
Student self-assessment rubrics, either written (e.g., checklists) or
spoken (to teacher or other students)
Interviews



Written or improvised compositions, either performed live or
recorded
Warm-up and exit tasks
Question-and-answer (large group, small group, or partner)
Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
with manipulatives, or computer-generated
Key Criteria: Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills - Reading, Matching and Recognizing –
musical concepts (melody, rhythm, steady beat, tone); instruments; vocal tone.
Stage 3 – Learning Plan & Resources
Vocabulary
band
bumpy
call
call-and-response
chant
choir
choppy
chorus (ensemble)
compose
composer
eighth note
instrumentalist
introduction
jumpy
long
lullaby
march
movement
musician
nursery rhyme
pattern
pulse
quarter note
repeat
Rest
rhythm
short
singer
smooth
snap
solo
song
thick
thin
title
Music Appreciation: Composition and Composer Ideas
To encourage listening skills and the beginnings of understanding, play various kinds of music often and repeatedly. Expose children to a wide
range of music, including children’s music, popular instrumental music, and music from various cultures.
Loud/soft - Symphony no. 94 in G Major (“Surprise Symphony”): second movement – Joseph Haydn - Why do you think this symphony is called
“Surprise Symphony”? Do you hear changes in the music? If so, what are they? How did you feel when you heard Haydn’s “Surprise Symphony”?
Steady beat - Stars and Stripes Forever – John Philip Sousa - Where might you hear this music? What kind of movement or activity would match this
music? Why is this kind of music important to Americans?
Slow - The Carnival of the Animals: “The Swan” – Camille Saint-Saëns - What animal do you think of when you hear this piece of music? What about
the music makes you think of this animal? What words would you use to describe the speed of this music? What kind of movements would you use
to illustrate the speed?
Fast - The Carnival of the Animals: “Hens and Roosters” or “Aviary” – Camille Saint-Saëns - What animal do you think of when you hear this piece of
music? What about the music makes you think of this animal? What words would you use to describe the speed of this music? What kind of
movements would you use to illustrate the speed?
High/low - The Carnival of the Animals: “Kangaroos” – Camille Saint-Saëns - What animal do you think of when you hear this piece of music? What
about the music makes you think of this animal? How would you describe the sound of this music, using words? How would you describe it, using
movements?
Other Repertoire Examples
 Symphony no. 94 in G Major (“Surprise Symphony”): second movement – Joseph Haydn
 Edvard Grieg, “Morning” and “In the Hall of the Mountain King” from Peer Gynt
 Victor Herbert, “March of the Toys” from Babes in Toyland
 Richard Rodgers, “March of the Siamese Children” from The King and I
2014 – Bayonne School District
11
Grade 1, Strand 1: Singing, Playing & Improvising Music
Strand: Singing, Playing & Improvising Music
Creation Date: 2/25/12
Grade Level: Grade 1
Revision Date: 5/10/14
Stage 1 – Desired Results
Established Goals: NJ Standards
 1.1.2.B.1 - Explore the elements of music through verbal and written responses to diverse aural prompts and printed scores.
 1.3.2.B.1 - Clap, sing, or play on pitch from basic notation in the treble clef, with consideration of pitch, rhythm, dynamics, and tempo.
 1.3.2.B.2 - Demonstrate developmentally appropriate vocal production/vocal placement and breathing technique.
 1.3.2.B.3 - Demonstrate correct playing techniques for Orff instruments or equivalent homemade instruments.
 1.3.2.B.4 - Vocalize the home tone of familiar and unfamiliar songs, and demonstrate appropriate posture and breathing technique while
performing songs, rounds, or canons in unison and with a partner.
 1.3.2.B.5 - Improvise short tonal and rhythmic patterns over ostinatos, and modify melodic or rhythmic patterns using selected notes and/or
scales to create expressive ideas.
 1.3.2.B.6 - Sing or play simple melodies or rhythmic accompaniments in AB and ABA forms independently and in groups, and sight-read
rhythmic and music notation up to and including eighth notes and rests in a major scale.
 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.
 1.4.2.B.2 - Apply the principles of positive critique in giving and receiving responses to performances.
Understandings
 Musicians and artists use the Creative Process to create and
perform music for a variety of purposes, using the elements of
music and the principles of performance.
Essential Questions
 What does music express? Emotions? A story? How does it
express these things?
 How is singing the same/different from playing an instrument?
 How does having an audience change the way you perform? Is the
audience a part of the performance?
 How is making music together in a group different from making
music alone?
 What is quality music and how do we create it?
 How does music work? What makes music interesting to us? Why
do we like music?
 How do we know if our performance is good or bad?
Students will know…
 Through participation, become familiar with some basic elements
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of music (rhythm, melody, harmony, form, timbre, etc.).
The four different ways of using their voices: speaking, singing,
shouting, and whispering.
The correct body position needed to sing and perform well.
The proper breathing used for singing and that breathing is an
important part of singing well.
Steady beat and rhythmic patterns using quarter notes, quarter
rests, and eighth note sets.
Steady beat with movement and body percussion, beat vs. rhythm
Simple rhythms in groups of 2 and 4 beats and simple patterns to
accompany songs.
A wide range of music, children’s music, popular instrumental
music, and music from various cultures.
So-mi-la patterns and notation.
Short/long sound characteristics.
Fast/slow beat characteristics, terms
Loud/soft sound characteristics, terms.
Classroom instruments by name.
Traditional & non-traditional examples of written rhythmic
notation.
Rhythmic values including the quarter and eighth note pairs.
All vocabulary words.
Students will be able to…
Apply the creative process to create and perform music for a variety of
purposes, using the elements and techniques of music
Singing
 Sing a variety of songs individually and in groups, with emphasis
on songs containing sol, mi, and la pitches.
 Perform music, using the voice in speech and song.
 Demonstrate high and low pitches vocally.
 Use the tools and techniques of musicianship in musical
performances.
 Demonstrate expressive qualities of music, including changes in
dynamics and tempo, using the voice.
Playing Instruments
 Maintain a steady beat independently at varying tempos.
 Imitate long/short and fast/slow sounds.
 Perform short rhythm patterns with a steady beat using body
percussion and instruments.
 Perform ascending and descending scale songs on pitched
instruments.
 Accompany songs and chants with body percussion and
instruments while singing.
 Demonstrate expressive qualities of music, including changes in
dynamics and tempo, using body percussion and instruments.
Improvising
 Improvise appropriate sounds, using voice or classroom
instruments, to accompany teacher-selected song, poem, or story.
2014 – Bayonne School District

Improvise, vocally, short melodic phrases in response to simple
musical questions.
Stage 2 – Assessment Evidence
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Teacher observations
Teacher created rubrics that focus on student performance
and/or creativity.
Simple teacher created quizzes, tests, response forms.
Small-group assessment using verbal and/or written rubrics
Student self-assessment rubrics, either written (e.g., checklists) or
spoken (to teacher or other students)
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Interviews
Written or improvised compositions, either performed live or
recorded
Warm-up and exit tasks
Question-and-answer (large group, small group, or partner)
Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
with manipulatives, or computer-generated
Key Criteria: Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills - Singing, Playing, Moving and Improvising
– In time with beat, In tune with pitch.
Stage 3 – Learning Plan & Resources
Songs
America the Beautiful
Billy Boy
Dry Bones
For He’s a Jolly Good Fellow
Frère Jacques
La Cucaracha
2014 – Bayonne School District
Make New Friends
Michael, Row the Boat Ashore
Oh, Dear, What Can the Matter Be?
Oh, John the Rabbit
Oh! Susanna
On Top of Old Smokey
She’ll Be Comin’ ’Round the Mountain
Skip to My Lou
Take Me Out to the Ball Game
There’s a Hole in the Bucket
When the Saints Go Marching In
Yankee Doodle
13
Grade 1, Strand 2: Composing & Reading Music
Strand: Composing & Reading Music
Creation Date: 2/25/12
Grade Level: Grade 1
Revision Date: 5/10/14
Stage 1 – Desired Results
Established Goals: NJ Standards
 1.1.2.B.1 - Explore the elements of music through verbal and written responses to diverse aural prompts and printed scores.
 1.1.2.B.2 - Identify musical elements in response to diverse aural prompts, such as rhythm, timbre, dynamics, form, and melody.
 1.3.2.B.1 - Clap, sing, or play on pitch from basic notation in the treble clef, with consideration of pitch, rhythm, dynamics, and tempo.
 1.3.2.B.6 - Sing or play simple melodies or rhythmic accompaniments in AB and ABA forms independently and in groups, and sight-read
rhythmic and music notation up to and including eighth notes and rests in a major scale.
Understandings
 Musicians and artists use the Creative Process to create and
perform music for a variety of purposes, using the elements of
music and the principles of performance.
Students will know…
 Basic elements of music (rhythm, melody, harmony, form, timbre,
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etc.).
Rhythms - whole, half, quarter notes and rests. Eighth pairs.
Notation for high, medium and low sounds – 5 or 3 line staff .
So-mi-la patterns on standard staff/three line staff.
Loud – forte, soft – piano
A strong sound for a note or beat (accent)
Smooth and detached articulation.
Phrase, call & response.
Treble clef & percussion clef
Bar line to group beats.
Double bar & repeat signs.
Tempo markings presto and largo.
Essential Questions
 What does music look like? How do we write down our musical
ideas?
 How can we make our own music?
Students will be able to…
Apply the creative process to create and perform music for a variety of
purposes, using the elements and techniques of music.
Composing
 Create and demonstrate a four-beat rhythm composition using
quarter notes, paired eighth notes, and/or quarter rests.
 Create and demonstrate a composition using so and mi.
 Create melodies for familiar nursery rhymes and chants.
Reading & Notating
 Perform rhythmic patterns that include quarter notes, paired
eighth notes, and quarter rests, using voice, body percussion, and
pitched and non-pitched instruments.
 Demonstrate melodic rhythm, using voice, body percussion, and
instruments.
 Read and perform traditional notation for quarter note, paired
eighth notes, and quarter rest.
 Recognize and perform iconic notation for high, middle, and low
sounds.
2014 – Bayonne School District
Stage 2 – Assessment Evidence
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Teacher Observations
Teacher created rubrics that focus on student performance
and/or creativity.
Simple teacher created quizzes, tests, response forms.
Small-group assessment using verbal and/or written rubrics
Student self-assessment rubrics, either written (e.g., checklists) or
spoken (to teacher or other students)
Teacher observations
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Written or improvised compositions, either performed live or
recorded
Warm-up and exit tasks
Question-and-answer (large group, small group, or partner)
Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
with manipulatives, or computer-generated
Key Criteria: Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills - Reading, Matching and Composing –
musical concepts (melody, rhythm, steady beat, tone); instruments; vocal tone.
Stage 3 – Learning Plan & Resources
Concepts & Vocabulary
accompany
applause
audience
ballet
beam
body percussion
brass
circle dance
clarinet
Classical
concert
conductor
cymbal
dance
drum
ensemble
flute
folk music
form
forte
2014 – Bayonne School District
guitar
half note
horn
improvise
instrument families
instrumental
Jazz
la
largo
line dance
melodic rhythm
melody
mi
mood
non-pitched
note
note head
opera
ostinato
percussion
percussion
perform
performance piano
(soft)
piano (inst.)
piece of music
pitch
phrase
poetry
presto
quarter rest
refrain
sol
solfege
stem
strings
timbre
trumpet
unaccompanied
verse
violin
volume
woodwind
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Grade 1, Strand 3-4: Listening to & Understanding Music
Strand 3: Listening to Music
Creation Date: 2/1/12
Grade Level: Grade 1
Revision Date: 5/10/14
Stage 1 – Desired Results
Established Goals: NJ Standards
 1.1.2.B.2 - Identify musical elements in response to diverse aural prompts, such as rhythm, timbre, dynamics, form, and melody.
 1.1.2.B.3 - Identify and categorize sound sources by common traits (e.g., scales, rhythmic patterns, and/or other musical elements), and
identify rhythmic notation up to eighth notes and rests.
 1.1.2.B.4 - Categorize families of instruments and identify their associated musical properties.
 1.2.2.A.1 - Identify characteristic theme-based works of dance, music, theatre, and visual art, such as artworks based on the themes of family
and community, from various historical periods and world cultures.
 1.2.2.A.2 - Identify how artists and specific works of dance, music, theatre, and visual art reflect, and are affected by, past and present
cultures.
 1.4.2.A.1 - Identify aesthetic qualities of exemplary works of art in dance, music, theatre, and visual art, and identify characteristics of the
artists who created them (e.g., gender, age, absence or presence of training, style, etc.).
 1.4.2.A.2 - Compare and contrast culturally and historically diverse works of dance, music, theatre, and visual art that evoke emotion and that
communicate cultural meaning.
 1.4.2.A.3 - Use imagination to create a story based on an arts experience that communicated an emotion or feeling, and tell the story through
each of the four arts disciplines (dance, music, theatre, and visual art).
 1.4.2.A.4 - Distinguish patterns in nature found in works of dance, music, theatre, and visual art.
 1.4.2.B.1 - Observe the basic arts elements in performances and exhibitions and use them to formulate objective assessments of artworks in
dance, music, theatre, and visual art.
 1.4.2.B.3 - Recognize the making subject or theme in works of dance, music, theatre, and visual art.
Understandings
 Music allows people to express and communicate ideas and
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feelings through sound and people can have different or similar
reactions to music.
Music is made up of different elements including rhythm, melody,
harmony and instrumentation.
Music follows a road map just like a story, or a traveler on a trip or
the way a book or poem follow a certain structure.
Instruments are used to create different kinds of music with many
different sounds and can be grouped together into different
families based on how they make sound.
Different cultures have different ideas and ways of making music,
but they all use the same notes, words, sounds, etc.
Different periods of our history have different styles and ways of
making music. Each period and style also has composers who
became famous for creating music in their day.
Essential Questions
 How does music make you feel?
 Can music communicate a message or tell a story?
 What makes good music?
 What are the different parts of music?
 Where does music come from?
 Why do we make music?
 Does music change when it comes from different parts of the
world?
 What makes one kind of music different from another kind of
music?
 Where does music come from? Who makes music?
2014 – Bayonne School District
Students will know…
 Through participation, become familiar with some basic elements
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of music (rhythm, melody, harmony, form, timbre, etc.).
Principles of performance including rhythm, pitch, dynamics.
Instruments of the orchestra – string section, woodwinds, brass,
and percussion with their basic family members.
Wolfgang Amadeus Mozart, classical music,.
Jazz American music with African and African American roots,
jazz musicians improvise.
Recognize Louis Armstrong as a great early jazz musician.
Vocabulary.
Students will be able to…
Apply the critical analysis process to communicate their feelings, ideas,
and understandings in response to a variety of music and musical
experiences.
Listening
 Express initial reactions and personal responses to musical
performances in a variety of ways.
 Describe ways in which the elements of music are used for
different purposes in the music they perform, listen to, and
create.
 Recognize same and different sections within extended musical
selections (e.g., ABA form, rondo).
 Recognize instruments, by sight and sound, and classify into
families.
 Describe the mood of music in terms of fast/slow and/or
loud/soft.
 Recognize sudden changes in expressive qualities of music,
including changes in dynamics and tempo.
 Describe ideas and emotions evoked by music.
 Recognize a steady beat; moving to a beat; play a steady beat;
recognize accents.
 Recognize that music has timbre or tone color.
Moving
 Perform dances and games from various cultures, with emphasis
on American cultures.
 Use movement to dramatize songs, stories, and poems, with
emphasis on American cultures.
 Demonstrate expressive qualities of music, including changes in
dynamics and tempo, using movement.
 Exhibit respect for self and others while moving to music.
Evaluating & Critiquing
 Discuss classroom performances (visually and aurally) using grade
appropriate vocabulary.
 Demonstrate appropriate audience behaviors during a
performance.
 Identify and give examples of their strengths and areas for growth
as musical performers, creators, interpreters, and audience
members.
Demonstrate an understanding of a variety of musical genres and styles
from the past and present, and their sociocultural and historical
contexts.
Interdisciplinary Connections
 Identify and describe musical experiences in their own lives.
 Experience music and dance, theatre, and/or visual art.
 Explore and identify common elements between music and
dance, theatre, visual art, and language arts.
 Investigate the role of music and musicians in the community.
Historical & Cultural Connections
 Experience music examples from various historical periods and
cultures.
 Identify a variety of musical pieces from different cultures through
performing and/or listening to them.
 Experience songs and singing games from various historical
periods and cultures.
 Experience and discuss music related to famous Americans,
American cultures, historical events, and major holidays.
2014 – Bayonne School District
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Stage 2 – Assessment Evidence
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Teacher Observations
Teacher created rubrics that focus on student performance
and/or creativity.
Simple teacher created quizzes, tests, response forms.
Small-group assessment using verbal and/or written rubrics
Student self-assessment rubrics, either written (e.g., checklists) or
spoken (to teacher or other students)
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
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Written or improvised compositions, either performed live or
recorded
Warm-up and exit tasks
Question-and-answer (large group, small group, or partner)
Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
with manipulatives, or computer-generated
Key Criteria: Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills – Describing & Identifying – musical
concepts and elements of music, instruments; vocal tone, styles of music, etc.
Stage 3 – Learning Plan & Resources
Music Appreciation: Elements of Music, Instruments, Compositions and Composers
Instrument Identification, Evocation of Ideas/Images
 The Four Seasons – Antonio Vivaldi - Which instrument plays a solo? What season do you think of when you hear this piece? What in the music
sounds like that season?
Fast, High/Low
 Pictures at an Exhibition: “Ballet of the Unhatched Chicks” – Modest Mussorgsky - What is ballet? How does the music match the movements
of the unhatched chicks? How does the melody move?
Instrument Identification, Vocal Style
 “Hello Dolly” – Jerry Herman, as performed by Louis Armstrong - Which instruments perform the melody? What style of music is this song?
What words would you use to describe Louis Armstrong’s voice?
Melodic Rhythm
 Symphony no. 5 in C Minor: first movement – Ludwig van Beethoven - What rhythm do you hear repeated? Have you heard this music before?
If so, where? Do you think a person needs to be able to hear in order to compose music? Why, or why not?
Other Repertoire Examples
 W.A. Mozart, A Little Night Music (Eine kleine Nachtmusik)
Music Connections: Music, the Arts & History
Music Can Tell a Story:
Opera –
 Understand that opera combines music, singing, and acting. Listen to selections from Humperdinck’s Hansel and Gretel: “Brother Come
Dance With Me,” “I Am the Little Sandman,” “Children’s Prayer.”
Instrumental Music –
 The Sorcerer’s Apprentice - Paul Dukas - Imagine/create stories, watch Disney’s version from Fantasia.
 Peter and the Wolf – Sergei Prokofiev - What do you hear when a new character enters the story? How is Peter’s melody different from the
melodies of the other characters? What instruments represent the characters in the story? Why?
Ballet
 Understand that ballet combines music and movement to tell a story – Listen to Tchaikovsky’s Nutckracker Suite, watch a video of a
performance or see a live performance.
American Musical Traditions - Jazz
 Understand that Jazz is a kind of music developed in America with African-American roots, Improvisation and Jazz – Listen to Louis
Armstrong’s performances and improvisations.
More Musical Examples
 Sergei Prokofiev, Peter and the Wolf.
 Tchaikovsky’s Nutcracker Suite and Sleeping Beauty.
 Various examples of early Jazz performed by Louis Armstrong with focus on melody, rhythm and improvisation
18
2014 – Bayonne School District
Grade 2, Strand 1: Singing, Playing & Improvising Music
Strand 1: Singing, Playing & Improvising Music
Creation Date: 2/25/12
Grade Level: Grade 2
Revision Date: 5/16/14
Stage 1 – Desired Results
Established Goals: NJ Standards
 1.1.2.B.1 - Explore the elements of music through verbal and written responses to diverse aural prompts and printed scores.
 1.3.2.B.1 - Clap, sing, or play on pitch from basic notation in the treble clef, with consideration of pitch, rhythm, dynamics, and tempo.
 1.3.2.B.2 - Demonstrate developmentally appropriate vocal production/vocal placement and breathing technique.
 1.3.2.B.3 - Demonstrate correct playing techniques for Orff instruments or equivalent homemade instruments.
 1.3.2.B.4 - Vocalize the home tone of familiar and unfamiliar songs, and demonstrate appropriate posture and breathing technique while
performing songs, rounds, or canons in unison and with a partner.
 1.3.2.B.5 - Improvise short tonal and rhythmic patterns over ostinatos, and modify melodic or rhythmic patterns using selected notes and/or
scales to create expressive ideas.
 1.3.2.B.6 - Sing or play simple melodies or rhythmic accompaniments in AB and ABA forms independently and in groups, and sight-read
rhythmic and music notation up to and including eighth notes and rests in a major scale.
 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.
 1.4.2.B.2 - Apply the principles of positive critique in giving and receiving responses to performances.
Understandings
 Music is a means of communication and is capable of expressing
feelings and emotions beyond the spoken or written word.
 Music can tell a story through sound, without words.
 Playing an instrument allows people to express musical ideas that
the human voice cannot express by itself.
 Singing voice and speaking voice are different and use different
“vocal muscles” that we need to train in order to sing in tune.
 Making quality music requires practice and knowledge of the
elements of music and how music works. We need to listen to
each other when we sing to match pitch, match volume, and to
breathe together as a group
 We need to critique and listen to our music in order to make a
better performance.
Students will know…
 Basic principles of vocal and instrumental performance including
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good posture, technique, position, tone, rhythm, etc.
Simple melodic ostinato, melodic patterns using notes of the
pentatonic and C Major scales.
Breath support, long/short, singing vs. speaking.
Simple melodic patterns using the notes “mi”, “so”, “la”, and low
“do”.
Strong vs. weak beats in different meters.
Proper playing technique for instruments used in class.
Rhythms, theory and related vocabulary from other strands that
relate to performance.
Essential Questions
 What does music express? Emotions? A story? How does it
express these things?
 How is singing the same/different from playing an instrument?
 How does having an audience change the way you perform? Is the
audience a part of the performance?
 How is making music together in a group different from making
music alone?
 What is quality music and how do we create it?
 How does music work? What makes music interesting to us? Why
do we like music?
 How do we know if our performance is good or bad?
Students will be able to…
Apply the creative process to create and perform music for a variety of
purposes, using the elements and techniques of music
Singing
 Sing pentatonic and diatonic songs accurately with good vocal
technique (e.g., posture, breathing, blending).
 Use the tools and techniques of musicianship in musical
performances.
 Demonstrate correct singing posture, vocal technique, and good
tone.
 Speak/sing, in a group, a vocal ostinato while the teacher speaks a
poem or sings a melody.
 Demonstrate sudden and gradual changes in expressive qualities
of music, including changes in dynamics and tempo, using the
voice.
 Sing the C major scale using “do re mi” etc.
 Echo short rhythms and melodic patterns.
Playing Instruments
 Play a steady beat in group A while group B plays a simple rhythm;
Play simple rhythm patterns.
 Demonstrate correct technique for playing and holding
instruments and/or mallets.
 Accompany songs and chants with ostinati and single-chord
2014 – Bayonne School District
19
accompaniments, using instruments.
Play music in AB and ABA forms, using instruments.
Demonstrate sudden and gradual changes in expressive qualities
of music, including changes in dynamics and tempo, using
instruments.
Improvising
 Improvise appropriate sounds using voice, body percussion, or
classroom instruments within teacher-provided parameters to
accompany a song, poem, or story.
 Improvise, vocally, short melodic phrases in response to simple
musical questions.
 Improvise a vocal phrase within teacher-given parameters.
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Stage 2 – Assessment Evidence
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Teacher observations
Teacher created rubrics that focus on student performance
and/or creativity.
Simple teacher created quizzes, tests, response forms.
Small-group assessment using verbal and/or written rubrics
Student self-assessment rubrics, either written (e.g., checklists) or
spoken (to teacher or other students)





Interviews
Written or improvised compositions, either performed live or
recorded
Warm-up and exit tasks
Question-and-answer (large group, small group, or partner)
Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
with manipulatives, or computer-generated
Key Criteria: Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills - Singing, Playing, Moving and
Improvising – In time with beat, In tune with pitch, etc.
Stage 3 – Learning Plan & Resources
Songs
Buffalo Gals
Casey Jones (chorus only)
Clementine
Dixie
Do-Re-Mi
The Erie Canal
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Follow the Drinking Gourd
Good Bye Old Paint
Home on the Range
I’ve Been Working on the Railroad
John Henry
Old Dan Tucker
The Star-Spangled Banner
Swing Low, Sweet Chariot
This Land Is Your Land
When Johnny Comes Marching Home
2014 – Bayonne School District
Grade 2, Strand 2: Composing & Reading Music
Strand: Composing & Reading Music
Creation Date: 2/1/12
Grade Level: Grade 2
Revision Date: 5/16/14
Stage 1 – Desired Results
Established Goals: NJ Standards
 1.1.2.B.1 - Explore the elements of music through verbal and written responses to diverse aural prompts and printed scores.
 1.1.2.B.2 - Identify musical elements in response to diverse aural prompts, such as rhythm, timbre, dynamics, form, and melody.
 1.1.2.B.3 - Identify and categorize sound sources by common traits (e.g., scales, rhythmic patterns, and/or other musical elements), and
identify rhythmic notation up to eighth notes and rests.
 1.3.2.B.1 - Clap, sing, or play on pitch from basic notation in the treble clef, with consideration of pitch, rhythm, dynamics, and tempo.
 1.3.2.B.6 - Sing or play simple melodies or rhythmic accompaniments in AB and ABA forms independently and in groups, and sight-read
rhythmic and music notation up to and including eighth notes and rests in a major scale.
Understandings
 Music is art through sound, and musicians need to use symbols on
order to record and keep track of their ideas on paper.
 There is a universal set of symbols used all over the world to
Essential Questions
 What does music look like? How do we write down our musical
ideas?
 How can we make our own music?
record musical ideas on paper, just as we record our ideas and
thoughts on paper with words.
Students will know…
 Standard notation for whole note/rest, half note/rest, dotted half







notes, quarter note/rest and eighth note pairs
(perform/compose) and single eighth notes (identify)
Songs & rhythms in 2/4, 3/4, and 4/4 time.
Fast and slow tempi - terms.
Melodic contour – melodic shape
Dynamic symbols and terms.
Smooth and detached articulation .
Treble clef, names of lines and spaces in the treble clef, solfege.
Vocabulary
Students will be able to…
Apply the creative process to create and perform music for a variety of
purposes, using the elements and techniques of music.
Composition
 Create and demonstrate a four to eight beat rhythm composition
using quarter notes, paired eighth notes, and/or quarter rests.
 Create and demonstrate a composition using so, mi, la and low
do.
 Create a simple introduction and/or coda for a given piece.
 Create accompaniments and ostinati.
 Create music to enhance stories, songs, and poems.
Reading & Notating
 Identify AB and ABA forms in music.
 Read melodic patterns, using sol, mi, la, and low do.
 Read, notate and perform rhythmic patterns, using traditional
notation and including paired eighth notes, quarter notes, quarter
rests, half notes, half rests, whole notes, and whole rests.
2014 – Bayonne School District
21
Stage 2 – Assessment Evidence






Teacher Observations
Teacher created rubrics that focus on student performance
and/or creativity.
Simple teacher created quizzes, tests, response forms.
Small-group assessment using verbal and/or written rubrics
Student self-assessment rubrics, either written (e.g., checklists) or
spoken (to teacher or other students)
Teacher observations




Written or improvised compositions, either performed live or
recorded
Warm-up and exit tasks
Question-and-answer (large group, small group, or partner)
Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
with manipulatives, or computer-generated
Key Criteria: Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills - Reading, Matching and Composing –
musical concepts (melody, rhythm, steady beat, tone); instruments; vocal tone.
Stage 3 – Learning Plan & Resources
Concepts & Vocabulary
AB form
ABA form
accelerando
accent
allegro
andante
bourdon, bordun
brass
cannon
22
choir
choreography
chorus (of a song)
coda
crescendo
decrescendo
diction
do
downbeat
dynamic level
dynamics
expression
fermata
half note
half rest
lyrics
major scale
mezzo forte
mezzo piano
musical alphabet
notate
orchestra
ostinato, ostinati
pentatonic
pentatonic scale
piano
re
repeast sign
ritardando, ritard
round
style
symphony
tempo
tone color
verse
whole note
whole rest
2014 – Bayonne School District
Grade 2 Strand 3: Listening to & Understanding Music
Strand 3: Listening to & understanding Music
Creation Date: 2/1/12
Grade Level: Grade 2
Revision Date: 5/16/14
Stage 1 – Desired Results
Established Goals: NJ Standards
 1.1.2.B.2 - Identify musical elements in response to diverse aural prompts, such as rhythm, timbre, dynamics, form, and melody.
 1.1.2.B.3 - Identify and categorize sound sources by common traits (e.g., scales, rhythmic patterns, and/or other musical elements), and
identify rhythmic notation up to eighth notes and rests.
 1.1.2.B.4 - Categorize families of instruments and identify their associated musical properties.
 1.2.2.A.1 - Identify characteristic theme-based works of dance, music, theatre, and visual art, such as artworks based on the themes of family
and community, from various historical periods and world cultures.
 1.4.2.A.3 - Use imagination to create a story based on an arts experience that communicated an emotion or feeling, and tell the story through
each of the four arts disciplines (dance, music, theatre, and visual art).
 1.4.2.A.4 - Distinguish patterns in nature found in works of dance, music, theatre, and visual art.
 1.4.2.B.1 - Observe the basic arts elements in performances and exhibitions and use them to formulate objective assessments of artworks in
dance, music, theatre, and visual art.
 1.4.2.B.3 - Recognize the making subject or theme in works of dance, music, theatre, and visual art.
Understandings
 Music allows people to express and communicate ideas and



feelings through sound and people can have different or similar
reactions to music.
Music is made up of different elements including rhythm, melody,
harmony and instrumentation.
Music follows a road map just like a story, or a traveler on a trip or
the way a book or poem follow a certain structure.
Instruments are used to create different kinds of music with many
different sounds and can be grouped together into different
families based on how they make sound.
Essential Questions
 How does music make you feel?
 Can music communicate a message or tell a story?
 What makes good music?
 What are the different parts of music?
 Where does music come from?
 Why do we make music?
 Does music change when it comes from different parts of the
world?
 What makes one kind of music different from another kind of
music?
 Where does music come from? Who makes music?
Students will know…
 Elements of music including melody, harmony, rhythm,







instrumentation, timbre, and form.
Phrase – same/different; Call & response
AB, ABA and Rondo form, simple verse & chorus, coda and intro.
Review families of instruments.
Instruments in the string and percussion families
Phrase and basic phrase qualities – beginning, ending, shape.
Basic criteria for evaluating performances.
Major vs. minor chords/tonality
2014 – Bayonne School District
Students will be able to…
Apply the critical analysis process to communicate their feelings, ideas,
and understandings in response to a variety of music and musical
experiences.
Listening & Analyzing
 Express initial reactions and personal responses to musical
performances in a variety of ways.
 Describe ways in which the elements of music are used for
different purposes in the music they perform, listen to, and
create.
 Recognize as same or different sections within extended musical
selections (e.g., ABA form, rondo).
 Recognize selected orchestral, band, folk, and/or ethnic
instruments and classify into families.
 Describe how fast/slow and/or loud/soft affect the mood of
music; label tempo as fast/slow and dynamics as loud/soft with
musical terminology.
 Investigate how musicians are inspired to perform or compose.
 Recognize a steady beat, accents, and the downbeat; play a
steady beat.
 Describe sudden and gradual changes in dynamics and tempo,
using music terminology.
 Categorize music compositions by form.
Moving
 Perform dances and games from various cultures.
 Use movement to dramatize songs, stories, and poems from
various cultures.
23
 Demonstrate sudden and gradual changes in expressive qualities
of music, including changes in dynamics and tempo, using
movement.
 Improvise, individually and in a group, appropriate movements to
show selected musical forms and/or expressive qualities.
Evaluating & Critiquing
 Discuss a musical performance using teacher-given criteria and
grade-appropriate music vocabulary.
 Discuss classroom performances (visually and aurally) using grade
appropriate vocabulary.
 Identify and give examples of their strengths and areas for growth
as musical performers, creators, interpreters, and audience
members.
 Demonstrate appropriate audience behaviors during a
performance.
Stage 2 – Assessment Evidence


Teacher Observations
 Written or improvised compositions, either performed live or
recorded
Teacher created rubrics that focus on student performance
and/or creativity.
 Warm-up and exit tasks
 Simple teacher created quizzes, tests, response forms.
 Question-and-answer (large group, small group, or partner)
 Small-group assessment using verbal and/or written rubrics
 Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
 Student self-assessment rubrics, either written (e.g., checklists) or
with manipulatives, or computer-generated
spoken (to teacher or other students)
 Teacher observations
Key Criteria: Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills – Describing & Identifying – musical
concepts and elements of music, instruments; vocal tone, styles of music, etc.
Stage 3 – Learning Plan & Resources
Music Appreciation: The Elements of Music
ABA Form
 Rodeo: “Hoe-Down” – Aaron Copland - What do you think of when you hear this music? Which instruments do you hear most? What is the
form of this piece?
 Nutcracker Suite, op. 71a: “Dance of the Reed-Flutes” – Pyotr Ilyich Tchaikovsky - What is the form of this piece? Have you heard this music
before? If so, where? Which two art forms are used to tell this story?
 Mexican Hat Dance – Jesús González Rubio - What are the melodic rhythms you hear in this piece? From which country do you think this music
originated? What instrument plays the melody?
Gradual Changes
 Peer Gynt. Suite No. 1, op. 46: “In the Hall of the Mountain King” – Edvard Grieg - What is the hall of the Mountain King? What gradually
changes throughout this piece? What words would you use to describe how Peer Gynt moves through the hall of the Mountain King?
Ostinato
 Boléro – Maurice Ravel - What is an ostinato? What instrument plays the rhythmic ostinato? What instruments play the melodic ostinati?
Music Appreciation: Instruments & Composers
THE ORCHESTRA
 Camille Saint-Saëns, from Carnival of the Animals: “The Swan” (cello) and “Elephants” (double bass)
 Antonio Vivaldi, The Four Seasons
 Carlos Chavez, Toccata for Percussion, third movement.
KEYBOARD INSTRUMENTS
 Wolfgang Amadeus Mozart, Rondo Alla turca from Piano Sonata K. 331
 Ludwig van Beethoven, Für Elise
 Felix Mendelssohn, from Songs without Words, “Spring Song”
COMPOSERS AND THEIR MUSIC
 Antonio Vivaldi, The Four Seasons
 Johann Sebastian Bach, Minuet in G major; Jesu, Joy of Man’s Desiring; Toccata and Fugue in D minor
 Ludwig van Beethoven, Symphony No. 6 (Pastoral): first movement and from final movement, “Thunderstorm” to end.
24
2014 – Bayonne School District
Grade 2 Strand 4: Exploring History, Culture & Connections
Strand 4: Exploring History, Culture & Connections
Creation Date: 1/25/14
Grade Level: Grade 2
Revision Date: 5/16/14
Stage 1 – Desired Results
Established Goals: NJ Standards
 1.1.2.B.2 - Identify musical elements in response to diverse aural prompts, such as rhythm, timbre, dynamics, form, and melody.
 1.2.2.A.1 - Identify characteristic theme-based works of dance, music, theatre, and visual art, such as artworks based on the themes of family
and community, from various historical periods and world cultures.
 1.2.2.A.2 - Identify how artists and specific works of dance, music, theatre, and visual art reflect, and are affected by, past and present
cultures.
 1.4.2.A.1 - Identify aesthetic qualities of exemplary works of art in dance, music, theatre, and visual art, and identify characteristics of the
artists who created them (e.g., gender, age, absence or presence of training, style, etc.).
 1.4.2.A.2 - Compare and contrast culturally and historically diverse works of dance, music, theatre, and visual art that evoke emotion and that
communicate cultural meaning.
Understandings
 Music allows people to express and communicate ideas and


feelings through sound and people can have different or similar
reactions to music.
Different cultures have different ideas and ways of making music,
but they all use the same notes, words, sounds, etc.
Different periods of our history have different styles and ways of
making music. Each period and style also has composers who
became famous for creating music in their day.
Essential Questions
 How does music make you feel?
 Can music communicate a message or tell a story?
 What makes good music?
 What are the different parts of music?
 Where does music come from?
 Why do we make music?
 Does music change when it comes from different parts of the
world?
 What makes one kind of music different from another kind of
music?
 Where does music come from? Who makes music?
Students will know…
 Characteristics of musical cultures studied.
 Musical instruments of Ancient Egypt, China and Native




Americans.
Related elements between music, art, dance, literature, etc.
Roles of performers in music.
Ways music can communicate between cultures.
Music of Ancient Egypt, China and Native Americans.
Students will be able to…
Demonstrate an understanding of a variety of musical genres and styles
from the past and present, and their sociocultural and historical
contexts.
Interdisciplinary Connections
 Recognize similarities and differences between music and dance,
theatre, and/or visual arts.
 Identify common elements between music and language arts.
 Investigate how music is a form of communication in various
cultures.
 Investigate how musicians are inspired to perform or compose.
Historical & Cultural Connections
 Perform songs and singing games from various historical periods
and cultures.
 Recognize that musical examples come from different historical
periods and cultures.
 Identify, through performing and/or listening, a variety of musical
forms or pieces from different communities, times, and places.
 Discuss and understand the cultural/historical context of a
musical example.
 Experience and discuss the role of music in the cultures of ancient
China and ancient Egypt.
 Experience and discuss the role of music in Native American
cultures.
 Describe and discuss the difference between folk/popular music
and orchestral music.
2014 – Bayonne School District
25
Stage 2 – Assessment Evidence


Teacher Observations
 Written or improvised compositions, either performed live or
recorded
Teacher created rubrics that focus on student performance
and/or creativity.
 Warm-up and exit tasks
 Simple teacher created quizzes, tests, response forms.
 Question-and-answer (large group, small group, or partner)
 Small-group assessment using verbal and/or written rubrics
 Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
 Student self-assessment rubrics, either written (e.g., checklists) or
with manipulatives, or computer-generated
spoken (to teacher or other students)
 Teacher observations
Key Criteria: Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills – Describing & Identifying – musical
concepts and elements of music, instruments; vocal tone, styles of music, etc.
Stage 3 – Learning Plan & Resources
Cultural Connections
CULTURAL MUSIC - provide information, projects, and listening resources for the following world cultures:
 Ancient Egypt – instruments, music.al examples,
 China – instruments, musical examples of traditional music from China.
 American Indian – instruments, musical examples of traditional music of American Indian culture.
HISTORICAL CONNECTIONS - provide information, projects, and listening resources for the following world cultures:
 Civil War – Dixie, Follow the Drinking Gourd, When Johnny Comes Marching Home
 War of 1812 – The Star Spangled Banner
 American Tall Tales (literature) – Casey Jones, John Henry
Websites and Online Resources:
http://www.historyforkids.org/learn/egypt/art/egyptmusic.htm
http://www.mamalisa.com/index.html
http://www.reshafim.org.il/ad/egypt/timelines/topics/music.htm
Ancient Egypt Art/Musical Instrument Video - http://vimeo.com/77084251
http://panhistoria.com/www/AncientEgyptianVirtualTemple/music.html
http://makingmulticulturalmusic.wordpress.com/2012/02/20/more-about-ancient-egyptian-music-from-popular-childrens-author-kristin-butcher/
http://www.historyforkids.org/learn/china/art/music/music.htm
26
2014 – Bayonne School District
Grade 3, Strand 1: Singing, Playing & Improvising Music
Strand 1: Singing, Playing & Improvising Music
Creation Date: 5/1/12
Grade Level: Grade 3
Revision Date: 5/21/14
Stage 1 – Desired Results
Established Goals: NJ Standards
 1.1.5.B.1 - Identify the elements of music in response to aural prompts and printed music notational systems.
 1.1.5.B.2 - Demonstrate the basic concepts of meter, rhythm, tonality, intervals, chords, and melodic and harmonic progressions, and
differentiate basic structures.
 1.3.5.B.1 - Sing or play music from complex notation, using notation systems in treble and bass clef, mixed meter, and compound meter.
 1.3.5.B.2 - Sing melodic and harmonizing parts, independently and in groups, adjusting to the range and timbre of the developing voice.
 1.3.5.B.3 - Improvise and score simple melodies over given harmonic structures using traditional instruments and/or computer programs.
 1.3.5.B.4 - Decode how the elements of music are used to achieve unity and variety, tension and release, and balance in musical
compositions.
 1.4.5.B.1 - Assess the application of the elements of art and principles of design in dance, music, theatre, and visual artworks using
observable, objective criteria.
 1.4.5.B.2 - Use evaluative tools, such as rubrics, for self-assessment and to appraise the objectivity of critiques by peers.
 1.4.5.B.3 - Use discipline-specific arts terminology to evaluate the strengths and weaknesses of works of dance, music, theatre, and visual art.
 1.4.5.B.4 - Define technical proficiency, using the elements of the arts and principles of design.
Understandings
 Good performers must have good music literacy and think about


the elements of performance (criteria for assessment) in order to
communicate musically and to create a musical performance.
We make music to express ourselves using all kinds of sounds and
for many different reasons.
We must use the elements of performance (technique,
intonation, rhythmic accuracy, etc.) in order to create a musical,
expressive performance.
Students will know…
 Basic principles of vocal and instrumental performance including
good posture, technique, position, tone, rhythm, etc.
 Changes in tempo and dynamics.
 Simple melodic ostinato, melodic patterns using notes of the
pentatonic and C Major scales.
 Articulations - perform
 Single melodic line in unison with simple accompaniment, bordun
patterns on “mi”, “so”, “la”, and low “do”.
 Breath support, long/short, singing vs. speaking/whispering.
 Proper playing technique for instruments used in class.
 Rhythms, theory and related vocabulary from other strands that
relate to performance.
2014 – Bayonne School District
Essential Questions
 How do we create quality music?
 What are the different parts of music and how do they work
together?
 How can we represent musical ideas in drawings? Writings?


Symbols?
Why do people create and perform music?
What skills do we need for excellent musicianship?
Students will be able to…
Apply the creative process to create and perform music for a variety of
purposes, using the elements and techniques of music.
Singing
 Sing a melody with accurate rhythm, pitch (solfege and/or lyrics),
dynamics, and tempo.
 Use the tools and techniques of musicianship in musical
performances.
 Exhibit good posture, grade-appropriate diction, breath control,
and tone in both head and chest voice.
 Sing melodies from the treble staff, using a wide range of tempi
and dynamics with a clear tone quality.
 Sing rounds, partner songs, and ostinato patterns in a two-part
ensemble.
Playing Instruments
 Perform basic rhythmic patterns in duple and triple meters on
non-pitched instruments using proper technique.
 Perform, alone and/or in small or large groups, basic melodies
based on a major scale including steps, skips, leaps, and repeated
notes (four-measure minimum).
 Demonstrate an accompaniment in duple and triple meter using
basic rhythms on pitched instruments and varying rhythm
patterns on non-pitched instruments.
 Play pitched and non-pitched instruments in two-part ensembles.
 Accompany songs and chants with I and V (V7) chords, using
instruments.
 Demonstrate a wide range of tempos and dynamics, using
instruments.
27
Improvising
 Improvise an eight-beat pattern using half notes, quarter notes,
paired eighth notes, and quarter rests.
 Improvise, in pairs, a four- or eight-beat question and answer
using body percussion or non-pitched instruments.
 Improvise a simple eight-beat accompaniment, vocally or on body
percussion or non- pitched instruments within teacher-given
parameters.
Stage 2 – Assessment Evidence






Teacher Observations
Teacher created rubrics that focus on student performance
and/or creativity.
Simple teacher created quizzes, tests, response forms.
Small-group assessment using verbal and/or written rubrics
Student self-assessment rubrics, either written (e.g., checklists) or
spoken (to teacher or other students)
Teacher observations




Written or improvised compositions, either performed live or
recorded
Warm-up and exit tasks
Question-and-answer (large group, small group, or partner)
Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
with manipulatives, or computer-generated
Key Criteria: Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills - Singing, Playing, Moving and Improvising
– In time with beat, In tune with pitch, etc.
Stage 3 – Learning Plan & Resources
Songs
Alouette
America (“My country, ’tis of thee”)
A Bicycle Built for Two (chorus only)
Down in the Valley
He’s Got the Whole World in His Hands
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Hey, Ho, Nobody Home (round)
In the Good Old Summertime (chorus only)
Li’l Liza Jane
My Bonnie Lies Over the Ocean
Polly Wolly Doodle
The Man on the Flying Trapeze (chorus only)
The Sidewalks of New York (chorus only)
Simple Gifts (“Tis a gift to be simple”)
This Little Light of Mine
You’re a Grand Old Flag
2014 – Bayonne School District
Grade 3, Strand 2: Composing & Reading Music
Strand: Composing & Reading Music
Creation Date: 2/1/12
Grade Level: Grade 3
Revision Date: 5/21/14
Stage 1 – Desired Results
Established Goals: NJ Standards
 1.1.5.B.1 - Identify the elements of music in response to aural prompts and printed music notational systems.
 1.1.5.B.2 - Demonstrate the basic concepts of meter, rhythm, tonality, intervals, chords, and melodic and harmonic progressions, and
differentiate basic structures.
 1.3.5.B.1 - Sing or play music from complex notation, using notation systems in treble and bass clef, mixed meter, and compound meter.
 1.3.5.B.4 - Decode how the elements of music are used to achieve unity and variety, tension and release, and balance in musical
compositions.
Understandings
 Music is art through sound, and musicians need to use symbols on
order to record and keep track of their ideas on paper.
 Rhythms are used to symbolize duration in music while the staff
lines represent pitch. Together they create a system for
representing and writing down musical ideas.
Students will know…
 Standard notation for whole note/rest, half note/rest, dotted half










notes, quarter note/rest and eighth note pairs, single eighth notes
(identify) and sixteenth sets.
Fast/Slow Tempo – terms.
Songs & Rhythms in 2/4, 3/4, and 4/4 time.
Simple melodic patterns using the notes “mi”, “so”, “la”, and low
“do”.
Melodic contour – melodic shape
Dynamic symbols and terms.
Articulation symbols
Intervals – step, skip, leap
Treble clef, names of lines and spaces in the treble clef.
Repeat signs and related markings.
Vocabulary
Essential Questions
 What does music look like?
 What is rhythm?
 How can we communicate musical ideas to others?
 How is rhythm mathematical?
Students will be able to…
Apply the creative process to create and perform music for a variety of
purposes, using the elements and techniques of music.
Composition
 Create and demonstrate a four-measure rhythmic composition
that consists of half notes, quarter notes, paired eighth notes, and
quarter rests.
 Create and demonstrate, vocally or instrumentally, a fourmeasure melody based on a pentatonic scale, using dynamic
contrast while maintaining a steady tempo.
 Create and demonstrate a short introduction, interlude, and coda
to a given melody
 Identify meters (duple and triple), note names on treble clef staff,
note values (half notes, quarter notes, paired eighth notes), and
quarter rests.
Reading & Notating
 Identify and demonstrate dynamic markings and directional
markings (e.g., repeat sign, D. C., fine, coda) within a given music
selection.
 Read and notate rhythmic patterns that include sixteenth notes,
paired eighth notes, quarter notes, quarter rests, half notes, half
rests, dotted half notes, whole notes, and whole rests.
 Notate melodies, using traditional notation.
 Recognize and explain the functions of music symbols in a musical
score, using music terminology.
 Identify melodic movement as step, leap, or repeat.
 Demonstrate pitch understanding of solfege symbols used by the
teacher.
2014 – Bayonne School District
29
Stage 2 – Assessment Evidence


Teacher Observations
 Written or improvised compositions, either performed live or
recorded
Teacher created rubrics that focus on student performance
and/or creativity.
 Warm-up and exit tasks
 Simple teacher created quizzes, tests, response forms.
 Question-and-answer (large group, small group, or partner)
 Small-group assessment using verbal and/or written rubrics
 Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
 Student self-assessment rubrics, either written (e.g., checklists) or
with manipulatives, or computer-generated
spoken (to teacher or other students)
 Teacher observations
Key Criteria: Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills - Reading, Matching and Composing –
musical concepts (melody, rhythm, steady beat, tone); instruments; vocal tone.
Stage 3 – Learning Plan & Resources
Concepts & Vocabulary
I–V–I chord progression
a cappella
accompaniment
adagio
alto
alto/tenor saxphone
bar line
bass
bass clef
bass drum
bassoon
cello
chord
30
composition
conductor, conduct
djembe
do-re-mi-fa-so-la-ti-do
dotted half note
double bass
duple
fortissimo
grand staff
harmony
improvisation
interlude
jazz
kora
leap
legato
lute
lyre
marimba
measure
melodic shape
meter
moderato
motif, motive
movement (form)
pp, p, mp, mf, f,. ff
musical score
oboe
pan flute
partner song
pianissimo
piccolo
reggae
rondo form
scat
sixteenth note
skip
soprano
staccato
staff
step
tambourine
tempo
tenor
tie
timpani
treble clef
triple
trombone
tuba
unison
viola
world music
xylophone
2014 – Bayonne School District
Grade 3 Strand 3: Listening to & Understanding Music
Strand 3: Listening to & understanding Music
Creation Date: 2/1/12
Grade Level: Grade 3
Revision Date: 5/21/14
Stage 1 – Desired Results
Established Goals: NJ Standards
 1.1.5.B.1 - Identify the elements of music in response to aural prompts and printed music notational systems.
 1.4.5.B.1 - Assess the application of the elements of art and principles of design in dance, music, theatre, and visual artworks using
observable, objective criteria.
 1.4.5.B.2 - Use evaluative tools, such as rubrics, for self-assessment and to appraise the objectivity of critiques by peers.
 1.4.5.B.3 - Use discipline-specific arts terminology to evaluate the strengths and weaknesses of works of dance, music, theatre, and visual art.
Understandings
 Music allows people to express and communicate ideas and
feelings through sound and people can have different or similar
reactions to music.
 We need to critique and listen to our music in order to make a
better performance.
 There are many different types of instruments that create musical
sounds in a variety of ways.
Students will know…
 Elements of music including melody, harmony, rhythm,
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

instrumentation, timbre, and form.
Phrase – same/different
AB, ABA and Rondo form, simple verse & chorus, coda and intro.
Call & response
Chords/triads – I and V chords
Review families of instruments.
Instruments in the brass & woodwind families
Expressive qualities: tempo, dynamics, articulation.
Phrase and basic phrase qualities – beginning, ending, shape.
Basic criteria for evaluating performances
Major vs. minor chords/tonality
Strong/weak beats with different meters.
2014 – Bayonne School District
Essential Questions
 How does music make you feel?
 Can music communicate a message or tell a story?
 What makes good music?
 What can we use to create music?
Students will be able to…
Apply the critical analysis process to communicate their feelings, ideas,
and understandings in response to a variety of music and musical
experiences.
Listening & Analyzing
 Demonstrate an understanding of different sections of simple forms
of music (e.g., AB, ABA) and/or complex music forms (e.g., rondo,
theme and variations) by using listening maps, manipulatives or
through movement.
 Express personal responses to musical performances in a variety of
ways
 Recognize selected orchestral, band, folk, and/or ethnic instruments
and classify into families.
 Discuss a listening example through teacher-guided questioning and
using teacher-given characteristics.
 Classify the elements of music, using teacher-given vocabulary, for a
listening example.
 Classify styles and/or genres of selected music using teacher-given
vocabulary.
 Describe ways in which the elements of music are used in the music
they perform, listen to, and create.
 Identify common elements in the music of a culture.
 Discriminate between fast and slow; gradually slowing down and
getting faster; differences in pitch: high and low; loud and soft;
gradually increasing and decreasing volume.
 Describe the melodic shape (contour) of a musical phrase, including
how pitches may move upward, downward, or stay the same, using
music terminology.
Moving
 Perform dances and games from various cultures, with emphasis on
those from ancient Greece, ancient Rome, and the West African
empire of Mali.
 Use movement to dramatize songs, stories, and poems, with
emphasis on those from ancient Greece, ancient Rome, and the West
African empire of Mali.
 Illustrate form through movement, with emphasis on AB form.
Evaluating & Critiquing
 Discuss a music selection or student performance using gradeappropriate music vocabulary and teacher-given criteria.
 Identify and give examples of their strengths and areas for growth as
31
musical performers, creators, interpreters, and audience members.
 Discuss and demonstrate appropriate audience member behavior in
a classroom setting and/or performance setting.
Stage 2 – Assessment Evidence






Teacher Observations
Teacher created rubrics that focus on student performance
and/or creativity.
Simple teacher created quizzes, tests, response forms.
Small-group assessment using verbal and/or written rubrics
Student self-assessment rubrics, either written (e.g., checklists) or
spoken (to teacher or other students)
Teacher observations




Written or improvised compositions, either performed live or
recorded
Warm-up and exit tasks
Question-and-answer (large group, small group, or partner)
Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
with manipulatives, or computer-generated
Key Criteria: Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills – Describing & Identifying – musical
concepts and elements of music, instruments; vocal tone, styles of music, etc.
Stage 3 – Learning Plan & Resources
Music Appreciation: Instrumentation & The Elements of Music
ELEMENTS OF MUSIC
• duration: three beats per bar ( 3/4 meter), dotted half note, sixteenth-note patterns, sixteenth rest; very fast (presto), very slow (largo)
• pitch: low “so”, low “la”, higher and lower pitch, pitch contour
• dynamics and other expressive controls: standard symbols for soft (e.g., piano – p) and loud (e.g., forte – f ); invented symbols for soft and loud;
articulation and expression marks encountered in music listened to, sung, and played (e.g., staccato, legato, signs for crescendo and
decrescendo)
• timbre: classification of instruments by means of sound production (e.g., sounds produced by strumming, striking, shaking, blowing)
• texture/harmony: simple two-part rounds, partner songs, canons
• form: section, ternary (ABA) form
Instrument Families
 The Young Person’s Guide to the Orchestra, op. 34 – Benjamin Britten - What instruments do you hear? To what families of the orchestra do
they belong? Why do they belong to their respective families? In what order are the instrument families introduced in this piece?
 Gioacchino Rossini, William Tell Overture, finale (trumpet)
 Wolfgang Amadeus Mozart, selections from the Horn Concertos (French horn)
 Claude Debussy, Prelude to the Afternoon of a Faun (flute)
 Opening of George Gershwin’s Rhapsody in Blue (clarinet)
Triple Meter
 Music for the Royal Fireworks: Menuet II – George Frideric Handel - Does this music make you want to sway or march? Why? When does the
tempo change? How does the tempo change? Which instrument family is featured in this piece?
Orchestral Instruments
 Rhapsody in Blue – George Gershwin - What kind of musical ensemble plays this piece? What is the melodic direction of the opening
instrumental solo? Which instrument plays this solo? Which style of music inspired this piece?
Tempo, Dynamics
 Toccata in D Minor (BWV 565) – Johann Sebastian Bach - What instrument do you hear? What is the tempo of the opening section of the
toccata? What is the tempo of the second section of the toccata? How do changes in dynamics affect the mood of this piece?
32
2014 – Bayonne School District
Grade 3 Strand 4: Exploring History, Culture & Connections
Strand 4: Exploring History, Culture & Connections
Creation Date: 1/25/14
Grade Level: Grade 3
Revision Date: 5/21/14
Stage 1 – Desired Results
Established Goals: NJ Standards
 1.2.5.A.1 - Recognize works of dance, music, theatre, and visual art as a reflection of societal values and beliefs.
 1.2.5.A.2 - Relate common artistic elements that define distinctive art genres in dance, music, theatre, and visual art.
 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.
 1.4.5.A.1 - Employ basic, discipline-specific arts terminology to categorize works of dance, music, theatre, and visual art according to
established classifications.
 1.4.5.A.2 - Make informed aesthetic responses to artworks based on structural arrangement and personal, cultural, and historical points of
view.
 1.4.5.A.3 - Demonstrate how art communicates ideas about personal and social values and is inspired by an individual’s imagination and
frame of reference (e.g., personal, social, political, historical context).
Understandings
 Different cultures have different ideas and ways of making music,
but they all use the same notes, words, sounds, etc.
 Our musical traditions have been developed over many years, and
it helps us to study and learn about the different composers, their
musical ideas, and the times in which they lived so that we can
better understand our own music, culture, and community
Students will know…
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Characteristics of musical cultures studied.
Related elements between music, art, dance, literature, etc.
Use of music in various cultures.
Examples of Non-Western instruments.
World Cultures of Greece, Rome and Mali.
Types and purpose of music in different cultures including
traditional community, religious, & cultural celebrations; classical
or art music, and popular music.
Specific cultural types of music including Native American, South
American, Gamelan and folk music from various countries
including China, Mexico, France, etc.
Essential Questions
 Does music change when it comes from different parts of the
world? Different times?
 What makes one kind of music different from another kind of
music?
 Where does music come from? Who makes music?
 Why do people create and perform music?
Students will be able to…
Demonstrate an understanding of a variety of musical genres and styles
from the past and present, and their sociocultural and historical
contexts.
Interdisciplinary Connections
 Demonstrate how music shares similarities with dance (e.g.,
movement) and theatre (e.g., dramatization).
 Demonstrate ability to enhance a story with the addition of
singing, vocal or instrumental sounds looking for commonalities
between music and literature
 Describe the literary characteristics of song lyrics.
Historical & Cultural Connections
 Identify and describe ways in which music can be used in the
community (e.g., to celebrate events, to bring people together, to
dance to, to communicate, to entertain, to help people remember
product names or telephone numbers in advertising, to help
people remember concepts)
 Identify, through performing and/or listening, a variety of musical
forms or pieces from different communities, times, and places.
 Distinguish between music of selected cultures using teachergiven parameters.
 Describe music characteristics of selected cultures using teachergiven parameters.
 Discuss characteristics of a selected culture(s) within a musical
and/or historical context.
 Experience and discuss the music of world cultures (e.g., in
ancient Greece, ancient Rome, the West African empire of Mali).
 Experience and discuss a composer and a music composition from
each of four different periods of music history.
 Experience and discuss musical settings of folk tales.
 Experience and discuss examples of non-Western instruments.
2014 – Bayonne School District
33
Stage 2 – Assessment Evidence






Teacher Observations
Teacher created rubrics that focus on student performance
and/or creativity.
Simple teacher created quizzes, tests, response forms.
Small-group assessment using verbal and/or written rubrics
Student self-assessment rubrics, either written (e.g., checklists) or
spoken (to teacher or other students)
Teacher observations




Written or improvised compositions, either performed live or
recorded
Warm-up and exit tasks
Question-and-answer (large group, small group, or partner)
Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
with manipulatives, or computer-generated
Key Criteria: Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills – Describing & Identifying – musical
concepts and elements of music, instruments; vocal tone, styles of music, etc.
Stage 3 – Learning Plan & Resources
Musical Connections: History
COMPOSERS AND THEIR MUSIC - Teachers: provide brief, child-friendly biographical profiles of the following composers, and listen to
representative works:
 Peter Ilich Tchaikovsky, Suite from Swan Lake
 John Philip Sousa, Stars and Stripes Forever
 Aaron Copland, Fanfare for the Common Man; “Hoedown” from Rodeo, “Simple Gifts” from Appalachian Spring
MUSICAL CONNECTIONS - Introduce children to the following in connection with topics in other disciplines:
 Nikolai Rimsky-Korsakov, Scheherazade, part one: “The Sea and Sinbad’s Ship”
34
2014 – Bayonne School District
Grade 4, Strand 1: Singing, Playing & Improvising Music
Strand 1: Singing, Playing & Improvising Music
Creation Date: 5/1/12
Grade Level: Grade 4
Revision Date: 5/16/14
Stage 1 – Desired Results
Established Goals: NJ Standards
 1.1.5.B.1 - Identify the elements of music in response to aural prompts and printed music notational systems.
 1.1.5.B.2 - Demonstrate the basic concepts of meter, rhythm, tonality, intervals, chords, and melodic and harmonic progressions, and
differentiate basic structures.
 1.3.5.B.1 - Sing or play music from complex notation, using notation systems in treble and bass clef, mixed meter, and compound meter.
 1.3.5.B.2 - Sing melodic and harmonizing parts, independently and in groups, adjusting to the range and timbre of the developing voice.
 1.3.5.B.3 - Improvise and score simple melodies over given harmonic structures using traditional instruments and/or computer programs.
 1.3.5.B.4 - Decode how the elements of music are used to achieve unity and variety, tension and release, and balance in musical
compositions.
 1.4.5.B.1 - Assess the application of the elements of art and principles of design in dance, music, theatre, and visual artworks using
observable, objective criteria.
 1.4.5.B.2 - Use evaluative tools, such as rubrics, for self-assessment and to appraise the objectivity of critiques by peers.
 1.4.5.B.3 - Use discipline-specific arts terminology to evaluate the strengths and weaknesses of works of dance, music, theatre, and visual art.
 1.4.5.B.4 - Define technical proficiency, using the elements of the arts and principles of design.
Understandings
 Good performers must have good music literacy and think about


the elements of performance (criteria for assessment) in order to
communicate musically and to create a musical performance.
We make music to express ourselves using all kinds of sounds and
for many different reasons.
We must use the elements of performance (technique,
intonation, rhythmic accuracy, etc.) in order to create a musical,
expressive performance.
Students will know…
 Basic principles of vocal and instrumental performance including
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posture, technique, position, tone quality, note & rhythmic
accuracy.
Simple melodic ostinato, melodic patterns using notes of the
pentatonic and C Major scales.
Single melodic line in unison with simple accompaniment, bordun
patterns on “mi”, “so”, “la”, and low “do”.
Changes in tempo and dynamics.
Articulations – legato, staccato
Breath support, long/short, singing vs. speaking.
Proper playing technique for instruments used in class.
Rhythms, theory and related vocabulary from other strands that
relate to performance.
Essential Questions
 How do we create quality music?
 What are the different parts of music and how do they work
together?
 How can we represent musical ideas in drawings? Writings?


Symbols?
Why do people create and perform music?
What skills do we need for excellent musicianship?
Students will be able to…
Apply the creative process to create and perform music for a variety of
purposes, using the elements and techniques of music.
Singing
 Sing a melody with accurate pitch, rhythm, dynamics, and tempo.
 Use the tools and techniques of musicianship in musical
performances.
 Demonstrate, alone, proper posture, grade-appropriate diction,
breath control, and tone in both head and chest voice.
 Sing partner songs and rounds and/or canons; simple harmony in
small and/or large groups.
 Sing with a clear tone quality and correct intonation.
 Sing with expression; indicated dynamics and phrasing.
Playing Instruments
 Perform rhythmic patterns & melodies in duple and triple meters
on non-pitched instruments using proper technique.
 Perform melodies based on selected major and/or minor scales.
 Perform an accompaniment on pitched and non-pitched
instruments.
 Demonstrate expressive qualities in performance.
 Accompany songs and chants with I, IV, and V (V7) chords, using
instruments.
 Play a given melody on recorder or other instrument.
Improvising
 Improvise, on a variety of instruments, an eight-beat
melody/rhythm using a prescribed scale.
 Improvise, with a partner, a four- or eight-beat question and
2014 – Bayonne School District
35

answer on pitched instruments (may include recorder).
Improvise a simple eight-beat accompaniment on non-pitched or
pitched instruments within teacher-given parameters.
Stage 2 – Assessment Evidence






Teacher Observations
Teacher created rubrics that focus on student performance
and/or creativity.
Simple teacher created quizzes, tests, response forms.
Small-group assessment using verbal and/or written rubrics
Student self-assessment rubrics, either written (e.g., checklists) or
spoken (to teacher or other students)
Teacher observations




Written or improvised compositions, either performed live or
recorded
Warm-up and exit tasks
Question-and-answer (large group, small group, or partner)
Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
with manipulatives, or computer-generated
Key Criteria: Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills - Singing, Playing, Moving and Improvising
– In time with beat, In tune with pitch, etc.
Stage 3 – Learning Plan & Resources
Songs
Auld Lang Syne
Blow the Man Down
Cockles and Mussels
Comin’ Through the Rye
I Love the Mountains (round)
36
Loch Lomond
My Grandfather’s Clock
Taps
The Yellow Rose of Texas
Waltzing Matilda
Air Force Song
Navy Song (Anchors Aweigh)
The Army Goes [The Caissons Go] Rolling Along
The Marine’s Hymn
2014 – Bayonne School District
Grade 4, Strand 2: Composing & Reading Music
Strand: Composing & Reading Music
Creation Date: 2/1/12
Grade Level: Grade 4
Revision Date: 5/16/14
Stage 1 – Desired Results
Established Goals: NJ Standards
 1.1.5.B.1 - Identify the elements of music in response to aural prompts and printed music notational systems.
 1.1.5.B.2 - Demonstrate the basic concepts of meter, rhythm, tonality, intervals, chords, and melodic and harmonic progressions, and
differentiate basic structures.
 1.3.5.B.1 - Sing or play music from complex notation, using notation systems in treble and bass clef, mixed meter, and compound meter.
 1.3.5.B.4 - Decode how the elements of music are used to achieve unity and variety, tension and release, and balance in musical
compositions.
Understandings
 Music is art through sound, and musicians need to use symbols on
order to record and keep track of their ideas on paper.
 Rhythms are used to symbolize duration in music while the staff
lines represent pitch. Together they create a system for
representing and writing down musical ideas.
Students will know…
 Standard notation for whole note/rest, half note/rest, dotted half

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notes, quarter note/rest and eighth note pairs, dotted quarter &
single eighth notes and sixteenth sets.
Songs & rhythms in 2/4, 3/4, and 4/4 time; duple & Triple meters.
Tempo terms, changes in tempo.
Simple melodic patterns using the notes “mi”, “so”, “la”, and low
“do”.
Meter duple/triple,
Melodic contour – melodic shape
Dynamic symbols and terms, changes in dynamics.
Articulation symbols.
Accidentals - sharps, flats, naturals
Intervals – step, skip, leap
Treble clef, names of lines and spaces.
Repeat signs and related markings.
Vocabulary words
2014 – Bayonne School District
Essential Questions
 What does music look like?
 What is rhythm?
 How can we communicate musical ideas to others?
 How is rhythm mathematical?
Students will be able to…
Apply the creative process to create and perform music for a variety of
purposes, using the elements and techniques of music.
Composition
 Create and demonstrate a four-measure melodic composition in
ABA form.
 Create and demonstrate a four-measure melody based on a given
major or minor scale.
 Compose short melodic and rhythmic phrases within specified
guidelines, to enhance literature, tell a story, etc.
Reading & Notating
 Compare and contrast meters.
 Demonstrate an understanding of treble clef pitches by singing
intervals using both solfege and letter names or by playing on an
instrument.
 Identify and demonstrate dynamic markings, tempo markings,
and articulation markings within a given music selection.
 Read, notate and perform rhythmic patterns using voice, body
percussion, and pitched and non-pitched instruments.
 Read short melodic scale patterns.
 Notate melodies in traditional notation on the treble staff, with
emphasis on stepwise progression.
 Identify the functions of the upper and lower numbers of meter
signatures with 2, 3, and 4 beats.
 Divide rhythms into measures.
37
Stage 2 – Assessment Evidence






Teacher Observations
Teacher created rubrics that focus on student performance
and/or creativity.
Simple teacher created quizzes, tests, response forms.
Small-group assessment using verbal and/or written rubrics
Student self-assessment rubrics, either written (e.g., checklists) or
spoken (to teacher or other students)
Teacher observations




Written or improvised compositions, either performed live or
recorded
Warm-up and exit tasks
Question-and-answer (large group, small group, or partner)
Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
with manipulatives, or computer-generated
Stage 3 – Learning Plan & Resources
Concepts & Vocabulary
I–IV–V7–I progression
accidental
arranger
articulation
ballad
Baroque
bluegrass
breath control
country music
criteria
38
critic
critique
Da Capo (D.C.)
Del Segno al fine(D.S.)
dotted note
dotted quarter note
duet
eighth rest
Fine
flat
Gospel
hymn
intonation
ledger lines
lyricist
major
minor
musical
natural
octave
posture
quartet
rap
Renaissance
rhythm ‘n blues
rock ‘n roll
Romantic
scale
sharp
sight read
single eighth note
slur
soprano recorder
spiritual
symphony
syncopation
technique
tenor
theme
tie
time signature
tone quality
tonic
trio
upbeat
2014 – Bayonne School District
Grade 4 Strand 3: Listening to & Understanding Music
Strand 3: Listening to & Understanding Music
Creation Date: 2/1/12
Grade Level: Grade 4
Revision Date: 5/16/14
Stage 1 – Desired Results
Established Goals: NJ Standards
 1.1.5.B.1 - Identify the elements of music in response to aural prompts and printed music notational systems.
 1.4.5.B.1 - Assess the application of the elements of art and principles of design in dance, music, theatre, and visual artworks using
observable, objective criteria.
 1.4.5.B.2 - Use evaluative tools, such as rubrics, for self-assessment and to appraise the objectivity of critiques by peers.
 1.4.5.B.3 - Use discipline-specific arts terminology to evaluate the strengths and weaknesses of works of dance, music, theatre, and visual art.
Understandings
 Music allows people to express and communicate ideas and


feelings through sound and people can have different or similar
reactions to music.
We need to critique and listen to our music in order to make a
better performance.
There are many different types of instruments that create musical
sounds in a variety of ways.
Students will know…
 Elements of music including melody, harmony, rhythm,











instrumentation, timbre, and form.
Phrase – same/different; Call & response
Form in music - binary, ternary, rondo, theme & variations, Verse Refrain, cannon, rounds, intro, coda
Chords/triads - I, IV & V chords.
Strong vs. weak beats in different meters.
Meters in 2/4, 3/4 and 4/4 time.
Criteria for assessing performances - rhythm & tempo/feel, tone,
intonation, expressiveness (In Time, In Tone, In Tune, In Touch)
Expressive qualities: tempo, dynamics, articulation.
Phrase and basic phrase qualities – beginning, ending, shape.
Review families of instruments: strings, brass, woodwinds,
percussion.
Major vs. minor chords/tonality
Instruments & ensembles - orchestral, pop, jazz, other cultures.
Essential Questions
 How does music make you feel?
 Can music communicate a message or tell a story?
 What makes good music?
 What can we use to create music?
Students will be able to…
Apply the critical analysis process to communicate their feelings, ideas,
and understandings in response to a variety of music and musical
experiences.
Listening & Analyzing
 Identify, through listening examples, teacher-selected instruments,
individually and as families.
 Express detailed personal responses to musical performances in a
variety of ways.
 Identify the elements used in the music they perform, listen to, and
create, and describe how they are used.
 Describe a listening example using correct music vocabulary.
 Analyze teacher-given styles and/or genres of music.
 Recognize a steady beat, accents, and the downbeat; play a steady
beat and a simple rhythm pattern.
 Discriminate between fast and slow; gradually slowing down and
getting faster.
 Discriminate between differences in pitch: high and low.
 Discriminate between loud and soft; gradually increasing and
decreasing volume.
 Understand legato and staccato.
 Recognize harmony; sing simple rounds and canons.
 Recognize verse and refrain; also, introduction and coda.
 Recognize theme and variations.
 Identify instruments from various music ensembles visually and
aurally, including instruments from other cultures.
 Distinguish between major and minor tonality.
 Identify and explain rondo form.
Moving
 Create movement patterns to demonstrate different sections of
complex forms of music.
 Perform traditional games and folk dances, with emphasis on those
from Virginia history.
 Create movements to illustrate meter.
Evaluating & Critiquing
2014 – Bayonne School District
39
 Discuss how personal beliefs influence responses to music.
 Identify and give examples of their strengths and areas for growth as
musical performers, creators, interpreters, and audience members.
 Investigate criteria used to evaluate music.
 Evaluate, in a group, a student or professional performance using
student-developed criteria.
 Formulate questions about musical compositions from past or
present cultures.
 Evaluate one’s own audience behavior.
 Describe a music composition, using music terminology.
Stage 2 – Assessment Evidence
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
Teacher Observations
Teacher created rubrics that focus on student performance
and/or creativity.
Simple teacher created quizzes, tests, response forms.
Small-group assessment using verbal and/or written rubrics
Student self-assessment rubrics, either written (e.g., checklists) or
spoken (to teacher or other students)
Teacher observations




Written or improvised compositions, either performed live or
recorded
Warm-up and exit tasks
Question-and-answer (large group, small group, or partner)
Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
with manipulatives, or computer-generated
Key Criteria: Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills – Describing & Identifying – musical
concepts and elements of music, instruments; vocal tone, styles of music, etc.
Stage 3 – Learning Plan & Resources
Music Appreciation: Elements of Music
MUSICAL ELEMENTS
 Symphony no. 1 in D Major: third movement – Gustav Mahler - Do you recognize a children’s song in this music? If so, what is it? Is this
movement in a major or minor key? What musical clues did Mahler use to help you make this decision? What instruments do you hear at the
beginning of the piece? What instrument has a prominent solo in the piece? Do the basses and celli play in unison or as a round?
 Jazz Vocal Style - “One Note Samba” – Antonio Carlos Jobim, as performed by Ella Fitzgerald - What style of music is this? Are these real words
or nonsense syllables? Why is the singer using so many different vocal sounds? Which instruments is she imitating? How does this style of
music compare to rap?
VOCAL RANGES
 Recognize vocal ranges of the female voice – soprano, mezzo soprano, alto
 Recognize vocal ranges of the male voice – tenor, baritone, bass
THE ORCHESTRA
 Review families of instruments: strings, brass, woodwinds, percussion. Review the orchestra, including families of instruments and specific
instruments, by listening to Benjamin Britten, The Young Person’s Guide to the Orchestra.
40
2014 – Bayonne School District
Grade 4 Strand 4: Exploring History, Culture & Connections
Strand 4: Exploring History, Culture & Connections
Creation Date: 1/25/14
Grade Level: Grade 4
Revision Date: 5/16/14
Stage 1 – Desired Results
Established Goals: NJ Standards
 1.2.5.A.1 - Recognize works of dance, music, theatre, and visual art as a reflection of societal values and beliefs.
 1.2.5.A.2 - Relate common artistic elements that define distinctive art genres in dance, music, theatre, and visual art.
 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.
 1.4.5.A.1 - Employ basic, discipline-specific arts terminology to categorize works of dance, music, theatre, and visual art according to
established classifications.
 1.4.5.A.2 - Make informed aesthetic responses to artworks based on structural arrangement and personal, cultural, and historical points of
view.
 1.4.5.A.3 - Demonstrate how art communicates ideas about personal and social values and is inspired by an individual’s imagination and
frame of reference (e.g., personal, social, political, historical context).
Understandings
 Different cultures have different ideas and ways of making music,
but they all use the same notes, words, sounds, etc.
 Our musical traditions have been developed over many years, and
it helps us to study and learn about the different composers, their
musical ideas, and the times in which they lived so that we can
better understand our own music, culture, and community
Students will know…
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Characteristics of musical cultures studied.
Related elements between music, art, dance, literature, etc.
Use of music in various cultures.
Styles of music including classical, jazz, pop, folk, etc.
Composers and compositions from each period of music history:
Renaissance, Baroque, Classical, Romantic and 20th Century.
Essential Questions
 Does music change when it comes from different parts of the
world? Different times?
 What makes one kind of music different from another kind of
music?
 Where does music come from? Who makes music?
 Why do people create and perform music?
Students will be able to…
Demonstrate an understanding of a variety of musical genres and styles
from the past and present, and their sociocultural and historical
contexts.
Interdisciplinary Connections
 Perform, combining aspects of music, dance, and theatre.
 Discuss similarities between music and dance and visual art.
 Demonstrate an ability to enhance a story with the addition of
singing, vocal or instrumental sounds, and relate it to the
language arts curriculum and/or relate the study of rhythms to
the mathematics curriculum.
 Demonstrate the relationship of music to literature, mathematics,
science, and/or social studies.
 Describe and discuss the musical activities of composers,
arrangers, and lyricists.
Historical & Cultural Connections
 Describe music characteristics of selected cultures using teachergiven parameters.
 Demonstrate an awareness, through listening, of the
characteristics of musical forms and traditions of diverse times,
places, and communities
 Investigate the role of music in selected periods of New Jersey
history, NJ Artists, important NJ Musical/historical events.
 Recognize a composer and a music composition from each of four
different periods of music history.
 Describe and catergorize various styles of music, using music
terminology.
2014 – Bayonne School District
41
Stage 2 – Assessment Evidence

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



Teacher Observations
Teacher created rubrics that focus on student performance
and/or creativity.
Simple teacher created quizzes, tests, response forms.
Small-group assessment using verbal and/or written rubrics
Student self-assessment rubrics, either written (e.g., checklists) or
spoken (to teacher or other students)
Teacher observations




Written or improvised compositions, either performed live or
recorded
Warm-up and exit tasks
Question-and-answer (large group, small group, or partner)
Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
with manipulatives, or computer-generated
Key Criteria: Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills – Describing & Identifying – musical
concepts and elements of music, instruments; vocal tone, styles of music, etc.
Stage 3 – Learning Plan & Resources
Music Connections
CURRICULAR CONNECTIONS
 The Planets: “Mars” – Gustav Holst - What are the names of the planets in our solar system? What comes to your mind when you hear this
music? What musical elements support your response? How does this music compare with John Williams’ Star Wars?
 Danse Macabre – Camille Saint-Saëns - Which instrument plays the first notes of this piece? At several points, the dancing skeletons are
represented by an unexpected instrument. What instrument do you hear? How would you describe the mood of the piece? If you were to
create a work of art based on this music, what would be the subject of your artwork? What would be happening in a movie scene if you heard
this music?
 Rondo Form - The Carnival of the Animals: “Fossils” – Camille Saint-Saëns - What is a fossil? What instrument opens the piece? To which family
does it belong? Why do you think this composition is entitled “Fossils?”
 Code Song, Oral Tradition - “Follow the Drinking Gourd” – American folk song - What is a gourd? How could it be used for drinking water? What
is the Drinking Gourd? Is there a hidden message in this song? If so, what is it? What was the Underground Railroad? Do you know any other
songs that contain hidden messages? If so, what are they?
COMPOSERS AND THEIR MUSIC
 George Frederick Handel, “Hallelujah Chorus” from The Messiah
 Franz Joseph Haydn, Symphony No. 94 (“Surprise”)
 Wolfgang Amadeus Mozart, The Magic Flute, selections, including: Overture; Introduction, “Zu Hilfe! Zu Hilfe!”(Tamino, Three Ladies); Aria,
“Der Vogelfänger bin ich ja” (Papageno); Recitative and Aria, “O zittre nicht, mein lieber Sohn!” (Queen of the Night); Aria, “Ein Mädchen oder
Weibchen” (Papageno); Duet, “Pa-pa-gena! Pa-pa-geno!” (Papageno and Papagena); Finale, Recitative and Chorus, “Die Strahlen der Sonne”
(Sarastro and Chorus)
42
2014 – Bayonne School District
Grade 5, Strand 1: Singing, Playing & Improvising Music
Strand 1: Singing, Playing & Improvising Music
Creation Date: 5/1/12
Grade Level: Grade 5
Revision Date: 5/3/14
Stage 1 – Desired Results
Established Goals: NJ Standards
 1.1.5.B.1 - Identify the elements of music in response to aural prompts and printed music notational systems.
 1.1.5.B.2 - Demonstrate the basic concepts of meter, rhythm, tonality, intervals, chords, and melodic and harmonic progressions, and
differentiate basic structures.
 1.3.5.B.1 - Sing or play music from complex notation, using notation systems in treble and bass clef, mixed meter, and compound meter.
 1.3.5.B.2 - Sing melodic and harmonizing parts, independently and in groups, adjusting to the range and timbre of the developing voice.
 1.3.5.B.3 - Improvise and score simple melodies over given harmonic structures using traditional instruments and/or computer programs.
 1.3.5.B.4 - Decode how the elements of music are used to achieve unity and variety, tension and release, and balance in musical
compositions.
 1.4.5.B.1 - Assess the application of the elements of art and principles of design in dance, music, theatre, and visual artworks using
observable, objective criteria.
 1.4.5.B.2 - Use evaluative tools, such as rubrics, for self-assessment and to appraise the objectivity of critiques by peers.
 1.4.5.B.3 - Use discipline-specific arts terminology to evaluate the strengths and weaknesses of works of dance, music, theatre, and visual art.
 1.4.5.B.4 - Define technical proficiency, using the elements of the arts and principles of design.
Understandings
 Good performers must have good music literacy and think about


the elements of performance in order to communicate musically
and to create a musical performance.
We need to understand the elements of music and how they work
together in order to create and perform music.
We must use the elements of performance (technique,
intonation, rhythmic accuracy, etc.) in order to create a musical,
expressive performance.
Students will know…
 Basic principles of vocal and instrumental performance including

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good posture, technique, position, tone, rhythm, etc.
Simple melodic ostinato, melodic patterns using notes of the
pentatonic and Major/minor scales.
Single melodic line in unison with simple accompaniment, bordun
patterns on “mi”, “so”, “la”, and low “do”.
Changes in tempo and dynamics.
Articulations - legato/staccato, accents
Breath support, long/short, singing vs. speaking.
Strong vs. weak beats in different meters.
Rhythms, theory and related vocabulary from other strands that
relate to performance.
2014 – Bayonne School District
Essential Questions
 How do we create quality music?
 What are the different parts of music and how do they work
together?
 How can we represent musical ideas in drawings? Writings?


Symbols?
Why do people create and perform music?
What skills do we need for excellent musicianship?
Students will be able to…
Demonstrate an understanding of a variety of musical genres and styles
from the past and present, and their sociocultural and historical
contexts.
Singing
 Sing a melody with accurate pitch, rhythm, and musicality.
 Use the tools and techniques of musicianship in musical
performances.
 Exhibit good posture, grade-appropriate diction, breath control,
and tone in both head and chest voice.
 Sing a varied repertoire of songs while demonstrating beginning
choral behaviors and skills in ensemble singing.
 Sing with attention to blend, balance, intonation, and expression.
 Sing melodies written in traditional notation on the treble staff,
using indicated dynamics, phrasing, and other expression.
 Sing in two- and three-part harmony.
 Understand legato and staccato when singing.
Playing Instruments
 Perform rhythmic patterns and melodies in duple and triple
meters on non-pitched instruments using proper technique.
 Perform an accompaniment on pitched or non-pitched
instruments using an orchestration that includes varying
instrumentation, rhythms, and pitches.
 Demonstrate, through performance, expressive qualities in an
ensemble setting.
 Play increasingly difficult accompaniments on instruments, using I,
IV, and V (V7) chords.
Improvising
 Improvise, on a variety of instruments an eight-beat melody using
43
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a pentatonic scale
Improvise a sixteen-beat pattern using prescribed rhythms with a
steady beat and tempo.
Improvise, in pairs, an eight- or sixteen-beat question and answer
phrase on pitched instruments.
Stage 2 – Assessment Evidence






Teacher Observations
Teacher created rubrics that focus on student performance
and/or creativity.
Simple teacher created quizzes, tests, response forms.
Small-group assessment using verbal and/or written rubrics
Student self-assessment rubrics, either written (e.g., checklists) or
spoken (to teacher or other students)
Teacher observations




Written or improvised compositions, either performed live or
recorded
Warm-up and exit tasks
Question-and-answer (large group, small group, or partner)
Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
with manipulatives, or computer-generated.
Key Criteria: Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills - Singing, Playing, Moving and
Improvising – In time with beat, In tune with pitch, etc.
Stage 3 – Learning Plan & Resources
Songs
Battle Hymn of the Republic
Danny Boy
Dona Nobis Pacem (round)
Git Along Little Dogies
God Bless America
44
Greensleeves
The Happy Wanderer
Havah Nagilah
If I Had a Hammer
Red River Valley
Sakura
Shenandoah
Sweet Betsy from Pike
2014 – Bayonne School District
Grade 5, Strand 2: Composing & Reading Music
Strand: Composing & Reading Music
Creation Date: 2/1/12
Grade Level: Grade 5
Revision Date: 5/3/14
Stage 1 – Desired Results
Established Goals: NJ Standards
 1.1.5.B.1 - Identify the elements of music in response to aural prompts and printed music notational systems.
 1.1.5.B.2 - Demonstrate the basic concepts of meter, rhythm, tonality, intervals, chords, and melodic and harmonic progressions, and
differentiate basic structures.
 1.3.5.B.1 - Sing or play music from complex notation, using notation systems in treble and bass clef, mixed meter, and compound meter.
 1.3.5.B.4 - Decode how the elements of music are used to achieve unity and variety, tension and release, and balance in musical
compositions.
Understandings
 Music is art through sound, and musicians need to use symbols on
order to record and keep track of their ideas on paper.
 Time signatures are fractions that symbolize rhythms.
 Rhythms are fractions and/or multiples of the beat and can
Essential Questions
 What does music look like?
 What is rhythm?
 How can we communicate musical ideas to others?
 How is rhythm mathematical?
interpreted at different speeds in time (tempo)
 Staff lines are used to communicate pitch and are organized
through the clef and key signature, while the time signature
organizes the meter and rhythm.
Students will know…
 Standard notation for whole note/rest, half note/rest, dotted half

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notes, quarter note/rest and eighth note pairs
(perform/compose), single eighth notes (identify), sixteenth sets
and sixteenth-eighth sets.
Songs & rhythms in 2/4, 3/4, and 4/4 time and compound time –
6/8, 9/8 or 12/8
Phrase – same/different; Call & response; AB, ABA forms, Rondo
forms (ABACABA), intro/coda/bridge
Chords/triads - I, IV & V chords.
Dynamic symbols and terms, changes in dynamics.
Tempo terms, changes in tempo.
Melodic contour – melodic shape
Articulation symbols.
Names of notes by letter name and syllables.
Repeat signs and related markings.
Tie/slur
Intervals – step, skip, leap
Accidentals - sharps, flats, naturals
Key signs for C Major, F Major, G Major, D Major and Bb Major
Vocabulary words
Students will be able to…
Demonstrate an understanding of a variety of musical genres and styles
from the past and present, and their sociocultural and historical
contexts.
Composition
 Create and demonstrate, in a group setting, a four-measure
instrumental or vocal melody based on a pentatonic scale with a
simple chord accompaniment.
 Compose short melodic and rhythmic phrases within specific
guidelines to lead to an original composition.
Reading & Notating
 Compare and contrast meters (duple and triple); identify note
names in treble clef, note and rest values.
 Demonstrate an understanding of treble clef pitches by singing
intervals using solfege and letter names and by notating those
pitches.
 Identify and demonstrate dynamic markings, tempo markings,
and articulation markings in music selections.
 Identify notes on the bass staff.
 Sight-read melodic patterns, using the diatonic scale and solfege.
 Sight-read rhythmic patterns that include grade specific rhtyhms.
 Notate melodies in traditional notation on the treble staff, with
emphasis on skips and leaps.
 Read, notate and perform rhythmic patterns using voice, body
percussion, and pitched and non-pitched instruments.
 Identify the functions of the upper and lower numbers of meter
signatures in duple and triple meters.
 Identify and explain theme-and-variations form.
 Identify key signatures.
Stage 2 – Assessment Evidence
2014 – Bayonne School District
45
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
Teacher Observations
 Written or improvised compositions, either performed live or
recorded
Teacher created rubrics that focus on student performance
and/or creativity.
 Warm-up and exit tasks
 Simple teacher created quizzes, tests, response forms.
 Question-and-answer (large group, small group, or partner)
 Small-group assessment using verbal and/or written rubrics
 Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
 Student self-assessment rubrics, either written (e.g., checklists) or
with manipulatives, or computer-generated
spoken (to teacher or other students)
 Teacher observations
Key Criteria: Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills - Reading, Matching and Composing –
musical concepts (melody, rhythm, steady beat, tone); instruments; vocal tone.
Stage 3 – Learning Plan & Resources
Concepts & Vocabulary
acoustics
amplitude
arpeggio
balance
blend
blues
46
chest voice
countermelody
descant
doppler effect
dotted eighth note
echo
flag
frequency
genre
head voice
instrumentation
interval
key
key signature
loudness
monophonic
orchestration
noise pollution
polyphonic
ragtime
repertoire
sequence
shanty
sonic boom
soundtrack
sound wave
speed of sound
staff, staves
texture
theme & variation
vibration
wave length
2014 – Bayonne School District
Grade 5 Strand 3: Listening to & Understanding Music
Strand 3: Listening to & understanding Music
Creation Date: 2/1/12
Grade Level: Grade 5
Revision Date: 5/3/14
Stage 1 – Desired Results
Established Goals: NJ Standards
 1.1.5.B.1 - Identify the elements of music in response to aural prompts and printed music notational systems.
 1.4.5.B.1 - Assess the application of the elements of art and principles of design in dance, music, theatre, and visual artworks using
observable, objective criteria.
 1.4.5.B.2 - Use evaluative tools, such as rubrics, for self-assessment and to appraise the objectivity of critiques by peers.
 1.4.5.B.3 - Use discipline-specific arts terminology to evaluate the strengths and weaknesses of works of dance, music, theatre, and visual art.
Understandings
 Music allows people to express and communicate ideas and

feelings through sound and people can have different or similar
reactions to music.
We need to critique and listen to our music in order to make a
better performance.
Essential Questions
 How does music make you feel?
 Can music communicate a message or tell a story?
 What makes good music?
 What can we use to create music?

Students will know…
 Elements of music including melody, harmony, rhythm,

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instrumentation, timbre, and form.
Review families of instruments: strings, brass, woodwinds,
percussion.
Criteria for assessing performances - rhythm & tempo/feel, tone,
intonation, expressiveness (In Time, In Tone, In Tune, In Touch)
Music terminology for expressive qualities: tempo, dynamics,
articulation.
Form in music - binary, ternary, rondo, theme & variations; Verse
- Refrain, cannon, rounds.
Phrase and basic phrase qualities – beginning, ending, shape.
Basic criteria for evaluating performances – rhythmic accuracy (in
Time), note accuracy (in Tone), basic use of expressive qualities –
dynamics, articulation (in Touch)
Simple and compound meters.
Major vs. minor chords/tonality
Strong/weak beats with different meters.
Instruments & ensembles - orchestral, pop, jazz, other cultures.
2014 – Bayonne School District
Students will be able to…
Apply the critical analysis process to communicate their feelings, ideas,
and understandings in response to a variety of music and musical
experiences.
Listening & Analyzing
 Identify and explain, orally and/or written, complex forms of music.
 Express detailed personal responses to musical performances in a
variety of ways.
 identify the elements of music in the music they perform, listen to,
and create, and describe how they are used.
 Identify, aurally, teacher-selected orchestral instruments in
ensembles.
 Compare and contrast listening examples using correct music
vocabulary.
 Analyze styles and genres of music using teacher-given parameters.
 Articulate reasons for preferences among musical compositions,
using music terminology.
 Develop personal criteria for determining the value of a musical
composition or genre.
 Recognize and identify elements of music in listening examples.
 Discriminate between fast and slow; gradually slowing down and
getting faster; accelerando and ritardando.
 Discriminate between differences in pitch: high and low.
 Discriminate between loud and soft; gradually increasing and
decreasing volume; crescendo and decrescendo.
 Recognize harmony; sing rounds and canons; two- and three-part
singing.
 Identify texture as thick, thin, rough, etc.
 Recognize introduction, interlude, and coda in musical selections.
 Recognize verse and refrain.
 Investigate the production of sound by instruments from various
music ensembles, including instruments from other cultures.
Evaluating & Critiquing
 Use student developed rubric to evaluate a music performance.
 Identify and give examples of their strengths and areas for growth as
musical performers, creators, interpreters, and audience members
 Analyze and evaluate music performances and compositions, using
music terminology.
47
Stage 2 – Assessment Evidence


Teacher Observations
 Written or improvised compositions, either performed live or
recorded
Teacher created rubrics that focus on student performance
and/or creativity.
 Warm-up and exit tasks
 Simple teacher created quizzes, tests, response forms.
 Question-and-answer (large group, small group, or partner)
 Small-group assessment using verbal and/or written rubrics
 Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
 Student self-assessment rubrics, either written (e.g., checklists) or
with manipulatives, or computer-generated
spoken (to teacher or other students)
 Teacher observations
Key Criteria: Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills – Describing & Identifying – musical
concepts and elements of music, instruments; vocal tone, styles of music, etc.
Stage 3 – Learning Plan & Resources
Music Appreciation: Elements of Music
Theme-and-Variations Form
 Variations on “Ah, vous dirai-je, maman” K. 265 – Wolfgang Amadeus Mozart - Do you recognize the theme? If so, what is it called? How many
variations do you hear? Which variation do you like the most? Why? What instrument plays this piece?
 Variations on “America” – Charles Ives - Does this piece begin with the theme? How would you describe the opening section? Does the opening
section make you think of the theme? If so, why? How many variations on America do you hear? How does Charles Ives make the variations
different from one another? What musical elements does he change? Which variation do you like the most? Why?
Contrasting Vocal Styles
 Porgy and Bess: “Summertime” – George Gershwin, as performed by Kathleen Battle - What is this song about? How would you describe
Kathleen Battle’s style of singing? What musical genre does this style represent? To whom would this song be sung? What kind of song is this?
What musical elements support your decision?
 Porgy and Bess: “Summertime” – George Gershwin, as performed by Ella Fitzgerald and Louis Armstrong - How does the vocal style of Ella
Fitzgerald differ from the vocal style of Kathleen Battle? How would you describe Ella Fitzgerald’s style of singing? What musical genre does this
style represent? Do you prefer one style over the other? If so, why? In which region of the United States do you think this story takes place?
(Use the lyrics as a guide.)
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2014 – Bayonne School District
Grade 5 Strand 4: Exploring History, Culture & Connections
Strand 4: Exploring History, Culture & Connections
Creation Date: 1/25/14
Grade Level: Grade 5
Revision Date: 5/3/14
Stage 1 – Desired Results
Established Goals: NJ Standards
 1.2.5.A.1 - Recognize works of dance, music, theatre, and visual art as a reflection of societal values and beliefs.
 1.2.5.A.2 - Relate common artistic elements that define distinctive art genres in dance, music, theatre, and visual art.
 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.
 1.4.5.A.1 - Employ basic, discipline-specific arts terminology to categorize works of dance, music, theatre, and visual art according to
established classifications.
 1.4.5.A.2 - Make informed aesthetic responses to artworks based on structural arrangement and personal, cultural, and historical points of
view.
 1.4.5.A.3 - Demonstrate how art communicates ideas about personal and social values and is inspired by an individual’s imagination and
frame of reference (e.g., personal, social, political, historical context).
Understandings
 Music is a reflection of the historical events, customs, style, and
attitudes of the people and civilization from which it is created.
 Music can both shape society and be a reflection of the society or
culture in which it is created.
Music is present and purposeful in every culture.
Music has political, historical, and cultural themes.
Music can promote an appreciation of other cultures.
Music can unite or divide cultures.
Students will know…
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 Various people, jobs and careers in the field of music including
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members of the community.
A variety of musical styles including pop, rock, jazz, classical,
county, folk music, musical theater, music for film, etc.
Music of various cultures and countries from around the world.
European art music, American and Latin American Jazz, East
Indian Gamelan, traditional Latin American, traditional music from
the Middle East, traditional music from China and Japan,
Medieval & Renaissance, Classical, and Romantic periods of music
history with examples from several different nations; 20th century
traditional music from around the world.
Specific characteristics of music being studied, appropriate for
grade level, including description of melody, harmony, rhythm,
instrumentation, texture, dynamics, and form.
Essential Questions
 Does music influence people? Cultures? Society?
 What role does music play in our lives?
 Why is music important?
 How can music change the world?
Students will be able to…
Demonstrate an understanding of a variety of musical genres and styles
from the past and present, and their sociocultural and historical
contexts.
Interdisciplinary Connections
 Evaluate the relationship of music to other performing arts in a
given performance.
 Compare music to other selected academic disciplines.
 Investigate the science of sound.
 Describe and discuss various professional music careers
 Investigate how people may participate in music within the
community as performers, consumers of music, and music
advocates.
Historical & Cultural Connections
 Compare and contrast music examples of selected cultures and
historical periods.
 Identify and describe some of the key influences of music within
contemporary culture
 Discuss representative composers and music compositions from
each of five different periods of music history.
 Compare and contrast a variety of musical styles, using music
terminology.
 Place music examples into categories of style, including American
folk music, jazz, American musical theater, and movie/television
music.
 Identify characteristics of the music of world cultures.
2014 – Bayonne School District
49
Stage 2 – Assessment Evidence
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
Teacher Observations
 Written or improvised compositions, either performed live or
recorded
Teacher created rubrics that focus on student performance
and/or creativity.
 Warm-up and exit tasks
 Simple teacher created quizzes, tests, response forms.
 Question-and-answer (large group, small group, or partner)
 Small-group assessment using verbal and/or written rubrics
 Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
 Student self-assessment rubrics, either written (e.g., checklists) or
with manipulatives, or computer-generated
spoken (to teacher or other students)
 Teacher observations
Key Criteria: Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills – Describing & Identifying – musical
concepts and elements of music, instruments; vocal tone, styles of music, etc.
Stage 3 – Learning Plan & Resources
Musical Connections
Composers and Their Music
Teachers: Provide brief, child-friendly biographical profiles of the following composers, and listen to representative works:
Ludwig van Beethoven, Symphony No. 5
Modest Mussorgsky, Pictures at an Exhibition (as orchestrated by Ravel)
Musical Connections
Introduce children to the following works in connection with topics in other disciplines:
Music from the Renaissance (such as choral works of Josquin Desprez; lute songs by John Dowland)
Felix Mendelssohn, Overture, Scherzo, and Wedding March from A Midsummer Night’s Dream
American Musical Traditions
Spirituals
Originated by African-Americans, many spirituals go back to the days of slavery. Familiar spirituals, such as:

Down by the Riverside

Sometimes I Feel Like a Motherless Child

Wayfaring Stranger

We Shall Overcome
50
2014 – Bayonne School District
Grade 6, Strand 1: Singing, Playing & Improvising Music
Strand 1: Singing, Playing & Improvising Music
Creation Date: 5/1/12
Grade Level: Grade 6
Revision Date: 5/3/14
Stage 1 – Desired Results
Established Goals: NJ Standards
 1.3.8.B.1 - Perform instrumental or vocal compositions using complex standard and non-standard Western, non-Western, and avant-garde
notation.
 1.3.8.B.2 - Perform independently and in groups with expressive qualities appropriately aligned with the stylistic characteristics of the genre.
 1.3.8.B.3 - Apply theoretical understanding of expressive and dynamic music terminology to the performance of written scores in the grand
staff.
 1.3.8.B.4 - Improvise music in a selected genre or style, using the elements of music that are consistent with basic playing and/or singing
techniques in that genre or style.
Understandings
 Good performers must have good music literacy and think about


the elements of performance in order to communicate musically
and to create a musical performance.
We need to understand the elements of music and how they work
together in order to create and perform music.
We must use the elements of performance (technique,
intonation, rhythmic accuracy, etc.) in order to create a musical,
expressive performance.
Students will know…
 Basic principles of vocal and instrumental performance including
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good posture, technique, position, tone, rhythm, etc.
Sing with solfege, simple melodic patterns based on major scale.
Changes in tempo and dynamics.
Articulations - legato/staccato, accents
Breath support, long/short, singing vs. speaking.
Strong vs. weak beats in different meters.
Rhythms, theory and related vocabulary from other strands that
relate to performance.
Essential Questions
 How do we create quality music?
 What are the different parts of music and how do they work
together?
 How can we represent musical ideas in drawings? Writings?
Symbols?
 Why do people create and perform music?
 What skills do we need for excellent musicianship?
Students will be able to…
Apply the creative process to create and perform music for a variety of
purposes, using the elements and techniques of music.
Singing
 Sing, alone, a familiar song using correct rhythm, pitch, dynamics,
and phrasing appropriate to a selected genre.
 Use the tools and techniques of musicianship in musical
performances.
 Sing a selected vocal part, within an ensemble,, using correct
rhythm, pitch, and expressive qualities.
 Sing melodies written in traditional notation on the treble staff.
 Sing music written in unison or two parts.
Playing Instruments
 Play melodies and accompaniments written in traditional notation
on the treble staff.
 Play music in a variety of ensembles, using pitched and nonpitched instruments.
 Use Garage Band or another loop application to create and
perform a variety of styles and genres of music.
Improvising
 Improvise a non-notated melody within specified guidelines.
 Improvise short melodic and rhythmic phrases &
accompaniments.
 Use Garage Band or some other sequencer to record improvised
melodies and accompaniment parts, preferably using a MIDI
keyboard or some other controller to record musical data.
2014 – Bayonne School District
51
Stage 2 – Assessment Evidence
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
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

Teacher Observations
Teacher created rubrics that focus on student performance
and/or creativity.
Simple teacher created quizzes, tests, response forms.
Small-group assessment using verbal and/or written rubrics
Student self-assessment rubrics, either written (e.g., checklists) or
spoken (to teacher or other students)
Teacher observations




Written or improvised compositions, either performed live or
recorded
Warm-up and exit tasks
Question-and-answer (large group, small group, or partner)
Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
with manipulatives, or computer-generated.
Key Criteria: Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills - Singing, Playing, Moving and Improvising
– In time with beat, In tune with pitch, etc.
Stage 3 – Learning Plan & Resources
Songs
The Circle Game – Joni Mitchell
Ramblin’ Boy – Tom Paxton
Siyahamba
You Can Dance – Lisa Atkinson
Big Yellow Taxi – Joni Mitchell
52
12-bar blues
American folk songs
Percussion songs that feature found sounds, improvisation, etc.
2014 – Bayonne School District
Grade 6, Strand 2: Composing & Reading Music
Strand: Composing & Reading Music
Creation Date: 2/1/12
Grade Level: Grade 6
Revision Date: 5/3/14
Stage 1 – Desired Results
Established Goals: NJ Standards
 1.3.8.B.1 - Perform instrumental or vocal compositions using complex standard and non-standard Western, non-Western, and avant-garde
notation.
 1.3.8.B.3 - Apply theoretical understanding of expressive and dynamic music terminology to the performance of written scores in the grand
staff.
 1.1.8.B.1 - Analyze the application of the elements of music in diverse Western and non-Western musical works from different historical eras
using active listening and by reading and interpreting written scores.
Understandings
 Music is art through sound, and musicians need to use symbols on
order to record and keep track of their ideas on paper.
 Time signatures are fractions that symbolize rhythms.
 Rhythms are fractions and/or multiples of the beat and can
Essential Questions
 What does music look like?
 What is rhythm?
 How can we communicate musical ideas to others?
 How is rhythm mathematical?
interpreted at different speeds in time (tempo)
 Staff lines are used to communicate pitch and are organized
through the clef and key signature, while the time signature
organizes the meter and rhythm.
Students will know…
 Standard notation for whole note/rest, half note/rest, dotted half
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notes, quarter note/rest and eighth notes, sixteenth sets and
sixteenth-eighth sets including simple syncopation and eighth
note syncopation, quarter and eighth note triplets.
Rhythms in common time - 2/4, 3/4, and 4/4 time.
Rhythms in compound time – songs in 6/8, 9/8 or 12/8
Meter duple/triple, strong vs. weak beats.
Melodic contour – melodic shape - ostinato
Staff – treble and bass clef note names, ledger lines, grand staff.
AB, ABA and Rondo form, simple verse & chorus, coda and intro.
Dynamic symbols and terms, changes in dynamics.
More detailed markings for tempo and style.
Articulation symbols.
Phrase structure – parallel, contrasting.
Repeats and musical markings.
Tied notes and dotted notes
Accidentals - sharps, flats, naturals
Chords/triads - I, IV & V chords.
Music vocabulary
2014 – Bayonne School District
Students will be able to…
Apply the creative process to create and perform music for a variety of
purposes, using the elements and techniques of music.
Composition
 Experiment, in groups, with speech, rhythm, melody, and form to
create simple original compositions or arrangements of familiars
songs using a variety of traditional and non-traditional sound
sources.
 Create, individually, a short original composition and/or
arrangements using a variety of traditional and non- traditional
sound sources.
 Compose simple melodies and rhythms, using traditional or
nontraditional notation.
Reading & Notating
 Demonstrate knowledge of music notation including rhythm,
melody, and symbols of musical expression.
 Sight-sing or play notated music examples including symbols of
musical expression.
 Notate rhythmic and melodic music examples applying symbols of
musical expression and using standard notation.
 Perform and notate rhythmic patterns that include whole notes,
half notes, quarter notes, eighth notes, sixteenth notes and
corresponding rests, using voice, body percussion, or instruments.
 Identify/recognize melodic patterns and shapes from written
music and MIDI grids/sequencers.
 Identify texture types – monophonic, polyphonic.
 Recognize all diatonic intervals in the major scale.
 Identify the functions of the upper and lower numbers of time
signatures.
53
Stage 2 – Assessment Evidence
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
Teacher Observations
 Written or improvised compositions, either performed live or
recorded
Teacher created rubrics that focus on student performance
and/or creativity.
 Warm-up and exit tasks
 Simple teacher created quizzes, tests, response forms.
 Question-and-answer (large group, small group, or partner)
 Small-group assessment using verbal and/or written rubrics
 Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
 Student self-assessment rubrics, either written (e.g., checklists) or
with manipulatives, or computer-generated.
spoken (to teacher or other students)
 Teacher observations
Key Criteria: Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills - Reading, Matching and Composing –
musical concepts (melody, rhythm, steady beat, tone); instruments; vocal tone.
Stage 3 – Learning Plan & Resources
Concepts & Vocabulary
12-bar blues
advocate
arrangement
augmented
aural
54
common time
compound meter
copyright
diatonic
diminished
diminuendo
elements of music
etiquette
grand staff
grave
infringement
interpretation
monophonic
notation
perfect (prime,4th, 5th, 8th)
polyphonic
public domain
royalty
texture
tritione
turn-around (blues)
vivace
2014 – Bayonne School District
Grade 6 Strand 3: Listening to & Understanding Music
Strand 3: Listening to & understanding Music
Creation Date: 2/1/12
Grade Level: Grade 6
Revision Date: 5/3/14
Stage 1 – Desired Results
Established Goals: NJ Standards
 1.1.8.B.1 - Analyze the application of the elements of music in diverse Western and non-Western musical works from different historical eras
using active listening and by reading and interpreting written scores.
 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.
 1.4.8.A.1 - Generate observational and emotional responses to diverse culturally and historically specific works of dance, music, theatre, and
visual art.
 1.4.8.A.2 - Identify works of dance, music, theatre, and visual art that are used for utilitarian and non-utilitarian purposes.
 1.4.8.A.3 - Distinguish among artistic styles, trends, and movements in dance, music, theatre, and visual art within diverse cultures and
historical eras.
 1.4.8.A.4 - Compare and contrast changes in the accepted meanings of known artworks over time, given shifts in societal norms, beliefs, or
values.
 1.4.8.A.5 - Interpret symbolism and metaphors embedded in works of dance, music, theatre, and visual art.
 1.4.8.A.6 - Differentiate between “traditional” works of art and those that do not use conventional elements of style to express new ideas.
 1.4.8.A.7 - Analyze the form, function, craftsmanship, and originality of representative works of dance, music, theatre, and visual art.
 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.
 1.4.8.B.2 - Differentiate among basic formal structures and technical proficiency of artists in works of dance, music, theatre, and visual art.
Understandings
 Music allows people to express and communicate ideas and feelings
through sound and people can have different or similar reactions to music.
 We need to critique and listen to our music in order to make a better
performance.
Students will know…
 Elements of music including melody, harmony, rhythm,
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instrumentation, timbre, form and texture.
Review families of instruments: strings, brass, woodwinds,
percussion, electronic.
Criteria for assessing performances - rhythm & tempo/feel, tone,
intonation, expressiveness (In Time, In Tone, In Tune, In Touch)
Music terminology for expressive qualities: tempo, dynamics,
articulation.
Form in music - binary, ternary, rondo, theme & variations; Verse
- Refrain, cannon, rounds.
Phrase and basic phrase qualities – beginning, ending, shape.
Phrase structure – parallel, contrasting.
Meters – simple vs. compound.
Major vs. minor chords/tonality
Strong/weak beats with different meters.
Instruments & ensembles - orchestral, pop, jazz, other cultures.
Essential Questions
 How does music make you feel?
 Can music communicate a message or tell a story?
 What makes good music?
 What can we use to create music?
Students will be able to…
Apply the critical analysis process to communicate their feelings, ideas,
and understandings in response to a variety of music and musical
experiences.
Listening & Analyzing
 Identify chords [such as I (tonic), IV (subdominant), V (dominant);
V7]; major and minor chords; chord changes; diatonic intervals
(third, fourth, fifth)
 Express detailed personal responses to musical performances in a
variety of ways.
 Identify the elements of music in the repertoire they perform, listen
to, and create, and describe how they are used.
 Develop and use criteria for evaluating the quality and effectiveness
of music performances and compositions.
 Review as necessary from earlier grades:
the orchestra and families
of instruments (strings, wind, brass, percussion); keyboard
instruments
 Review as necessary from earlier grades:
Vocal ranges: soprano,
mezzo-soprano, alto; tenor, baritone, bass
 List instrumentation for various ensembles including orchestra, wind
band, marching band, big band, rock band, etc.
Evaluating & Critiquing
 Explore the importance of the composer’s intent, cultural influences,
and historical context for interpretation of works of music.
 Identify and give examples of their strengths and areas for
improvement as composers, musical performers, interpreters, and
audience members
2014 – Bayonne School District
55
 Describe and interpret works of music, using inquiry skills and music
terminology.
 The student will describe performances of music, using music
terminology.
 Investigate accepted criteria for critiquing musical performances of
self and others.
 Describe ways that music can be persuasive.
 Articulate reasons for preferences among works of music, using
music terminology.
 Identify ways in which music evokes sensory, emotional, and
intellectual responses.
 Investigate aesthetic criteria for determining the quality of a work of
music or importance of a musical style.
 Demonstrate concert etiquette as an active listener.
Stage 2 – Assessment Evidence
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
Teacher Observations
Teacher created rubrics that focus on student performance
and/or creativity.
Simple teacher created quizzes, tests, response forms.
Small-group assessment using verbal and/or written rubrics
Student self-assessment rubrics, either written (e.g., checklists) or
spoken (to teacher or other students)
Teacher observations




Written or improvised compositions, either performed live or
recorded
Warm-up and exit tasks
Question-and-answer (large group, small group, or partner)
Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
with manipulatives, or computer-generated
Key Criteria: Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills – Describing & Identifying – musical
concepts and elements of music, instruments; vocal tone, styles of music, etc.
Stage 3 – Learning Plan & Resources
Music Appreciation:
o Various songs/videos from pop, jazz and other modern genres and styles that exemplify specific musical characteristics and elements including
rhythm, melody, harmony, form, call & response, improvisation, texture, etc.
o Various songs /videos that either tell a story or depict a specific mood, feeling, affect, etc. – How does the music convey emotion and/or a story
in such a universal way? What elements of music help convey the story/emotions?
56
2014 – Bayonne School District
Grade 6 Strand 4: Exploring History, Culture & Connections
Strand 4: Exploring History, Culture & Connections
Creation Date: 1/25/14
Grade Level: Grade 6
Revision Date: 5/3/14
Stage 1 – Desired Results
Established Goals: NJ Standards
 1.2.8.A.1 - Map historical innovations in dance, music, theatre, and visual art that were caused by the creation of new technologies.
 1.2.8.A.2 - Differentiate past and contemporary works of dance, music, theatre, and visual art that represent important ideas, issues, and
events that are chronicled in the histories of diverse cultures.
 1.2.8.A.3 - Analyze the social, historical, and political impact of artists on culture and the impact of culture on the arts.
 1.4.8.B.3 - Compare and contrast examples of archetypal subject matter in works of art from diverse cultural contexts and historical eras by
writing critical essays.
Understandings
 Music is a reflection of the historical events, customs, style, and
attitudes of the people and civilization from which it is created.
 Music can both shape society and be a reflection of the society or




culture in which it is created.
Music is present and purposeful in every culture.
Music has political, historical, and cultural themes.
Music can promote an appreciation of other cultures.
Music can unite or divide cultures.
Students will know…
 Art discipline characteristics within each style/period.
 Music technology innovations and developments that have
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
impacted the industry including digital recording, the mp3 and
music file compression, digital downloading and P2P internet
applications, the iPod, digital music sales, etc.
Various jobs and careers within the music industry and
examples/biographies of people working within various fields of
music.
Musical instruments including basic orchestral instruments, and
modern instruments including the guitar, bass, synthesizer, etc.
Characteristics of Baroque, Classical and Romantic music and art.
Musical characteristics of various world cultures.
Specific composers and musicians from each period of music
studied.
History of original purpose of copyright law, public domain, etc.
Essential Questions
 Does music influence people? Cultures? Society?
 What role does music play in our lives?
 Why is music important?
 How can music change the world?
Students will be able to…
Demonstrate an understanding of a variety of musical genres and styles
from the past and present, and their sociocultural and historical
contexts.
Interdisciplinary Connections
 Compare and contrast characteristics of art disciplines within a
particular historical period or style.
 Describe the correlation between music and two or more other
academic disciplines.
 Identify and describe ways in which aware- ness or appreciation
of music is affected by culture and the media
 Investigate and describe various professional music careers,
focusing especially on those concerned with music performance
and creation (e.g., instrumentalist, vocalist, conductor, composer,
arranger).
 Describe how people participate in music within the community
as performers, consumers of music, and music advocates.
 Identify ethical standards as applied to the use of copyrighted
materials and investigate the history of copyright law.
Historical & Cultural Connections
 Describe the characteristics of a selected music genre, time
period, or culture.
 Compare some aspects of the music of one culture and/or
historical period with aspects of the music of another culture
and/or historical period.
 Investigate how inventions and advances in science have
influenced music throughout history.
 Report (written or oral) the sources and development of American
music genres and correlate with well-known composers or
performers associated with those genres.
 Describe the music of one or more world cultures following
teacher provided guidelines.
 Investigate representative composers and works of music from
different periods of music history.
2014 – Bayonne School District
57
 Listen to and describe a variety of musical styles, using music
terminology.
 Identify characteristics of the music of world cultures.
Stage 2 – Assessment Evidence


Teacher Observations
 Written or improvised compositions, either performed live or
recorded
Teacher created rubrics that focus on student performance
and/or creativity.
 Warm-up and exit tasks
 Simple teacher created quizzes, tests, response forms.
 Question-and-answer (large group, small group, or partner)
 Small-group assessment using verbal and/or written rubrics
 Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
 Student self-assessment rubrics, either written (e.g., checklists) or
with manipulatives, or computer-generated
spoken (to teacher or other students)
 Teacher observations
Key Criteria: Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills – Describing & Identifying – musical
concepts and elements of music, instruments; vocal tone, styles of music, etc.
Stage 3 – Learning Plan & Resources
Music Appreciation: Compositions and Composers
Classical Music: From Baroque to Romantic
Baroque (ca. 1600-1750)
 Counterpoint, fugue, oratorio
 Johann Sebastian Bach: selections from Brandenburg Concertos, selections from The Well-Tempered Clavier, selections from the Cantatas such
as BWV 80, BWV 140, or BWV 147
 George Frederick Handel: selections from Water Music, “Hallelujah Chorus” from The Messiah
Classical (ca. 1750-1825)
 The classical symphony (typically in four movements)
 Wolfgang Amadeus Mozart, Symphony No. 40
 The classical concerto: soloist, cadenza
 Wolfgang Amadeus Mozart, Piano Concerto No. 21
 Chamber music: string quartet, sonata
 Franz Joseph Haydn, String Quartet Opus 76 No. 3, “Emperor”
 Ludwig van Beethoven, Piano Sonata No. 14 (“Moonlight” Sonata)
Romantic (ca. 1800-1900)
 Beethoven as a transitional figure: Symphony No. 9 (fourth movement)
 Romantic composers and works:  Franz Schubert, lieder (art songs): Die Forelle (“The Trout”), Gretchen am Spinnrade (“Gretchen at the Spinning Wheel”)  Frederic Chopin: “Funeral March” from Piano Sonata No. 2 in B flat minor, “Minute” Waltz, “Revolutionary” Etude in C minor  Robert Schumann, Piano Concerto in A Minor
American Music Genres
 The Blues
 Jazz – Swing - BeBop
 Bluegrass
 Barbershop quartet
 Rhythm & Blues
 Broadway - theater
 Rock & Roll
 Country
58
2014 – Bayonne School District
Grade 7 & 8, Strand 1: Singing, Playing & Improvising Music
Strand 1: Singing, Playing & Improvising Music
Creation Date: 5/4/14
Grade Level: Grade 7 & 8
Revision Date: 5/26/14
Stage 1 – Desired Results
Established Goals: NJ Standards
 1.3.8.B.1 - Perform instrumental or vocal compositions using complex standard and non-standard Western, non-Western, and avant-garde
notation.
 1.3.8.B.2 - Perform independently and in groups with expressive qualities appropriately aligned with the stylistic characteristics of the genre.
 1.3.8.B.3 - Apply theoretical understanding of expressive and dynamic music terminology to the performance of written scores in the grand
staff.
 1.3.8.B.4 - Improvise music in a selected genre or style, using the elements of music that are consistent with basic playing and/or singing
techniques in that genre or style.
Understandings
 Good performers must have good music literacy and think about


the elements of performance in order to communicate musically
and to create a musical performance.
We need to understand the elements of music and how they work
together in order to create and perform music.
We must use the elements of performance (technique,
intonation, rhythmic accuracy, etc.) in order to create a musical,
expressive performance.
Students will know…
 Basic principles of vocal and instrumental performance including
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good posture, technique, position, tone, rhythm, etc.
Sing with solfege, simple melodic patterns based on major scale.
Changes in tempo and dynamics.
Articulations - legato/staccato, accents
Breath support, long/short, singing vs. speaking.
Strong vs. weak beats in different meters.
Rhythms, theory and related vocabulary from other strands that
relate to performance.
Essential Questions
 How do we create quality music?
 What are the different parts of music and how do they work
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together?
How can we represent musical ideas in drawings? Writings?
Symbols?
Why do people create and perform music?
What skills do we need for excellent musicianship?
Students will be able to…
Apply the creative process to create and perform music for a variety of
purposes, using the elements and techniques of music.
Singing
 Sing a varied repertoire of songs while demonstrating appropriate
choral behaviors.
 Use the tools and techniques of musicianship in musical
performances.
 Sing melodies written in traditional notation on the treble and
bass staves, using indicated dynamics, phrasing, and other
expression.
Sing music of increasing complexity written in two or more parts.
Playing Instruments
 Play melodies and accompaniments written in traditional notation
on the treble and bass staves.
 Play music of increasing difficulty in a variety of ensembles, using
pitched and non-pitched instruments.
 Perform rhythmic patterns that include whole notes, half notes,
quarter notes, eighth notes, sixteenth notes, dotted notes, and
corresponding rests in duple and triple meters, using voice, body
percussion, or instruments.
Improvising
 Improvise melodic and rhythmic phrases of increasing complexity.
2014 – Bayonne School District
59
Stage 2 – Assessment Evidence
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Teacher Observations
Teacher created rubrics that focus on student performance
and/or creativity.
Simple teacher created quizzes, tests, response forms.
Small-group assessment using verbal and/or written rubrics
Student self-assessment rubrics, either written (e.g., checklists) or
spoken (to teacher or other students)
Teacher observations
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Written or improvised compositions, either performed live or
recorded
Warm-up and exit tasks
Question-and-answer (large group, small group, or partner)
Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
with manipulatives, or computer-generated.
Key Criteria: Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills - Singing, Playing, Moving and Improvising
– In time with beat, In tune with pitch, etc.
Stage 3 – Learning Plan & Resources
Songs
Appropriate songs, exercises, and scales associated with other units.
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2014 – Bayonne School District
Grade 7 & 8, Strand 2: Composing & Reading Music
Strand: Composing & Reading Music
Creation Date: 5/4/13
Grade Level: Grade 7 & 8
Revision Date: 5/26/14
Stage 1 – Desired Results
Established Goals: NJ Standards
 1.3.8.B.1 - Perform instrumental or vocal compositions using complex standard and non-standard Western, non-Western, and avant-garde
notation.
 1.3.8.B.3 - Apply theoretical understanding of expressive and dynamic music terminology to the performance of written scores in the grand
staff.
 1.1.8.B.1 - Analyze the application of the elements of music in diverse Western and non-Western musical works from different historical eras
using active listening and by reading and interpreting written scores.
Understandings
 Music is art through sound, and musicians need to use symbols on
order to record and keep track of their ideas on paper.
 Time signatures are fractions that symbolize rhythms.
 Rhythms are fractions and/or multiples of the beat and can
Essential Questions
 What does music look like?
 What is rhythm?
 How can we communicate musical ideas to others?
 How is rhythm mathematical?
interpreted at different speeds in time (tempo)
 Staff lines are used to communicate pitch and are organized
through the clef and key signature, while the time signature
organizes the meter and rhythm.
Students will know…
 Standard notation for whole note/rest, half note/rest, dotted half
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notes, quarter note/rest and eighth notes, sixteenth sets and
sixteenth-eighth sets including simple syncopation and eighth
note syncopation, quarter and eighth note triplets.
Meters- 2/4, 3/4, 4/4, 6/8, 9/8 or 12/8; duple vs. triple; strong vs.
weak beats.
Melodic contour – melodic shape - ostinato
Staff – treble and bass clef note names, ledger lines, grand staff.
AB, ABA and Rondo form, simple verse & chorus, coda and intro.
Dynamic symbols and terms, changes in dynamics.
More detailed markings for tempo and style.
Articulation symbols.
Phrase structure – parallel, contrasting.
Repeats and musical markings.
Tied notes and dotted notes
Accidentals - sharps, flats, naturals
Chords/triads - I, IV & V chords.
Music vocabulary
2014 – Bayonne School District
Students will be able to…
Apply the creative process to create and perform music for a variety of
purposes, using the elements and techniques of music.
Composition
 Compose melodies and rhythms of increasing complexity, using
traditional or nontraditional notation.
 Compose using available technology, GarageBand, or any other
loop based recording software with specific guidelines, form,
focus on elements, etc.
Reading & Notating
 Identify melodic patterns containing steps, skips, and leaps.
 Read melodic patterns using the diatonic scale.
 Read rhythmic patterns that include whole notes, half notes,
quarter notes, eighth notes, sixteenth notes, dotted notes, and
corresponding rests.
 Read and notate rhythmic patterns that include whole notes, half
notes, quarter notes, eighth notes, sixteenth notes, dotted notes,
quarter note and eighth note triplets and corresponding rests in
simple and compound meters.
61
Stage 2 – Assessment Evidence
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Teacher Observations
 Written or improvised compositions, either performed live or
recorded
Teacher created rubrics that focus on student performance
and/or creativity.
 Warm-up and exit tasks
 Simple teacher created quizzes, tests, response forms.
 Question-and-answer (large group, small group, or partner)
 Small-group assessment using verbal and/or written rubrics
 Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
 Student self-assessment rubrics, either written (e.g., checklists) or
with manipulatives, or computer-generated
spoken (to teacher or other students)
 Teacher observations
Key Criteria: Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills - Reading, Matching and Composing –
musical concepts (melody, rhythm, steady beat, tone); instruments; vocal tone.
Stage 3 – Learning Plan & Resources
Concepts & Vocabulary
amplify
amplification
electronic music
filter
innovation
62
loop
MIDI
mixer
mp3
music piracy
Musique Concrete
oscillator
pan
portamento
quantize
sample
sample rate
sequencer
stereo
synthesizaer
theremin
track
wave shape
2014 – Bayonne School District
Grade 7 & 8 Strand 3: Listening to & Understanding Music
Strand 3: Listening to & understanding Music
Creation Date: 5/4/13
Grade Level: Grade 7 & 8
Revision Date: 5/26/14
Stage 1 – Desired Results
Established Goals: NJ Standards
 1.1.8.B.1 - Analyze the application of the elements of music in diverse Western and non-Western musical works from different historical eras
using active listening and by reading and interpreting written scores.
 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.
 1.4.8.A.1 - Generate observational and emotional responses to diverse culturally and historically specific works of dance, music, theatre, and
visual art.
 1.4.8.A.2 - Identify works of dance, music, theatre, and visual art that are used for utilitarian and non-utilitarian purposes.
 1.4.8.A.3 - Distinguish among artistic styles, trends, and movements in dance, music, theatre, and visual art within diverse cultures and
historical eras.
 1.4.8.A.4 - Compare and contrast changes in the accepted meanings of known artworks over time, given shifts in societal norms, beliefs, or
values.
 1.4.8.A.5 - Interpret symbolism and metaphors embedded in works of dance, music, theatre, and visual art.
 1.4.8.A.6 - Differentiate between “traditional” works of art and those that do not use conventional elements of style to express new ideas.
 1.4.8.A.7 - Analyze the form, function, craftsmanship, and originality of representative works of dance, music, theatre, and visual art.
 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.
 1.4.8.B.2 - Differentiate among basic formal structures and technical proficiency of artists in works of dance, music, theatre, and visual art.
Understandings
 Music allows people to express and communicate ideas and

feelings through sound and people can have different or similar
reactions to music.
We need to critique and listen to our music in order to make a
better performance.
Students will know…
 Elements of music including melody, harmony, rhythm,
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instrumentation, timbre, form and texture.
Review families of instruments: strings, brass, woodwinds,
percussion.
Music terminology for expressive qualities: tempo, dynamics,
articulation.
Form in music - binary, ternary, rondo, theme & variations; Verse
- Refrain, cannon, rounds.
Phrase and basic phrase qualities – beginning, ending, shape.
Phrase structure – parallel, contrasting.
Meters – simple vs. compound.
Major vs. minor chords/tonality
Strong/weak beats with different meters.
Instruments & ensembles - orchestral, pop, jazz, other cultures.
Essential Questions
 How does music make you feel?
 Can music communicate a message or tell a story?
 What makes good music?
 What can we use to create music?
Students will be able to…
Apply the critical analysis process to communicate their feelings, ideas,
and understandings in response to a variety of music and musical
experiences.
Listening & Analyzing
 Analyze and explain how factors of time and place influence
characteristics that give meaning and value to a work of music.
 Express analytical, personal responses to musical performances in a
variety of ways.
 Analyze, using musical terminology, ways in which the elements are
used in the music that they perform, listen to, and create.
 Describe personal emotional and intellectual responses to works of
music, using music terminology.
 Apply aesthetic criteria for determining the quality of a work of
music or importance of a musical style.
 Investigate the roles of music in societies throughout history.
 Summarize the value of musical performance to the community.
 Demonstrate good concert etiquette as an active listener.
Evaluating & Critiquing
 Explain the importance of the composer’s intent, cultural influences,
and historical context for interpretation of works of music.
 Identify and give examples of their strengths and areas for
improvement as composers, musical performers, interpreters, and
audience members.
 Analyze, interpret, and evaluate works of music, applying accepted
criteria using inquiry skills and music terminology.
 Evaluate works of music, applying accepted criteria.
2014 – Bayonne School District
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 Critique musical performances of self and others, applying accepted
criteria.
 Analyze ways that music can be persuasive and evoke emotion.
 Evaluate ethical standards as applied to the use of copyrighted
materials.
Stage 2 – Assessment Evidence
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Teacher Observations
 Written or improvised compositions, either performed live or
recorded
Teacher created rubrics that focus on student performance
and/or creativity.
 Warm-up and exit tasks
 Simple teacher created quizzes, tests, response forms.
 Question-and-answer (large group, small group, or partner)
 Small-group assessment using verbal and/or written rubrics
 Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
 Student self-assessment rubrics, either written (e.g., checklists) or
with manipulatives, or computer-generated
spoken (to teacher or other students)
 Teacher observations
Key Criteria: Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills – Describing & Identifying – musical
concepts and elements of music, instruments; vocal tone, styles of music, etc.
Stage 3 – Learning Plan & Resources
Music Appreciation:
Listen and Discuss works that:
 Focus on one or two elements of music.
 Depict and represents a specific movement or social issue.
 Depict a specific emotion or feeling.
 Depict or tells a musical story.
 Have a range in genres and styles, with and (mostly) without lyrics including classical, romantic, 20th century, jazz, rock & roll and electronic
music.
 Whenever possible, watch performances on video – discuss performers, setting, etc.
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2014 – Bayonne School District
Grade 7 & 8 Strand 4: Exploring History, Culture & Connections
Strand 4: Exploring History, Culture & Connections
Creation Date: 5/4/14
Grade Level: Grade 7 & 8
Revision Date: 5/26/14
Stage 1 – Desired Results
Established Goals: NJ Standards
 1.2.8.A.1 - Map historical innovations in dance, music, theatre, and visual art that were caused by the creation of new technologies.
 1.2.8.A.2 - Differentiate past and contemporary works of dance, music, theatre, and visual art that represent important ideas, issues, and
events that are chronicled in the histories of diverse cultures.
 1.2.8.A.3 - Analyze the social, historical, and political impact of artists on culture and the impact of culture on the arts.
 1.4.8.B.3 - Compare and contrast examples of archetypal subject matter in works of art from diverse cultural contexts and historical eras by
writing critical essays.
Understandings
 Music is a reflection of the historical events, customs, style, and
attitudes of the people and civilization from which it is created.
 Music can both shape society and be a reflection of the society or
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culture in which it is created.
Music is present and purposeful in every culture.
Music has political, historical, and cultural themes.
Music can promote an appreciation of other cultures.
Music can unite or divide cultures.
Students will know…
 Art discipline characteristics within each style/period.
 Music technology innovations and developments that have
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impacted the industry including digital recording, the mp3 and
music file compression, digital downloading and P2P internet
applications, the iPod, digital music sales, etc.
Various jobs and careers within the music industry and
examples/biographies of people working within various fields of
music.
Musical instruments including basic orchestral instruments, and
modern instruments including the guitar, bass, synthesizer, etc.
Musical characteristics of various world cultures.
American Music genres and their impact on our society – Jazz,
Rock & Roll.
History of music technology – important inventions including the
theremin, Hammond organ, synthesizer, MIDI, etc.
2014 – Bayonne School District
Essential Questions
 Does music influence people? Cultures? Society?
 What role does music play in our lives?
 Why is music important?
 How can music change the world?
Students will be able to…
Demonstrate an understanding of a variety of musical genres and styles
from the past and present, and their sociocultural and historical
contexts.
Interdisciplinary Connections
 Investigate ways culture and technology influence music and
styles.
 Analyze the influences of music and the media on the
development of personal and cultural identity.
 Investigate and describe various professional music careers,
focusing especially on those concerned with the business and
technical aspects of music (e.g., music producer, music/arts
administrator, artists manager, music-business attorney,
recording engineer, sound engineer).
 Describe how people who participate in music as performers,
consumers of music, and music advocates impact the community.
 Explain how music technology has impacted industry.
 Investigate significant innovations in the history and development
of musical instruments.
 Investigate ways sound is manipulated through the use of
technology.
 Investigate the history and development of recorded music.
 Investigate technology used to create music.
 Investigate musical opportunities for performance and advocacy
within the community.
Historical & Cultural Connections
 Compare and contrast representative composers and works of
music from different periods of music history.
 Analyze some historical, cultural, and technological influences on
style, genre, and innovation in music.
 Analyze some of the social, political, and economic factors that
affect the creation of music.
 Listen to and compare and contrast a variety of musical styles,
using music terminology.
 Compare and contrast musical characteristics of world cultures.
65
 Compare and contrast music from the past and present.
 Investigate the historical significance of music as an agent of
social change.
Stage 2 – Assessment Evidence
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Teacher Observations
Teacher created rubrics that focus on student performance
and/or creativity.
Simple teacher created quizzes, tests, response forms.
Small-group assessment using verbal and/or written rubrics
Student self-assessment rubrics, either written (e.g., checklists) or
spoken (to teacher or other students)
Teacher observations
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
Written or improvised compositions, either performed live or
recorded
Warm-up and exit tasks
Question-and-answer (large group, small group, or partner)
Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
with manipulatives, or computer-generated
Key Criteria: Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills – Describing & Identifying – musical
concepts and elements of music, instruments; vocal tone, styles of music, etc.
Stage 3 – Learning Plan & Resources
Music Appreciation: Compositions and Composers
Electronic Music
 Recordings/videos of Theremin performances
 Wendy Carlos, Switched on Bach
 Mussorgsky, Emerson, Lake & Palmer’s Pictures at an Exhibition
 Recordings and videos of musique concrete
 John Cage – Electronic Music for Piano
 Examples of Musique Concrete
Blues
 Evolved from African-American work songs and spirituals
 Twelve bar blues form
Jazz
 Terms: improvisation, syncopation, solo and soloist
 Ragtime: works of Scott Joplin (such as “The Entertainer” and “Maple Leaf Rag”) Louis Armstrong: early recordings such as “Potato Head Blues,”
“West End Blues,” or “St. Louis Blues”
 Duke Ellington: “Caravan,” “Take the ‘A’ Train” [by Billy Strayhorn]
 Miles Davis: “So What”
 Influence of jazz on other music: George Gershwin’s Rhapsody in Blue
History of Rock & Roll
 Connections to civil rights movement, history and impact of music on society.
 Rhythm & Blues – Fats Domino, Little Richard, Chuck Berry
 Rockabilly – Elvis Presley Blue Suede Shoes, Heartbreak Hotel, Jerry Lee Lewis Great Balls of Fire, Bill Haley & The Comets Rock Around the Clock
 Doo Wap – The Platters, The Great Pretender
 British Influence – The Beatles
 Dance influences through different decades
American Musical Theater
 Composers and popular songs:
 Irving Berlin, “There’s No Business Like Show Business,” “Blue Skies”
 George M. Cohan, “Give My Regards to Broadway,” “Yankee Doodle Dandy”
 Cole Porter, “Don’t Fence Me In,” “You’re the Top”
 Broadway musicals: selections including
 Jerome Kern, Showboat: “Ole Man River”
 Rodgers and Hammerstein, Oklahoma!: “Oh What a Beautiful Mornin’,” “Oklahoma”
 Leonard Bernstein and Stephen Sondheim, West Side Story: “Maria,” “I Feel Pretty”
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2014 – Bayonne School District
Beginning Band & Choir, Strand 1-2: Playing & Reading Music
Strand 1: Singing, Playing & Improvising Music
Creation Date: 5/27/14
Grade Level: 4 & 5
Revision Date:
Stage 1 – Desired Results
Established Goals: NJ Standards
 1.1.5.B.1 - Identify the elements of music in response to aural prompts and printed music notational systems.
 1.1.5.B.2 - Demonstrate the basic concepts of meter, rhythm, tonality, intervals, chords, and melodic and harmonic progressions, and
differentiate basic structures.
 1.3.5.B.1 - Sing or play music from complex notation, using notation systems in treble and bass clef, mixed meter, and compound meter.
 1.3.5.B.2 - Sing melodic and harmonizing parts, independently and in groups, adjusting to the range and timbre of the developing voice.
 1.3.5.B.3 - Improvise and score simple melodies over given harmonic structures using traditional instruments and/or computer programs.
 1.3.5.B.4 - Decode how the elements of music are used to achieve unity and variety, tension and release, and balance in musical
compositions.
 1.4.5.B.1 - Assess the application of the elements of art and principles of design in dance, music, theatre, and visual artworks using
observable, objective criteria.
 1.4.5.B.2 - Use evaluative tools, such as rubrics, for self-assessment and to appraise the objectivity of critiques by peers.
 1.4.5.B.3 - Use discipline-specific arts terminology to evaluate the strengths and weaknesses of works of dance, music, theatre, and visual art.
 1.4.5.B.4 - Define technical proficiency, using the elements of the arts and principles of design.
Understandings
 Good tone is produced through proper posture, embouchure,
breath control, stick control, bow control, etc.
 The many factors of producing a tone on the instrument /voice
(including embouchure, hand position, posture, air support, etc.)
need to be practiced in order to control the pitch, intonation, and
rhythmic accuracy and clarity of a musical performance.
 Practice and attention to details in playing are an important factor
in improving musicianship, and there are specific methods of
practice that can be used including repetition, slowing down,
focus on specific elements, three-times-perfect, etc.
 Rhythm is controlled and performed by sticking, articulation,
bowing, diction, etc. and need to be practiced for clarity in
rhythms.
Students will know…
 Proper instrument specific techniques for exemplary tone
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production including hand position, embouchure, posture, stick
placement, breath control, etc.
The basic principles of performance including basic breath
control/ bowing control/stick control, fingerings, posture, tone
production, and articulation.
Proper instrument specific techniques for rhythmic clarity
including sticking, stick control, articulations, and bowing
techniques.
Changes in tempo and dynamics.
Articulations – legato, staccato
Breath support, long/short, singing vs. speaking.
Proper playing technique for instruments used in class.
Rhythms, theory and related vocabulary from other strands that
relate to performance.
Standard notation for whole note/rest, half note/rest, dotted half
notes, quarter note/rest and eighth note pairs
(perform/compose), single eighth notes (identify), sixteenth sets
and sixteenth-eighth sets.
Songs & rhythms in 2/4, 3/4, and 4/4 time; duple & Triple meters.
Tempo terms, changes in tempo.
Simple melodic patterns using the notes “mi”, “so”, “la”, and low
“do”.
2014 – Bayonne School District
Essential Questions
 What makes a great musical performance?
 Does practice make perfect?
 What skills do we need to learn as

musicians/singers/percussionists/etc. ?
Why and How do people perform music?
Students will be able to…
Apply the creative process to create and perform music for a variety of
purposes, using the elements and techniques of music.
 Sing and/or play, in tune, from musical notation,
unison and two
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part music with simple accompaniments from a wide variety of
cultures, styles, and historical periods.
Demonstrate an understanding of musical signs and standard
notation on the five-line staff, and use devised notation to record
the sequence of sounds in a composition of their own
Apply the elements of music when singing and/or playing with a
focus on tone production, articulation, and dynamic control.
Use the tools and techniques of musicianship in musical
performances.
Perform instrument specific grade-level exercises and songs that
demonstrate basic mastery in tone production, articulation,
rhythm and dynamic control.
Perform rhythmic patterns & melodies in duple and triple meters
using proper technique.
Perform melodies based on selected major and/or minor scales.
Demonstrate expressive qualities in performance.
Perform legato and staccato rhythms/songs.
Compare and contrast meters.
Demonstrate an understanding of treble clef OR bass clef pitches
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Meter duple/triple,
Melodic contour – melodic shape
Dynamic symbols and terms, changes in dynamics.
Articulation symbols.
Accidentals - sharps, flats, naturals
Intervals – step, skip, leap
Treble clef OR Bass Clef, names of lines and spaces.
Repeat signs and related markings.
Elements of music including melody, harmony, rhythm,
instrumentation, timbre, and form.
Practice Techniques – 3 times perfect, slow down tempo, separate
melody & rhythm.
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by singing/playing intervals using both solfege and letter names or
by playing on an instrument.
Identify and demonstrate dynamic markings, tempo markings,
and articulation markings within a given music selection.
Read, notate and perform rhythmic patterns using voice, body
percussion, and pitched and non-pitched instruments.
Read and perform short melodic scale patterns.
Notate melodies in traditional notation on the treble staff or bass
clef.
Identify the functions of the upper and lower numbers of meter
signatures with 2, 3, and 4 beats.
Divide rhythms into measures.
Stage 2 – Assessment Evidence
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



Teacher Observations
Teacher created rubrics that focus on student performance
and/or creativity.
Simple teacher created quizzes, tests, response forms.
Small-group assessment using verbal and/or written rubrics
Student self-assessment rubrics, either written (e.g., checklists) or
spoken (to teacher or other students)
Teacher observations




Written or improvised compositions, either performed live or
recorded
Warm-up and exit tasks
Question-and-answer (large group, small group, or partner)
Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
with manipulatives, or computer-generated.
Key Criteria: Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills - Singing, Playing, Moving and Improvising
– In time with beat, In tune with pitch, etc.
Stage 3 – Learning Plan & Resources
Choir Repertoire & Resources
5-note scales on silly words/vowel sounds: Mommy made me mash my M n Ms; Zany Zealous zebras at the zoo; etc.
5-note scales on numbers and/or solfege syllables.
150 Rounds for Singing & Teaching, by Edward Bolkavec and Judith Johnson
A Child of Song – Derryl Herrin and Andy Beck
A Distant Shore – Donnelly/Strid (partner song with The Water Is
Wide)
Ahrirang – Korean folksong, arr. Brad Printz
Al Shlosha D’Varim – Allan Naplan
Al Yadil Yadil Yadi – Palestinian folksong arr. John Higgins
Baseball Fever – Cristi Cary Miller (partner song with TAke Me Out to
the Ballgame)
Boats Sail on the Rivers – Mark Patterson
The Bull Frog – American Folk Song, arr. Lon Beery
Cameroon — Dorothy Masuka, arr. Micheal Scott
Ching a Ring Chaw (and Great Gittin’ Up Mornin’) – arr. Linda Spevacek
Fireflies – arr. Mark Brymer
Freedom Train – arr. Jill Gallina
The Frim Fram Sauce – arr. Greg Gilpin
Gray
It’s In My Desk – Mary Lynn Lightfoot
Haida – Israeli folk song, arr. Henry Leck
Hebu Mandari (Come Now, Dance) – John Parker
Hitori – Japanese Folk Song, arr. Donnelly/Strid
Jibuli, Jibuli – Tanzanian folk song, arr. Ruth Elaine Schram
Kokoleoko – Liberian Folk Song, Arr. Donnelly/Strid
Ladybug (Marienwurmchen) – Brahms, arr. Goetze
My Favorite Things – arr. Spevacek
Music Alone Shall Live – arr. Donald Moore
Over the Rainbow – arr.
Audrey Snyder
68
O, Desayo – Angolan Folk Song, arr. Eliiot Z. Levine
Ode To Peace - arr. Jill Gallina
The Old Carrion Crow – Nova Scotian Folk Song, arr. Doreen Rao
Partners on Parade (the Crawdad Song/When the Saints Go Marching
In) – arr. Tom Anderson
Put a Little Love in Your Heart – arr. Jeff Funk
Rounds Around the World – arr. Mary Lynn Lightfoot
Sansa Kroma – Ghanian folksong arr. by Michael Scott
Scales and Arpeggios – arr. Audrey Snyder (from Disney’s “The
Aristocats”)
Shine on Me – Rollo Dilworth
Sing a Song of Peace – arr. Jill Gallina
So Long, Farewell (from The Sound of Music) — arr. Mark A. Brymer
Song of the River – arr. Mark Patterson
South African Folk Song – arr. by John Higgins
Supercalifragilisticexpialidocious – arr. Cristi Cary Miller
Tutira Mai (We Stand As One) – Traditional Maori Folk Song, arr. by
Henry Leck and Martin Ellis
Singabahambayo
Waters Ripple and Flow – Czecho-Slovak Folk Song, arr. by Becki Mayo
Why We Sing – Greg Gilpin
Wild Mountain Thyme – Traditional Irish Tune, arr. by Jeanne JulsethHeinrich
Woke Up This Morning (Freedom Song) – arr. Cynthia
Zum Gali Gali – Israeli folk Song, arr. Dan Schwartz
2014 – Bayonne School District
Band Repertoire & Resources
Alternative Rehearsal Techniques – longtones/articulation exercises through circle progression/beginner’s row
5-note scales in concert Bb/F
Beginning Lip Slurs/scale exercises
Teaching Music Through Beginning Band
Teaching Music Through Band Volumes 1-9
African Folk Trilogy – Anne McGinty
Anasazi – John Edmonson
Ayre and Dance – Bruce Pearson
Barn Dance Saturday Night – Pierre La Plante
Canterbury Overture – Anne McGinty
Chant and Cannon – John O’Reilly
Chant and Celebration – Sandy Feldstein/John O’Reilly
Dimensions – Ralph Ford
Glorioso – Robert W. Smith
Hotaru Kori - Nancy Fairchild
2014 – Bayonne School District
Japanese Folk Trilogy – Anne McGinty
Madrigal for Band – John Wibye/Anne McGinty
Midnight Sky – Brian Balmages
The Minute Arachnida – Robert Jordan
Rising Star – Samuel R. Hazo
Samurai – Barry Ward
A Shaker Hymn – John O’Reilly
Siyahamba – Douglas Wagner
Two Appalachian Songs: Once I Had a Sweetheart/Ciny – Michael Story
Visions on an Old American Tune – Wayne Pegram
69
Beginning Band & Choir, Strand 3-4: Listening to & Understanding Music
Strand 3: Listening to & understanding Music
Creation Date: 5/27/13
Grade Level: 4 & 5
Revision Date:
Stage 1 – Desired Results
Established Goals: NJ Standards
 1.1.5.B.1 - Identify the elements of music in response to aural prompts and printed music notational systems.
 1.4.5.B.1 - Assess the application of the elements of art and principles of design in dance, music, theatre, and visual artworks using
observable, objective criteria.
 1.4.5.B.2 - Use evaluative tools, such as rubrics, for self-assessment and to appraise the objectivity of critiques by peers.
 1.4.5.B.3 - Use discipline-specific arts terminology to evaluate the strengths and weaknesses of works of dance, music, theatre, and visual art.
Understandings
 Music can elicit different emotions and responses from the
listener by manipulating the different musical elements in
different ways – a musician’s job is to master the basic principles
of performance in order to create musical performances.
 Music allows people to express and communicate ideas and
feelings through sound and people can have different or similar
reactions to music.
 We need to critique and listen to our music in order to make a
better performance.
 There are many different types of instruments that create musical
sounds in a variety of ways.
Students will know…
 Elements of music including melody, harmony, rhythm,
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70
instrumentation, timbre, and form.
Criteria for assessing performances - rhythm & tempo/feel, tone,
intonation, expressiveness (In Time, In Tone, In Tune, In Touch)
Expressive qualities: tempo, dynamics, articulation.
Phrase and basic phrase qualities – beginning, ending, shape.
Review families of instruments: strings, brass, woodwinds,
percussion.
Major vs. minor chords/tonality
Instruments & ensembles - orchestral, pop, jazz, other cultures.
Characteristics of musical cultures studied.
Phrase – same/different; Call & response
Characteristics/Composers of music studied.
Use of music in various cultures.
Styles of music including classical, jazz, pop, folk, etc.
Vocabulary
Essential Questions
 How does music make you feel?
 Can music communicate a message or tell a story?
 What makes good music?
 What can we use to create music?
Students will be able to…
Apply the critical analysis process to communicate their feelings, ideas,
and understandings in response to a variety of music and musical
experiences.
 Identify and give examples of their strengths and areas for growth as
musical performers, creators, interpreters, and audience members.
 Describe how one should act as an audience member for a concert,
play, or other performance and be able to follow those rules at an
age appropriate level.
 Describe how one should act as a member of a musical ensemble
and outline the basic responsibilities an ensemble member has in
relation to teamwork at an age appropriate level.
 Express detailed personal responses to musical performances in a
variety of ways.
 Identify the elements used in the music they perform, listen to, and
create, and describe how they are used.
 Describe a listening example using correct music vocabulary.
 Analyze teacher-given styles and/or genres of music.
 Recognize a steady beat, accents, and the downbeat; play a steady
beat and a simple rhythm pattern.
 Discriminate between fast and slow; gradually slowing down and
getting faster using proper vocabulary.
 Discriminate between differences in pitch: high and low.
 Discriminate between loud and soft; gradually increasing and
decreasing volume using proper musical vocabulary.
 Understand legato and staccato.
 Recognize harmony; sing simple rounds and canons.
 Distinguish between major and minor tonality.
2014 – Bayonne School District
Demonstrate an understanding of a variety of musical genres and styles
from the past and present, and their sociocultural and historical
contexts.
 Recognize a composer and a music composition from each of four
different periods of music history.
 Identify instruments from various music ensembles visually and
aurally, including instruments from other cultures.
 Describe and categorize styles of music, using music terminology.
Stage 2 – Assessment Evidence
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Teacher Observations
 Written or improvised compositions, either performed live or
recorded
Teacher created rubrics that focus on student performance
and/or creativity.
 Warm-up and exit tasks
 Simple teacher created quizzes, tests, response forms.
 Question-and-answer (large group, small group, or partner)
 Small-group assessment using verbal and/or written rubrics
 Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
 Student self-assessment rubrics, either written (e.g., checklists) or
with manipulatives, or computer-generated
spoken (to teacher or other students)
 Teacher observations
Key Criteria: Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills – Describing & Identifying – musical
concepts and elements of music, instruments; vocal tone, styles of music, etc.
Stage 3 – Learning Plan & Resources
Vocabulary
accent
accidentals
adagio
allegro
andante
arpeggio
articulation
attack
bar line
breath control
chest voice
clef
coda
crescendo
critique
Da Capo (D.C.)
decrescendo
Del Segno al fine
(D.S.)
diction
dotted half
dotted quarter
double bar
dynamics
eighth note
embouchure
2014 – Bayonne School District
fermata
fine
fingerings
flam
flam-tap
flat
forte
fortissimo
half note
head voice
interval
intonation
key signature
largo
ledger lines
legato
lento
measure
melody
mezzo forte
mezzo piano
moderato
multiple bounce
natural
pick-up
phrase
posture
presto
quarter note
rebound
release
repeat
rest
rudiment
scale
segno
sharp
slur
soli
solo
staccato
sticking
stroke
tempo
tie
time signature
tone quality
tonic
unison
whole note
71
Advanced Band & Choir, Strand 1 & 2: Playing & Reading Music
Strand 1: Singing, Playing & Improvising Music
Creation Date: 5/27/14
Grade Level: 5, 6, 7 & 8
Revision Date:
Stage 1 – Desired Results
Established Goals: NJ Standards
 1.3.8.B.1 - Perform instrumental or vocal compositions using complex standard and non-standard Western, non-Western, and avant-garde
notation.
 1.3.8.B.2 - Perform independently and in groups with expressive qualities appropriately aligned with the stylistic characteristics of the genre.
 1.3.8.B.3 - Apply theoretical understanding of expressive and dynamic music terminology to the performance of written scores in the grand
staff.
 1.3.8.B.4 - Improvise music in a selected genre or style, using the elements of music that are consistent with basic playing and/or singing
techniques in that genre or style.
 1.3.8.B.1 - Perform instrumental or vocal compositions using complex standard and non-standard Western, non-Western, and avant-garde
notation.
 1.3.8.B.3 - Apply theoretical understanding of expressive and dynamic music terminology to the performance of written scores in the grand
staff.
 1.1.8.B.1 - Analyze the application of the elements of music in diverse Western and non-Western musical works from different historical eras
using active listening and by reading and interpreting written scores.
Understandings
 Good tone is produced through proper posture, embouchure,
breath control, stick control, bow control, etc.
 The many factors of producing a tone on the instrument /voice
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(including embouchure, hand position, posture, air support, etc.)
need to be practiced in order to control the pitch, intonation, and
rhythmic accuracy and clarity of a musical performance.
Practice and attention to details in playing are an important factor
in improving musicianship, and there are specific methods of
practice that can be used including repetition, slowing down,
focus on specific elements, three-times-perfect, etc.
Rhythm is controlled and performed by sticking, articulation,
bowing, diction, etc. and need to be practiced for clarity in
rhythms.
Musical elements work together to create different musical
effects, emotions, and musical ideas. We need to understand the
elements of music and how they work together in order to create
and perform music.
Performance elements include intonation, tone quality, rhythmic
accuracy, diction (articulation), dynamics, blend and balance, and
phrasing which work together to create a musically expressive
work.
Students will know…
 Rhythms including whole, half quarter and eighth notes/rests,
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72
16th notes and patterns, dotted half/quarter/eighths, quarter and
eighth triplets.
Meter groupings, duple, triple, mixed time signatures
Melody – melodic contour; in tune singing; pitch matching. Scale
patterns & steps/skips/repeat. Good vocal tone production.
Pitch: d-r-m-s-l-d, fa-ti, low s-l patterns, d-r-m-f-s-l-t-d (diatonic
scale), melodies in F, G, and C
The Bb, F, and Eb Major scales, the chromatic scale, and the Bb
and F Blues scales. (Winds and Percussion) The C, G, and D Major
scales, the chromatic scale, and the C and G Blues scales.
Harmony - Major & minor songs, vocal & instrumental ostinato, 2
and 3 part rounds, partner songs, descants, harmonies in parallel
3rds and 6ths., various textures.
Form – phrase; same/different; call & response; AB, ABA, and
Essential Questions
 What makes a great musical performance?
 Does practice make perfect?
 What skills do we need to learn as
musicians/singers/percussionists/etc. ?
 Why and How do people perform music?
 How can we communicate musical ideas?
 What are the different parts of music and how do they work
together?
Students will be able to…
Apply the creative process to create and perform music for a variety of
purposes, using the elements and techniques of music.
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Sing and/or play, in tune, from musical notation, unison music and
music in two or more parts from a wide variety of cultures, styles,
and historical periods
Apply the elements of music when singing and/or playing,
composing, and arranging music to create a specific effect
Use the tools and techniques of musicianship in musical
performances.
Demonstrate an understanding of standard and other types of
musical notation through performance and composition.
Perform longtones and other exercises throughout the Circle of
Fourths in a comfortable range (band).
Perform instrument specific warm ups and exercises that promote
2014 – Bayonne School District
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AABA form; rondo ABACABA; intro & coda, interlude, theme &
variation, sonata form.
Expressive Qualities - tempo, dynamics, timbre.
Elements of Music - melody, harmony, rhythm, texture
The basic elements of performance including basic breath control/
bowing control/stick control, fingerings, posture, tone production,
and articulation, as well as more advanced elements of
performance including dynamics, phrasing, interpretation, and
expression.
Proper instrument/vocal techniques for hand positions, proper
embouchures, posture, stick placement, etc.
Proper instrument/vocal techniques for exemplary tone
production.
Proper instrument/vocal techniques for rhythmic clarity.
Repertoire specific scales and modes (dorian, mixolydian, etc. )
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technique and skill mastery (band).
Perform scale, diction, and other vocal warm up exercises (choir).
Perform the required scales and exercises for Advanced Band.
Perform the required rhythms for Advanced Band/Choir.
Stage 2 – Assessment Evidence
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Teacher Observations
Teacher created rubrics that focus on student performance
and/or creativity.
Simple teacher created quizzes, tests, response forms.
Small-group assessment using verbal and/or written rubrics
Student self-assessment rubrics, either written (e.g., checklists) or
spoken (to teacher or other students)
Teacher observations
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Written or improvised compositions, either performed live or
recorded
Warm-up and exit tasks
Question-and-answer (large group, small group, or partner)
Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
with manipulatives, or computer-generated.
Key Criteria: Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills - Singing, Playing, Moving and Improvising
– In time with beat, In tune with pitch, etc.
Stage 3 – Learning Plan & Resources
Choir Repertoire & Resources
Appropriate songs, exercises, and scales associated with other units.
5-note scales on silly words/vowel sounds: Mommy made me mash my M n Ms; Zany Zealous zebras at the zoo; etc.
5-note scales on numbers and/or solfege syllables.
150 Rounds for Singing & Teaching, by Edward Bolkavec and Judith Johnson
A Moda da Garranchinha – B. & L. Green (2-part)
Firefly – A. Beck (2 part)
Niska Banja – Nick Page (SSAA – flex)
Birdsong – Paul Read (SA)
Ton The – Jeannie and Robert Gilmore (SA)
Can You Hear – James Papoulis/Francisco Nunez (SAB)
The Belle of Belfast – Judith Herrington/Sara Glick (SA)
Child of the Universe – Craig Cassils (Uni/SA)
Celebrate This Day Together – Cleueau/Liebergen
Festival Song – Dave/Jean Perry (SAB)
I’m Nobody! Who Are You? – C. Gray (2-3-4 part)
Les Marins De Groix – E. Emerson (2 part)
Band Repertoire & Resources
Alternative Rehearsal Techniques – longtones/articulation exercises through circle progression/beginner’s row
5-note scales in concert Bb/F
Beginning Lip Slurs/scale exercises
Teaching Music Through Beginning Band
Teaching Music Through Band Volumes 1-9
African Festival – Quincy Hillard/Chuck Elledge/Bruce Pearson
African Sketches – James Curnow
Ahrirang – Robert Garofalo/Garwood Whaley
Air and Dance – John Kinyon
All Ye Young Sailors – Pierre La Plant
Andante con moto – Franz Schubert/Stephen Bulla
Arioso – John Visconti
Ave Verum Corpus – W.A. Mozart/Mark Williams
Bells of Freedom – David R. Gillingham
Brother James’ Air – MacBeth Bain/Douglas Wagner
2014 – Bayonne School District
Liturgical Fanfare – Robert W. Smith
Maesong – William Owens
May Day in Red Square – Christopher Prentice/Labrecht
Modal song and Dance – Elliot Del Borgo
Mountain Song – Jared Spears
Nottingham Castle – Larry Daehn
Pioneer Songs – Larry Daehn
Pirate’s Cove – Gene Milford
A Prehistoric Suite – Paul Jennings
Primordium – Mark Williams
73
Cahokia – Jared Spears
Canticle – Douglas Wagner
Celebration for Winds – John Edmondson
Chippewa Lullaby – Anne McGinty
Concert Contrasts – Robert Palmer
Contredanse – Larry Clark
Court Festival – Bruce Pearson
Courtland County Festival – William Owens
Crusade – Vince Gassi
Danse Antiqua – Chris Sharp
Fanfare for a New Age – Michael Story
Gathering in the Glen – Michael Sweeney
Hungarian Folkround – Robert Garofalo/Garwood Whaley
Imperium – Michael Sweeney
La Volta – William Byrd/Katheryn Fenske
Little Brazil Suite: Marcha, Soldaro!; Capelina de Melão; Ciranda,
Cirandina – Andrew Balent
74
Russian Folk Dance – Elena Lucas
Sakura (Cherry Blossoms) – Mike Story
Shenandoah – Robert Smith/ Michael Story
Skye Boat Song – John O’Reily
Song for Friends – Larry Daehn
Southern Chorale and March – Murray Houllif
Star Ship – John O’Reily
Star Voyage – Gene Milford
Storm Mountain Jubilee – Carl Strommen
Symphony No. 15, Finale – Mozart/Larry Daehn
Two Dances from “Capriol Suite” : Basse Danse , Mattachins (sword
dance) – Peter Warlock/Johnnie Vinson
Two English Dances – John O’Reily
Two Russian Folksongs – Ralph Gingery
Üsküdar – Robert Smith/Mike Story
Ye Banks and Braes O’ Bonnie Doon – Michael Sweeney
2014 – Bayonne School District
Advanced Band & Choir, Strand 3-4: Listening to & Understanding Music
Strand 3: Listening to & understanding Music
Creation Date: 5/27/13
Grade Level: 5, 6, 7 & 8
Revision Date:
Stage 1 – Desired Results
Established Goals: NJ Standards
 1.1.8.B.1 - Analyze the application of the elements of music in diverse Western and non-Western musical works from different historical eras
using active listening and by reading and interpreting written scores.
 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.
 1.4.8.A.1 - Generate observational and emotional responses to diverse culturally and historically specific works of dance, music, theatre, and
visual art.
 1.4.8.A.2 - Identify works of dance, music, theatre, and visual art that are used for utilitarian and non-utilitarian purposes.
 1.4.8.A.3 - Distinguish among artistic styles, trends, and movements in dance, music, theatre, and visual art within diverse cultures and
historical eras.
 1.4.8.A.4 - Compare and contrast changes in the accepted meanings of known artworks over time, given shifts in societal norms, beliefs, or
values.
 1.4.8.A.5 - Interpret symbolism and metaphors embedded in works of dance, music, theatre, and visual art.
 1.4.8.A.6 - Differentiate between “traditional” works of art and those that do not use conventional elements of style to express new ideas.
 1.4.8.A.7 - Analyze the form, function, craftsmanship, and originality of representative works of dance, music, theatre, and visual art.
 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.
 1.4.8.B.2 - Differentiate among basic formal structures and technical proficiency of artists in works of dance, music, theatre, and visual art.
 1.2.8.A.1 - Map historical innovations in dance, music, theatre, and visual art that were caused by the creation of new technologies.
 1.2.8.A.2 - Differentiate past and contemporary works of dance, music, theatre, and visual art that represent important ideas, issues, and
events that are chronicled in the histories of diverse cultures.
 1.2.8.A.3 - Analyze the social, historical, and political impact of artists on culture and the impact of culture on the arts.
 1.4.8.B.3 - Compare and contrast examples of archetypal subject matter in works of art from diverse cultural contexts and historical eras by
writing critical essays.
Understandings
 Music is artistic expression (of ideas, feelings, stories, cultures,
etc.) through sound.
 Music allows people to express and communicate ideas and
feelings through sound and people can have different or similar
reactions to music based on their prior knowledge and
experiences.
 Composers manipulate the elements of music in different ways to
create emotional effects, dialogue, and narrative through musical
sounds.
 Music can act as a cross-cultural medium through its ability to
convey meaning, emotions, etc. to people of many different
backgrounds.
 Just because you do not like a particular genre of music does not
mean you cannot learn to appreciate the artistic meaning and
message.
Students will know…
 Basic characteristics of modern genres including jazz, classical,
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pop, and traditional music.
Characteristics of historical types including Renaissance, Baroque,
Classical, Romantic, and 20th Century art music.
Elements of music including melody, rhythm, harmony, form,
texture, dynamics, tempo, etc.
Rhythm: meter groupings of 6/8, duple, triple and mixed time
signatures.
Melody: steps/skips/leaps, d-r-m-s-l-d, s-l, d-t-d
Harmony: I-V, I-IV-V progressions, ostinato, choral textures and
harmonies including monophonic, polyphonic, and homophonic.
Form: AB, ABA, AABA, rondo, theme and variation, intro, coda,
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2014 – Bayonne School District
Essential Questions
 What is music?
 How does music make you feel something?
 How can music communicate a message or tell a story?
 What are the different types of music?
Students will be able to…
Apply the critical analysis process to communicate their feelings, ideas,
and understandings in response to a variety of music and musical
experiences.
 Express detailed personal responses to musical performances in a
variety of ways.
 Identify the elements of music in the repertoire they perform, listen
to, and create, and describe how they are used.
 Identify and describe ways in which awareness or appreciation of
music is affected by culture and the media.
 Write about different types of music from a critical and an aesthetic
point of view.
75
interlude, transitions.
 Types and characteristics of opera, ballet, and musical theater.
 Instrumentation: symphony orchestra, concert band, big band,
pop or rock band
 Expression: tempo, dynamics, timbre, all instrument families.
 Identify basic I-V, I-IV-V harmonic progressions.
 Outline and describe musical forms.
 Identify melodic patterns in music including pentatonic and diatonic
scale patterns.
Demonstrate an understanding of a variety of musical genres and styles
from the past and present, and their sociocultural and historical
contexts.
 Compare some aspects of the music of one culture and/or historical
period with aspects of the music of another culture and/or historical
period.
 Identify and describe the characteristics of various cultural types,
historical periods and genres of music.
 Identify basic instruments and ensembles by sound.
Stage 2 – Assessment Evidence
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
Teacher Observations
 Written or improvised compositions, either performed live or
recorded
Teacher created rubrics that focus on student performance
and/or creativity.
 Warm-up and exit tasks
 Simple teacher created quizzes, tests, response forms.
 Question-and-answer (large group, small group, or partner)
 Small-group assessment using verbal and/or written rubrics
 Visual representations (e.g., graphic organizers, traditional
notation, student-created notation), either drawn, written, made
 Student self-assessment rubrics, either written (e.g., checklists) or
with manipulatives, or computer-generated
spoken (to teacher or other students)
 Teacher observations
Key Criteria: Knowledge & Understanding of key concepts and vocabulary words (with assistance); Skills – Describing & Identifying – musical
concepts and elements of music, instruments; vocal tone, styles of music, etc.
Stage 3 – Learning Plan & Resources
Music Vocabulary
5-stroke roll
9-stroke roll
a tempo
accelerando
accent
accidentals
anacrusis
animato
arpeggio
articulation
attack
audiate
balance
bar line
blend
76
breath control
cesura
chest voice
chromatic
con
concert pitch
crescendo critique
Da Capo (D.C.)
dead stroke
decrescendo
Del Segno al fine
(D.S.)
diatonic
diction
diminuendo
divisi
dolce
dotted half
dotted quarter
double bar dynamics
eighth note
embouchure
enharmonics
espressivo
fingerings
flat
fortepiano
grace note
grave
half note
head voice
interval
intonation
key signature
ledger lines
legato
maestoso
marcato
measure
molto
natural
paradiddle
Pick-up
poco a poco
poco piu mosso
posture
prestissimo
quarter note
rallentando
release
repeat
ritardando
scale
sforzando
sharp
simile
slur
sordino-muted
staccato
stringendo
subito
syncopation
Tempo I
tenuto
tie
time signature
tone quality
tonic
tutti
whole note
2014 – Bayonne School District
Appendix – Vocabulary by Grade
Vocabulary
Pre-K
accent
beat
clap
echo
fast
high
instrument
loud
low
music
pat
silence
sing
singing voice
slow
soft
sound
speak
speaking voice
speed
steady beat
stomp
voice
whisper
choppy
chorus (ensemble)
compose
composer
eighth note
instrumentalist
introduction
jumpy
long
lullaby
march
movement
musician
nursery rhyme
pattern
pulse
quarter note
repeat
Rest
rhythm
short
singer
smooth
snap
solo
song
thick
thin
title
concert
conductor
cymbal
dance
drum
ensemble
flute
folk music
form
forte
guitar
half note
horn
improvise
instrument families
instrumental
Jazz
la
largo
line dance
melodic rhythm
melody
mi
mood
non-pitched
note
note head
opera
ostinato
percussion
percussion
perform
performance piano
(soft)
piano (inst.)
piece of music
pitch
phrase
poetry
presto
quarter rest
refrain
sol
solfege
stem
strings
timbre
trumpet
unaccompanied
verse
violin
volume
woodwind
cannon
choir
choreography
chorus (of a song)
coda
crescendo
decrescendo
diction
do
downbeat dynamic
level
dynamics
expression
fermata
half note
half rest
lyrics
major scale
mezzo forte
mezzo piano musical
alphabet
notate
orchestra
ostinato, ostinati
pentatonic
pentatonic scale
piano
re
repeast sign
ritardando, ritard
round
style
symphony
tempo
tone color
verse
whole note
whole rest
bassoon
cello
chord
composition
conductor, conduct
djembe
do-re-mi-fa-so-la-ti-do
dotted half note
double bass
duple
fortissimo
grand staff
harmony
improvisation
interlude
jazz
kora
leap
legato
lute
lyre
marimba
measure
melodic shape
meter moderato
motif, motive
movement (form)
pp, p, mp, mf, f,. ff
musical score
oboe
pan flute
partner song
pianissimo
piccolo
reggae
rondo form scat
sixteenth note
skip
soprano
staccato
staff
step
tambourine
tempo
tenor
tie
timpani treble clef
triple
trombone
tuba
unison
viola
world music
xylophone
critic
critique
Da Capo (D.C.)
Del Segno al fine (D.S.)
dotted note
dotted quarter note
duet
eighth rest
Fine
flat
Gospel
hymn
intonation
ledger lines
lyricist
major
minor
musical
natural
octave
posture
quartet
rap
Renaissance
rhythm ‘n blues
rock ‘n roll
Romantic
scale
sharp
sight read
single eighth note
slur
soprano recorder
spiritual
symphony
syncopation
technique
tenor
texture
theme
tie
time signature
tone quality
tonic
trio
upbeat
Kindergarten
band
bumpy
call
call-and-response
chant
choir
1st Grade
accompany
applause
audience
ballet
beam
body percussion
brass
circle dance
clarinet
Classical
2nd Grade
AB form
ABA form
accelerando
accent
allegro
andante
bourdon, bordun
brass
3rd Grade
I–V–I chord
progression
a cappella
accompaniment
adagio
alto
alto/tenor saxphone
bar line
bass
bass clef
bass drum
4th Grade
I–IV–V7–I
progression
accidentals
arranger
articulation
ballad
Baroque
bluegrass
breath control
country music
criteria
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5th Grade
acoustics
amplitude
arpeggio
balance
blend
blues
chest voice
countermelody
descant
doppler effect
dotted eighth note
echo
flag
frequency
genre
head voice
instrumentation
interval
key
key signature
loudness
monophonic
orchestration
noise pollution
polyphonic
ragtime
repertoire
sequence
shanty
sonic boom
soundtrack
sound wave
speed of sound
staff, staves
theme & variation
vibration
wave length
common time
compound meter
copyright
diatonic
diminished
diminuendo
elements of music
etiquette
grand staff
grave
infringement
interpretation
monophonic
notation
perfect (prime,4th, 5th,
8th)
polyphonic public
domain
royalty
texture
tritione
turn-around (blues)
vivace
innovation
loop
MIDI
mixer
mp3
music piracy
Musique Concrete
oscillator
pan
portamento
quantize
sample
sample rate
sequencer
stereo
synthesizaer
theremin
track
wave shape
fermata
fine
fingerings
flam
flam-tap
flat
forte
fortissimo
half note
head voice
interval
intonation
key signature
largo
ledger lines
legato
lento
measure
melody
mezzo forte
mezzo piano
moderato
multiple bounce
natural
pick-up
phrase
posture
presto
quarter note
rebound
release
repeat
rest
rudiment
scale
segno
sharp
slur
soli
solo
staccato
sticking
stroke
tempo
tie
time signature
tone quality
tonic
unison
whole note
divisi
dolce
dotted half
dotted quarter
double bar dynamics
eighth note
embouchure
enharmonics
espressivo
fingerings
flat
fortepiano
grace note
grave
half note
head voice
interval
intonation
key signature
ledger lines
legato
maestoso
marcato
measure
molto
natural
paradiddle
Pick-up
poco a poco
poco piu mosso
posture
prestissimo
quarter note
rallentando
release
repeat
ritardando
scale
sforzando
sharp
simile
slur
sordino-muted
staccato
stringendo
subito
syncopation
Tempo I
tenuto
tie
time signature
tone quality
tonic
tutti
whole note
6th Grade
12-bar blues
advocate
arrangement
augmented
aural
7th & 8th Grade
amplify
amplification
electronic music
filter
Beginning Band/Choir
accent
accidentals
adagio
allegro
andante
arpeggio
articulation
attack
bar line
breath control
chest voice
clef
coda
crescendo
critique
Da Capo (D.C.)
decrescendo
Del Segno al fine (D.S.)
diction
dotted half
dotted quarter
double bar
dynamics
eighth note
embouchure
Advanced Band/Choir
5-stroke roll
9-stroke roll
a tempo
accelerando
accent
accidentals
anacrusis
animato
arpeggio
articulation
attack
audiate
balance
bar line
blend
78
breath control
cesura
chest voice
chromatic
con
concert pitch
crescendo critique
Da Capo (D.C.)
dead stroke
decrescendo
Del Segno al fine (D.S.)
diatonic
diction
diminuendo
2014 – Bayonne School District
Appendix – The Creative Process
Students are expected to learn and use the creative process to help them acquire and apply their knowledge in music. Through the use of
the creative process and the critical analysis process, students will work to achieve the expectations in all strands of the curriculum.
“Creativity involves the invention and the assimilation of new thinking and its integration with existing knowledge. Creativity is
an essential aspect of innovation. Sometimes the creative process is more about asking the right questions than it is about
finding the right answer. It is paradoxical in that it involves both spontaneity and deliberate, focused effort. Creativity does not
occur in a vacuum. Art making is a process requiring both creativity and skill, and it can be cultivated by establishing conditions
that encourage and promote its development. Teachers need to be aware that the atmosphere they create for learning affects
the nature of the learning itself. A setting that is conducive to creativity is one in which students are not afraid to suggest
alternative ideas and take risks.”1
In music the creative process is focused in creating and composing music – through performance and composition. Students in all grades
and at all levels of experience can learn through the creative process, and apply it to not only their music making, but all of their creative
endeavors.
Stages of the Creative Process
In the arts the creative process is to be followed in a flexible cyclical manner. As students and teachers become more familiar with the
process they are able to easily move between the stages and will vary the order and number of stages as appropriate. In any creative
activity all learners already follow this process in some way, our goal is to identify it and bring the process to the forefront in order to
identify and clarify how students create and perform music.
At the center of the entire process is feedback or the critical analysis process. It is important that students at all levels and grades are
encouraged to evaluate and revise their work through feedback and the creative process. Ongoing feedback and structured opportunities
for students to engage in reflection are woven into each stage of the creative process.
The creative process is comprised of several stages:







challenging and inspiring
imagining and generating
planning and focusing
exploring and experimenting
producing preliminary work
revising and refining
presenting and performing
reflecting and evaluating
Students will sometimes follow the
complete cycle of the process, or they
can use the stages in sections.
Students in an ensemble, for example,
might only need to focus on the fifth
through seventh stages – producing a
preliminary work by preparing a band
or choral score for performance,
revising and refining their work
through ongoing feedback from the
conductor and student selfassessments and critiques with the
use of ensemble recordings, and the
final performance of their work
followed by reflecting and evaluating
1 2009 Ontario Arts Curriculum Grades 1-8 (Ontario: Queen’s Printer for Ontario, 2009), 19-20
2014 – Bayonne School District
79
their performance and preparation of the work. Composers, however, would benefit more through focusing on the earlier stages:
imagining their work, planning the composition, and experimenting with various musical possibilities.
The communication and reflection that occur both during and after the musical activities help students not only to articulate and refine
their thinking and musicianship, but to also see the creative process from different perspectives – the performer, composer and listener.
Stages and Activities
Descriptive feedback to the students on their work can occur throughout the stages of the creative process and may include assessment
by peers and the teacher, recorded critiques, rubrics and written critiques. In the chart that follows, some possible activities are listed for
each of the stages of the creative process.
Stages of Process
Challenging & Inspiring
Imagining & Generating
Planning & Focusing
Exploring & Experimenting
Produce Preliminary Work
Revising & Refining
Presenting & Performing
Reflecting & Evaluating
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Possible Activities
 responding to creative challenge from teacher or another student.
 using a creative idea inspired by some stimulus.
 improvising a melody or rhythm that’s inspired by another musician.
 generating possible solutions to a creative challenge by brainstorming, listening &
discussing musical ideas.
 musical sketches, mind mapping, recording musical ideas.
 creating a lick-book, or book of musical ideas.
 imagining performing a work while listening to a professional recording.
 creating a plan for an composition by choosing ideas, determining and articulating a form,
and choosing appropriate instrumentation.
 planning rehearsals and focusing on specific musical ideas within each piece of our
repertoire.
 Focusing on specific sections of a composition for rehearsal and analysis.
 exploring a range of elements and techniques and making artistic choices for a composition
or work from repertoire.
 developing dynamics, phrasing, and expressiveness in a performance.
 creating our own musical arrangement of a song - changing and developing form.
 producing a preliminary version of the work, an early recording of the work.
 sharing the preliminary work with peers and teacher, and seeking their opinions and
responses.
 recording our ensembles, posting recordings and seek feedback for reflection.
 refining the composition an the basis of your own reflection and from feedback of teacher,
peers, and others.
 completing the work and performing it for an audience.
 presenting the work for other teachers for critique and feedback.
 recording the work so students can listen to and reflect on their own performance.
 reflecting on the degree of success of the work with reference to specific aspects (elements
of music or performance) that went well or that could be improved.
 using the results of this reflection as a basis for starting another project or performance.
 evaluating individual and ensemble performance.
2014 – Bayonne School District
Appendix – The Critical Analysis Process
The critical analysis process is a central part of the music curriculum. Students should be guided through the stages of this process; as
they learn the steps they will become increasingly independent in their ability to develop and express an informed response to a
coposition. They will also become more sophisticated in their ability to critically analyze the musical examples they are studying or
responding to. Students will learn to approach music thoughtfully by withholding judgment until they have enough information to
respond in an informed manner.
The critical analysis process is not used in isolation – aspects of the critical analysis process are often also used during the creative
process (e.g., during the revising/refining and reflecting/evaluating stages). The critical analysis process and the creative process are
therefore inextricably linked. Although students need to continually develop their critical abilities, creative work is at the heart of the arts
program, and most of the students’ time will be spent in creating and presenting/performing.
Using the critical analysis process students will be able to:
 Respond with knowledge and sensitivity to their own musical works as well as the works of others.
 Find and make connections between their own musical experiences and their musical experiences in school, between different art
forms, and between musical works and the lives of people and communities around the world.
 Perceive and interpret how the elements of music contribute to the meaning of a composition or performance.
 Develop, share and justify an informed personal point of view about various musical works, genres, and styles.
 Demonstrate an awareness and appreciation for the importance of music in society and cultures.
 Demonstrate appreciation in an appropriate manner as audience members in formal and informal settings.
The critical analysis process includes the following:
 The initial reaction to a composition or
performance.
 A simple description of the composition
or performance – listing the elements of
music used and/or the principles of
performance.
 An analysis and interpretation of the
work.
 An expression and creation of an
informed point of view of the work.
 Consideration of the cultural and/or
historical context of the composition.
This process to be used in a flexible manner, taking into account the students’ prior experiences and knowledge/skill level. The cultural
context of the music should be taken into consideration throughout the critical analysis process.
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Initial Reaction
The student’s natural first reaction to a work of music is a starting point for further investigation and discovery. It also provides a useful
benchmark for later evaluations of how a student has grown through the process of critiquing their own work and their appreciation for
new musical experiences. Initial reactions can be expressed in a variety of ways, or through class discussions. Teachers should question
and guide discussions in order to help students move beyond the overly simple value judgments such as “good” or “bad”. Sample guiding
questions might include:
• What is your first impression of this song?
• What does this work bring to mind?
• What does this song remind you of?
• What do you feel when you listen to this? What emotions does this song evoke?
• What puzzles you? What are your questions?
• What connections can you make between this work and your own experience or other art forms?
Description
Students should brainstorm and list everything they hear in a composition. They can describe the musical elements, feelings and ideas
brought to mind from the work, effects they hear, instrumentation, or a story/idea that the music seems to imitate or narrate. Students
should not try to figure out how these elements and effects are being created; they should simply describe what they hear. he
description stage should not be lengthy. Its purpose is limited; it is simply a way to get students to note as much as they can before
moving on to analysis and interpretation. Sample guiding questions might include:
• What do you hear when you listen closely?
• What grabs your attention in the song?
• What do you sense (e.g., see, hear, smell, feel, taste) when you listen to the work?
• What stands out for you? What do you notice (e.g., elements)?
• What “qualities” do you hear or see in this work (e.g., strong, repeated rhythm; smooth melodic melodies; dissonant
harmonies; etc)?
• What do you think the performers worked particularly hard on while he or she prepared this song for performance?
Analysis & Interpretation
Once students have listed the elements, ideas, and concepts from their initial reaction and description of a piece of music, they should
then discuss and explore what the composer and/or performers have done in order to achieve certain effects and musical passages.
Initially students should be encouraged to identify how the musical elements have been used and how they relate to one another and
work together within the music. They can also analyze the overall characteristics and compositional features, form, and emotions that the
music evokes.
As students move towards personal interpretation they connect their own perspectives, associations, and experiences with the
characteristics found in the work. This stage requires some use of higher-order thinking skills; students should begin to go beyond free
association (used in the initial reaction and description stages) to combine associations based on evidence found in the work.
Students may also address cultural studies information in this stage. Culturally specific information about the style, genre,
instrumentation, form and musical characteristics enhances students’ understanding of the music and of its cultural context. Students
can discuss and share their understanding of cultural perspectives. Activities such as discussing interpretations in a small group, writing
an artist’s statement, reflective journal writing, working independently on a written analysis, or preparing notes for an oral presentation
may all be part of this stage. Sample guiding questions might include:
• What elements and techniques of performance are used in this composition/performance?
• How are the elements of music organized, combined, or arranged?
• How does the music evoke ideas, feelings, and images?
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2014 – Bayonne School District
• What do you think is the theme or subject of the work? (i.e., What is the artist trying to communicate, and why? or, in
reflecting on their own work: What did you intend to communicate, and why?)
• Why do you think the composer created this work?
• What message or meaning do you think the music conveys?
• In your opinion, what is the composer’s/performer’s view of the world?
• How does this view match or contrast with your own view of the world?
The types of questions asked will vary with the type of art works being discussed. 2
Expression of an Informed Point of View
Students compare their informed point of view after reflection and analysis to their initial reaction and reflect on what they have learned
and how their initial reaction has changed or not changed. Students can also make connections to other works they have heard or
performed and reflect on what they have learned that can apply to their own music performances and/or compositions. Sample guiding
questions might include:
 How effectively does the composer select and combine elements to achieve an intended effect in this song?
 Has your point of view shifted from your initial reaction? If so, how has it changed?
 Have your thoughts or feelings about the music changed since your first impressions? If so, how have they changed?
 What made you change your mind?
 If you have not changed your mind, can you now explain your first reaction more fully or precisely?
 Is this an important work? Why?
 In what ways do you feel the work is successful?
 How did it affect the audience? Was it the way you intended?
 How would you alter this work for a different audience, or to send a different message?
Consideration of Cultural and Historical Contexts
Students need to be taught that the arts are not created in a vacuum; they reflect the personal, social, and historical context of the
performers and composers. This is true for works created by professional artists and by the students in the classroom. When using the
critical analysis process it is important for students to remember their own purpose and context (performer, listener, critic, etc.) and the
historical and cultural contexts in which the music was originally composed, performed, and/or recorded. While formal critical analysis
and interpretation are highly effective and appropriate for some listening activities, others are best approached through examination of
their social, cultural, historical, or contemporary context. In the latter case, the critical analysis process can help students understand how
personal, sociocultural, historical, and political frames of reference have a bearing on the creation and interpretation of particular works
in the arts. Knowing something about the context in which a work was created can shed valuable light on the meaning of signs and
symbols used in the work. The contextual approach can provide opportunities for teachers to incorporate authentic cultural information
and inquiry-based research that can add depth and meaning to students’ creating and learning. Students may conduct their own inquirybased research, or teachers can support them in discussions of and investigations into:
 events in the composer’s/performer’s life;
 the social, political, and cultural climate at the time in which a work was composed;
 the similarities and differences between specific compositions in the past and present;
 the way in which a composition represents the perspective of individuals within a specific group;
 examples of other works created in the same period;
 a comparison of works on a similar topic or theme created by a variety of artists in different times and places;
 the expectations and artistic preferences of audiences at the time the work was created;
 the initial critical reception of the work;
2 2009 Ontario Arts Curriculum Grades 1-8, 25-26
2014 – Bayonne School District
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 the responsibilities of an audience, including basic points of audience etiquette and the individual’s responsibility to
acknowledge any personal biases that may influence his or her response to a work (e.g., cultural biases or past experiences
with the arts).
To help and guide students, teachers might ask questions such as:
 What interesting things did you learn about the composer’s life and work?
 Is there something important that we need to know in order to understand the meaning of his or her work?
 In what ways do you agree or disagree with what the composer/musician or critics said about the work? Also, were there
competing beliefs and practices at the time?
 Why might different audiences view a work in a way that is different from the artist’s intention?
 How might different people understand a composition/performance differently in the same time period or by people in the
past and in the present?
 Were you surprised by anything you discovered? If so, what?
“Teachers and students need to be aware that the context of a work is constantly shifting, and that the nature of the audience and the
time period in which a work is seen or heard have a significant impact on the way in which a work is perceived and understood. Because of
these factors, there is no single meaning or truth in a work in the arts and no single way of responding to a work.”3
Bibliography
2009 The Ontario Curriculum Grades 1-8: The Arts. Ontario:Queen’s Printer for Ontario, 2009
Core Knowledge Foundation. Core Knowledge Sequence for K-8. Charlottesville: Core Knowledge Foundation, 2010
Core Knowledge Foundation. Core Knowledge Sequence for Preschool. Charlottesville: Core Knowledge Foundation, 2013
Sample Music Curriculum for Virginia Public Schools: Kindergarten – Grade 5. Richmond: Virginia Department of Education, 2010
Sample Music Curriculum for Virginia Public Schools: Grade 6 – Grade 8. Richmond: Virginia Department of Education, 2011
This work is based on an original work of the Core Knowledge© Foundation made available through licensing under a Creative Commons
Attribution-NonCommercial-ShareAlike 3.0 Unported License. This does not in any way imply that the Core Knowledge Foundation endorses the
work.
3 2009 Ontario Arts Curriculum Grades 1-8, 28
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2014 – Bayonne School District