Artist Pre Visit Lesson Plan Grade: 6 Guelph Youth Music Centre Do Re Mi Interactive Music Education Program

Size: px

Start display at page:

Download "Artist Pre Visit Lesson Plan Grade: 6 Guelph Youth Music Centre Do Re Mi Interactive Music Education Program"

Rosalyn Greer
5 years ago
Views:

1 Artist Pre Visit Lesson Plan Grade: 6 Do Re Mi Interactive Music Education Program Lesson Focus Preparing to create and Perform; Reflect, Respond, Analyse and Explore Forms and Cultural Contexts in a visit from musician James Gordon with varied musical activities. Pre-Visit Activities Page 1-9 Visit Activities Page Post-Visit Activities Page Assessment Do Re Mi artist visits and the optional activities offered are designed to support and enhance meeting some of the Ontario Arts Curriculum expectations for Music, within the context of existing arts programming. Teachers may wish to use the curriculum-based Rubric provided to track and record student responses to activities to supplement their assessment of student learning, as best fits the progress and ability of their group. Any differentiation of program and supportive interventions required of reinforcement, consolidation or enrichment based on student need, are at the discretion of and based on the professional judgment of teachers. Should there be special student needs in the group, teachers will find the visiting artist flexible and open to accommodating students, in order for them to participate and benefit from the experience at an appropriate instructional level. Music Assessment Rubric Page 16 Ontario Arts Curriculum Expectations Addressed C1.1 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 C1.2 apply the elements of music when singing and/or playing, composing, and arranging music to create a specific effect C2.1 express detailed personal responses to musical performances in a variety of ways C2.2 identify the elements of music in the repertoire they perform, listen to, and create, and describe how they are used C2.3 identify and give examples of their strengths and areas for improvement as composers, musical performers, interpreters, and audience members Instructional Activity 1. As a class, discuss and work out possible themes, lyrics and ideas for use in the coming song writing workshop with James Gordon. Ideas could consist of an accompaniment for a story, poem, or drama presentation; or to address an environmental issue such as water conservation, recycling, or planting trees, whatever may be of relevance to current studies or events in the community. Discuss the type of behaviour expected from the group as audience and performers. 2. Review basic music notation elements (Reproducible page About Written Music), introducing or reviewing the Music staff, Lines and spaces, Treble clef, Bar lines and double bar line so that children have a simple, beginning understanding and ability to: recognize the major scale through listening and in notation demonstrate understanding of the meaning of the sharp and flat explain the use of key signatures and identify the key of music they sing or play begin to sing or play the major scale in keys that occur in the music they sing or play recognize that the treble clef defines the names of the lines (e,g,b,d,f) and spaces (f,a,c,e) on the staff recognize that specific pitches may be represented by notes placed on a staff 1

2 2

3 Artist Post-Visit Lesson Plan Grade 6 Do Re mi Interactive Music Education Program Notation/Listening Activity 2 Name that Tune (reproducible pages) Short phrases from familiar tunes are included on the reproducible pages. In small groups the children must write the letter names of the notes. They could then practice finding the notes on a paper keyboard (reproducible page) and then practice on a real keyboard, listen carefully and identify the tune. Answers: 1. Frere Jacques 2. Old MacDonald 3. Jingle Bells 4. Mary had a Little Lamb 5. This Old Man 6. If You re Happy and 7. Teddy Bear s Picnic 8. I m Popeye the Sailorman 9. Pop Goes the Weasel 10. Row Row Row Your Boat 11. Hot Cross Buns 12. Three Blind Mice 13. I m a Little Teapot 14. Down by the Station 15. Happy Birthday to You 3

4 4

5 5

6 6

7 7

8 Artist Pre-Visit Lesson Plan Grade 6 Do Re mi Interactive Music Education Program 3. Lead students in reviewing the Major Scale tonic-solfa names in Do-Re-Me. These names represent a major scale. i) The starting note doh can be on any note and this note tells the name of the scale. 4. Lead students in reviewing the concepts of beat as the steady pulse in music and rhythm as the pattern of long and short sounds and silences. Apply their knowledge in performance using the chant Away Down South below. 8

9 9

10 Artist Visit Lesson Plan Grade: 6 Do Re Mi Interactive Music Education Program Lesson Focus Creating and Performing; Reflecting, Responding, and Analysing and Exploring Forms and Cultural Contexts Class Visit by Singer/Songwriter James Gordon Contact: Song writing can be a powerful tool for communicating with others... so this is an opportunity for a class to create something that could be heard by many! Curriculum Expectations Addressed C1.3 create musical compositions for specific purposes and audiences C1.4 use the tools and techniques of musicianship in musical performances C1.5 demonstrate an understanding of standard and other types of musical notation through performance and composition Fundamental Concepts Elements of Music beat: the steady pulse in a sound or music. duration: the time during which a sound continues; the fast and slow tempo or speed of a piece of music; rhythm versus beat; metre, oral count, with primary emphasis on one and secondary emphasis on two and three : one-and-a-two-and-a-three-and-a ) and other compound metres (e.g., ); metre; pick-up note(s) (anacrusis); triplets; common Italian tempo marks (e.g., allegro, adagio) and others encountered in the repertoire performed. dynamics: the degree of loud or soft; control signs encountered in repertoire (e.g., very soft [pianissimo pp], very loud [fortissimo ff ], slurs). form: the shape or structure of a sound or piece of music phrase, such as theme and variations; repeats (e.g., first and second endings). melodic contour: refers to the mapping of the pitches in a song, identifying the beat, rhythm or shape of pieces of music. ostinato: a short melody or pattern that is constantly repeated, usually in the same part at the same pitch. (e.g., ta, ta, ti-ti, ta ). pitch: the highs and lows of a sound; simple melodic patterns using ledger lines above or below the staff; major, minor, and perfect intervals (e.g. major third, perfect fifth). rhythm: the pattern of long and short sounds and silences. tempo: the speed of a piece of music. texture/harmony: the feel of a piece of music resulting from its components; the combination of notes which form a tuneful, pleasing sound; layering of electronic sounds, chord progressions. timbre: the characteristic quality of the sound of a voice or instrument; for example the vocal quality of speaking vs. singing, body percussion vs. the sound quality of instruments and environmental and found sounds; electronic sounds; Orff ensemble (xylophone, recorder, pitched and non-pitched percussion); other ensemble sonorities (drum line, choir, guitar, marching band). Instructional Activity 1. James Gordon s song writing workshop starts with brainstorming about what the class would like to write a song about, although if the class decides ahead of time what they'd like to write about it saves valuable time out of the hour. 2. Once a topic is chosen, a blackboard is filled with students ideas for lyrics that MIGHT be in the song. These are then shaped by the class into verses and a chorus and a melody is created by brave class members who volunteer to share ideas. 3. The completed song is quickly rehearsed, recorded and a CD given to the class at the conclusion. 10

11 Artist Visit Lesson Plan Grade 6 Do Re mi Interactive Music Education Program 4. Discuss and describe the use of music in film and advertising, specifically how music is used to identify products or concepts. Identify effects of musical trends on young people s musical tastes; investigating through discussion examples of fusion in different musical styles and genres. 5. Lead students to design CD cover art for their musical creation on prepared, measured paper in mixed media. Display student work in the classroom, conduct a supportive group critique and then a fair selection process based on which graphic design best captures the musical piece created. * Note: James brings his own data projector and laptop, so access to power and an A/V cart will be needed, together with a projection screen, white board, blackboard space or a flip chart. James will be happy to send mp3 files of the song to any class member who requests it and invites students to visit his website at to learn more about what a professional career in music looks like. Junior Resource List Ardley, Neil Music 2000, Dorling Kindersley Ltd. DK Eyewitness Books, N.Y., N.Y. ISBN Cutz, O. Bucket Music: Learning to the Beat of a Different Drum Talking Drum Music Productions, Canada Cutz, O More Bucket Music: 3 Pack Compositions Talking Drum Music Productions, Canada Cutz, O. & Doyle, S. Pass It On! Poetry & Body Percussion for Elementary Students Talking Drum Music Productions, Canada Skelding, M. & Schulze, J. The Key to Your Junior Music Program: A Simple Easy-To-Follow Format of Songs and Lesson Plans 11

12 Artist Post - Visit Lesson Plan Grade: 6 Do Re Mi Interactive Music Education Program Lesson Focus Creating and Performing; Reflecting, Responding, and Analysing and Exploring Forms and Cultural Contexts after a visit with musician James Gordon. Curriculum Expectations Addressed C3.1 identify and describe ways in which awareness or appreciation of music is affected by culture and the media C3.2 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 Instructional Activity 1. Lead students in enhancing the song created with James Gordon, or in creating and composing a new song. i) Have the group reflect on their ideas, first draft or original composition to describe what they liked, what worked, innovations possible and high points in performance of individuals or the group in general. Incorporate suggestions arising from the discussion into the plan. ii) Divide the class into small groups or partners to write new verses for the song which was composed with James Gordon. Be sure that groups have an opportunity to share their verse with the class and perhaps with other classes or later, with the school at an assembly. iii) Have students experiment with poetry creations, make up a tune and enhance the piece with sound effects, to make a musical composition. Activity 1 Limericks A limerick is a humorous form of a five line poem with a rhyming scheme aabba. Edward Lear ( ), English humorist and illustrator is best know for his books of nonsense songs, stories, alphabets, illustrations and poems. i) Have the class work with a number of limericks before writing their own. It is important that they are aware of the beat (in bold font below). Encourage students to find different ways to keep the beat using body percussion, swaying in time or with rhythm instruments. Also important for students to note is the rhythm of the text itself. Clapping each syllable (rhythm) of the verse while keeping the beat with the feet is a challenging exercise, or, have half the class express the beat while the other half claps the rhythm. There once was a girl named Jean (rest) Who fell in a washing machine. (rest) She tumbled around til she almost drowned But she came out remarkably clean. (rest) There was a young rascal named Sam (rest) Who stole all his grandmother s jam (rest) So a whipping he got, believe it or not. Which was painful to young master Sam. (rest) There was an old man with a beard (rest) Who said, It is just as I feared (rest) Two owls and a hen, four larks and a wren Have all built their nests in my beard. (rest) 12

13 Artist Post-Visit Lesson Plan Grade 6 Do Re mi Interactive Music Education Program Activity 2 HAIKU Haiku is a Japanese poetry style usually expressing an observation, experience or thought about some aspect of nature. They often refer to a season either directly or the season is implied, through the poet s choice of words. The Haiku form is 17 syllables in 3 unrhymed lines: Line 1 = Line 2 = Line 3 = 5 syllables 7 syllables 5 syllables i) Before actually writing their poems, students should explore nature related ideas on a particular subject (grass, trees, wind, birds). An appealing picture with interesting details could be a good starting point to have the class work together to create a haiku poem. Lists of words describing shapes, movement, sounds and feelings are also a good beginning. Categorizing the word lists under the headings: nouns, adjectives, verbs and adverbs in this activity will serve as reinforcement for grammatical knowledge of the parts of speech. A poem with the same pattern as haiku but with a subject other than nature is called senryu. Examples: Woodpeckers peck wood They peck so loud and noisy It drives me crazy. The lightning flashes And slashing through the darkness A night heron s scream. The dew drops glisten On the slender blade of grass While the world still sleeps. Senryu example: The city, New York, Hustles, bustles and jostles. No peace, no quiet! ii) To create a musical composition from the poems students write, encourage students to consider trying the following to enhance their metre and diction. 1. Various sound effects using instruments, body percussion and/or found materials. 2. A sound carpet throughout the poem. 3. Various choices for the delivery of the words solo lines, solo words, small group, high or low pitched voices 4. Dynamics louder, softer, loud, soft, accent 5. Tempo fast, slow, getting faster, getting softer 6. Introduction and/or coda 7. Movement as a means of enlarging the picture. 13

14 Artist Post-Visit Lesson Plan Grade 6 Do Re mi Interactive Music Education Program 3. Lead students in reviewing the Major Scale tonic-solfa names in Do-Re-Me. These names represent a major scale. i) The starting note doh can be on any note and this note tells the name of the scale. ii) Other major scales the children may encounter are included below. Each of these include: sharps which raise a note a semitone OR flats which lower a note a semitone Sharps and flats are most commonly (but not always) black notes on the piano. 14

15 4. Lead students in a discussion about how people attend concerts of music that they know and like or appeals to them through the media and that people can be influenced to buy products that are advertised with music that they relate to. Have students think about, choose and justify their choice of a style of music (orchestral, jazz, pop, rock, funk, rap, hip hop, etc.) they would use to advertise various real or imaginary products, such as a new video game, breakfast cereal, energy drink, etc. Students can create a short advertising spot using available classroom media to illustrate their choice. Have the group view and evaluate the advertising spots for their effectiveness. 5. Select, play, listen to and analyze two styles of music (baroque vs. classical, jazz vs. metal, trance vs. gamelan, etc.) and lead students in comparing selected characteristics of music using their knowledge of the Elements of music and a Venn diagram. Discuss the ways in which they are different and the same and utilize the same Elements to achieve different effects. 15

Montana Instructional Alignment HPS Critical Competencies Music Grade 3

Montana Instructional Alignment HPS Critical Competencies Music Grade 3 Content Standards Content Standard 1 Students create, perform/exhibit, and respond in the Arts. Content Standard 2 Students apply and describe the concepts, structures, and processes in the Arts Content