Elementary General Music Curriculum Melinda Feldmann

Transcription

1 Elementary General Music Curriculum 2010 Melinda Feldmann

2 Table of Contents Table of Contents...2 Context for Curriculum 3 What is Project Based Learning?...4 Why is Project Based Learning Important?...4 Historical Basis How Does Project Learning Work in the Music Classroom?...8 Defining the Musical Roles..9 Musicians as Performers..10 Musicians as Listeners.10 Musicians as Anthropologists..11 Musicians as Composers..11 Musicians as Entrepreneurs..12 Designing and Organizing Projects Summaries of Projects Cross Reference Chart Chart by Grade Level References Appendix Curriculum Context 2

3 Context can be defined as factors that effect the environment of your classroom. Factors include, but are not limited to: economic status of student body, size of community, location, size of school, dynamic of school building, diversity, personal experiences of students and teachers, and outside influences. Context is an influence on student learning and a basis for prior knowledge from which to develop curriculum. Bruner s (1960) concept of a Spiral Curriculum can fit most varieties of contexts, and maintains flexibility to allow for the ebb and flow of a dynamic context. Personal Context 5647 E Main St Verona, NY Sherrill City School District is located at 5275 State Route 31 Verona, NY providing education for grades PK-12. The VVS School District spans three communities. The District includes the villages of Vernon and Verona and the small city of Sherrill. The area, a few miles off the New York State Thruway between the cities of Utica and Syracuse, is known for its attractive surroundings, convenience to employment, health care, and quality of life. The area allows easy access to the Adirondack Mountains, many rivers and lakes, and colleges and universities, all offering numerous recreational, educational, and cultural activities. The Sherrill City School District is rich with music and is geared up with a mission of the VVS Music Department is to encourage our students to continue to explore the world of music. We strive to create a place within the school where creativity can flourish, beauty can exist, and where students are given an opportunity to express their ideas and feelings through music. There are 5 schools in the district, with a total student population of At my elementary school, J-D George Elementary, I serve a student body of 479, with 125 receiving free lunch and 67 receiving reduced lunch. The Student to Teacher Ratio is 15 to 1. I am the main Music Teacher in the building, teaching all general music pre-k through 6, as well as Chorus and 5-6 Band. The only other teacher is the 4 th grade beginning band teacher. I have three rooms at my disposal, a general music room, chorus room with risers, and a band office for lessons. Band rehearsals are held on the gym stage. I see each general music class once every 6 days for 40 minutes (pre-k only 20 minutes), Chorus and Band once every 6 days for 30 minutes. There is no set curriculum for Elementary General Music. 3

4 This music curriculum is founded on project-based and student-centered learning. To see a successful example of project-based learning in a music classroom, please visit Long Island Music Educator Phil Greco s website at What is project-based learning? Project Learning is a dynamic approach to teaching in which students explore real world problems and challenges, simultaneously developing cross-curricular skills and dispositions while working in small collaborative groups (Edutopia, 2008). Project learning allows students to explore, discover, and uncover musical roles and environments in a way that allows them to derive meaning. Why is it important? Well-designed projects are important because they have the potential to: Bridge the gap between real life musical experiences and classroom musical experiences, and discover that music need not be confined to the music room (Kratus, 2007) Create lifelong musicians Engage students in multiple ways of understanding and representing knowledge (Gardner, 2000) Engages National Standards of Music in a way that will resonate with students (MENC 2010) Develop 21 st Century Skills and Dispositions of Character, such as: Artistic Expression Oral Language Description Observation Interpretation Inquiry Problem Solving Comparison Perception Cooperation Working with others Negotiating Listening Reporting Writing Presenting Interpersonal Sequencing events Composing Improvising Singing Playing Instruments Investigating outside of school Self-Motivation Projects are also important because they view learning and teaching holistically. Projects engage the mind, the body, and interaction with others. Teacher, Student, Subject, and Context (Schwab, 1973) are linked together within the structure of the curriculum, engaging students in concrete and hands on real-world musical problems that resonate deeper and stick longer with students. 4

5 Historical Basis Music is an ancient tradition, essential to human existence in every culture, including the culture in which we live today. The statement, Whenever and wherever humans have existed music has existed also If we can explain why humans need music we may learn something profound about what it means to be human, (Madsen, 2000, p. 25) encompasses the very values of music education and the mission it seeks to help its students uncover. Music educators should pass on the tradition of music as it exists in our respective cultures and cultivate an understanding of what it means to be expressive human beings. The Housewright Declaration stated that music was worth studying because it represents a basic mode of thought and action, and because in itself, it is one of the primary ways human beings create and share meanings. It must be studied fully to access this richness, (Madsen, 2000, p. 219). One educator and theorist that worked to create and embody this musical philosophy was James Mursell. His vision incorporated real-life situations and student interest into his curricula. He believed that music is one of the most perfect of all expressions of what is best and purest in the human spirit, which had many different aspects that could be approached and treated successfully in many ways (Mursell, 1953). When addressing curriculum, Mursell believed what should be done at any given time in the music curriculum depended on the human factors of the situation (student backgrounds, interests, personalities, etc.) and the opportunities that present themselves as a result of the present context. He believed that general music should be a program of musical development, and not a program of performing, listening, and composing as ends in themselves. Mursell was not able to create such a musical curriculum for students because of the many challenges to creating such an open-ended document. However, we believe that this type of document can be constructed based on research done in the education field. The following information on cognitive learning theory, Developmentally Appropriate Principles (DAP), Constructivism, and Project-based learning comes from research done by Martina Miranda in her article Developmentally Appropriate Practice: Historic Roots and Evolving Paradigms, published in the book Thoughts and Practice in Music Education (Miranda, 2009). Looking back the 17 th century there have been two main theories about the way that children learn, and the way they should learn material in schools, stemming from Rousseau and Locke and the nature vs. nurture debate. Rousseau was on the nature side of the controversy and believed that children were naturally curious and possessed a desire to learn about the world around them and that they would flourish when placed in a rich environment and given time to explore their desires and curiosities. His work led to the cognitive learning theory, which places emphasis on the mind and mental representations of learning. Locke on the other hand, was on the nurture side of the controversy and believed that children were passive learners that wouldn t learn if left on their own. They need someone to tell them what to learn and how. Locke s work led to the behavioral learning theory, which focuses on specific behaviors as evidence of learning. 5

6 These two main branches of learning theory have appeared simultaneously in textbooks and curriculums in the United States for many years. Cognitive learning based curriculums, like James Mursell proposed, focus on the learner and assess the processes of learning that take place. They are student-centered and take into account the knowledge and background of the learner and importance is placed on the interaction between the learner and the environment. Learning and assessment are documented through representations of what occurs in the mind during the process of the learner interacting with his or her environment. In contrast, behavior learning-based curriculums focus on skills, objectives, and benchmarks, and the end product of learning (Boardman, 1996). In the 1980 s music education began focusing on a movement called the DAP or Developmentally Appropriate Practice, a movement that incorporates the ideas of cognitive learning theory. DAP involves identifying appropriate ways for children to learn based on their social, physical, cognitive, and mental maturity at different age levels. MENC partnered up with the existing NAEYC, the National Association for the Education of Young Children to figure out what is developmentally appropriate teaching for children in music education. There were many factors that led to MENC seeking to find developmentally appropriate practices. The Kindergarten movement which occurred from led to the need for research on young children. Johann Pestalozzi believed that children would learn best in a rich environment where they could explore with their senses. Pestalozzi found that students should focus on the sounds and sense experiences before assigning language, terms, and symbols to ideas. Froebel opened up the first Kindergarten based on the idea that school should be a rich environment, like a garden, where students are free to explore and learn and work on their spiritual and social growth. Many societal and political changes occurred from which impacted learning theory, especially the ideas of the two theorists Jean Piaget and Lev Vygotsky. Piaget believed that children would adapt to their social and physical environment and progress through certain stages of cognition based on their interactions and experiences not their chronological age. Vygotsky added to the idea that children were active learners who learn in a rich environment, and expanded the idea to include specific social contexts of learning. Amidst the development of the two learning theories, the Kindergarten movement, and the political and societal changes of the 1950 s to the 1980 s NAEYC and MENC worked together to create twelve principles for DAP based on cognitive learning theory, and the research of many cognitive learning theorists. The key principles that relate to elementary curriculum development are as follows. Children attain developmental levels and knowledge at varying rates. Children are active learners that combine social and physical experiences with materials with their prior cultural knowledge and experiences. Play is an essential way for children to display and develop social, cognitive, and emotional growth. Children learn best when they are presented with challenges and problems that are slightly beyond their ability levels. Children are individuals that learn, and demonstrate their learning in different ways. Two educational movements came out of cognitive learning theory, the DAP twelve principles and the changes occurring in American education, constructivism and project-based learning. 6

7 The constructivist movement began in the 1980 s as a result of Piaget and Vygotsky s work and the work of previous cognitive theorists. Constructivism focuses on the learner and uses the learner s interests to help students learn concepts and form relationships. The teacher takes the role of a facilitator who provides a rich environment and then asks guiding questions to lead the students to explore concepts, draw conclusions, and reflect on their research and findings. In constructivist learning students are all asked to think about the same topic, but it allows them to choose their own process for learning and the pace at which they learn. Constructivism leads to abstract thinking, independent learning, and higher-level thinking. Another movement that developed out of cognitive learning theory is project-based learning. Project-based learning draws on the ideas of Dewey, Piaget, Howard Gardner, and Katz and Chard. Project-based learning operates on the belief in cognitive learning theory that children are curious and capable individuals who learn best when they are actively engaged in asking questions and solving problems in a rich environment. Project-based learning asks students to use inquiry-based learning and active exploration of their environment while utilizing technology. Another element of project-based learning is collaborating with others to attain skills necessary to succeed in the 21 st century. Similar to constructivism, project-based learning asks students to learn the same information but allows students to choose the process and learning rate. (Boss and Kraus, 2007). Curriculums, textbooks, and education as a whole have incorporated the ideas of Thorndike, Locke, and Skinner and the emphasis on behavior and achievement instead of on Dewey, Rousseau, Pestalozzi, Piaget, Froebel, and their emphasis on development. Achievement and behavior based curriculums create benchmarks based on grade level instead of developmental levels, they ignore the starting points of the learners, their individual learning styles, and their individual ways of representing knowledge. A single set of skills, activities, and assessments are designed even though learning theories and the DAP show that children learn differently, and represent knowledge differently, at varying rates of speed separate from their chronological age. The skills, objective, and achievement behavioral based curriculums that exist currently in music education go against the principles of cognitive learning theory, and the Developmentally Appropriate Practices created by MENC and NAEYC. Researcher Marilyn Zimmerman in her essay Child Development and Music Education states that an arbitrary setting of curricular levels according to age quite possibly has a deleterious effect on the musical development of children. For instruction to be effective, the child must be at a level of maturity that allows him to assimilate it (Zimmerman, 2001, p.227). This proposal aims to create a project-based spiral curriculum within a rich environment that focuses on students as capable individual learners working to achieve personal understanding of music, based on their experiences and developmental levels. 7

8 Creating a Curriculum How does project learning work in the music classroom? Stemming from the goal of creating lifelong musicians through understanding of the many roles (Reimar, 1989) and environments of music, project ideas grow from real-life and applicable situations and experiences. Five umbrella categories are established that will cover these situations and create the framework for our curriculum. The five categories view a Musician as a(n): Listener Composer Performer Anthropologist Entrepreneur Projects are designed in a flexible manner, allowing for each grade level in pre-k 6 to experience a version of the project, resulting in a spiral curriculum (Bruner, 1960) where students are consistently revisiting ideas and building on prior knowledge and personal experience to strengthen their understanding of themselves as a musician. The curriculum document itself is organized by grade level. Projects are stored within each grade level, but are not time-specific, nor orderspecific. This allows for flexibility in the flow of the class, and allows the teacher to have a set of projects that will allow for the natural development of the individual classroom environments. Each project is outlined and organized, with the framework for preparation, implementation, exhibition, reflection, and assessment components, including a list of materials and resources for student and teacher. The project design includes national standards, skills, and dispositions students will uncover over the course of the project. 8

9 Defining the Musical Roles These Musical Roles are organized around the most powerful current way of thinking in Education, Understanding By Design (Wiggins 2005). When defining roles, we address the Essential Questions needed for students enduring understanding. A Musician s P.L.A.C.E in the world: Musician as Performer, Listener, Anthropologist, Composer, and Entrepreneur, perceived within personal, community, and world context. General Definition of Musical Roles In an effort to promote lifelong involvement in music, we will enrich the musical experiences for students by exploring the way people interact with music in everyday life. We will define what these roles mean to different people, from the amateur to the novice to the professional, and consider the context when experiencing music. Through this exploration students will begin to deepen the relationship they have with music in their lives. The Musical Role Top Hats are used to visualize the roles they are incorporating into the project and the classroom. Musical Roles we are exploring will be placed on top of a cartoon head. 9

10 Musicians as Performers Musical Performance is expression of a musical idea through the physical creation of sound. Performing music provides students with a new perspective of music, and gives them an opportunity to physically create music. Performing, however, is more than playing the right notes at the right time. Students develop a sense of purpose for performing, and they begin to have personal understanding and ownership over the music they're playing. They begin to think beyond the notes on the page and consider ideas of expression, meaning, intent, and communication. Performances of music can range from the very formal (think New York Philharmonic) to the very informal (singing in the car with friends). A question to consider: If another person or multiple persons (an audience) is not present, do we still consider it performing? In order to deepen our experience as performers of music, we ask questions that broaden our understanding and journey of performing music. A few examples are: What are we expressing? How are we expressing? What skills do we need to communicate our idea? Are there others performing with me? Am I listening as I play? Who is my audience? What was the composers intentions with this piece? What is my interpretation of this piece? What elements of music justify my interpretation? What do I consider a 'good' performance? Musicians as Listeners Most people will listen to music at some point in their lives, but what does that experience mean to them? What are they really hearing? When we listen to music, we physically perceive the vibrations of sound, we respond emotionally to the sounds we hear, we connect to the environment/setting to create context for the music, and we may relate the music to prior experiences. In order to deepen our experience as listeners of music, we ask questions that broaden our understanding and journey of listening to the music. A few examples are: How does sound work? What emotions are expressed in this piece? How are they expressed? What musical techniques are being used to create this expression? Do you like this piece? What about the piece do you like? How do you relate to the music? Would your opinion change if you were listening to the piece performed live? Students uncover what it means to be a listener, and explore higher-level critical thinking skills while defining and relating to musical content. 10

11 Musicians as Anthropologists A Musical Anthropologist is someone who explores the context of music. Context covers a wide range of the people, places, time-periods, etc. that provide the setting for musical experiences. The history and variety of music in the world creates wonderful opportunities for students to explore the context of cultures and ways of life throughout the world. Students use their study of music to uncover an understanding of different cultures, and they begin to see that although the musical outcomes may be different, underlying motivations for creating and experiencing music may be quite similar from culture to culture. In order to deepen our experience as anthropologists of music, we ask questions that broaden our understanding and journey of musical context. A few examples are: Who is playing/performing this music? Why are they performing it, for what purpose? Where would this music be played? When would it be played? Who would the audience be? What are they using to create sound? What are they expressing? What place does this music hold in their society? Do you relate to this music? Can you draw a parallel from this musical artifact to a musical experience in your life: What are the common themes you found? Musicians as Composers To help us better understand this role, let us define the difference between Composition and Creativity. Musical Composition consists of traditional composition, arranging, improvisation, and free form. All four take elements of music and put them in an organized form. Musical Creativity is the manipulation of musical elements to express an idea. Musical Composition is best suited to grow from Musical Creativity, and creativity in children is innate; If you place a toddler in front of a piano, what will follow may be a quite exuberant creation of musical expression. This innate and individual creativity fits perfectly in the realm of composition. Students use composition as a way of organizing and expressing their creativity to others, and by starting from a place of personal exploration and expression, they will have a stronger desire to communicate their ideas. Their desire for knowledge of how to write their music creates a "need to know" music literacy, and the idea that music can be written down becomes part of their fundamental understanding of Musical Composition. In order to deepen our experience as composers of music, we ask questions that broaden our understanding and journey of composing music. A few examples are: What idea am I trying to express? What objects am I using to create sound? Who is playing my piece? What elements of music am I using to express my idea? How will I remember what I've created? Who will be able to read my composition once it is written down? Is there a way of writing music that everybody understands? What does a professional composer consider when they compose? What questions would I ask a professional composer? 11

12 Musicians as Entrepreneurs What are ways musicians are present in the business world? Music Entrepreneur examples include record labels, stagehands, sound system operators, producers, music technology product developers, music business managers, etc. These are people who interact with music in a variety of ways that may include the other roles, but also include creating a marketable product or service available for purchase. In order to deepen our experience as entrepreneurs of music, we ask questions that broaden our understanding and journey into the world of music technology, self-motivation, and marketing. A few examples are: What is different between songs that are written and performed for an audience and music that is written to be sold? What technology is used to create, revise, publish, and market music? What types of jobs are there in the music industry? What type of training and education is needed for these jobs? How has technology impacted music creation, performance, listening, and marketing? How are we self-motivated as musicians? Designing and Organizing Projects: Projects are conceptually based around Dewey (1938) exemplified in many school districts focused on student learning and content. The Edutopia website (Edutopia, 2008), Phil Greco s website (Greco, 2010), The Project Approach (Chard & Katz, 2000), and Bandquest (American Composers Forum, 1975), are examples of successful projects designed to reflect current thinking about how students learn. The four basic steps of a project design are: Choosing a Topic Creating Opportunities for students to develop and achieve goals Exhibition of Student Learning Evaluation and Assessment of Student Learning 12

13 Choose a Topic When choosing a topic, start with how relevant it is to your students. Also consider the context of your school and your community. Perhaps provide a substantive focus ~ Merriam's (1964) classification of the functions of music is useful for thinking about topics and for providing choice for students. Music as Human expression Aesthetic enjoyment Entertainment Communication Symbolic representation Physical response Enforcing conformity to social norms Validation of social institutions and religious rituals Contribution to the continuity and stability of structure Contribution to the integration of society Create Opportunities Create opportunities for students to develop and achieve the potential goals listed under Why is it important? A great way to begin this section is through brainstorming, KWL charts (Ogle 1986), or creating a web on what students know and what they want to know. Using your topic, work with the students to design a project that will help them discover what they want to know. Their projects should be built on learning activities that will reflect the National Standards of Music Education (MENC 2010) through the uncovering of knowledge and skills, attitudes and dispositions, and the nurturing of students social skills. Exhibit Student Learning Exhibitions are important because they give students the opportunity to Display and show their work Reveal understanding of features and aspects within a topic Demonstrate skills Show evidence of engagement, attitudes, and dispositions Share their experiences The key point to remember behind exhibitions is that they are opportunities for students to share and reflect upon their experiences and the different processes involved with the project's activities. They are not vehicles for entertainment nor should the focus be on the presentation as a performance. 13

14 Evaluate Student Learning To Assess and Evaluate is to take professional responsibility for the learning environment in your classroom. Eisner (2002) defines the difference between the two as the following: Assessment generally refers to the appraisal of individual student performance, while Evaluation generally refers to the appraisal of the program its content, the activities it uses to engage students, and the ways it develops thinking skills. We use Assessment and Evaluation to give us information that can help us get better at what we do. Criteria for Evaluation include Technique, Inventiveness, and Expressive Power. We use artifacts gleaned from the process, in conjunction with resulting products, as a guiding source of evaluation. Artifacts for Evaluation include but are not limited to journals, reflections, progress reports, webs, notes, papers, compositions, as well as teacher reflections and notes, class discussion, and the exhibition. Interviewing the student after the project also allows us to assess what the student has learned, which often goes beyond the scope of the project. By not limiting the assessment to only judging if the student has learned what the teacher wanted of them, a true assessment of learning can take place. The key thing to remember about the evaluation component of a project is that it considers the extent to which students have derived meaning from their involvement in the various activities and learning opportunities and the extent to which students' intellectual, musical, and social development have been enhanced. It is not meant to be a measurement, nor a comparison with peers. It gives us the information that helps us get better at what we do. 14

15 Staying Organized Papers, reflections, and a plethora of artifacts can easily be lost in the shuffle of the day and the bustle of the year. Have a plan of attack for keeping your student s projects organized and accessible. This could be in the form of class binders, student folders, online scanning and storing, etc. Whatever your method, stick with it and stay on top of it. Give yourself time one day a week, possibly after school, when you can dedicate time to organizing. This time would be a great time for you to do some reflecting as well! Summaries of Projects included in this document: Below are summaries of Projects included in this curriculum. The first five demonstrate projects that highlight each of the 5 roles in music. Since many of the projects overlap and encompass multiple musical roles, we have indicated the dominant role by placing it first. Here is how the roles will be abbreviated: P = The Performance Role L = The Listener Role A = The Anthropologist Role C = The Composer Role E = The Entrepreneur Role Following the list of summaries is a cross-reference chart that shows the National Standards, Content (concepts, skills, and dispositions), and Assessment for each project. In the Appendix, you will find Samples of Projects, including examples of Reflection Sheets, 15

16 Project Summary List: Drama Project [P, C, L, A, E] Students will discover the different types of emotions, moods, and characters involved in dramas and the performance practices typical for performing a live performance for an audience. Students will explore different genres of literature and transform the story into a musical performance. They will discuss what is different about a live performance of a show than making music in a classroom setting. Students will then work in groups to collaborate to create scripts, music, costumes, scenery, and props. The experience will culminate in a performance of their drama for the school and the community. Listen Up! [L, P, C] Students will explore how sound is made through studying vibrations, and the different materials used to create instruments. They will listen to music of different genres, styles, and periods, and compare and contrast them. They will work in groups to explore how sounds can be translated to movement, how music has changed over time, and how historical influences have affected the ways we listen to music. Students will create representations of their studies on sound. Examples include books on how instruments create sound and are classified, presentations on how Rock n Roll music has changed through time, and reflections on how different styles of musical genres express music differently. Music of the World [A, L, P, C] Students will uncover the question, Who makes music? Students will study the culture of a country through exploration of their music. They will listen to musical works, explore instruments, discussing environment, history, and culture. They will work in groups and showcase the unique sound of a country s music through different presentations. Examples may be recreating a foreign instrument or creating their own rhythm patterns specific to their country. Another may be to do a remix of a traditional recording using Garageband or another form of technology. Students may decide to contact a member of the community who is originally from their country and interview them about their musical experiences. Students will showcase their projects during a cultural festival. Express What You See [C, A, L, P] Students analyze and discuss a visual work of art, choosing and explaining an emotion they think the artist is trying to portray. They will then compose a piece of music to reflect the emotion and the artwork. During composition, students will explore a variety of instruments, ways to notate their compositions, learn to make a few pitches or sounds consistently on their instruments, and problem solve how to use their instruments to portray the emotion. Students will reflect on how well they are portraying the emotion, and what they are learning about technique, expression, and notation. Students will exhibit their written notation and perform their piece for the class, demonstrating knowledge, skills, and dispositions learning during the project. Sell Me A Song [ E, A, L, P, C] Students will discover ways in which technology is used to experience music. Students will explore how to use technology to listen to and record music. They will discover different types of technology used in the production of music and what it means to prepare a song both for a performance and for sale. Students will work in collaborative groups and in whole group settings to compose songs. Students will explore the roles of composer, record producer, publisher, and marketer of music. Students will also explore ways in which music is used as a mode of persuasion (for example, commercial jingles). Student work will be highlighted by media exposure on the school website, the newspaper, and potentially on local news stations. 16

17 Cross Reference Charts Performing Project Grade Standards Concepts Skills Dispositions Assessment Primary (Pre-K to 2 nd ) Intermediate (3 rd 6 th ) Standard 2: Performing on instruments, alone and with others, a varied repertoire of music Standard 3: Improvising melodies, variation, and accompaniments Standard 7: Evaluation music and music performance Standard 1: Singing alone and with others, a varied repertoire of music Standard 2: Performing on instruments, alone and with others, a varied repertoire of music Standard 7: Evaluation music and music performance Music tells a story Performing for an audience Music can express emotions, moods, characters, and stories The difference between a formal and informal performance Music we create can be performed Playing classroom instruments Performing for an audience Evaluating a performance Improvising melodies and accompanime nts Playing instruments Singing Performing for an audience Evaluating a performance Composing music to tell a story Artistic Expression Problem Solving Working with others Sequencing Events Playing Instruments Improvisation Artistic Expression Problem Solving Cooperation Sequencing Events Playing Instruments Singing Composing Interpretation Presenting Singing Orally evaluating the sequence of their performance Orally evaluating if their music expressed their pictures and stories Evaluating if their music expressed their stories and ideas Journal of their performance experience 17

18 Listening Project Grade Standards Concepts Skills Dispositions Assessment Primary (Pre-K to 2 nd ) Intermediate (3 rd to 6 th ) Standard 6: Listening to, analyzing, and describing music. Standard 6: Listening to, analyzing, and describing music. Standard 9: Understanding music in relation to history and culture Instruments make sound Instruments are grouped by sound Music of different time periods, genres, and style have different sounds The elements of music are used in different ways in the different time periods, genres, and styles Listening to and analyzing music Critical Listening Listening and analyzing elements of music Knowledge of historical and cultural music Problem Solving Perception Listening Description Oral language Problem Solving Perception Listening Description Writing Reporting Observation Comparison Orally explain how to categorize instruments based on how they sound Interpret musical sounds of their genres, styles, and time periods Present an analysis and comparison of different musical genres, styles, and time periods 18

19 Anthropology Project Grade Standards Concepts Skills Dispositions Assessment Primary (Pre-K to 2 nd ) Standard 1: Singing alone and with others, a varied repertoire of music Standard 9: Understanding music in relation to history and culture There are many ways to experience music Music is a part of culture People listen to music for many reasons Identifying ways that our culture experiences music Identifying the purposes of music within our culture Inquiry Perception Interpersonal Oral language Description Singing Orally explaining who makes music, and where Orally explaining why people make music Intermediate (3 rd -6 th ) Standard 6: Listening to, analyzing, and describing music Standard 9: Understanding music in relation to history and culture Music is experienced in different and similar ways in different cultures Music plays different and similar roles in different cultures People listen to music for many different and similar reasons Listening to music and analyzing it Identifying elements of different countries music Knowledge of cultural music Inquiry Perception Interpersonal Writing Comparison Working with others Investigating outside of school Interpret the differences and similarities of music from our culture and another culture Present an analysis of their countries music, and a demonstration of their music 19

20 Composer Project Grade Standards Concepts Skills Dispositions Assessment Primary (Pre-K to 2 nd ) Intermediate (3 rd 6 th ) Standard 3: Improvising melodies, variations, and accompaniments Standard 8: Understanding relationships between music, the other arts, and disciplines outside the arts Standard 4: Composing and arranging music within specified guidelines Standard 5: Reading and notating music Standard 8: Understanding relationships between music, the other arts, and disciplines outside the arts Music can be written down Music can express emotions Instruments express different emotions Music can be notated in a standard way Music and art can express different emotions Choice of instruments and playing techniques expresses different emotions Creating notation symbols Performing with expression Improvising Reading and interpreting notation Reading and Interpreting expression marks Performing with expression Composing Artistic Expression Description Improvising Playing Instruments Perception Artistic Expression Description Improvising Playing Instruments Perception Cooperation Interpersonal Interpretation Orally explain how their sounds match the picture Create symbols, and orally explain how their symbols match their sounds Explain how their music expressed the emotion of the artwork Interpret and explain written notation and expressive symbols Imaginative use of elements to express an idea 20

21 Entrepreneur Project Grade Standards Concepts Skills Dispositions Assessment Primary (Pre-K 2 nd ) Intermediate (3 rd 6 th ) Standard 8: Understanding relationships between music, the other arts, and disciplines outside the arts Standard 8: Understanding relationships between music, the other arts, and disciplines outside the arts Standard 9: Understanding music in relation to history and culture Ways to listen to music Ways to capture music Knowledge of and experience with technology used to perform, record, and market music Music sales are affected by advertising There are many jobs in the music industry in addition to performing Listening to music using different types of technology Recording sounds using technology Using technology to market products Manipulating technology to record music Performing a role on a musical team Inquiry Observation Problem solving Oral language Investigating outside of school Inquiry Observation Problem Solving Writing Investigating outside of school Selfmotivation Composing Presenting Orally explaining and describing ways to listen to music Orally explaining and demonstrating ways to capture music Imaginative product that could be sold to peers Presenting a convincing sale pitch 21

22 Chart by Grade Level Performance Project Grade Process Product Assessment Pre- K Create a story with pictures Create music to match pictures Determine the order pictures of pictures and how they fit together to form a story Put music and story together for a performance K Explore Fairy Tales and pick favorite Use instruments to compose motifs to represent characters Act out story and provide motifs for a performance of the Fairy Tale 1 Read and discuss stories by Dr. Seuss and create their own Seuss-like characters Create a story using their characters, including soundtrack music and character motifs (half class plays soundtrack, half play motifs) 2 Explore fables in groups at fable stations and then write their own Create sound effects, action music, and write a song to explain the moral of their story 3 Explore the sci-fi genre and its music through sci-fi stations Decide what makes good sci-fi music and explore making weird sounds Choose a short sci-fi clip to write a soundtrack for 4 Explore folk stories of other countries Write a song, in small groups, to tell the story using instruments and lyrics Explore ways to notate their music 5 Explore poetry, and compare stories v. poetry Create poetry of their own Form groups to perform poetry accompanied by music 6 Explore the genres of opera, rock, and rap, comparing and contrasting, answering the question, How can all three be combined? Form groups to write rock operas Class performances of storybook composition for classroom teachers, principal, and secretaries Individual class performances of Fairy Tales (half class acts, half play motifs) for parents, principal, and other Kindergarten classes Individual Class slideshow performance of their story for parents, principal, and other first grade classes Perform soundtrack music as slideshow is played One-scene productions for parents, principal, and other second grade classes As individual classes, students will give a live performance of their soundtracks as an electric orchestra and put on a sci-fi film festival concert Folk Tales Around the World concert, with costumes, props, and scenery Musical Poetry Slam /Coffee House for parents, community, principal, etc. Notated music Rock the House concert Script, Notated music tracks to accompany scripts Watch video of their performance Reflect on the questions, How well did the order of our pictures fit together? How well did our music match the pictures in our story? Watch video of their performance How well did the music represent the characters in the story? Watch video of performance Reflect on questions, How well did we show the difference between soundtrack music and character motifs? How was our timing during the performance? Watch video of performances Reflect on the questions, How did I express the mood of the moral? Which sound effects where the best and why? Watch video performance Reflect on the question, How did we use our materials to tell the story? How well did we line up our music with the movie? Watch video performance Reflect on the questions, How did our song capture the story? How did we make our song believable to the audience? Watch video performance Reflect on questions, How well did we express the moods/words of our poetry? How well did I listen and respond to the members of my friendship group? Write a critique for the local/school newspaper of their own opera Reflect on the questions, how well did we convey the theme of the story through lyrics, instruments, expression? 22

23 Listening Project Grade Process Product Assessment Pre- K Explore materials to make sounds (Ex. Rice, plates, cans, etc.) Categorize and re-categorize materials and sounds and explain the categories Create instrument families with students criteria K Explore materials and classroom instruments to make sounds Categorize and re-categorize materials and instruments and explain the categories Create instrument families with students criteria 1 Explore stations of the four families of the orchestra and have students discover why they are grouped together 2 Get into groups based on which instrument family is their favorite Groups will explore families, and listen and discuss how their family sounds Groups will give a presentation on their family 3 Get into groups based on an interest in type of dance (ice skating, hip hop, Latin, etc.) Watch video of movement/music Analyze how the movements express the music 4 Get into groups based on interest in a historical period (Baroque, Classical, Renaissance, Romantic, Modern) Investigate how music was a part of life, and what it sounded like 5 Get into groups based on interest in American style (Jazz, Blues, or Country) Investigate how music was a part of life and how the music sounds 6 Groups work to explore the societal, political, and cultural aspects of rock n roll, important people, and how the music sounds Class map of instrument families Picture book of instrument families Map of instrument families with a description of why the families are grouped together Option #1: Create a visual representation of a piece that features their family, and how it sounds Option #2: Create an instrument that could be in their family and explain how it produces sound like their instrument family Create a visual to explain how the dancers expressed the mood, lyrics, and character of the piece of music, and present your findings Option #1: Listen and explain elements of piece specific to your period with visual Option #2: Perform a dance from that period Option #1: Listen and explain elements of a piece (with visual) Option #2: Compare and contrast two different style pieces Option #1: Perform or re-mix a rock n roll piece Option #2: Compare and contrast an early rock n roll piece with a modern rock piece Explain categories Explain why they put certain instruments in certain families Reflect on the question, How can we group instruments? Reflect on the question, How does my instrument family sound unique? Reflect on the question, How can music be expressed through movement? Reflect on the question, What elements make my time period sound unique? Reflect on the question, How do different styles express music differently? Reflect on the question, How does history determine how music sounds? 23

24 Anthropology Project Grade Process Product Assessment Pre- K Explore stations with videos, and picture books about music Discuss how we experience music (listen, create, perform it, etc.) K Explore stations with books, and videos about music 1 Explore stations with a computer, books, and videos about music Interview someone about how, where, and why they experience music 2 Explore stations about Chinese music (videos, books, culture, and computer) Create presentation 3 Explore stations about African music (videos, books, culture, and computer) Create presentation 4 Explore stations about Caribbean music (videos, books, culture, and computer) Create presentation 5 Explore stations about Indian music (videos, books, culture, and computer) Create presentation 6 Explore stations about Egyptian and Middle Eastern music (videos, books, culture, and computer) Create presentation Class web of how we experience music Storybook of people that make and listen to music, and where they make and listen Storybook about who enjoys music, where they enjoy it, and why they enjoy it Option #1: Create Chinese instrument Option #2: Perform a traditional dance with Chinese music Option #1: Create African Rhythm Pattern Option #2: Create African Instrument Option #1: Perform a Caribbean Song Option #2: Create a fusion song mixing American and Caribbean elements Option #1: Use technology to re-mix a traditional song Option #2: Perform an Indian Song Option #3: Create an Indian rhythm pattern Option #1: Create a fusion song mixing American elements and Middle Eastern Option #2: Create a Middle Eastern Instrument Option #3: Perform an authentic dance to Middle Eastern music Reflect on the question, How can we experience music? Reflect on the questions, Who makes music and where? Who listens to music and where? Reflect on the questions, Who experiences music, and where? Why do people experience music? Reflect on the question, What makes China s music sound unique? Reflect on the question, What elements of music make Africa s music sound unique? Reflect on the questions, What elements of music make Caribbean music sound unique? What Caribbean elements are similar to American music? Reflect on the questions, What elements of Indian music make it sound unique? How is Indian music different from American music? Reflect on the questions, What elements of Middle Eastern music make it sound unique? What aspects of music are common between Middle Eastern and American music? s 24

25 Composition Project Grade Process Product Assessment Pre- K Explore instrument centers to see how Aural composition to different instruments make sound accompany pictures Explore pictures and invent sounds to accompany pictures K Explore instrument centers, categorizing them into happy and sad sounds Create symbols to remember musical ideas they create 1 Explore instrument centers, creating happy, sad, angry, and scared emotions with sound 2 Explore art stations and compose a piece in groups to represent their favorite piece of art Create invented notation that others can interpret 3 Explore art stations and individually select a piece of art to write a piece about Introduce standard notation, and encourage exploration of both notation types Create pictures to represent their musical ideas Use their instruments to express different emotions Notated music Notated class composition that expresses the emotion of a piece of art (student notated) Notated composition Explanation of symbols used to notate, and provide a rationale Notated compositions, to be switched with a partner to try to interpret partner s piece Explain how they played the picture using their instruments Explain how the symbols they drew related to the sounds they played Explain how the symbols they created to notate their piece relate to the sounds they played Reflect on the question, To what extent did I express the emotion of the artwork in my music? Reflect on their invented notation compared to standard notation Journal of the composition process 4 Explore art stations and individually select a piece of art to write a piece about Notate pieces using a mixture of standard and invented notation and perform for a peer 5 Explore art stations and individually select a piece of art to write a piece about Use standard notation to write a piece, and invent expression symbols (forte, piano, crescendo, staccato, etc.) 6 Explore art stations and individually select a piece of art to write a piece about Compose using standard notation and standard expressive symbols Work in crits to provide performance and notation feedback Notated compositions, to be switched with a partner to try to interpret partner s piece Performance for the whole class Students will swap compositions with a peer and try to interpret expression marks of their composition Notated composition with expression markings Feedback of peers compositions Reflect on the question, To what extent could a peer play my piece? How can I improve my notation? Reflect on the questions, How did I show expressive elements in my piece? Were they effective and transferrable? Reflect on the question, To what extent did I notate the music and expression effectively? 25

26 Entrepreneur Project Grade Process Product Assessment Pre- K Explore how they can listen to music Map of listening technology Explain ways to listen to music (technology) K Explore how to listen to music, in Story book of listening Explain how to use school and out of school technology listening technology 1 Explore how to capture the music we Recorded song Demonstrate how to use create (record) Story book how they captured recording technology 2 Explore technology available for recording, and ways to enhance recording Record favorite song or composition 3 Explore jingle stations (watching jingles, looking at products, instrument station, writing station) Choose a product and write a jingle 4 Research ways to market an artists Choose favorite artist Create a marketing pitch for the artist 5 Groups of 3 students will work to perform, record, and market a piece 6 Individually explore jobs in the music field (producers, recorders, costume, lighting, and sound technicians etc.) Students will research someone who does that job Explore tools used and needed for that job Work in groups to create a product to interview for a job in that field their song Recorded song Presentation on techniques used to enhance recording Recorded jingle Explanation of how they wrote and recorded their jingle Presentation/Sales Pitch (CD cover, CD reviews, bios, pitch lines, jingles) Presentation on how they used technology to perform, record, and market Recorded song and marketing materials Resume materials needed to interview for a job in a field (portfolio, designs, recorded CD, etc.) Resume for interview Reflect on the question, How did using technology enhance my recording? Reflect on the question, How effectively did I use technology to sell my product? Demonstrate use of recording technology Reflect on the question, How effectively did I market my artist? Inventiveness of products Reflect on the question, How effectively did I use technology, and marketing strategies to sell my piece? Inventiveness of product Inventiveness of resume materials Reflect on the question, How convincing is my resume? 26

27 References American Composers Forum. (1975). Bandquest. St. Paul, MN: American Composers Forum. Also retrieved at Andress, B. (1998). Music for Young Children. New York, NY: Harcourt Brace College Publishers. Barret, J. R., McCoy, C. W., & Veblen, K. K. (1997). Sound ways of knowing: Music in the interdisciplinary curriculum. New York: Schirmer Books Birge, E. B. (1966). History of Public School Music in the United States. Reston, VA: MENC. Boardman, Eunice. (2002). Dimensions of musical learning and teaching. Virginia: MENC Boardman, E. (1996) Fifty Years of General Music One Person s Perspective. Paper presented at National MENC Conference. Kansas City, MO. April 19. Boss, S, and Krauss, J. (2007). Reinventing Project-Based Learning. Eugene, OR: ISTE. Britzman, D.P. (1991). Practice Makes Practice: A critical study of learning to teach. Albany, NY: State University of New York Press. Bruner, Jerome. (1960, 1977, 1999). The Process of Education. Cambridge Massachusetts, London England: Harvard University Press. Campbell, P. (1995). Music in Childhood. New York, NY: Schirmer. Campbell, M. (2001). On Musicality and Milestones. Champaign, IL: Crouse Printing. Campbell, M., and Thompson, L. (2009). Thought and Practice in Music Education. Charlotte, NC: Information Age Publishing. 27

28 Chard, Sylvia C. & Katz, Lilian G. (2000). Engaging children's minds: The Project Approach. New Jersey: Ablex Publishing Corporation. Chard, S. & Katz, L. The Project Approach. (2000). Retrieved from Dewey, J. (1934/1980). Art as experience. New York: Perigee Books Dewey, J. (1985). Democracy and education. Illinois: Southern Illinois University Press Dewey, J. (1938). Experience and education. New York: Collier Books Edutopia Staff. (February 2, 2008). Why Teach with Project-Based Learning?: Providing Students With a Well-Rounded Classroom Experience. Retrieved from Eisner, E. (2002). The arts and creation of mind. New Haven, CT: Yale University Press. Gardner, H. (1991). The Unschooled Mind: How Children Think and How Schools Should Teach. New York: BasicBooks. Gardner, H. (1993). Multiple intelligences: The theory in practice. New York: BasicBooks. Gardner, H. (1983/2003). Frames of mind. The theory of multiple intelligences. New York: BasicBooks. Gardner, H. (1999). Intelligence reframed. New York: Basic Books Gardner, H. (2000). The Disciplined Mind: Beyond Facts And Standardized Tests, The K-12 Education That Every Child Deserves. New York: Penguin Putnam. Greco, P. (2010). Portraits of Practice: Construction Zones for Musical Education. Retrieved from Keene, J. A. (1982). A History of Music Education in the United States. USA: University Press of New England. 28

29 Kratus, J. (2007). Music Education and the Tipping Point, Music Educators Journal, 94. Learning Theories Knowledgebase (2010, July). Communities of Practice (Lave and Wenger) at Learning-Theories.com. Retrieved July 28th, 2010 from Learning Theories Knowledgebase (2010, July). Constructivism at Learning-Theories.com. Retrieved July 28th, 2010 from Learning Theories Knowledgebase (2010, July). Discovery Learning (Bruner) at Learning- Theories.com. Retrieved July 28th, 2010 from Learning Theories Knowledgebase (2010, July). Problem-Based Learning (PBL) at Learning- Theories.com. Retrieved July 28th, 2010 from Learning Theories Knowledgebase (2010, July). Situated Learning Theory (Lave) at Learning- Theories.com. Retrieved July 28th, 2010 from Leonhard, C. (1968). The next ten years. Music Educators Journal, 55. Leonhard, C. (1988). A Realistic Rationale for Teaching Music. Reston, VA: MENC. Madsen, C. K. (2000). Vision 2020: The Housewright Symposium on the Future of Music Education. Reston, VA: MENC. Mark, M.L. (1996). Contemporary music education (3 rd ed.). Belmont, CA: Schirmer. McCarthy, Marie. (1994). Winds of Change: A Colloquium in Music Education with Charles Fowler and David J. Elliott, University of Maryland at College Park, April 3, USA: University of Maryland at College Park. Miranda, M. (2009). Developmentally Appropriate Practice. In Thoughts and Practice in Music Education. Charlotte, NC: Information Age Publishing. Pgs

30 MENC: The National Association for Music Education. (2010) National Standards for Music Education. Retrieved from Mursell, James L. (1948). Education for Musical Growth. Boston: Ginn and Company. Mursell, James L. (1934). Human Values in Music Education. USA: Silver Burdett Company. Mursell, James L. (1951). Music and the Classroom Teacher. USA: Silver Burdett Company. Mursell, James L. (1953). Music in American Schools. USA: Silver Burdett Company. Ogle, D.M. (1986). K-W-L: A teaching model that develops active reading of expository text. Reading Teacher, 39, Reimer, Bennett. (1989). A Philosophy of Music Education, 2 nd Ed. Englewood Cliffs, NJ: Apprentice-Hall. Reimer, Bennett. (2003). A philosophy of music education: Advancing the vision, 3rd ed. New Jersey: Prentice Hall Schwab, J.J. (1973). The practical 3: Transition into curriculum. School Review, Schwab, J.J. (1983). The practical 4: Something for curriculum professors to do. Curriculum Inquiry, 13(3), Wiggins, G. & McTighe, J. (2005). Understanding By Design. Alexandria VA: Association for Supervision & Curriculum Development. Wiggins, Jackie. (2001). Teaching for musical understanding. New York: McGraw-Hill. Zimmerman, M. (2002). Child Development and Music Education. In On Musicality and Milestones. Champaign, IL: Crouse Printing. Pgs

31 Appendix Pre-K ~ 2 nd Assessment Artifact.32 Pre-K ~ 2 nd Assessment Artifact Example rd ~ 6 th Assessment Artifact 34 Facets Model Smartboard Activity

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34 Name Grade Project Name Know: What I know already Wonder: What I want to learn Learn: What I learned and How I learned it K: What do I know about? W: What do I want to know (wonder) about this topic? Post-Project Reflection L: What did I learn about this topic? This is how I learned what I learned: 34

35 The Facets Model Smartboard Lesson 35